Viltrox AF 135mm F1.8 LAB Z-Mount Review The Bargain Plena?

Name: Viltrox AF 135mm F1.8 LAB Z-Mount Review The Bargain Plena? | Open Video
Uploaded: 2025-03-16T13:40:38+00:00
Duration: 34 min 14 s

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[Music]
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hi I'm Dustin Abbott in the fall of 2024 vrs released their first of the lab series of lenses the AF 135mm f1.8 lab
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Fe for Sony fast forward 6 months and we now have the first z-mount lab series
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lens and while this is the same 135mm f1.8 there are some different tweaks to the
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performance on Nikon and they fall in both the good and bad categories in
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today's review we're going to explore how well this amazing lens performs on my Nikon Z8 body we'll dive into it
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out so let's start by talking about the build and handling now as I've mentioned this is the same lens that we've already
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seen on Sony Fe but obviously there has to be a at least one significant tweak
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for it to work on Nikon Z Mount and it's much larger diameter Mount so you can see from this shot that there is
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actually a much wider area in the first at part of the the barrel before it
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tapers out to become wider now obviously that's not going to affect back the overall diameter because it's far from
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being the widest point in it but it does add a few GRS as we're going to see in a moment now on Nikon obviously the really
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only Chief competitor for this lens maybe the only true competitor is going to be Nikon's own 135mm f1.8 sline plet
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lens so the the lab lens is a little bit narrower in diameter but actually also a
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little bit longer than what the planet is however if calculate the volume inside the lenses the pl is actually
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just a little bit bigger right under 1% so statistically insignificant this lens
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is 93 mm in diameter that remains unchanged that's 3.66 in it is about a
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millimeter and a portion longer in zount so it's 147.5 mm or 5.74 in it has that
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82 mm front filter thread which is pretty common with 135mm f1.8 lenses now
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it actually as noted it does weigh in a little bit heavier than the Sony e-mount it's 1268 G for this one so plus between 20
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and 30 G so that's 44.7 2 O now while it
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is a little bit smaller in volume a tiny bit than the plena it actually is heavier it it's actually at plus 270 G
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relative to the pla the pl being right under a kilo and this of course being about 1 and a/4 kilos and so that is a
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significant amount of additional weight though in this case I also find that the
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lens itself in terms of that mass is a better fit on a heftier body like my Z8
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as opposed to any of Sony's bodies which tend to be a little bit smaller and lighter and with less significant grip
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on it so I don't know if two wrongs make a right here but in this case I do think
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it's a more natural fit uh here at least if you're using one of the larger Nikon
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bodies now in many ways the lab series I think is pretty akin to what Nikon's own philosophy has been with their f1.2 sine
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lenses on Z Mount and that they don't they aren't small lenses they're large
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they're heavy but they're optically incredible that really is the same kind of philosophy that uh Nikon is using on
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its lab series and in that way I think that the lab series is maybe more akin to the sine f1.2 lenses than even Sony's
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own G Master lenses because Sony really has PRI been prioritizing smaller and
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lighter as a part of their philosophy and that's clearly not the case here now
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apperture here is a little bit unconventional yes it does play out similar to what we saw on Sony but what
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you've got rather than having a typical aperture ring with marked positions you
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have an something I think that is is a little bit more similar to Nikon's command dial that it is there it has
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unmarked positions and it's going to rely on this top-mounted LCD screen to display that information now you do have
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the option to either click or declick that aperture however if you are using the clicks while it shows onethird marks
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on the LCD screen and obviously also like on my Z8 it has a top mount mounted LCD screen itself so you're going to see
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just the onethird stop you know typical movements along there however there is
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actually a few more clicks than that it's closer to being like one nth stop
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clicks really the automatic position is not needed because you have that option to shift into it right from the camera
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body whenever you want so a little bit uh I I I actually prefer their more
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traditional approach that they use on their Pro Series lenses to what they have here on the lab but obviously the
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LCD screen does come into use for some other things as well and that includes with the manual focus ring and uh you
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can manually focus and you're going to get your distance scale on here that of course is a positive addition because a
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lot of mirrorless lenses don't have any kind of distance scale and so getting that I do consider that to be useful and
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then finally the LCD also comes into play in you have the ability to set an A
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and B Focus position and so the way to get to that is easily you set your a focus position and you're going to hold
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down the side function button until it registers as your a position then you can uh shift over and focus to whatever
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you want your B position to be again hold that down and now when you click that button it will cycle between those
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two Focus positions going back and forth in AB focus and again you're going to be able to utilize the LCD screen to help
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you to register that now the other uh function button on the top is going to function in the traditional fashion and
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it's going to do whatever value you've assigned from the camera body and that function is going to be accessed there
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manual focus here the weight is it's about medium light on the lighter side
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of medium so that in itself is not bad however what I do f is that on Sony it
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felt like Focus moved a little more linear and by linear I don't mean uh you know whatever that complete degree of
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focus Arc would be but more that it just seems more like true manual focus that as you move along you're just gradually
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moving Focus not moving it in steps here on Nikon it feels a little more Steppy
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to me and so particularly if you're trying to be precise it mean feels like Focus just moves in small chunks rather
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than just that smooth linear fashion so I actually don't like the manual focus quite as well here on Nikon now besides the click
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dclick uh switch that's on the left side you have two other switches and so one of those is going to be the uh Focus
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limiter and so that Focus limiter is going gives you three different positions you can do the full range you can do uh 70 CM up to 2 m and then from
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1.5 M to infinity and so obviously in certain situations that might help you from racking focus in the wrong
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direction or just speeding up Focus just a little bit if you're wanting to Target get a certain Zone there's also an AF MF
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switch here on the body all of that is always welcome gives you more direct control over the actual lens itself now
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one other thing about the LED is that it in its startup kind of Splash animation
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you can actually program right now it says vro it shows the vro logo when you
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actually boot up the lens itself or you power on the camera you can customize that splash screen and so it has your
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name or your own company's logo whatever the case may be or whatever else you want it to say when it Powers up and
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that can be set through the vro app now the body itself part of the reason why this is such a kind of heavy lens is
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that the it's an extremely well-made lens it has a magnesium alloy shell so
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that's the same kind of uh material for example that's going to be used in this Z8 body and so it's a very tough very
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durable so that's great obviously there is thorough weather seiling throughout the lens that starts with the gasket at
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the lens mount there are 12 seal points uh all throughout the the lens itself
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and and then a flooring coating on the front element so this is a professional grade lens and it does come with a
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professional grade build it does have vro trademark USBC port on the lens
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mount a secondary way to do firmware updates though also you can use Bluetooth and use the app for firmware
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updates as well there is no image stabilization built into the lens itself so it will rely on in camera
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stabilization if your camera is so equipped and is is often the case I find with third party lenses it does feel a
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little more stable to me on my Z8 than what it did on either one of my Sony bodies so I appreciate that now one of
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the things that will throw people who are not familiar with this kind of design is that when you actually Rock
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the lens up and down when it is powered off you will hear a bit of a clunking sound there are floating elements inside
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which by the way is not uncommon in higher end lenses and the reason for those floating elements is it does allow
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for a better performance up close now what you will find is that you can have
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the lens mounted and you can do that rocking motion and you'll hear that clunking but if you turn the camera on
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and so those elements become energized that clunking is going to go away so you don't have to be concerned about it uh
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that is an intentional part of design and it does have a purpose it improves performance now speaking of that close
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Focus abilities this lens can focus down to 72 cm and there it achieves a 0.25
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times level of magnification so that's a 1 to four magnification level which is extremely useful and by the way it does
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best the pla the pla has a 0.20 times magnification or a 1 to5
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magnification ratio and so again welcome to have that and its up close performance is fantastic it's incredibly
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sharp and and frankly you could throw an extension tube on there and it would be a fantastic macro lens because it does
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have such high resolving capabilities it does come with a very nice lens Hood you
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can tell that again this is a premium lens Hood uh the materials on it feel very premium it has kind of a light
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flocked finish that matches the lens itself it does have that rubberized
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front uh surface and so you can actually set you know heavier lenses are sometimes nice to just set face down you
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know for example like this and so you know it's a stable way because the lens
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hood is wider it's a stable way to kind of put the whole system down and so it does have that eyes and also I find the
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secondary purpose of that that's useful is that if you do bump into something with the front end of that it it absorbs
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a little bit more of the shock it does come with a pouch as well that's kind of like Canon's L Series pouches not as
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nice as a zipped padded case but useful one other thing I will point out is that
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it is this is lens hood is design it's it's fairly small compared to some of the other lenses and it's also designed
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to where it can reverse fairly tightly and so it takes up less room for storage one thing I do note is that because you
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have that rubberized surface here and you're going over a rubberized manual focus ring and it's close fitting
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sometimes it will kind of hang a little bit on there there's a little bit of friction between those rubberized surfaces not a big deal but just
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something to be aware of overall this is a beautifully built lens obviously very featur rich but it is big and heavy
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however the pl is also big and heavy and I would say the advantage of the viltrox lens is that its price tag is probably
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going to be near the Sony's it hasn't been announced at this point but I'm assuming it's going to be close the Sony came to Market with an MSRP of
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$899 right now the pla cost $2,499 so 900 versus 2500 obviously that
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is going to make this a very interesting proposition if the rest of the performance holds up spoiler alert it
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does so let's talk autofocus this lens employs a first for vrs it was really
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technically first in the Sony version but first uh in this lens itself in that we have a dual not just one Focus motor
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but dual hyperv vcm Focus Motors that work in pair with each other and so by the way that's the same kind of focus
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system uh that we have in the pl you know with two of these high thrust Motors working uh in conjunction with
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each other that allows you to have very fast very quiet and also very accurate autofocus and you can see here that my
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in my formal Focus test I found that Focus was good um is a little bit slower
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than what I saw on Sony and most of that is because you will see just kind of a a little bit of a pulse there sometimes so
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it it feels just a little bit less confident now when you're not doing major Focus racks uh kind of real world
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Focus I actually didn't notice that happening and really the only time I I had any kind of actual real world Focus
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issues were uh in two very unique situations one of those is which is very very common across a lot of platforms
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and that is that sometimes when is you're trying to focus on a close subject and the background is a little
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bit busier Focus wants to stay locked on the background and doesn't want to move to the foreground so you have to kind of
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trick it a lot of times I try to find a higher contrast area and get it in the focus zone and then it locks on there or
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you can manually focus and get yourself into the general Zone and then you can focus there and on Nikon it's easy easy
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to do you know full-time override at any point and so uh not too big of a deal there the other thing which is very
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understandable I actually shot a portrait series which we'll go and start to look at here went out and shot a porra right during the middle of a
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blizzard literally in the middle of a blizzard that dumped um you know over a foot and a half of snow and I think
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around 50 cm of snow we got during that storm and so right in the middle of that I went out and I shot a portrait session
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now I love the results that we got but there was constantly snow was falling and so as a byproduct when I was further
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away from my subject did there were occasions where it got kind of distracted by all the movement of the
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falling snow and it would be kind of looking for Focus there obviously that's a very very specific case scenario there
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and what I did find is that when I moved a little bit closer to my portrait subject that problem went away because the subject was closer higher contrast
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and thus focused locked on just fine the other thing that I did notice uh as a
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positive I remember I noted that there are some good some bad in the tradeoff from Sony to Nikon here one of the huge
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pluses is that on Nikon there is no artificial limitation of burst speed for
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third party lenses so on Sony even though my alpha 1 could shoot 30 frames per second I could only shoot a maximum
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of 15 frames per second on Sony and that's true of all thirdparty lenses in this case or at least with autofocus I
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should add as as a caveat on a Nikon there is so no such limitation so I could shoot at the 20 frames per second
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with raws or up to the 30 frames per second shooting jpegs which I did and you can see some of those shots I shot a
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squash I've been playing a lot of squash recently squash is this was a difficult lens to use for
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shooting squash not because of any of the focus capabilities it did great in that regard but because you're shooting through glass and it's a long focal
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length meant that framing was sometimes really really challenging and so it's the shots aren't as optimal as what I
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would like and you're also of course limited to one kind of particular angle of view out of the back side of the
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Court where the glass is there rather than the solid walls so it's a little bit of a hard sport to to photograph
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anyway and with a longer focal length I think harder still however Focus locked on it stayed there and even through 30
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frame burst or 30 frames per second burst I should say it stayed locked on and someone that was sitting thereby
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they said how many pictures did you just take I said I don't know all I know is I was taking them at 30 frames 30 shots
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for every second and so anyway it did a great job for that and so once again I I tested the Sony version for shooting
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basketball I had no problems tracking action focus is plenty fast enough to do that so in general I would say autofocus
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is excellent here and for Stills I have no hesitations it did a fantastic job so
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how about autofocus for video so in first of all doing my focus pulls here I
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definitely saw some regression as compared to Sony I'm going to give you one caveat in that I am actually
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reviewing pre final retail firmware and so it is possible that results May get a
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little bit better once we have the final firm firmware uh you know retail firm Ware that is released before the lens is
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actually sold to the general public however I can only test with what I can see right now and what I found is that
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there's just a little bit less confidence again like than what I saw on Sony and so rather than just a confident
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you know point A to point B and back you can see that there's sometimes a little bit of a beginning of a pulse in the
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wrong direction a little bit of a rack in the wrong direction and that obviously does slow not only slow down the focus pulls but it also makes them a
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little bit cin less cinematic in that regard I also found that when a approaching the camera as you can see in
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this clip that it really just wasn't as reactive as Sony to focus changes it's okay if I was kind of if I was moving in
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a roughly linear fashion towards the camera but if I stepped out of frame or I moved a little bit more abruptly
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towards the camera was just not as quick to react is what I saw on Sony and so again in general focus not quite as
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confident in that regard now if you're shooting something less extreme uh
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obviously autofocus is going to be better and so most of my real World Clips they were better and you can see
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here a few you know related to the portrait session and again because portrait focus is just getting to a
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specific point and then holding that maybe little Minor Adjustments as the model moves a bit no problem and so I
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think for most situations you're going to be fine but if you're trying to do bigger Focus changes it's not as
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cinematic as the performance I saw on Sony so not quite as good so how about
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the overall performance when it comes to the image quality I'll give you an overview here on Nikon on the 45
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megapixel Z8 and then there will be a deep dive at the end of the video if you want that so as before same Optical
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design 14 elements in nine groups that includes four extra low dispersion elements two high refractive index
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elements you can see that the MTF chart here looks exceptionally good uh there's
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a little bit of drop off in the corners but it's still at very strong levels you can see when the lens is stopped down
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it's basically perfect it's a straight line across that's as good as you're going to get now just comparing MTF
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charts MTF charts you'll see that the plena this the lab lens is actually
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sharper than the plen lens according to their respective mtfs I do hope to be able to do a plena comparison at some
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point but I'm still working at trying to Source a plena to do that and so this is
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an amazing amazingly sharp lens and you can see here if we take a look at a few just tight crops of some f1.8 shot shots
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they are just brilliantly sharp here on Nikon as well as before there is no
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measurable Distortion to see but unlike on Sony where I saw very little vignette
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nothing really to correct there is more noticeable vignette here on Nikon often the case I find when I am comparing one
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lens to another on the platform if I test a lens on both platforms it tends to have more vignette on uh on Nikon and
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so in this case I needed a plus 50 to correct for the vignette whereas on Sony I basically didn't plug in anything to
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correct for vignette what I also found is that as I saw before the fringing is amazingly well controlled on this and so
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you can see both in this shot of text here a Bible and then also in shooting the surface of a lens these are two
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scenarios where I tend to really see longitudinal style chromatic aberration and there's basically nothing there it
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seems very much like an apochromatic lens in many ways it reminds me of my Zeiss milis 135mm F2 in that regard I
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did find the tiniest amount of lateral style chromatic aberration near the edge of the frame but very little you're
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probably not going to see anything in the RO real world you can see here that the wide open sharpness is just amazing
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and one thing I did find as a positive here on Nikon as opposed to Sony maximum
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resolution here is 45 megapixels versus 61 that I tested on Sony and what I find is that in the area where the lens would
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be the weakest in the corners that lower resolution level allows those Corners to look a little bit better and so I
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actually found that it was more consistent in terms of the sharpness across the frame you can also see here
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in this slide where I comp comped the mid-frame and the upper left corner that I mean there is a little bit of drop off
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but they're they're both remarkably good and so it's uh it's just really really great I also found with both my test or
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test charts and then also real world shots the micro contrast on this lens is Amazing by microc contrast I I mean the
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ability to resolve the textures of of very fine details and so rather than
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there being any kind of haze or veiling around those textures they just look super crisp and so there's not only
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contrast looking at the image at large but you see amazing contrast even looking at that micro level certainly
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the case here you'll find that there is a slight Improvement at f2.8 in terms of overall contrast and a little more
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detail that's most noticeable in the corners you'll see a little bit more at F4 and
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f5.6 and by that point you have basically perfect image quality all across the frame as we saw from that MTF
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when it stopped down landscape images look fantastic of course because there's so much detail and ability to resolve
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all those fine details amazing uh secondary application if you're shooting a very large scam to be able to use a
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telephoto lens and compress that scene a little bit and get a lot of those details it's fantastic for that it's
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obviously an amazing amazing portrait lens and it's not just because it's incredibly sharp sometimes an incredibly
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sharp lens is almost detrimental for portrait work but I just find the portraits look great from the skin tones
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look very good overall colors look f fantastic and this lens not only has
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amazing technical performance it also has beautiful rendering it's a very rare lens that can pull off both of those
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qualities working in tandem but this lab series 135 mm does I found in general
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that the bouquet is really really nice very soft very creamy you can see specular highlights aren't like
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perfectly round in the corners um at f1.8 stop down a little bit even f2.5
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they are going to be perfect all across the frame and uh but the biggest thing is that they're very smooth there's no
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outlining and outof focus areas I would argue that from what I've seen from PL of shots that I would say that the lab
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is every bit as good if not better and so we'll we'll we'll determine that when we do a direct comparison but uh
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certainly the bouquet quality and the overall rendering is fantastic as noted their Optical glass is now excellent and
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so colors are just fabulous also I found when testing the um the emount version I
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haven't been able to do it here because we've literally been in the series of just terrible winter weather with one winter storm after another um but what I
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found when testing the emount version in better conditions is that also it was a nice Astro lens as well with very low ex
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coma the final thing that stood out to me is that flare resistance is really good for a lens with a huge front
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entrance pupil like this uh actually really really excellent flare resistance so the Coatings are very good as well so
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that leads me to my conclusion this is a great great combination of build
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features autofocus and Optical performance at a very very great price
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again you're looking at a lens that is is has no real measurable flaws other
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than it being big and heavy but at a price of $900 versus 2500 for the plena
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it's really going to make a lot of people I think think twice and I think that this whole lab series probably is
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going to have a pretty sweet little niche in Nikon Z Mount because it's
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going to I suspect the series will allow you to get sine performance and those really bright maximum apertures at a
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much much lower price and that's going to be amazing for people who their kind of their the threshold for them is not
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the size and the weight of the lens but it's the price of the lens and so the lab series does not make this smaller
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and lighter in fact goes a little bit the other direction but it brings that price down into a place where it's going
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to be affordable for a lot lot more people so yes the lens is big and heavy no question about it but outside of that
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there is very little to complain about my conclusion as it was on Sony is that
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this is probably the best Optics you're going to get for under ,000 and I will say this if you happen
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to own a plena that you'd be willing to loan me to do the comparison uh reach out to me in the comments below and
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we'll see if we can arrange that because I am still trying to Source One to do one of my deep dive head-to-head
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comparisons and on that note if you want more information about the lab 135 Z Mount
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you can check out either my full text review Linked In the description down below uh there's an image Galler link there buying links there and now if you
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want my signature Deep dive into the Optics stay tuned and let's jump in okay we'll start by taking a look at vignette
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and Distortion now as far as Distortion goes there might be a fraction of a percentage of pincushion Distortion
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nothing worth correcting frankly vignette as noted is a little bit heavier here on Nikon well sign L
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heavier considering that it was basically vignette free on Sony and so
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we definitely do have some here now this is a plus 50 to correct in the corners
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and it shows you we can get to a very neutral State once again I will note that there is already a correction
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profile and it will take care of that longitudinal style chromatic aberration are essentially perfectly corrected and
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you can see here before and after the plane of focus it's just basically neutral no fringing this is a situation
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where I'd expect to see fringing here here and all of the embedded uh edges
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here of the engraved portions of the lens you just don't see it anywhere this is a magnificent this is really is an a
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chromatic like uh performance here with the lateral style chromatic aberration I
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saw nothing on Sony I do see a little bit here on Nikon so for whatever reason it behaves just a little bit different
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in the corners of the frame nothing significant it's all easily correctable but there is some there that I didn't
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see on Sony so here testing on a 45 megapixel Nikon Z8 body this is at 200%
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magnification in the center of the frame you know it's it's basically perfect very high resolution uh as we move
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towards the mid-frame I mean if anything it looks better to my eye it's just really really magnificently sharp um all
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these little stamps you can see the detail right off to the edge down to this point you can see the New Zealand
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be bill it looks fantastic and then right on down here to the edge it's just really really strong I think that that
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lower resolution Point allows the Nikon version or maybe just the way that the Nikon uh sensor behaves allows you to
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get a little bit better Corner performance I this is really fantastic looking in all of those corners and you
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can also see it's very well centered as well I always think it's important to put those test chart results in context
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in a real world shot so that's f1.8 is that not just brilliantly sharp I mean
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all those fine details uh you can see here on Nala just you know fan fantastic
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another shot here I mean that is just look at how finely delineated all those little hairs are I mean that's just
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amazing this shot really stands out because it shows the blend of the beautiful rendering but then also the
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technical Brilliance you go in there and every little bit is just perfectly
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outlined there's no bleeding no soft edges it looks just fantastic and that
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means you can shoot you know full body length distant portraits here and obviously I'm shooting through snow and
28:59
so that you know snow is going to soften things just a little bit but even so you can see it's just brilliantly sharp
29:06
contrast is amazing the background is beautifully blurred out just awesome
29:11
stopping down to F2 there on the right hand you'll see that there actually is just a little bit more contrast to be
29:18
had there and so I mean if you want to do a very mild stop down it does add just a little bit more punch those of
29:24
you that are eagle-eyed may have noted that there is a glitch before the final firmware on the lens where for whatever
29:29
reason in Lightroom it's shows the lens designation properly but it shows the focal length incorrectly at 16 mm I've
29:35
been assured by VR that will get corrected in a firmware update you can see that I mean the amount of detail
29:41
that is there is just amazing from F2 to f2.8 you get just a little bit more just
29:48
a little crisper a little darker contrast there uh down into the corners you can see that the corners are looking
29:54
just better still more pop by F4 these Corners are just razor sharp I mean it's
30:01
really really fantastic and if we look for example over here you can just see how amazing that is enough to where
30:08
we're seeing that moir pattern on pretty much all the textures that might flow together it's just ridiculously sharp
30:15
now even with a super sharp lens defraction is going to kick in and so at f11 it's just mildly softer and then a
30:22
little bit softer at F-16 however this lens is just so sharp that I could compare this result to say the new 50 mm
30:30
f1.4 Z mount lens and I can tell you this this result is sharper even after
30:35
defraction than what that lens is at f2 and so it is just it's ridiculously sharp now those floating elements allow
30:42
for a really amazing up close performance it's able to deliver all these fine details it's just really
30:48
really special and like I said I think if you threw some uh extension tubes onto your your lens you could actually
30:55
get macro performance pretty easily and this lens is going to have no problem doing the actual resolving here is what
31:01
it looks like with a chest piece at that minimum Focus distance maximum magnification and you can see the detail
31:08
is obviously plain of focus is is tiny but where it is in Focus the detail is just fantastic and you're able to really
31:15
fill the frame with something quite small I use this lens for actually for
31:20
one of my other reviews to do all the product shots because as you as I said I mean it's it's delivering a macro likee
31:26
performance even if it can't deliver that level of magnification so if you up that magnification a bit you could get
31:32
really brilliant results uh here's another shot it's a just a little further out from minimum Focus distance
31:37
but again it's holding such amazing detail and delivering a gorgeous end result now we can see a wide open there
31:45
is a very mild amount of cat eye near the edge it's still quite round so not a big deal you can stop down a bit and
31:51
you'll get that rounder shape there are 11 aperture blades in this design going to deliver a nice circular shape kind of
31:58
threw out in many cases if you're up close you're probably going to want to just stop The Lens down not because you
32:04
need more sharpness as we'll see for a moment when these textures pop in it's brilliantly sharp but here at f2.8 I've
32:11
just shot that way just to increase the depth of field just a little bit and as you can see even at f2.8 it's really
32:16
quite tiny and the background is still completely obliterated colors I think are really really nice from this lens
32:23
and uh it just stands out it's that kind of rich and deep saturation because of having such good contrast and so even if
32:30
you're shooting landscape type images you're going to get tons of fine detail everywhere in the frame and really
32:36
really nice looking color and as noted I really love this lens for portraits here you can see at f1.8 one of the my
32:43
favorite things about 135 mm fast lenses is you can shoot full body portraits in
32:49
environments and still just really blur out the background and again here shooting through the texture of the
32:54
falling snow you can see that the detail is still amazing you move mve in a little bit closer as I've done here the
32:59
background disappears and you can have that beautiful blend of background color it's a little less the case here because
33:05
everything is wided out but I mean the amount of detail that's there skin tones and textures contrast in the hair all
33:13
those things it's a fantastic portrait lens finally flare resistance is really good here is a wide open Result and you
33:20
can see again there's no problems with Flare ghosting uh here in the corner I
33:27
put it here again there's no issues there if I stop The Lens down again no issues there you can see very very mild
33:34
ghosting pattern here but it just everything just holds up just fine so you're going to get a really really great end result all across every metric
33:41
basically optically with this lab series lens so as you can see the lab 135 f1.8
33:49
is an incredible Optical performer and really I would say at this point at
33:54
least this is easily the sharpest lens that I've tested on Nikon zount at this
33:59
point that's pretty High Praise as always thanks for watching have a great day and let the light in
34:06
[Music]

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Viltrox AF 135mm F1.8 LAB Z-Mount Review The Bargain Plena?

dustinabbott.net