In the last month or so, I’ve had the opportunity to use Laowa’s 12mm F2.8 zero distortion lens along with its own filter holder and Nisi’s custom made filter holder. The version I have is for a canon mount. Overall, it’s a great piece of equipment for a reasonable price and takes up very little real estate in an already fully stuffed camera bag. Like most gear however, it’s not without its issues. I’ve only taken it out for three shoots and used it around the house, so there may be aspects that I haven’t had the chance to test entirely but I’m more than happy to test any aspect requested (if I get the chance to shoot!)
Unfortunately I’m not really tech-savvy when it comes to lens reviews, I just want to know how it serves my specific purposes. With that in mind, this is a rough index of what I’m going to comment upon.
- The lens itself
- How wide is 12mm ? Is it too wide?
- Night photography
- Sharpness stopped down
- Flare and sunstars
- Filter holders (native and Nisi)
I’m not going to bother with discussing things like packaging. It’s sufficient and professional . What surprised me out of the box was how compact this unit is. It weight (610g) would allow me to bring it on hikes though perhaps only those where astro photography is a priority. It feels solid in the hand and appears to be built like a tank. Its size also allows a huge bonus for a lens of this focal length ; the ability to use 100mm filter kits! As a prime lens with manual focus, it would be difficult to achieve quick ‘on the fly’ shots without risking focus issues. Having said that, because it’s a prime lens, it has a nice feature of charting hyperfocal length on the lens itself . You can hence position focus at infinity at one end , and make sure there are no objects closer than the focal length marked at the other end of the scale for your given aperture (see diagram below). I have yet to shoot panoramas with this lens but there is a marked ‘entrance pupil’ on the lens that assists with finding a nodal point .
How wide is 12mm?
The answer is VERY wide. This is probably best shown with some images which I took at Lake Bonney. The first image was taken with my Canon 16-35mm F4 lens. The second image was taken with the Laowa albeit, standing a few metres further back. You can see the inclusion of the tree on the left. This makes for a lot of possibilities with sweeping foregrounds but could lead to minimising of anything that’s not very imposing in the background.
As an owner of the 16-35mm F4 lens , I was making do with F4 for night images so once again, the prospect of a wide angle F2.8 lens was extremely appealing. The other lens I was considering was the 16-35mm F2.8 III. My version II has taken a fair battering and I had always had issues with coma and softness in the corners which meant that I was willing to sacrifice one stop of light to use the 16-35mm F4. Finding focus in the dark has always been a little finicky but achievable. With this lens, as in the example illustrated above, I set the far focus for my aperture at infinity meaning that I could have everything in focus from approximately 1.5m and beyond. During this shoot, I did not check to see whether the infinity focus itself is true infinity. This technique worked quite well for me. The main issues I wanted to explore were a) how sharp is this lens at F2.8 at the centre and in the corners? b) how does this compare with the canon 16-35mm F4? c) Did the focusing method above result in ‘missed’ focus. The images below demonstrate the results. The Laowa is a little soft at the corners but still better than the 16-35mm F2.8 II. Centre sharpness was just fine . One interesting phenomenon not related to the lens itself was the ‘ole 500/focal length rule for still stars. At 12mm , I though I could therefore get away with 40 second exposures and have no trailing. For some reason, exposures of 30 seconds or more still showed significant trailing which means that rule doesn’t seem to apply for very wide focal lengths??
Sharpness at F11 and beyond
Most of the time in the field, I’m shooting between F11 to F16 since I tend to shoot with foreground elements present. The images below show the centre vs corner sharpness at 100% viewing in LR of the RAW file (with shadows lifted so you can see the detail). They were taken within a minute of each other with the same lighting conditions. I think there is very little between the Laowa and the Canon lens at the centre while there is some softness of the Laowa in the corner comparison. Note there wasn’t a lot of chromatic aberration even with this kind of dramatic lighting going on.
Sunstars and Flare:
Stopped down to F22, I’ve had a couple of opportunities to shoot sunstars. The 7 aperture blades do seem to provide a good star but perhaps not as aesthetically pleasing as the Canon 16-35mm F4 ( and F2.8II). Shooting directly into light does give a circular flare which I’ll have to experiment with when there’s more direct sun.
I received my lens with Laowa’s own filter holder. I had heard some horrendous stories about it so I was prepared for the worst. In actual fact, the current version I received was nowhere near as terrible as was made out to be. It clips directly on to the front of the lens and has slots for two 100mm filter and a 95mm polariser. I don’t own a 95mm CPL so this was an aspect of their filter holder that I could not test. It did cause vignetting but once again, not that troublesome as you can see from the images below. It’s main limitation (other than the 95mm CPL ) is the fact that ND filters with foam gaskets to prevent light leak just do not fit into the slots in the correct orientation. In an attempt to slot them in with the foam facing outward, you can see the somewhat amusing result below.
Nisi filters however do provide a custom adapter ring which also easily slots on to the front ring of the lens. It allows their standard CPL to be used as well as slots for 2 ND filters. I wanted to see how the three slot filter would perform and unfortunately , with three filter slots in place, even the Nisi holder does result equivalent vignetting as Laowa’s holder. Since I have two filter holders, I will have to remove one slot from one but I can see that for many shooters, having to remove one slot might limit options stacking when using other lenses and wanting to stack three filters. I will be using the Nisi version of the holder simply because this allows me to use a CPL and ND filters.
Overall, I think the Laowa 12mm F2.8 is a good quality lens but not quite at the standard of the better Canon L lenses. It’s good for photographers whose style leans toward expansive foregrounds and grand scenes. It’s also a very good lens for milkyway photography. It’s a solidly built lens that so far seems durable (I’ll have to comment on this a year down the line) and there are options for using 100mm filters which is pretty unique for a lens of this focal length. The Nisi filter holder is definitely the more practical of the two filter holders that are available. I don’t think I would bring this as a sole lens for a backpacking trip since it would be too wide for many documentary or detail scenes. For those used to shooting not quite so wide , it may take some time to get used to finding different styles of compositions. For $1400 AUD, it’s less than half the RRP of the Canon 16-35mm F2.8 III and about the same price as the 16-35mm F4.
I’ll be honest in saying that before I received this lens, I wouldn’t have gone out of my way to buy it. But now that I have it, I do realise that it has opened up doors. I’ll pretty much use it exclusively for my milky way shoots and will definitely bring it for most other landscape shoots excluding the multiday backpacking trips. I hope that the images and information was helpful to you and for those of you who own it, I’d be interested to hear of your experiences! It’s a ‘wow’ to Laowa from me 🙂
Since our return from New Zealand in May, we have tried to venture around our local environment with a view to obtaining images which are different to those we have photographed ourselves or those we have seen from other photographers. There are a few ‘hotspots’ for photographers around Adelaide , notably the coastline. Putting a different spin on some of these areas has been a great exercise in either exploring the area further or exploring photographic options with deeper thought. These are some of our forays with a brief story behind the images.
After extended periods of rain, the lower two waterfalls at Waterfall Gully really start to flow. I have already taken quite a few images of these falls and wanted to achieve something different. One of my favourite elements of waterfall photography is capturing the way water splashes off rocks. Instead of a rock, I inserted myself into the scene (with plenty of warm clothes and a thick towel on standby after the 10 or so attempts it took to get this right!)
After the Waterfall Gully effort, I wondered if I could put the same principle into practice with a seascape! Basham’s Beach at Middleton has some very dramatic rocky outcrops but once again, I had been here several times already and wanted to try for originality. It so happened that a 52 week project on flickr had its theme for the week set at ‘Still Water’ which gave rise to this shot. Because I don’t have a good remote shutter release, let alone one that might withstand salt water, I took a timelapse of this scene as I did not know how long it would take for the water to settle after I broke the surface of the pool.
In 2012, Marianne and I took our first trip ‘upriver’ to Mannum in winter. We loved the tranquility and peace away from home and the scenery around the Murray River, so we decided to partake in the very South Australian weekend away up-river again this year. This time, we headed to Barmera along the southern shores of Lake Bonney. The weather during this particular weekend was wild and cold and Charlotte was also a little ill at the time. This meant that we couldn’t explore as far as we would have liked but the lake is home to fantastic landscape opportunities and the night skies are clearly visible when the cloud abates. Incidentally, I have noticed in our recent catalogues that we have been taking far fewer very long exposures. Personally, I’m going through a phase where I like to see texture in clouds and water but on this weekend, with Charlotte running around, it’s actually easier to set up a long exposure before turning my attention to her for the duration of the bulb exposure. These are some examples of long exposure images from that all-too-brief weekend away.
The South Australian countryside is strewn with old, unused buildings with a rustic and aged charm. This hall at Bondleigh (20 minutes from Callington) made for a beautiful subject in quite different conditions. On my first visit, I was hoping for a good sunset but ended up with drizzle and greyness. On the second visit, the Perseid meteor showers made an appearance though in the wrong aspect for shooting the milky way. Nonetheless, this was a great evening out spent with local photographers Peter Fuller, Joel Dawson and Kelli-Ann Maddern. I will be looking for more of these locations and would welcome any suggestions!
Lessons from the field
Marianne and I have been trying to create a series of tutorials stemming all the way from field capture to the final product. I chose to visit Ingalalla falls to record a video regarding waterfall photography. Unfortunately, one of the lessons learned about using external microphones is that you need to remember to turn them on! I ended recording alot of hand gestures with no sound but may still produce the video with a voice-over though that lacks a certain authenticity. Finding a different aspect to photograph the falls was also a challenge so this was my attempt from the top of the falls.
The Landscape Impostor
One of our ‘bucket-list’ locations for the future is Karijini National Park. I would love to see the waterfalls cascading through narrow canyons with the vibrant rock colours and textures. Thankfully, closer to home, we have a miniature version to fulfill these needs for the time being. Mannum falls is located about 10 minutes drive from Mannum. After a short walk from the parking lot followed by a slippery scramble , you will end up at some picturesque rock pools at the end of the falls. At the time of this visit, the falls were barely flowing but this meant the rock textures were well exposed for me to attempt my Karijini impersonation.
Home sweet home!
Lastly, while it seems like we’ve done a fair bit of travelling lately, most of these shots have been taken on a premeditated weekend opportunity with limited planning. Luck had to play a large role in getting good conditions and when luck was not evident, we had to improvise! There have been an amazing number of striking sunrises and sunsets which I have seen from the window of our loungeroom while playing and feeding Charlotte in the early hours of the morning. These are just as fulfilling from a different standpoint. Nowadays as Charlotte looks at daddy gorking out the window, she is learning to appreciate and tell me about the ‘pretty clouds’ 🙂
Our next stop is as guest speakers at Merredin for the WAPF annual meeting! Another report from that trip as well as a round up of the Epson Panorama awards will be the topics of our next posts. Thanks for reading!
Our recent trip to Eyre Peninsula yielded some very popular images. None more so than a panorama of Murphy’s Haystacks with the Milky Way above. We are thrilled with the interest and the overwhelmingly positive feedback which has arisen from this image. There has been however, a group of doubters who have presumed that I’ve composited the stars or the foreground into the scene. By sharing the process by which I took and processed this image, I hope that it gives you an insight into how our images are created and by doing so, the doubters can re-assess the validity of their accusations.
First, imagine the scene in real life. There are no towns for 20km in any direction, no moonlight and the sun had just set with last light almost gone. It was literally pitch black in that field with the stars shining above. If I were to present ‘truth’ in the image, it’d be a pretty boring image with only the stars visible. I wanted to create a scene encompassing the milky way over a visible foreground object of interest. Murphy’s Haystacks made for a very interesting foreground. They are a group of inselberg granite rock formations which literally arise from the ground in isolation to other rocky features in the surrounding area. As the milky way was almost directly overhead, I had to take a few test exposures to see if 16mm (my widest lens) could ‘fit’ in the milky way even shooting from very close to the ground. Next, I had to estimate the duration of lighting for each frame with a torch. Having established that the milky way could fit vertically into the frame and that 3-4 seconds of frantic torch waving gave me the smoothness of exposure I needed, it was a question of getting the tripod set up correctly and the first frame correctly shot. Below is the resulting 13 exposures taken.
After obtaining these shots which looked good on the LCD, it was still no guarantee that they would align correctly after stitching given the star movement during the 7-8 minutes it took to take all of these images. Fortunately , the initial stitch in CS5 was far easier to work with than other wide angle panoramas I have photographed!
In order to make the milky way more bow-shaped and less like a rectangular box, and in order to recreate the horizon, the transform> ‘warp’ function in CS5 was used.
Thereafter, I resumed my usual workflow for images which includes two main stages. The first stage involves mainly colour corrections and adjustment of lighting using luminosity masks. As you can see from the original images, the image was awfully warm and the rocks resembled nothing of their natural red and yellow colour you would see during daylight hours. Some of the layers and masks are visible which address these issues.
The second stage of processing involves multiple duplicated layers in varying blend modes. The aim of this stage is to enhance local contrasts, sharpening and glow effects of the image. Some of the layers and masks are shown in the image below.