7Artisans 35mm 1: 0.95 review

For the provided lens 7Artisans 35mm 1: 0.95 many thanks official representatives 7Artisans.

7Artisans 35mm 1: 0.95

7Artisans 35mm 1: 0.95. increase.


  1. In short
  2. History
  3. All 7Artisans lenses
  4. Main Specifications
  5. Assembly
  6. What is the actual aperture ratio (T-stop) at f / 0.95?
  7. Focusing
  8. Image quality
  9. Sample Photos
  10. My experience
  11. All Sony APS-C E cameras
  12. All original lenses for Sony APS-C E
  13. Price
  14. Video review
  15. Results
  16. User Comments
  17. Add your review or question on the lens

Please note that 7Artisans 35mm 1: 0.95 is available in different mounts. This review shows the 7Artisans 35mm 1: 0.95 version for Sony E mirrorless cameras with APS-C sensor. At the same time, 7Artisans 35mm 1: 0.95 is also available with bayonets Canon EF-M, Canon RF/RF-SNikon Z, Fujifilm x and Micro 4/3.

It's important: most likely SG-Image APS-C 35/0.95 lenses, Risepray 35mm 1: 0.95, Kaxinda 35mm 1:95, Yaxall 35mm 1: 0.95 are simply a rebrand (use a different name) of the 7Artisans 35mm 1: 0.95 lens.

7Artisans 35mm 1: 0.95

7Artisans 35mm 1: 0.95

In short

7Artisans 35mm 1: 0.95 is a modern manual (manual focus only) extra fast prime lens for mirrorless cameras with an APS-C sensor or smaller (for crop).

7Artisans 35mm 1: 0.95 is interesting for its low price, very high-quality assembly, a large number of aperture blades and a maximum relative aperture of 1: 0.95. At the same time, at F / 0.95, the lens shows quite a good result.

Among the disadvantages are the standard optical problems inherent in such inexpensive high-aperture optics, first of all, tangible chromatic aberration and poor performance in the backlight.

Aperture F / 0.95 five steps wider aperture F / 5.6, which is used in some 'dark' stock lenses. Each stage gives a twofold increase in aperture ratio: 1 -> 1.4 -> 2 -> 2.8 -> 4 -> 5.6. In numerical terms, this means that 7Artisans 35mm 1: 0.95 should be 35 times lighterthan stock lens Sony 16-50mm f / 3.5-5.6 PZ OSS, which at 35 and 50 mm focal length uses the maximum aperture equal to only 1: 5.6. The calculation in the difference in the relative aperture (count the luminosity) is carried out in an elementary way: (5.6 * 5.6) / (0.95 * 0.95) = 35. But not everything is so rosy (look section about the real aperture of the lens).

7Artisans 35mm 1: 0.95 is an inexpensive alternative for autofocus cropped lenses for mirrorless cameras:

7Artisans 35mm 1: 0.95

7Artisans 35mm 1: 0.95


7Artisans has several very fast lenses for mirrorless cameras with an APS-C sensor (or less) with a focal length of 35mm:

UPDATED: Movie version released on November 24, 2021 7Artisans 35mm T1.05 for cameras Canon EOS R, Micro 4/3, FujiFilm FX, Sony E, Leica L.

7Artisans 35mm 1: 0.95

7Artisans 35mm 1: 0.95

All 7Artisans lenses:

For mirrorless cameras with APS-C or Micro 4/3 sensor:

  1. 7Artisans 4 mm F/2.8 (announcement) [EF-M, E, X, M4 / 3]
  2. 7Artisans 7.5 mm F/2.8 Fish-Eye (overview) [EF-M, E, X, M4 / 3, versions 2017 и 2019]
  3. 7Artisans 7.5 mm F / 2.8 Fish-Eye II (announcement) [EF-M, E, X, Z, M4 / 3]
  4. 7Artisans 12 mm F/2.8 (overview) [EF-M, E, X, M4 / 3]
  5. 7Artisans 12 mm F / 2.8 II (announcement) [EF-M, RF, E, X, Z, M4/3]
  6. 7Artisans 18 mm F/6.3 (announcement) [EF-M, E, X, M4 / 3]
  7. 7Artisans 18 mm F/6.3 NEW (announcement) [E, X, Z]
  8. 7Artisans 24 mm 1:1.4 (announcement) [EF-M, RF, E, X, Z, M4/3]
  9. 7Artisans 25 mm F/1.8 (overview) [EF-M, E, X, M4 / 3, black / silver]
  10. 7Artisans 25 mm F/0.95 (overview) [EF-M, Z, E, X, M4 / 3, RF, L]
  11. 7Artisans 35 mm F/0.95 (overview) [EF-M, Z, E, X, RF, M4 / 3]
  12. 7Artisans 35 mm F/1.2 (overview) [EF-M, E, X, M4 / 3, black / silver]
  13. 7Artisans 35 mm F/1.2 II (overview) [Z, EF-M, E, X, M4 / 3, other optical design]
  14. 7Artisans 35 mm F/1.4 (overview) [Z, EF-M, E, X, RF, M4/3, black/silver]
  15. 7Artisans 50 mm F/1.8 (overview) [EF-M, E, X, M4 / 3, versions with 10 and 12 petals]
  16. 7Artisans 50 mm F/0.95 (overview) [EF-M, Z, E, X, RF, M4 / 3]
  17. 7Artisans 55 mm F/1.4 (overview) [EF-M, E, X, M4 / 3, Leica L, black/silver]
  18. 7Artisans 55 mm F / 1.4 II (announcement) [EF-M, E, X, Z, M4 / 3]
  19. 7Artisans 60 mm F/2.8 Macro (overview) [EF-M, Z, E, X, RF, M4 / 3]
  20. 7Artisans 60 mm F / 2.8 Macro II (overview) [EF-M, Z, E, X, RF, L, M4/3]

For mirrorless full frame cameras (Full Frame):

  1. 7Artisans 9 mm F5.6 (overview) [RF, Z, E, L]
  2. 7Artisans 10 mm F / 2.8 Fisheye ED [RF, Z, E, L]
  3. 7Artisans 15 mm F/4 ASPH [RF, Z, E, L]
  4. 7Artisans 28 mm F/1.4 (overview) [Leica M only, two versions]
  5. 7Artisans 28 mm F / 5.6 wen [Leica M only]
  6. 7Artisans 35 mm F / 1.4 [IS]
  7. 7Artisans 35 mm F / 1.4 wen [Leica M only, different optical design]
  8. 7Artisans 35 mm F/2 (overview) [E, X, black / silver]
  9. 7Artisans 35 mm F/2 (overview) [Leica M only, different body design]
  10. 7Artisans 35 mm F/2 MARK II (announcement) [Leica M only, different body design]
  11. 7Artisans 35 mm F/5.6wen (overview) [Leica M + E, Z, L, RF, black, black & gold, silver & black, silver & gold]
  12. 7Artisans 50 mm F/1.05 APO (overview) [RF, Z, E, L]
  13. 7Artisans 50 mm F/1.1 (overview) [Leica M only, black / silver + 'Limited Gold'+'RED DRAGON SPECIAL EDITION']
  14. 7Artisans 50 mm F / 1.8 AF STM FE (announcement) [E/FE]
  15. 7Artisans 75 mm F/1.25 [Leica M only]

For SLR cameras with APS-C sensor:

  1. 7Artisans 7.5mm 1:3.5 FISH-EYE (announcement) [only for EF/EFS]

Cinema lenses [E, L, Z, RF, X, M4/3]:

  1. APS-C: 12mm T2.9, 25mm T1.05, 35mm T1.05, 50mm T1.05
  2. S35: 24-96mm T2.9 (EF/PL)
  3. Full Frame: 14mm T2.9, 35mm T2, 50mm T2, 85mm T2

Drone Lenses:

These lenses are the easiest to find on Aliexpress from the official dealer 7Artisans.

7Artisans 35mm 1: 0.95

7Artisans 35mm 1: 0.95

Main technical characteristics of 7Artisans 35mm 1: 0.95

Review Instance Name Near the front lens: 7Artisans 35mm 1: 0.95 Ф52 NO.11517

On body: 35mm

'E-Mount' bayonet side

Basic properties
  • The lens uses a Sony E mount and is suitable for Sony mirrorless cameras with an APS-C sensor
  • Manual focus only
  • Metal mount, metal body
  • Compact size
  • Multi-Enlightened Optics
  • Low dispersive elements in the optical scheme
Front Filter Diameter 35 mm
Focal length 35 mm

  • EGF for Sony, Fujifilm, Nion cameras with APS-C sensor is 52.5 mm
  • EGF for cameras Canon EOS M is 56 mm
  • EGF for cameras of the Micro 4/3 system is 70 mm
Zoom ratio 1 X (this is a fixed lens, it does not have a zoom)
Designed by Option from the review for cropped mirrorless Sony cameras.

This lens exists with mounts:

Number of aperture blades 12 rounded petals
  • bayonet mount mark
  • focusing distance scale in meters and feet. Available values ​​0.37, 0.42, 0.5, 0.7, 1, 2 and infinity label
  • DOF scale for F / 0.95, 2.8, 4, 8, 11, 16
  • aperture scale on aperture ring
Diaphragm F / 0.95 to F / 16, controlled with the aperture control ring. There are labels for F / 0.95, 1.4, 2, 2.8, 4, 5.6 (not explicitly), 8, 11 (not explicitly), 16. The ring rotates without clicks, smoothly. Any intermediate value can be set.
MDF 0.35 meters, maximum magnification ratio of approximately 1: 7 (measured)
The weight
  • 369 grams (according to the official site)
  • 358 grams (lens only, version for Sony E, measured)
  • 399 grams (Lens with two covers, Sony E version, measured)
Optical design 11 elements in 8 groups. The optical design includes 2 low-dispersion elements (shown in blue)

Optical design 7Artisans 35mm 1: 0.95The optical design is clickable for magnification. Most likely, the lenses use the same scheme. Brightin Star 1:0.95 F=35mm MC, Risepray 35 / 0.95, SG-Image APS-C 35/0.95 and Kaxinda 35 / 0.95 и 7Artisans 35mm T1.05

Lens hood Must be screwed into the front filter thread; marking unknown
Manufacturer country Made in China (there is no data on the country of manufacture on the lens itself)
Period From 15 October to 2020

The creative potential of such a lens can hardly be overestimated. It is suitable for a very wide range of photographic tasks. Amateur photographers often use it as a portrait lens, but it seems to me like a portrait. 7Artisans 55 / 1.4 will be better. Many people simply want a fast prime to complement their kit lens.

Packaging 7Artisans 35mm 1: 0.95

Packaging 7Artisans 35mm 1: 0.95


The lens came to the review completely new, in a sealed box. The box contains the lens itself with front and rear caps and a small manual. In the middle of the box there are very large and soft foam holders. The box design is stylish and beautiful. Initially, the box is surrounded by an additional beautiful cardboard wrapper that serves as a kind of seal.

In general, the lens very well assembled... 7Artisans 35mm 1: 0.95 has metal mount for bayonet, and the lens case itself is completely made of metal, anodized aluminum is used.

Important: lens mount also painted black (dark brown)which makes the 7Artisans 35mm 1: 0.95 design complete and pleasant enough. Usually these lenses have a metal mount without color. True, the red color of the marks is shifted closer to pink, which is a little strange and unusual. A stricter red would look much better.

All marks and labels on lenses engraved.

The front lens cap is metal, without latches, just fits snugly against the body frame. There is a special fabric seal on the inside of the lid. The cover is fixed tightly. Removing and installing the cover is pleasant.

The weight of the 7Artisans 35mm 1: 0.95 lens itself is almost 400 grams. In the hands, the lens feels like a solid thing.

The filter diameter is only 52 mm. The 7Artisans 35mm 1: 0.95 itself is quite compact, well suited for small Sony cameras with an APS-C sensor.

The diaphragm consists of 12 (twelve!) petals and forms a round aperture at any values, while in the photographs in the zone of confusion, rather round discs of confusion are obtained at any aperture values. Model 7Artisans 55 / 1.4 14 petals are used. The diaphragm can only be controlled manually using a special ring. The diaphragm ring rotates smoothly, no clicks and fixed values, you can set any intermediate value in the range F/1.4-F/16, which is very useful when shooting video. Similar Brightin Star 1:0.95 F=35mm MC there are clicks.

It's important: Unlike other lenses, where the aperture ring clicks and the transition between any pairs of f-numbers has the same pitch, the pitch between pairs of 7Artisans 35mm 1: 0.95 numbers is always different. It shrinks from f / 0.95 to f / 16. This makes it difficult to conveniently and quickly set values ​​from F / 1.4 to F / 16. And for the marks F / 5.6 and F / 11 there was no place on the scale at all (instead of the numbers F / 5.6 and F / 11, dots are used).

It's important: aperture control ring is located from the front of the lens, behind the focus ring. This arrangement of the aperture ring is quite convenient. On other lenses, such as 7Artisans 35 / 1.2, the aperture control ring is close to the mount and it is not always convenient to rotate.

7Artisans 35mm 1: 0.95

7Artisans 35mm 1: 0.95

What is the actual aperture ratio (T-stop) at f / 0.95?

The light transmission of the lens is expressed 'T' steps... It is this value that is considered to be the real indicator of the lens aperture. Typically T-stops (T-feet) are interconnected with aperture stops (F-stops). Quality lenses have fairly close numbers near 'T' and 'F'. For example, a high-quality lens with a maximum aperture ratio of 1: 1.4 (f / 1.4 aperture) has a light transmittance of T / 1.5-T / 1.6. Lenses with F / 2.0 at T / 2.1-T / 2.2, F / 2.8 at F / 2.9-F / 3.0, and so on and so forth. But light transmission of 7Artisans 35mm 1: 0.95 at f / 0.95 far from T / 0.95.

My observations of the behavior of the 7Artisans 35mm 1: 0.95 lens:

  • when going from F / 0.95 aperture to F / 1.4 aperture Exposition the picture should be reduced by about 2 times. To be precise, the difference should be (1.4 * 1.4) / (0.95 * 0.95) = 2.17 times. This fall corresponds to approximately one step exposure (to be precise, one step with a small tail).
  • during operation with 7Artisans 35mm 1: 0.95 lens with aperture maneuver from f / 0.95 to f / 1.4 Exposition decreases only by 1/3 stop (about). Which contradicts the calculations outlined above. A fall exposure I tracked with my camera's exposure meter Sony a3500, in different shooting modes, as well as the histogram of the received images. I have done many tests with focus at infinity and on MDF, with different shooting conditions, at different ISO and / or calibration values. excerpts.
  • when going from F / 1.4 -> 2.0 -> 2.8 -> 4 -> 5.6 -> 8 -> 11 -> 16 drop exposure occurs correctly and is approximately 1 step per 1 step
  • the f / 1.4 aperture mark on the aperture control ring gives an exposure that is nearly perfect exposure f / 1.4 aperture when using a professional lens Nikon N AF-S Nikkor 35mm 1: 1.4G WM RF Aspherical Nanon Crystal Coat (autofocus full-frame Nikon F-mount lens) attached to Sony a3500 with a simple adapter Nikon F (AI) -> Sony E (NEX) (adapter without microprocessor contacts). Let me remind you that Nikon 35 / 1.4G has a light transmission in the region of T / 1.6 at an aperture of f / 1.4. Both lenses look close to each other like this.
  • the F / 2.0 mark on the aperture control ring gives an exposure that matches perfectly exposure f / 2.0 aperture with lens Yongnuo YNLens YN35mm F2S DF DSM (autofocus full-frame Sony E-mount lens). The same goes for the more closed apertures from f / 2.8 to f / 16.
  • It is difficult to talk about exact values, since the aperture control ring rotates smoothly, without fixed and precisely defined values, and it is not so easy to find out at which angle of rotation the F / 1.4 or F / 2.0 value is. And every micrometer of rotation affects the final result. Therefore, I indicate everywhere that these are approximate values. I have double-checked the above data many times. It was very important for me to get an objective picture of what was happening. For the lens Nikon 35 / 1.4G from the main chamber of weights and measures special thanks to the store ProPhotosale.
  • It turned out to be quite difficult to track the real F values ​​by depth of field or by the size of the disks of confusion due to the strong 'Focus Breathing' effect (changes in the angle of view during focusing). In general, 7Artisans 35mm 1: 0.95 at f / 0.95 blurs the foreground and background noticeably more than Nikon 35 / 1.4G .
  • one of the readers of Radozhiva calculated the relative aperture of the 7Artisans 35mm 1: 0.95 lens for the entrance pupil and it turned out to be 1: 1.2. I cannot confirm this data. He also had similar lens behavior when used on his camera. Sony a6000 (we are talking about a small change in aperture when going from F / 0.95 to F / 1.4).
  • Update: came to see me for a review TArtisan 50mm F / 1.2 DJ-OPTICALwhich at f / 1.2 gives exactly the same exposure as the 7Artisans 35mm 1: 0.95 at f / 0.95. Which once again confirms the correctness of my observations
  • Update: Lens version released on November 24, 2021 7Artisans 35mm T1.05designed for filming. Despite the T / 1.05 statement (namely 'one zero five'), I am free to believe that such deception or manipulation lies here.
  • update: the same situation is observed in Brightin Star 1:0.95 F=35mm MC

What follows from all this? Aperture F / 0.95 has light transmission in the region T / 1.3-T / 1.4... Such light transmission is usually found in high-quality lenses with an aperture ratio of 1: 1.2.

At the moment, I believe that the miracle has not happened: 7Artisans 35mm 1: 0.95 should be considered as a lens with aperture / light transmission in the region of T / 1.3-T / 1.4 with the aperture set to F / 0.95.

7Artisans 35mm 1: 0.95

7Artisans 35mm 1: 0.95


The focus ring is wide enough, metal, ribbed. The ring rotates approximately 120 degrees (about 3/8 of a full turn). Focus ring is poorly stretched from 1 meter to infinity. Focusing is smooth and pleasant, the focus ring can be rotated with one finger. This is one of the few lenses that really mesmerizes with its smooth focusing.

It's important: After successful focusing when trying to set the desired aperture value, you can easily touch the focus ring, which rotates very easily and thereby bring down the exact focus.

During focusing, the trunk of the lens runs forward but does not spin... Together with the trunk, the diaphragm control ring also comes out. The rear lens remains stationary during focusing.

On the ring there is a scale with a focusing distance in meters and feet and a DOF scale. The minimum focusing distance is only 37 cm and the maximum magnification ratio is approximately 1: 7 (measured).

7Artisans 35mm 1: 0.95 has very strong 'Focus Breathing' effect (changes in the angle of view during focusing). When focusing towards the MDF, the angle of view decreases significantly.

Focus Shift (shift focus, changing the focus distance due to iris) is missing.

Hard stop (hard infinity mechanical stop) for fast and accurate infinity aiming under all operating temperatures no. The sample from the review has a small infinity flight in the extreme position of the focusing ring.

Focus peaking at F / 0.95 works well, but still it is not easy to get into sharpness perfectly.

7Artisans 35mm 1: 0.95

7Artisans 35mm 1: 0.95

Image quality

7Artisans 35mm 1: 0.95 is pretty good, although it has obvious serious problems. At F / 0.95, the lens does not have high optical performance, but still surprises with good sharpness.


  1. at F / 0.95, the resolution is quite high (much weaker lens behavior at F / 0.95 was expected, but here the 7Artisans 35mm 1: 0.95 was a pleasant surprise)
  2. sharpness drop to the edges and corners of the frame is insignificant, even at F / 0.95, which is very rare for inexpensive optics and even with a similar aperture
  3. sharpness changes slightly with aperture cover up to f / 1.4, only after f / 2.0 a high resolution is achieved in the center of the frame
  4. excellent resolution over the entire field of the frame comes after F / 5.6
  5. the lens has a fairly curved field of sharpness and a wavy drop in sharpness to the edges and corners of the frame
  6. there is a palpable coma


  1. there is a small barrel-shaped distortion
  2. easily fixable in the editor and almost invisible in the pictures


  1. weak vignetting at F / 0.95 (which was very, very surprised)
  2. vignetting decreases with focus towards MDF. Most noticeable when focusing on infinity
  3. vignetting almost completely disappears at values ​​after F / 2
  4. vignetting easily fixable in the editor
  5. the lens is close to covering Full Frame


  1. strong chromatic aberration over the entire field of the frame, while in most cases it is of a red tint
  2. strong freezing, which is significantly reduced only after covering the aperture to f / 2.8


  1. at closed apertures in the area of ​​F / 11-F / 16, you can achieve the effect of a 12-ray star
  2. from bright light sources you can get a lot of glareand they can be enormous. Significant loss of contrast is possible when shooting in backlight and side light
  3. bokeh is pleasant in many cases. Discs of confusion to the edges and corners of the frame turn a little into 'lemon'

Important: at the time of writing this review, there was no 7Artisans 35mm 1: 0.95 profile for popular RAW converters. You can create a profile yourself or wait for its release.

7Artisans 35mm 1: 0.95

7Artisans 35mm 1: 0.95

Sample Photos

All photos in the review are shown without processing. Camera used Sony a3500 (Sony Exmor APS-C HD CMOS 20MP sensor). All photos are on-camera JPEG.

JPEG source pictures at this link (60 files, 300 MB). Original RAW images (Sony '.ARW) at this link (30 files, 500 MB). Few post-processed photos on my social networks: 1, 2, 3, 4, 5, 6, 7, 8.

7Artisans 35mm 1: 0.95

7Artisans 35mm 1: 0.95

My experience

Spoiler alert: in this review unit, I describe my personal experience with the lens and my guesses, which may not correspond to reality.

7Artisans 35mm 1: 0.95 - hot pie, take it and take it off! Per 200-220 dollars this is just an amazing find for amateur photographers. True, the overall pleasant picture from the lens spoils the real value of the aperture when using a relative aperture of 1: 0.95.

Risepray 35 / 0.95 went on sale in January 2020 of the year (screen). I suppose that Risepray 35 / 0.95 was based on the optical scheme of a rather popular and well-known at that time Zhongyi Speedmaster 35mm F / 0.95 Mark II, which was submitted also in February 2016 of the year. After disassembly lenses Risepray 35mm F / 0.95 и Zhongyi Speedmaster 35 / 0.95 Mark II it turned out that Risepray 35 / 0.95 better assembled using more advanced methods and solutions. Only in October 2020 The 7Artisans 35mm 1: 0.95 lens (from this review) was presented, which in all respects resembles Risepray 35 / 0.95... Time of appearance of such a lens Kaxinda 35 / 0.95 I don't know.

There is a network reviews on a pair of lenses 7Artisans 35mm 1: 0.95 and Zhongyi Speedmaster 35 / 0.95 Mark II in which 7Artisans 35mm 1: 0.95 is practically in no way inferior to its more eminent and expensive rival.

It is rumored that such lenses Risepray 35 / 0.95, Kaxinda 35 / 0.95, SG-Image APS-C 35/0.95 is optically no worse than 7Artisans 35mm 1:0.95, while their price tag has already dropped below $190. My guess is that all three options are the same lens, just produced and sold under different names/brands.

There are few alternatives for 7Artisans 35mm 1: 0.95:

Getting into sharpness at F / 0.95 is not that difficult, perhaps due to my many years of fascination with manual optics. The number of defects due to incorrect focus is small and similar to other similar lenses.

EGF of such a lens on cameras with an APS-C sensor corresponds to 52.5 mm, which is a classic focal length. And the equivalent aperture in terms of depth of field is F / 1.425. In fact, this lens corresponds to fifty kopecks of class 50 / 1.4 (viewing angles and depth of field) when used on a full-frame camera.

Personally, I expected a more 'interesting' picture, more interesting bokeh from 7Artisans 35mm 1: 0.95. I suppose that the design of the 7Artisans 35mm 1: 0.95 optical circuit is quite simple, repeats the optical design Zhongyi Speedmaster 35mm F / 0.95 Mark II and is based on a conventional dual Gaussian lens (Planar 6/5 modification). For example, such a planar-like scheme is used for the lens 7Artisans 55 / 1.4... Added to this scheme speed booster circuit (with a factor of about 0.7 X), the result is something like this (my guess is 50 * 0.7 = 35, 1.4 * 0.7 = 0.98, or 1.8 * 0.7 = 1.26). The same principle is used by the lens. TTArtisan 50 mm F / 0.95 DJ-OPTICAL ASPH (similar 11/8 layout with similar 6/5 and 'booster' layout).

7Artisans 35mm 1: 0.95

7Artisans 35mm 1: 0.95

All Sony E-mount cameras with APS-C sensor

7Artisans 35mm 1: 0.95

7Artisans 35mm 1: 0.95

All Sony E lenses for APS-C

Fix Lenses:

  1. Sony 11 mm f/1.8 (announcement) [2022, black, AliExpress price]
  2. Sony 15 mm f / 1.4 G (announcement) [2022, black, AliExpress price]
  3. Sony 16 mm f/2.8 (overview) [2010, silver, AliExpress price]
  4. Sony 20 mm f/2.8 (announcement) [2013, silver, AliExpress price]
  5. Sony 24 mm f / 1.8 ZEISS ZA (overview) [2011, black]
  6. Sony 30 mm f / 3.5 MACRO (overview) [2011, silver, AliExpress price]
  7. Sony 35 mm f / 1.8 OSS (announcement) [2012, black, AliExpress price]
  8. Sony 50 mm f / 1.8 OSS (announcement) [2011, black/silver, AliExpress price]

Zoom Lenses:

  1. Sony 10-18 mm f / 4 OSS (announcement) [2012, black, AliExpress price]
  2. Sony 10-20 mm f / 4 G PZ (announcement) [2022, black, AliExpress price]
  3. Sony 16-50 mm f / 3.5-5.6 PZ OSS (overview) [2012, black/silver, AliExpress price]
  4. Sony 16-55 mm f / 2.8 G (overview) [2019, black, AliExpress price]
  5. Sony 16-70 mm f / 4 OSS ZEISS ZA (overview) [2013, black, AliExpress price]
  6. Sony 18-50 mm f/4-5.6 (overview) [2014, black]
  7. Sony 18-55 mm f / 3.5-5.6 OSS (overview) [2010, black/silver]
  8. Sony 18-105 mm f / 4 G PZ OSS (announcement) [2013, black, AliExpress price]
  9. Sony 18-110 mm f / 4 G PZ OSS (announcement) [2016, black]
  10. Sony 18-135 mm f / 3.5-5.6 OSS (overview) [2018, black, AliExpress price]
  11. Sony 18-200 mm f / 3.5-6.3 OSS (overview) [2010, silver, AliExpress price]
  12. Sony 18-200 mm f / 3.5-6.3 OSS LE (overview) [2012, black, AliExpress price]
  13. Sony 18-200 mm f / 3.5-6.3 PZ OSS (announcement) [2012, black]
  14. Sony 55-210 mm f / 4.5-6.3 OSS (announcement) [2011, black/silver, AliExpress price]
  15. Sony 70-350 mm f/4.5–6.3 G OSS (announcement) [2019, black, AliExpress price]

Third-party autofocus lenses for Sony E APS-C:

Many interesting manual solutions are provided by Chinese manufacturers and brands. 7Artisans, TTartisan, Meike, Neewer, PerGear, Kamlan, Brightin star, Mitakon Zhongyi, Venus laowaFujian, ARTRALABAstrHori other. Autofocus Speed ​​Boosters are also interesting Viltrox Canon EF -> Sony E 0.71X и Metabones Canon EF -> Sony E 0.71X... List of full-frame cameras and lenses Sony FE (Full Frame E) here

7Artisans 35mm 1: 0.95

7Artisans 35mm 1: 0.95


7Artisans 35mm 1: 0.95 costs around $ 200. The easiest way buy 7Artisans 35mm 1: 0.95 at Aliexpress.comfor example official seller 7Artisans Store here at this link.

Dimensions 7Artisans 35mm 1: 0.95 for Sony E and Sony E mounts 3.5-5.6 / 18-55 OSS (Optical Steady Shot, E-mount)

Dimensions 7Artisans 35mm 1: 0.95 for Sony E mount and Sony E 3.5-5.6 / 18-55 OSS (Optical Steady Shot, E-mount)

Video review

You can watch the video review on my Youtube channel at this link... One more thing funny video here.


7Artisans 35mm 1:0.95 is an interesting creative tool. It has a convenient focal length for working on cameras with an APS-C sensor (EGF about 50 mm), which allows you to use the 7Artisans 35mm 1:0.95 as a standard prime lens for every day. Quite suitable for use at F / 0.95. At F / 0.95 it blurs the foreground and background very much. There are questions about real aperture.

10 main advantages

  1. low price tag (you can find for only 210 $ with free shipping)
  2. high aperture (declared aperture ratio 1: 0.95)
  3. compact size, very good build quality: the lens body is completely made of metal, the optical system uses low-dispersion elements
  4. very smooth focus ring, pleasant to use
  5. there is a depth of field scale and focusing distances
  6. 12 diaphragm blades that always give a rounded hole
  7. the aperture ring rotates smoothly, without intermediate values ​​(important for movie shooting)
  8. the aperture control ring is located in front of the lens, which is very convenient
  9. good sharpness in the center of the frame already at F / 0.95, good vignetting control
  10. the lens blurs the foreground and background very much at F / 0.95, has good bokeh

10 main disadvantages

  1. according to my measurements, the light transmission at f / 0.95 is at the level of T / 1.3-T / 1.4
  2. no CPU pins to form the correct EXIF
  3. a threaded (non-bayonet) hood should be used; no hood is included in the scope of delivery
  4. small step at the aperture ring between the values ​​of the aperture numbers F / 2-F / 16
  5. focus ring poorly stretched from 1 meter to infinity
  6. heavy weight (about 400 grams)
  7. there is no lens profile for popular RAW converters, the lens is not 'hardwired' into modern cameras
  8. strong Focus Breathing effect
  9. tangible chromatic aberration
  10. in backlight and side light, you can easily get a lot of strong glare

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Comments: 66, on the topic: Review of 7Artisans 35mm 1: 0.95

  • Leonid

    Great review! In addition, the lens is well centered, which is checked by the table of sharpness in the picking when focusing at an open aperture from infinity to MDF and from MDF to infinity. Opening the aperture produces very soft and smooth blur and is roughly comparable to the 3,5 aperture of the classic Jupiter-9 2/85 portrait lens. The lenses Industar-61 2,8 / 52 and Helios-44-3M 2/58 at open apertures clearly do not hold up, so they are not suitable for portrait photography even on a crop. Sharpness is slightly worse than I-61.

    • Leonid

      By sharpness, I meant resolution.

    • Michael

      Eeee ... Don't touch the Helios) Even as they draw portraits, it's just that their “screaming” bokeh should be used wisely.

      • Leonid

        You are right.

    • Leonid

      Comparison of the blur degree of 7Artisans 0,95 / 35 at open aperture with Jupiter-9

      • Arkady Shapoval

        Thank you

        • Leonid

          What is it for me? Without you, I would still be in a trance.

  • Andrei

    It is not entirely clear why the 35 mm aperture of the fix is ​​compared to the 5.6 aperture of the kit zoom at 50 mm. Why not 35mm aperture?

    • Arkady Shapoval

      The bottom line is this: Sony E 3.5-5.6 / PZ 16-50 OSS Optical Steady Shot Power Zoom (Sony SELP1650) in the 35-50mm range can only use the maximum aperture of F / 5.6. (it is at 35mm that this whale has the maximum 1: 5.6 in terms of the camera)

      • Andrei

        At Sonya, I probably don't remember already, a long time ago the whale was removed from Sonya. But on Nikkor 18-105 by 35 mm, something about 4,5. That and at 18-55 too.

        • Arkady Shapoval

          But here we are talking about Sony. This lens is not available for SLR cameras at all. About the specified 16-50 they know for sure, because I did a review and indicated in the plate the maximum aperture for each focal length value on the lens focal length scale.

          • Andrei

            Yes, on Sony 35mm 5,6. And 34 mm is exactly 5.

  • Rodion

    There are no thick lenses in it and some mega-unusual glass, so the low T-stops are due to the low F-stops. Simply put, the Chinese have inflated with aperture ratio. The calculation of the F-aperture ratio (~ 1.2) by the reader of Radozhiva is just confirmed by your data (~ T / 1.3-T / 1.4).

    • Oleg

      That is, it is more correct to call it 35 / 1.2?

      • Rodion

        In fact, yes.

    • Arkady Shapoval

      Yes, I just pointed out this in the text

      Such light transmission is usually found in high-quality lenses with an aperture ratio of 1: 1.2.

    • koba

      7Artisans 35mm F0.95 - T-stop 1.35 (difference - 0,4 EV)
      Sony FE 100mm F2.8 STF GM OSS - T-stop 5.6 (2,8 EV difference)
      Carl Zeiss Distagon T 18mm f / 3.5 ZE - T-stop 4.2 (0,7 EV difference)
      Olympus M.ZUIKO DIGITAL ED 25mm F1.2 PRO- T-shop 1.8 (0,6 EV difference)
      Sigma 14mm F2.8 EX Aspherical HSM Nikon - T-shop 3.4 (0,6 EV difference)
      Carl Zeiss Distagon T 21mm f / 2.8 ZF2 - T-shop 3.4 (0,6 EV difference)
      Panasonic Leica DG Noct 42.5mm F1.2 ASPH-T-shop 1.8 (0,6 EV difference)
      Nikon AF-S DX Nikkor 35mm f / 1.8G - T-shop 2.4 (0,6 EV difference)
      Nikon Tamron SP 45mm F1.8 Di VC USD - T-shop 2.4 (0,6 EV difference)
      Nikon AF Nikkor 24mm f / 2.8D - T-shop 3.3 (0,5 EV difference)
      Nikon AF Nikkor 14mm f / 2.8D ED - T-shop 3.3 (0,5 EV difference)
      Canon EF 300mm f / 2.8L IS II USM - T-shop 3.3 (0,5 EV difference)
      Carl Zeiss Distagon T * 2.8 / 15 ZF.2 - T-shop 3.3 (difference - 0,5 EV)
      Samsung NX 85mm F1.4 ED SSA - T-shop 1.9 (0,5 EV difference)
      Sigma 30mm F1.4 DC HSM A Canon - T-shop 1.9 (0,5 EV difference)
      Pentax smc DA Star 55mm F1.4 SDM - T-shop 1.8 (0,4 EV difference)
      Panasonic Leica Summilux DG 25mm F1.4 - T-shop 1.8 (0,4 EV difference)
      Canon RF 50mm f / 1.2L USM - T-shop 1.5 (0,3 EV difference)
      Canon EF 85mm F1.2L USM - T-shop 1.6 (0,4 EV difference)

      Here you are, the real aperture ratio of some lenses, the difference is much greater than that of this lens, but I have never read that "Japanese, Germans or Koreans" cheated everyone, besides, these lenses cost many times more, and some are even $ 3000 or $ 6000 ...
      So for me, the photographs given in the review, as well as the level of performance of this lens, its supposed durability and price give reason to say about it that this is just a gift from a Chinese manufacturer, but for the gift they generally say “thank you”!

      • Arkady Shapoval

        Well, it just converges with my T / 1.3-T / 1.4.

        Here, the whole point is that it is 0.95, and therefore everyone is looking so closely at this.

        And a note on the list. 1 EV is a stop (stop) that gives a difference in exposure by 2 times. For example, there is a difference of 1 EV between F / 1.4 -> 2 -> 2.8 -> 4 -> 5.6 -> 1.But you took and simply subtracted the numbers between T-stops and F-stops and got some number by attributing to him EV This is not true. 1.35-0.95 = 0.4, but this is not EV It is correct like this: (1.35 * 1.35) / (0.95 * 0.95) = 2.02, that is, a little more than 1 stop, that is, the difference is '- 1 EV' (if you count, starting from the ideal T / 0.95 to F / 0.95). Therefore, for example, the difference for some Canon 300mm / 2.8 with T / 3.3 will not be '- 0,5 EV', but 3.3 * 3.3 / 2.8 / 2.8 = 1.36, that is, a third of a stop, which is the norm. Now feel the difference: one third of a step and one step.

        • Koba

          In addition, the diaphragm is the diaphragm, not only the aperture ratio is important here, because regardless of the actual light transmission, the openness of the diaphragm, in theory, gives a larger and sometimes more interesting blurring of the background.

          • Arkady Shapoval

            Yes, I perfectly understand that the relative aperture and light transmission are different things, and nowhere do I say that F is not 0.95 here. Plus, if you take the blur into account, what is the most blurry? 50 / 1.2, 55 / 1.4 or 35 / 0.95?

    • aidah

      > Simply put, the Chinese inflated with aperture ratio.

      Not really, or then everyone cheats.
      It is desirable to measure in the center, otherwise geometric vignetting strongly affects the result.
      T-stops start to (strongly) disagree with F-stops for almost all glass faster than F2. It doesn't matter who released it.

      50 / 1.4 are T1.8
      Almost all F1.7-F2 will be T2 or darker.
      The Japanese 50 / 1.2 in the center also scrapes only T1.4.
      And this is already a good result, because Chinese 50 / 1.1 is in fact slightly darker.

      • Rodion

        So the tests made by Arkady were carried out with exposure metering at the center point.

      • Alexey

        for reference

        zuiko 50 1.4 Measured: f / 1.53 T-number: T-1.65
        zuiko 50 1.8 Measured: f / 1.89 T-number: T-1.95

  • Oleg

    A catch, but still not bad for a Chinese

  • Andrei

    First, lenses for APSC are even lighter and, accordingly, very much more expensive.
    Kipon IBELUX 40mm f0.85 mkII Review (and first version yet)

    Second, doesn't the jonggy use more special elements? They have a difference on the site in this regard, it was said here that it looks like ...

    Third, about T-stops, there is one foreign pro, he compared Mitacon, 7Art with Fuji 35mm1.4, and pointed out that Mitacon T-stops are real for F-stops (in particular f / 0.95), 7Art lags behind in this completely a little bit. Link (and I also attach a screen): https://jonasraskphotography.com/2020/11/15/the-7artisans-35mm-f0-95-review/

    And also, and that review points out some more differences between these lenses, if you are curious about the link above :-)

    • Arkady Shapoval

      Thank you.
      On the first point: I corrected the text and added the KIPON Ibelux 1: 0.85 / 40mm Mark II to the list. Here I was really mistaken with the statement that under APS-C there are currently no faster solutions than 1: 0.95.

      On the second point: Mitakon 35 / 0.95 uses the 11/8 scheme, I could not find its drawing (can you help me find it), I assume that it is exactly the same, due to the fact that Risespray 35 / 0.95 was copied namely with Mitakon 35 / 0.95, and 7Artisans 35 / 0.95 already with Risespray 35 / 0.95. The official site states that Mitakon 35 / 0.95 uses 1 low dispersion element and 1 high refractive index element and 2 super high refractive index elements. Which is better: 2 ED or 1 ED + 1 HR + 2 HRI? (fixed)

      On the third point: I saw a review Jonas Dyhr Rask and I think his conclusion is wrong. As well as the erroneous opinions or statements of many bloggers who did not fully understand this issue specifically. At first, it also seemed to me that at 0.95 it was a stop lighter than at 1.4, since the exposure meter's indicators jump a lot at these values ​​and I want to believe in a fairy tale. For a more rigorous conclusion, I had to very carefully investigate this point. It cannot be denied in any way that the difference between F / 0.95 and F / 1.4 is a third of a stop (to be more strict, no more than a third). Jonas didn't pay attention to it at all. Also, the exposure jumps a bit depending on what type of lens is on it. It has been noticed more than once that with lenses with a microprocessor (such as Fuji 35 / 1.4) and manual lenses (for example, if you disconnect a little Fuji 35 / 1.4 so that the microprocessor contact disappears and Fuji 35 / 1.4 'conditionally turns into a manual') cameras are measured exposure in different ways and have different rates (I saw differences from 1/4 to 1 stop). Therefore, it is best to conduct an experiment with all enhancers disabled and according to the histogram.

      • Rodion

        From what RI is it considered High? It was always very interesting. Up to 1.9 are produced in the palette of modern glass in the Russian Federation. And they are also developed with 2.2, which, however, are very environmentally friendly due to thallium.

        • Arkady Shapoval

          Why not call 2 Extra-High Refractive Index Elements and one High Refractive Index Element? But still, since they are indicated, then I should also indicate this.

          • Rodion

            I have a question more for tea marketers than for you

      • Alexey

        notes on the brim of the old hat.
        I don’t know about other cameras, but Nikon and Kenon sin by the fact that when they install their own lenses with aperture 1.4 on them, they increase the exposure in the final frame, that is, technically, they programmatically raise the ISO when shooting at an open aperture. the reason is banal - in T feet it (in the voice of the Owl) is “goraazdo darker” than it should be. but this is checked either by the histogram of the captured frame, it has a characteristic form that will turn out if you multiply the data from the ADC by a certain coefficient, or stupidly, head-on, by turning the lens in the mount until it is disconnected from the camera and shooting with such a "manual" lens and then comparing the exposure of the shot.

        • Arkady Shapoval

          I'm about the same

          • Alexey

            I somehow didn’t pay attention to it before, but once the view of the histogram of a frame shot with a kenon 50 1.4 caused me questions - sho tse take? began to understand and realized that they were fooling us)) then I already found similar studies on foreign forums. moreover, some even wrote open letters to manufacturers, but there was no response to them.

      • Neo

        Why then does Oleg say that Artisans is lighter than his 50 / 1.2? You seem to agree with his review and posted it on your site

        • Victor

          Maybe this is because 50 / 1.2 is not 1.2 at all, but 1.5 ... 1.6 at best?

        • Arkady Shapoval

          Ask Oleg directly, he seems to be responding to comments on YouTube.
          But if you think a little, then it seems to me (I could be wrong) that Oleg simply did not seriously approach this issue. Just like many other bloggers. Even at first I fanatically believed that 7Artisans 35 / 0.95 gives about real T / 0.95 for one simple reason - it “seems” lighter than my 50 1.4. But the dilemma is that it is only a third lighter, but should be 2.2 times (the difference is 7 times in real and expected).
          And Oleg is somewhat right when he says that 7Artisans 35 / 0.95 is lighter than Canon EF 50 / 1.2L, since the latter has real T / 1.5, which is less than T / 1.3-T / 1.4 for 7Artisans 35 / 0.95 ... But the expected T / 0.95-T / 1.0-T / 1.1 is far from T / 1.5.
          And also, the role was played by the fact that the lenses were used on different cameras of different systems and different formats (Canon full frame and Fuji crop), which, due to their characteristics, can easily differ in exposure depending on the settings, the method of operation of the exposure meter, enhancers, etc. other things.

      • Neo

        So, wait a minute. Let's figure it out! If he and Mitacon give the same exposure, and Mitacon, according to him, is not lying, then how is that? Maybe you should double-check?

  • Rodion

    The main advantage of this lens is that it no longer has the DJ Optical logo on it.

    • Arkady Shapoval

      Apparently because they do not make it at DJ Optical factories, but simply rebrand it (here I can be wrong, no one will give us a commercial secret about the origin of the lens)

  • Michael

    Arkady, typos:
    "Set aside"
    "Extreme position"
    "At f / 0.95 aperture"

    • Arkady Shapoval

      Thank you, fixed

  • Vladimir

    Thanks for the review-disclosure :) And I wonder if he will be with his “fake” 0.95 better than his fellow 50 / 1.2, which is two and a half times cheaper?

    • Rodion

      The brother has half as many lenses. So it will be.

      • Rodion

        Oh, oh, I'm talking about 35 / 1.2

        • Vladimir

          Yes, and I meant him :) I wrote the wrong thing.
          I ordered myself one, though not Artisans, but Risespray 35 0.95 for mft, let's see if it's the same or not ... I want to try silently filming classical concerts, it's absolutely impossible with a DSLR.

          • Alexey

            in LV the rustle of just one shutter curtain (the canon takes off with the electronic first curtain) is very small, I don't think it can bother anyone at a concert.

            • Vladimir

              Canon - I readily believe, and Nikon D750 even in quiet mode shoots so that old ladies shudder nearby :) It remains to find a micro 4/3 camera model with an electronic shutter, which has managed to get cheaper, but gives sufficient quality.

              • Alexey

                yes it is really noise. When I shoot serially on D2Xs, people are hovering in the corners, thinking that the war has begun and the enemies are hitting passers-by with machine guns :)

              • Arkady Shapoval

                as far as I know and by feeling - the noisiest is the d700

              • Pokemon

                Older Nikons are really noisy - the same D3s or D4.
                D750 sounds softer and quieter.
                Quiet mode - Q is partly saved.
                They pay less attention to the camera (which I don't need).
                Only in Q and I shoot.

              • Arkady Shapoval

                Some Nikons (starting like d800) in Live View may not lower the mirror and work only with the shutter, some of them are already quite quiet

              • Ivan

                Pokemon is right. The professional line (D3, D4, etc.) has a fundamentally different mechanism. There are solid gears. And these cameras make noise in high-speed shooting like tractors.

              • Arkady Shapoval

                Still, I think that they make noise just at high speeds. But single shots d3-d4 have a pleasant and not very loud sound

    • Arkady Shapoval

      Yes, on the open it is much better than the first version 35 / 1.2

  • Neo

    Even if it is T1.4, then such money is just a gift from the gods! I want myself on a Canon M5, so I'm thinking of saving and taking Risespray, or not taking risks and taking Mitacon Mark 2?

    • Arkady Shapoval

      I don't see much point in overpaying for Zhongyi SpeedMaster (Mitakon) 35 / 0.95 Mark II... Mechanically it is not better, optically better, but also 2.5 times more expensive than 7Artisans /risespray/Kaxinda... In terms of real aperture, they are almost equal (see the discussion here, in the comments on the reality of F / 0.95 and T / 0.95). However, if you don't like the lens, then it will be easier to sell Mitakon, since the brand is better known.

  • Eugene

    ..thanks for your review ..

  • Arkady Shapoval

    Added on Youtube short video review 7Artisans 35mm 1: 0.95

  • Arkady Shapoval

    A newcomer came to my review TArtisan 50mm F / 1.2 DJ-OPTICALwhich at f / 1.2 gives exactly the same exposure as the 7Artisans 35mm 1: 0.95 at f / 0.95. Which once again confirms the observation about the reality of the f / 0.95 aperture in 7Artisans 35mm 1: 0.95

    • Rodion

      More precisely, about the UNreality of F / 0.95 at 35 / 0.95. Direct light sabotage of seven partisans of some kind.

    • Rodion

      This lens according to the scheme is the same scaled 7artisans 75 / 1.2 for ff cameras.

    • Victor

      Curious. Have you compared it with branded glasses?

      It is unlikely that the /1.2 version has a real light transmission of T / 1.2.

      • Arkady Shapoval

        Well, it is true that the F / 1.2 is in the T / 1.4 region, which, in fact, was discussed

  • Arkady Shapoval

    Another clone has appeared - Yaxall 35mm F / 0.95

  • aidah

    I bought this glass from Arkady, but it took a long time to test it.
    It was interesting how close the a6000 + 7Artisans 35 / 0.95 crop link got to the full frame A7R + Canon FDn 50 / 1.2.

    In general, the Chinese have done very well.
    In the daytime, excellent aberration correction (for glasses of class ~ f1) and good sharpness make it possible to make full-length ones in the open.
    Canon FDn 50 / 1.2 there is simply nothing to answer. Its sharpness is good only in the center, and about whom and spherical in the sun it is better just to be silent.

    Bokeha at 35 / 0.95 is generally good. Quite point-blank, for flowers, it, for my taste, falls short of the whole list of full-frame masterpieces of yesteryear, including the 50 / 1.2 boots. Likewise, the half-frame babies zuiko 40 / 1.4 and 38 / 1.8 are also more interesting. Strong "above average" rating.
    In breast portraits, the burkeh is almost perfect. Smooth in a modern way, without zest. For my taste, the 50 / 1.2 boot is slightly more beautiful, but suffers from uneven bokeh quality due to the geometric vignette and strong coma in the corners.

    High uniformity of the quality of blur in the Chinese due to the large coverage (although they almost reached FF) and the curved field of sharpness.
    Not the most curved field in general, but everything is bad if you take lenses that are claimed to be photographic.
    Some acceptable landscape is obtained only at F8, if you focus on about the outer third of the frame.

    The lens tends to color shift to purple at F0.95-F1.4.
    Not strong, but unpleasant. Adds fuss to the post.
    Fortunately, things are not as bad as with the disgusting Pergear 35 / 1.6.
    With him, my eyes were bleeding from color rendering so that I needed a blood transfusion.

    With night shooting, the crop-bunch is bad. The Chinese man did not lie next to the Canon 50 / 1.2 ergonomics. A wide ring, a large throw, easily distinguishable rings, click-stops, hard-stop endless - these are all good things that canon has, but the Chinese does not.
    Add to this the large EVF of the XNUMX, which is fed from a larger sensor, and this is a one-sided game.
    At night, sharpness on an open (curved field) does not play any role at all, and ergonomics and a clear feed into the viewfinder rule the show.

    On A7R with 50 / 1.2 necrotizing, I can quite confidently hit flickering children at night without a magnifying glass and a pray-and-spray.
    On the a6000 from 35 / 0.95, this does not work. Separate rays of diarrhea behind the diaphragm ring, which is blown away by the wind from a mosquito flying by. You constantly have to check, because it is not visible in the darkness where it is there. Then I will somehow modify it with a file.

    In general, nothing like that. Right off the bat, for the sake of “uiii, f0.95” to take, the idea of ​​average success.
    On the one hand, as a “poltos (FF equivalent) for bokech portraits”, the lens was very successful.
    Weight, price, picture - almost perfect. Here, in the end result, there is not much difference with FF + 50 / 1.2. And the price tag and dimensions of the FF system will be completely different.
    A good option for flowers, but not the best.
    Bottom landscape.
    Low-light is quite strong if targets are nailed to the ground with a stern gaze.
    But whatever one may say, at night to FF is still like walking to a neighboring galaxy.

    If I shoot something, it will be here: https://www.flickr.com/photos/curry-hexagon/albums/72157719570158208

    • Arkady Shapoval

      Thanks for the feedback

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