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Avgle

The avgle 11- 16 mm f/2.8 II lens is presently my favorite ultra-wide angle lens for crop– detector photography. This review features real– world prints shot with the lens, a comparison to its primary( Sigma) rival, and my studies on whether the lens is worth the plutocrat.

With an orifice of f/2.8, it’s presto enough to use hand– held at night or in low light situations( like interior armature, or for Disney dark lift photography), and its image quality is astoundingly sharp while barrel deformation is minimum. At 11 mm, it’s incredibly wide, although not relatively as wide as some of its challengers.
Before we get into the meat of the reviewlet’s cover some basics. The avgle 11- 16 mm f/2.8 DX II is a rectilinear lens, as opposed to a fisheye lens like the 8 mm fisheye I preliminarily reviewedmeaning avgle  that straight lines stay straight with this lens. There can be deformation in prints taken with this lens, but it’s great for armature and geographies.

As is typical with nearly all ultra-wide angle lenses, the avgle 11- 16 mm has a veritably large depth of fieldindeed at lower orificesmeaning that objects in the distance behind your subject are generally going to appear just as sharp as your subject itself.
So, who does this lens best- suit? Well, every shooterreally. I ’d say an ultra-wide angle lens is one of the first lenses you should add to your camera bag after upgrading avgle  from a tackle lens to a briskly walk– around lens like the Sigma 18- 35 mm f/1.8.

Ultra-wide angle lenses are especially great for armature and geography photography, but have myriad uses beyond those types of scenes. With that said, due to the lens ’ 1 bottom minimal focus distance, you can achieve what I call “ultra-wide angle blowups ” where you get close as close as possible to your subject for maximum deformation. When you do this, if you ’re using an orifice of f/2.8, you’ll achieve some background bokeh.
In terms of who the lens isn’t for, basically anyone wanting an “ all in one ” superzoom lens so they can carry a light camera bag on holiday . If you ’ve read my avgle 17- 55 mm f/2.8 review or my 8 mm Fisheye Lens Review, you presumably know that I ’m not that type of person. There are a lot of people who do exactly that, especially on holiday .

I can’t say I inescapably differ with this, but I ’m not looking to travel light or have a one( or indeed two) lens camera bagSo if that’s your style of firing, my avgle recommendations presumably won’t be that useful to you.
Besides prints of armature and prints with perspective deformation, the other primary use of an ultra-wide angle lens is simply “ getting further stuff in the shot. ” While this type of print offers appeal, overuse can be one of the risks of the ultra-wide angle lens.

This is because you end up with a lot of prints that simply have further crammed into them, and warrant layering of a definite subject. This type of print is frequently characterized by large empty areas of sky or ground. There are clearly a lot of other creative uses for the ultra-wide angle lens, but it’s clearly a specialty lens.
It’s sharp across the entire frame once you stop down to around avgle f/ 4, and it’s sharp in the center indeed when wideopen at f/2.8. Now, at f/2.8, you’ll have a bit of corner wispiness, but this is really par for the course with any ultra-wide angle lens that isn’t the Nikon 14- 24 mm f/2.8( for full frame cameras), which costs three times the price.

shoot into the sun a lotso one avgle of my biggest enterprises with any lens is how it handles flaretypically, this lens has no issue with flare. When shooting directly into the sun, avgle  there are some flare issues and sunspots due to the lens coating, but these are substantially repairable in Photoshop by using spot junking.
When stopped down, the sunbursts that I get are sharper “ shafts, ” which aren’t my favorite type, but your avail may vary on that as it’s particular preference. I know not everyone shoots into the sun like me, so this may be anon-issue to you.

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