Widest angle lens with an aperture between f.95 & f1.4 on the market

GRENCH

GRENCH

Well-known member
I am looking for something as wide as 12mm none zoom. Was looking to use my Fujion but I believe I will encounter alot of vignetting from such a lens. I have recently come across the Voigtlander M43 25/.95 SUPER SPEED Lens but at 25mm it won't give me a wide enough angle especially due to the AF-100s crop factor.

Any suggestions? Is there a lens for under $2000.00 that would give me what I want? I own a set of Carl Zeiss ZF lenses (35mm, 50mm, & 85mm) that I plan to use also so optical quality is important.
 
I think what you're asking for doesn't exist. You might get close with some Super16 fast lenses but I doubt they'll cover the full AF100 frame. You could try renting some Zeiss or Optar Illumina Super16 cinema lenses, maybe something like the 12mm or 16mm will come close to covering (and they're T1.3) but I doubt it.
 
the tokina 11-16mm f2.8 is a fantastic lense, and at 22mm (35mm equivalent, which I hate writing, given that films are rarely shot on a 24 x 36mm sensor) is fairly wide without distortion.

you could try a sigma 4.5mm or sigma 8mm which are both 2.8 to 3.5

chaz
 
Leica Summilux M 21mm F1.4 is the fastest widest lens out there. It covers the full 35mm frame on film, can can be used with a Novoflex M - m4/3 adapter.
 
Martti Ekstrand said:
How 'bout sticking a wide angle adapter on that Voight-Kampff 25mm f/0.95?
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Martti,

Do you use the Voight-Kampff lens to detect Replicants?

BTW, I just got the 20mm f1.7 pancake, and put a .7 wide angle adapter on it. The extra glass makes the image a bit softer, and there's a touch of chromatic aberration on the edges, but having an f1.7 14mm is pretty sweet.
 
filmfan222 said:
the tokina 11-16mm f2.8 is a fantastic lense, and at 22mm (35mm equivalent, which I hate writing, given that films are rarely shot on a 24 x 36mm sensor) is fairly wide without distortion.

you could try a sigma 4.5mm or sigma 8mm which are both 2.8 to 3.5

chaz
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Yea we gotta stop using the 5D's field of view as a benchmark. In fact the 5D is the outsider, as almost no other camera except a vista vision 35mm Camera and 65mm have anything close to the field of view of a 5D. And they rarely get used in motion picture making.

Also, For the most part, except for Music Videos, very wide lenses are used sparingly on most productions. They look distorted, and out of place.
 
TimurCivan said:
Yea we gotta stop using the 5D's field of view as a benchmark. In fact the 5D is the outsider, as almost no other camera except a vista vision 35mm Camera and 65mm have anything close to the field of view of a 5D. And they rarely get used in motion picture making.

Also, For the most part, except for Music Videos, very wide lenses are used sparingly on most productions. They look distorted, and out of place.
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Thanks Timur. I'm always just a bit sad when people keep talking about 2x crop factor or FF35.

Better to just take a couple of steps back. Compatible with most lenses and camera systems. ;)
 
TimurCivan said:
Yea we gotta stop using the 5D's field of view as a benchmark. In fact the 5D is the outsider, as almost no other camera except a vista vision 35mm Camera and 65mm have anything close to the field of view of a 5D. And they rarely get used in motion picture making.

Also, For the most part, except for Music Videos, very wide lenses are used sparingly on most productions. They look distorted, and out of place.
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I appreciate everything you spoke of Timur, but I am looking for that wider look for a couple of my productions. It's a look I have learned to appreciate for my own personal reasons. I shoot alot of night club footage where this type of lens will shine.


Petros Kolyvas said:
Thanks Timur. I'm always just a bit sad when people keep talking about 2x crop factor or FF35.

Better to just take a couple of steps back. Compatible with most lenses and camera systems. ;)
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In many cases I don't have the luxury of taking a couple steps back so hence a wider lens is ideal.
 
GRENCH said:
I appreciate everything you spoke of Timur, but I am looking for that wider look for a couple of my productions. It's a look I have learned to appreciate for my own personal reasons. I shoot alot of night club footage where this type of lens will shine.
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Try the Lumix 7-14mm. Its INSANELY wide! like... INSANE! it looks awsome and i think is a F2. Give it a look. I used it for one shot on Verse, and it intercut beautifully with the Compact primes.
 
TimurCivan said:
Try the Lumix 7-14mm. Its INSANELY wide! like... INSANE! it looks awsome and i think is a F2. Give it a look. I used it for one shot on Verse, and it intercut beautifully with the Compact primes.
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Sory Timur, the 7 - 14 is f 4.0 but it is as you write insanely wide and a great glass.
 
GRENCH said:
I appreciate everything you spoke of Timur, but I am looking for that wider look for a couple of my productions. It's a look I have learned to appreciate for my own personal reasons. I shoot alot of night club footage where this type of lens will shine.
In many cases I don't have the luxury of taking a couple steps back so hence a wider lens is ideal.
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If you had a lot of money to spend, you can look for the Tegea from Kinoptik.

http://www.kinoptik.com/ENG/optik_obje_cine.htm

It's extremely wide - 9.8 mm - rather fast - f 1.8 / T 2.3 - and extremely expensive. They give no price at their site.

Kubrick shot a lot of stuff for "Clockwork Orange" with this lense.
 
tipota said:
Kubrick shot a lot of stuff for "Clockwork Orange" with this lense.
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Have to be honest that this is one of the draw of the Voightlander f0.95 for me. Sure Kubrick's Zeiss was f0.7 but the Voightlander is only 0.87 stops slower. But perhaps the AF100 is more sensitive than the pre-flashed, pushed film he used in Barry Lyndon. Thinking of all these possibilities is really mind boggling to me. The amazing technology for the price. Amazing low light capability.
 
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