The choice of a wide angle lens can be dictated by the needs of a practical task, such as interior or landscape photography, but photographers prefer wide-angle lenses because of their artistic expressiveness. The possibilities of these kinds of optics are amazing, thanks to the endless variety of perspective effects and the special space that an experienced photographer can use them to create in the frame.
In recent years, the development of photographic optics has been rapid, and this progress has also affected the wide angle class. We couldn’t help mentioning Sigma 35mm f/1.4 which revolutionized the quality of professional optics and set a new standard.
Lenses with perspective distortion correction tilt-shift are gaining in popularity once again – both because of their unique properties that allow them to replicate the effects of the large format that seems to have faded into history in digital, and because the overpopulation of the modern world by photographers craving for unique self-expression, encourages the search for non-trivial ways to break from the crowd.
In the search for expressiveness in practice most often lenses with fixed focal length fixes are used. The discerning photographer looks for “his” tool, and to get it you have to try different types of optics – and if you’re lucky, sooner or later you’ll find exactly what you’re looking for. In this review, we’ve compiled the fixed focal length wide-angle full-frame lenses on the market today.
Not that the ranks of producers multiplied: Tamron and Tokina stopped producing their wide angle fixes, Pentax left the full frame and decided to get hold of APS sensors and medium format.
But Korean optic manufacturer Samyang has entered the market, which became widely known only recently, although it has been working in this area for 40 years its products are also sold under the brand Rokinon, Bower, Pro Optic, Walimex and others .
They say it suffers from a special kind of patriotism of the Japanese photographic giants: they refuse to license autofocus lenses for their mounts to non-Japanese companies, so they have to limit themselves to lenses with manual focus.
But you can still get a taste of how good optics produces outstanding image quality for very little money – even if it means a lot of fiddling with the focus ring and aperture ring. And if the result is an enriched world with great shots, it means the manufacturers have done their work for a reason.
Good shooting!
READ MORE:
Going back to the basics: fixed focal length lens overview.
The new universal format: Overview of mirrorless lenses.
The new elite: an overview of zoom lenses for APS-C format cameras
Light is power: Overview of professional light-fast zooms for full-frame cameras.
Mass stability! A review of budget lenses with optical stabilization.
Canon EF 14mm f/2.8L II USM
| Bayonet | Canon EF |
| Image format | 24×36mm |
| Lens construction | 14 elements in 11 groups |
| Focal length | 14mm |
| Focal length 35mm Eq. | 22.4 mm |
| Maximum aperture | 2,8 |
| Minimum aperture | 22 |
| Angle of view | 114° |
| Minimal focus distance | 20 cm |
| Maximum magnification | 0,15h |
| Number aperture blade | 6 rounded |
| Type of hood | built-in |
| Light filter diameter | Back mount for gelatin filters |
| Optional features | 2 UD glass elements, 2 aspherical lenses |
| Dimensions | 78.7 ×94mm |
| Weight | 645 g |
The new model indicated in the name as II came out in 2007 and has a completely recalculated optical scheme. Two aspherical elements for exceptional resolution, even at open apertures, and an ultra-low dispersion glass lens to suppress chromatic aberrations are incorporated.14mm ultra wide-angle – indispensable tool for interior, architectural and landscape photography. Until recently, 14mm was the minimum focal length for full-frame optics, not counting fishets the record now belongs to the Sigma 12-24mm zoom .
Low distortion, important for architectural and interior scenes. The lens is part of the professional L-series, which shows its uncompromising craftsmanship and high reliability. Has a dust-proof housing and a state-of-the-art fast ring-type autofocus motor with the ability to manually correct the focus at any time.
Price $2200 [BEGINNING THE REVIEW]
Canon TS-E 17mm f/4L Tilt-Shift
| Bayonet | Canon EF |
| Image format | 24×36mm |
| Lens construction | 18 elements in 12 groups |
| Focal length | 17 mm |
| Focal length 35 mm Eq. | 27.2mm |
| Maximum aperture | 4 |
| Minimum aperture | 22 |
| Angle of view | 104° |
| Minimum focus distance | 25 cm |
| Maximum magnification | 0,14h |
| Number of aperture blades | 8 rounded |
| Hood type | no |
| Light filter diameter | no |
| Optional features | ± 6.5° tilt, ± 12mm shift 4 UD glass elements, aspherical lens |
| Dimensions | 88.9 × 106.7 mm |
| Weight | 820 g |
Unrivalled lens that’s unmatched by any other lens manufacturer. Released in 2009, since then Canon’s lineup of perspective-corrected lenses has grown to 4 models 17, 24, 45 and 90mm . the design of the new generation tilt-shift lenses 17 and 24 mm allows you to set the tilt axis and shift direction independently of each other.
The lens has superb optical characteristics – high sharpness and virtual absence of distortion, and these characteristics remain more or less evenly distributed throughout the frame thanks to the precision aspherical front element the ultra-low dispersion glass lens significantly reduces chromatic aberration. The latest lens coating reduces the risk of flare and ghosting in backlight. Interestingly, at such a short focal length, the shift capability is 12 mm.
Price $2450 [BEGINNING OF REVIEW]
Canon EF 20mm f/2.8 USM
| Bayonet | Canon EF |
| Image format | 24×36 mm |
| Lens construction | 11 elements in 9 groups |
| Focal length | 20 mm |
| Maximum aperture | 2,8 |
| Focal length 35mm eq. | 32mm |
| Minimum aperture | 22 |
| Angle of view | 94° |
| Minimum focus distance | 25 cm |
| Maximum magnification | 0,14h |
| Number of aperture diaphragm blades | 6 rounded |
| Hood type | EW-75II |
| Light filter diameter | 72mm |
| Additional features | Super UD glass element, aspherical lens |
| Dimensions | 77.5 × 70.6 mm |
| Weight | 405 g |
A veteran lens from the early 1990’s when Canon launched its first line of professional zoom lenses with what was then the world’s most advanced ultrasonic autofocus motor. Despite its venerable age, the lens is still popular today, thanks to its excellent optical quality, high aperture ratio and relative lightness and compactness.
Features a “floating” back focus element, providing excellent resolution at all focus distances, with the ability to manually adjust focus at any time. The use of aspherical lens elements and UD glass elements in the optical design enables high sharpness and contrast, while keeping distortion acceptably low.
Price $560 [BEGINNING OF REVIEW]
Canon EF 24 mm f/1.4L II USM
| Bayonet | Canon EF |
| Image format | 24×36 mm |
| Lens design | 13 elements in 10 groups |
| Focal length | 24mm |
| Focal length 35 mm Eq. | 38.4 mm |
| Maximum aperture | 1,4 |
| Minimum aperture | 22 |
| Angle of view | 84° |
| Minimum focus distance | 25 cm |
| Maximum magnification | 0,17h |
| Number of aperture blades | 8 rounded |
| Hood type | EW-83 K included |
| Light filter diameter | 77 mm |
| Additional options | 2 UD glass elements, 2 aspherical lenses |
| Dimensions | 83,5 ×87 mm |
A new generation of the legendary bright wide-angle came out in 2008. The completely redesigned second version differs from its predecessor in that it offers greatly improved optical properties through the use of high-precision die-cast aspherical elements and low-dispersive glass lenses.
Test results show that while the image is still soft at a fully open aperture, when the aperture is only half aperture, excellent sharpness is achieved in most of the frame, and starting from f/3.5 the resolution in the center exceeds the capabilities of modern sensors. As you’d expect from an L-series luxury lens, it’s built to perform flawlessly and reliably. “Floating” focusing mechanism ensures uniform optical performance throughout the entire focusing range, from infinity to the near limit.
Price $1600 [BEGINNING OF REVIEW]
Canon TS-E 24mm f/3.5L II Tilt-Shift
| Bayonet | Canon EF |
| Image format | 24×36 mm |
| Lens construction | 16 elements in 11 groups |
| Focal length | 24 mm |
| Focal length 35mmEq. | 38.4 mm |
| Maximum aperture | 3,5 |
| Minimum aperture | 22 |
| Angle of view | 84° |
| Minimum focus distance | 21 cm |
| Maximum magnification | 0,34h |
| Number of aperture blades | 8 rounded |
| Type of lens hood | EW-88B included |
| Light filter diameter | 82 mm |
| More features | Tilt ± 8.5°, shift ± 12 mm |
| Dimensions | 88.5 × 106.9 mm |
| Weight | 780 g |
The most popular professional lens for architecture and interiors was updated in 2009, and the changes were impressive: the maximum possible shift distance was increased to 12 mm, at the same time independent tilt and shift settings became possible.
Redesigned lens optics, incorporating aspherical elements in particular, the front lens is an impressively large, super-precision cast aspherical element and low-dispersive glass lens elements for superior imaging performance, including low chromatic aberration.
The latest special SWC and Super Spectra coatings protect the image against glare and flare in backlit conditions. In addition, a tilt lock tilt-lock has been added to prevent accidental lens tilting.
Price $2150 [BEFORE REVIEW]
Canon EF 24 mm f/2.8 IS USM
| Bayonet | Canon EF |
| Image format | 24×36 mm |
| Lens design | 11 elements in 9 groups |
| Focal length | 24 mm |
| Focal length 35 mmEq . | 38.4 mm |
| Maximum aperture | 2,8 |
| Minimum aperture | 22 |
| Angle of view | 84° |
| Minimal focus distance | 20 cm |
| Maximum magnification | 0,35h |
| Number of diaphragm blades | 7 rounded |
| Hood type | EW-65B |
| Light filter diameter | 58 mm |
| Optional features | optical stabilizer |
| Dimensions | 68.3 × 55.6 mm |
| Weight | 281 g |
Two years ago, Canon redesigned its wide-angle fixes lineup and gave them a completely new optical image stabilization system. Canon EF 24mm f/2.8 IS USM differs from its predecessor in every way: it has a new, modern optical scheme, which provides unprecedented uniformity of optical characteristics at all apertures, t. e. The image is flawlessly sharp throughout the frame even at the open aperture, and the resolution increases steadily up to about f/8, after which it drops evenly due to diffraction. The optical stabilization system, realized for the first time in the world in this lens class, gives photographers about 4 extra steps at the same time, the novelty remains compact and lightweight
Price $670 [BEGINNING OF REVIEW]
Canon EF 28mm f/1.8 USM
| Bayonet | Canon EF |
| Image Format | 24×36 mm |
| Lens design | 10 elements in 9 groups |
| Focal length | 28mm |
| Focal length 35mmEq . | 44.8 mm |
| Maximum aperture | 1,8 |
| Minimum aperture | 22 |
| Angle of view | 75° |
| Minimum focus distance | 25 cm |
| Maximum magnification | 0,18h |
| Number of aperture blades | 7 rounded |
| Hood type | EW-63 II |
| Light filter diameter | 58mm |
| Optional features | aspherical lens |
| Dimensions | 73.7 × 55.9 mm |
| Weight | 310 g |
Canon EF 28mm f/1.The 8 USM was released way back in 1995, when the “supersonic” motor and aspherical element were hot news as part of a line of professional wide-angle fixes, but still enjoys the well-deserved love of photographers, primarily street photography enthusiasts. Features sharpness even at open apertures, as well as fast, accurate and quiet autofocus.
The aspherical element greatly reduces aberrations and maintains the principal image characteristics throughout the frame. The fast aperture provides photographers with the freedom to manipulate the image and lets the background be noticeably blurred, even at medium distances, to highlight the main subject in the frame and to shoot in low light.
Price $470 [BEFORE REVIEW]
Canon EF 28mm f/2.8 IS USM
| Bayonet | Canon EF |
| Image Format | 24×36 mm |
| Lens construction | 9 elements in 7 groups |
| Focal length | 28 mm |
| Focal length 35 mm-eq . | 44.8 mm |
| maximum aperture | 2,8 |
| Minimum aperture | 22 |
| Angle of view | 75° |
| Minimum focus distance | 23 cm |
| Maximum magnification | 0,23h |
| Quantity aperture blades | 7 rounded |
| Hood type | EW-65B |
| Light filter diameter | 58mm |
| Supplementary features | optical stabilizer |
| Dimensions | 68.3 × 51.3 mm |
| Weight | 261 g |
Another Canon innovation with optical image stabilization shares with EF 24mm f/2.8 IS USM laurels the world’s first “stabilized” lens in this class they came out the same day and features similarly high optical performance.
I must mention that no other lens maker yet has such lens in its lineup, and yet the optical stabilizer with an efficiency of about 4 additional steps is undoubtedly a very sought after technology.
Like its “twin” EF 24mm f/2.8 IS USM, has a high-speed autofocus motor for fast, silent focusing can be manually corrected for focus at any time. Aspherical element results in low aberrations, yet the lens remains compact and very light.
Price $700 [BEGINNING OF REVIEW]
Canon EF 35mm f/1.4L USM
| Bayonet | Canon EF |
| Image format | 24×36 mm |
| Lens design | 11 elements in 9 groups |
| Focal length | 35 mm |
| Focal length 35mm-eq. | 56 mm |
| Maximum aperture | 1,4 |
| Minimum aperture | 22 |
| Angle of View | 63° |
| Minimum focus distance | 30 cm |
| Maximum magnification | 0,18h |
| Number of diaphragm blades | 8 rounded |
| Hood type | EW-78C included |
| Light filter diameter | 72 mm |
| Supplementary features | aspherical lens |
| Dimensions | 78.7 × 86.4 mm |
| Weight | 580 g |
A legendary lens, one of the gems of the L-series, with the fastest aperture possible today, a gorgeous memorable image and vivid color reproduction is beloved by professionals, especially reporters. Its large aperture ratio provides effective background blur, especially at close range and in unfavorable lighting conditions.
The image quality is the main treasure of this lens, and it is not the individual characteristics sharpness, distortion and aberration that count, but the result: the pictures taken with the 35/1.4 immediately stand out in the overall picture mass. This is due to the floating focusing mechanism, the use of aspherical elements in the optical scheme and proprietary optical coating. Ultrasonic focusing motor and rear lens group focusing enables exceptionally fast and near silent focusing.
Price $1370 [BEFORE REVIEW]
Canon EF 35mm f/2 IS USM
| Bayonet | Canon EF |
| Image format | 24×36 mm |
| Lens construction | 10 elements in 8 groups |
| Focal length | 35 mm |
| Focal length 35 mm-eq. | 56 mm |
| Maximum aperture | 2 |
| Minimum aperture | 22 |
| Angle of View | 63° |
| Minimal focus distance | 24 cm |
| Maximum magnification | 0,24h |
| Number of aperture blades | 8 rounded |
| Hood Type | EW-72 |
| Light filter diameter | 67 mm |
| Advanced features | optical stabilizer |
| Dimensions | 77.9 × 62.6 mm |
| Weight | 335 g |
Another of Canon’s three newest wide-angle lenses with optical image stabilization that is unique in this class. It comes just behind its focal length counterparts at 24 and 28 mm, but it clearly outdoes them in imaging quality: according to some tests, the 35/2 IS is the image quality champion of lenses with a focal length of up to 70 mm.
Remarkable for its exceptionally even image characteristics both in the entire field of view and at different apertures. Already at fully open aperture, the lens gives a uniquely even distribution of resolution from the center of the frame to the edges all the way to the corners. The Stabilizer gives photographers up to 4 additional shutter speeds, radically broadening the range of applications. Cast aspherical element effectively corrects spherical aberrations and minimizes curvature of field.
Price $720 [BEGINNING OF REVIEW]
Nikon AF Nikkor 14mm f/2.8D ED
| Bayonet | Nikon F |
| Image format | 24×36 mm |
| Lens design | 14 elements in 12 groups |
| Focal length | 14 mm |
| Focal length 35mmEq . | 21 mm |
| Maximum aperture | 2,8 |
| Minimum aperture | 22 |
| Viewing angle | 114° |
| Minimum focus distance | 20 cm |
| Maximum magnification | 0,15h |
| Number of aperture blades | 7 rounded |
| Type of lens hood | built-in |
| Light filter diameter | no |
| Optional options | ED glass element, 2 aspherical lenses |
| Dimensions | 86.4 × 86.4 mm |
| Weight | 670 |
The widest wide-angle lens in the brand’s Eyepiece Lineup, which features two hybrid aspherical lenses and a low-dispersive glass element to radically enhance image quality, optical uniformity throughout the frame, and a compact, lightweight design. Focusing is carried out by moving the rear lens group, t. e. Quick and low-noise.
The convex front element prevents the installation of conventional filters, but it is possible to use special gelatin filters, which are attached to the rear surface of the lens the regular holder is part of the construction . Transmits the focus distance to the camera, allowing better metering and calculating flash output from the on-camera flash unit. Autofocus is from a “screwdriver” drive, t. e. Does not work on younger cameras in Nikon lineup.
Price $1560 [BEGINNING OF REVIEW]
Nikon AF NIKKOR 20mm f/2.8D
| Bayonet | Nikon F |
| Image Format | 24×36 mm |
| Lens construction | 12 elements in 9 groups |
| Focal length | 20 mm |
| Focal length 35 mmEq . | 30 mm |
| Maximum aperture | 2,8 |
| Minimum aperture | 22 |
| Angle of view | 94° |
| Minimum focus distance | 25 cm |
| Maximum magnification | 0,12h |
| Number of aperture diaphragm blades | 7 rounded |
| Type of lens hood | HB-4 |
| Light Filter Diameter | 62 mm |
| Optional features | Distortion correction at close distances |
| Dimensions | 69 × 42.5 mm |
| Weight | 270 g |
One of the time-tested – and well proven – lenses in the Nikon lineup. The current version AF-D has been produced since 1994, but the first version came out a decade earlier.
Compact and lightweight, the optical performance is superb edge-to-edge and corner-to-edge resolution are especially impressive , and distortion is low, making it ideal for travel and city photography – straight lines of buildings remain straight. Chromatic aberrations are noticeable, but can be easily corrected by processing.
Distortion correction at close focusing distance provides excellent images even at appreciable magnification. Autofocus is from a “screwdriver” drive, t. e. Only works with older Nikon cameras
Price $680 [BEFORE REVIEW]
Nikon AF-S NIKKOR 24mm f/1.4G ED
| Bayonet | Nikon F |
| Image Format | 24×36 mm |
| Lens design | 12 elements in 10 groups |
| Focal length | 24 mm |
| Focal length 35 mm Eq. | 36 mm |
| Maximum aperture | 1,4 |
| Minimum aperture | 16 |
| View angle | 84° |
| Minimum focus distance | 25 cm |
| Maximum magnification | 0,18h |
| Quantity aperture blades | 9 rounded |
| Hood type | HB-51 complete set |
| Light Filter Diameter | 77 mm |
| More features | UD glass elements, aspherical lens elements |
| Dimensions | 83.8 × 88.9 mm |
| Weight | 620 g |
This super-professional 24mm f/1.4G wide-angle lens was launched only recently – in 2010 – and it incorporates all the best that has been achieved to date in photographic technology: advanced optical design with two aspherical lenses and two low dispersion glass elements, the latest nanocrystalline coating that provides excellent microcontrast, color balance and backlight prevention, the latest autofocus system, dust and moisture protection for the metal housing and much more.
Resolution reaches very high values, especially in the center of the frame. The built-in “supersonic” autofocus motor makes it work properly with all the company’s cameras. All in all, real professional optics: expensive, heavy, fast, reliable and with excellent image quality.
Price $1880 [BEFORE REVIEW]
Nikon AF NIKKOR 24mm f/2.8D
| Bayonet | Nikon F |
| Image format | 24×36 mm |
| Lens construction | 9 elements in 9 groups |
| Focal length | 24 mm |
| Focal length 35 mm-eq. | 36 mm |
| Maximum aperture | 2,8 |
| Minimum aperture | 22 |
| Angle of view | 84° |
| Minimum focus distance | 30.5 cm |
| Maximum magnification | 0,11h |
| Quantity aperture blades | 7 rounded |
| Hood type | HN-1 |
| Light filter diameter | 52 mm |
| Optional features | Correction of distortion at close distances |
| Dimensions | 63.5 × 45.7 mm |
| Weight | 270 g |
Even older than the 20/2.8, this lens was first introduced in 1977. Nevertheless it enjoys a well-deserved popularity due to its compactness, lightness, excellent optical characteristics and, of course, its aperture ratio.
For all its good points the lens remains quite affordable and for traditionalists it shouldn’t be too hard to assemble a lineup of similar fixes so you don’t have to use a zoom lens. Sharpness is very good in the center at almost all apertures, but to “tighten up” the edges, you need to set at least f/5.6.
Chromatic aberration is small at open apertures, but increases with aperture, although if you shoot with a modern camera with built-in aberration correction, you may never know about it. Autofocus is “out of camera”, via a “screwdriver” actuator therefore, does not work on lower models of cameras.
Price $350 [BEGINNING OF REVIEW]
Nikon PC-E NIKKOR 24mm f/3.5D ED
| Bayonet | Nikon F |
| Image format | 24×36 mm |
| Lens design | 13 elements in 10 groups |
| Focal length | 24 mm |
| Focal length 35mmexc . | 36 mm |
| Maximum aperture | 3,5 |
| Minimum aperture | 32 |
| Angle of View | 84° |
| Minimum focus distance | 21 cm |
| Maximum magnification | 0,37h |
| Number of aperture blades | 9 rounded |
| Type of lens hood | NV-41 included |
| Light filter diameter | 77 mm |
| Additional capabilities | ± 8.5° tilt, ± 11.5 mm shift |
| Dimensions | 81.3 × 109.2 mm |
| Weight | 730 g |
Tilt-shift lenses were originally perceived as a highly specialized tool with a limited scope of application. However, after the large format has practically gone away, and the tasks of the large format have remained relevant, this class of optics has attracted attention.
The Nikkor PC-E 24mm f/3.5D was released in 2008 and has become a kind of symbol of Nikon’s achievements: the optical scheme includes three aspherical lenses and three elements of low-dispersed glass for maximum aberration correction, one element has nanocrystal coating, the rest – the best proprietary Super Integrated Coating, ensuring perfect contrast, color rendering and protection against glare and flare. Offset and tilt of the optical axis to recreate a natural-looking perspective in the frame. Manual focus.
Price $2200 [BEGINNING OF REVIEW]
Nikon AF NIKKOR 28mm f/2.8D
| Bayonet | Nikon F |
| Image format | 24×36 mm |
| Lens construction | 6 elements in 6 groups |
| Focal length | 28 mm |
| Focal length 35mmEq . | 42 mm |
| Maximum aperture | 2,8 |
| Minimum aperture | 22 |
| Angle of view | 74° |
| Minimum focusing distance | 26 cm |
| Maximum magnification | 0,18h |
| Number of aperture blade | 7 rounded |
| Type of hood | HN-2 |
| Light Filter Diameter | 52 mm |
| Additional features | |
| Dimensions | 65 ×45 mm |
| Weight | 205 g |
A wide-angle lens from the era when Nikon created its first line of autofocus fixes 1994 . Since the company’s lenses back then were focused by a motor located in the camera, autofocusing is not possible on today’s junior Nikon cameras. The lens is lightweight and compact and is perfect for a variety of applications: street, reportage, travel, etc. d.
In terms of optical performance, it is inferior to the latest generation lenses, which is expressed primarily in a large difference in sharpness when comparing the center of the frame and the edges. However, this, too, can be an expressive tool in the hands of an experienced photographer. While resolution in the center is excellent already at full aperture, you need to aperture the lens to about f/5.6 to achieve acceptable sharpness closer to the edges.
Price $250 [BEGINNING OF REVIEW]
Nikon AF-S NIKKOR 28mm f/1.8G
| Bayonet | Nikon F |
| Image format | 24×36 mm |
| Lens construction | 11 elements in 9 groups |
| Focal length | 28 mm |
| Focal length 35 mm Eq. | 42 mm |
| Maximum aperture | 1,8 |
| Minimum aperture | 16 |
| Angle of view | 75° |
| Minimum focus distance | 25 cm |
| Maximum magnification | 0,18h |
| Number of aperture blades | 7 rounded |
| Hood type | HB-64 |
| Light filter diameter | 67 mm |
| Optional features | |
| Dimensions | 73.7 × 81.3 mm |
| Weight | 330 g |
A new generation lens, only recently released in 2012. Fully meets the requirements of modern optics: first of all it’s an excellent image already at a fully open aperture and uniformity of resolving power over the whole field of the frame. Nikon positions this lens as amateur or semi-professional, but its optical quality rivals that of the recently discontinued and much more expensive professional Nikkor 28/1.4.
Resolution in the center of the predecessor was slightly higher, but already a centimeter from the center dropped, yielding to the newcomer very significantly. The 28/1.8’s semi-professionalism is evident in its plastic body very good quality, though and, welcome, in its price. Other highlights of the 28/1.8 are the latest autofocus motor and nanocrystalline coating.
Price $650 [BEFORE REVIEW]
Nikon AF-S NIKKOR 35mm f/1.4G
| Mount | Nikon F |
| Image format | 24×36 mm |
| Lens construction | 10 elements in 7 groups |
| Focal length | 35 mm |
| Focal length 35 mm eq. | 52.5 mm |
| Maximum aperture | 1,4 |
| Minimum aperture | 16 |
| Angle of view | 63° |
| Minimal focus distance | 30 cm |
| Maximum magnification | 0,18h |
| Quantity aperture blades | 9 rounded |
| Type of hood | HB-70 |
| Light filter diameter | 67 mm |
| Additional features | aspherical lens |
| Dimensions | 83.1 × 89.4 mm |
| Weight | 601 g |
35/1.4 is one of the most important and sought-after lenses in any serious lens manufacturer’s lineup. The Nikkor 35/1.4, released in 2010, is a real professional camera, well-made, reliable, dust-proof and with a solid metal frame.
“Ultra-sonic focusing motor works precisely and quietly, aspherical element effectively combats aberrations, nano-crystalline coating prevents internal flare in backlit conditions.
Manual focus correction possible at any time. The optical performance is superb: resolution in the center of the frame is excellent at the fully open aperture and goes up to about f/4, resolution around the edges is not far behind. Great light output enables effective background blurring, even at medium focus distances.
Price $1680 [BEFORE REVIEW]
Nikon AF-S NIKKOR 35mm f/1.8G ED
| Bayonet | Nikon F |
| Image format | 24×36 mm |
| Lens design | 11 elements in 8 groups |
| Focal length | 35 mm |
| Focal length 35mmEq . | 52.5 mm |
| Maximum aperture | 1,8 |
| Minimum aperture | 16 |
| Angle of view | 63° |
| Minimal focus distance | 25 cm |
| Maximum magnification | 0,24h |
| Quantity aperture diaphragm blades | 7 rounded |
| Hood type | HB-70 |
| Light filter diameter | 58 mm |
| Extra features | UD glass element, aspherical lens |
| Dimensions | 72 × 71.5 mm |
| Weight | 305 g |
Nikon’s newest lens, released earlier this year, and has every chance to become super popular. Tops the Nikon optics test chart for its optical merits, and among Nikon brand lenses with a focal length of 35 mm, it is recognized as the best.
Part of the upcoming line of semi-professional prime lenses with F1.8 aperture ratio and built-in “supersonic” focusing motor already includes 28mm, 50mm and 85mm lenses . The test results are impressive: already at f/1.8 sharpness in the center is excellent, at f/2 it visibly increases, and at f/2.8 it peaks sharpness over the entire frame at f/2.8 is excellent.
The semi-professionalism of the lens turns out to be relatively inexpensive: it’s considerably cheaper than its counterparts with aperture ratio of F1.4, while the difference between f/1.4 and f/1.8 can hardly be called a principle.
Price $630 [BEGINNING OF REVIEW]
Samyang 14 mm f/2.8 ED AS IF UMC
| Bayonet | Canon EF, Nikon F, Sony/Minolta A, Sony E, Pentax K, Panasonic/Olympus 4/3, Samsung NX |
| Image Format | 24×36 mm |
| Lens design | 14 elements in 10 groups |
| Focal length | 14 mm |
| Focal length 35mmEq. | 21mm |
| Maximum aperture | 2,8 |
| Minimum aperture | 22 |
| Angle of view | 115,7° |
| Minimal focusing distance | 27.4 cm |
| Maximum magnification | n/a |
| Number of aperture blades | 6 rounded |
| Type of lens hood | built-in |
| Light filter diameter | no |
| Additional features | 2 UD glass elements, 2 aspherical lenses |
| Dimensions | 87 × 96.1 mm |
| Weight | 552 g |
Manual focus lens, working aperture must also be set manually. With the 14mm focal length, however, focusing errors are rarely critical and Live View mode is helpful in complicated cases.
But this inconvenience is more than off-set by the excellent image quality according to reputable tests, the Korean lens outperforms professional 14 mm lenses in both Canon and Nikon optical systems and by the price it is several times cheaper than its big competitors .
The imaging performance is strikingly uniform throughout the frame, i.e. e. Sharpness in the corners is not much inferior to the center, showing record performance there and there, and chromatic aberration is virtually absent at all apertures.
Price $400 [START OF REVIEW]
Samyang 24 mm f/1.4 ED AS UMC
| Bayonet | Canon EF, Nikon F, Sony/Minolta A, Sony E, Pentax K, Panasonic/Olympus 4/3, Samsung NX |
| Image format | 24×36 mm |
| Lens construction | 13 elements in 12 groups |
| Focal length | 24mm |
| Focal length 35mmeq. | 36 mm |
| Maximum aperture | 1,4 |
| Minimum aperture | 22 |
| Angle of view | 84° |
| Minimum focusing distance | 25 cm |
| Maximum magnification | n/a |
| Number of aperture blade | 8 rounded |
| Hood type | included |
| Light filter diameter | 77 mm |
| More options | 4 UD glass elements, 2 aspherical lenses |
| Dimensions | 83 ×95 mm |
| Weight | 680 g |
The 24/1.4 is a classic bright wide-angle lens, and in 2011 Samyang introduced its own version of this sought-after lens. Like other products by the company, it has a manual focus and manual aperture setting, but the optical advantages of Korean optics more than compensate for these inconveniences in operation.
According to reputable tests DxO , the optical performance of this lens was quite comparable to similar professional lenses from the giants, and if the resolution in the center of the lens Canon and Nikon is slightly higher, the difference in sharpness between the center of the frame and the edges with Samyang significantly less, and resolution at the edges and corners of the frame is noticeably higher than both lenses of competitors, which also cost two or three times more. High-end lens coating provides a high degree of protection against glare when shooting in backlight.
Price $600 [BEGINNING OF REVIEW]
Nikon AF NIKKOR 35mm f/2D
| Bayonet | Nikon F |
| Image format | 24×36 mm |
| Lens design | 6 elements in 5 groups |
| Focal length | 35 mm |
| Focal length 35 mmEq. | 52.5 mm |
| Maximum aperture | 2 |
| Minimum aperture | 22 |
| Angle of view | 62° |
| Minimum focus distance | 25 cm |
| Maximum magnification | 0,24h |
| Number of aperture blades | 7 rounded |
| Hood type | NV-70 |
| Light Filter Diameter | 52 mm |
| Auxiliary features | aspherical lenses |
| Dimensions | 63.5 × 43.2 mm |
| Weight | 205 g |
A veteran lens from way back in 1995, when autofocus was still conquering the photographic world – so autofocus is via a “screwdriver” camera drive and does not work on modern Nikon amateur DSLRs.
The main advantages of the lens are its lightness, compactness, reliability, aperture ratio and very good image quality in the center of the frame, especially if you shut down the aperture to f/4-5.6. However, resolution closer to the edges and in the corners of the frame remains unsatisfactory up to f/5.6-8.
Sure, you can play around with this too and use it as an expressive tool, but it’s still best to keep it in mind when deciding which lens to buy. Overall, an excellent choice for light travel, street and genre photography, reportage.
Price $330 [BEGINNING OF REVIEW]
Samyang Tilt-Shift 24 mm f/3.5 ED AS UMC
| Bayonet | Canon EF, Nikon F, Sony/Minolta A, Sony E, Pentax K |
| Image format | 24×36 mm |
| Lens construction | 16 elements in 11 groups |
| Focal length | 24 mm |
| Focal length 35mm Eq. | 36mm |
| Maximum aperture | 3,5 |
| Minimum aperture | 22 |
| Angle of view | 83,5° |
| Minimum focus distance | 20 cm |
| Maximum magnification | N/A |
| Number of aperture blades | 8 rounded |
| Hood type | removable, mount |
| Light Filter Diameter | 82 mm |
| Additional options | Tilt ± 8.5°, shift ± 12 mm, 2 UD glass elements, 2 aspherical lenses |
| Dimensions | 86 × 110.5 mm |
| Weight | 620 g |
One of Samyang’s newest lenses – released in 2012. Like Nikon’s other products, the Tilt-shift 24/3,5 is a great optical device at a very generous price – it’s at least half the price of similar lenses offered by market leaders, but with comparable image quality.
Moreover, in this class the main advantage of grands over Korean lenses – autofocus and automatic aperture – disappears, so there are more arguments in favor of the novelty. Mobility capabilities are not inferior to the competition. Optical scheme includes two aspherical lenses and two low-dispersion glass elements, the optics are coated with the most advanced type UMC means ultra multi-coated . Samyang’s most optically advanced lens to date.
Price $930 [BEFORE REVIEW]
Samyang 35 mm f/1.4 AS UMC
| Bayonet | Canon EF, Nikon F, Sony/Minolta A, Sony E, Pentax K, Panasonic/Olympus 4/3, Samsung NX |
| Image format | 24×36 mm |
| Lens design | 12 elements in 10 groups |
| Focal length | 35 mm |
| Focal length 35 mmEq. | 52.5 mm |
| Maximum aperture | 1,4 |
| Minimum aperture | 22 |
| Angle of view | 63,2° |
| Minimum focusing distance | 30 cm |
| Maximum magnification | N/A |
| Number of aperture blades | 8 rounded |
| Hood type | Removable, mount included |
| Light filter diameter | 77 mm |
| Optional capabilities | 2 HR glass elements, aspherical lens |
| Dimensions | 83 × 111.5 mm |
| Weight | 712 g |
The lens, along with the 85/1.4, is what made Samyang world-famous. Originally completely manual focus and aperture setting , it was refined in the spring of 2014, and AE versions for Canon and Nikon cameras are now available, with an aperture drive chip and motor, which allows you to set exposure parameters from the camera and gives confirmation of proper focus.
The optical design incorporates an aspherical lens and two elements of high refractive index glass for high resolution, low aberration and beautiful out-of-focus area blur. State-of-the-art coatings reduce the risk of backlit glare, promote natural color reproduction and enhance image micro contrast. “Floating” focusing mechanism. Like all the other lenses in the company, ideal for videographers
Price $930 [BEFORE REVIEW]
Sigma 20 mm f/1.8 EX Aspherical DG DF
| Bayonet | Sigma SA, Canon EF, Nikon F, Sony/Minolta A, Pentax K |
| Image format | 24×36 mm |
| Lens construction | 13 elements in 11 groups |
| Focal length | 20mm |
| Focal length 35 mm Eq. | 30mm |
| Maximum aperture | 1,8 |
| Minimum aperture | 22 |
| Angle of view | 94,5° |
| Minimum focusing distance | 20 cm |
| Maximum magnification | 0,25x |
| Number of aperture diaphragm blades | 9 rounded |
| Type of lens hood | removable included |
| Light Filter Diameter | 82mm |
| Extra features | 2 aspherical lenses |
| Dimensions | 88.5 ×87 mm |
| Weight | 520 g |
One of three fast F1.8 wide-angle lenses manufactured by Sigma in 2000. The world’s brightest full-format lens at 20mm focal length. Good image quality in the center of the frame even at open apertures sharpness around the edges and in the corners is satisfactory only from f/5.6 onwards .
The lens is in the professional class EX series , which is reflected in its quality and reliability. Focusing is accomplished by moving the rear lens group so the physical size of the lens does not change when focusing. Use of aspherical elements reduces aberrations to very low values. High luminosity lens makes for some interesting expressive effects, especially at close focusing distances. Autofocus is not supported on Nikon’s junior cameras.
Price $700 [BEGINNING OF REVIEW]
Sigma 24 mm f/1.8 EX Aspherical DG
| Bayonet | Sigma SA, Canon EF, Nikon F, Sony/Minolta A, Pentax K |
| Image format | 24×36 mm |
| Lens construction | 10 elements in 9 groups |
| Focal length | 24 mm |
| Focal length 35mmEq. | 36mm |
| Maximum aperture | 1,8 |
| Minimum aperture | 22 |
| Angle of view | 84° |
| Minimum focus distance | 18 cm |
| Maximum magnification | 0,37x |
| Number of aperture blades | 9 rounded |
| Hood type | removable included |
| Focal length filter | 77 mm |
| More features | 2 aspherical lenses |
| Dimensions | 83 ×80 mm |
| Weight | 485 g |
Was released in 2000 as part of Sigma’s trio of bright wide-angle optics and belongs to the highest class of proprietary optics – EX. Adopting aspherics in its optical design enables higher resolution and suppressed aberrations, while also making the lens more compact and lightweight.
The resolution in the center of the frame is very good already at fully open aperture and is excellent with an aperture of up to f/4, but the image quality in the periphery of the frame is very noticeably poor – so much so that no amount of aperture control is able to bring it up to a respectable value.
The ingenious design of the focus ring enables manual correction of focus at any time. The lens can be very interesting for close range shooting focal length is up to 20 cm and also as a budget alternative to more expensive 24/1.4 wide angle lenses.
Price $540 [BEGINNING OF REVIEW]
Sigma 35 mm f/1.4 DG HSM Art Series
| Bayonet | Sigma SA, Canon EF, Nikon F, Sony/Minolta A, Pentax K |
| Image Format | 24×36 mm |
| Lens design | 13 elements in 11 groups |
| Focal length | 35 mm |
| Focal length 35mmEq . | 52.5 mm |
| Maximum aperture | 1,4 |
| Minimum aperture | 16 |
| Angle of view | 63,4° |
| Minimum focus distance | 30 cm |
| Maximum magnification | 0,2x |
| Number of aperture blades | 9 rounded |
| Type of lens hood | removable included |
| Light filter diameter | 67 mm |
| Additional capabilities | FLD and SLD glass elements, USB dock |
| Dimensions | 77 ×94 mm |
| Weight | 665 g |
An absolutely revolutionary lens that breaks new ground in the Art Series, shattering all big names in the field and setting new standards in optical quality in its class.
In terms of resolving power, especially at open apertures, and most importantly, in terms of even distribution of sharpness across the entire field of the frame – the best 35/1.4 lens ever. This is achieved by using in the optical scheme of many elements made of special sorts of glass, including FLD, with properties similar to fluorite glass.
State-of-the-art autofocus system for accurate focus and fast shooting. In addition, the 35/1.4 is the first lens to be compatible with the proprietary USB dock, which can be used to fine-tune the lens and update its firmware.
Price $900 [BEFORE REVIEW]
Sony 20 mm f/2.8
| Bayonet | Sony/Minolta A |
| Image format | 24×36 mm |
| Lens design | 10 elements in 9 groups |
| Focal length | 20mm |
| Focal length 35 mm-eq . | 30 mm |
| Maximum aperture | 2,8 |
| Minimum aperture | 22 |
| Angle of view | 94° |
| Minimal focus distance | 25 cm |
| Maximum magnification | 0,13x |
| Number of aperture blades | 7 rounded |
| Hood type | removable included |
| Light filter diameter | 72 mm |
| Optional capabilities | Rear lens group focusing |
| Dimensions | 78 × 53.5 mm |
| Weight | 285 g |
Like some other Sony lenses, the 20/2.8 wide-angle is based on Minolta’s longstanding development of the world’s first autofocus super wide-angle lens dating back to 1986. It should be noted that Minolta produced amazing lenses, so this past can be considered the best recommendation. Focus by moving the rear lens group, so the autofocus is very fast and also very accurate.
Lens resolution is quite capable of loading the most advanced 24MP sensor with detail. In the center of the frame it is excellent already at full aperture, at the edges it is advisable to aperture the lens to f/4-5.6. Optics very resistant to internal backlighting. On the whole – good and reliable, time-proven optics in a compact body and with excellent autofocus.
Price $630 [BEGINNING OF REVIEW]
Sony 24 mm f/2.0 Carl Zeiss T*
| Bayonet | Sony/Minolta A |
| Image format | 24×36 mm |
| Lens Design | 9 elements in 7 groups |
| Focal length | 24 mm |
| Focal length 35 mm-eq. | 36 mm |
| Maximum aperture | 2,0 |
| Minimum aperture | 22 |
| Angle of View | 84° |
| Minimum focusing distance | 19 cm |
| Maximum magnification | 0,29x |
| Number of iris blades | 9 rounded |
| Hood type | removable included |
| Light filter diameter | 72 mm |
| Additional features | ED glass element, aspherical lenses, T* coating |
| Dimensions | 76 ×78 mm |
| Weight | 555 g |
This lens was designed by Carl Zeiss engineers, which says a lot. The housing is all-metal and reliably protects the precious optics inside. There is autofocus, fast and quiet, driven by built-in “supersonic” motor. Surprisingly, the 24/2 is cheaper in price than professional 24mm lenses from competing firms though, they are brighter , so it can be considered relatively affordable.
Image quality is excellent: even with the diaphragm fully open, sharpness both in the center and along the edges except in the far corners is excellent and increases with aperture. At f/5.6-8 the image has a uniquely uniform distribution of sharpness over the entire frame. Very little chromatic aberration. The proprietary Zeiss T* coating delivers outstanding micro-contrast and color saturation.
Price $1275 [BEFORE REVIEW]
Sony 35 mm f/1.4G
| Bayonet | Sony/Minolta A |
| Image format | 24×36 mm |
| Lens construction | 10 elements in 8 groups |
| Focal length | 35 mm |
| Focal length 35 mm-eq. | 52.5 mm |
| Maximum aperture | 1,4 |
| Minimum aperture | 22 |
| Angle of view | 63° |
| Minimalist focus distance | 30 cm |
| Maximum magnification | 0,2x |
| Qty Aperture blades | 9 rounded |
| Hood type | removable included |
| Diameter of the light filter | 55 mm |
| More features | aspherical lens |
| Dimensions | 69 ×76 mm |
| Weight | 510 g |
The latest version of the lens, the original design of which was developed by Minolta way back in 1987. Represents the highest class of lens in the proprietary lineup – the G-series.
The body is made of metal. Focusing is accomplished by shifting the rear lens group so the physical size of the lens does not change when focusing, the front element stays still and focusing is quite fast.
The “floating” focusing mechanism provides high image quality at close focusing distances. At fully open aperture the lens forms a soft image, even in the center of the frame. At apertures up to f/2.8 the resolution in the center is excellent, but the edges are soft all the way down to f/4. Chromatic aberration also more noticeable than with modern optics. Still, the lens has an expressive pattern and could be interesting for art photography.
Price $1280 [BEGINNING OF REVIEW]
Can anyone recommend a good wide-angle lens for capturing landscape shots? I’m looking for one with a wider view to enhance my photography. Any suggestions or tips on choosing the right lens would be greatly appreciated!
A popular and highly recommended wide-angle lens for landscape photography is the Canon EF 16-35mm f/4L IS USM. This lens offers a wide field of view, sharpness across the frame, and image stabilization for handheld shooting. Alternatively, the Sigma 14-24mm f/2.8 DG HSM Art lens is also a great choice for capturing wide landscapes with stunning clarity. When choosing a wide-angle lens, consider factors such as focal length, maximum aperture, and image quality. It’s also important to test the lens in person, read reviews, and compare different options to find the best fit for your photography style and preferences.
What are some key features to consider when choosing a wide-angle lens, and how do these lenses differ from standard ones in terms of focal length and angle of view?