![]() ![]() This is due to the ability to shift the lens: you can effectively project a vantage point higher than your physical one by raising the optics up. Firstly, in all of these images you’ll notice my verticals are perfectly vertical – there’s no keystoning despite the perspective and physical camera location. ![]() I think it’s necessary to start with a little background on why movements are required at all. ![]() Whole-shot sample images were shot using the Nikon in the A-B comparisons, the Rokinon is always the warmer image. Testing was done on a D800E body, at base ISO with self timer used at all times, on a locked down solid tripod – a Gitzo 5-series carbon systematic and Arca-Swiss Cube head. Live view was used to match subject sharpness as closely as possible. Nevertheless, there are still some slight differences, which I think are a combination of sample variation and lack of precision in the focusing scales of both lenses infinity to 1m are barely five millimeters apart on the barrel – about seven degrees of travel, by my reckoning. Technical notes: During this test, I shot both lenses from the same tripod position with the same settings on the barrels – distance, tilt, shift, aperture. The only real uses for these lenses – other than bragging rights – are to shoot architecture Putrajaya’s Putra Mosque plays host to us for this testing session. I have to be honest, the Samyang has only come onto my radar because of the enormous difference in price – I admit curiosity as to what we’re really giving up for the delta. One weighs in at a hair under $2,000, the other, closer to $850. In the right corner: the Nikon PC-E 24/3.5 ED. In the left corner: the Rokinon (a.k.a ‘Samyang’, in some parts of the world) T-S 3.5/24 ED AS UMC, from Korea. ![]()
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