Up next in 10
Sigma 15mm F1.4 DG DN ART Diagonal Fisheye Review | An Extreme Lens with Extreme Performance
2K views
Feb 26, 2024
Photographer Dustin Abbott shares a review of the new extreme fisheye lens from Sigma - the Sigma 15mm F1.4 DG DN | ART Diagonal Fisheye. Is this wild lens for you? | This video is sponsored by Fantom Duffel. Visit https://store.fantomwallet.com and use code DUSTIN20 to get 20% off | Read the Text Review: http://tinyurl.com/15DNFishDA | Visit the Image Gallery: http://tinyurl.com/15DNFishpics | Purchase the Sigma 15mm F1.4 Fisheye @ B&H Photo https://bhpho.to/3UT1cbK | Adorama https://howl.me/clG89bh3mcY | Amazon https://amzn.to/4bR4dzo | Camera Canada https://shrsl.com/4fhyx | Amazon Canada https://amzn.to/3wukZEb | Amazon UK https://amzn.to/3wule23 | Amazon Germany https://amzn.to/3wrY78h 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.me/cjU0LKdp3LN 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 Make a donation via Paypal: https://www.paypal.com/paypalme/dustinTWI ============================= Table of Contents: ============================= 0:00 - Intro and Concept 0:58 - Fantom Duffel
View Video Transcript
0:00
Sigma continues to be one of the most daring companies out there when it comes to lens
0:15
design and their newest lens is maybe one of the most extreme yet. The 15mm f1.4 DG DN
0:23
art and this is a diagonal fisheye is really kind of a niche of an already niche market
0:30
It's the first auto focusing fisheye lens on Sony, I believe on L-mount as well. It's also
0:36
the world's first frame diagonal fisheye lens with an f1.4 maximum aperture. As you can see
0:43
that means that it's also beastly big, weighs three and a half pounds and it cost a whopping
0:49
$2,000. So is this extreme instrument a kind of lens for you? Well we'll find out in today's
0:56
review right after a word from our sponsor. Today's episode is brought to you by the
1:00
Phantom duffel a new unique convertible duffel bag that starts as a compact packable case
1:06
that easily fits into your luggage or carry-on bag but then converts into a 35 liter duffel
1:11
The exterior is made of 1680d ballistic nylon which is tough and weatherproof. The interior
1:17
has a high visibility reflective finish that allows you to easily see what's inside even in
1:22
a dim hotel room. A large foam pouch on the side has a cable pass-through to allow for charging
1:28
and the removable straps use a Fidlock system to easily and securely connect them. I've been
1:33
using it for the gym and it has room for my water bottle, a change of clothes, a basketball, my
1:38
massive shoes, a towel and a charger for my cell phone. Visit store.phantomwallet.com to check it
1:44
out and use code Dustin20 for 20% off when you're ready to check out. So the first thing to know
1:51
about this lens is that it has an incredibly wide 180 degree angle of view. I wanted to take a shot
1:57
of my feet. I was standing in the middle of a bridge that's about 12 foot wide and you can see
2:02
that just aiming down towards my feet I not only had my feet but I had all the width of the bridge
2:08
and the rails on either side in the frame as well and so it is incredibly wide. It's nearly 50
2:13
degrees wider than what the Laowa AF 10mm f2.8 that I just reviewed because that lens is a
2:19
rectilinear lens and so it is incredibly incredibly wide. I think that we can at least give some credit
2:27
for this lens existence to the fact that Sigma already made the 14mm f1.4R. As you can see from
2:34
this photo these lenses are virtually twins when it comes to their physical design and I suspect
2:40
that there is some shared engineering not just in the outer shell but probably some of the inner
2:44
working as well that allowed Sigma to leverage their engineering time and tooling to able to
2:51
produce two lenses and maybe you know between those two being a little bit more niche lenses
2:56
earn enough to justify the investment of time and energy into developing these lenses. Now the fish
3:03
eye lens is very slightly larger and heavier but they are very very similar in just about every
3:09
outer detail. Now this is a diagonal fish eye and so rather than being a circular fish eye where you
3:16
get a circular image with some of the you know the rectangular frame just blocked off this will
3:22
fill the frame and in fact you can really control the amount of distortion that you get by how you
3:27
compose your subject and also how much you tilt the camera. So for example in this shot where I
3:32
composed a horizon in the middle of the frame, the horizon is pretty straight. All it takes is just a
3:37
little bit of a tilt up however moving the subject higher in the frame more towards the edge and very
3:43
quickly you end up with that you know very circular horizon line. Now as noted this is a heavy lens
3:50
it weighs in at 1400 grams or 48 ounces which means it's heavier than a lens like the 70-200 f2.8
3:58
sport that Sigma recently released and they have attempted to try to keep the the weight moderately
4:04
down but I mean this lens it's made up of a mix of some metals and then what they call thermally
4:10
stable composite which is high in engineered plastics and so whether or not they try to keep
4:15
the weight down or not this is still a heavy lens and you will notice it by the way out in the field
4:19
that it feels hefty as you are carrying it out and of course unlike a 70-200 which is a longer more
4:25
slender lens a lot of the weight is concentrated right here and so as a result of that you do have
4:31
a tripod collar so again that's a shared design philosophy with the 14 millimeter f1.4. By the way
4:37
this is a removable tripod collar they do include a rubber sleeve that you can put over the top of
4:43
the exposed kind of metal screw points that are on there underneath that tripod collar but you can
4:49
put that sleeve on if you don't want to use it. The tripod collar itself obviously you can rotate it
4:54
there are some detents at the cardinal positions and it is arca swiss compatible in the foot
5:01
I did find because of this actual design that when I was just carrying the lens on a strap out hiking
5:08
it just tended to bump and rub in very uncomfortable ways so I actually rotated the tripod foot out of
5:14
the way. You can't remove it altogether if you're in a situation like that. The one other thing that
5:19
I will say about this particular tripod foot same as with the 14 millimeter f1.4 is that it is really
5:26
really close to the barrel and so if you're accustomed to kind of carrying a lens by the
5:30
tripod foot you can pretty much forget that here there just isn't really enough room to hang on
5:34
and for that matter if you're in the kind of straight up and down position kind of the default
5:39
position there is hardly room to get at the de-click switch for the aperture that is there
5:45
and so it the tripod foot and collar it is useful obviously for going onto a tripod it helps the
5:52
balance point to be better but at the same time it is inconvenient in some other situations
5:58
Now you can see up front that we have a very large curved front element here and so what that means
6:03
and there's also a fixed lens hood so what that means is that number one the lens cap has to go
6:09
over the top of this although it is a unique design with a pinch cap it also means that there is no
6:14
room for traditional screw-on filters here. Now at the lens mount there is a gel filter holder
6:20
there and then also in that lens cap there is actually a place to store a couple of gel filters
6:27
in there it's a little bit of a weird arrangement but it is it is an option that is there. The lens
6:32
as Sigma's better lenses do does come with a nice padded nylon case as well. Now when it comes to
6:39
some of the other features here this is a very feature-rich lens and so we have got an aperture
6:43
ring and we've got a variety of options with that we've got the ability to de-click the aperture if
6:48
so desired we also have the ability to use an aperture lock if you you know for example if you
6:55
don't want to go into the automatic mode you can lock yourself out of that and lock into the
6:59
aperture mode or if you hate aperture rings you can just put it in automatic mode and you can
7:04
lock it in place there and once the lock's in place you will not be able to come out of that
7:09
without unlocking it and so it means you're not going to inadvertently enter into a manual
7:13
aperture setting and so some nice options there we also have an AF-MF switch we have a focus hold
7:20
or custom button there on the side and you can program that function within the camera and then
7:24
in a unique Sigma feature we have got an manual focus lock and so that can be really useful for
7:30
example for astrophotography allows you to pre-focus the correct distance for the stars
7:36
lock that in place and that way when you go outside you've already got an infinity
7:40
focus ready to go and you can be sure that you're getting accurately focused results
7:44
for your shots at night other applications as well obviously but that is a useful feature to
7:49
have we also have a thorough weather sealing here starting with a gasket at the lens mount
7:54
internal seals at the switches and the rings and then a coating on the front element to help
7:59
it to be both water and oil resistant for fingerprints easier to clean all of those
8:05
things the aperture iris itself has 11 blades and so it helps to maintain a circular shape but I
8:11
will note it also produces a really nice looking sunburst or sun star effect when you stop the
8:16
lens down so overall this is a really nicely made lens it is you know professional grade in terms of
8:24
the build quality in terms of the various features that are here this has everything that you would
8:29
expect on like an equivalent sony g master lens and so it is a it's a very nice lens but it is
8:36
big and heavy and of course it is expensive so let's talk autofocus autofocus here is utilizing
8:42
sigma's newest and best high-end autofocus system they call it hla which stands for high
8:48
speed linear actuator it is a high speed linear motor and in this case although sure there are
8:53
some large elements in a design like this an f1.4 lens it's probably overkill here because
9:01
with a lens with a this wide of an angle of view a lot's going to be in focus all the time and so as
9:06
a byproduct I found that focus switches focus changes are basically instantaneous just snapping
9:12
from one to another autofocus is quiet it's confident zero problems there had no problem
9:19
locking on to eye detect on either human or animal subjects I was able to track that fine
9:25
at this point I'd be shocked if a lens doesn't do that because that has become such a well executed
9:30
piece of technology now on the video side of things the video af is really really reactive
9:36
now that's probably great because I think one application for this lens could be in doing like
9:40
extreme angles of sports you know skateboarding or things like that and so autofocus even in video
9:47
mode is really fast now for doing just basic focus pulls from one to another it's almost too
9:51
fast now you can detune that a bit in the settings of your camera if you so desire but there's plenty
9:56
of speed there for doing focus changes you can see here with my hand test you see that a bit that the
10:02
the focus goes so quickly from my hand to my eye that it's almost a bit abrupt there is a little
10:07
bit of focus breathing too that draws attention to that but autofocus here is extremely capable
10:12
this is in this case I would say almost an overpowered autofocus system which is much better
10:17
than an underpowered autofocus system by the way but you're not going to have any issues with that
10:22
so it does mean that you know sports photography is part of the equation here I think this lens
10:27
is perfectly capable of now on the image quality side of the equation we have 21 elements in 15
10:34
groups so that's obviously a lot of elements for a prime lens and that includes four FLD elements
10:40
three SLD elements and two aspherical elements and so a lot of exotic elements in the design
10:46
as well now obviously a lens like this is so extreme that doing my normal kind of chart
10:51
testing is impossible if I try to get close even close up to the chart you can see that it looks
10:56
something like this in fact in testing for vignette and distortion I use my garage one of
11:02
my garage doors and this is a 16 foot wide garage door I was about a foot away from it and still it
11:09
has so much in the frame that I actually had a little bit of of the the frame of the door itself
11:16
in there it's just it's incredibly wide angle of view and so in testing however I found that I
11:22
had less than two stops of vignette by the way I will do a detailed optical breakdown at the
11:27
end of the episode if you want to stay tuned for that but I'll give you a quick overview here
11:31
so under two stops of vignette the correction obviously as far as correcting the distortion
11:38
you're not going to be able to do that I'm just using the slider it wasn't capable of doing that
11:42
with a but there is a profile that Sigma will provide for the lens it actually defishes the
11:47
lens so as you can see you lose a lot of image but you're able to get back to a fairly much a
11:52
rectilinear angle of view and it's it works a little bit better on a less extreme image like
11:57
this landscape shot here and so I mean there I think there's a little bit of cost for doing that
12:02
but it it does quite a good job as you can see which it does add to the value of the lens
12:07
fringing is extremely well controlled you can see in this shot within my barrel sauna there's some
12:12
real high contrast areas and even at f1.4 I didn't see any kind of fringing around those areas I also
12:19
found that when I was looking at the edges of the frame and there's going to be a lot of stuff in
12:23
the edges of the frame with the lens like this that they're in bare branches and high contrast
12:27
areas zero problems no lateral chromatic aberrations there as well in this case I used
12:34
an outdoor test and I shot at 100 still 61 megapixels lots of resolution but trying to go
12:40
to 200 in real world scenarios it doesn't work quite as well as with my test chart but what I
12:45
did find is that even at f1.4 there is certainly sufficient sharpness all across the frame it
12:51
improves a little bit at f2 proves more noticeably by f2.8 and there you basically stay the same from
12:57
f2.8 through f8 and with just a little slight degradation at f11 results stay really strong
13:04
after f11 diffraction will soften the image a little bit now obviously a lens like this is not
13:10
good at drawing something close to it so for close-up work it's not amazing you can only close
13:15
or focus as closely as 38 and a half centimeters and you get a very very low 0.06 times magnification
13:24
now up close performance is a little bit softer doesn't have as much it's not optimized for that
13:29
kind of focus distance and so stopping down to f2.8 very radically improves the amount of contrast
13:34
that's available however you can get a decent amount of bokeh here and in this kind of unique
13:39
shot of Nala you can see that the background is reasonably creamy there and so if you can get
13:44
close to a subject you can get a fairly blurred out background though obviously that's not really
13:49
why you buy a lens like that it's maybe a nice extra for some unique and creative type shots
13:54
however more important is that this lens has amazing flare resistance and that's really key
14:00
in a lens like this where it's going to be very hard to keep bright lights out of the frame because
14:03
so much is in the frame but i found very very minimal impact for having the sun in the frame
14:09
even very bright very directional sun zero problems with that so i was very impressed with that and
14:16
this lens is being marketed by Sigma largely for astrophotography and so importantly there i found
14:22
that common performance was good and there is minimal kind of coma smear in the edges of the
14:27
frame and so that's very very well managed as well and so if that's a reason why you would consider
14:33
a lens like this you can know that it actually does perform well in that regard so in conclusion
14:40
obviously this is an extreme lens and it's for a very niche audience who is that audience well
14:45
according to Sigma it's astrophotographers for one i would say also good application is maybe
14:52
concert photographers those that are working in lower light situations that want kind of the
14:57
extreme options and unique look that can be provided by a fisheye type lens and so it can
15:03
be very useful and professional applications for that i would say that sports is also a nice option
15:09
the fact you have such quick autofocus does help in that regard and allows you to get maybe more
15:15
narrow depth of field shots or shoot in lower light conditions and still get a reasonable shutter
15:19
speed for stopping action so it could be another useful application for that for most people however
15:25
this is a curiosity it's an extreme instrument that is technically impressive and it is technically
15:30
impressive what Sigma has done here but it's probably too big and too expensive to appeal to
15:35
most people however for those that actually could use it and can use it well i suspect that this is
15:41
a lens that they will have a lot of fun with and that that happens to be you there's nothing that
15:47
i took away away from besides the obvious that it's big and it's expensive everything else about
15:52
the lens is it's pretty fantastic now if you want more information you can either look into the
15:58
description down below and get linkage to my full text review there's also links to an image gallery
16:02
there along with buying links and now stay tuned if you want the detailed breakdown into the optical
16:08
performance so let's start by taking a look at that 180 degree wild angle of view so in this shot
16:23
just out of curiosity i just reached my arm back with the camera and i took the shot while driving
16:28
and so you can see obviously i can't reach back very far and yet everything inside of my the front
16:34
of my truck is included including the side windows likewise in this shot that i mentioned earlier i
16:40
was just pointing down towards my feet and in this case the bridge is about 12 feet apart here it
16:45
looks like it's quite narrow but this is a very wide space and you can see that not only is the
16:51
two edges of the bridge included but all the way up these rails is included and of course quite a
16:57
distance ahead of my feet included there as well so it is really incredible how much gets in the
17:03
frame now with a diagonal fish eye you do have a lot of control over how much distortion is going
17:08
to be there so you can see here just by changing the composition by in the center if i put my
17:14
subject in the center of the frame and hold the camera basically straight you can see that i've
17:19
got a almost straight horizon line but by tilting the camera up just a little bit here by that moves
17:26
the subject up and introduces a little bit of tilt to the camera you can see that already we get a
17:31
pretty extreme curvature going on to the horizon line and of course if i moved it up even higher
17:36
that would be even more extreme now the nature of this lens means that i can't use test charts so
17:41
much and so i'm going to be relying on real world shots to try to create the various situations that
17:47
i can test these things so in this case i'm looking for fringing specifically looking for
17:52
longitudinal chromatic aberrations before and after the plane of focus so we can see in this
17:56
very high contrast transition zone no fringing there also very interestingly along here and then
18:03
also around the edges of this window these are all areas where i would anticipate seeing fringing
18:09
and you can see that they are extremely well controlled so a great job there and in a lens
18:15
like this you're going to get a lot obviously a lot of stuff in the frame all the time and so
18:19
obviously there's going to be a lot of edges and so including these bare branches so i'm very very
18:25
impressed by how little lateral chromatic aberration is here it's it's basically perfectly
18:30
controlled no issue with fringing near the edge of the frame in these transition zones at all so
18:35
really really high marks on both of those areas so as mentioned earlier trying to get a subject
18:41
where you can test a subject that is big enough and flat enough to be able to test for something
18:47
like vignette is difficult so i used my garage door here which is i measured it's just right
18:53
under 16 feet across you can see that even though setting up right in front of it i still got other
18:59
things in the frame you know a little bit of concrete beforehand a little bit of the the
19:04
frame at the top of the door here but it's about as good as i could find for getting a flat surface
19:09
for this so obviously when it comes to distortion distortion is part of the equation here and in
19:14
fact if i try to use the light room slider to correct for the distortion you can see that even
19:21
maxing it out it is reduced but there's still a massive amount of distortion that is left
19:27
but as far as correcting for the vignette i was able to do that by just introducing a plus 45 and
19:34
so less than two stops so that's not bad at all now i was surprised when i used the profile that
19:40
sigma sent me which will be freely available that it actually de-fished the lens though it there's
19:46
a little bit of complications that come with that we'll get to in just a moment so uh what
19:51
you can see here is that now we have a rectilinear design without any kind of vignette and fairly
19:56
straight lines now obviously you've lost a lot of image but i think you're probably still pretty
20:01
close to what a normal 15 millimeter lens its angle of view would produce and in fact the amount
20:08
of image that's lost was a little more exaggerated there because of the extreme amount of distortion
20:13
from being so close if you're a little bit more of a distant subject as we've got here you can
20:18
see that sure we have lost a significant portion here at the edges of the image but it's not nearly
20:23
as severe as what we saw there on the garage door so what you can see here is that you're not going
20:29
to eliminate like this is not a distortion here this is more kind of a keystoning effect just
20:35
because the lens is tilted up somewhat and so as a byproduct the lean is not going to go away but
20:41
what we can see is that the curvature of everything has gone away so that fisheye type distortion is
20:46
gone now what's interesting here is that if i cycle through my information here in lightroom you
20:52
can see that the full size image this was shot on the alpha 1 is 8640 by 5760 now on the right it
20:59
says it's still 8640 by 5760 even though obviously we have cropped off a significant portion of the
21:05
image due to correcting that so that intrigued me and so i dived in here and what i find and
21:12
what my theory is here is that after the profile is applied the image seems to be scaled back up
21:19
because what you can see is at a pixel level it's not really as sharp and as high contrast as what
21:25
it was before so there is a little bit that is lost through that process now i think it's more
21:31
exaggerated on the edges as we move back towards the center of the frame i don't see that anymore
21:35
but you can also see that the scale is not nearly as severe and so that effect is taking place here
21:42
and here those this is you know it's about the same size if we move over here this is obviously
21:48
much larger and so there's a portion of the image that has been you know stretched and corrected and
21:54
then i think scaled back up and so anyway it's a little bit of a weird bit of trickery going on
21:59
however it is a nice option because you are obviously getting the ability to have a d fish
22:05
version of your images as well now in this case i'm actually going to examine images at a hundred
22:10
percent i couldn't use a chart so i'm going out into the real world and trying to look at real
22:14
world images at 200 percent in the lesson controlled environment it just doesn't work as well
22:19
so i've got f 1.4 on the left i've got f2 on the right so let's take a look starting in the center
22:24
of the frame to see what we see so first of all you can see that the lens is very sharp even at
22:29
f 1.4 in the center of the frame we can see that as we stop it down the contrast does pick up a
22:35
little bit at f2 and you can see in areas like this uh old wagon wheel here you can see that it's
22:42
a little crisper and better defined now if we pop over to the edge of the frame we see basically a
22:47
similar story looking at the vehicles here you can see already i mean there's lots of detail and
22:51
contrast there the image is obviously a little bit brighter we've removed some vignette and i
22:56
think that some of the textures are just a little bit crisper as a result not a whole lot of
23:01
additional resolution i wouldn't say but a little bit better contrast and i would say a little bit
23:07
better definition in some of these areas both due to some of the shadows lifting somewhat
23:12
from the vignette but then also i think that the textures are just a little clearer there
23:16
now there's actually a more significant jump from f2 now on the left to f 2.8 on the right and if we
23:23
come back down here we can see on the right that textures are you know crisper still contrast is
23:29
better defined you can see even in this snow area here that it's just better resolved here along the
23:34
edge of the frame moving into the vehicles and these plants better resolved and then as we come
23:40
back towards the center of the frame we can see again like this area is definitely crisper still
23:45
and i'll go to the other side just so you can look there look at the mailbox you can see it's
23:50
better defined and as we move off towards the edges here just a little bit more detail in
23:55
everything now more traditional landscape apertures of f4 and f 5.6 frankly i don't see a
24:01
lot of difference after f 2.8 things stay pretty consistently uh the same from f 2.8 all the way
24:09
through f8 you can see that f8 continues to look fantastic f11 is still very good but you can see
24:16
it is very slightly softer due to the effects of diffraction and so we're starting that cycle now
24:22
towards losing some detail and contrast due to diffractions effects that difference is actually
24:27
more pronounced in that final stop from f11 to f16 where diffraction is really starting to
24:33
play havoc there and the image is still usable as you can see but it is considerably softer
24:37
than what we see over here at f11 all of these textures you can just see that there's less detail
24:43
in them you know look even in the amount of contrast on the car from left to the right side
24:48
and over here you can just see that we are starting to lose information though i would say
24:53
this lens is usable throughout its zoom range though i personally would keep it at f11 as a top
24:59
now as noted previously our maximum magnification is really low on this lens but also if you're
25:06
going to shoot up close it is nice to use a little bit smaller aperture than f1.4 the lens as we saw
25:13
is really sharp at infinity to f1.4 it is softer when you're up close and you can see that there's
25:18
a pretty radical difference between f1.4 and f2.8 in terms of the contrast on the image and and so
25:25
i would definitely if you want detail when you're up close i would stop down a little bit you can
25:30
however create some really uniquely either wacky images using that distortion creatively as i've
25:36
tried to do here but you can also see the quality of the bokeh blur is actually pretty decent for
25:41
a lens like this you would never expect a fisheye lens to be one producing bokeh but you know this
25:46
is an extreme unprecedented instrument here in this shot here there's less kind of extreme
25:51
exaggeration there you can also see however that at f1.4 it's it's usable but the contrast is
25:57
reduced here at that closer focus distance here's another shot to look at the bokeh quality and so
26:03
once again up close this is only at f1.4 and so you can see that you know the the contrast isn't
26:09
amazing but the quality of the blur is pretty good flare resistance was very impressive and
26:15
again it's very important in a lens like this because it's such a wide angle of view 180 degrees
26:21
means that you're going to have bright lights in the frame and so i could move the sun or the kind
26:25
of reframe with the sun in different positions this is at f1.4 no issues at all and then if i
26:31
begin to stop the lens down you can see that even at smaller apertures there was no issue there i
26:37
composed here again this is f11 there's a little bit of a ghosting artifact here not bad at all
26:42
however in this shot here you can see that we've got a nice sunburst effect going on and also the
26:50
flare resistance is quite good here's a shot at f1.4 and you can see the sun's right there in the
26:56
frame a different kind of image you can see the contrast is held up perfectly and because we're a
27:00
little bit further away that detail there is fantastic now perhaps most importantly for this
27:06
lens is a look at coma now this lens has a lot of really important strengths for shooting
27:11
astrophotography number one coma is extremely well controlled look how crisp those star points there
27:17
in the center but then if i pan off towards the edge they're almost as sharp right in the corners
27:22
of the frame that's really really impressive another advantage to this particular lens is
27:28
the fact that vignette is quite low even at f1.4 that means you're not introducing a lot of noise
27:33
and correcting for that vignette and then also the fact looking at this image now obviously this is
27:38
not a peak astro night the moon was still quite bright but it was the only clear night i had during
27:44
my test period and it was cloudy before the morning came but anyway i shot this image f1.4 this is only
27:52
iso 800 and a shutter speed of of two seconds so that means i'm completely eliminating the
27:59
possibility of any kind of stretching of the stars light trails forming i'm able to freeze
28:04
that quickly and also i'm keeping the iso down and so there is little noise in the image which
28:09
produces a better end result here's another shot here and i just wanted to quickly demonstrate
28:14
the different ways you can approach so obviously here once again you know star points look fantastic
28:19
that's all good i also have the option of doing that d fish option and recomposing to get a
28:24
rectilinear image obviously there's less in the frame that could be a good thing however depending
28:30
on you know whether how much you want to be in the frame but you can see that while there is a little
28:35
bit of stretching at the corners from that d fishing it still is very very usable and so as
28:41
a byproduct that's a nice secondary option for doing astrophotography overall however this is a
28:47
really really impressive instrument if you're serious about astro hey you've made it to the end
28:52
thanks for watching have a great day and let the light in