Mirror or Mirror-less ... Fixed or Interchangeable body ... Prime or Zoom lenses ... Manual or AF.
It's all fair game, any brand ... make your pitch ... even P&S if it's good enough (IQ performance, not convenience factor).
Recommendations that are well-corrected rectilinear close to 16mm (14-18 FF equivalent) compared to the Tokina 16-28/2.8. A fast aperture is not a major issue, as it will mostly likely be used @ 5.6 or 8 for dof purposes ... well corrected (no mustache distortion, nominal CA, no vignetting stopped down, good corners) for interiors.
It's getting to be time for an upgrade to my Tamron 17-35/2.8-4. ATM, I'm seeing the Tokina on as my best option on FF (which is fine), or the 17 TS-E. But exploring other options before I go that route. Working on getting my gear together for Better Homes & Garden.
My only lens in that focal range is the Oly OM 18/3.5 (on Canon FF). Biggest advantage: not being big (doesn't look like that's a priority for you). Sharpness and lack of distortion are rather good. Largest optical downside is a lot of vignetting from wide open, persistent even when stopped down --- however, vignetting can be moderately well fixed in post-processing; so, considering a "whole system" solution that includes a preset in your image processing program of choice, vignetting is under control. This probably isn't the perfect lens for your specifications, but might not be completely counted out of the running.
I have a hard time using it for production interiors ... "too skeered" I'll bugger it up knockin' around tight spaces, etc. Silly, I know, but it gets in my head and I can't get "in the zone" when I use it inside.
I'm figuring that I'll swap out my Oly 18 (did I actually say that) and the Tamron 17-35 for Right now the Tokina 16-28/2.8 and the Canon 17 TS-E are contenders ... exploring "alternatives" @ "all is fair game" before I commit to such a change.
If you want pro quality production for interiors with sharp corners and almost zero CA then just get the 17 TSE. I am very happy with mine. Being able to shift to maximize interior details while minimizing ceilings is amazing...
+ for the 17 TS-E - I've tried countless wide-angles over the years and nothing comes close, not the same country even. Almost completely free of distortions, vignetting and CA (given that you don't shift). Once you get it, you stop looking at other wide-angles, saving you tons of money in the end!
+1 @ 17 TS-E is likely top option @ FF. Just not quite sure I'm ready for THAT much of an upgrade. I've got my 24L TS-E II, so I'm good with understanding the 17 TS-E option. Just kinda hard for me to put that kind of $$$ into two TS-E's ... i.e. budget killer (yeah, I know ... in the long run).
That, and I'm thinking about augmenting a smaller format (different reason), so I was wondering if any of the smaller formats have "come of age" with regard to excellent UWA options @ smaller formats that I should not overlook ... just trying to be open minded @ FF vs. crop vs. 4/3 vs.
I've always wondered if the Olympus 9-18mm for 4/3rds was any good as the MFT version of it is expensive and feels cheaply made just like the 14-42mm Mk2 kit lens.
RustyBug wrote:
Oly 18/3.5 on FF ... already there.
I have a hard time using it for production interiors ... "too skeered" I'll bugger it up knockin' around tight spaces, etc. Silly, I know, but it gets in my head and I can't get "in the zone" when I use it inside.
And switching to the 3x more expensive 17mm TS-E, with its gigantic bulging front element, will set your mind at rest?
mpmendenhall wrote:
And switching to the 3x more expensive 17mm TS-E, with its gigantic bulging front element, will set your mind at rest?
Not really ... part of reason for looking @ other smaller format options or the (not 3X $$$) Tokina.
I protect my 24L TS-E with a filter for the $$$ invested. Of course, the 17 TS-E would be "naked" ... just a bit of a nervous nellie here @ that $$$ level (not my comfort zone for knockin' around).
So, @ upgrade strategy, I might be playing for "second fiddle" instead of 1st chair on this one.
With all the prolific dialogue @ how "FF is dead", just wondering if our extensive pool of Alt Users might have a viable smaller format solution for quality UWA interior images.
Rusty -- I've had the same concern about the bulging front element. But you just get used to it, and protect it from getting banged. Ultimately, a small nick is not going to show in pictures, and from what I understand, replacing the front glass is not that uncommon or excessively expensive.
With a little patience and a lot of looking here and on eBay, I found a very nice used version (the 17 TS-E design is only a few years old!) for just over $1800 . Mine got badly banged/jostled in transit by UPS (insured) and the seller repaid me for Canon adjustment (around $120 with CPS Gold).
I was soooooo impressed with the detail and contrast of this lens! You know how much discussion there is here on Alt about micro-contrast and such -- I usually stay far away from such discussions -- but the first images I got off the lens really popped! And I've got (or had) the 14 Samyang, 16-35L II, ZE 21/2.8, and 24 TS-E.
Like I say, you'll want to send me annual thank you cards if you get it.
FlyPenFly wrote:
X-E1 + Fuji 14mm... although I guess that's only 21mm and you would have to deal with possible foliage issues.
Yup. Incredible lens. Just super sharp to the corners, and foliage for me hasn't really been an issue with the latest RAW converters. Here's a full size image from the X-E1 and 14 at f/8, straight from RAW with Capture One 7. Look at the detail in the lower left corner:
Jman13 wrote:
Yup. Incredible lens. Just super sharp to the corners, and foliage for me hasn't really been an issue with the latest RAW converters. Here's a full size image from the X-E1 and 14 at f/8, straight from RAW with Capture One 7. Look at the detail in the lower left corner:
(doesn't look like that's a priority for you). Sharpness and lack of distortion are rather good. Largest optical downside is a lot of vignetting from wide open, persistent even when stopped down --- however, vignetting can be moderately well fixed in post-processing; so, considering a "whole system" solution that includes a preset in your image processing program of choice, vignetting is under control. This probably isn't the perfect lens for your specifications, but might not be completely counted out of the running.
