Yongnuo 23mm F1.4 DA DSM WL Pro Review | Best Bang for Buck 23mm?

Name: Yongnuo 23mm F1.4 DA DSM WL Pro Review | Best Bang for Buck 23mm? | Open Video
Uploaded: 2025-02-06T13:50:19+00:00
Duration: 24 min 55 s

0:00
[Music]
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[Music]
0:10
hi I'm Dustin Abbott and I'm here today
0:12
to give you my review of the yongo YN
0:14
23mm
0:16
f1.4 now this is the second in the
0:19
direct Commander series that I'm
0:21
reviewing right now I recently did the
0:24
first in that series which is the 33mm
0:27
f1.4 though that was a follow-up to an
0:29
11 mm f1.8 that they released earlier in
0:33
2024 the commander series is all around
0:37
designed around the premise of having
0:39
kind of these premium lenses in the apsc
0:42
space with relatively fast maximum
0:44
apertures of f1.4 but the ability to
0:47
introduce some wireless control into the
0:49
lens by using an optional adapter like
0:52
this that's where the commander portion
0:54
of the name comes in now as noted this
0:56
is the second entry in the commander
0:59
series so first of all I looked at a
1:00
33mm f1.4 today we're looking at a 23mm
1:04
f1.4 and then the third lens to be
1:07
released in the series will be a 56 mm
1:10
f1.4 now because of the crop factor of
1:13
the cameras that these are for which is
1:14
typically 1.5 times that means we're
1:17
roughly looking at a 35 MIM a 50 mm and
1:20
an 85 mm lens in terms of full frame
1:23
equivalent so your typical Trinity of
1:25
fast prime lenses now today I'm going to
1:28
be reviewing on Sony e-mount I'm
1:31
actually filming with the lens at the
1:32
moment I realized when I got to my St
1:34
Studio space that I hadn't brought
1:36
another lens for filming so as a
1:38
byproduct it's going to be filmed on the
1:40
lens itself and but there's also a Nikon
1:43
Z and Fuji X Mount version as well now
1:46
we're going to find that this is an
1:48
incredibly featur lens like the 33mm
1:50
f1.4 before with a similar price point
1:53
of right under
1:54
$270 so it's going to be a very
1:56
compelling option if you happen to be
1:58
looking for a fast moderate wide angle
2:01
prime lens for your apsc camera so we're
2:04
going to dive into all of the details
2:06
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taking a look look at the build and the
3:01
handling and the various features
3:02
included in this lens so as mentioned
3:04
this is a 23mm lens so when you use the
3:08
1.5 time crop factor on Sony or Fuji or
3:12
Nikon it comes up to 345 millim and so
3:16
basically a 35mm fullframe equivalent
3:18
lens now the full name of this lens as
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tends to be the case with Y noos lenses
3:23
is fairly wordy it's a 23mm f1.4 SDA DSM
3:29
w l Pro they kind of follow the same
3:32
strategy as what Fuji does and that they
3:35
really kind of give you a feature list
3:36
to some degree in the name itself so to
3:38
break that down F 1.4s the S refers to
3:41
Sony or Sony e-mount da refers to the
3:45
fact that this is an apsc lens DSM
3:48
refers to a digital stepping motor which
3:50
is the focus system here WL means that
3:53
it has the wireless control as mentioned
3:55
and then Pro means it is their kind of
3:57
upscale line with better build and
4:00
additional features than the nonpr
4:03
series lenses now because you're getting
4:05
both a fast maximum apture and a lot of
4:07
features more so than what any of the
4:09
competition has this is a fairly heavy
4:12
lens for the class it's about 360 G or
4:14
13 O however if I look at a lens like
4:17
Fuji's 23mm f1.4 it is 375 G so about 15
4:22
G heavier the other kind of main
4:24
competitor would be the sigma uh 23mm
4:28
f1.4 and it's 3 140 G so only 20 G less
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that puts this Yang no lens basically
4:34
right in between those two and so I
4:36
would say that for having as much
4:38
features as it does that's kind of an
4:40
appropriate space for the lens itself
4:42
the other lens is 69 millim in diameter
4:45
or 2.7 in 87 mm in length 3.4 in and
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there is a common 58 mm front filter
4:52
thread that will be shared across all
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three of these lenses all of which will
4:56
be roughly the same size and within a
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few grams of each other in terms of
5:00
weight now you will note if you look at
5:02
the front of this lens that you'll see
5:04
something there you don't often see and
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that's the Wi-Fi logo and that reflects
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the fact that this can be in the
5:09
commander series can be remotely
5:11
controlled and so Wi-Fi is built into
5:14
the lens itself and the ability to do
5:16
kind of an ad hoc direct connection
5:18
there the aperture is uh very robust in
5:22
terms of the feature set you have the
5:23
ability to either click or declick it
5:26
and so that's always a very nice feature
5:27
to have you uh have the ability
5:30
obviously to put it in the automatic
5:31
mode if we want to control within camera
5:33
it has a function button that you can
5:35
apply uh you know different functions to
5:37
program from within the camera there is
5:39
a custom switch there as well and so
5:42
that can accomplish a couple of things
5:45
it can serve just as a basic ammf switch
5:48
if you're not really wanting to mess
5:49
with the wireless control however it's
5:51
also the means by which you can put it
5:52
into the mode by which it can be
5:54
remotely controlled via this little
5:57
remote right here by the way this remote
5:59
is going to be compatible with any of
6:01
these lenses you don't have to have one
6:02
for each lens very
6:05
obviously price tag is going to be
6:07
around $25 or so to purchase this but
6:09
once you have it it gives you the
6:11
ability to for example do Focus pulls um
6:13
you could change it to where you're
6:14
controlling aperture through the wheel
6:16
here uh has buttons to where you can do
6:19
ab Focus pulls and so if you want to
6:21
program a preset Focus position in the
6:23
second position you can just click and
6:25
automatically move between those two
6:27
Focus positions so definitely gives you
6:29
some versatility and how you control
6:32
that the aperture Iris itself has nine
6:35
rounded blades with a reasonably but not
6:38
exceptionally circular aperture size it
6:41
does have a port for doing uh firmware
6:44
updates so a USB C Port now it is with
6:48
all of these lenses it is located near
6:50
the Mount of the lens but on the side of
6:52
the lens and there's a little rubber
6:54
gasket that fits very tightly that you
6:56
need to pry out before you can access
6:58
that USBC Port I would prefer that the
7:00
port itself was just weather sealed or
7:02
just put it on the actual lens mount
7:05
like vro does for example the reason for
7:07
that is twofold first of all it is as
7:09
noted it's very hard to pry that out and
7:11
if you don't have like long fingernails
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which you know few men do uh then you
7:16
happen to be male well you're going to
7:17
have a hard time prying that out with
7:19
just a fingernail I tend to use like a
7:21
thin bladed screwdriver for example a
7:23
pra that off but once that gasket pops
7:25
out it's quite small it's black it' be
7:28
pretty easy to uh to lose it somewhere
7:30
and then of course you have an opening
7:33
in your lens where it's no longer fully
7:35
weather sealed because this is a weather
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sealed lens it does have a gasket at the
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rear of the lens flooring coating on the
7:41
front element and some internal seals
7:43
inside and so you certainly wouldn't
7:44
want to compromise that weather ceiling
7:47
at the same time I do appreciate having
7:48
the USBC Port not with this lens but
7:51
with the 33mm it did need a firmware
7:54
update to ensure F full and proper
7:57
compatibility with the camera body and
7:59
so uh being able to do those firmware
8:01
updates quickly and easily is great now
8:04
thus far I've not been particularly
8:06
impressed with the minimum Focus
8:08
distance of this particular lens or this
8:11
series in general and so in this case we
8:12
have a minimum Focus distance of 30 cm
8:16
and uh just kind of as your rule of
8:18
thumb if your uh minimum Focus distance
8:21
is roughly corresponding to your focal
8:23
length or longer than it means your
8:25
magnification is not going to be very
8:26
good if it is considerably shorter than
8:28
the focal length then there's a good
8:30
chance you're going to have a decent
8:31
amount of magnification so using that
8:33
particular equation you may have figured
8:35
out that this is not great and so you're
8:37
going to get at best about a 0.10 times
8:40
level of magnification which is quite
8:43
low overall however this is a very
8:45
featur rich lens it's got a lot to offer
8:48
and so uh I think it exceeds any of the
8:51
lenses in this class that I've reviewed
8:53
and so uh for the amount of money that
8:55
you're paying you're getting a lot of
8:57
value there in terms of the feature set
8:58
which really is isn't all that far off
9:00
what you might find on a Sony GM type
9:03
lens for example so let's talk about
9:05
autofocus for Stills here initially as
9:08
mentioned that it has a DSM or a digital
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stepping motor I'm not really sure what
9:12
the difference between a digital
9:13
stepping motor and just a stepping motor
9:15
is but it's a decent Focus motor here uh
9:18
autofocus for Stills is good it's fast
9:20
it's quiet it's accurate I used it while
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traveling to Arizona recently and I shot
9:26
in a variety of situations and I can't
9:28
recall any kind of issue where I felt
9:31
like autofocus wasn't serving me well
9:33
and so I could lock on to human subjects
9:35
uh onto animal subjects without issue
9:38
and get very accurately focused results
9:40
and so no problems there in all the
9:43
various situations that I shot in
9:44
autofocus just did the job and without
9:46
any kind of drama without drawing any
9:48
kind of attention to itself and so great
9:51
marks when it comes to Still's autofocus
9:54
on the video side of things also I would
9:56
say I have very positive uh results to
9:59
support the video Focus pulls as you can
10:01
see here are good um there's not visible
10:05
steps there's not pulsing but it's going
10:07
from one subject to another and locking
10:09
on with a good degree of confidence you
10:11
will note some Focus breathing there but
10:13
not too bad likewise when I did my hand
10:17
test uh you can see here that it
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transitioned from my hand to my eye back
10:21
to the hand uh fairly well without any
10:24
kind of pulsing or any drama there and
10:27
so in general my video autofocus was
10:30
good uh no complaints over that as well
10:33
and so again for an inexpensive lens and
10:35
from a company that's not been doing
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autofocus for decades at this point I'm
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pretty impressed by the state of
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autofocus on these inexpensive lenses
10:43
from yongo at this point so how about a
10:46
look at the Optics I'm going to give you
10:48
an overview here and then we'll give you
10:50
a breakdown at the end of the video if
10:52
you want a deeper dive into the optical
10:54
performance we have an optical design
10:56
here of 11 elements in nine groups that
10:58
includes well more than half of those
11:00
are exotic elements including three
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extra low dis dispersion elements and
11:06
then four high refractive index elements
11:09
so great to have you know good quality
11:11
glass that is in there I found one
11:13
taking a look at the MTF versus what I
11:15
saw from the 33mm lens the MTF looks a
11:18
little bit better here with this 23 mm
11:20
lens and so it's going to be a little
11:22
bit sharper with a little bit better
11:23
contrast across the frame however it
11:26
does share the same kind of basic op
11:29
Optical issue with the 33mm lens and
11:32
that is that there is a fair amount of
11:35
fringing in certain situations it's not
11:37
extreme enough that you're going to just
11:38
see it in images when you're looking at
11:40
the full image but very likely if you
11:42
are zooming into 100% magnification uh
11:45
you're going to definitely see it in
11:47
certain kind of high contrast situations
11:49
now for those of you that are interested
11:51
in seeing whether or not this can cover
11:52
the full frame image Circle the short
11:54
answer is no there's a good portion of
11:56
that image frame that has a hard
11:59
mechanical vignette where there's
12:01
nothing recoverable no light is reaching
12:03
the sensor at that portion and what I
12:05
found is if I took that image and then I
12:07
cropped in I maybe got a millimeter um a
12:12
millimeter and a half of additional
12:13
coverage certainly not worth considering
12:16
so as as per usual I recommend that if
12:19
you want a fullframe lens buy a
12:21
fullframe lens and don't try to use a
12:23
lens like this to do that when it comes
12:26
to the vignette and Distortion what I
12:28
found is that there was a little bit
12:30
more Barrel Distortion a plus 12 to
12:32
correct for it but there was less
12:34
vignette with only a plus 32 to correct
12:37
that relative to the 33mm lens uh
12:40
neither one of these things was huge
12:42
factors even though the barrel
12:43
Distortion was very slightly complex it
12:46
it corrected well enough that there's
12:47
probably very few real world world
12:49
scenarios where you would notice it
12:51
after correction I did find that in
12:53
doing my chart test that even at 200%
12:56
magnification which is how I look at
12:57
this by the way I'm testing at a 26
13:00
megapixel level on Sony if you're
13:02
testing on the 40 megapixel level on
13:05
Fuji or that's your camera you're
13:06
probably going to see a little bit less
13:08
apparent sharpness than what you're
13:10
going to see here um if you're using the
13:12
Fuji 26 megapixel sensor um or something
13:16
similar from Nikon then you're going to
13:18
see roughly similar results to what I am
13:20
finding here so what I found is that uh
13:24
there was you know good sharpness wide
13:26
open good contrast though not extreme
13:29
extremely good and so um you know kind
13:31
of about probably very slightly better
13:33
than average overall but not bad for
13:35
f1.4 and an inexpensive lens you can see
13:38
in this comparison to the 33mm lens that
13:40
on my chart test as the MTF suggested
13:43
the results are definitely sharper there
13:45
I did find that there is a little bit of
13:48
boost by f1.8 but a more noticeable
13:50
increase of contrast by F2 I found that
13:54
when stopping down to f2.8 by that point
13:56
the corners were starting to get very
13:58
sharp
13:59
and at landscape apertures from F4 to f8
14:02
I found that it was nicely sharp all
14:04
across the frame even at uh smaller
14:07
apertures f11 and F16 which is the
14:10
minimum aperture I found that the
14:12
defraction was there and I could see it
14:14
but it was relatively mild on Sony it
14:16
will be a little bit more obvious when
14:18
you're looking at the 40 megapixel
14:20
sensor on Fuji however the Boke quality
14:23
here is overall I would say it is quite
14:25
nice it's not exceptionally nice it's
14:27
not like the uh vro Pro 27mm f1.2 which
14:31
is really really gorgeous bokeh this is
14:34
you know kind of the average good of
14:35
these lenses and this particular class
14:37
of lens uh Mo it's nice enough in most
14:40
images that I don't find it OB
14:42
objectional at all but neither do I look
14:44
at images and just say oh wow that's
14:46
just a really a gorgeous creamy
14:48
rendering either I found that flare
14:51
resistance was fairly good in most
14:52
situations I did shoot quite a bit while
14:55
hiking into very bright sun in Arizona
14:58
and and I found found that overall the
15:00
flare resistance was good there's a few
15:02
angles where I could see a little bit of
15:03
a light leak maybe down in the left
15:05
corner a little bit of ghosting
15:07
artifacts but the biggest thing that
15:08
actually stood out to me is that when
15:10
you stop The Lens down the St Sun Stars
15:12
actually get really really strong I
15:14
would argue maybe a little bit too
15:16
strong the blades really can kind of
15:17
dominate in there and so if you're
15:19
shooting that kind of of shot with like
15:21
as I did with the sun in the frame
15:23
shooting more like f5.6 is actually to
15:25
me a better result you still get a
15:27
Sunstar effect but it doesn't just
15:29
stretch across the majority of the
15:31
frame and so overall I would say that
15:34
while their Optical Glass isn't top tier
15:36
colors looked okay I liked images just
15:38
fine and I actually generally enjoyed
15:40
shooting with the lens and so that says
15:42
a lot for a you know a budget lens that
15:45
is well under
15:46
$300 that is really where my conclusion
15:48
comes to I'm pretty amazed at how good
15:51
budget lenses are these days again I
15:53
reflect back to the fact that in 2016 uh
15:56
I reviewed the Ron 21 m
15:59
f1.4 um and so you know fairly close to
16:02
this lens in focal length same maximum
16:04
aperture that lens was manual o only it
16:07
had zero features it had a you know it
16:09
had a aperture ring and a focus ring
16:11
that's all it had no electronics and so
16:14
here we have a lens that is higher
16:17
performing it has autofocus it has all
16:21
kinds of features it's got weather
16:22
sealing all of these things and it
16:25
actually instead of costing more cost
16:27
$180
16:29
less that is just remarkable about how
16:32
competitive budget lenses have gotten
16:35
during that period And so really you're
16:37
getting pretty much a GM feature set
16:40
good autofocus and a fairly Strong
16:42
Optical performance all for about
16:45
$270 I would call us very fortunate to
16:48
live in the era we do when it comes to
16:49
photography so the Y no 23mm f1.4 all
16:54
those letters after it it's a pretty
16:56
great consideration if you're looking
16:57
for a 35 mimish type lens for your apsc
17:02
camera I'm Dustin Abbott and if you want
17:04
more information you can check out
17:06
either my thorough text review which is
17:08
linked in the description down below
17:09
there's an image gallery there as well
17:12
and if you want a deeper dive into the
17:13
Optics stick with me right now and let's
17:15
jump into that together okay let's take
17:17
a look starting at vignette and
17:18
Distortion so you can see here that
17:20
there is some Barrel Distortion here I
17:22
used A+ 12 to correct you can see
17:24
there's a tiny bit of Bulge this is
17:26
about as much as I could go without
17:28
starting to cause a little bit of
17:29
inversion in the corners and so it's not
17:31
completely linear but neither is it very
17:33
bad you probably wouldn't notice this on
17:35
anything but a chart with lines like
17:37
this you can also see the vignette is
17:39
quite mild now this is a good thing
17:41
because I don't know that you'll always
17:43
get profile support in camera with Y no
17:45
lenses so the fact that this is only
17:48
about a stop a vignette in the corners
17:50
very easily correctable but you can get
17:52
away with not correcting it either as
17:54
noted previously there definitely is
17:56
some longitudinal style chromatic
17:58
aberration and that's kind of the weak
17:59
point for this whole series so far you
18:01
can see some magenta before but more
18:04
noticeably the green fringing afterward
18:06
you can see it here as well on these
18:08
shiny reflective surfaces and again it's
18:11
mostly in the form of the green fringing
18:13
before the plan of focus and there's not
18:15
a lot in this shot before but you can
18:17
see a little bit of the magenta there
18:19
but it's mostly the green that you're
18:20
going to encounter now when it comes to
18:22
lateral style chromatic aberration not
18:24
too bad here you can see a tiny amount
18:26
here but nothing that's really going to
18:29
mess up real world images this is a much
18:31
higher magnification than what anyone
18:33
would typically look at their images now
18:35
just to revisit for a moment the
18:36
fullframe image Circle covered so you
18:38
can see that definitely a good portion
18:41
of the fullframe image circle is not
18:43
covered and when I cropped in I mean if
18:46
you eliminate that you know down to
18:49
about this point you're only adding on
18:51
about 2 millimet of extra width on there
18:53
certainly not worth messing with so for
18:55
our resolution and contrast we'll be
18:58
looking at the chart and at 26
19:00
megapixels on Sony and this is at 200%
19:03
magnification center of the frame you
19:04
can see result looks good I mean not off
19:07
the charts good but you know good
19:09
contrast relatively good Detail no real
19:11
complaints there mid-frame also looking
19:14
really nice and strong down into the
19:16
corners Corners are not bad you can tell
19:18
they're not quite as sharp but looking
19:20
pretty good overall if we pop up the
19:22
other direction about the same mid frame
19:24
result upper left corner looks actually
19:26
quite good and down here into the lower
19:28
left corner a pretty consistent result
19:31
not bad in terms of centering now at a
19:34
less critical 100% magnification with
19:36
some real world images you can see that
19:38
that's really a beautiful amount of
19:40
contrast and resolution there like that
19:42
looks really really nice you can see
19:44
great deliniation and all of the various
19:46
eyelashes there a very very nice result
19:49
here's another shot f1.4 and you can see
19:52
good detail and contrast I mean plenty
19:55
for shooting portraits or whatever you
19:57
might be doing uh with a a lens like
20:00
this so a really nice looking result now
20:02
if you go from f1.4 to f1.8 you'll
20:05
notice a little bit of contrast uptick
20:07
there a little bit sharper results but
20:09
not a radical difference stopping on
20:12
down to F2 gives a little bit more punch
20:14
there and so um a more obvious boost in
20:17
the corners you can see definitely
20:19
looking brighter better contrast there
20:22
and detail is starting to look better
20:24
overall the shot of Ferrari at f2 if I
20:27
punch in to 100% magn ification you can
20:29
see that looks really really crisp and
20:31
nicely detailed great contrast there you
20:34
can see a little bit of fringing that
20:35
remains at f2 but obviously again if I
20:37
hadn't drawn your attention to it
20:39
there's probably a fairly low chance you
20:42
actually picked up on that or would
20:43
consider that to be ruin us to the image
20:45
by f2.8 our Corners are starting to look
20:48
crisper here by F4 looking better still
20:53
and by f5.6 looking really quite good
20:56
you can see at a real world image
20:58
looking at 100% magnification center of
21:00
the frame you can see just great detail
21:02
and all of that deep draw distance it
21:04
all looks very good and even if we pan
21:07
over here towards the corners the
21:08
corners right off into the extreme
21:10
Corners are still looking quite good
21:12
lots of detail everywhere I look inside
21:15
the frame now defraction is going to be
21:17
a factor on here on Sony at 26
21:20
megapixels it's going to be more obvious
21:22
if you're shooting on the Fuji 40
21:23
megapixel body but you can see here f11
21:26
still looking quite good it's a little
21:28
soft s at F-16 you can see it's just not
21:30
as crisply delineated but not a huge
21:33
drop off either so I wouldn't worry
21:35
about defraction too much unless you're
21:37
shooting on one of the really high
21:38
resolution bodies now we've noted that
21:41
the level of magnification isn't super
21:43
high fortunately the performance even at
21:45
f1.4 up close is really quite good you
21:48
can see really good detail and contrast
21:49
everywhere in the frame so that's your
21:51
tradeoff it can't focus super close but
21:54
what it does it does very nicely so how
21:56
about Boke this is an interesting
21:58
comparison right here because you can
22:00
see on the one on the left it's the same
22:01
scene just a slightly different
22:03
composition same maximum aperture of
22:06
f1.4 in this case I was a little bit
22:08
lower and so the background is further
22:10
away looks pretty soft and creamy on the
22:13
right side I shot from a little bit
22:15
higher angle eliminating more of the
22:17
background it also just means that
22:19
there's more in the transition zone and
22:20
you can see that this image by
22:22
comparison is considerably more busy and
22:25
so it has a lot to do with what's in or
22:27
not in the the transition zone here's a
22:30
shot with some specular highlights so
22:32
first of all uh detail and contrast
22:34
looks good specular highlights your
22:36
biggest negative is going to be some uh
22:39
green fringing around the outside of
22:41
those so that uh is going to impact
22:43
things you can see near the corner is
22:45
going to be a little bit of cat eye
22:46
effect the Boke here it looks okay I do
22:49
see a little bit more outlining than
22:51
what I would like but again the image
22:53
doesn't look too bad this image without
22:55
any specular highlights even though
22:57
there are some
22:59
various edges that are possible here
23:01
actually quite like this image and maybe
23:03
it's just the color palette that appeals
23:04
to my eye but the image itself I think
23:07
the bouquet holds up quite well here and
23:10
this is another shot that I wanted to
23:12
show two things here first of all I
23:14
think that this one holds up pretty well
23:15
as far as the transition to defocus also
23:18
point out that in this case I think that
23:20
the colors look good you know here um I
23:23
think the colors look really great here
23:25
it helps that there's great contrast in
23:27
the image but saturation levels look
23:29
nice I don't always find the blues the
23:33
blues to me can be just a little bit uh
23:35
kind of oversaturated or just something
23:37
about them that I don't love as well
23:39
with Y noos glass but in general I you
23:42
know I I was happy with the images that
23:44
I got now finally let's talk a little
23:46
bit about the flare resistance so first
23:48
of all as noted you can get some really
23:50
do if this is f11 you can get some
23:52
really dominant Sun stars because those
23:54
blades reach so far out now if you love
23:56
that then great um I find it a little
23:59
too dominant for my taste if the Sun is
24:02
right out of frame you'll get a ghosting
24:03
artifact that kind of looks more like a
24:06
light leak as you can see here but you
24:08
can also see that contrast is held up
24:10
fine in the image likewise here
24:12
obviously the sun is right in the frame
24:14
very intense but only a little ghosting
24:16
artifact here and if we punch in here we
24:18
can see that contrast is really holding
24:20
up well I guess there's a little
24:22
ghosting artifact right there but
24:23
there's nothing really destructive to
24:25
the image and so I think that this is a
24:27
pretty acceptable amount of flare
24:30
resistance overall I was not displeased
24:32
well thanks for sticking around to the
24:34
very end and I hope that the Deep dive
24:35
into the optical performance has
24:37
answered whatever lingering questions
24:39
you have about the Y no 23mm f1.4 as
24:42
always thanks for watching have a great
24:44
day and let the light in

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Yongnuo 23mm F1.4 DA DSM WL Pro Review | Best Bang for Buck 23mm?

Dustin Abbott