Review of Risespray 35mm F1.6

Risespray 35mm F1.6

Risespray 35mm F1.6

Navigation

  1. In short
  2. Main Specifications
  3. Assembly
  4. Focusing
  5. Image quality
  6. Sample Photos
  7. My experience
  8. Price
  9. Results
  10. User Comments
  11. Add your review or question on the lens

In this review I will call the Risespray 35mm F1.6 lens Risespray 35/1.6 for short.

Please note that Risespray 35/1.6 is completely similar to the model 35mm F1.6 (CCTV, APS-C, Sony E, Fujian).

This lens has a C-MOUNT mount (thread) and can be easily installed on any modern mirrorless camera using a simple and cheap adapter. In the review I used a Risespray 35/1.6 lens with a Risespray adapter C-mount -> Sony E/NEX (black color, but there are silvery).

It's important: Risespray 35/1.6 is available in two body colors: black and silver. This review shows the black version.

Risespray 35mm F1.6

Risespray 35mm F1.6

In short

Risespray 35/1.6 is a modern fast lens with manual focus, uses a C-MOUNT mount, which makes it easy to adapt on any modern mirrorless camera. Covers APS-C sensor. One of the cheapest such fixes for cameras with an APS-C sensor and a maximum aperture of F / 1.6.

35 mm is a convenient focal length that allows you to use Risespray 35/1.6 as a standard (regular) lens for a huge number of different photographic tasks.

Risespray 35/1.6 is interesting very low price and a maximum relative aperture of 1:1.6, as well as a 12-blade diaphragm. It has serious optical flaws, but overall it fully justifies its cost.

Risespray 35mm F1.6

Risespray 35mm F1.6

Main technical characteristics of Risespray 35mm F1.6

Review Instance Name On body: Risespray 35mm F1.6
Basic properties
  • The lens uses a C-mount, which is easily adapted to mirrorless cameras, such as Sony E
  • Manual focus only
  • Macro ring included (sometimes 2 rings)
  • Manual iris control
  • Metal mount, metal body
  • Multi-Enlightened Optics
  • Red decorative ring indicating that this is a premium lens
Front Filter Diameter 37 mm
Focal length 35 mm

Zoom ratio 1 X (this is a fixed lens, it does not have a zoom)
Designed by The mount easily adapts to modern mirrorless systems with a simple adapter
Number of aperture blades 12 rounded petals
Tags focusing distance scale, only in meters: 0.45, 0.8, 1, 2, 3 meters and infinity mark
Diaphragm from F / 1.6 to F / 16, controlled using the aperture control ring. There are marks for F / 1.6, 2, 2.8, 4, 5.6, 8, 16. The ring rotates without clicks, smoothly
MDF 0.45 meters, maximum magnification ratio approx. 1:10
The weight
  • 104 grams (measured, lens without caps and adapter)
  • 130 grams (measured with front cover and Sony E adapter)
Optical design 4 elements in 4 groups

Picture not found

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 Around 2016
Price

F / 1.6 is 2/3 stops brighter than the more common F / 1.8 on many other similar lenses, such as the original lens Sony 35mm F / 1.8 OSS. At the same time, the new original Sony 35mm F / 1.8 OSS has a price tag of around $500.

Many amateur photographers want a fast prime, especially in addition to their stock/kit lens. Aperture F / 1.6 almost 3 steps wider F/4.5 aperture, which is used in 'dark' kit lenses at 35 mm focal length. In numerical terms this means that Risespray 35/1.6 is approximately 8 times brighterthan, for example, regular lenses Sony 18-55mm f / 3.5-5.6 OSS or Sony 16-50mm f / 3.5-5.6 PZ OSSwhich use a maximum relative aperture of only 35: 1 over a 4.5 mm focal length. The calculation of the difference in the relative aperture (count the aperture) is performed elementarily: (4.5 * 4.5) / (1.6 * 1.6) = 7.9, which is rounded to the value '8'.

It's important: F/1.6 aperture is 'real' here, with light transmission around T/1.8.

Risespray 35mm F1.6

Risespray 35mm F1.6

Assembly

The lens arrived for review completely new, in a sealed box. The box contains the lens itself with front and rear caps and a macro ring with an adapter C-NEX.

In general, the lens is put together well, although it is noticeable that it is a little rough. Risespray 35/1.66 has metal mount for bayonet, and the lens body itself is completely made of metal. It's a pity that the connecting thread is painted silver and not black.

The front lens cap is plastic, with latches.

The weight of the lens is just over 100 grams. In the hands of the lens feels like a nice thing.

The filter diameter is only 37 mm.

The diaphragm consists of 12 petals and forms a round hole at any values, while in the photographs in the blur zone, rather round discs of blur are obtained at any aperture. The diaphragm can only be controlled manually using a special ring. Aperture ring rotates smoothly no clicks and fixed values, you can set any intermediate value in the range of F / 1.6-F / 16, which is very useful during movie shooting.

The aperture control ring rotates rather tightly, it will be difficult to accidentally knock down the set value. There was no place at all for the F / 11 mark on the aperture control ring.

It's important: When installed on the camera, the focus distance scale and aperture scale are located on the bottom/side of the camera (most likely a problem due to the adapter).

Risespray 35mm F1.6

Risespray 35mm F1.6

Focusing

The focus ring is metal, ribbed, comfortable. The ring spins on 45 degrees. Focusing is smooth.

During focusing, the trunk of the lens runs forward but does not spin. During focusing, the entire lens block moves.

On the ring there is a scale with a focusing distance, but only in meters. The minimum focusing distance is 45 centimeters, and the maximum magnification ratio is approximately 1:10. The lens comes with a special macro ring, which allows you to achieve a magnification of 1:2. The macro ring is screwed onto the mounting thread of the lens and the 'C-MOUNT -> desired system' adapter is already installed on top of the ring. On sale, I saw kits with two of these macro rings to achieve higher magnification ratios.

Risespray 35/1.6 has a slight 'Focus Breathing' effect (changing the viewing angle while focusing). When focusing towards the MDF, the viewing angle decreases.

Focus Shift (change in focusing distance due to aperture) is missing.

Hard stop (hard infinity mechanical stop) for fast and accurate focusing under any operating temperature conditions, the lens does not have. With adapter C-mount -> Sony E/NEX (included) there is a small flight of infinity at the extreme position of the focus ring.

Focus peaking with Risespray 35/1.6 and cameras Sony a3500 and Sony NEX-F3 at F/1.6 works well.

Risespray 35mm F1.6

Risespray 35mm F1.6

Image quality

The lens has big problems around the periphery of the frame.

Sharpness

  1. F / 1.6 lens has quite tolerable resolution in the center of the frame, at the level of other inexpensive similar lenses
  2. with aperture down to f/2.8 resolution becomes excellent
  3. there is a catastrophic drop in sharpness to the edges and corners of the frame
  4. First of all, the drop in resolution to the edges and corners of the frame is due to large field curvature, as well as the fact that this lens was not originally designed to work with APS-C sensors
  5. mediocre contrast
  6. palpable coma

Distortion

  1. there is a small barrel-shaped distortion
  2. distortion is unified, easy to edit in the editor

Vignetting

  1. weak vignetting at f/1.6 (which is odd considering it's a CCTV lens originally designed for use with smaller sensors)
  2. vignetting decreases with focus towards MDF. Most noticeable when focusing on infinity
  3. vignetting almost completely disappears at F / 4.0
  4. vignetting easily fixable in the editor

Aberration

  1. there is a noticeable amount of chromatic aberration
  2. there is a noticeable frigging (the color of contrasting elements in the out-of-focus area is purple or green)

Rest

  1. on covered apertures it is difficult to achieve a beautiful effect of a 12-ray star
  2. from bright light sources you can get a huge amount of glare (there are examples in the gallery)

Important: At the time of writing this review, there was no Risespray 35/1.6 profile for popular RAW converters. You can create a profile yourself or wait for its release.

Risespray 35mm F1.6

Risespray 35mm F1.6

Sample Photos

All photos in the review are shown without processing. The camera used was a Sony NEX-F3 (16 MP Sony Exmor APS-C HD CMOS sensor). All photos according to the rules Zero JPEG.

Original JPEG images can be view / download from this link (50+ files, Google Drive gallery).

Risespray 35mm F1.6

Risespray 35mm F1.6

My experience

This is a tiny and fun lens. Very afraid of light.

Risespray 35/1.6 belongs to the so-called CCTV lenses, also called TV LENS, which are most often used in CCTV cameras. Most often, such lenses are designed for cameras with a sensor no larger than an inch and cannot cover large sensors (APS-C type).

Risespray 35mm F1.6

Risespray 35mm F1.6

Price

Risespray 35/1.6 costs around $20. The easiest way buy Risespray 35/1.6 at Aliexpress.comFor example, here at this link.

Risespray 35mm F1.6

Risespray 35mm F1.6

Results

Risespray 35/1.6 is a tiny lens. Very cheap. The image quality is not impressive, but at the same time it gives the opportunity to get a feel for working with a high-aperture prime.

10 main advantages

  1. very low price tagonly about 20 dollars)
  2. maximum aperture F/1.6
  3. convenient focal length for working on cameras with an APS-C sensor (EGF about 50 mm)
  4. good build quality: the lens body is completely made of metal, including a metal mount
  5. very compact dimensions, filter diameter of only 37 mm
  6. twelve aperture blades
  7. smooth aperture adjustment
  8. there is a focus distance scale
  9. there is a macro ring in the delivery set
  10. quite tolerable sharpness in the center of the frame starting from f / 1.6

10 main disadvantages

  1. in fact, this is a copy of the lens 35mm F1.6 (CCTV, APS-C, Sony E, Fujian)
  2. The aperture value scale is very conditional, not accurate at intermediate values
  3. The focusing ring rotates only 45 degrees, the ring pitch is poorly stretched in the range from 2 meters to infinity (difficult to focus)
  4. no CPU pins to form the correct EXIF
  5. there is no F / 11 value on the aperture control ring. The distance scale is marked only in meters.
  6. a threaded (not bayonet) hood must be used, a hood is not included in the package (although sometimes a hood is still part of the package, for example, here)
  7. there is no lens profile for popular RAW converters, the lens is not 'hardwired' into modern cameras
  8. strong glare in the backlight, a strong drop in contrast in the side light
  9. critical drop in sharpness at f / 1.6 at the edges and corners of the image (on APS-C)
  10. large curvature of the field

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Material prepared Arkady Shapoval. Please, if this material was useful to you, help my project. And don't forget that everyone can write your review for one or another photographic equipment.

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Comments: 19, on the topic: Review of Risespray 35mm F1.6

  • Somebody

    The photo shows “the lens itself”, not the subject being photographed. I don't want to touch this.

    • Rodion

      Opposite opinion. Portraits and flowers come out great, no worse than with expensive vintage ones like old film lenses. Definitely worth a try if you have itchy hands. Plus it's almost free.

      • Somebody

        Yes, you are always against it. You try, and then this “miracle” will be lying around, and he also sponsored the release of this misunderstanding.

        • Rodion

          What does “sponsored the issue” mean here? This is a technical lens, produced in a huge series. Its acquisition by weather photographers certainly does not make the manufacturer.

          • Somebody

            How did you understand that it was technical, a large number of available mounts?

            • Rodion

              So it’s C-mount, what do you mean?

    • wj

      I wouldn't buy this lens as a standard prime either.
      On the other hand, to play around, arrange a challenge for yourself - it’s quite possible! After all, photography is not necessarily about technical quality.

      • Rodion

        I would like one, but like 55/1.8 - for full frame. With the same primitive, triplet-shaped circuit.

  • Roman Stepanovich

    Continued reviews of all sorts of nonsense? Yeah! This resource has completely exhausted itself from the word “completely”

    • Rodion

      Or it’s not interesting to review “nonsense” because it’s the same for everyone. As with mobile phones, each manufacturer used to have its own case style, its own interface, its own bells and whistles. Nowadays it is impossible to distinguish one phone from another. Lenses have now also ceased to be something unique. Now their characteristics are the focal length and the maximum aperture value, everything else is approximately the same for everyone, the image quality is already somewhere at the “excellent” and “excellent” level, autofocus too. What to write about? In modern optics, the novel does not work out - there is no hero, no conflict, no resolution.

      • Somebody

        Here I agree with you, all new lenses in the same price segment are similar. The overview from the point of view of what is happening there is interesting.

        • Rodion

          Personally, I already have enough of the same announcements criticized by many readers here. I looked at the diagram, at the graphs, at the appearance - well, everything is clear in general. The only thing is that I would be happy to read and continue to read reviews of Chinese optics as they come out - they are actively gaining momentum right now and it’s interesting to watch.

    • wj

      In fact, it is precisely these reviews of, as you put it, “nonsense” that makes this resource attractive. Hundreds of people write about new autofocus lenses, the competition there is crazy, but you won’t find information or samples about any lesser-known models during the day.
      I’ve recently become interested in reading reviews of old Nikon screwdriver lenses from the 80s and 90s, so Radozhiva consistently comes out as one of the first in Google results, in English, moreover, thanks to translated versions of her reviews.

      But if you really want more reviews of current technology, then send it to the site owner, I’m sure he will take advantage of the offer. And now, during the war, he barely has enough money to maintain the operation of the site.

  • HARD

    Unbeknownst to Pan Arkady, he quietly escaped from the warring land, and is now photographing not Obolon, but the outlying European streets

    • Arkady Shapoval

      Same way

  • Yaroslav Prut

    As for me, it’s an excellent lens, for example, I have a 25mm f1.8 on a micro, of the same quality, I manage to manage corporate social networks with it, and in our wartime there is no point in investing in something expensive and high-quality.

    • Rodion

      Sometimes you come across very good Pentax (Cosmicar) and Fujinon lenses under C-mount. And there are extremely interesting Kowa.

  • Anton

    For twenty bucks there's no point in quibbling. It will go down well with “film” styling

  • Yaroslav Prut

    Yes, that is right.
    I shoot with Tair 41m, a very good lens for its 300 UAH.

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