Venus Laowa Argus 35mm f/0.95
Full-Frame for Canon R, Sony E and Nikon Z
New Good Bad Missing Compatibility
Venus Laowa Argus 35mm f/0.95 (full-frame for Canon RF, for Nikon Z and for Sony E, metal 72mm filter thread, 28.53 oz./809 g, 1.6'/0.5m close focus, $899). bigger. I'd get mine at B&H for Canon RF, for Nikon Z and for Sony E, or eventually used at eBay if you know How to Win at eBay.
This all-content, junk-free website's biggest source of support is when you use those or any of these links to approved sources when you get anything, regardless of the country in which you live. Thanks for helping me help you! Ken.
September 2021 Better Pictures Canon Sony Nikon Fuji LEICA Zeiss Laowa All Reviews
Sony vs. Nikon vs. Canon Full-Frame
Why Fixed Lenses Take Better Pictures
Sample Images top
New Good Bad Missing Compatibility
More samples throughout this review at Bokeh, Lateral Color, Macro, Spherochromatism and Sunstars.
These are all shot hand-held as NORMAL JPGs; no tripods, FINE JPGs or RAW CR3 files were used or needed.
bigger or camera-original © file.
bigger or camera-original © file.
bigger or camera-original © file.
bigger or camera-original © file.
bigger or camera-original © file.
Canary Palm, 11 AM, 13 August 2021. Canon EOS R5, 1/2,000, 1/1,250, 1/800, 1/250 and 1/60 at ISO 100, Perfectly Clear.
Introduction top
New Good Bad Missing Compatibility
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This the world's only f/0.95 35mm full frame lens. It works well for motion pictures, with superb bokeh and very smooth and precise direct mechanical manual focus perfect for use with a follow-focus rig.
For astronomical, technical and scientific use it surprisingly has much better optical quality at f/0.95 than other Chinese f/0.95 lenses like the Mitakon 50mm f/0.95, but is far inferior to first-world f/0.95 lenses like the Nikon 58mm f/0.95 Noct that costs ten times as much. Optical quality improves as stopped down, but once you hit f/1.4 it's inferior to camera-brand 35mm lenses — for scientific, rather than artistic uses. Artistically, the image from this lens is sharp where it's in focus, and otherwise melts away quite nicely.
It's a barrel lens with manual focus and totally manual diaphragm control, as if it came from a 1950s time capsule.
It is manual-focus only and has absolutely no communication with your camera. You get no automatic lens corrections (which are responsible for much of the optical quality people take for granted today), no EXIF data, no aperture control and no autofocus. Image quality suffers because of this, and it makes it a pain to shoot. Even Auto White Balance can be fooled as cameras won't know the lens' set aperture, without which they can't know the absolute brightness and can't predict ambient conditions as intelligently as they do otherwise.
Good news is that the manual focus system is excellent for getting precise and perfect focus when you're on a tripod and magnifying the image.
I'd get my 35/0.95 at B&H for Canon RF, for Nikon Z and for Sony E, or eventually used at eBay if you know How to Win at eBay.
New intro top
World's first and only f/0.95 35mm full-frame lens.
Good intro top
Surprisingly good optics for such an inexpensive and exotic lens.
All-metal construction.
Unusually uniform 15-blade diaphragm ensures that blur circles are always round circles, not polygons and never lopsided.
Great sunstars.
All markings are engraved and filled with paint.
Very precise direct mechanical manual focus for great results on a tripod.
Defeatable aperture clicks.
Hood included.
Bad intro top
Manual focus only.
Primitive 1960s-style all-mechanical lens with zero electronic communication means no automatic corrections for lateral color, no corrections for distortion, no corrections for falloff, no camera-control of focus or aperture, reduced auto white-balance and exposure accuracy, no EXIF data, and possibly no in-camera stabilization if you don't enter "35mm" manually in the menus as the focal length.
While this is the only 35mm f/0.95 lens in town, once you stop down to f/1.4 it has pretty poor optical performance compared to every other camera-brand lens.
Highly non-linear aperture control ring; the smaller apertures are crammed so close together that f/11 is only a dot between f/8 and f/16.
Mediocre coatings lead to slightly more flare than camera-brand lenses.
Missing intro top
No autofocus; manual focus only.
No data communication; may as well be a 100-year old lens.
No infinity focus stop; you have to focus at infinity manually (makes it tougher for astro shots).
No automatic diaphragm control.
No preset manual diaphragm ring. These were popular in the 1970s with lenses like this to make it easy to open the lens for focus and then close it down to the preset aperture to take the picture.
No EXIF data.
No ability to control anything about the lens (focus or aperture) from the camera.
Venus Laowa Argus 35mm f/0.95. bigger.
Compatibility top
New Good Bad Missing Compatibility
I'd get my 35/0.95 at B&H for Canon RF, for Nikon Z and for Sony E, or eventually used at eBay if you know How to Win at eBay.
It comes in mounts for Canon's EOS-R series of mirrorless cameras, Sony's E-mount cameras or Nikon's Z-series mirrorless cameras.
Specifications top
New Good Bad Missing Compatibility
I'd get my 35/0.95 at B&H for Canon RF, for Nikon Z and for Sony E, or eventually used at eBay if you know How to Win at eBay.
Name specifications top
Venus calls this the Laowa Argus FFII 35mm f/0.95:
Laowa: Venus' brand name for many of their lenses.
Argus: Hundred-eyed giant Greek god.
FF: Full-frame (24 × 36mm).
II: Beats me; if this is the first of its kind, why is there a II moniker?
It also has:
∅72: 72mm filter thread.
Optics specifications top
14 elements in 9 groups.
1 Aspherical element.
1 ED extra-low dispersion element, which helps reduce secondary axial chromatic aberration.
4 high refractive-index elements.
Multiple focus groups.
Diaphragm specifications top
|
|
At f/0.95. bigger. |
At f/5.6. bigger. |
15 blades.
Completely manual: no preset, no automatic control and no automatic full-aperture focusing.
Stops down to f/16 with defeatable full-stop clicks.
Any intermediate aperture may be set.
Filters specifications top
Metal 72mm filter thread.
Coverage specifications to
Full-Frame (24 × 36mm) and APS-C (16 × 24mm).
Angle of View specifications top
63.4º diagonal on full-frame (24 × 36mm)
Autofocus specifications top
NONE.
Manual Focus specifications top
No external movement as focussed, so no air or dust is sucked in.
Focus Scale specifications top
Yes.
Infinity Focus Stop
No.
You have to focus somehow to get precise focus at infinity, just like at every other distance.
Depth of Field Scale specifications top
Yes.
Infrared Focus Index specifications top
No.
Close Focus (distance from subject to image plane) specifications top
1.6 feet (0.5 meters).
Maximum Reproduction Ratio specifications top
1:10 (0.10 ×).
Caps specifications top
72mm front cap and rear cap.
Hood specifications top
Included plastic bayonet hood. bigger.
Case specifications top
None.
Size specifications top
3.02" ø maximum diameter × 4.06" extension from flange.
76.8 mm ø maximum diameter × 103 mm extension from flange.
Weight specifications top
28.535 oz. (808.8 g) actual measured weight.
Rated 26.6 oz. (755 g).
Quality specifications top
Designed and made in China.
Announced specifications top
Late September 2021.
Included specifications top
Lens.
Caps.
Hood.
Bilingual (Chinese and English) manual, inspection and warranty certificates.
Packaging specifications top
Venus Laowa Argus 35mm f/0.95. bigger.
Tiffany-blue box inside a sleeve. The solid cardboard is 2mm thick and covered with printed paper wraps.
Inside there's open-cell foam holding the lens and paperwork in separate cutouts.
Price, U. S. A. specifications top
September 2021
$899 at B&H for Canon RF, for Nikon Z and for Sony E.
Performance top
New Good Bad Missing Compatibility
Overall Autofocus Manual Focus Breathing
Bokeh Coma Distortion Ergonomics Exposure
Eyeblow Falloff Filters Flare & Ghosts
Lateral Color Fringes Lens Corrections
I'd get my 35/0.95 at B&H for Canon RF, for Nikon Z and for Sony E, or eventually used at eBay if you know How to Win at eBay.
Overall performance top
This is an unusual new lens in a primitive, but well-made, all-metal mechanical mount.
It has ZERO electronics.
Autofocus performance top
There is NO autofocus.
Manual Focus performance top
Manual focus is very smooth and precise.
This is perfect for use on a tripod with magnified live-view at larger apertures to allow you to get perfect focus, but slow for general hand-holding at smaller apertures.
Focus Breathing performance top
Focus breathing is the image changing size as focused in and out. It's important to cinematographers that the image not breathe because it looks funny if the image changes size as focus gets pulled back and forth between actors. If the lens does this, the image "breathes" by growing and contracting slightly as the dialog goes back and forth.
The image from this lens grows as focused more closely.
Bokeh performance top
Bokeh, the feel, character or quality of out-of-focus areas as opposed to how far out of focus they are, is excellent at all apertures. This is one of the benefits of its less-than perfect optical correction.
The 15-blade diaphragm always gives round blur circles, and it's far more uniform than automatic diaphragms so it's always round and not lopsided.
Here are photos from headshot distance wide-open. I'm focused on the DAVIS logo. Click any for the © camera-original file:
Made-in-U. S. A. Davis 6250 weather station, 13 August 2021. Canon EOS R5, 1/2,500 with Made-in-U. S. A. Tiffen 3-stop (0.9) ND (1/20,000 equivalent) at f/0.95, 1/1,000 with Made-in-U. S. A. Tiffen 3-stop (0.9) ND (1/8,000 equivalent) at f/2, 1/2,000 at f/4 and 1/640 at f/8 at Auto ISO 100.
Click any for the camera-original © files.
As always, if you want to throw the background as far out of focus as possible, shoot at f/0.95 and get as close as possible.
Coma performance top
Coma, or sagittal coma flare, is often seen with fast normal to wide lenses as weird batwing shapes on bright points of light in the corners at night.
This is an artistic special-effect lens, and not one for all-out technical performance like the Nikon 58mm f/0.95 Noct, so yes, it has coma at f/0.95.
Distortion performance top
This lens has a little bit of pincushion distortion. I doubt it will be visible in any regular usage. See a sample at Lateral Color.
For more critical scientific use, use a factor of -0.8 in Photoshop's lens correction filter.
These aren't facts or specifications, they are the results of my research that requires hours of photography and calculations on the resulting data.
Ergonomics performance top
|
|
Venus Laowa Argus 35mm f/0.95. bigger. |
Venus Laowa Argus 35mm f/0.95. bigger. |
This is a very simple lens. The problem is that it's so simple that there is zero communication with your camera, which is required for easy usage.
For instance, your finder will probably get too dark at small apertures as the camera gets fooled by the low light level and dims the finder because it thinks it's dark out because it has no idea that you stopped down the lens.
Focus is very precise, which is great for careful tripod use but slow for general handheld photography.
The focus ring is big and comfortable, more comfortable than the focus ring of Nikon's 58mm f/0.95 Noct!
The aperture ring is thin and less easy to use, especially as only some parts are ribbed.
Sadly there is no automatic diaphragm; you have to open and close it manually for every shot to focus and then expose unless you're shooting at f/0.95.
Exposure performance top
Your camera's Matrix or Evaluative metering won't work as well with this lens because it doesn't let the camera know to what aperture it is set, so the camera has no idea what's going on and is much less able to predict optimum exposure for conditions.
If you can't get good automatic exposures be sure to set A or Av mode. When set to P or S modes the metering system may get confused.
Eyeblow performance top
This has no eyeblow; no air pumps in or out of the back of the lens as focused.
Falloff performance top
Falloff is moderately strong wide-open, and most cameras won't be able to offer any electronic help as there is obviously no lens data of profile for this lens.
I've greatly exaggerated the falloff by shooting a gray field and placing these on a gray background; it will not look this bad in actual photos of real things:
Falloff on full-frame, uncorrected on Canon EOS R5:
© 2021 KenRockwell.com. All rights reserved. |
Filters, use with performance top
There's no need for thin filters. I can use quite a stack of regular screw-in 72mm filters with no vignetting on full-frame.
Go ahead and use your standard rotating polarizer and grad filters.
Flare & Ghosts performance top
This lens has inferior coatings to camera-brand lenses, so there can be more flare than other lenses. I never found it to be a problem.
See examples at Sunstars.
Lateral Color Fringes performance top
There are relatively strong green-magenta lateral color fringes, and since there is no lens profile neither Sony nor Canon cameras will be able to do any sort of correction.
Nikon cameras may do a good job of correcting this automatically; I haven't tried. Nikon does this without needing any lens profiles.
There is also spherochromatism and other chromatic aberrations which can cause other kinds of color fringes on things that aren't in perfect focus.
Door flanked by Robelinis, 9:57 AM, 13 August 2021. Canon EOS R5, f/8 at 1/125 at Auto ISO 100. bigger or camera-original © file.
1,200 × 900 pixel (6.8× magnification) crop from right side of above. bigger or camera-original © file.
If this 1,200 × 900 pixel crop is about 3" (7.5cm) wide on your screen, the complete image would print at a large 14 × 21″ (35 × 55 cm) at this same high magnification.
If this 1,200 × 900 pixel crop is about 6" (15cm) wide on your screen, the complete image would print at a huge 27½ × 41¼″ (70 × 105 cm) at this same high magnification.
If this 1,200 × 900 pixel crop is about 12" (30cm) wide on your screen, the complete image would print at a mammoth 55 × 82½″ (1.4 × 2.1 meters) at this same extremely high magnification!
Lens Corrections performance top
These is NO electronic communication with your camera, and there are NO lens profiles for this lens.
Therefore there are NO automatic corrections available, however Nikons may correct for lateral color automatically.
This limits this lens' performance; it would benefit from these corrections.
Macro Performance performance top
This isn't a macro lens. Its macro performance is awful; it doesn't get very close and it is poorly corrected at distances less then 3 feet (1 meter).
At f/0.95
Technically it's loaded with all sorts of aberrations this close at f/0.95. I see plenty of spherochromatism and spherical aberration:
Casio G-Shock Solar Atomic Watch at close-focus distance, 13 August 2021. Canon EOS R5, f/0.95 at 1/2,500 with Made-in-U. S. A.Tiffen 3-stop (0.9) ND (1/20,000 equivalent) at Auto ISO 100 with +1.3 stops exposure compensation. bigger or camera-original © file.
1,200 × 900 pixel (6.8× magnification) crop from above. bigger or camera-original © file.
If this 1,200 × 900 pixel crop is about 3" (7.5cm) wide on your screen, the complete image would print at a large 14 × 21″ (35 × 55 cm) at this same high magnification.
If this 1,200 × 900 pixel crop is about 6" (15cm) wide on your screen, the complete image would print at a huge 27½ × 41¼″ (70 × 105 cm) at this same high magnification.
If this 1,200 × 900 pixel crop is about 12" (30cm) wide on your screen, the complete image would print at a mammoth 55 × 82½″ (1.4 × 2.1 meters) at this same extremely high magnification!
At f/1.4
It's much better at f/1.4 than at f/0.95, but still doesn't get close and the only optical prize it's going to win is the booby prize. Spherical aberration is better controlled, and there's still plenty of spherochromatism which causes the magenta flare on the trim on the front of the watch:
Casio G-Shock Solar Atomic Watch at close-focus distance, 13 August 2021. Canon EOS R5, f/1.4 at 1/1,600 with Made-in-U. S. A.Tiffen 3-stop (0.9) ND (1/12,800 equivalent) at Auto ISO 100 with +1.3 stops exposure compensation. bigger or camera-original © file.
1,200 × 900 pixel (6.8× magnification) crop from above. bigger or camera-original © file.
If this 1,200 × 900 pixel crop is about 3" (7.5cm) wide on your screen, the complete image would print at a large 14 × 21″ (35 × 55 cm) at this same high magnification.
If this 1,200 × 900 pixel crop is about 6" (15cm) wide on your screen, the complete image would print at a huge 27½ × 41¼″ (70 × 105 cm) at this same high magnification.
If this 1,200 × 900 pixel crop is about 12" (30cm) wide on your screen, the complete image would print at a mammoth 55 × 82½″ (1.4 × 2.1 meters) at this same extremely high magnification!
At f/8
Every lens is sharp at f/8, but it still doesn't get any closer:
Casio G-Shock Solar Atomic Watch at close-focus distance, 13 August 2021. Canon EOS R5, f/8 at 1/640 at Auto ISO 100 with +1.3 stops exposure compensation. bigger or camera-original © file.
1,200 × 900 pixel (6.8× magnification) crop from above. bigger or camera-original © file.
If this 1,200 × 900 pixel crop is about 3" (7.5cm) wide on your screen, the complete image would print at a large 14 × 21″ (35 × 55 cm) at this same high magnification.
If this 1,200 × 900 pixel crop is about 6" (15cm) wide on your screen, the complete image would print at a huge 27½ × 41¼″ (70 × 105 cm) at this same high magnification.
If this 1,200 × 900 pixel crop is about 12" (30cm) wide on your screen, the complete image would print at a mammoth 55 × 82½″ (1.4 × 2.1 meters) at this same extremely high magnification!
Mechanical Quality performance top
Venus Laowa Argus 35mm f/0.95. bigger.
This lens is well made out of all metal. Bravo! Leave it to domestic Chinese manufacturing to make a tougher product than the plastic rubbish we get when a Japanese maker dumps production to China.
Finish
Black anodized aluminum.
Hood
Plastic bayonet.
Front Bumper
None.
Filter Threads
Metal.
Hood Bayonet Mount
Metal.
Blue Band
Anodized aluminum.
Front Barrel Exterior
Metal.
Focus Ring
Metal.
Focus Feel
Smooth and silky with moderately strong damping.
I suspect these are probably cams rather than helicioids.
Rear Barrel Exterior
Metal.
Identity
Engraved and filled with paint on front top of barrel.
Internals
Seem like all metal!
Dust Gasket at Mount
No.
Mount
Chromed metal.
Markings
All engraved and filled with paint.
Bravo!
Serial Number
Engraved and filled with paint on front bottom of barrel.
Bravo!
Date Code
None found.
Noises When Shaken
Mild clattering.
Made in
Made in China.
Sharpness performance top
Lens sharpness has nothing to do with picture sharpness; every lens made in the past 100 years is more than sharp enough to make super-sharp pictures if you know what you're doing. The only limitation to picture sharpness is your skill as a photographer. It's the least talented who spend the most time worrying about lens sharpness and blame crummy pictures on their equipment rather than themselves. Skilled photographers make great images with whatever camera is in their hands; I've made some of my best images of all time with an irreparably broken camera! Most pixels are thrown away before you see them, but camera makers don't want you to know that.
People worry waaaaay too much about sharpness. It's not 1968 anymore when lenses often weren't that sharp and there could be significant differences among them; today they are all pretty much equally fantastic.
This lens is sharper than I'd expect and contrasty at f/0.95 in the center at long distances, however the corners are soft at f/0.95 and have plenty of lateral color. The corners get sharper as stopped down, but the lateral color stays.
It gets softer closer than about 3 feet (1 meter).
Spherochromatism performance top
Spherochromatism, also called secondary spherical chromatic aberration or "color bokeh," is an advanced form of spherical and chromatic aberration in a different dimension than lateral chromatic aberration. It happens mostly in fast normal and tele lenses when spherical aberration at the ends of the color spectrum are corrected differently than in the middle of the spectrum. Spherochromatism can cause colored fringes on out-of-focus highlights, usually seen as green fringes on backgrounds and magenta fringes on foregrounds. Spherochromatism is common in fast lenses of moderate focal length when shooting contrasty items at full aperture. It goes away as stopped down.
It has plenty of spherochromatism, however it has so many other aberrations at close distances it's hard to see it as a separate aberration at f/0.95:
At f/0.95
At f/0.95 regular spherical aberration is strong enough to hide the spherochromatism at close distances:
Mondaine A132.30348.11SBB at close-focus distance, 13 August 2021. bigger or camera-original © file.
1,200 × 900 pixel (6.8× magnification) crop from above. bigger or camera-original © file.
If this 1,200 × 900 pixel crop is about 3" (7.5cm) wide on your screen, the complete image would print at a large 14 × 21″ (35 × 55 cm) at this same high magnification.
If this 1,200 × 900 pixel crop is about 6" (15cm) wide on your screen, the complete image would print at a huge 27½ × 41¼″ (70 × 105 cm) at this same high magnification.
If this 1,200 × 900 pixel crop is about 12" (30cm) wide on your screen, the complete image would print at a mammoth 55 × 82½″ (1.4 × 2.1 meters) at this same extremely high magnification!
At f/1.4
f/1.4 cleans up spherical aberration so that we can see spherochromatism more clearly:
Mondaine A132.30348.11SBB at close-focus distance, 13 August 2021. bigger or camera-original © file.
1,200 × 900 pixel (6.8× magnification) crop from above. bigger or camera-original © file.
If this 1,200 × 900 pixel crop is about 3" (7.5cm) wide on your screen, the complete image would print at a large 14 × 21″ (35 × 55 cm) at this same high magnification.
If this 1,200 × 900 pixel crop is about 6" (15cm) wide on your screen, the complete image would print at a huge 27½ × 41¼″ (70 × 105 cm) at this same high magnification.
If this 1,200 × 900 pixel crop is about 12" (30cm) wide on your screen, the complete image would print at a mammoth 55 × 82½″ (1.4 × 2.1 meters) at this same extremely high magnification!
Sunstars performance top
With a 15-bladed diaphragm, I can get great, sharp 15- to 30-pointed sunstars on brilliant points of light mostly at most apertures. This is much better than most "rounded diaphragm" lenses.
Ignore the the vertical smear at large apertures, this is is a sensor artifact called interline transfer smear and not a lens defect.
bigger or camera-original © file.
bigger or camera-original © file.
bigger or camera-original © file.
bigger or camera-original © file.
bigger or camera-original © file.
Canary Palm, 11 AM, 13 August 2021. Canon EOS R5, 1/2,000, 1/1,250, 1/800, 1/400, 1/250, 1/125, 1/60, 1/40 and 1/25 at ISO 100, Perfectly Clear.
Compared top
New Good Bad Missing Compatibility
I'd get my 35/0.95 at B&H for Canon RF, for Nikon Z and for Sony E, or eventually used at eBay if you know How to Win at eBay.
This is the world's only 35mm f/0.95 full-frame lens. If you absolutely, positively need f/0.95 at 35mm on full-frame, there is no competition.
However, once you stop down to f/1.4, there are numerous much better lenses from Canon, Sony and Nikon. I still own, use and love my original Canon EF 35mm f/1.4L which I use on a Canon EF to RF adapter, which gives far better performance than this lens.
This lens is very good by domestic Chinese standards, but if you value scientific sharpness then camera-brand lenses are in an entirely better class optically.
If you use this for video or other artistic uses and you want a lens with a pleasant character, this lens has a very pleasant character. "Character" to optical designers means aberrations, flaws and defects. Character is the opposite of scientific optical excellence; if you want flawless optics for astronomy pass on this lens, and if you want character, check it out.
Recommendations top
New Good Bad Missing Compatibility
I'd get my 35/0.95 at B&H for Canon RF, for Nikon Z and for Sony E, or eventually used at eBay if you know How to Win at eBay.
This is an unusual lens. It's better for video than for stills as its optical quality isn't up to camera-brand lenses, however if you want artistic character and the ability to work great on a follow-focus rig — or need f/0.95 — this lens is better than I was expecting for its low price.
I use a clear (UV) protective filter instead of a cap so I'm always ready to shoot instantly. I only use a cap when I throw this in a bag with other gear without padding — which is never. The UV filter never gets in the way, and never gets lost, either.
The very best protective filter is the 72mm Hoya multicoated HD3 UV which uses hardened glass and repels dirt and fingerprints.
For less money, the Canon 72mm UV and B+W MRC 010 are excellent filters, as is the B+W 72mm 010 and the basic multicoated Hoya filters, but the Hoya HD3 is the toughest and the best.
Filters last a lifetime, so you may as well get the best. The Hoya HD3 stays cleaner than the others since it repels oil and dirt.
All these filters are just as sharp and take the same pictures, the difference is how much abuse they'll take and stay clean and stay in one piece. Since filters last a lifetime or more, there's no reason not to buy the best as it will last you for the next 40 years. Filters aren't throwaways like digital cameras which we replace every few years, like it or not. I'm still using filters I bought back in the 1970s!
I'd get my 35/0.95 at B&H for Canon RF, for Nikon Z and for Sony E, or eventually used at eBay if you know How to Win at eBay.
This all-content, junk-free website's biggest source of support is when you use those or any of these links to approved sources when you get anything, regardless of the country in which you live. Thanks for helping me help you! Ken.
Thanks for helping me help you!
Ken.
© Ken Rockwell. All rights reserved. Tous droits réservés. Alle Rechte vorbehalten. Ken Rockwell® is a registered trademark.
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