Viltrox has developed a reputation for creating lenses that are often far more capable than their prices might suggest, and they are continuing to grow in popularity among photographers who want pragmatic professional options for a range of applications. One such lens is the PRO Series AF 27mm f/1.2 Pro, which offers users a 40mm equivalent focal length in tandem with an extremely wide maximum aperture, and this awesome video review takes a look at the sort of performance and image quality you can expect from it in usage.
Coming to you from Dylan Goldby, this great video review takes a look at the new Viltrox PRO Series AF 27mm f/1.2 Pro lens. At $545, the 27mm f/1.2 is highly affordable for what you get, though it still comes with a fantastic range of features, including:
- 15 elements in 11 groups
- 2 extra-low dispersion, 5 high refractive index, and 1 aspherical element for reduced aberrations and distortions, deeper contrast, and increased sharpness across the entire frame
- STM motor for fast and accurate autofocus
- Minimum focusing distance of 0.28 m
- Dust- and splash-proof construction
- Waterproof and antifouling component on front element
- Minimized focus breathing for video work
Check out the video above for Goldby's full thoughts on the lens.
Similar experience. Coming from the 23 1.4 LM and 33 1.4 LM it was perhaps to be expected that I'd find the AF a bit underwhelming. It can struggle a bit with low contrast scenes or subjects and I found using c-AF there was oft daen a delay between shutter press and shutter release, as it takes a bit longer to confirm focus. Hit rate lower than the Fujis. Mostly a concern for candids and run and gun style - or importantly street shooting where moments are fleeting, which the focal length would suggest the lens would be ideal for.
With deliberate shooting of portraits of slower moving scenes, I really appreciated the lens. Of course the 33 has shallower depth of field, but what makes images from the 27 more is the ability to get more in the scene, a wider perspective while still getting a shallow depth of field. You can also get a shallow depth of field and smooth bokeh with the 23 1.4, but you need to be really close. With the 27 you don't.
As to the bokeh itself, the 33 is technically better. It's smoother, and uniform across the frame. The 23 1.4 can be harsh at times, at least not a reason to get the lens. With the 27, ignore the gushing from some quarters, this review has it right, it's a bit busy. But not distractingly so. Well it does draw your eye to it because it's got a hell of a swirly effect - especially with foliage or other busy backgrounds. Is this a bad thing... actually it's the reason I bought the lens! Sometimes it's like a vortex is wrapping around the subject.
The other thing is the bokeh balls. Because of the swirl the cats eye bokeh can be very pronounced. Stop down to f2-2.8 to tone it down if it's disturbing.
So while yes the lens is very sharp, so far I have used it mostly wide open, so it's not been too bad. And the AF could be more responsive ... and accurate. But the sharpness in the centre, dropping off to a swirling bokeh makes it a real character lens. Take it to the forest for portraits and you'll have some unique, mesmerising images.
If I were to summarise this lens, it would be that it as if the 90mm f2, 35 1.4 and a Helios 44-2 got drunk and had a threesome. This is their lovechild.