Sigma 402965 16 mm F1.4 DC DN Contemporary Sony E Lens - Black

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These third-party lenses may offer compatibility, similar focal lengths, aperture values, and image quality to Fujinon lenses, but they may not have the same level of build quality or autofocus performance as Fujinon lenses. That said, if you’re buying an f/1.4 lens, you’ll want to be shooting it wide-open, and thankfully the bokeh, when shot in this way, is beautiful. Wide-open, edges are a little soft, but this adds to a natural vignetting of the image, giving great character. Ok, now for video starting with a focus pulling test between the two bottles, with the nearest one being close to the minimum focusing distance. You can see here the R5 and 16mm smoothly refocusing between the bottles when the central AF target falls on them. It may not be particularly fast in this test, but again is very smooth and confident. A 16mm wide-angle lens has a field-of-view of 107 degrees – but a 16mm fisheye has a field-of-view of 180 degrees. They have the same focal length but each one is designed for a different purpose. The 16mm wide-angle is designed to keep straight lines straight. Is 16mm considered fisheye?

Be more intentional when you photograph. Choose your lens based on the feeling or effect you want to add to your image. For many photographers (including myself), this is one of the best Fuji prime lenses ever made. When I tested a range of Fujifilm lens options for this review, I had this Fuji 23mm f/1.4 on my camera 90% of the time… and absolutely loved it.

CONVERGING VERTICALS

Each and every Fujinon camera lens has been designed specifically for Fujifilm X series cameras, providing high-quality optics and seamless compatibility. If I were to only buy one of the Fujifilm X lenses in this guide, I’d settle on this one, despite it being one of the older options. Vignetting is something of a non-issue, given that Fujifilm’s in-camera correction produces images with virtually none. It is slightly visible, shooting wide open, but is all but gone when shooting at f/2.8. It is rather academic as even when shooting wide open, you will be hard pushed to notice it unless you are photographing paint drying on a wall. Sigma 16mm F1.4 DC DN C for Z Mount

So let’s take a look at the best Fuji lenses right now, along with some samples of Fujinon lens photos so you get an idea of what each one is capable of. 1. Fuji 23mm f/2 WR Above: Let’s return to the centre of the image with the 16mm at f2.8 on the left and the RF 14-35mm f4L on the right at f4 and adjusted to match the field of view, where coincidentally the EXIF data reported it as being at the same 16mm focal length. Judging from these magnified crops, their quality in the middle of the frame at their maximum apertures is actually pretty similar, and this is with the 16mm operating one stop brighter too. The ‘WR’ in the name of the 23mm f/2 WR stands for ‘weather-resistant. You’ll see it on a few of the other Fujifilm lenses, including the 50mm f/2, 16mm f/1.4, 35mm f/2 and 90mm f/2, so in theory, my incredibly scientific ‘running water’ test is possible with all these lenses too (although you’ll need to be using one of Fuji’s weather-resistant camera bodies like the X-T4.) A wide angle lens is like any tool or gadget. You will have more success using it if you do so sparingly, and when appropriate. Now get out there and have some fun with it. Wide-angle lens suggestions Above: Closing the aperture one stop to f4 reduces the coma while also sharpening-up the edges of the landscape elements, and I’d recommend it if you can accommodate the reduction in light. That said, if you’re not examining the far corners, the astro performance isn’t bad at f2.8 considering the price of the lens.This will give your image layers of depth and make people want to look at it closer, to really explore what’s going on in your photographs. Even though there aren’t many 16mm primes, there are plenty of zoom lenses that incorporate this focal length. That might be good or bad, depending on your needs. In my opinion, the 16mm f/1.4 is quite simply the best wide angle lens available for Fuji x series cameras today, thanks to its image quality, build and versatility. The only ways to reduce converging verticals are to either (i) aim your camera closer to the horizon, even if this means that you'll capture a lot of ground in addition to the subject (which you crop out later), (ii) get much further from your subject and use a lens with a longer focal length, (iii) use Photoshop or other software to distort the photo so that vertical lines diverge less, or (iv) use a tilt/shift lens to control perspective. The trio comprised the 16mm F1.4 DC DN C, but also the 30mm F1.4 DC DN C, and the 56mm F1.4 DC DN C. This is now the sixth mount that these lenses have become available in, following the initial introduction for Sony E mount and Micro Four Thirds, followed by Canon EOS M, Leica L and most recently Fujifilm X (which most of this review is based on).

Focus is silent and fast, perfectly complementing Fujifilm X mount mirrorless cameras for discreet shooting. The 55-200mm focal length when used on a Fuji X mount camera with a 1.52x crop factor shows the same angle of view as an 80-300mm lens on a 35mm camera – see this guide for more about focal length conversions. When combined with the high ISO performance of the X-series mirrorless camera lineup, low light photography is made a lot more achievable. When it comes to autofocus, the Fujinon XF 50mm f/2 is one of the fastest Fujifilm x-mount options available. There is zero evidence of focus hunt even in low lighting conditions making this a great lens for capturing animal or children portraits. when designed for full-frame 35mm cameras and around 10mm for subframe cameras. 15mm and 16mm full-frame fisheyes, when used in cropped cameras, just act as moderately wide-angle lenses, with only a little fishiness visible. Is 16mm wide enough for landscape?Adobe's automated correction profile takes Canon's a step further. It straightens out distortion and cuts away the vignette even more effectively than with Canon's JPGs. You'll enjoy a slightly wider angle with Adobe's profiles, without distracting barrel distortion or a vignette. Above: Close them both to f4 and there’s minor improvements to contrast and sharpness, but again the 15-35 stays slightly ahead… A Raw file with Adobe profile corrections (left) corrects for distortion and vignette, while showing a slightly wider view than the camera JPG (right) (Photo: Jim Fisher) The last mistake beginners make is to use a wide angle lens just because it’s cool, or funky, or different.

Above: At the other end of the aperture range you can achieve attractive diffraction spikes, with the seven aperture blades delivering 14 spikes. This is how it looks with the aperture fully-closed to f22. This image (above) was shot from the hip (literally) as I crossed the street in NYC. I wanted the feel of the people coming at me. The finished image was cropped and processed like this: That may be a good record of what the shop looks like – but remember to use the tips above to make a stronger image. Street vendor in Havana, Cuba 17mm lens (full frame) I'm very big on bokeh and this lens does perform - albeit not well enough for me. The bokeh is quite decent if the object in focus is close enough (although for portraits, your subject can feel invaded because of the proximity that will be required to get the best bokeh). From my use, I found that it has very unnoticeable to no chromatic aberration in almost all situations & it has a fair bit of distortion but it's nothing that can't be easily fixed in post-production if you are shooting raw.

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Da qui potrei scrivere un Libro su quanto dannatamente bello e divertente da utilizzare sia stato il SIGMA 16 mm ed anche ora che sto scrivendo questa recensione dopo mesi e mesi di utilizzo lo reputo ancora il Miglior Obiettivo sul mercato nonchè il Miglior Obiettivo che ho mai comprato in vita mia e ne ho acquistati un bel po prima che questo Capolavoro arrivasse nella mia collezione ma nessuno può competervi in modo alcuno. As soon as you get close enough to make the subject larger – it will start to stand out. So part of getting a clear subject is getting in tight. The close-focus distance of just 15cm (0.49ft) is also a welcome addition, allowing you to get up close and personal to your subject, while still including enough of the environment in the frame to tell the complete story. Get closer, have a well defined and clear subject, include less “stuff”, take wide angle people photos properly, and make conscious decisions about using your wide, or selecting another lens. Unless you absolutely need the fastest glass you can buy (for low light shooting), I’d actually recommend investing in the 23mm f/2 WR Fujifilm wide angle lens and spending what you save on education.