During my extensive road trip across the stunning landscapes of Utah, Arizona, and Nevada, I had the privilege of testing out the Zeiss 21mm f/2.8 Distagon lens on my Canon 5D MKII. The results were as extraordinary as expected. This review explores my hands-on experience with the lens, highlighting its strengths and drawbacks while showcasing some of the captivating images I was able to capture along the way.
Advantages of the Zeiss 21mm f/2.8 Distagon Lens
-
Impressive Sharpness Across the Frame
-
Vivid Color Reproduction and Rich Contrast
-
Minimal to No Chromatic Aberration
-
Sturdy and Premium Build Quality
-
Sublime Manual Focus Adjustment
Drawbacks of the Zeiss 21mm f/2.8 Distagon Lens
-
Intense Lens Flare When Shooting into the Sun
-
Visible Mustache Distortion in Some Shots
-
Prime Lens Limitation: You Have to Zoom with Your Feet
-
Challenging Panorama Stitching Due to Distortion
Despite a few quirks, such as lens flare and distortion, the Zeiss 21mm Distagon proved to be an excellent companion for landscape photography, offering sharpness and clarity that easily outweighed these minor imperfections. If you're willing to embrace its unique challenges, this lens can elevate your photography.
Durability and Performance in Challenging Environments
A major concern with many prime lenses, including the Zeiss 21mm f/2.8 Distagon, is their lack of weather sealing. This can make them less ideal for photographers who frequently work in harsh conditions. Given that I was about to explore Antelope Canyon, an area notorious for its sandy, dusty environment, I had my reservations about how well the Zeiss would hold up. Sand, dust, and the constant movement within such a rugged terrain could easily find their way into the lens, causing unwanted interference with image quality.
However, much to my surprise, the Zeiss 21mm Distagon held up remarkably well. Thanks to careful handling, I made sure to keep the lens shielded from excessive dust, particularly during moments of heavy wind. The lens’ durable construction meant that, despite its lack of official weather sealing, I encountered no issues with debris finding its way inside. This allowed me to continue shooting with confidence even in some of the most challenging conditions in the American Southwest.
While the lens didn’t have the same level of protection as some of the more rugged, weather-sealed lenses, its build quality provided reassurance. There’s a certain satisfaction in knowing that the lens was well-engineered to withstand the elements, and the sturdy body did give me peace of mind as I shot in unpredictable environments. While not ideal for photographers who regularly work in extreme conditions like rain or snow, for those in milder yet dusty conditions, the Zeiss 21mm can be a reliable companion.
Zeiss 21mm f/2.8 Distagon vs. Canon 16-35mm: A Comprehensive Real-World Comparison
Prior to switching to the Zeiss 21mm f/2.8, my primary wide-angle lens for landscape photography was the Canon 16-35mm zoom lens. The versatility offered by the zoom range made it a go-to option for a wide variety of scenes, but despite its popularity, the Canon 16-35mm had its share of drawbacks. Over time, I found the lens' performance to be lacking in certain key areas, particularly sharpness and chromatic aberration.
One of the most frustrating issues I faced with the Canon 16-35mm was the noticeable softness in the corners, even when shot at narrower apertures. The images often lacked the crispness I desired, and the color fringing was hard to avoid, especially in high-contrast scenes. These optical imperfections would show up in the final images and could be difficult to correct during post-processing, ultimately diminishing the overall quality of my shots.
In contrast, the Zeiss 21mm f/2.8 Distagon offered a transformative experience. Upon switching to this prime lens, the difference in sharpness was immediately noticeable. Unlike the Canon 16-35mm, which struggled with soft edges and color fringing, the Zeiss lens delivered consistent sharpness across the frame. Whether shooting wide open at f/2.8 or stopping down to f/8, the Zeiss produced images with exceptional clarity from corner to corner, making it a top choice for any photographer who values precision.
While zoom lenses, by design, tend to sacrifice sharpness in exchange for versatility, the Zeiss 21mm f/2.8 stays true to the qualities expected of prime lenses: uncompromising clarity and detail. This made the Zeiss 21mm an ideal choice for my landscape work, where sharpness and contrast are paramount. The color reproduction of the Zeiss lens was also far superior to that of the Canon, resulting in more vibrant and lifelike images that had a richness and depth I hadn’t experienced with my previous zoom lens.
Another advantage of the Zeiss 21mm f/2.8 is its wide aperture, which offers more flexibility in lower light conditions. While the Canon 16-35mm is an f/2.8 lens, it doesn’t always achieve the same level of sharpness at wider apertures, especially at the wide end. The Zeiss 21mm, on the other hand, remains impressively sharp, even at f/2.8, making it perfect for shooting in dim lighting or when you need to achieve a shallow depth of field for creative effects.
In terms of weight, the Zeiss is not the lightest wide-angle prime on the market. It is certainly heavier than the Canon 16-35mm zoom lens, which might be a consideration for photographers who prioritize lightweight gear for long treks or travel. However, if you're accustomed to carrying hefty lenses like the Canon zoom, the weight difference is hardly noticeable. The added heft of the Zeiss lens is largely a result of its solid build and quality materials, which contribute to its durability and precision.
The Zeiss 21mm Distagon's Handling and Build Quality
One of the defining aspects of the Zeiss 21mm f/2.8 Distagon lens is its remarkable build quality. Unlike many consumer-grade lenses that use lightweight plastic, the Zeiss 21mm feels incredibly solid and robust. From its metal body to the smooth and tactile focus ring, this lens is built to last. Every twist and turn of the focus ring is precise, offering a level of control that’s simply unmatched in many modern lenses. It's clear that the Zeiss 21mm is a product of meticulous German engineering, crafted for those who appreciate the artistry of photography.
The manual focus design may seem like a limitation to some, especially those accustomed to autofocus, but for landscape photography, it actually becomes a huge benefit. With the Zeiss 21mm, you have full control over your focus, allowing you to fine-tune your composition and get exactly the sharpness and depth you desire. The lack of autofocus may be frustrating for fast-moving subjects, but when it comes to landscapes, this limitation quickly becomes irrelevant as you’ll likely be focusing manually for the most part.
For focus stacking, which is crucial for achieving deep depth of field and maximum sharpness in landscape photography, the manual focus ring on the Zeiss lens is silky smooth, making it a joy to use. I found that live view on my Canon 5D MKII was incredibly useful when focusing manually with the Zeiss, as it allowed me to zoom into the image and achieve pixel-perfect precision.
The Zeiss 21mm: A Prime Lens That Compels You to Move
One of the challenges of using the Zeiss 21mm f/2.8 is that it is a prime lens with a fixed focal length. Unlike zoom lenses, where you can easily adjust the composition by simply twisting the zoom ring, with the Zeiss 21mm, you have to physically move around to frame your shot. This might seem like a drawback for some, but for those who appreciate the discipline that a prime lens forces, it can be a liberating experience.
By using your feet instead of the zoom ring, you are forced to carefully consider your compositions. You have to think about the scene as a whole, instead of zooming in on a particular detail. This encourages you to get creative, to think more about your surroundings and how you can use the lens’ wide field of view to your advantage. The Zeiss 21mm is perfect for sweeping landscape vistas, wide-angle shots of dramatic skies, and large-scale compositions that demand both foreground and background details.
While this limitation can feel frustrating when you need to get the shot quickly or want to isolate a subject, it also makes you more mindful of your compositions. In many cases, the Zeiss 21mm makes you think about how best to use your surroundings instead of relying on equipment flexibility. For those who are willing to embrace the prime lens experience, this can be a wonderful creative tool.
Exceptional Build Quality and Handling: A Benchmark of Craftsmanship
When it comes to premium lenses, the build quality often sets the tone for the overall user experience. The Zeiss 21mm f/2.8 Distagon is a prime example of how meticulous craftsmanship can elevate a lens from a mere tool to an enjoyable experience in itself. If you’ve ever been frustrated by flimsy, cheap-feeling lens hoods or inaccurate zoom rings on other lenses, you will instantly recognize the superior quality of the Zeiss 21mm f/2.8. From the moment you hold it, the difference is palpable. The lens feels solid and robust in your hand, evoking a sense of confidence in its durability and longevity.
The lens hood attaches with a satisfying click, unlike the frequent frustration of misaligned or difficult-to-fit accessories found with many other lenses. This minor detail speaks volumes about the precision with which Zeiss engineers have crafted every part of this lens. It’s these small, thoughtful touches that set the Zeiss apart and make it a joy to use, day after day.
One of the most remarkable aspects of the Zeiss 21mm f/2.8 is the manual focus ring. This lens is entirely manual, meaning there’s no autofocus motor involved. For some, this may seem like a limitation, but for landscape photographers, it is often a significant advantage. The focus ring on the Zeiss is an absolute pleasure to use, offering smooth, precise, and buttery-smooth adjustments that allow for effortless focus control. Unlike the often flimsy, rubberized focus rings found on many modern lenses, the Zeiss 21mm offers a tactile, mechanical feel that feels more like a piece of high-end precision engineering than a simple tool.
For photographers who value accuracy in focus—particularly those who rely on techniques like focus stacking—the manual focus on the Zeiss 21mm becomes a major asset. The tactile experience of adjusting focus with fine precision allows you to lock in on the finest details of your scene. While autofocus is convenient, for critical landscape photography, where every detail needs to be captured at its sharpest, the manual focus design of the Zeiss provides an unbeatable level of control.
Using live view mode on a camera, like my Canon 5D MKII, further enhanced the manual focus process. The live view function allowed me to zoom in on specific areas of the image, ensuring I could achieve pixel-perfect focus even in challenging lighting conditions. Whether you’re focusing on distant mountain ranges or small foreground details, this lens gives you the flexibility to achieve the utmost sharpness.
Real-World Performance: Zeiss 21mm f/2.8 in Action
Once I attached the Zeiss 21mm f/2.8 to my Canon 5D MKII, it didn’t take long for me to feel at home with this lens. I was immediately impressed by how natural and intuitive it felt to use. In fact, over the course of a two-week road trip, I kept the Zeiss mounted on my camera for the vast majority of the time. I only swapped it out when I needed to capture distant scenes that required a longer focal length. The lens became a constant companion, and its performance consistently impressed me.
One of the best ways to enhance the quality of your wide-angle images, especially with a lens like the Zeiss 21mm f/2.8, is to use a polarizing filter. I paired the lens with a Heliopan polarizer throughout much of the trip, and the results were nothing short of spectacular. The polarizer helped saturate the colors, making the sky appear a deeper shade of blue and enhancing the contrast between the landscape’s features. The Zeiss lens, known for its stunning color accuracy and contrast, only got better when paired with this filter, adding an extra layer of vibrancy to the images.
Whether photographing the sprawling desert landscapes of Arizona or the iconic rock formations in Utah, the Zeiss 21mm handled every scene with remarkable clarity. The lens’s ability to maintain exceptional sharpness from edge to edge, even at wider apertures like f/2.8, ensured that every detail of the landscape was captured in stunning detail. Whether I was photographing vast vistas or tight, intricate compositions, the lens never faltered in terms of delivering high-quality results.
However, despite the exceptional performance in most areas, one drawback emerged that I couldn’t ignore: lens flare. This became particularly apparent when I shot into the sun or near bright light sources. While some photographers intentionally use flare for creative effects, I found the amount of flare produced by the Zeiss 21mm to be excessive, especially in high-contrast compositions. When shooting toward the sun, I often encountered unwanted artifacts in my images, such as a pronounced red ring or a washed-out area around the light source. While lens flare can sometimes add a sense of drama to an image, the Zeiss 21mm’s tendency to produce a harsh, distracting flare was an issue in several of my shots, particularly when capturing iconic landmarks like Mesa Arch at sunrise.
For those who are meticulous about flare control, this may be a concern worth considering. That said, the flare issue didn’t completely detract from the lens’s overall performance. In many cases, I was able to position myself differently or adjust my exposure to mitigate the effects of flare. For those who enjoy creative flare effects or don’t mind a bit of softness in their high-contrast images, this minor flaw may be less of an issue.
The Zeiss 21mm f/2.8 Distagon: A Lens That Encourages Creative Compositions
One of the unique aspects of working with a prime lens like the Zeiss 21mm f/2.8 is the way it encourages you to be more intentional with your compositions. Without the convenience of a zoom, you are required to physically move around to adjust your framing. While this might seem like an inconvenience for some, it actually forces you to think more carefully about your shots and engage with the landscape in a more meaningful way.
The phrase "zoom with your feet" rings especially true for this lens. While zoom lenses provide the flexibility of altering your composition with a simple twist of the zoom ring, the Zeiss 21mm requires you to physically reposition yourself to get the perfect frame. This limitation can feel frustrating at times, but it’s also liberating. It forces you to slow down and carefully consider every element within your composition. You become more mindful of the scene as a whole, taking into account foreground elements, the relationship between subjects, and the overall balance of the image.
This "slow photography" approach can be immensely rewarding, and many photographers will find it enhances their creative process. While some may miss the convenience of a zoom lens, the Zeiss 21mm encourages a deliberate and thoughtful approach to composition. For those who enjoy taking their time to craft an image, this lens is an excellent tool.
Lens Flare Issues When Shooting Toward the Sun
As a landscape photographer, capturing the perfect moment with natural light is often what makes an image truly memorable. Lens flare, that captivating phenomenon where light creates unique patterns and streaks in an image, can add character and drama to many compositions. For many photographers, flare can even become a stylistic choice, lending an ethereal or artistic feel to their photos. However, with the Zeiss 21mm f/2.8 Distagon, I encountered a specific issue with flare that significantly impacted my experience, particularly when shooting toward the sun or bright light sources.
When the Zeiss 21mm f/2.8 was pointed even slightly off-axis toward the sun, a glaring red ring would often appear in the image. This flare issue was surprisingly prominent and difficult to eliminate in post-processing. In fact, no amount of careful adjustment in Lightroom or Photoshop could completely remove the redness that appeared in the affected areas. The ring typically had a strong presence, and in several instances, it overtook the natural colors of the scene, making the final image less than ideal. This became particularly problematic when shooting iconic landscapes like Mesa Arch in Utah, where the sun is an integral part of the composition.
Mesa Arch, a popular landscape photography subject, is known for its stunning sunrise views with the sun rising through the arch. In these scenarios, controlling lens flare becomes even more crucial, as the sun is a key element in the composition. Unfortunately, the Zeiss 21mm f/2.8 struggled with this control, leading me to abandon multiple shots that would otherwise have been breathtaking. While some photographers embrace lens flare as part of the aesthetic, the flare in this case was so distracting that it hindered the overall quality of the image.
If you are a photographer who values precise control over lens flare, this may be a significant drawback of the Zeiss 21mm f/2.8. It’s important to keep this limitation in mind when planning your compositions, especially when you anticipate shooting toward the sun or bright light sources. This issue may not be a dealbreaker for those who are more tolerant of flare or intentionally seek it out for creative purposes. However, for those who prefer more controlled lighting in their wide-angle landscape shots, the lens flare issue could be a crucial factor in the decision-making process.
Struggles with Panorama Stitching
Creating panoramic images is a rewarding but challenging process that requires careful attention to detail and precision. Wide-angle lenses like the Zeiss 21mm f/2.8 Distagon are often considered less ideal for panorama stitching due to the distortion they introduce, which can complicate the alignment of individual frames in post-production. Despite this, I’ve successfully used other wide-angle lenses, like the Canon 16-35mm, to create seamless panoramic shots. When I decided to test the Zeiss 21mm for panorama photography, the results were less than optimal, primarily due to optical distortion.
The most noticeable problem I encountered was the “mustache” distortion, which is common in many wide-angle prime lenses. This particular type of distortion causes straight lines to appear curved in a way that creates significant misalignment when stitching images together. While some amount of distortion is typical of wide-angle lenses, the Zeiss 21mm’s particular optical characteristics made panorama stitching nearly impossible to execute seamlessly. This became especially evident when I tried to create a vertical panorama of Horseshoe Bend, one of the most iconic landscapes in Arizona.
Despite putting significant effort into carefully capturing the individual shots for the panorama—ensuring consistent exposure, focus, and overlap—I found it nearly impossible to stitch the images together in post-processing. The misalignment due to distortion became apparent when I attempted to merge the frames in Photoshop, with visible seams and curves ruining the smooth transition from one image to the next. Even after trying to adjust for the distortion in post, the final result was a fragmented and uneven image that didn’t do justice to the breathtaking landscape I was trying to capture.
For photographers who frequently rely on panoramic photography to capture sweeping vistas or large landscapes, the Zeiss 21mm f/2.8 may not be the best tool for the job. The lens’s distortion pattern significantly complicates the process of stitching images together, making it a less reliable choice for panoramic work. This optical issue stands out as a major drawback for those whose workflow heavily involves creating panoramas. While other lenses, such as the Canon 16-35mm, are more forgiving in this regard, the Zeiss 21mm’s distortion limits its functionality for panoramic shots, especially when precision is essential for achieving smooth and consistent results.
The Impact of Mustache Distortion on Wide-Angle Photography
Mustache distortion, or barrel distortion, is an optical characteristic that causes straight lines, particularly those near the edges of the frame, to appear bent or curved outward. While some amount of distortion is typical in wide-angle lenses, the Zeiss 21mm f/2.8 exhibits this effect more prominently than many other lenses. This type of distortion isn’t just a minor inconvenience in composition—it can become a significant challenge when you’re working with high levels of detail or trying to create a precise and clean composition.
In wide-angle landscape photography, where foreground elements and distant backgrounds are often crucial to the composition, this distortion can distort key features and ruin the natural lines of the scene. For example, capturing architectural details, such as the straight lines of a building or the horizon line in a sweeping landscape, becomes difficult because of the lens’s tendency to bend these lines unnaturally. This issue also compounds the difficulty when it comes to stitching images together for panoramic shots, as the distortion alters the way individual frames align with one another. The result is a visible misalignment that disrupts the integrity of the final image.
For those who regularly photograph subjects requiring high levels of precision, such as architectural or product photography, the Zeiss 21mm’s mustache distortion could prove to be a major limitation. In landscape photography, however, the effect may be less noticeable, particularly if you’re focused on more organic scenes like mountain ranges, deserts, or forests where straight lines are less critical. Even so, for those who are particular about image quality and strive for sharpness and detail throughout the frame, the distortion may require extra care and effort in post-processing to correct, which can be time-consuming.
Unparalleled Sharpness and Detail
One of the standout features of the Zeiss 21mm f/2.8 Distagon is its exceptional sharpness. This lens has set a new standard for clarity, offering remarkable image quality that stands out in nearly every situation. Whether you're shooting in low light or dealing with bright, high-contrast scenes, the lens consistently delivers edge-to-edge sharpness that enhances the fine details in every image.
During my travels through the vast landscapes of Utah and Arizona, the Zeiss 21mm f/2.8 proved to be a formidable tool, excelling in capturing intricate textures and fine details. When photographing sweeping vistas, such as the jagged rock formations in Monument Valley or the sweeping canyons in Zion National Park, the lens captured the scene in stunning clarity, with every detail rendered sharply, even in the most distant elements of the frame.
Focus stacking with the Zeiss 21mm f/2.8 is an absolute joy. Focus stacking, a technique where multiple images are captured at different focal distances and then combined in post-processing to achieve maximum depth of field, is one area where this lens truly shines. The lens’s outstanding sharpness and minimal optical distortion make it ideal for creating such composite images. I had the opportunity to experiment with this technique at Dead Horse Point State Park in Moab, Utah, and the resulting images were nothing short of remarkable. Even when zoomed in to 100%, the images retained their fine details, with every edge perfectly sharp and crisp, no matter how dark or bright the areas were in the composition.
The true brilliance of the Zeiss 21mm f/2.8’s sharpness lies not just in the center of the frame but across the entire image. Many wide-angle lenses, particularly at their widest apertures, suffer from soft corners and uneven sharpness. However, this lens provides a consistent level of detail from corner to corner. Whether you’re shooting wide-open at f/2.8 or stopped down to f/8, the sharpness remains incredibly consistent, ensuring that no matter where your subject is within the frame, it will be captured with pristine clarity. For landscape photographers who depend on capturing every nuance of their scenes, this lens is an indispensable tool.
"Zoom with Your Feet": The Creative Challenge of a Fixed Focal Length
One of the key aspects of using a prime lens like the Zeiss 21mm f/2.8 is its fixed focal length, which offers both creative challenges and rewards. Without the luxury of zoom, you’re forced to physically move to find the perfect composition. This might seem restrictive at first, especially if you're accustomed to the convenience of zoom lenses, but it has a way of forcing you to think more intentionally about your composition. The fixed focal length compels you to engage more with your environment, to explore different angles, and to make deliberate decisions about what to include or exclude from the frame.
The phrase "zoom with your feet" encapsulates the philosophy of using a prime lens, and it perfectly describes the experience of working with the Zeiss 21mm f/2.8. This lens will make you slow down and think carefully about your compositions, leading to more thoughtful and dynamic shots. Whether you’re photographing a sweeping desert landscape or a tightly framed detail of rock formations, you’ll need to move around to find the best perspective. This is a wonderful exercise in creativity, and it often results in more unique and well-considered images. You will find yourself noticing things you might have missed when using a zoom lens—small textures, intricate light patterns, and compositional nuances that add depth and interest to the scene.
That said, there are moments when the fixed focal length can feel limiting, especially when you’re trying to capture a subject that is distant or requires a tighter composition. A zoom lens would give you the flexibility to adjust your composition without having to physically move closer or farther away. In situations where you want to quickly reframe a shot or capture distant elements without moving too much, a zoom lens would certainly be more convenient. For example, while shooting the vast landscapes of Bryce Canyon, I found myself wishing for a longer focal length to bring distant details closer, or when trying to isolate certain features of a landscape, the Zeiss 21mm f/2.8 felt a bit too wide.
Despite this occasional frustration, the fixed focal length of the Zeiss 21mm f/2.8 provides a level of creative freedom that zoom lenses often cannot match. The sense of immersion you feel when you're physically moving to compose your shot adds a level of engagement to the photography process. This experience of slowing down, contemplating your surroundings, and working within the confines of a fixed focal length can lead to more meaningful and impactful images.
The Fixed Focal Length Advantage
The Zeiss 21mm f/2.8’s fixed focal length can be an asset in certain situations. When capturing wide vistas and panoramic scenes, the 21mm is ideal. Its field of view allows you to capture sweeping landscapes with minimal distortion, offering a natural perspective that complements the grandeur of the scenes. Whether you’re photographing vast desert landscapes, mountain ranges, or dramatic coastlines, the lens’s ability to produce sharp, clear, and vibrant images makes it a perfect tool for wide-angle photography.
For instance, during my trip to Antelope Canyon, I found the Zeiss 21mm to be the perfect choice for capturing the fluid curves and textures of the canyon walls. The lens allowed me to get up close and intimate with the intricate formations, while still being able to capture the vastness of the scene. The prime lens forced me to work around the tight spaces and limitations of the canyon, but the results were well worth the effort. The sharpness, combined with the lens's ability to capture natural colors and contrasts, produced stunning images that emphasized the subtle interplay of light and shadow.
On the other hand, when I found myself photographing distant scenes, such as the expansive views of Monument Valley, I felt the lack of a zoom lens. While the Zeiss 21mm f/2.8 excels at wide compositions, it lacks the flexibility needed for more intimate shots or subjects that require tighter framing. In these instances, I found myself wishing I could quickly zoom in to isolate a specific feature or bring distant elements into sharper focus. But despite these occasional limitations, I came to appreciate how the prime lens challenged me to think differently about my compositions and capture images in a more purposeful way.
Final Thoughts:
The Zeiss 21mm f/2.8 Distagon lens is undoubtedly one of the best prime lenses for landscape photography available today, offering exceptional image quality, outstanding build, and sharpness that can elevate any photographer's portfolio. If you're a photographer who appreciates precision, clarity, and the artistry that comes with using manual focus, the Zeiss 21mm f/2.8 is a lens worth considering. However, like any high-end piece of gear, it is not without its quirks, and whether or not it’s the right choice for you depends largely on your shooting style and requirements.
One of the standout qualities of the Zeiss 21mm is its sharpness. From edge to edge, this lens delivers crystal-clear details that are rare even in other premium lenses. Whether you're capturing vast, sweeping landscapes or intricate details in the foreground, the Zeiss lens consistently impresses with its level of clarity. If you’re used to zoom lenses or softer images, switching to this lens will certainly open your eyes to a whole new level of detail and fidelity. For focus stacking, which is essential for achieving deep depth of field in landscapes, the Zeiss excels with its smooth manual focus control, making it a perfect companion for long exposure shots or stacking multiple exposures.
However, it is important to consider the trade-offs. The fixed focal length can be limiting, especially for photographers accustomed to the flexibility of zoom lenses. "Zoom with your feet" becomes a necessary skill, forcing you to physically move to get the composition you want. This can be liberating, pushing you to think more creatively, but it can also be frustrating when you’re trying to quickly capture a fleeting moment or fit in a distant subject.
Additionally, the lens flare issue when shooting toward bright light sources, like the sun, may be a dealbreaker for those who like to shoot into the light for dramatic effects. The unwanted red rings can disrupt compositions, making it difficult to control flare effectively. Moreover, the mustache distortion of the lens affects panorama stitching, limiting its usefulness for photographers who often create wide panoramas from individual shots.
