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Viltrox LAB 35mm F1.2 FE Review | Viltrox Bullies the Competition
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Apr 6, 2025
Photographer Dustin Abbott shares a deep dive review of Viltrox's next industry disruptor - the LAB 35mm F1.2 FE. Is this the new top 35mm option? | Read the Text Review: | Visit the Image Gallery: | 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
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[Music]
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so here it is the first of the f1.2 lab series lenses from vro this is the 35mm
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f1.2 lab and I'm going to be reviewing it on Sony emount today I'm filming with it at the moment this f1.2 series of
0:26
lenses is almost certainly going to be a very serious disruptor on both the Sony e-mount and the Nikon Z Mount space
0:34
because these are ridiculously good lenses much like the 135mm f1.8 that I
0:40
reviewed last fall the lab 35mm f1.2 comes with brilliantly good Optics
0:47
incredibly fast autofocus and a very affordable price downside being it's big
0:54
and it's heavy however as we're going to see in this case when you're comparing against f1.2 competition it's really not
1:01
all that big and heavy relative to what exists on the market but there's no question that this lens is going to
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cause some palpitations amongst the first-party brands we'll dive in today and see why that happens to be the case
1:14
so we'll start by taking a look at the build and handling of the lens as you can see this is a large lens and there's
1:22
no question about that however it is it's all about context this is a big
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lens if you compare it to for example Sony's own 35mm f1.4 GM a lens that I
1:34
own and I love and it is amazingly Compact and so compared to that the lab
1:40
series lens looks huge however if you look at some of the more direct kind of counterparts we have the now
1:46
discontinued Sigma 35 mm f1.2 DM that lens was 15 mm longer than this lens and
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weighed 170 G more so significantly bigger and heavier like wise the newly
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released uh Nikon 35mm f1.2 sline lens that this viltrox lens will be going
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directly up against once it comes out on Nikon zount that lens is a full 29 mm
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longer and weighs 140 additional grams and so if you compare it kind of directly to the 35mm f1.2 options that
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exist on the market or have existed then the size of it is actually lower than
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those and so I'm going to give it a little bit more of a pass than what I did with the 135 mm lab which was bigger
2:34
and heavier than everything and so in this case we are looking at overall size of 89.2 mm or 3.5 in in diameter
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121.8mi
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thread very common and it weighs in at 920 G or
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32.4 Oz reason for that weight is twofold number one we have got a really
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beautiful mag magnesium aluminum alloy body and so you know aircraft grade
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materials used on this and then also of course there's lots of glass with that f1.2 aperture and so all of that adds up
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to a lens that has some heft to it there's no doubt about it another thing that's relevant to those two competitors
3:21
that I've mentioned already is that relative to the sigma the lab is coming to the market at just a little more than
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50% of that price and it's about a third of the price of the sine lens from Nikon
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and so it obviously is a huge value when considered from that perspective I've been spending a little more time with
3:39
some of Nikon's sine lenses and so part of the design philosophy really makes a
3:44
little bit more sense to me now with the lab series lenses and I say that because I was coming to the lab series from
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obviously first releasing onone emount and that continues to be the case here from the son emount perspective the
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design decision made around the aperture ring makes a little bit less Sense on
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Nikon and that's true of the z-mount version of the 135 mm lab I'm sure will be true of this when it comes to zount
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as well like Nikon S sine lenses this ring is not just an apure ring but it's
4:16
a customizable control ring so it can be used for other things be it uh ISO or
4:22
exposure compensation and so you can program other features on Sony you can't do that and if you're just operating it
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purely as an aperture ring well frankly I would prefer a more traditional aperture setup in this case we have
4:35
something that acts more like that control ring but it only has one possible function and that is going to
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be for aperture now you do have a couple of options here because there are no marked positions means you're going to
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be relying either on the LCD screen or something on your camera to tell you what apt aperture position that you've
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selected however the screen is going to show you that aperture information you
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do have the option to de click the aperture and for it to become much smoother and to allow you to do things
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like aperture racking it works fairly well for aperture racking but you'll notice here that there is some very
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slight evidence that it's moving in stops rather than moving just smoothly
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with the aperture opening and closing in just one linear fashion and so I didn't find that I could do perfect aperture
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racking there you can see some of the steps along the way so I'm hoping that maybe firmware will allow them to
5:29
improve that behavior but I have no guarantee that that's going to happen the other thing that I don't love about
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this particular approach is that because it's designed to be used potentially for other things as well it means that
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you're not instead of having like the onethird stop clicks instead it's more like every click that you feel if it's
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clicked is more like a ninth of a stop and so it's a little bit of an odd configuration that I don't love there
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what is better however is that the aperture Iris itself it has 11 BL blades
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they are pretty nicely round and as you can see as we go back through some of that apture racking you can see that
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probably all the way through about f5.6 it's still a very circular shape you can see a little bit of those blades as you
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stop it on down from there but overall the geometry is fairly good the LED will
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also show a few other things it does show you a distance scale which is useful um not not just in terms of your
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overall distance but one thing that I noted that I don't think I noticed on the 13 5 mm I'll have to go back and
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check it because what I noticed here is that as you change the aperture it actually is showing you the depth of
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field increasing there with a yellow bar and so that was an interesting extra feature there that it will give you a
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little more idea of how much he going to be in focus at a particular apperture setting so another useful thing that
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they can do interacting with that LCD screen in terms of other features we do have an AFM switch here on the side and
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then we have two programmable function buttons the top one of those function
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buttons is just whatever you typically will program in from the camera body whatever value of assigned to that just
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the same as you would do on a Sony lens but the lower one is used in conjunction
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with the LCD screen you can uh set an AB Focus if you're in manual focus mode you
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can focus to your first preset position you hold that down and it will set the a position then you focus to what you want
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to be the B position hold it down and then after that you can just click it and it will go instantly back and forth
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between those two preset uh positions which is obviously very useful the other thing that you can do however through
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the the vro app is you can actually assign different functions not a lot of different functions but a few different
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functions and you can program which operates and does what and so I do appreciate the fact that it can be
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customized in that kind of way now using the vro app you can do firmware updates
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through that USBC just through your computer but now increasingly I'm relying on the vrox app and you can
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connect via Bluetooth and that will work for a lot of the different functions it seems like they've now moved to
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requiring you to have a USBC cable for doing firmware updates I don't know through the Bluetooth connection that
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maybe there were some people that had some issues with updating firmware that maybe you know cause some software
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issues in the lens so they're looking for a stable stable connection for doing that now at this point it works really
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well however you can do firmware updates quick and easy and what I'm finding is by attaching by that USBC cable it's the
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most reliable way to do it I just connect it from my phone to the lens itself you can do a few other things
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including programming the splash screen when the lens Powers up and so I've got
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my name on there obviously those firmware updates and then you obviously customizing some of the control scheme
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as well which is great one thing I would like to see them add is something that Tamron has done with some of their lenses and that is that you have the
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option of putting in some different behavior for the manual focus ring as far as the overall Focus throw whether
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it's linear nonlinear things like that I would love to see them Implement that kind of functionality CU I found that to
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be useful myself and frankly here the manual focus ring is nice it moves nicely it has nice damping what I did
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find is that I found that Focus throws were a little bit too long and so you
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know typically if I'm going to doing do a pull that's within a meter um I want
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to be able to do that with just one L wrist Lo rotation right now I found that
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it just went a little too far for my wrist to rotate and so it means that I can't do that in a nice you know like
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fully linear mode and so I would appreciate the ability to tweak that but overall manual focus it works well it's
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nicely damped this is a beautifully built lens and that includes thorough weather ceiling HD Nano coating on the
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front and then we've got a gasket at the mount along with a total of 12 different
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seal points throughout the lens itself there is no lens based stabilization
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here and so you're going to have to rely on whatever is within your camera though frankly handholding a 35mm f1.2 is much
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easier for example than handholding 135 mm f1.8 and so maybe less of an issue
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here now like the 35 mm or the 135 mm you do have the floating elements here
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and so you will feel a little bit of a clunk if you're just kind of rocking back and forth the lens like this when
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the lens is powered on um that will go away because those uh elements are going to be energized and they stop moving but
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what that will allow you to do is to have much better up close uh Focus performance and so you can focus down as
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closely as 34 cm and get a 0.17 times magnification all of that's useful but
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not exceptional uh there are other uh 35mm options including this one that can
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get you a lot closer the uh GM for example you can focus as closely as 0.26
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times or have a magnification I should say of 0.26 times compared to the 0.17
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so that's definitely an advantage for the GM but what those floating elements do allow is amazing up close performance
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it is just brilliantly sharp even at f1.2 at close Focus distances included in the package you
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have a very nice um you know premium feeling Hood nice uh Rich materials it's
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it's thick it's it's ribbed on the inside it doesn't feel cheap at all and then also it comes with a nice kind of
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Leather Pouch similar to Canon's L Series lenses I would prefer something like sigma's approach with the padded
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you know nylon case which I find more useful personally but something is better than nothing this I mean
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comparing these two lenses side by side I mean the actual look of the lab actually feels more premium than what
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the GM Master is but frankly they have similar levels of design and features and so I mean this is a premium grade
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lens and obviously at a fantastic price in some ways things get even better when
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we start talking about autofocus once again they have employed their newest premium Focus motor system which they
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call hyper vcm which is a voice coil motor and it's not just one but dual vcm
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or hyper vcm Motors that are driving Focus so similar to Sony's approach with
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the Dual linear Motors that they've employed employed in their 35mm GM and
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so as you can see here uh autofocus is basically instant I mean there's literally no lag between going from
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point A to point B it's just pretty much instantaneous whether indoors or outdoors in fact head-to-head within a
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couple of minutes of comparing with the GM I felt both in my Impressions while shooting and then when looking at the
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video afterward I felt like the that the vro lab is actually the faster of the
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two which is mindblowing to me it was fast enough that even at f1.2 I was able
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in the early morning light to grab a bird in flight and you can see that it's perfectly focused if we jump in and we
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look at the the degree of focus there I found that just it's very fast it's very
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quiet and it's also very accurate and I shot lots of very thin narrow things and
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it just nailed focus and when I zoomed in it's like oh that's awesome because also the sharpness and contrast is
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amazing I was able to shoot portraits even in very strongly backlit conditions
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in Myrtle Beach with the rising sun off the water on the Beach and even at f1.2
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again if we we punch in and we look you can see it's perfectly focused and there again there was no lag in that situation
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it just grabbed I took the picture it was really that simple I was able to track squash action even at f1.2 as you
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can see here on my Alpha One shooting at 15 frames per second more on that in just a second you can see that focus is
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perfect even at f1.2 even in you know quick moving action no problems there
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now the caveat that I do want to mention is that relative to a first party Sony lens you are going to be limited to 15
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frames per second on Sony that's a across theboard third party limitation and so it doesn't matter whether you're
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shooting with an alpha 1 an A9 series even the A9 Mark III 15 frames per
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second is the upper limit now if you're shooting with one of the slower bodies doesn't matter that's probably going to
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be at the upper limit or beyond what your other otherwise limitation would be but if you're shooting on one of the
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sports bodies that is a limitation good news for you Nikon users once it comes to zount that's not a problem and I
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can't wait to try one out on my Z8 now when it comes to video autofocus
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again I was very pleasantly uh impressed surprised whatever you want to call it Focus pools as you can see they are very
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smooth and confident going back and forth without any hesitation or lag a good degree of damping it's not you know
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just kind of jumping around but goes smoothly back and forth now there is some obvious Focus breathing and it is
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not as bad as the 35 GM you can see here that the GM is is worse still and it's
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got a reputation for that however again Sony has baked in an advantage for the GM at least with some of their newer
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bodies that doesn't exist for the vro and so here I can switch over and put turn on their focus breathing
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compensation with the GM lens and you can see it's a big crop because it's a lot of focus breathing but it Bas
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basically mathematically eliminates Focus breathing from the equation I can't do that with the build procs and
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so just something to be considered natively it actually outperforms the GM but once you bring in the the digital
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compensation it is going to underperform the GM when it comes to focus breathing my hand test went good good reactiveness
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I was very happy about that it picked my hand up quickly and moved back and forth and thus as we saw in the opening
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sequence even if you're approaching the camera and I was shooting that opening sequence at f1.2 it has no problem in
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tracking and keeping up with the action I found for just my real world video clips uh that autofocus worked great I
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got beautiful looking end results it's basically all what you would expect from a premium lens with a premium autofocus
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system so how about the image quality I'll give you a quick overview and then if you want the Deep dive into the
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Optics it will come at the end of the video just so you know I will be doing one of my head-to-head between these two
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lenses in the future and hopefully down the road if I'm able to do the same with
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the sine lens I'll try try to arrange that on Nikon no guarantees but it's
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always interesting to see these things head-to-head optically we have 15 elements in 10 groups and in this case
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2third of those are exotic elements five extra low dispersion elements three High
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refractive index elements and then two extreme aspherical elements to make up this Optical design vro is just kind of
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you know throwing out all the stops here and going just going at it and so you can see from the MTF chart that the Mt F
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looks great it's only in the Far Corners that we see any kind of dip and if you look at the f8 um on the right side you
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can see it's just a straight line across the top pretty much in other words perfect what's interesting is that I
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took the MTF charts from the Sony GM and the Nicor uh sine lens and I Lin them
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all up and then put a line through 80% and you can see looking at that that basically the lab series lens has more
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above 80% than either of the other two lenses and the only place that any of the lenses is better is the GM is a
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little bit better in the corners this lens is amazingly sharp even at f1.2
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really fantastic and it's only in those extreme Corners that I saw any kind of drop off even at f1.2 now on some of the
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other technical side of things I found that there is a minimal amount of distortion at uh
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f1.2 um it's obviously nothing like we saw with say the Canon 35mm f1.4 l vcm
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which was terrible in this metric so there is a minimal amount of distortion but the unfortunate part is that it's
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rather complex and so it has a little bit of pin cushion type performance on the edges if you try to correct that
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however you create Barrel Distortion in the middle and so I dialed in my compromise was dialing in a tiny minus
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two and that gave me the best but certainly not a perfect result it will be better once we get to the retail
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where then all of the profiles become available and that I'm sure will correct it in a better way uh vignette was
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moderately heavy I needed a plus 70 to correct for the vignette however what I found is out in the real world most the
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time that vignette just the way that it it falls I didn't really notice it this shot for example has zero correction
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shot at f1.2 and you can see that I don't really see any kind of objectional vignette and so I mean it's all going to
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be up to you you know what you want to correct but there is that there there's much more vgn yet than there is
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Distortion when it comes to testing for fringing I found that the longitudinal style chromatic aberration I saw
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basically none on my chart and I saw basically none in most of my real world shots save I did take this shot of an
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old SLR and you can see a bit of green fringing after the plane of focus on the
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um on the camera body itself and so um you know there's there's a tiny bit of fringing but it's very very
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insignificant I didn't see basically any kind of real world lateral style chromatic aberration very well corrected
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for that all of that adds up to an amazing wide open sharpness and you can see that it looks great in the center of
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the frame looks great in the mid-frame and then just a little bit softer into the corners what I found when I compared
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it to the Sony GM with both of the lens is wide open so f1.2 for the lab f1.4
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for the GM I found that the lab is sharper in the center sharper in the mid-frame and then a little bit softer
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in the corners relative to the GM however if I stop the lab down to f1.5 for as you can see it caught up to the
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GM and maybe even surpassed it in the corners and so I mean it's just it's incredibly sharp wide open and you can
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see that in some of these real world shots just amazing detail and really amazing micro contrast its ability to
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resolve fine details and fine textures with both of these lab lenses so far I've been kind of Blown Away by just how
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good they are in that metric I also found in doing a lot of head-to-head comparisons that I felt
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like light transmission is a little bit better the lab than what it is in the GM you know and considering how compact the
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GM is maybe that's not surprising and frankly I haven't always found that to be a GM strength anyway light
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transmission is not always fantastic this lab series you know it's it's bigger they've got more room to handle
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it and I think it does a better job there basically by the time you stop down to F2 you have Flawless image
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quality all across the frame and so anywhere between F2 and f8 your image quality is basically Perfect by the time
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you get to f11 there'll be a tiny bit of softening due to defraction and then a little bit more obvious softening due to
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defraction at F16 though frankly it's probably still sharper than a lot of lenses uh even when your defraction has
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taken its chunk out of it when I did comparisons of the bo bouquet quality and rendering I found that I actually
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probably favored the vro over the GM in terms of those metrics and I love the GM
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and so I was kind of surprised by that I feel like the out of focus colors are just a little bit more pleasing to my
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eye I like the optical glass a lot in the slns when it comes to color IND condition so in terms of those specular
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highlights obviously they're going to be bigger and softer at f1.2 but what some people don't know is that when you have
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a larger aperture lens even when you stop it down to f1.4 and then compare the specular highlights are still bigger
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and softer and so it's going to have a bouquet Advantage all throughout the aperture range because it starts with a
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bigger maximum aperture and so that's just one of those things I think is a a hidden benefit of large really large
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aperture lenses like this and so there is a little bit of a cat eye effect into the
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corners but it is less so than what you see on the GM and so overall I mean the bouquet quality as you can see from
22:14
these various shots it's very very nice even in very complex scenes like this shot in a kind of like a general store
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there's a lot of busy things going on I feel like it has great subject isolation and the overall bouquet rendering is
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still nice nice and if you get really close to a subject obviously you can really blur out the background and get a
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great looking shot out of that I also found when shooting the night sky obviously another very attractive option
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for an f1.2 lens with a you know wider focal length it it does great um there's
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no fringing around bright star points there's a little bit of of coma smear in
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the corners but it's very very minimal overall even at f1.2 it does amazing you could stop it down a bit and get even
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less if that were a factor for you and also brighten up the corners a bit with the vignette raises by f2.8 a lot of the
23:05
vignette that is present at f1.2 um has disappeared at that point I also found that flare resistance was really
23:11
excellent particularly for with the lens with just so much glass in the front of it an f1.2 lens I found that it was able
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to just hold up contrast beautifully I saw the tiniest bit of ghosting in a few
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shots but I mean just a tiny bit of it overall it was just a really really excellent result so my conclusion is
23:30
this this once again is a great combo of build autofocus and Optical performance
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and it's at an amazing price yes it is big and heavy and I think that that's going to be probably the the price of
23:43
entry into the lab series in general um they will be coming out also with a pro series of f1.4 lenses and that might be
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a bit smaller and lighter but the price of Entry if you want to get into the lab is you're going to have to be willing to
23:56
carry a bit of weight and if that is not a deal breaker for you well there's
24:02
really not a whole lot to complain about after that if you want more information stay tuned for my direct comparison
24:09
head-to-head with the GM but you can also check out my full text review Linked In the description down below
24:14
this also links to the image gallery and some buying links and of course now if you want a deep dive into the optical
24:20
performance let's jump into that together all right we'll start our Deep dive into the Optics of this machine by
24:26
looking at the vignette and distortion so take a look here and I'm going to toggle off for a moment just so we have no distractions you can see that there
24:33
really is a minimal amount of distortion but what you can see is there is a clear mustache pattern there and so pin
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cushion Distortion in the corner but if you start to try to straighten the middle out you're going to create a barrel Distortion in the middle so it's
24:45
complex here on the right side I've I've done just a little bit dial in just a plus two because it kind of balances or
24:52
excuse me a minus two which balance out between the two the best way to correct this will be once the correction profile
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arriv IES which it should around the time this lens goes to retail now as far as vignette you can see vignette is
25:04
significant and that is at a plus 70 dial in in the corners to get the manual
25:10
correction you see here the shot is at f1.2 and you can see that at least in
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the sky it's not really providing any kind of issue I haven't corrected for it here in the corners because of the way
25:22
that the lights falling you really can't tell a lot and so my point is is that in all not in all situations are even going
25:28
going to need to correct for that vignette now as far as the chart goes I don't see really any kind of
25:34
longitudinal style chromatic aberration here it's it's free of that this shot I
25:40
there's a little bit that I can see here on the uh SLR old SLR camera there so a
25:45
little bit of fringing there in the specular highlights you can see just a tiny bit of green fringing there so it's
25:51
it's going to be situational this is about the only shot that I saw anything in but you know every now and then you might see something now as far far as
25:58
lateral style chromatic aberration I really don't see much of anything here I didn't see anything in this nor anything
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in my real world shots so that brings us to a look at resolution so this is 200%
26:10
magnification on a 61 megapixel uh A7 R Mar 5 and so here in the center of the
26:15
frame you can see it's just amazingly sharp uh contrast is super high
26:20
mid-frame looks amazing as we kind of pan down throughout all of these things
26:26
um you can see that very little drop from the upper left to the lower right just a little bit there as we get
26:31
towards the very corner you can see a bit of fade but frankly that only looks worse because the center looks so good
26:39
if we put the vro at f1.2 and the GM at f1.4 here you can see that the vro is
26:44
clearly sharper in the center of the frame it just has better contrast more detail being rendered if we pop up here
26:51
into the mid-frame you can see that they both look good but the vrox looks a
26:57
little bit better here and it's only really down here in the corner where I feel like the GM very possibly is just a
27:04
little bit better in this Zone and uh and so they're they're comparable but I would call the GM a little bit better
27:11
and you can up in this corner however I don't know if that's true and if we swap
27:16
in the f1.4 shot of the vro versus the GM you can see that the vrox is very
27:23
clearly uh Superior right up here into the left corner so yes it is tremendously sharp even at f1.2 here you
27:31
can see punching into this image at f1.2 you can see that the detail and contrast
27:37
even very very strongly back lit is excellent a shot like this I mean you
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really have to kind of go into a high level of magnification even to appreciate just how good it is and you
27:48
can see in that thin you know plane of focus just how tight the detail and the
27:53
micro contrast is and of course the background is very beautifully blurred out as well this is an f1.2 landscape shot and you
28:01
can see as we pan across the frame there's just really amazing amount of detail again on a 61 megapixel sensor
28:09
even at f1.2 you know basically from side to side it looks fantastic if we
28:14
stop on down to F2 here on the right you can see that the moir is just out of control now because it's just so sharp
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and high contrast that the sensor can't hardly handle it and you can see looking
28:26
here in the midf frame it looks just amazing great detail now you can see
28:31
that the corner is looking crisp on the bottom right you can see it looks fantastic here over on the left upper
28:38
left looking amazing and up into the upper right we have good centering we have a good performance all around just
28:46
great from F2 to f8 everything looks fantastic I mean here this is f2.8 and
28:51
to give you context it was kind of a cool scene it was very windy and snow was blowing the sky was just dramatic I
28:58
just shot this out of a window you know driving along at you know 70 M an hour
29:04
and you can see just how amazing the detail is in the image at f/2.8 I didn't
29:09
want to shoot too small uh depth of field cuz I didn't want any of the the window action you can see a little bit
29:14
of window reflection up here but I mean it's just it's amazing how casually good this lens is here at f5.6 and so we've
29:22
got lots of textures and a fairly flat place to look down on you can see it looks amazing in the center of it I mean
29:28
look at all of the detail that's rendered inside that that space there
29:33
and then if I pull all the way off here into the corner you can see right off to the edge along here all the textures are
29:39
just they're just really tightly resolved all that information all throughout the image is just really
29:45
excellent to maybe put it into context a little bit here here's f1.2 and then f5.6 so for looking in the center of the
29:53
frame at f1.2 versus f5.6 you could say they don't really look any different it's true they don't
29:59
really look a lot different it's more if you pan off into the corner where there's a little bit of difference
30:05
starting to show up there you can see in this Zone on this side that contrast is stronger it's resolving better off into
30:12
the corner um at f5.6 versus f1.2 but you know some of that also could be
30:17
impacted by a little bit by depth of field as well so I mean it's just it's very very sharp no matter what aperture
30:23
you shoot it at now on a high resolution body defraction will start to soften the image a bit at f11 a bit more at F16 but
30:31
again I mean the truth of the matter is is that this is still a sharper looking result than what I see even at its worst
30:38
on a lot of lenses and so I would say shoot at whatever aperture your heart desires the maximum magnification is
30:45
useful but what's more useful is just how good it is even at f1.2 at that
30:50
minimum Focus distance you can see it's just super sharp up close it means if you're going to shoot closeup images
30:56
they're going to have lots of d detail you know this shell here you can see just how tight the very fine little
31:04
plane of focus is and so obviously only a little bit of that shell is even in focus at that distance at f1.2 but what
31:12
it does allow you to do is is very strongly blur out the background the shot here again f1.2 at minimum Focus
31:19
distance so again depth of field is really really small as you can see but
31:24
contrast is great detail is great everywhere that the plan of focus is and then of course the background you know
31:31
blurs off nice and smoothly here's f1.2 it gives you an idea not just of the
31:37
sharpness here on Nala but a look at the overall rendering and defocus just our living room nothing fancy there but it
31:44
gives you a look at this scene here we can see um obviously again depth of
31:49
field is going to be small so only this is kind of in Focus here but you can see that as we moved into the out of focus
31:55
it's rendering nicely this is almost kind of a worst case scenario because there's so many just like little hard
32:02
edges all over the place and even so I would say looking at the image that it's
32:08
what you mostly see is the very sharp plane of focus and then just defocus
32:13
beyond that and so it's still good and here if you get more to like a best case scenario where you're close to the
32:19
subject and then the background is further and softer you can see you get a really creamy looking background colors
32:26
are beautiful from the lens I really think the optical glass is is great in it and here obviously these are
32:32
intensely saturated because it was early morning and the colors were really greatly saturated here it's a little
32:37
less extreme but you can still see that you know we've got both amazing detail but then we've also got just really
32:44
really nice colors when it comes to Astro you can see that in the center of
32:49
the frame all the star points are really crisp here in some of these bright areas there's not any fringing that's Maring
32:55
them uh even here I think this is actually the moon but you can see that it's you know there's there's no
33:02
fringing around that and then if we look here where there you know where coma is going to be I think there's a little bit
33:09
of of a stretching there but not much in terms of coma where we see anything kind of growing wings it Still Remains even
33:16
at f1.2 very well controlled you could stop down to f1.4 and probably get a little better still finally when it
33:22
comes to flare resistance I mean here is the bright bright sun right here and I've recovered the image you terms of of
33:28
just the overall you bringing the exposure down and so you can see detail is good we don't see any ghosting
33:34
artifacts anywhere here I've got the sun right up in this Zone and you can see again the image is held up perfectly
33:40
here it's right up in this Zone maybe there's a little ghosting right there
33:46
possibly but I mean that could also just be the color of the Evergreen there bottom line is that just everything this
33:53
lens does it does it really quite well and so you probably came away from that section as I did saying a little bit of
34:00
wow this is a very very impressive Optical instrument as always thanks for
34:05
watching have a great day and let the light in