At ƒ/2.8, we see over 0.5 stops of light loss, and it quickly decreases to around a quarter of a stop by ƒ/5.6, and holds steady as you stop down through the rest of the apertures. It’s a much better story on the sub-frame camera, although you understandably miss out on the “ultra-wide” framing with this combo. However even at the smaller apertures of ƒ/16-ƒ/22, there's still over half a stop of light falloff. At ƒ/5.6, we get just shy of 1 stop of light loss, and it decreases further as you stop down. At ƒ/4, we saw close to 1.5 stops of light loss and at ƒ/2.8, it was closer to 2 stops (1.8). In fact, at ƒ/2.8 and ƒ/4, the amount of light falloff is literally off our charts. Especially with a full-frame camera, the Rokinon 14mm exhibits severe vignetting at ƒ/5.6 or wider. If you’re looking for a lens with good vignetting control, this Rokinon 14mm lens is not the one for you. On the sub-frame camera, there was a little more CA on average between ƒ/2.8 - ƒ/5.6, but it leveled off and stayed fairly constant for the rest of the apertures. Other than some extremely minor variations, the average CA on a full-frame camera was very low through all apertures. The Rokinon did extraordinarily well at controlling chromatic aberration, on both full-frame and sub-frame bodies. Diffraction softness was very well controlled and even at ƒ/22, it was minor. In our tests, the sharpest aperture was ƒ/5.6 on the full-frame body, and from ƒ/4-ƒ/5.6 on the sub-frame one. Stopping down a bit to ƒ/5.6, you begin to see some extremely sharp images from both cameras. Although we saw a bit more uneven sharpness across the frame on the full-frame camera, it was overall fairly minor. The Rokinon 14mm ƒ/2.8 lens produces very sharp images on both full-frame and sub-frame cameras, even wide open. *Note: there is a version for Nikon DSLRs with a chip that adds support for auto exposure and focus confirmation. The Rokinon 14mm ƒ/2.8 IF ED UMC is currently available and ships with front and rear caps, instruction book and soft pouch. At around $330, the Rokinon 14mm ƒ/2.8 stands in stark comparison, for instance, to Canon’s $2,200 14mm ƒ/2.8 L-series lens while still producing extremely sharp images. and here's a self evident example of the extremely versatile and inexpensive PT Lens.Eschewing typical modern niceties like autofocus, image stabilization and even electronic circuitry for communication with the camera body*, Rokinon is able to focus purely on optics and sell this lens at a bargain-basement price. different topic but mostly on point here: It isn't going to happen with garden variety geometric distortion tools.Ĭheck out a recent post of mine. Near perfect correction is fast, easy and with no perceptual loss in sharpness, but only with proper tools. I have the Sigma 14mm and 15-30mm for Nikon FF and both have hardly any distortion at the wide end at all. I know, 12mm APS-C is not the same as 14mm FF, but still. There is a slight barrel distortion, easily to correct. I´ll try to send you the raw file tonight.īelow is a shot with the 12mm Samyang, it´s the same building. I may add, that my copy is also the unsharpest lens I´ve ever owned and the distance scale is more funny than helpful, infinity being at 1 meter (if I actually set the lens to infinity everything is blurred?!). I know, I should have read the reviews on the 14mm, instead of assuming, that it would be similiar to the 12mm. The shot still didn´t look "right" after correction. I know that DxO couldn´t correct a Nikon 18-200mm zoom lens perfectly, the 18-200mm also has wavy distortion at 18mm, but not nearly as bad. It should be physically impossible to do a perfect correction on that IMHO. I don´t think, that even DxO could correct this kind of distortion, at least not with critical objects like architecture. About 1/5 of the pic had to be thrown away. Most shots didn´t need any correction at all.Īnyway, just out of curiosity I´ve tried to correct this shot at least for barrel distortion in Luminar and ended up with appr. I could correct the simple and rather weak barrel distortion of the 12mm/F2 Samyang in Luminar / Affinity without problems. I usually use the Canon / Sony / Nikon Raw developers for correction of their lenses in cases of more complex distortions. My editors (Luminar, Affinity) can only correct simple barrel distortion. If you don't mind giving me the original raw file I'm curious to see what lensfun can do with it. Did you apply lens correction on the image?
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