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Viltrox AF 35mm F1.7 Fuji X-Mount Review | The Nifty Fifty to Buy?
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Dec 20, 2024
Photographer Dustin Abbott shares a deep dive review of the Viltrox AF 35mm F1.7 STM in Fuji X-mount. This is a solid "nifty-fifty" for APS-C cameras at a great price. | This episode is sponsored by Fantom Tracker. Visit store.fantomwallet.com and use code DUSTIN20 for 20% off. | Read the Text Review: https://tinyurl.com/Vil35AIRda | Visit the Image Gallery: https://tinyurl.com/Vil35AIRpics | Purchase the Viltrox AF 35mm F1.7 here: https://geni.us/Dustin35mmAir (15% off from December 18-30th) Check out the DA Merch here: https://bit.ly/TWIMerch | Become a Patron: https://www.patreon.com/dustinabbott | On the Web: http://dustinabbott.net/ | Sign up for my Newsletter: http://bit.ly/1RHvUNp | Instagram: http://bit.ly/DLAinsta | Facebook: http://on.fb.me/1nuUUeH | Flickr: http://bit.ly/1UcnC0B | 500px: http://bit.ly/1Sy2Ngu Follow Craig @ https://www.instagram.com/craigstoffersen/ Want to support this channel? Use these affiliate links to shop at: B&H Photo: http://bhpho.to/1TA0Xge Adorama: https://howl.link/nt4zdz1goa7ql Camera Canada: http://bit.ly/DLACameraCan Sony Canada: https://www.thesonyshop.ca/?ref=abbott Amazon: https://amzn.to/3HrY64d Amazon Canada: https://amzn.to/3qG1p18 Ebay: http://bit.ly/DustineBay Into the AM Clothing: https://bit.ly/intotheAMda and use code DUSTIN10 for 10% off Fioboc Clothing: https://tinyurl.com/FiobocDA20 and us code DUSTIN20 for 20% off Make a donation via Paypal: https://www.paypal.com/paypalme/dustinTWI ============================= Table of Contents: ============================= 0:00 - Intro
View Video Transcript
0:00
[Music]
0:10
hi I'm Dustin Abbott and I'm here today
0:12
to give you my video review of the vrox
0:15
AF 35mm
0:18
f1.7 now previously we really didn't
0:21
have a name for this series of
0:23
lightweight lenses that vro has been
0:26
made making both for apsc and for
0:28
fullframe camera
0:30
but now we do they are naming this the
0:32
air series and a lot like the samyang
0:35
tiny series there is a lot of kind of
0:38
shared strengths there in that they are
0:40
small and lightweight but they have a
0:42
surprisingly robust um overall Optical
0:46
performance the advantage for the air
0:48
series I would say is that they tend to
0:49
retail at about half the price of what
0:51
samyang's tiny Series has and so here at
0:54
right under
0:55
$180 this I think is going to be another
0:58
hit for them now this is the second of
1:01
the apsc lenses in the series the first
1:03
of those was a 56 mm f1.7 and I think
1:07
that that lens at least from the
1:08
response I've had from you has been a
1:10
hit I've tested it now both on Fuji X
1:13
Mount which I'm reviewing the 35
1:15
millimeter on today but then also I've
1:18
tested it on Sony e-mount and this lens
1:21
will also be coming for Fuji Sony
1:23
e-mount and then for Nikon Z Mount but
1:26
all for their apsc platforms so at a 35
1:30
mm uh lens on apsc crop factor of 1.5
1:35
times on all of these platforms comes
1:37
out to about 52 1.2 millim on apsc
1:40
making it essentially a nifty50 and at a
1:43
price point of under $180 this is
1:45
clearly a great value but is it worth
1:48
buying for you well that's what we're
1:49
here to explore today right after a word
1:51
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let's start by talking about the build
2:45
and handling here vro has found a a
2:49
formula that I think that has worked
2:50
overall uh for this series although
2:52
there is a an important tweak that we'll
2:54
get to in just a second that was
2:56
desperately needed in terms of overall
2:58
Improvement all of these lenses have
3:01
been made out of uh engineered Plastics
3:03
is what the housing is made out of based
3:05
on a metal lens mount but of course
3:07
there is varying degrees of engineered
3:09
Plastics and whereas the samyang tiny
3:12
series early on felt really plasticky
3:14
and um just kind of flimsy in terms of
3:17
the build quality these lenses have
3:19
really consistently stood out to me as
3:20
feeling actually quite robust there's
3:22
nothing really flumsy about them the
3:24
housing feels tough there's no flex to
3:26
anything overall I think that although
3:29
it's plastic yes it's good plastic and
3:31
it really does the job and of course the
3:33
advantage here is it allows these lenses
3:35
to be really really lightweight this
3:37
lens is almost identical in size and
3:39
weight to the 56 mm f1.7 that's 64 mm in
3:43
diameter or 2.6 in and it is
3:46
54.7 mm or 2.15 in in length so
3:51
obviously not quite pancake style more
3:53
like double pancake in terms of overall
3:55
thickness but of course you're getting a
3:57
faster maximum apture than you would
3:59
probably ever see in a pancake style
4:01
lens f1.7 is somewhat of an odd maximum
4:06
aperture not necessarily common though
4:08
obviously the 56 mm was the same you get
4:11
a little bit of an advantage over an
4:13
f1.8 the far more common maximum
4:15
aperture and that while f1.7 is 1/ half
4:19
stops lower than
4:22
f1.4 uh f1.8 is 2/3 stop slower than
4:26
f1.4 so you get just a little bit more
4:28
brightness uh in terms of the light
4:30
Gathering a little bit more shallow
4:32
depth of field and so it's somewhere in
4:34
between those two extremes and obviously
4:38
more towards the f1.8 side but certainly
4:40
gives you a little bit less of a
4:42
disadvantage versus an f1.4 lens overall
4:45
weight here is 170 G or 6 o meaning that
4:50
this lens is super lightweight it's
4:52
going to be a really easy lens to to
4:54
bring along you can throw it into your
4:56
bag and even if you don't happen to
4:57
reach for it you're probably not going
4:58
to feel too bad about bringing Al it
5:00
along because it is small and it is
5:02
lightweight which is a huge asset for
5:04
this particular series up front we have
5:06
a 52 mm front filter thread which we
5:09
have seen also on the 56 mm lens nice if
5:12
you're going to buy both of them to be
5:13
able to share filters across them now
5:15
that in significant Improvement that I
5:17
pointed to actually comes in the form of
5:19
the lens Hood in the early I think three
5:22
or four lenses that I have have tested
5:25
in that series which included that 56 mm
5:27
but also the full frame 20 m f2.8 and
5:30
then also the 40 mm f2.5 all of them had
5:34
basically the same lens hood and it was
5:36
a very shallow lens hood that just
5:38
didn't B bayonet on with a lot of
5:40
precision I found that it was pretty
5:42
easy to get it on there and then for it
5:43
to move a little bit and just not quite
5:46
line up the way that it should it didn't
5:47
really lock into position we have a new
5:50
lens hood here that is deeper it feels
5:52
more robust in terms of the build but
5:54
most importantly it bayonets on with
5:56
much more Precision to where it kind of
5:58
locks in there and you're not going to
6:00
inadvertently bump it the way that you
6:01
could with those previous lenses it also
6:03
comes with a lightweight lens pouch you
6:06
know not a any kind of significant thing
6:08
but again for the price tag you're
6:09
getting both a hood and a pouch which is
6:12
something you can't save for a lot of
6:13
competing lenses now as far as other
6:16
features there's not anything really
6:18
going on here there's no apertur ring
6:20
there are no buttons or switches on it
6:23
uh inside we do have nine rounded
6:25
aperture blades which does help to have
6:27
a pretty decent circular shape when you
6:29
stop it down a bit you also will get an
6:31
18p pointed Sunstar when the lens is
6:34
stopped down the one thing that we do
6:36
have that has been a really consistent
6:38
vro feature is that there is a USBC port
6:41
on the lens mount that's going to enable
6:43
you to do easy firmware updates and is
6:46
something that always is very welcome
6:48
because I have seen some notable
6:49
improvements through firmware updates
6:51
and also it's a means of making sure
6:53
that your lens remains future proof If
6:55
there's a firmware update or camera
6:57
change in the future where the lens
6:59
might not initially be compatible that
7:00
can be pretty easily fixed via firmware
7:03
and so far vro has shown that they will
7:05
support their lenses via firmware update
7:08
this lens has the ability to focus down
7:10
as closely as 33 cm and has a decent
7:14
0.13 times magnification now the Fuji
7:18
35mm F2 it has very slightly more 0.14
7:22
times but this is at least in the
7:24
ballpark that hasn't always been a
7:26
strength for Phil tro lenses and so in
7:27
this case the fact that it's competitive
7:30
is something I would say is positive
7:32
there is no weather sealing gasket at
7:34
the lens mount however we do get an HD
7:36
Nano multi-layer coating on the front
7:38
element and that helps with some
7:40
moisture on the front and also with
7:42
cleaning for fingerprints and things
7:44
like that so overall there's no bells
7:46
and whistles here but it's a nicely made
7:48
lens the manual focus ring feels and
7:51
works good and I did note that unlike
7:53
some lenses on Fuji you don't have to
7:54
rotate again and again and again and
7:56
again to make significant Focus changes
7:58
it is it is not linear so it is it is
8:01
speed dependent but at least if you want
8:03
to move quickly you actually have the
8:04
ability to do so here the price as
8:07
mentioned is
8:09
$179 that compares for on the Fuji
8:12
platform where I'm testing on there's a
8:14
Fuji 35mm f1.4 that retails for uh 300
8:18
excuse me
8:19
$599 there's also a 35mm F2 and that is
8:24
going to retail for
8:27
$399 and of course if you want to go pre
8:29
in the vro space not an identical focal
8:32
length but I continue to love the pro 27
8:35
mm f1.2 which is really exceptional lens
8:38
though it's more expensive it's also
8:40
much bigger and heavier so if you want
8:42
to travel light I think this is a great
8:44
option now autofocus Here Comes via a
8:47
lead screw type stdm Focus motor and on
8:51
Fuji there's there's with these lenses
8:53
I've found a pretty big variance between
8:55
the way that they focus on Fuji and then
8:57
for example the way that they're going
8:58
to focus on son and that's not a credit
9:00
to Fuji I've become increasingly
9:02
frustrated with Fuji as it feels like
9:04
they are falling further and further
9:06
behind when it comes to autofocus
9:08
performance but I've got to evaluate it
9:10
within the constraints of what I'm
9:12
reviewing it on which is the Fujifilm xh
9:14
H2 so autofocus here is quiet that's a
9:18
plus but it's only averagely fast and
9:20
you will see some visible steps though I
9:23
suspect you won't see those with from my
9:25
experience on either Sony or Nikon from
9:28
the other lenses that I've tested on
9:29
those platforms the real world autofocus
9:32
is fast enough that you probably won't
9:33
think about it very much when you're
9:35
just making the normal kind of focus
9:36
changes those are fairly instantaneous
9:39
but if you have to make a really major
9:40
change from close to minimum to Infinity
9:43
you probably will see a little bit of a
9:45
step along there autofocus has been
9:48
accurate in my experience and so I don't
9:50
really have any complaints on that front
9:52
I was able to get the autofocus that I
9:54
wanted in terms of accuracy and a
9:56
variety of situations I found that for
9:58
some C ual portraits it locked onto the
10:01
eye and tracked accurately for taking
10:03
some shots of the pets again I got
10:06
accurate autofocus well focused results
10:09
as has been the case with these lenses
10:11
on Fuji I found that if there was
10:13
persistent action for example in this
10:15
burst of Ferrari kind of just coming up
10:18
the trail behind me uh that as he moves
10:21
consistently autofocus doesn't always
10:23
quite keep up and of course that's not
10:25
necessarily even fast action if you're
10:27
trying to track faster moving action
10:28
with this lens I think you're going to
10:30
be disappointed because it does tend to
10:32
back focus a little bit it will just
10:34
kind of fall behind unfortunately that
10:36
is all to Common on the Fuji platform
10:39
with kind of their non premium non-
10:41
telephoto type lenses so you know it's
10:44
it's a bit of a mixed bag for general
10:46
purpose use it's just fine autofocus is
10:48
accurate it's fast enough and uh it's
10:51
quiet it gets the job done on the video
10:54
side of things you know it's again it's
10:56
the very familiar set of frustrations
10:58
with video AF on Fuji which is you know
11:01
is if if I'm disappointed for Stills I'm
11:04
far more disappointed when it comes to
11:05
video you can see the autofocus pulls
11:07
here they're just a lot of really
11:09
obvious steps and unfortunately I only
11:12
see steps like this these days on the
11:14
Fuji platform so frustrating to see that
11:16
this very obvious steps and so it just
11:18
feels it's not a smooth cinematic feel
11:21
at all in these Focus pools you will see
11:24
a little bit of focus breathing there as
11:26
well I went back and I took a look at my
11:29
results on the same camera with the
11:32
premium Fujifilm 33mm f1.4 which is
11:35
their newest lens in this category it's
11:37
a lens I actually really like in a lot
11:39
of ways that's the lmw so it's got their
11:41
linear Motors and I found that my focus
11:44
pull test it just really wasn't any
11:45
better it looked about identical to that
11:47
kind of performance it's kind of the
11:49
state of play on the Fuji platform it
11:51
will be somewhat better on Sony but of
11:53
course on Sony you also have access to
11:55
some better focusing lenses and so as a
11:57
byproduct of that you it will be still
11:59
kind of mid pack when it comes to the
12:02
autofocus performance there my hand test
12:05
uh went reasonably well but as you can
12:08
see that there's a few instances where
12:09
it actually focused past my head and had
12:11
to rock back and and so that's obviously
12:14
a little little unfortunate because it
12:16
adds an extra step in there that doesn't
12:18
need to be as a part of the process out
12:20
in real world shots transitions were not
12:22
bad you know sometimes it'll kind of
12:24
hang on one subject but it doesn't like
12:26
Just Bounce right to the next subject
12:28
it's it's reasonably damp to where it
12:29
doesn't feel uh kind of jarring in those
12:32
transitions so overall not bad my
12:34
conclusion not autofocus at least on
12:36
Fuji is that it's fine for portraits
12:38
events general purpose shooting but if
12:40
you're wanting to keep up with young
12:42
children or fast moving pets or Sports
12:45
probably not the best option out there
12:47
and unfortunately there aren't really a
12:49
lot of great options at your disposal
12:51
and but anyway it's kind of part for the
12:53
course here at this
12:55
point much more positive is the image
12:57
quality front now I'll give you a quick
12:59
overview here and then my deep dive
13:01
breakdown will come at the end of the
13:02
video if you want that we have an
13:04
optical design of 11 elements in nine
13:06
groups four of those are different kinds
13:09
of exotic elements extra low dispersion
13:11
elements aspherical and high refractive
13:14
index elements that are part of that
13:16
you'll see looking here at the MTF that
13:18
the thing that stands out to me is that
13:19
the MTF MTF is really actually
13:21
surprisingly consistent all across the
13:23
frame which is very needed when you're
13:25
talking about the most demanding sensor
13:27
that I test on which is Fu fujifilm's 40
13:30
megapixel apsc sensor it just has more
13:33
pixels kind of packed in there than any
13:35
other platform that I test this is the
13:37
equivalent of over 90 U megapixels on a
13:41
full-frame camera so it's it's just a
13:42
lot to resolve so having a really
13:45
good-looking MTF is important when it
13:47
comes to a platform like this as far as
13:49
the breakdown I found that there is very
13:51
low Distortion somewhere between aus2
13:53
and a minus 3 to correct a bit bit of
13:55
pincushion Distortion but there was a
13:57
significantly heavy amount of vignette
14:00
about three stops a plus 75 to correct
14:03
for it so you will obviously notice that
14:05
and so you'll you need to correct that
14:07
although it is nicely L linear in nature
14:10
so even leaving it uncorrected in shots
14:12
doesn't look bad it's going to be kind
14:13
of shot dependent on whether or not you
14:15
want to correct it uh fringing is not
14:18
really an issue with this lens either
14:20
with the longitudinal style before and
14:23
after the plane of focus then also the
14:24
lateral style and the corners there's
14:26
very minimal amounts of each and I
14:28
didn't notice any kind of real world
14:29
issue with either one of them I found in
14:33
my test again that's shooting 40
14:35
megapixels these results are shown at a
14:36
200% magnification I found even at f1.7
14:40
that there was really consistent results
14:42
across the frame the center of the frame
14:44
doesn't blow my mind in terms of overall
14:46
detail but the mid-frame looks about the
14:48
same and the corners are only just a
14:49
little bit behind so a nicely consistent
14:52
performance there I found When comparing
14:54
back with the aforementioned Fujifilm
14:56
33mm f1.4 kind of the the premium player
14:59
in this class I found that the fil tro
15:01
was a little bit less sharp in the
15:03
center of the frame and about the same
15:05
in the midf frame and in the corners
15:07
that was with the Fuji lens at f1.8
15:10
versus f1.7 here I found when stopping
15:13
the lens down the vro down you did get
15:16
steadily improving contrast and detail
15:19
by the time you get to the landscape
15:20
apures of f5.6 and f8 it's nicely
15:23
consistent across the frame and I was
15:25
perfectly happy with the amount of
15:27
detail contrast and overall look that I
15:29
could get on a very high resolution body
15:32
like this you will run into defraction
15:35
by f11 the image is softening and by F16
15:37
it is noticeably soft by comparison I
15:41
found that color rendition overall is
15:43
quite nice and that is an area where vro
15:45
has made huge strides since their early
15:47
days I didn't love their Optical glass
15:49
early on but over the last couple of
15:51
years I've been consistently impressed
15:53
with the overall accuracy and color
15:55
rendition very very nice particularly in
15:57
such an inexpensive lens and I think
15:59
maybe one area where it can
16:00
differentiate itself from other
16:02
inexpensive options out there is that
16:03
the optical glass overall color
16:05
rendition and look of images is a little
16:07
bit better now the bouquet quality is is
16:10
good but not great in my opinion I found
16:13
that obviously that the $800 33 MIM lens
16:16
from Fuji that's a real strength for it
16:18
it actually renders really really nicely
16:20
this isn't quite at that level but
16:21
overall I did also didn't find anything
16:23
objectional about the bokeh in a variety
16:25
of situations I could get fairly soft
16:28
backgrounds fairly creamy and overall I
16:31
would say even specular highlights look
16:33
pretty good and you can see from the
16:34
shot in the sauna even if you stop down
16:36
in this shot it's f2.5 even by stopping
16:39
down a little bit you can see you're
16:40
getting pretty nicely circular specular
16:42
highlights right off into the corners so
16:44
I do appreciate that as well flare
16:47
resistance is mostly good uh it seems to
16:50
be most flare prone if the Sun is just
16:53
kind of right out of frame you get a
16:54
little bit of flashing and a little bit
16:56
of veiling or a loss of contrast
16:58
shooting right into it not too bad
17:00
stopping down you're going to see a
17:01
little bit more ghosting artifacts but
17:03
in general not bad I I would say the
17:05
flare resistance is decent but not
17:07
exceptional I did find good results from
17:10
shooting the night sky and testing for
17:12
coma however and I found that again
17:14
because there's very little fringing
17:15
that star points don't aren't marred by
17:17
kind of like any purple around them but
17:19
also there's not really much in terms of
17:21
coma Distortion in the corners of the
17:23
frame so again for a budget this is a
17:25
pretty nice little Astro lens All Things
17:27
Considered so here's my conclusion I
17:30
think that the air series is really
17:31
hitting a sweet spot for a lot of buyers
17:34
and when they mentioned a lens in this
17:36
focal length I was excited to test it
17:38
because I do think that this is a lens
17:40
that it makes for a great first Prime
17:43
for a lot of people maybe to augment
17:44
maybe they kit lens or something like
17:46
that and if you're coming from a lens
17:48
like a kit lens you're going to be
17:49
really really Blown Away by how sharp
17:51
this lens is and by how much subject
17:53
separation you can actually get this is
17:55
essentially a nifty50 but this is a
17:57
really good nifty50 at a very very
18:00
strong price I would call this a very
18:02
competent very lightweight lens that at
18:05
such a low price point has a great price
18:08
to Performance ratio it's a lens I think
18:10
it's going to be incredibly useful for a
18:12
lot of people so I consider this to be a
18:14
very solid option whether you're
18:15
shooting on Fuji as I've tested Sony or
18:18
Nikon apsc now if you want more
18:20
information you can check out my full re
18:23
text review that is linked in the
18:24
description down below there are buying
18:26
links there linkage to an image Galler
18:28
if you want to see more photos and if
18:29
you want a deeper dive into that Optical
18:31
performance stay tuned with me right now
18:33
let's dive into it together okay so
18:35
we'll start by taking a look at vignette
18:37
and Distortion so you can see in the
18:38
Distortion Department here on the left
18:40
in the uncorrected Raw image we have
18:41
just the tiniest bit of pincushion
18:43
Distortion no big deal you can see on
18:45
the right I could correct that no
18:46
problem by dialing in a minus three
18:49
vignette however is another story
18:51
vignette is quite heavy and you can see
18:54
that it corrects fine but I did use a
18:56
plus 75 to correct four it and so that
18:59
is a significant amount about three
19:01
stops now the nature of the vignette is
19:04
that it's it's fairly linear so in this
19:07
case I've removed any kind of Correction
19:08
and so the corners are darker but
19:11
because it kind of moves gradually
19:12
towards the center you can see that the
19:14
image here doesn't really look all that
19:17
bad even at f1.7 and of course as we're
19:19
going to see you can also see a really
19:21
nice amount of sharpness here at one F
19:24
1.7 as well now when it comes to
19:26
fringing we can see a nice result here
19:29
when it comes to longitudinal style
19:30
chromatic aberration you can see a
19:32
little bit of magenta fringing before a
19:34
tiny bit of green afterward but overall
19:36
it's really quite neutral and so if I go
19:38
out into a real world shot very high
19:40
contrast here you can see that uh
19:43
contrast is holding up really nicely on
19:45
the plane of focus and then you can see
19:46
there's a little bit of blooming as we
19:48
move out of focus but not really a lot
19:50
in terms of fringing so pretty neutral
19:53
in that regard another shot here where
19:55
there's lots of bright light coming
19:57
through here and you can see overall
19:59
that there really isn't much to see in
20:01
terms of fringing really great job in
20:03
that regard now when it comes to lateral
20:06
style chromatic operations near the edge
20:07
of the frame I do see just a tiny bit in
20:10
this uncorrected f8 image from my test
20:13
chart you can see just a little bit of
20:14
fringing on either side it's obviously
20:16
not very pronounced you may not see it
20:18
if I didn't point it out so if I jump
20:20
into a real world style shot here where
20:22
I do have some branches that are
20:24
starting to get bare up here I can see
20:26
looking up into this area that I don't
20:28
see any kind of real cause for concern I
20:30
don't really see much in terms of
20:32
fringing and again I have removed any
20:34
kind of correction from this image so it
20:36
actually holds up quite well now as far
20:39
as overall resolution here here looking
20:41
at 200% magnification we can see in the
20:44
center of the frame that uh contrast and
20:47
detail looks good uh not off the charts
20:49
good but part of that is just the fact
20:51
that Fuji files Remain the most
20:53
difficult to sharpen and so overall
20:56
however it looks good relative to other
20:57
Fuji lenses uh we can also see here as
21:00
we move to the mid-frame I don't really
21:02
see any kind of drop off we're seeing
21:04
still very good contrast very good
21:05
detail a pretty consistent performance
21:08
from the left side of this build to the
21:09
lower right side and then we can see
21:12
even as we move off into the corners
21:13
that really that's a pretty great
21:15
looking end result and if for context I
21:17
put the $800 33mm f1.4 Fuji lens here we
21:23
can see that in the center of the frame
21:24
I do prefer the Fuji lens I feel like it
21:27
is has more contrast it's resolving the
21:30
fine details with a little more contrast
21:32
so you know I think it's taking a win in
21:34
that regard in the mid-frame however as
21:36
we move here and I've moved away just so
21:39
you know I've moved away from the newer
21:41
bills like this because when I try to
21:43
recreate these things in Photoshop a lot
21:45
of times it just won't allow me to do it
21:47
so I'm using older style bills now that
21:49
are just not in circulation so I don't
21:51
have that issue so we can't do
21:53
necessarily A head-to-head comparison
21:54
there but if we look at this Zone here I
21:56
would say that the mid-frame results are
21:58
about the same and maybe the vrox has a
22:00
little bit better contrast as we come on
22:03
down here we can see again that the
22:05
results color balance is not the same
22:07
but in terms of the contrast and the
22:08
detail they really are pretty much the
22:11
same and I think that the vrox is every
22:13
bit as good if not a hair better and as
22:16
we move down into the very edge
22:18
performance here we can see that again
22:20
once again detail and contrast very very
22:22
consistent across these two so for being
22:25
about a quarter of the cost I would say
22:28
that the vrox holds up really quite well
22:31
taking a look at a real world image at
22:32
F5 or 1.7 I should say uh you can see
22:36
here that there's plenty of detail and
22:38
contrast there you know able to resolve
22:40
all those little fine hairs and the
22:41
focus is right on the eye as it should
22:43
be so good result there here's another
22:46
f1.7 result and again depth of field is
22:48
going to be fairly narrow here but you
22:51
can see in these edges there's no
22:53
blooming at the edges they're nice and
22:55
crisp good detail good contrast that's
22:57
there so overall all a really nice
22:59
performance even wide open now stopping
23:02
down to F2 first of all you see that
23:04
there is a significant meeting metering
23:06
difference which is always good to see
23:08
we can also see that I would say that
23:09
the contrast is a little more intense I
23:11
don't see a lot of additional detail
23:13
there but I do see an uptick and
23:15
contrast if we move on from F2 to f2.8
23:19
it's kind of the same pattern where the
23:21
you can see that the darks are darkening
23:24
coming a little bit more intense and we
23:25
can see that even when it comes to the
23:27
writing here on the you can see that the
23:29
the
23:38
inkinesss of the 33mm now both of them
23:41
at f2.8 pretty obvious wi for the 33 mm
23:46
in the center of the frame it's
23:48
definitely doing a great job there and
23:50
down into the corner I would say that
23:51
it's also kind of coming out as a winter
23:55
here and we can see in the other places
23:57
where we look that no it's not again
23:59
it's the difference is not really
24:00
significant in this portion of the image
24:03
but there certainly is a win for the
24:05
more expensive 33 mm you'll see further
24:07
improvements by F4 and then by
24:10
f5.6 and that contrast and detail will
24:13
hold up through f8 but then as you get
24:16
to f11 it's going to soften a little bit
24:18
due to defraction but by F16 which is
24:21
minimum apture you can see that the
24:22
image is really obviously softened due
24:25
to the effect of effects of defraction
24:27
we jump to a real world landscape shot
24:29
just to kind of give you a look at the
24:31
detail you can see that here there's
24:33
lots of fine detail all throughout this
24:36
scene it's it's a big scene with a lot
24:38
going on in terms of the textures you
24:40
can see right off here into the corners
24:41
that there's still a nice amount of
24:43
detail overall and and so really a a
24:46
nice job a good performance out in real
24:48
world sharpness as mentioned previously
24:51
I feel like colors are really nicely
24:53
executed with the lens giving images
24:55
overall a nice look up close performance
24:58
here is really quite good overall I can
25:00
see that the detail and contrast have
25:02
held up you know really nicely at this
25:04
close Focus distance So that obviously
25:06
improves the usefulness of the lens up
25:08
close in this shot here we can see both
25:12
the sharpness and the plane of focus you
25:14
can see in this area here nice and crisp
25:16
at f1.7 then it also gives you a chance
25:18
to evaluate the out of focus area I
25:21
think that some of these textures
25:22
there's a little more outlining that
25:24
makes it night not quite as creamy as it
25:26
could be but overall the image looks
25:27
pretty good good this image here which
25:30
has a little bit more favorable ratio I
25:32
think as we move just the def the
25:34
defocus on the background is more uh
25:37
just just more pronounced you can see
25:39
that maybe there's a little bit of
25:40
outlining in this Zone but as you get
25:42
further out it's really nice and soft
25:44
and creamy so certainly can produce
25:46
great looking images with this lens of
25:48
course contrast and detail up close here
25:50
really looks great here's kind of the
25:52
the yin and yang of the previous image
25:54
and you could see same kind of thing to
25:56
where yeah there's a little bit of a
25:57
hard Edge here I don't love this Zone
26:00
maybe very slightly jittery but it does
26:02
become creamy as it moves towards
26:04
further def Focus this shot here number
26:07
one again it shows good contrast and
26:08
detail on the side of the bucket here
26:10
and then at f2.5 we can see that really
26:14
it's not squeezing too much nice
26:16
circular shapes all across this area in
26:18
the specular highlights now I mentioned
26:21
that the lens uh stood out is doing a
26:22
good job when it comes to coma and you
26:24
can see here as we linger here for a
26:27
moment you can see that there's no
26:29
fringing that's affecting star points
26:31
and and so that they look really nice
26:33
and Crisp And even as we move right off
26:35
here into the corners I see very very
26:37
little in terms of coma star points are
26:39
really remaining pretty similar to what
26:41
they are closer to the middle of the
26:43
frame so a nice performance in that
26:45
regard finally when it comes to flare
26:47
resistance here we can see where I've
26:49
kind of eliminated any kind of potential
26:51
flare artifacts just by the composition
26:53
but I have allowed you to get a little
26:54
bit better look at the Sunburst effect
26:56
which looks pretty nice here here's
26:58
another shot here at kind of a medium
27:00
aperture but again because I've used a
27:02
little hole in the leaf to eliminate any
27:04
kind of flare artifacts in this shot
27:06
however you can see a bit of veiling
27:08
that's taking place due to the sun being
27:10
just kind of out of frame and that's
27:12
where you're going to see flare
27:12
artifacts most strongly so hopefully the
27:15
Deep dive into the opal performance has
27:17
helped to answer any lingering questions
27:18
you might have had as to whether or not
27:20
this is the lens for you as always
27:22
thanks for watching have a great day and
27:24
let the light in
27:26
[Music]
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