7Artisans AF 24mm F1.8 Review | Full Frame Wide Angle - $300

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[Music]
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hi I'm Dustin Abbott and I'm here today
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to give you my review of the 7 Artisans
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AF 24mm f1.8 In 2024 seven artisans not
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only embraced autofocus with some
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earlier less complex lenses but also a
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series of slightly more upscale
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full-frame frame lenses that are
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physically larger They have more
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features but they also have a higher but
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still really inexpensive price tag First
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we got a 50mm f1.8 then an 85mm f1.8
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both at an excellent price of
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$299 But the l market was really pretty
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saturated already with both 50 and
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85mimeter f1.8 lenses on Sony E-mount
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where I've done all of these reviews
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which made these lenses I think probably
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somewhat of a challenge to stand out So
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perhaps that's why seven artisans
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elected to at least for now skip the
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35mm focal length and instead bring out
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a less common 24mm f1.8 8 So the 7
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Artisan's AF 24mm f1.8 STM is another
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nicely executed lens with a reasonable
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price that undercuts the only real
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competitors at this Those are the
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Samyang AF 24mm f1.8 and the Viltrox AF
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24mm f1.8 In many ways this lens is
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probably too similar to the Viltrox for
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it to be a true competitor because this
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does basically everything the Viltrox
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does at a cheaper price leaving the
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Samyang as the real kind of direct
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competition which I'll examine a little
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bit as a part of today's review So is
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this a lens that you should consider
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adding to your full-frame kit well
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that's what we're going to dive in and
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take a look at today First however this
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lens was sent to me for examination from
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a retailer but neither the retailer nor
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the manufacturer has had any input on
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this review They will not see it before
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you do as the public So this is a fully
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independent review and my findings are
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mine alone Let's start by taking a look
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at the build and handling All of these
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lenses have initially come to E-mount as
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is the case here with the 24mm However
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in the passage of time we have seen for
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both the 50 and 85 mm that a Zmount and
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Lmount versions have come out And that
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latter is I think even more interesting
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to me And interesting to see whether or
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not seven artisans will actually be a
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part of the Lmount consortium if they
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aren't already which would be really
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interesting because then the lenses
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could essentially be like first party
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lenses there get better support in terms
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of profiles and things like that Now as
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mentioned the $290 $999 price tag is
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cheaper than the competitors about $100
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less And so certainly on the value side
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of things there is positive there This
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lens as has been the case for this
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series they aren't particularly small
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lenses Now not to say that they're huge
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but the 50mm f1.8 was actually quite a
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large lens The 85mm was surprisingly a
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little smaller than the uh the 50mm and
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this is very slightly smaller than what
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even the 85 mm is And so it is a 72 mm
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diameter which is 2.83 in 92 mm in
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length or 3.6 in All three have had a
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62mm front filter thread which is great
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So you can share filters across them Now
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what's surprising with the weight is
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that while it's a little bit smaller
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than the 85 millimeter lens at least in
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terms of length it's actually just very
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slightly heavier than that lens which I
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can't quite explain What I can say
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however is we do have a very nice build
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quality here It's a very it's a great
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looking lens It's a nice black anodized
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finish a very clean design I even like
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how that on the back and the what could
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look a little bit blank They've added
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the Seven Artisans logo there which I
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think just kind of gives it a little bit
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more of a cohesive look And then so we
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have a decent amount of features We've
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got an aperture ring AFMF switch we've
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got a custom or function button here and
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then of course the manual focus ring So
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all of that is you know very worthwhile
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The earliest uh the 50mm f1.8 8 which
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was the first in the series It had kind
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of a mushy AFMF switch They've really
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cleaned that up However the switch feels
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much more definite and precise The feel
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of the function button feels good No
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problem there The aperture ring is it's
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a decllicked There's no click option
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although it does show the one-third
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stops Now they've cleaned up one of the
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oddities on that and one of them still
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remain So they have f1.8 8 and then f2
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as marked positions But they showed two
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one-third stop detents between f1.8 and
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f2 which of course is nonsensical as
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there is no stops or third stops between
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f1.8 and f2 So that's a little
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ridiculous However they have cleaned up
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that it used to be that at f-16 which is
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minimum aperture They also had markings
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for um two 1/3 aperture stops after that
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before you got to the automatic
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uh option So again that that was
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confusing in that f-16 is the smallest
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min or the smallest aperture there And
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so there is nothing beyond that And so
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they do have a you know a reasonable
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amount of weight between f-16 and the
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automatic position It's not as hard or
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definite as what I would like but at
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least they've gotten rid of the notches
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there So that's progress I was able to
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do a reasonable aperture rack there It's
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It's not incredibly smooth It's not
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perfectly without any kind of visible
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steps but not bad At least I was able to
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pull it off And so a decent amount of
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success there Now when it comes to the
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manual focus ring the manual focus ring
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has a decent amount of damping That
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feels pretty good However unfortunately
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when you're focusing I really did notice
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some obvious steps You know this is with
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all mirrorless lenses the input on the
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manual focus ring goes through the focus
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motor So um it's not a direct connection
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but rather it flows the input that you
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do on the ring goes through the focus
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motors And in this case rather than
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being able to focus in a smooth you know
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linear sweep instead you will see little
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steps along the way I don't love that
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but it is what it is and I just need to
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report on it Inside we have an 11bladed
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uh rounded aperture which is nice It
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does maintain a circular shape decently
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and it also has a decent looking
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sunburst effect or sun star when it is
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stopped down There is a USB C port on
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the lens mount and so that's good The
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process for firmware updates is very
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similar to what it was for Viltrox
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lenses before they had their actual app
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and Bluetooth but um and so it's it's
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pretty straightforward pretty easy to do
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Now we don't have which has been the
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case for this whole series we don't have
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a weather sealing gasket so it's not a
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weather sealed lens However obviously we
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do have a lens hood that is included It
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doesn't click into place quite as
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definite as what I would like And it
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also is just feels a like a little bit
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of a a tight fit And so it it doesn't
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like rotate as smoothly as what I would
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like However it's there It's included
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You know it looks good with the lens
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design Minimum focus distance here is 32
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cm which is not great at all And so that
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gives you a very low maximum
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magnification I estimated about
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0.09 times The Samyang for example
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allows you to focus as closely as 19 cm
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and gives you a much much higher level
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of magnification So uh if you're you
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know thinking about doing up close shots
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with a 24 millimeter lens this is not
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your guy Overall it is a nicely executed
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package in many ways However some of the
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fine details I don't feel are as well
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executed here as what I saw in the 85 mm
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I felt like the 85mm lens was progress
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from the 50 millimeter This almost feels
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like not a full step back but maybe a
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half step back in the execution of some
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of the fine details like the manual
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focus ring and seeing those visible
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steps How about autofocus autofocus
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comes via an STM focus motor As far as
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the focus speed the focus speed is not
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bad It's relatively quiet in operation
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No major concern on that front Typical
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focus changes are nice and quick I
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didn't think about it much in real world
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use So no problem there Furthermore
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accuracy at least when it comes to one
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shot or single shot is excellent However
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there has been an ongoing problem with
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this series that continues to be the
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case unfortunately and that is that if
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there is any kind of movement for I just
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tracked a my robo lawn mower moving
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towards me It's not moving fast It's not
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a difficult subject However you can see
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from the burst that uh focus results are
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all over the place So out of a 19shot
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burst I believe that there were six that
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were accurately focused during that time
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So uh front and back focusing So anytime
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you have action it just it doesn't do
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the trick So I don't know if that's a
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focus algorithm problem or if it's just
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not enough thrust in the focus motors I
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suspect it's really the former because
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autofocus doesn't feel slow but it's
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just not confident at all with any kind
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of moving subject So that's something
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you're going to need to be aware of On
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the video side of things video AF
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results are mostly good Focus changes
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are fairly confident You know a little
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bit of a micro pulsing or settling
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periodically but not bad there My hand
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test and the transition from my hand to
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my eye it went uh fairly well as you can
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see
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overall focus transitions uh they felt
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you know fine I would say I did see for
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example in this clip where I was uh at
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the marina in Pemrook and I was shooting
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you know back and forth that you know
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focus sometimes give me a little bit of
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a a back rack And so but overall you
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know not too bad in general
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So when it comes to the image quality
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side of things I'll give you a quick
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overview and then if you want the deep
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dive into the optics that will come at
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the end of the video We have an optical
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design of 14 elements in 11 groups That
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includes as you can see from this
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diagram extra low dispersion high
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refractive index elements aspherical
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lenses So about half of the elements
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here are exotics which is you know
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impressive for an inexpensive lens It
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has a mostly strong optical performance
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even at f1.8 8 And you can see here that
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you're perfectly capable of shooting
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wide open and even on a high resolution
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61 megapixel body being able to deeply
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crop and still have nice resolution
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results I found that the distortion
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pattern is there's a low amount of
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distortion but it's a very complex
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distortion And so that means that you
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can't really connect for example the you
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know there's what looks like pin cushion
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distortion in the corners If you try to
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correct for that you create barrel
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distortion in the middle of the frame So
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a very minor amount of correction of
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minus one was about as good as I could
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get it manually And so that leaves you
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know probably let's say uh 4 fifths of
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the the frame that looks good with just
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the corners being affected with that
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distortion That's about as good as I can
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do Right now there isn't a correction
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profile and 7R lenses at least on Sony
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don't always get good profile support So
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um hopefully that will change in the
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future but that's the situation on the
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ground at the moment Vignette isn't bad
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particularly for a fast wide angle lens
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It's 40 I used a plus 44 to correct
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That's less than two stops No major
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issue there Likewise there is some
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minimal longitudinal chromatic
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aberrations A little bit of fringing
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before and after the plan of focus but
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remember it's a wide angle lens and it
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doesn't have a particularly close focus
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distance So there's not going to be a
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lot of situations where you're going to
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have a shallow depth of field We're
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going to see that anyway I don't think
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it's much of a real world problem as you
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can see from this shot of my old SLR Not
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a lot of fringing showing up there I did
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see some minor lateral chromatic
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aberrations They definitely showed up on
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my test chart However I didn't really
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see them as much out in real world shots
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And so I don't think it's going to be
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much of a real world issue at least that
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I can tell in terms of resolution And
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again these are the crops are showing at
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200% magnification on a 61 megapixel
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Sony
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A7R5 And so at f1.8 I found that the
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center sharpness is very good I found
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that the mid-frame was sharp but lower
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contrast and then the corners were a bit
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softer Um then at f2 there is not much
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of an improvement but a more obvious
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improvement by f2.8 8 and that is
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impacting not only the center but now
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the corners and the mid-frame are
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starting to improve Actually found that
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from f2.8 to f8 there wasn't really much
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of a difference So the good news is that
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if you stop down to f2.8 and even if
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you're shooting in dimmer lighting
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conditions as long as you don't need the
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depth of field you're going to get
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pretty close to maximum sharpness out of
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the lens which is useful I found that
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that sharpness was pretty consistent um
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at from f8 to f11 Just a little bit of
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softening due to defraction and a little
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bit more obvious defraction showing up
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at
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f16 Now when it comes to the bokeh
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quality again you know wide angle lens
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so you're not going to get as much
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defocus background I did find if there
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were specular highlights in the frame
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bokeh balls they're a little bit busy
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But outside of that what I found is that
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the overall quality of the blur really
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looks pretty decent And again you're not
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going to get a lot of strongly defocus
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background but what I did seems to be
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handled fairly nicely So I don't really
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have any real reservations there When it
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comes to flare resistance there is very
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little veiling It holds contrast really
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well which is important in a wide angle
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lens However you will see somewhat of a
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ghosting pattern like a flare pattern
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It's not terribly destructive I don't
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think it's a deal breaker on this lens
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So overall flare not too bad So my
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conclusion is this The build quality and
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the optical performance are mostly that
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of a more expensive lens In some ways
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it's a lens that punches above its
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weight I would say when it comes to
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autofocus that autofocus is fine if
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you're shooting single shot but if
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you're wanting action or you're wanting
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the flexibility of potentially doing
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action uh Seven Artisans isn't quite
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there yet There are a number of other
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lens makers that are better than them in
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this regard I would say that the Samyang
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AF 24mm f1.8 while being $100 more
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expensive is probably still my favorite
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lens here on Sony at least because it is
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so much smaller and lighter has better
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autofocus It also does have weather
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sealing and so it has a few things that
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are missing on this It's not as nicely
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built as the 7 Arson's lens but where
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the rubber meets the road I feel like it
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has enough to me to be worth that extra
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$100 but your mileage may vary obviously
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on that That could be a factor overall
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However the Samyang lens is not going to
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be available on either Nikon Z or Lmount
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And so it really only is a factor as I'm
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describing here on Sony Now if you want
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more information you can dive into
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either my text review which is linked in
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the description down below There is an
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image gallery link there along with some
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buying links if you want to purchase one
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And now if you would like to take a
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little bit of a deeper look at the image
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quality and the optical performance jump
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in with me right now and let's see what
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happens All right first of all we'll
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take a look at vignette and distortion
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You can see now taking a little bit
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closer look the complexity of this
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distortion pattern that I described
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before So what you can see is on the
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edges of the frame we've got some pin
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cushion distortion However that pin
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cushion distortion is not consistently
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there So you can see here that if I move
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to kind of uh take the bend out of the
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corners here it would just kind of
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pucker out the center and causing a
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barrel distortion there So that's it's
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what we call a mustache pattern where
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it's not com it's not a linear
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distortion in one direction or the other
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So over here I've done a very mild minus
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one but you can see even with that minus
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one it's a little bit more bulged out in
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the middle than it was here However it
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does correct just a little bit of the
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extremes on the cornal Your best kind of
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case scenario is that if you're really
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in a really critical situation step back
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a little bit further and if you crop to
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like this zone it's flawless It's just
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really out on the edge that you have a
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problem Vignette is really quite minor I
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mean it's a plus 43 to correct That's
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really not much at for f1.8 on a wide
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angle lens So that's not a problem at
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all Now you can see here there is some
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longitudinal style chromatic aberrations
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mostly in the form of this green
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fringing after the plane of focus But
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again there's not a lot of situations
17:38
where you're going to get close enough
17:39
and have such a shallow depth of field
17:41
that that's going to be a like an actual
17:43
problem And so in this case here yeah
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you can see in a few spots there's some
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very minor fringing but it's you know
17:50
you're you're not going to see that at
17:51
all at this distance which is the way
17:53
that just about everybody's viewing it I
17:55
also don't really see a whole lot of
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distracting fringing around any specular
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highlights However you can see that
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those specular highlights really look
18:02
like I don't know some planetary bodies
18:05
There's a lot going on there Um and so
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they're they're not really all that
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clean looking Now lateral style
18:11
chromatic aberrations definitely show up
18:13
on my test chart You can see a lot of
18:14
that false color on either side of the
18:17
black and white transitions However in a
18:19
real world shot I went to this thinking
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okay I'm definitely going to see it And
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yes I mean you can see a little bit
18:24
there but I'm having to really look hard
18:26
for it and I'm not seeing a lot And this
18:29
is this should be a a great situation
18:32
particularly with this you know bright
18:34
white of the popppler there It should be
18:37
a great transition zone for that And I'm
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not really seeing it So I'm not overly
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concerned All right taking a look at
18:43
resolution Again 61 megapixels We're
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going to look at 200% magnification
18:47
Center of the frame looks good Good
18:49
detail good contrast no concerns there
18:51
As we move towards the mid-frame again
18:54
the detail is good Resolution is fine
18:56
Contrast you can see is a little bit on
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the low side If we pop on down here you
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know this actually is quite consistent
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in this zone No problem there And as we
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move down towards the corner you can
19:07
just see that particularly as we get off
19:09
towards this edge of the frame the
19:11
resolution is just there's actually
19:13
still some decent contrast there but the
19:16
detail is not all that good So it's kind
19:17
of an inversion of what we saw in the
19:19
mid-frame Taking a quick look around we
19:22
can see we get roughly the same result
19:23
on the left side Uh upper left looking
19:26
good Upper right also looking good I
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will say I think maybe the left side is
19:31
a little bit better than what the right
19:33
side is but it's it's not by any um big
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margin at all Now taking that into a
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real world shot at 100% this is f1.8 You
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can see that here in the center of the
19:43
frame uh you know resolution looks fine
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Contrast again is not like off the
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charts good but you know no no real
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problem there Depth of field is going to
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affect a real world image You can see a
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little bit of that lateral style
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chromatic aberration in this shot but I
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would say it certainly has usable
19:59
resolution all across the frame In a
20:02
better situation better lighting here I
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feel like this image pops a bit more And
20:07
so in the center of the frame definitely
20:09
more detail and contrast And again depth
20:11
of field is not going to allow us to
20:12
really examine the corners here but the
20:15
image itself is holding up by and large
20:17
Now from f1.8 to f2 we can see a very
20:21
minor contrast gain um it is noticeable
20:24
but it's not significant However from f2
20:27
to f2.8 that becomes much more
20:29
pronounced and you can see here looking
20:30
at this text just how much higher the
20:33
contrast is here relative to what it is
20:35
at f2 Moving to the midframe you can see
20:38
a similar truth here that this looks
20:40
still kind of washed out while this is
20:42
becoming nice and high contrast If we
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look up here into the uh upper left
20:47
corner you can see that it's looking
20:49
really really good right up into the
20:51
corner Only in that last little bit is
20:53
that resolution falling off If we take a
20:55
look down here at this corner you can
20:57
see it's it's actually a little shakier
20:58
here in general Contrast is definitely
21:00
better and detail is improving By f.6
21:04
it's looking really quite good
21:05
everywhere save maybe that last little
21:08
bit However in this uh on the side that
21:11
it's a little bit stronger it's looking
21:13
quite good up here into the corner Again
21:14
just that last little bit uh is not
21:17
quite as good At f11 you'll see a little
21:20
bit of softening due to defraction At
21:22
f-16 which is the minimum aperture it's
21:24
much more obvious And so avoid f-16
21:27
unless you absolutely need to go there
21:29
So obviously our magnification level is
21:32
very low And even though it's you're not
21:35
very close to the subject it's still
21:37
doesn't have a particularly flat plane
21:39
of focus either And so you can see a
21:41
pretty narrow area of focus and then it
21:43
really softens up you know past that
21:45
zone So unfortunately just not very flat
21:47
as far as the plane of focus So what
21:50
that means is that up close you're never
21:53
going to get super high resolution And I
21:55
also feel like the contrast isn't
21:56
amazing up close However the background
21:59
blur is really not bad I think that this
22:02
is actually relatively soft for a
22:04
wide-angle lens Again here the you can
22:07
see the background is not strongly
22:08
defocused but it is nicely defocused
22:12
There's no kind of distracting lines
22:14
It's not harsh at all Bokeh quality is
22:17
really quite good And this image I think
22:19
I mean this obviously I'd like to be
22:20
able to get closer than this and to get
22:22
a more strong background blur but the
22:25
quality of the bokeh I would say is
22:26
strong I didn't like it with specular
22:28
highlights but I like it with other
22:30
things Now as far as the color rendition
22:33
colors are good not great Uh it's kind
22:37
of like earlier Viltrox lenses where the
22:39
optical glass it again the colors don't
22:42
look bad but there's something about it
22:43
that feels just a little bit cheaper to
22:45
my eye having reviewed hundreds and
22:47
hundreds of lenses and I can tell
22:49
high-end optical glass from cheaper
22:51
optical glass and this feels cheaper But
22:53
again it's not bad You're going to be
22:55
able to get nicel looking images from it
22:57
Flare resistance again is not bad at all
23:00
Here at a a larger maximum aperture you
23:03
can see there's a bit of a ghosting
23:05
pattern but as we saw with the panning
23:07
back and forth it's not destructive
23:08
Here's a little bit closer look at that
23:10
22 bladed sun star And again when you're
23:12
This is at f11 by the way So you can see
23:15
that the ghosting patterns is a little
23:16
bit more pronounced but it's it's not
23:18
terrible And I'm not even trying to
23:20
avoid it here at this point Uh you know
23:22
I'm trying to maximize it So I think you
23:24
can pose in a way that it's it's a more
23:26
flattering So just watch out for that
23:28
And other than that you know not too bad
23:29
here with the optical performance So
23:32
thanks for watching until the end I hope
23:34
that the optical deep dive has helped
23:36
you to get a better sense as to whether
23:38
or not this inexpensive 7's lens is the
23:42
next one for your own kit As always
23:44
thanks for watching Have a great day and
23:46
let the light in
23:48
[Music]

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7Artisans AF 24mm F1.8 Review | Full Frame Wide Angle - $300

Dustin Abbott