Sony SEL14F18GM | Full Frame FE 14mm F1.8 GM - Premium G Master Series Prime Lens

Product Information

Because of these features, a normal flat lens cap cannot be used (more later) and a front filter cannot be mounted on this lens. There are compact lenses that probably have restricted apertures and sometimes some optical compromises; there are huge, heavy lenses that take no prisoners in their quest for optical quality and lens speed, and the new Sigma lens falls squarely into the latter category. It's big, it's heavy, but is it beautiful as well? Let's find out, using the full frame Sony A7R III 42MP body.

This 14mm works great on 1959-1977 cameras, but you'll have to use stop down metering, or have a meter coupling prong installed. The Nikon 14mm even has pilot dimples on its aperture ring to install this prong! Don't come complaining to me if you can't get the Nikon 14mm to work on any Nikon camera of any vintage. Engineered wood flooring consists of real wood, so it is not waterproof. If a liquid is left to sit for long periods, it can seep into the wood, causing warping and discolouration. Lacquer finishing can provide more resistance but does not make the flooring waterproof. How Long Does Engineered Wood Flooring Need to Acclimatise? Aged flooring is created by adding light wear to the surface of engineered wood planks, such as bumps and scrapes, to create an established, worn look that creates the illusion of flooring that has been laid for years. Once the lens profile corrections are added to firmware updates and popular RAW processing software, any minimal tweak needed to correct barrel adjustment should have virtually no effect on the original composition. f/1.8, 1/400s, ISO 125

Vignetting

There’s only negligible lateral chromatic aberration, even at the extreme edges and corners of the frame. The lens also does very well to minimize axial chromatic aberration, which causes fringing around high-contrast transitions in front of and behind the plane of focus at wide apertures.

In the world of flooring, finding the perfect balance of aesthetics, durability, and affordability can be a complex task. 14mm engineered wood flooring emerges as a compelling solution, offering the visual appeal of natural wood, resilient construction, and compatibility with modern amenities like underfloor heating. For those of us who've been following Nikon's ultra-ultrawide lenses as each was introduced since the 1970s, this was Nikon's best and newest fixed ultra-ultrawide. The AF-S 16-35m f/4 VR is much more practical today, as are the Z 14-30mm f/4 and Z14-24mm f/2.8 for mirrorless. Take in a wide landscape, capture architecture - both interior and exterior, shoot in ultra-tight spaces ... Bring the night sky to life like never before with the SIGMA 14mm F1.4 DG DN | Art, the world’s first 14mm F1.4 aperture lens for mirrorless cameras*. The lens has been designed from the ground up for wideangle applications such as astrophotography, landscapes, weddings and interiors, and is available in L-Mount and Sony E-mount. Thanks to advanced chromatic aberration and coma flare control the lens delivers exceptionally impressive edge-to-edge performance across all apertures, even when shooting very challenging subjects such as the night sky. One other note: Sigma warns photographers with pacemakers to be careful with the 14mm F1.4. The lens includes a magnet, so you should keep it at least two inches away from your chest to avoid complications. If you’re concerned, you should talk to your doctor about how this might affect your health.These Canon 1Ds Mark II crops are from about 60% through 80% of the distance from the center of the frame to the right edge. It’s actually great as a general-purpose ultra-wide prime but, when shooting at f/1.8, noticeable coma and astigmatism toward the corners of the image frame put a slight dent in its otherwise excellent performance. lens distortion filter. On a DX camera, use +2.5 for shots made at at moderate distances (about 50 feet or 15m), and about +3.5 for shots closer (about 3' or 1m) or at infinity. The sharpness characteristics of this lens are somewhat unusual. In the center of the frame, the Pergear 14mm delivers competent sharpness results, even at f/2.8 on a 45 megapixel body. The midframes remain quite solid, but there’s a very sudden drop around the edges and corners. In particular, theouter 1/5th of the frame is significantly smeared at f/2.8. (That’s about how extreme that the following crop is– 1/5th the image area.) A crop of the bottom left corner at f/2.8 reveals significant sharpness issues at the extreme of the frame. At this focal length, I don't find focus speed to be a real important factor ... but fast is always better than slow as long as it is accurate.

I also used the lens for some night sky photography: The lens is a technical star here (pardon the pun). It draws stars in the night sky as perfect pinpoints through most of the frame. I can spot some sagittal coma at the corners of the frame, an effect that draws stars as crosshatches with some false color rather than a pinpoint of light, but it's no worse here than it is with the 20mm F1.4 DG DN Art. The biggest challenge I had was finding an interesting frame. The trees in my yard are a little too dense for an unobstructed view of the sky, and suburbia doesn't lend itself to epic astro-landscape shots like you get from the dark, open skies of more remote locales. It's a real shame that I couldn't try this one out at Arches or Yosemite. Sony a7R IV, f/5.6, 1/250-second, ISO 100 Like all fixed ultra-ultra wide lenses I've used, the color balance becomes cooler (less red) in the corners. Few people ever notice this, but I do. I call this peripheral color shift: the colors get slightly bluer in the far corners. All fixed ultrawides do this. Sell the kit you’re not using to MPB. Trade in for the kit you need to create. Buy used, spend less and get more. Buy. Sell. Trade. Create. Used on the Milky Way at f/1.8 for 10-25 seconds at ISO 3200-4000, the results on a full-frame Canon EOS 6D were impressive. Put simply, collecting more light gives you a lot more options. For example, a 25-second shot on a f/2.8 lens gets the Milky Way looking bright, but only after it's been teased-out on Photoshop. Despite a design tilted toward night sky work, the 14mm F1.4 does a decent job with close-up subjects (even though it falls well outside of the macro realm). It focuses as close as 11.8 inches away from the sensor for 1:11.9 reproduction. The broad view makes for interesting close-up effect shots that show an especially broad range of your surroundings. The working distance from the front element is around three inches, though, so make sure not to shade your subject.The cutting guide for gel filters is: 1.) start with a 27mm square. 2.) measure in from each corner by 5mm, and crop off each corner at a 45 degree angle. If shooting the night sky, the stars in the frame corners will turn into little flying saucer-like shapes. Looking over all the RAW photos I shot, there was very little color fringing to be found. Virtually none at 1:1, but if I went on a search mission at 3:1 there would be traces of it in the usual places, such as thin tree branches against a bright sky. With lens profile corrections coming any day to RAW processing software, even these trace amounts would vanish before you know they’re there. f/11, 1/4s, ISO 100 While ultra-wide lenses can have a wide range of uses, from journalism to sports, I was very keen to test this lens for landscapes and astrophotography. With both those genres of photography, it’s useful to have an ultra-wide lens at your disposal, and 14mm certainly qualifies!