Light pollution is caused by the bright glow of artificial lights from towns and cities, which can be a problem for photographers taking pictures at night, adding a yellow color cast, haze, and reducing sharpness and contrast in low-light shots, whether it's cityscapes, landscapes, or astro work.

The best light pollution filters are designed to cut out specific wavelengths of light from artificial street lamps and the glow of towns and cities, and should therefore deliver cleaner, sharper shots with more impact.

The Irix Edge Light Pollution filter is designed to cut out sodium lamp wavelengths (589nm) and should eliminate yellow color casts caused by street lighting in photos. I took it out on a clear night into fields with city lights in the distance, to see how the filter performed.

Irix Edge Light Pollution Filter: Specifications

Irix Edge Light Pollution Filter: Price

Aimed at pros and only available for larger lens diameters from 67mm upwards, Irix Edge Light Pollution Filters don't come cheap in the UK, and the official list price from Irix USA is eye-watering. The smallest 67mm option has a list price of $188 / £90, while the largest 105mm version costs $340 / £130. If better pricing is to be found, our widget below will hunt it out for you. I couldn't find reliable Australian pricing at the time of writing.

So, do these filters justify their expense? Well, they come with some top-end features, like dual-sided multi-layer coatings and tempered glass for extra rigidity, as I shall explore.

Irix Edge Light Pollution Filter: Design & Handling

The Irix Edge Light Pollution Filter is a screw-in filter available in thread sizes from 67mm to 105mm. It has an aluminum frame with reinforced tempered glass inside it. I tested the 82mm size, which fits Canon RF 15-35mm f/2.8L IS USM. The filter weighs 23g and comes in a plastic hard case with a soft foam insert to keep it protected when not in use.

Irix doesn’t cater for smaller lenses with thread sizes below 67mm, whereas some budget filters, such as the Hoya Starscape, can be purchased for smaller lenses down to 49mm. The Irix Edge filter is available in sizes up to 105mm, only found on high-end pro lenses, and the entire range is geared towards these larger, pro-level lenses.

The filter has a total depth of 5.5mm, though only 3mm protrudes when the filter is screwed onto the front of a lens. This isn’t a ‘thin’ filter frame, like some designed to be smaller to cut down on vignetting, though I like this 'fatter' design as it allows the lens cap to be used easily and other filters to be stacked on top of it, should you wish.

The metal frame is black to reduce internal reflections, and the filter glass has an anti-reflective coating for sharper images, with greater contrast. A special multi-layer nano coating has been applied to both sides, which is designed to repel oil and water for easy cleaning.

As part of Irix’s Super Resistant (SR) series, the Edge Light Pollution Filter has a special thermal treatment to boost its rigidity and make it less likely to shatter if dropped. Irix is clearly confident in the build quality of its products, as the Light Pollution Filter comes with a five-year warranty.

While Irix does make gelatin filters that can be rear-mounted to ultra-wide lenses that lack a filter thread, such as its ND4, ND8, and ND16 set, the light pollution filter is not currently available for rear-filter mounting.

I felt the plastic hard case was a little oversized for my 82mm filter, and it is a bit tricky to open because it looks like it could be opened on either side. I did, however, appreciate that Irix decided to make the hard case white – why is this important? As a light pollution filter, it’s designed for use in the dark. Many other light pollution filters I have tested had black cases, which made them harder to find and operate in the pitch black, so well done, Irix, for choosing a clever color option.

Irix Edge Light Pollution Filter: Performance

The Irix Edge Light Pollution performed well in my tests. As mentioned in the previous section, it's made from quality materials and tempered glass for a hardy construction. It was dropped by my clumsy hands several times, and lived to tell the tale with no problems.

I was particularly impressed by its multi-layer nano coating, which is applied to both sides. This has great oil and water resistance, and because it’s hydrophobic, any water can be shaken off, making it supremely easy to clean.

Irix claims the Edge Light Pollution Filter delivers the ‘best possible color rendering’. Straight out of camera, the file had a slight purple color cast, but this is only to be expected as the filter itself has a strong purple tint.

However, when processing the white balance of the raw files, the filter did a good job at neutralizing the warmer yellow tones of street lamps, though, of course, it couldn’t reduce the overall light spill from these areas; there really is no substitute for going to a dark sky area to take astro photos if you want to avoid light pollution altogether.

Overall, image quality was very good with sharpness remaining strong and no signs of vignetting. It did a decent job of taming the garish yellow-and-green glow you might see from street lamps or distant light pollution on the horizon, particularly when editing the raw files. However, there was still a faint glow and loss of detail, which can only really be rectified by heading to an area with less light pollution. Nevertheless, my astro results were clearly better than in shots taken without the filter.

Irix Edge Light Pollution Filter: Verdict

The Irix Edge Light Pollution filter does a good job of toning down the bright yellow color casts you might come across when shooting cities at night, effectively reducing the 589nm wavelength of sodium lamps, though it can’t completely dull down the bright light spill in these areas, nor can it combat the clean white light from modern white LED street lamps.

Aimed at professional photographers, it is only available in the larger lens diameters as found on high-end lenses, and is among the pricier options on the market, particularly in the USA. However, it is very well made, with coatings galore to repel water, oil, and dust, and it has a tempered glass construction, making this a tough filter that should withstand all the rigors of night photography.

Alternatives

For solo filmmakers seeking a balance between quality and convenience, Irix lenses offer a well-integrated solution. Designed to work seamlessly together, these lenses feature consistent focus and iris gear positions, allowing for easy swaps without needing to adjust your equipment setup. 

This uniformity and matching weights and sizes will enable users to switch lenses quickly on a tripod, Steadicam or gimbal without rebalancing, streamlining your workflow on set. 

The Explorers set is an all-in-one kit that includes four versatile lenses: the 21mm, 30mm, 45mm, and Cine 65mm. Each lens is tailored to different shooting needs, from wide, distortion-free shots to tight, cinematic portraits.

ABOVE: Trailer for the Irix Explorers Cine lens set

The 21mm lens captures expansive scenes, making it ideal for establishing shots and events, while the 30mm lens is perfect for medium shots and interviews, doubling as a great portrait lens on crop sensor cameras. The 45mm lens, a favorite among users, excels in low light with a T1.5 aperture, and the 65mm lens is ideal for achieving a cinematic look that's perfect for narrative filmmaking.

Irix lenses provide consistent image quality across the board, ensuring uniform contrast, color and sharpness in every shot. This consistency is particularly advantageous in post-production, where maintaining a cohesive look is crucial. 

Most lenses come equipped with an 86mm filter thread and a 95mm front diameter, accommodating a range of filters that can enhance your creative options.

Included in the set are three essential filters: a UV filter for lens protection, a CPL filter for reducing reflections and an ND8 filter for maintaining wide apertures in bright conditions. These filters attach quickly via a magnetic mount system and are stored securely in a scratch-resistant case. This setup is ideal for solo filmmakers who need to adapt swiftly to changing shooting conditions.

Durability and versatility are key features of Irix lenses. They are weather-sealed to protect against dust, sand, and water, allowing you to shoot in various environments without worry. The set also includes a sturdy Nanuk case, known for its durability, to keep your gear safe during transport. Weighing around 8kg, the complete set is both portable and rugged, making it an excellent choice for filmmakers on the go.

The Irix Explorers set is available now, in both metric and imperial configurations, for Canon EF and RF, Sony E, L-Mount, Fujifilm X, Nikon Z, Arri PL and Micro Four Thirds. It is priced $5,330 / £4,702, or $5,430 / £4,790 for the PL kit (Australian pricing to be confirmed). 

You might be interested in the best cine lenses, along with the best cinema cameras on the market right now. 

Many filmmakers and cinematographers have been anticipating the release of the Irix Cine 65mm T1.5, with it first being shown at our very own Photography & Video Show last month. The lens is now officially available to preorder, and we have some exciting new specifications to accompany the announcement. 

Irix has been producing some of the most versatile cine lenses over recent years, and the 65mm was a gap in the lineup that users were eager to see filled. With preorders open, they need wait no longer – and it will also be on display for a hands-on look at the NAB (National Association of Broadcasters Show) 2024 next week. 

The lens has full-frame sensor coverage in a compact and lightweight body and will be available for Canon EF and RF, Fujifilm X, L-Mount, Micro Four Thirds, Nikon Z, PL mount, and Sony E mounts. 

A short telephoto, Irix proudly proclaims that the 65mm focal length makes it an ideal lens for "cinematic portraits, narrative filmmaking, and documentary work".

The wide T1.5 aperture enables great low-light capture, and the internal focusing system works in conjunction with the 11 aperture blades to offer frame-to-frame sharpness and beautifully round bokeh.

In addition to the superior imaging, the lens construction and functionality are real highlights. I had the opportunity to handle the lens at The Photography & Video Show 2024 and was impressed with the build quality and feel in the hand.

All Irix Cine lenses have similar sizes and weights, enabling quick and easy lens changes without changing your setup. It also incorporates the Magnetic Mounting System that facilitates the use of accessories such as magnetic filters from the Irix Edge lineup.

Weather sealing adds to the lens' rugged and durable construction, making it resilient to rain, sand and dust, ensuring the lens can excel in challenging shooting environments.

The Irix Cine lenses have an innovative adaptive ring, which Irix states is "designed to keep the lens housing sleek and user-friendly when operated manually, but without any compromises when you want to use your favorite cine gear." This enables compatibility with the majority of cine accessories, both manual and motorized. 

Other features of note include low lens distortion, an 86mm filter thread, laser UV reactive markings, very low focus breathing and a lens support foot.

The Irix Cine 65mm T1.5 is available to preorder from the Irix store and selected stockists now. Prices vary depending on mounting options, but start at $1,195 / £1,054.28 (Australian pricing to be confirmed).

For more information on filmmaking equipment see our guides on the best camera for filmmaking, the best cine lenses, and the best Netflix-approved cameras. 

The Irix 65mm T1.5 Cine is the company’s cine lens, coming soon for Canon EF and RF, PL, Sony FE, Nikon Z, Micro Four Thirds, Fujifilm X and L Mount. 

It is compatible with majority of cine accessories, both manual and motorized, and the design ensures that a change of focus distance has no influence on the lens’ length or front element rotation.

Crucial markings are engraved and filled with UV-reactive paint, making them better visible in low light, and up to eight times more visible than standard paint under UV light, making it perfect for shooting in challenging conditions. The weather-sealed construction provides protection from dust and moisture.

The lens is equipped with 11 rounded aperture blades, to offer extraordinary image quality over the entire frame with smooth bokeh, and its low-distortion optical design enables super-panoramic film shots with a rectilinear image. 

There’s an 86mm thread, but the lens also comes with a Magnetic Mount System for rapid attachment of accessories and filter placement. 

This latest Irix Cine lens means the brand now has most common focal lengths covered, covering 11mm to 150mm, with the same color reproduction, weight and location of gears across the range.

The Irix 65mm T1.5 Cine lens retails for approximately $1,300 / £1,050 / AU$1,980 and is available direct from the Irix store. 

See it at The Photography & Video Show on stand B601

The Photography & Video Show 2024 : everything to know

The original, full-frame compatible Irix 150mm Macro 1:1 F2.8 Dragonfly has been available since 2018 in Canon EF, Nikon F and Pentax K mount options. Keeping up with the mirrorless times, a new version is now also available in Sony E-mount, while the DSLR-based Canon and Nikon editions are compatible with EOS R and Nikon Z system mirrorless cameras via their respective mount adapters.

As its name suggests, the Irix gives full 1.0x or 1:1 macro magnification at its shortest focus distance. The 150mm focal length is around 50 per cent longer than in most mainstream macro lenses, along with a greater minimum focus distance of 34.5cm, or 13.6 inches. That potentially gives you a more comfortable working distance, especially when shooting timid bugs.

If Irix isn’t already on your radar, the company is worthy an introduction. It was founded in 2016, by a band of professional photographers who wanted to design lenses to their own exacting criteria. A truly international outfit, Irix designs its lenses and accessories at its headquarters in Switzerland, manufactures its glass in Japan, and the assembly work is done in South Korea. Distribution offices are based in North and South America, Europe and Asia.

Specifications

Mount: Sony E
Full-frame: Yes
Autofocus: No
Stabilization: No
Lens construction: 12 elements in 9 groups
Angle of view: 16 degrees
Diaphragm blades: 11
Minimum aperture: f/32
Minimum focusing distance: 0.345m
Maximum magnification ratio: 1.0x
Filter size: 77mm
Dimensions: 87x170mm
Weight: 900g

Key features

Top of the features list is the full 1.0x macro ability, delivering small objects to the camera’s image sensor at full life size. And when you can fill the frame with something little larger than a postage stamp, that naturally lends itself to enormous magnification when viewing the resulting images on-screen or in print. As a macro lens, the Irix is optimized for close-up performance but, as with the vast majority of macro lenses, it also works perfectly well at greater distances, all the way to infinity. The combination of a 150mm focal length and fairly fast f/2.8 aperture also makes the lens ideal for tight head-and-shoulder portraiture.

A couple of common features that are lacking are autofocus and optical image stabilization, as fitted to the Canon RF 100mm F2.8 L Macro IS USM, Nikon Z MC 105mm f/2.8 VR S and Sony FE 90mm F2.8 Macro G OSS. It’s worth bearing in mind though, that despite their shorter focal lengths, these lenses are getting on for twice the price of the Irix.

The lack of autofocus isn’t a deal-breaker, as most photographers generally prefer to shoot macro images with manual focus anyway. The depth of field is incredibly tight even with narrow apertures, so it pays to focus on exactly the point you want. A plus point is that the Irix has a very well-rounded aperture diaphragm, based on 11 curved blades, which helps to retain the quality of bokeh when stopping down. It also has a very narrow minimum aperture of f/32, which can help in gaining more than a miniscule depth of field.

Unlike ‘dumb lenses’ including the similarly priced Laowa 90mm F2.8 2x Ultra Macro APO (which gives up to 2x macro magnification for Canon RF, Leica L, Nikon Z and Sony E mount cameras) the Irix has built-in electronics for data communication with the host camera body. As such, there are no restrictions on shooting in the full range of PASM modes, and lens-based EXIF information is recorded in image files. Illumination of focus assist and confirmation lamps are enabled in the viewfinders of DSLRs, along with a display of the aperture setting. A bigger bonus for DSLRs with the original lens is that the electronics avoid a dark viewfinder image when using narrow apertures. For mirrorless cameras, focus peaking options are generally available, as well as an ultra-precise magnified preview, the latter also being available for DSLRs in Live View mode.

Getting back to optical image stabilization, or the lack of it, it’s not really an issue with the vast majority of mirrorless cameras that feature in-body image stabilization. And even the ‘hybrid’ optical stabilizers that aim to correct for x-y shift as well as the usual angular vibration for close-up shooting, featured in most of Canon’s macro lenses like the RF 100mm F2.8 L Macro IS USM tend to be less effective in full 1.0x macro mode.

Build and handling

Build quality is impeccable. The lens has a sturdy, precision-engineered alloy barrel, high-quality metal mounting plate and features an extensive set of weather-seals. Irix’s advanced Neutrino coating is applied to minimize ghosting and flare.

The lens is quite large and weighs the best part of a kilogram, but that’s really governed by the combination of 150mm focal length and f/2.8 aperture. Even so, handling is very refined. The large and tactile manual focus ring operates with a smooth and fluid feel, and it has a long rotational travel that enables ultra-precise adjustments. A raised ridge on the focus ring is a neat extra for putting focusing under your thumb. And if you want to pre-focus and lock the focus distance in place, there’s a handy locking ring at the front of the barrel.

You’ll generally use a tripod for full macro shots, and a good balance is all but essential for the very fine positional adjustments typically required. To help with this, the Irix comes complete with a tripod mounting ring and Arca-Swiss compatible foot. It enables a more ideal center of gravity when shooting in landscape orientation mode, vastly more so in portrait orientation shots. Naturally, the mounting ring also enables you to switch between landscape and portrait orientation without needing to adjust the tripod head or use an L-bracket.

A handling bonus of the new Sony E-mount version that was missing in the DSLR options is that it features a physical aperture control ring. Situated at the rear of the barrel, this gives you hands-on control over aperture settings, with click steps of 1/3rd  f/stops. For video capture, there’s also a de-click switch, enabling stepless aperture control.

Performance

The devil is in the detail for macro photography. With such large magnifications of very small objects, you need excellent sharpness to take full advantage, revealing levels of fine detail that are invisible to the naked eye. The Irix delivers in spades, delivering outstanding sharpness across most of the frame, throughout most of the aperture range. Sharpness only drops off right out towards the extreme edges and corners, but it’s still very good even here.

In our lab tests, the new Sony E-mount version proved much sharper than the DSLR edition that we tested a while ago in Canon EF-mount. Another plus point that we always hope to see in macro lenses is that there’s virtually no field curvature, so corner-to-corner macro sharpness is retained when shooting flat objects head-on, like antique coins and postage stamps.

As we’ve mentioned, very narrow apertures are often preferred in macro photography, so you can get anything more than miniscule depth of field. Sharpness tends to drop off noticeably when using narrow apertures, due to an increase in diffraction as the diaphragm blades close down. The Irix does well to maintain high levels of sharpness at really narrow apertures, on a par with some of the best, latest and most expensive macro lenses on the market, including the Canon RF 100mm F2.8 L Macro IS USM, Nikon Z MC 105mm f/2.8 VR S and Sony FE 90mm F2.8 Macro G OSS.

There’s more good news when it comes to color fringing, as this remains very minimal throughout the whole aperture range and right out to the edges and corners, where lateral chromatic aberration can often be a problem. It’s virtually a zero-distortion lens as well, even without applying any in-camera auto correction. All in all, image quality is highly impressive.

Sample images

Lab results

We run a range of lab tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion and chromatic aberrations.

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the center of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths. The tests also measure distortion and color fringing (chromatic aberration).

Sharpness:

Levels of sharpness across most of the image frame are excellent from the get-go, even wide-open at f/2.8. Extreme edge/corner-sharpness comes on strong at f/5.6 and, importantly for a macro lens, sharpness remains respectable when using very narrow apertures.

Fringing:

There’s only a little color fringing and it’s only towards the extreme edges and corners of the image frame. And that’s without using automatic in-camera correction, which is supported in Sony bodies.

Distortion: 0.14

It’s not technically a zero-distortion lens but the miniscule amount of pincushion is virtually impossible to spot in practice. In our lab tests, the Irix outperforms the pricier Canon RF 100mm F2.8 L Macro IS USM, Nikon Z MC 105mm f/2.8 VR S and Sony FE 90mm F2.8 Macro G OSS lenses for control over distortion.

Verdict

The new Sony E-mount version of the Irix 150mm Macro takes an excellent DSLR-based lens for Canon, Nikon and Pentax cameras, and makes it even better. With a generous 150mm focal length, premium magnesium alloy build, excellent handling characteristics and the addition of an aperture control ring with switchable click/de-click options, it looks and feels a top-quality lens. That’s backed up by fabulous image quality in every respect. Unlike some competitors, it lacks autofocus and has no optical image stabilization. We certainly don’t think that’s a deal-breaker for macro photography. We really like this Irix and think it’s great value at the price.

Read more:

• Best camera lenses to get
• Best Canon lenses
• Best Nikon lenses
• Best Sony lenses

Irix is a relatively new lens company, but it has produced some great lenses in the last few years - but up until now they have only been available for DSLRs or for cinema cameras. Now, at last, it is joining the mirrorless revolution with Sony-fit versions of two of its best-loved prime lenses. The Irix 15mm f/2.4 Dragonfly wide-angle and Irix 150mm f/1.8 Macro Dragonfly will go on sale this month.

The full-frame 15mm f/2.4 Dragonfly is an updated version of the Irix 15mm f/2.4 Firefly and the Irix 15mm f/2.4 Blackstone which were available for Canon and Nikon DSLR cameras. This time the lens is only available in the one finish - made of magnesium aluminum alloy combined with a high-quality composite - and its Dragonfly name brings it in line with other lenses in the Irix catalog.

The new version features “Click / Declick” switch which allows for smooth stepless iris adjustments that are particularly useful when shooting video.

The 150mm Macro lens offer upto 1:1 magnification and is a revised version of the existing Irix 150mm f/2.8 Macro 1:1 Dragonfly - and again offers the declickable aperture ring. 

The Irix 15mm f/2.4 Dragonfly for Sony will retail for $675/£675, and the Irix 150mm Macro 1:1 f/2.8 Dragonfly will sell for $695/£695. Both lenses are expected to go on sale from June 20.

Best Sony wide-angle lenses

Best macro lenses

Best Sony telephoto lenses

Irix is currently producing some of the best cine lenses for amateur and professional cinematographers. They balance capable performance with a competitive price, not to mention – in my opinion – a stunning design, too.

In 2019 Irix hit the cine market with a 150mm T3.0 1:1 Macro lens based on its successful photo lens of the same focal length (the Irix 150mm f/2.8 Macro 1:1 Dragonfly). The focal length and 1:1 Macro capability made this lens stand out, and while it has proved popular, many photographers wanted to be able to work at greater distances from their subjects.

• Find out how cine lens are different to regular lenses.

That's why Irix – seemingly valuing user feedback – has now developed a second version of the 150mm T3.0 lens with what it calls a "TELE designation". The lens is optically and mechanically similar to its older brother, but there are a few subtle differences. The focus range now starts from 0.67m and the maximum aperture is T22 instead of T32.

Available in the seven most popular industry mounts: Canon EF, Canon RF, Sony E, Nikon Z, Olympus MFT/ Panasonic MFT, and Arri PL-mount, Irix is aiming to appeal to a wide range of users. 

But is this new lens a decent proposition for budding filmmakers and cinematographers? We tested a sample with the Canon RF mount and a Canon EOS R6. Let's see how it fares in real-world use.

Irix Cine Lens 150mm specifications

Lens Mount: Canon EF, Canon RF, Sony E, Nikon Z, Leica L, Olympus / Panasonic MFT, Arri PL-mount
Aperture range: T3.0 ~ T22
Dimensions (L x D): 159 x 97 mm (Canon RF mount)
Number of iris blades: 11 (rounded shape)
Minimum focusing distance: 0.67 m (2’19”)
Focus ring rotation angle: 270°
Front filter thread: 86 x 1.0 mm
Front diameter: 95 mm
Weight: 1.1kg

Irix Cine Lens 150mm features

Irix Cine 150mm T3.0 Tele lens is designed for UltraHD cinema cameras that resolve video in 8K. Inside the Irix Cine Lens 150mm, there are 11 rounded iris blades to produce a smooth, dreamy bokeh, and the optical system itself boasts 12 optical elements in 9 groups.

Like the Irix Cine 30mm T1.5,  the optical construction has been designed so that the front element remains stationary during focusing. The advantage of this – particularly for a cine lens – is stability in weight throughout the focal range, as well as increased durability against dust and moisture.

There's a 270-degree precision focus ring and standard 0.8 follow focus rings that enable you to position your follow focus anywhere you like. Like the rest of the Cine line, it also features Irix' Magnetic Mount System that enables accessories like the lens hood (sadly not included) and Irix Edge filters to be quickly added and removed.

Irix Cine Lens 150mm Build & handling

The first thing you notice when you take the Irix Cine 150mm lens out of the box is its considerable heft and size. Its made from an aluminum and magnesium alloy that's smooth and robust, but at 1.1kg, it could never be called lightweight. Irix suggested that the lens works perfectly with gimbals and is suitable for handheld shooting, but I didn't feel very in control when doing the latter.

You'll get the best from the lens by mounting it on a video tripod, which keeps it locked in position and frees up your hands for tweaking the focus and aperture. One key feature of a cine lens is its ability to smoothly switch focus, and this Irix lens is fully manual focus, with an internal focusing mechanism via the geared rings and a de-clicked aperture ring.

In the box, you get a foot with a 1/4'' thread to allow for a variety of secure mounting options and what's helpful is that it can be mounted on either the upper or lower part of the lens.

On the lens barrel itself, there are two rings; one for the clearly-marked focus distances and the other for T-stops. Both are incredibly smooth in operation and should help filmmakers to get accurate and smoother focus pulls. Typical of the best cine lenses, the build is solid and weather-sealed, and I'd have no worries about using it in a rain shower.

What's particularly excellent about Irix' cine lens build quality is its lens markings, which here are engraved and filled with UV-reactive paint. I could still see the markings in low light, which made changing and checking values easy.

The lens' front filter thread is 86mm, and it supports follow focus rigs via built-in gears (119 total on the focus ring, 110 total on the aperture ring), as well as being compatible with a 95mm diameter Matte Box.

Irix Cine Lens 150mm performance

I'm still evaluating the Cine 150mm T3.0 Tele lens, but so far I don't have any major concerns about its optical performance. There's almost no distortion to speak of, which is pleasing but not too surprising – given that Irix claims "the lens is virtually free of geometric distortion" – and this is backed up by our lab tests below.

The visual characteristics of the lens are beautiful. The bokeh wide open can be a little noisy, but the lens generally renders backgrounds as a dreamy blur. What this Irix can render is reminiscent of far more expensive cine lenses – which is impressive when you consider it costs just $1,200.

There's also no noticeable focus breathing as the focusing distance changes, although my one complaint might be that the focus ring is a little stiff to move by hand. I'm sure the resistance is intentional, so that focus pulling is as smooth as possible, I just occasionally felt that turning the ring can be very awkward, given the weight of the lens.

Sample footage and frame grabs will follow very shortly.

Irix Cine Lens 150mm Lab results

We run a range of lab tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion and chromatic aberrations.

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the centre of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths. The tests also measure distortion and color fringing (chromatic aberration).

Sharpness:

Sharpness wide open at T3 is mediocre at best, but stop down to T4 and the lens is significantly sharper in the central region, and sharpness becomes very respectable at T5.6.

Fringing:

Color fringing is negligible at all aperture settings, even in the corners of frame where it would usually be most noticeable.

Distortion: -0.1

It’s virtually a zero-distortion lens. Technically, there’s the merest hint of barrel distortion but it’s practically impossible to spot in images.

Irix Cine Lens 150mm verdict

The Irix Cine 150mm T3.0 Tele lens is ideal for amateur and professional moviemakers using a full-frame camera who want a longer focal length to work with. Its design is robust and attractive, yet heavy (though not particularly heavy for a cine lens) and its price is reasonable. 

Image quality is also excellent, although sharpness isn't the best wide open T3. Irix isn't yet the most well-known brand in the cine lens market, but it could be if it continues to produce such stellar optics.

If the Irix Cine Lens 150mm isn't for you

Irix is known for producing rather good cine lenses for cinematographers at an affordable price point, and now the company's cine know-how and filter experience have come together in its new Matte Box.

The Irix Matte Box IQ has been created for filmmakers and video creators who aim for the best possible results in their shots. It supports Irix magnetic MMS filters which can be used with virtually any lens, letting creators enjoy their creative freedom and flexibility in tool selection – this is a massive plus when on set and you just want to use a lens without having to work out whether it will fit.

To see this new matte box in action, check out the video below:

Like any matte box, the Irix Matte Box IQ is a useful tool that helps you keep the optimal contrast and high-quality footage by eliminating unwanted reflections and lens flares. It will prove most useful while filming in difficult lighting conditions or spaces with high light intensity while on set. Irix Matte Box IQ is an important tool for filmmakers who strive for visual perfection and constantly search for new creative possibilities at a higher quality level.

The main selling points for this new matte box are the integration of its magnetic filter system. Some on the market offer the chance to put in either 1 or 2 slide-in filters, but having the ability to stick filters on and off with ease really does help the productivity on set.

Another great feature for enthusiastic or prosumer filmmakers is that the Irix Matte Box IQ can be natively mounted directly onto the housing of any industry-standard cine lens with a 95 mm front diameter. But if you have a lens with either 52 to 86mm in diameter, then separate thread adapters are available which can be used with virtually any lens. Regardless of whether you use wide-angle or telephoto lenses, the Irix Matte Box will help you capture that perfect shot you’ve planned for so long. 

Check out our best cine lenses guide, or if you're in the market for a new camera why not browse the best cinema cameras.

Irix has launched a new cine lens, the Cine 150mm T3.0 TELE. A development of the existing Cine 150mm T3.0 Macro 1:1, the new TELE variant has a modified focus range with a minimum 67cm focus distance (compared to 35cm for the Macro lens). Irix has also modified the lens's manual focussing ring to offer greater precision when focussing between 2 metres and infinity, with a total focus ring travel of 270 degrees.

Read more: the best cine lenses

Elsewhere, the Irix Cine 150mm T3.0 TELE shares the same features as its Macro predecessor. Irix claims "spectacular bokeh" from the 11-blade rounded diaphragm, while the 12 optical elements should provide sharp enough image quality to be suitable for 8K recording. The sharpness is said to be combined with the signature 'Irix look' of "soft tones and a characteristic, subtle glow".

The lens is available in Canon EF, Canon RF, Sony E, Nikon Z, Olympus MFT/ Panasonic MFT, and Arri PL-mount options. Each is compatible with 86mm filters, along with a 95mm-diameter matte box. A lens foot is included for mounting to a cage via a standard 1/4-inch mount thread. The front of the lens features Irix's Magnetic Mount System for easy installation of additional accessories, Irix MMS filters, or an optional lens hood.

The Cine 150mm T3.0 TELE can also be used in inclement weather thanks to five weather seal gaskets (4 on the Arri PL version), while the magnesium alloy barrel keeps overall weight down to 1105g (Canon EF version).

The Irix Cine 150mm T3.0 TELE is available to order now from the Irix web shop, priced at US $1,195 ($1,295 for the PL-mount version). Availability at other retailers is expected soon.

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The Irix 15mm f/2.4 is designed in Switzerland and built in Korea, and is available in Firefly and Blackstone options. They’re optically identical but the Blackstone has a magnesium alloy rather than plastic casing, four weather-seals instead of three, and fluorescent engraved markings for easy reading under very dull lighting. It’s also supplied in a hard case instead of a soft pouch.

Specifications

Mount: Canon EF, Nikon F, Pentax K
Full-frame: Yes
Autofocus: No
Stabilization: No
Lens construction: 15 elements in 11 groups
Angle of view: 110 degrees
Diaphragm blades: 9
Minimum aperture: f/22
Minimum focusing distance: 0.25m
Maximum magnification ratio: Unspecified
Filter size: 30x30mm rear slot
Dimensions: 114x100mm
Weight: 619-647g (mount dependent)

Key features

Unlike fully manual lenses, this manual-focus lens has built-in electronics that enable communication with the host camera. You can therefore control the aperture from the camera body and shoot without any limitations in the full range of PASM shooting modes, while also avoiding a dark viewfinder image in DSLRs at narrow aperture settings. Other bonuses are that the viewfinder’s focus assist/confirmation lamps are enabled, and lens-based EXIF data is recorded with images.

Typical of most manual-focus lenses, the focus control ring has a long rotational travel. Engraved markings are applied for both the hyperfocal distances and depth of field limits for apertures of f/8, f/11 and f/16. The latter is useful for ‘zone focusing’, enabling you to easily apply the range of distances that will be rendered sharply with in the scene.

The optical line-up includes three aspherical elements, two ED (Extra-low Dispersion) elements and four HR (High Refractive) elements, along with Irix’s proprietary ‘neutrino’ coatings to reduce ghosting and flare. Unlike some wide-angle lenses, the Irix comes with a separate hood which enables the inclusion of a filter thread at the front, although it’s rather large at 95mm. A gel filter slot is also included at the rear.

Performance

Sharpness is excellent across most of the image frame, even wide-open at f/2.4, and there’s fairly little vignetting as well. Color fringing and distortion are also quite minimal, and performance is good in terms of contrast and color rendition. The only real downside is that coma and astigmatism can be quite noticeable when shooting wide-open, which can give an irregular shape to stars when using the lens for astrophotography. Coma and astigmatism are much reduced when narrowing the aperture by an f/stop.

Lab results

We run a range of lab tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion and chromatic aberrations.

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the center of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths. The tests also measure distortion and color fringing (chromatic aberration).

Sharpness:

Center-sharpness is exceptional, even when shooting wide-open at f/2.4, but more average towards the edges and corners of the image frame.

Fringing:

Color fringing is minimal at the widest aperture and absolutely negligible when stopping down through the rest of the aperture range.

Distortion:

Barrel distortion is remarkably well controlled for such a wide-angle lens, the Irix returning a very good lab score.

Verdict

This full-frame compatible manual-focus lens has excellent build quality, putting it ahead of the more inexpensive ‘Firefly’ version. The combination of a 15mm focal length and fairly fast f/2.4 aperture make it ideal for everything for shooting architectural interiors to sweeping landscape vistas and the night sky. Image quality and handling are very good, despite the lack of autofocus, making it a good buy at the price for Canon, Nikon and Pentax full-frame DSLRs.

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Swiss lens manufacturer Irix who is best known for producing high-quality optics for the photo and film industry has just expanded its line of filters. Now introducing the new Irix Edge Super Resistance (SR) version in its 100mm square filters range, they are designed not only to provide outstanding protection but accurate color rendition, sharpness and contrast. 

These new filters can be used with both the Irix IFH-100 and the IGH-100 Pro filter holders. The main difference between the two is that while the IFH-100 has space for just one filter, the IFH-100 Pro can also be used with a polarising filter. Each of the Super Resistance filters has exceptional resistance to mechanical damage from impact, increased scratch resistance and a Nano coating that enable them to repel water, dirt and dust. 

• Read more: Best filter holders

In total there are four soft grad SR filters with a neutral density of 4,8, 17 and 32, two hard grad filters with a neutral density of 4 and 8 plus two reversible gradual ND filters which are perfect for shooting sunset and sunrise. Additionally, there will be four standard ND filters designed to reduce the amount of light that reaches the camera's sensor allowing you to shoot with a wide aperture and slow shutter speed even in bright conditions. 

For any serious landscape photographer, graduated ND filters and full ND filters are a must as they allow you to correctly expose the foreground and the sky. You can of course use bracketing to achieve the same effect but it means a lot more work post-processing. Filter sets aren’t cheap but they are well worth the investment if you regularly shoot seascapes, are a fan of capturing those perfect sunset/sunrise scenes or want to spend as little time as possible editing.

The new Irix Super Resistance filters are now available to buy directly from the Irix store and at official Irix dealers. Prices start at €125/$127 for any of the full ND filters and €149/$152 for the graduated ND filters. 

Combining Swiss precision, Korean ingenuity and Japanese glass, the Irix 21mm f/1.4 Dragonfly is built for professional use and promises to deliver sharp images with minimal distortion or aberrations.

This super-fast, wide-angle prime is ideal for shooting anything from astrophotography to interiors, landscapes, architecture, or even weddings. It benefits from internal focusing, a weather-sealed design, and a rigid, durable casing. Fifteen lens elements in eleven groups include four ultra-low dispersion elements, four high refractive elements and two aspherical elements.

The lens has full-frame sensor coverage and comes in Canon EF, Nikon F (FX) and Pentax K mount options. All feature a scratch-resistant coating on the front element, an anti-slip focus ring for precision focusing, EXIF data recording capabilities, and an 11-blade diaphragm promising silky-smooth bokeh. Irix even includes a high quality rigid carrying case.

Specifications

Mount: Nikon F (FX), Canon EF, Pentax K
Full-frame: Yes
Autofocus: No
Stabilization: No
Lens construction: 15 elements in 11 groups
Angle of view: 89.7 degrees
Diaphragm blades: 11
Minimum aperture: f/16
Minimum focusing distance: 0.3m
Filter size: N/A
Dimensions: 101x95mm (Canon), 99x95 (Nikon)
Weight: 830g (Canon), 816g (Nikon)

Build and handling

As we’ve come to expect from Irix Dragonfly lenses, the 21mm f/1.4 is a sturdy optic. Everything about the construction feels solid, from the barrel to the focus ring and even the included lens hood. The ring turns with just the right amount of resistance, which is important in a wide-aperture, manual focus model – it allows easy yet precise microadjustments. The metal lens mount rounds off a professional handling experience. It’s not lightweight but will feel at home on a DSLR or high-end mirrorless full-frame camera.

Performance

The glass turns in an excellent performance, with high levels of sharpness throughout the frame. At f/1.4, results are more than acceptable, which is great news since this is where this lens will often be used. Stopping down to f/2 gives a dramatic reduction in softness though, so if you can spare the stop of light where possible, the jump in sharpness is worth it. Bokeh is beautifully smooth, which is nice to see from an optic this wide. There was minimal cats-eye distortion in our samples and onion-rings seemed mostly absent. Geometric distortions are also impressively low for a wide-angle.

Lab results

We run a range of lab tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion and chromatic aberrations.

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the center of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths. The tests also measure distortion and color fringing (chromatic aberration).

Sharpness:

Center-frame sharpness is pretty good wide open at f/1.4, but becomes superb by f/2.8. Even more impressive is sharpness in the corners of frame. This is often significantly softer than at the center, due to the center of our sharpness test chart being so much closer to the lens than the corners of the chart. But the Irix handles this marked difference in depth of field particularly well for a lens of this focal length, retaining great sharpness across the whole image frame.

Fringing:

Fringing in the mid-frame and at the corners is apparent if you look closely, however it's not distracting.

Distortion: -1.16

Unsurprisingly for such a wide lens, there's a little barrel distortion, but it's not particularly noticeable.

Verdict

With a great combination of wide perspective and shallow depth-of-field, the Irix 21mm f/1.4 Dragonfly is a superb option for portrait and travel photographers. The manual focus is always going to be a challenge at such wide apertures, but with practice, this can be a powerful tool in your arsenal.

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Irix has just released a new wide, fast prime lens for DSLRs, the Irix 21mm f/1.4 – combining Swiss precision, Korean ingenuity and Japanese glass.

Just last month, the manufacturer released the full-frame, Irix 21mm T1.5 Cine lens, and this new lens complements it as a dedicated photographers' version. Built for professional use, it promises to deliver sharp, clear and crisp images with minimal distortion or apparitions. 

This super-fast, wide-angle prime would be ideal for shooting anything from astrophotography to interiors, landscapes, architecture or even weddings. It benefits from internal focusing, a weather-sealed design, distortion below 2% and a rigid, durable casing. It features fifteen elements in eleven groups including four ultra-low dispersion elements, four high refractive elements and two aspherical elements. 

It’s compatible with full-frame Canon EF cameras such as the Canon EOS 5D Mark IV, Nikon F-mount systems including the Nikon D850 and Pentax K cameras like the Pentax K-1 Mark II. Both the Nikon and Pentax versions weigh 816g while the Canon version weighs slightly more at 830g. The dimensions of the lens differ slightly for each mount, but are around 99 x 95mm.

Other advantages of this lens are it has a scratch-resistant coating on the front element, an anti-skid sharpening ring for precision focusing, EXIF data recording capabilities, an 11-blade diaphragm for unique but uniform bokeh, plus it’s supplied with a rigid carrying case to keep it safe.

While built specifically for the three mounts listed, Irix lenses can be used with adapters to fit on mirrorless systems or other branded cameras. The lenses are now available to order directly through the manufacturer's online store and will shortly be available at certified dealers including B&H, Wex and Adorama for an expected RRP of €795 Euro – or roughly $876 / £665.

Scroll down to see a selection of sample images.

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It is always good to have a choice of lenses with you at any one time – that way, you always have the range you need to make the most cinematic shot possible. And that's where the line of Irix lens sets for movie creators  comes into play.

Irix is now offering three types of lens sets that offer either 4 or 5 lenses, covering a wide range from 11mm all the way to 150mm, along with custom protective case for easy transportation between shoots and even filters for the lenses, making sure there is a set to suit every budget and cinematography style out there.

• Read more: Best cine lenses | How are cine lenses different to regular lenses?

The first set it the Cine Entry set, designed to offer the most range for those just starting out in their career as a professional filmmaker, and it also benefits from being a complete T1.5 kit – so this can be used even in the most toughest of lighting conditions. 

The kit includes the Irix Cine 21mm T1.5, Irix Cine 30mm T1.5, and a Irix Cine 45mm T1.5 lenses, and can be purchased in a selection of mounting options such as Canon EF, Canon RF, L-mount, Micro Four Thirds, Nikon Z, PL-mount and Sony E mount, and comes priced at $4,713 / £3,514 / AU$6,519.

Another is on offer is what Irix calls the Extreme, which offers an Irix Cine 11mm T4.3, the T1.5 21mm, 30mm and 45mm, along with the Irix Cine 150mm T3.0. It's available in the same mount options, priced at $7,438 / £5,546 / AU$10,289.

Last, but not least is the full Cine Production kit, which is suitable for professionals that need to cover any shooting situation. This kit it the same as the Extreme, except that the ultra-wide 11mm T4.3 and is substituted for the shorter but faster Irix Cine 15mm T2.6, again offered in all mounts and priced at $7,438 / £5,546 / AU$10,289.

But… WHY?

Now, I know what you're thinking: "That is a ton of money to spend in one go." And you would be completely right – but what this offers is a quick investment into your filmmaking career. There will be endless shoots when you wish you had a wider lens in your kit bag, or a bit more reach just to get better detail recorded, without moving the whole camera rig. 

Most importantly, though, when buying a set of lenses is you are getting a great discount buying in bulk. Yes it's a lot of money, but if you wanted to buy the lenses in the the Cine starter kit individually you would pay $736 / £550 / AU$1,018 more – and that's without getting the custom carry case and and all the included filters.

Whatever your skill level, within these three kits is something for every cinematographer. Yes they might seem expensive, but filmmaking is an expensive multi-billion dollar industry – and with that in mind, for what you are getting these are a great offering from Irix. And if you're stuck on the fence about which one would suit you, I would personally go for the Cine entry set; with their fast T1.5 apertures and good focal length, these should cover you for a wide range of shooting.

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Irix has just announced it's introducing a 21mm T/1.5 lens to its range of cine lenses. Combining precision Swiss design and Korean ingenuity Irix lenses offer supreme optical performance and a top-quality build.

The Irix 21mm T/1.5 is a full-frame lens designed for shooting on full-frame and Super 35mm cameras such as the Nikon Z9, Canon R3 and Sony FX3. It’s made up of four Extra-low Dispersion elements which help to reduce chromatic aberrations,  four high reflective elements and two aspherical lenses. 

In total, there are 15 elements in 11 groups and an 11-blade iris construction which help deliver a beautifully blurred background and smooth adjustments between T1.5 and T16.

• Read more: Best cinema cameras | How are cine lenses different to regular lenses?

Giving the user complete creative freedom, the 21mm lens is perfect for shooting in tight spaces and doesn’t cause unnecessary distortion. Its fast aperture means it can isolate subjects in a frame as well as capture detailed, in-focus shots (although you’ll need an ND filter when shooting in bright sunlight).

For a cine lens, the Irix 21mm T1.5 is relatively small and lightweight. Made of a resistant aluminum-magnesium alloy, it weighs just 1.1kg which makes it perfect for use on smaller cameras and handheld gimbals as well as professional-grade equipment. Irix claims that all of its lenses have their own special “Irix look” which adds to the cinematic effect.

This is the sixth cine lens Irix has released and it joins the Irix 30mm T1.5, 45mm T1.5, 11mm T4.5, 15mm T2.6, and the 150mm T3.0 Macro 1:1 lens. You can expect the same weather sealing, low focus breathing and smooth handling as with all Irix lenses. 

The Irix 21mm T1.5 lens comes in seven mounts including Canon EF, Canon RF, Sony E, Nikon Z, Panasonic/Olympus Micro Four Thirds and Arri PL. Irix hasn’t announced an official release date but it’s expected to be in the next few weeks although it can be pre-ordered today from selected dealers. Prices start at US$1,195 (or $1,295 for the PL mount).

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The Irix 30mm f/1.4 Dragonfly is everything we've come to expect from Irix lenses. These optics are usually well built, high quality products which, if you can accept the lack of autofocus capability, offer a genuinely unique proposition… well, mostly.

You see, the Irix 30mm f/1.4 Dragonfly is a photographic equivalent to the Irix 30mm T1.5 Cine – a well-established model and popular choice for videographers. The fact that Irix has chosen to release a stills version makes sense, and looking at the spec sheet it seems the only significant technical difference between the two is in the external design and minor transmission variance. 

However, externally this is a different beast indeed – which is to be expected, due to the different requirements for stills photographers and motion creatives. So just how good is this wide-angle, wide-aperture prime for photographers?

Irix 30mm f/1.4 Dragonfly: Specifications

Mount: Canon EF (tested), Nikon F, Pentax K
Elements / construction: 13 elements in 11 groups
Autofocus: No
Stabilization: No
Weather sealing: Yes
Angle of view: 61.9°
Max aperture: f/1.4
Min aperture: f/16  
Min focus distance: 0.34m
Filter size: 86mm
Length: 107mm
Diameter: 94mm 
Weight: 863g (Canon EF)

30mm f/1.4 Dragonfly: Build and handling

All of Irix’ lenses have a unique, robust feel to them. This is due to the prevalence of metal used in the construction and the dense rubberized focus ring. The 30mm f/1.4 shares these build characteristics and overall it offers a true professional handling experience. 

It’s a fairly hefty optic at 863g, certainly heavier than many contemporary mirrorless lenses, but it is manageable and well balanced on a DSLR. Though it might seem a little front-heavy when adapted to smaller mirrorless models. 

The focus ring is pretty stiff. You can lock the ring, which is handy, but even when this is fully released the ring does take quite a bit of encouragement to move, which slows down the operation. This does of course aid precise focus placement, but don't expect to be able to shoot anything moving too quickly. 

The dimensions are pleasingly compact, meaning it doesn’t take up too much room in your camera bag, despite the aforementioned weight. This means it can go unnoticed on the street, when the photographer is looking to capture candid images, without drawing too much attention. 

The front element is an impressive piece of glass and accepts large 86mm filters. Generally speaking, you really can't fault the build quality and most photographers will find the extra weight reassuring. 

Irix 30mm f/1.4 Dragonfly: Performance

There can be no criticism of the sharpness of the Irix 30mm f/1.4. While there is an increase in softness wide open, by f/2.8 this is gone and resolution is superb. This is maintained from the center to the edges of frame, with only a slight drop in quality at the extreme periphery. This is of course a lens you'll want to use wide open, though, and users can be assured of respectable performance, even for large prints. 

Contrast is also lovely and color rendition is spot-on. When photographing bright flower petals into the setting sun – a wide range of colors to capture – the lens produced a natural palette, with organic-looking punch. Some lenses can be overly contrasty, but we'd say that the Irix 30mm f/1.4 falls nicely into a balanced middle ground in this respect. 

As you’d expect from a wide-aperture prime at this price point, bokeh is gorgeous, thanks to the 11-bladed rounded aperture. The 30mm focal length won't be the first one many photographers will reach for when shooting portraits, but for environmental studies this optic produces a nicely unique blend of wide perspective and shallow depth-of field. There is some cats-eye compression towards the frame edges, but nothing excessive. 

Even without processing there is almost no chromatic aberration, either. When zooming in on high-contrast edges, such as tree branches against a bright sky, there is very little discernible colored banding, demonstrating that the optical elements are effectively focusing the light with minimal scattering.  

The lens does lack a focus motor, so all focusing must be done manually. However, the mount features a set of electronic contacts – meaning that EXIF data can be saved within captured digital files, for later reference.

Irix 30mm f/1.4 Dragonfly: Lab results

We run a range of lab tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion and chromatic aberrations. 

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the center of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths. The tests also measure distortion and color fringing (chromatic aberration).

Sharpness:

Center sharpness is outstanding, from wide open at f/1.4 right through to f/11. Mid-frame and corner sharpness levels are also very high throughout the lens' aperture range – an impressive overall performance.

Fringing:

Lateral chromatic aberration is minor at narrower apertures, only barely becoming apparent in the corners of frame once you go narrower than f/4, though fringing is never an obvious problem.

Distortion: -0.79

The Irix 30mm produces slight barrel distortion, but you're unlikely to notice this unless you're shooting especially geometric subjects.

Irix 30mm f/1.4 Dragonfly: Verdict

Optically the Irix 30mm f/1.4 Dragonfly is a super lens and won’t disappoint when making big prints. The lack of autofocus, as with other Irix primes, can be problematic when shooting wide open, however, as nailing subject sharpness is a significant challenge. We’d recommend magnifying every image after capture, to check accuracy. Being a wide-angle lens can make the situation worse, as the subject is likely smaller in the frame. 

It's interesting that this is specifically designed for DSLR cameras; we feel it would be more at home in a mirrorless lens mount, whereby images can be magnified in an electronic viewfinder (judging focus via an optical viewfinder is not a simple task). The barrel does feature distance measurements, though, which does help. 

Overall the lens fills its niche well, however, and if speed is not your priority you’ll love the Irix 30mm f/1.4 Dragonfly for its cinematic images and palatable pricing.

Irix 30mm f/1.4: Sample images

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The Irix Cine 30mm T1.5 is the manufacturer's latest addition to its ever-increasing range of competitively priced – and competitively performing – cinema lenses. 

While it's the fifth lens in the lineup, the Irix Cine 30mm T1.5 may actually be the most useful all-purpose optic. It sits bang in the middle of Irix' 11mm T4.3, 15mm T2.6, 45mm T1.5 and 150mm T3.0, lenses, offering a versatile 30mm focal length that's ideal for documentary shooting, news and reporting, location and establishing shots, and of course B-roll. 

• Read more: Best cine lenses | How are cine lenses different to regular lenses?

As useful as its focal length, however, is its bright T1.5 aperture, matching the Irix Cine 45mm lens for superb low light performance as well as stunning subject separation and dreamy depth of field. 

Coming in a variety of mounts, from cinema staples Arri PL and Canon EF to every serious mirrorless filmmaking mount (sorry, Fujifilm), and with an $1,195 (approximately £866 / AU$1,614) price tag, it seems an irresistible proposition whether you're shooting on dedicated cinema kit like a Blackmagic Ursa Mini Pro 12K, Canon EOS C70 or Panasonic BGH1, or hybrid cameras like the Canon EOS R5, Nikon Z6 II or Panasonic GH5 II. 

How does it perform? Let's find out.

Irix Cine 30mm T1.5: Specifications

Mount: Arri PL, Canon EF (tested), Canon RF, L mount, Micro Four Thirds, Nikon Z, Sony E
Full frame: Yes
Lens construction: 13 elements in 11 groups
Diaphragm blades: 11
Minimum aperture: T16
Closest focusing distance: 0.34m
Filter size: 86mm
Front diameter: 95mm
Geared rings: 0.8 M (119 teeth)
Focus ring throw: 180°
Aperture ring throw: 75°
Weather sealed: Yes
Dimensions: Arri PL 99x97 mm • Canon EF 107x97 mm • Canon RF 130x97 mm • L mount 131x97 mm • Micro Four Thirds 132x97 mm • Nikon Z 135x97 mm • Sony E 133x97 mm
Weight: Arri PL 1136g • Canon EF 1130g • Canon RF 1187g • L mount 1223g • Micro Four Thirds 1215g • Nikon Z 1227g • Sony E 1191g

Irix Cine 30mm T1.5: Key features

The Irix Cine 30mm T1.5 is designed for UltraHD cinema cameras that resolve video in 8K, with an aspherical element, a pair of high reflective elements and a trio of extra-low dispersion elements (13 in total, in 11 groups). 

Irix claims "an ultra-low -0.95% distortion" and "practically no focus breathing (below 1.5 degree in full range from 0.3m to infinity". Indeed, this is a very tight, well controlled lens in optical terms. 

It possesses geared 0.8 M rings that, like other Irix Cine lenses, have been machined to recess into the silhouette of the body (rather than the teeth sticking out). This keeps the lens looking and feeling sleek, while also enabling you to position your follow focus anywhere you like.

Again like the rest of the Cine line, it features Irix' Magnetic Mount System that enables accessories like the lens hood (sadly not included) and Irix Edge filters to be quickly added, removed or combined without the need for accessories. 

Irix Cine 30mm T1.5: Build & handling

Despite being a cinema lens, and a T1.5 one at that, the Cine 30mm is surprisingly small and light. Specs vary between mounts, but the Canon EF version we tested measures just 107x97mm and weighs 1,130g – made possible by the aluminum-magnesium alloy construction.

The focus ring has a smooth, well damped and precisely tuned 180° throw. And when shooting wide open at T1.5, having the same kind of control as a macro lens is incredibly valuable when maintaining fine focus.

A support foot provides a mounting point for tripods, rigs and follow focus systems, and can be attached either to the bottom of the optic (as standard) or the top depending on your setup. 

The lens is weather sealed, with five rubber O-rings (four on the PL version), making this an invaluable tool for shooting in the elements – particularly when paired with a weatherproof body like the Canon EOS R5. 

As you can see the lens is beautiful to behold, and handles magnificently whether as part of a well-attuned rig or as a handheld run-and-gun setup. The engraved distance markings and T-stops have been finished with UV-reactive paint, which is a welcome addition when filming in challenging light. 

Best of all, if you hated the lens cap on the Irix Cine 45mm T1.5 (as most people did), the cap here has been redesigned. Not only is it very attractive, with the focal length clearly marked for at-a-glance retrieval from your bag, but it is now perfectly flat so you can sit the lens down. 

Irix Cine 30mm T1.5: Performance

We're still evaluating the the Irix Cine 30mm T1.5, but so far we have zero complaints about how it performs. 

You will see in our lab tests below that the Irix isn't at its best when shooting wide open at T1.5. However, while the lens undoubtedly hits peak sharpness from T2 to T8, in video terms rather than stills terms this still equates to pleasing sharpness even when shooting at 8K. 

The three sample images below were all filmed at T1.5 in 8K DCI on the Canon EOS R5, and then frame grabbed at full 35MP resolution. As you can see, they are more than sharp enough for video purposes even at UltraHD.

Distortion really is incredibly well controlled, as is focus breathing. In the sample video footage below you can see a number of tests, including how the lens breathes wide open at T1.5 and stopped all the way down to T16. While a minute amount of breathing is observable, it really is very slight. 

The visual characteristics of the lens are very pleasing. The bokeh wide open can be a little noisy, but the lens generally renders backgrounds as a dreamlike smear of impressionistic chatter. 

It possesses a very cinematic flair reminiscent of far more expensive cine lenses – impressive not just for this lens in its own right, but especially for an optic that costs $1,200 as opposed to the add-a-zero price tags of big brand cinema glass.  

Irix Cine 30mm T1.5: Sample footage

Watch video: Irix Cine 30mm T1.5 sample footage

Watch video: Irix Cine 30mm T1.5 lens behavior

Irix Cine 30mm T1.5: Lab data

We run a range of lab tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion and chromatic aberrations.

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the centre of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths. The tests also measure distortion and color fringing (chromatic aberration).

Sharpness:

Sharpness in the center of frame is excellent, from T2 through to T8. Move away from center and image quality soon gets softer, though this isn't too noticeable in real-world shooting. What is noticeable is the poor center sharpness wide open at T1.5, and this is the best result we achieved after multiple attempts.

Fringing:

Fringing is only apparent in the corners of frame, and only at apertures narrower than T2.8.

Distortion: -0.66

There's a trace of barrel distortion, but you won't notice it in everyday shooting – an impressive result.

Irix Cine 30mm T1.5: Verdict

The Irix Cine 30mm T1.5 is a formidable cinema lens, both capable in performance and competitive in price. Offering great sharpness, weather sealing, well controlled distortion and breathing, and an enviable T1.5 aperture for low light shooting and background blur, it packs all the punch of a premium cine lens but without the associated cost. 

Our lab tests reveal that it's a little soft wide open, but this is far less of an issue with video compared to stills – and as you can see from the sample footage above, it's still more than sharp enough for crisp, detailed footage. And with the kind of bokeh it produces, we'll happily take a little hit in the sharpness stakes. Yet another home run for Irix' fledgling Cine line.

Read more: 

Best cine lenses
Best cinema cameras
Best cameras for filmmaking
Best 8K cameras
Best cameras for video

Irix has announced its new Irix 30mm f/1.4 – a manual-focus prime lens for Canon EF, Nikon F and Pentax K DSLRs.

The Irix 30mm f/1.4 is based on the design of the firm’s recent and rather good cine prime, the Irix Cine 30mm T1.5. It’s made for full-frame sensors and, while it’s only available for DSLR mounts, the fact that Irix shows the lens adapted to the mirrorless EOS R in the press shots suggests that it's counting on broad appeal.

• Read more: Irix Cine 30mm T1.5 review

It’s based on the Dragonfly manufacturing standard that Irix also used for its premium 45mm and 150mm photo lenses – we reviewed the Irix 45mm f/1.4 Dragonfly and were impressed by its solid construction and image quality.

The Dragonfly moniker’ means a reinforced and metallic chassis construction for durability, a scratch-resistant finish, an anti-slip focus ring, engraved markings filled with UV-reactive paint, and sealings to protect against ingress dust and water. This also means it’s a manual focus-only lens. 

The aforementioned focus ring is of a design specific to Irix, which the firm has used in previous lenses. It’s specially textured with rubber material that ensures a secure, comfortable grip and makes for easy manipulation. There’s also a focus lock function that, just as it sounds, enables you to lock the focus in place. This is useful for pre-focusing, a technique employed by many street photographers. 

Internally the lens is constructed of thirteen elements in eleven groups, including three ultra-low dispersion elements, two high-reflectance elements and one aspherical element. The aim, according to Irix, is to imbue images with a cinematic look. Users will certainly be able to make the most of the full-frame sensors for which it is intended to produce images with vivid bokeh, thanks to the 11-bladed aperture. 

The minimum focusing distance is 0.34m, and its design is such that it does not change size or shape while focusing. This has made it easier for Irix to be comprehensive with the weather sealing – and while there are no numbers put on it, the firm is confident that the three rubber O-rings should keep the lens safe and working even in the most challenging of shooting conditions. 

Irix says the lens will be available from October 2021, though we don’t yet have a precise date, and the manufacturer is still being tight-lipped about exact pricing information. 

However, given that the lens it’s based on, the Irix Cine 30mm T1.5, impressed us with its quality and price point, it’s not unreasonable to assume that this lens will also be suitable for shooters working on a budget. 

Read more: 

Best lenses for street photography
Best 35mm lenses
Best cameras for street photography

The big advantage of square filter holders like the the Irix Edge IFH-100-Pro is that you can use multiple filters at the same time, and for landscape photographers a polarizing filter and a graduated filter are an essential combination.

The previous IFH-100 holder was designed to be as thin as possible to reduce or eliminate any vignetting with ultra-wide lenses and had slots for two square filters but not for a polarizer. The new Irix Edge IFH-100-PRO, however, adds a drop-in circular polarizer to meet the needs of landscape photographers everywhere.

Polarizing filter advantages

Graduated filters are great for reducing the brightness of dramatic skies in outdoor shots, but a polarizer adds a different but often equally valuable effect. Polarizers are best known for darkening blue skies, but they can also cut through reflections in water and glass and reduce the sheen on polished surfaces, including glossy leaves, which enhances color saturation.

You need to rotate a polarizing filter for each shot to get the optimum result, and this can be a fiddly process when they are mounted in a square filter holder – but the Irix Edge IFH-100-Pro has a knurled external dial to make this easier.

This self-assemble holder has spacers to adjust the filter slots for regular 2mm filters or ultra-thin 1.1mm thick filters, which could be important with ultra-wide angle shots.

The drop-in Irix Edge IFH Polarizer filter is included. It uses the latest generation of tempered optical glass, has advanced anti-reflective coatings and has a Nano coating that repels dirt and makes it easy to clean. 

Irix IFH-100 PRO compatibility and availability

The IFH-100 PRO holder is compatible with most lenses, using screw-in adapters with diameters of 52mm to 95mm (sold separately) which cover the vast majority of common lens filter sizes. The dedicated adapter for the Irix 15mm f/2.4 lens is included with the holder.

This is not the first filter holder to take circular polarisers – its a common feature on the best filter holders from other makers – but it’s the first from Irix, and it includes a dedicated adaptor for use on the Irix 15mm f/2.4 ultra-wide lens.

The Irix Edge IFH-100-Pro will be available from the end of February 2021 and will cost $190.

Read more:

• Best filter holders
• Best graduated filters
• Best polarizing filters
• Best ND filters

Two things are remarkable about the Irix 45mm f/1.4 Dragonfly. The first is. the f/1.4 maximum aperture, which is a real bolt from the blue, and the fastest lens ever for a Fujifilm GFX medium format camera. 

The second is the price, which is just $1022.45/£769.91 in the Irix online shop. We say 'only', but that's not a bad price for any medium format lens, let alone an f/1.4. The US price is a little higher it seems, but even then only the Fujinon GF 50mm f/3.5 R LM WR pancake lens is cheaper, and even then not by much. 

The Irix 45mm f/1.4 Dragonfly corresponds roughly to a 36mm prime in full frame camera terms, so it's an ideal semi-wide 'walkaround' standard zoom – though with a length of 144mm and a weight of 1120g, you might not want to walk very far.

Like other Irix lenses, this one is manual focus only, so you will have to be pretty precise with your focusing, especially at f/1.4. There is a focus lock feature to fix the focus at your chosen point, though – a feature we would like to see on a lot more lenses.

Irix 45mm f/1.4 Dragonfly specifications

Image size: FujiFilm GFX Sensor
Focal Length: 45mm
Max Aperture: F1.4
Field of view: 62.64°( diagonally)
Focusing: Manual
Focus Ring Throw: 140º
Minimal Focusing Distance: 0.4m
Aperture Range: f/1.4– F22
Aperture Control: By Aperture Ring
Number of diaphragm blades: 9 rounded blades
Lens construction: 11 elements arranged in 9 groups (1 ASP element)
Filter size: 77mm  
Mount: FujiFilm G       
Dimensions (width x length): 87 x 144mm
Weight: 1120 g
Weather-sealing: In 4 key areas    

Irix 45mm f/1.4 Dragonfly key features

Apart from its amazing f/1.4 maximum aperture, the Irix 45mm f/1.4 Dragonfly has a number of other interesting features.

It has its own smooth (declicked) aperture ring ideal for videography, internal focus so that the length of the lens doesn't change during focusing, weather seals and a round 9-bladed diaphragm for smooth bokeh.

The 'Dragonfly' name comes from combining Irix's previous two lens styles – its 'Firefly' design for lightness and 'Blackstone' for durability.

Fujifilm has done a good job of filling out its medium format GFX lens range, but although the Fujinon GF lenses are extremely good, they are also (mostly) extremely expensive, so the arrival of third party alternatives is sure to grab the attention of GFX fans.

The only other independent lens maker to produce lenses for the GFX mount is Venus Optics, with its rather remarkable Laowa 17mm f/4 GFX Zero-D lens.

Pre-order the IRIX 45mm f/1.4 Dragonfly at Adorama (US + global)

Read more:

• Fujifilm GF lens roadmap
• Best Fujifilm cameras
• Fujifilm GFX100 review
• Fujifilm GFX 50R review
• Best medium format cameras

UPDATE: Last week Irix announced that it was introducing its four cinema lenses in the Canon RF mount. Now it tells us that it has also decided to produce these specialist videomaking primes for the Nikon Z mirrorless mount – and for use on the L-mount used by full frame Panasonic, Leica and Sigma cameras. All the lenses are available to order immediately.

ORIGINAL STORY (30 September): Irix has announced that all four of its existing cinema lenses will be available in Canon RF fit. The new mount will be offered on its 11mm T4.3 Cine, 15mm T2.6 Cine, 45mm T1.5 Cine, and 150mm T3.0 Cine lenses; these primes are already available in Sony E, Canon EF, Arri PL, and MFT mounts.

The logical move means that this range of affordable cine lenses can be used with the new 8K Canon EOS R5 mirrorless camera, as well as with the newly-announced Canon EOS C70 cinema camera – which will become the first-ever cinema camera to use the RF mount. 

Venus Optics also announced that it would be producing three cine lenses for the RF mount earlier today.

Irix tells us that four lenses have a weight similar to the new EOS C70 camera, "guaranteeing a good balance of the entire set, which is extremely important when using stabilizing systems such as a gimbal or Steadycam. The use of the native RF mount ensures not only comfort but also work safety, guaranteeing tightness of the connection and rigidity of the entire set, which is a key feature when using automated follow-focus systems."

The four lenses are available for pre-order now, and will cost €1195 each (approx $1400 / £1100).

Read more

Best cine lenses in 2020
Best L-mount lenses for Panasonic, Leica and Sigma mirrorless cameras
Best cinema cameras
Best 4K camera for filmmaking 
Best on-camera monitors: external screens and video recorders for filmmakers

New lenses for SLRs rather than mirrorless cameras have been thin on the ground lately, especially in the manual-focus camp. Available in Canon EF, Nikon F and Pentax K mount options, the Irix 45mm f/1.4 Dragonfly is a full-frame compatible standard prime that gives an entirely natural perspective, with a viewing angle of 51.4 degrees. That’s a little less restrictive than the 47 degrees (or thereabouts) of a 50mm lens on a full-frame body. Naturally, the Irix has a narrower angle of view on an APS-C format camera due to the crop factor, with an ‘effective’ focal length of 67.5mm (72mm for Canon). It’s the latest in a line of Irix manual-focus photo lenses that include 11mm and 15mm wide-angle primes, and a 150mm macro lens.

Specifications

Mount: Canon EF, Nikon F, Pentax K
Autofocus: No
Image stabilization: No
Lens construction: 11 elements in 9 groups
Angle of view: 51.4 degrees
Diaphragm blades: 9
Minimum aperture: f/22
Minimum focusing distance: 0.4m
Filter size: 77mm
Dimensions: 87x105/103/104mm (C/N/P)
Weight: 925/905/910g (C/N/P)

Key features

Unlike some manual-focus lenses, the Irix has built-in electronics that enable communication with the host camera body. That’s a useful addition because the viewfinders of digital SLRs aren’t really geared up for precise manual focusing, but the electronics enable illumination of focus assist and confirmation lamps in the viewfinder. They also allow for the aperture to be set from the camera body, so you can shoot in the full range of PASM modes without any restrictions. Lens-related EXIF data can also be recorded with images.

Typical of manual-focus lenses, the focus ring has a relatively long rotational travel. Again, this is helpful for accurate focusing, especially considering the tight depth of field available with an f/1.4 lens. A focus distance scale is engraved in the focus ring, filled with UV-reactive paint to help it remain visible in very low lighting conditions. The scale is useful for setting the hyperfocal distance for any given aperture but there are no depth of field markings, which would have been useful for zone focusing. On the plus side, there’s a focus locking ring at the front of the lens, which you can engage at any focus distance. Focusing itself is fully internal, so the front element neither extends nor rotates.

Build and handling

It’s a heavyweight for a standard prime, at 925g, 905g or 910g for the Canon, Nikon and Pentax versions respectively, and build quality feels rock solid. The construction is based on a mix of magnesium alloy and high-quality composite parts, complete with extensive weather-seals.

Although the focus ring has a long rotational travel, it lacks the silky-smoothness of some manual-focus lenses. Even so, the mechanical friction is preferable to the minimal resistance that you often find with electronically coupled focus rings, usually featured in stepping motor-based autofocus lenses. The rubberised grip on the focus ring is particularly tactile, and features a raised ridge for added purchase.

The optical path includes some wide-diameter elements, typical of an f/1.4 lens. Premium glass includes one aspherical element, one ED (Extra-low Dispersion) element and four HR (High Refractive index) elements.

Performance

Levels of sharpness are pretty spectacular, right across the entire image frame and into the corners. Centre-sharpness only really drops off at the very widest aperture of f/1.4, although corner-sharpness remains very good even here. It’s not quite a zero-distortion lens but comes pretty close, with just a hint of barrel. Resistance to ghosting and flare is excellent, helped by the inclusion of Irix’s multi-layer ‘neutrino’ coating.

Lateral chromatic aberration is also very negligible, even in the extreme corners of the frame. Axial/longitudinal chromatic aberration is often more problematic for fast prime lenses, which shows up as ‘bokeh fringing’ around high-contrast edges in front of and behind the point of focus. Again, the Irix does well to minimise this aberration.

Bokeh is simply beautiful, with a buttery smoothness to defocused areas when shooting at f/1.4. The quality of bokeh remains very good when stopping down a little, thanks to the well-rounded nine-blade diaphragm. However, we did experience occasional exposure variations on a shot to shot basis, with lighter and darker results under the same lighting conditions and camera settings.

Lab data

We run a range of lab tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion and chromatic aberrations.

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the centre of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths. The tests also measure distortion and color fringing (chromatic aberration).

Sharpness

There’s a drop-off in the otherwise outstanding levels of centre-sharpness at f/1.4, although edge-sharpness remains very impressive even when shooting wide-open.

Fringing

Lateral chromatic aberration remains very minimal at all aperture settings, even at the extreme corners of the frame.

Distortion:  -0.63

There’s just a touch of barrel distortion but it’ll generally go unnoticed in real-world shooting.

Verdict

Manual-focus lenses certainly aren’t to everybody’s taste and the lack of an autofocus system certainly doesn’t make the Irix 45mm compact or lightweight. Compared with the autofocus Sigma 50mm f/1.4 DG HSM Art lens, which we rate very highly, the Irix is substantially less expensive in the USA, although there’s very little price difference in the UK. Either way, the Irix’s construction, handling and image quality are very good indeed, making it well work the money.

Read more: 

The best Canon lenses

The best Nikon lenses

The best Pentax lenses

How to master manual focus

Irix has revealed some more details of its next prime lens for photographers – a 45mm f/1.4 standard lens. It will be the stills equivalent of the Irix Cine 45mm T1.5, which was announced in October last year. 

The full-frame DSLR lens fits between the classic 35mm and 50mm focal lengths, offering a field of view of 50°, creating the unusual 45mm focal length.

The fast 45mm prime will join the 11mm f/4 Blackstone and 15mm f/2.4 super-wideangles and 150mm Firefly macro in the Irix stills lens range – and will be available in Canon EF, Nikon F and Pentax KA mounts.

The lens is weather-sealed, and has a nine-bladed aperture ring that promises smooth bokeh effects.

• Irix 45mm f/1.4 Dragonfly review

The lens is a manual focus only affair, with a focus ring that rotates through a full 140° to allow for critical alignment and for focus pull effects. A focus lock switch is also provided.

Constructed from metal, the 45mm f/1.4 will have Irix Dragonfly finish which offers • anti-scratch surface, with engraved marking with UV reactive paint, an anti-slip rubberized focusing ring. The lens has a 77mm front filter ring. 

The launch date and the pricing for the Irix 45mm f/1.4 are still be be announced. 

Read more:
The best 50mm lenses in 2020

Irix 15mm f/2.4 Firefly review

Irix 11mm f/4 Blackstone review

Designed in Switzerland and built in South Korea, the Irix 11mm f/4 Blackstone is available in three mount options to fit full-frame Canon, Nikon or Pentax DSLRs, enabling an expansive 126-degree field of view on the diagonal.

The Irix 11mm f/4 is available in two editions. The Blackstone tested here is the premium edition with a metal barrel, while the Firefly variant incorporates exactly the same optics in a plastic shell that’s nearly 100g lighter, and has a lighter price tag, too. The Blackstone edition also distinguishes itself from its cheaper Firefly sibling by sporting engraved fluorescent markings on the lens barrel.

Specs

Mount: Canon EF, Nikon F, Pentax K
Full frame: Yes
Lens construction: 16 elements in 10 groups
Angle of view: 126 degrees
Diaphragm blades: 9
Minimum aperture: f/22
Minimum focusing distance: 0.275m
Maximum magnification ratio: 1:13
Filter size: rear gelatin only
Dimensions: 118x103mm
Weight: 790g

Build and handling

As this is a manual focus-only lens, the focus ring has a usefully long-travel to help with precise focusing, plus there's a locking ring and fine-tuning calibration. Though autofocus isn’t available, there are still on-board electronics that drive AF confirmation lamps in the viewfinder, and there are focus distance, depth of field and hyperfocal scales printed on the barrel. Weather seals are fitted to the mount and barrel joints, but not around the front element. High-tech glass includes four high-refractive, two ED (Extra-low Dispersion) and three aspherical elements.

Performance

Centre-sharpness is excellent, and still good at the corners of the frame. Resistance to colour fringing, ghosting and flare is similarly impressive. Barrel distortion is remarkably low considering the angle of view.

We did however find the electronic diaphragm control of our Canon-fit test sample lens was prone to exposure inaccuracies, causing images to become progressively darker as we stopped down through the aperture range.

Lab tests

We run a range of lab tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion and chromatic aberrations.

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the centre of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths. The tests also measure distortion and color fringing (chromatic aberration).

Sharpness

Centre-frame sharpness is outstanding, especially wide open, which is no mean feat for any lens. Edge sharpness appears more mediocre, but ultrawide lenses usually struggle when shooting our flat lens testing charts at relatively close range.  Corner sharpness is more respectable when shooting real-world subjects at a more typical distance.

Fringing

Fringing is noticeable at the edges of frame, but we'd expect this for an ultrawide lens, and the amount of chromatic aberration is by no means distracting.

Distortion: -3.55

Barrel distortion is visible but is fairly well-controlled, given the ultra-wide viewing angle.

Verdict

If you're after a premium wide-angle lens for a full-frame Canon, Nikon, or Pentax DSLR, but don't fancy paying the premium price tags to get an own-brand lens, the Irix 11mm Blackstone is a sound buy (with the option of the even cheaper Irix 11mm f/4 Firefly if you need something even more affordable). 

Image quality, build and handling are excellent - the only drawback is you may need to be prepared to make some exposure corrections if the experience we had with our sample lens turns out not to be an isolated issue.

Read more

Best wide-angle lenses for Nikon cameras in 2020: for DSLRS and Nikon Z
Best wide-angle lenses for Canon in 2020: which one should you buy?
The best lenses for astrophotography

Irix has announced the third lens in its cine lens line up - the Irix Cine 45mm T1.5. The new manual-focus prime follows joins the Irix Cine 11mm T4.5 and Cine 150mm T3.0 Macro 1:1 lenses in the range. 

The lens breaks new ground for the company, as this lens is not an adaptation of  one of its existing stills camera lenses (unlike the 11mm and 150mm). The 45mm T1.5 offers a mid-range standard focal length which is said to have been designed with Ultra HD 8K shooting in mind - and therefore ready for the increase in video resolution we are going to see from cinema cameras in the next couple of years.

The Irix Cine 45mm T1.5 is designed to work with full-frame sensors and will be available in Canon EF, Sony E, Micro Four Thirds and Arri PL mounts.

There are 11 optical elements in nine group in this new design. The lens offers a maximum T number of T1.5 which can be reduced to T22, thanks to the rounded nine-bladed iris.  

The geared focusing ring rotates 180 degrees with a focus scale (with imperial or metric markings depending on the mount version, we believe); the lens is said to offer practically no focus breathing. 

Weighing 1.1kg (2.42lbs) the lens has a 86mm front filter ring - and a standard 95mm front diameter for use with cine accessories. It comes supplied with a detachable tripod foot.

Availability for the 45mm T1.5 lens have yet to be announced, but it is expected to retail for around $1,400 - which is much lower than similar cine lenses from other manufacturers.

Read more:
The best cinema cameras

The best 4K camera for filmmaking

Irix 15mm f/2.4 Firefly review

Hot on the heels of the Irix Cine 150mm T3.0 Macro 1:1 lens, Irix are now introducing its second cinema lens. The ultra-wide-angle Irix Cine 11mm T4.3 is designed to work with full-frame sensors and will be available in Canon EF, Sony E, Micro Four Thirds and Arri PL mounts.

The new manual focus lens is an adaptation of the 11mm f/4 Blackstone and 11mm f/4 Firefly that it already makes for Canon, Nikon and Pentax DSLRs - but uses 'a new optical formula, developed especially for cinematic purposes'.

There are 16 optical elements, of which four are made out of high refractive index (HR) glass, three others have aspherical surfaces and the last two are made with low-dispersion glass (ED). The lens offers a maximum T number of 4.3 which can be reduced to T22, thanks to the rounded iris blades. The The geared focusing ring rotates 180 degrees with a focus scale (with imperial or metric markings depending on the mount version).

• The best cine lenses

What is a cine lens?

There are a number of key differences between a standard photo lens, and a cine lens (which Irix spells out in this blog post). These differences include:

1) Geared teeth on the lens housing
These are designed to be used with a follow focus attachment, that allows the camera operator to pull focus whilst recording smoothly from one subject to another.

2) De-clicked, manual aperture control
Cine lenses offer stepless adjustment of the iris diaphragm - and you are not limited to half-stop or third-stop adjustments as offered by most DSLRs and mirrorless cameras. This is because with video, you do not have the degree of control over shutter speed that you do with stills photography.

3) T number
As you can see from the name, the Irix 11mm Cine has no f/stop rating in its name, but instead has a T or Transmission value... in this case T4.3. The T value is based on actual light transmission to the sensor, and is a more accurate way of setting exposure when shooting video.

4) Long throw manual focus ring
The manual focus ring on this lens moves through a full 180 degrees - to allow for very precise manual focusing.

Price and availability

Announced at IBC 2019 in Amsterdam, the pricing and availability of the Irix 11mm Cine lens have yet to be announced. 

Read more:
The best cinema cameras in 2019

The best 4K camera for filmmaking

Irix 15mm f/2.4 Firefly review

Two years ago we set a goal to create a new lens that would be a perfect tool for all macro photography aficionados out there. 

Irix would like to offer you a perfect 1:1 scale of reproduction, a unique and convenient 150 mm focal length and a fast aperture of f/2.8. Not only did we achieve our goal but we also realized how well it performs with the newest, high-resolution camera.

Scale of reproduction: 1:1
Focal length: 150mm
Aperture: f/2.8

How does 1:1 scale of reproduction work? Thanks to this scale, 1mm of a photographed object is properly formed on 1mm of a sensor. Beautiful and well-shaped water drops in photos look authentic. Tiny details look realistic. Looking at photos taken with the Irix 150mm we almost get the sense of feeling the textures of those objects. 

The f/2.8 lens allows photos to be taken even with difficult light conditions. What if there is not enough light? Don’t worry! 

A long focal length, which is a feature of the 150mm Irix lens, enables you to shoot at a greater distance from a photographed object and conveniently use external light sources, such as flash or LED lights.

Thanks to adding extra lighting to a photographed object, you can create greater contrast between an object and its background, intensifying the three-dimensional effect of a picture at the same time. 

Another advantage is the possibility to use a lower ISO sensitivity, which immediately increases your image quality (thanks to less noise, better dynamic range and shorter exposure time).

We also have to tell you about our highly precise aperture, which is composed of 11 rounded aperture blades. What do you gain from it? Soft, somehow pastel, cream-like blurry background (so-called "bokeh"). Such construction enables reduced diffraction, which means that photos remain sharp and contrasty, even if you use an exceptionally low aperture value.

The Irix 150mm lens offers you much better background separation and enables your creativity to flourish, making the lens suitable for universal use in product and portrait photography, as well as macro photography.

“Dragonfly” – agility, strength, endurance

The Irix 150mm f/2.8 1:1 Macro is the first Irix lens with the Dragonfly finish. We know that will appreciate this for its so-far unique sealing of the whole construction, its internal focusing system, excellent balance, the use of strengthened internal and external components, Focus Lock feature and a tripod collar with Arca Swiss standard base plate always included in the lens kit.

Remember that the outstanding sealing and internal focusing system are key in a macro lens, and not only because of tough weather conditions; even when taking photos at home, lenses are susceptible to sucking in dust, which may result in dark spots on our photos.

Focus Lock feature

Focus Lock enables you to lock the focusing ring at a desired position. It is a highly useful feature, especially when taking macro photos at 1:1. Simply set the focus ring to 1:1 ratio and then slide the Focus Lock ring to a “Lock” position. From now on, focusing will adjust in line with the up and down movements of the camera, and you will be sure that the scale of reproduction is properly set.

Tripod collar with Arca Swiss standard base plate

Do you use a tripod in your photography? Traditionally it is attached directly onto a camera, which has a negative impact on the balancing and stability of the whole set-up and often results in undesirable vibrations. 

The Irix 150mm f/2.8 1:1 Macro has a demountable tripod collar with Arca Swiss standard base plate, with which you can attach the lens to a tripod head without additional adapters. You will get better balance and stability of the whole set-up on a tripod (since the camera and lens are fitted close to the balance point).

Just create!

Each artist has their working tool: a painter has a brush, a sculptor has a chisel, and a photographer has the Irix 150mm f/2.8 1:1 Macro lens! Made by photographers in accordance with their knowhow, years of experience and inconceivable passion. Now it's your turn – release your creativity!

Get the Irix 150mm f/2.8 Macro 1:1 today: 

• For Nikon
• For Canon
• For Pentax

Make sure to pick up your favorite filter attachments: 

• Irix 150mm f/2.8 UV protector filter
• Irix 150mm f/2.8 circular polarizer filter

When you’re thinking about your next lens, the common ideas are standard focal lengths from 24mm to 85 mm. This type of standard lens is a safe pick, because the field of view is quite natural and comparable to what we see with our own eyes.

The Irix 11mm f/4

This ultra-wide angle of view opens up new possibilities for your creativity – and through the glass of this ultra-wide lens, you can see things that standard lenses can’t show.

Think out of the box. If your lens sees more, you have more ways to compose your images. Unleash your imagination and play with perspective, or just put the main subject of your image on the first or second plane and connect it to the background to tell the story. 

Another way to capture eye-catching images is by searching for leading lines – a technique that uses the environment to guide the viewer through the image.

Have you ever wondered how your lens can help you capture better images in a more pleasing way?

Designed by real photographers, the Irix 11mm f/4 is packed with unique and practical solutions like a fully weather-sealed body, hyperfocal scale, UV reactive paint markings, AE module, and a Focus Lock and Click at Infinity feature.

• Weather sealing in crucial places – Weather sealing protects the internal workings of the lens, so you don't need to worry about using it even in harsh environments and weather conditions.

• Focus Lock – Once you've set the focus point or hyperfocal distance, you can lock focus by rotating the Focus Lock ring. From now on, you can be sure that the focus will be set in the correct position until you unlock it.

• Click at Infinity – The Irix wide-angle lenses have a Click at Infinity feature that makes focusing at the infinity point incredibly easy; just turn the focusing ring until you feel a soft click. This feature is especially useful when you want to shoot in dim lighting conditions or at night.

• AE module – The lens fully communicates with the camera because of the electronic module (AE) which offers:
– Focus confirmation (the camera recognizes when you set the focus point)
– Aperture control straight from the camera
– Auto-exposure measurements with all cameras
– Operation of semi-automatic modes (PASM)
– All exposure parameters are saved in EXIF data

Do what other lenses can’t

Because of the extremely wide angle of view and the large front element of the Irix 11mm f/4 lens, there is no standard front filter thread. 

However, if you still want to use neutral density filters, there is a rear slot for the Irix Edge Gelatine Filter Set in a 29 x 29mm standard. The gel filter set includes neutral density filters ND4, ND8 and ND16.

Find out how the Irix 11mm f/4 lens can broaden the horizons of your photographic creativity: https://irixlens.com/lenses/11mm/

The Irix Edge brand already comprises a wide range of photographic filters consisting of gray, gradual and C-PL filters in different variations (screwed on, 100mm square and gel). 

But now the brand has extended its range with a new filter type: the Irix Edge Light Pollution.

Available in sizes 67mm, 72mm, 77mm, 82mm and 95mm, benefits of using the filter include more accurate colours, improved contrast, and improved overall sharpness and clarity.

Irix Edge Super Endurance (SE) series

The Irix Edge Light Pollution is the first filter of the Super Endurance (SE) series. The optical glass has been subjected to a special thermal treatment to increase durability.

In addition, both surfaces of the filter have been covered by coatings that further increase the overall strength of the entire filter surface.

Control the colors at night

The yellow dominant light that can be seen in the picture during the night is caused by the use of sodium lamps for urban street lighting. 

The Irix Edge Light Pollution filter removes the yellowish haze emitted by sodium lamps.

This type of filter can be successfully used in the city, in the urban landscape, or the photography of the night sky when you want to capture the stars, or the Milky Way, with natural colours. 

Nano coating

The Irix Edge Light Pollution filter has been developed based on the highest quality optical glass, which guarantees high light transmission.

Multilayer anti-reflective coatings have been applied on both surfaces of the filter to minimize the risk of unwanted reflections.

The filter also has a NANO coating with hydro- and oil-repellent characteristics, so that dirt doesn't adhere to its surface, maintaining the filter's purity.

Its frame is made of lightweight and durable aluminium. Its surface has been covered with a black coating with a special finish that minimizes the risk of flare, while being resistant to damage and scratches.

Each Irix Edge filter is sold in an aesthetic and functional case that provides protection both during storage and transportation.

The filters will be available soon through a wide network of worldwide distributors. Recommended retail prices are:

Irix Edge Light Pollution (SE) 67mm – €95
Irix Edge Light Pollution (SE) 72mm – €107
Irix Edge Light Pollution (SE) 77mm – €125
Irix Edge Light Pollution (SE) 82mm – €135
Irix Edge Light Pollution (SE) 95mm – €149

Read more

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Irix burst onto the lens market recently with 11mm and 15mm ultra-wide full-frame lenses, and both handled and performed very well in our testing. Having succeeded in the wide-angle sector, Irix is now closing in on the macro market, and its first attempt here is the 150mm f/2.8 Dragonfly.

As macro lenses go, 150mm is a relatively long focal length, but it's ideal if you want to shoot live subjects like bugs, or indeed, dragonflies. The lens's 1:1 magnification ratio means your subject is reproduced at the same size on the image sensor as it is in reality, meaning you can get a large, detailed image of a small insect yet be positioned well back from it, reducing the chances of you being rumbled, or simply casting an unwanted shadow with your camera.

With Canon and Nikon full-frame DSLR macro lenses generally topping out at 105mm (Nikon's ancient AF Micro-Nikkor 200mm f/4D being the exception), the Dragonfly's main competition is from Sigma's APO MACRO 150mm F2.8 EX DG OS HSM. Though with an RRP of €595, the Dragonfly is significantly cheaper.

Build & handling

The Dragonfly follows a similar design ethos to Irix's past lenses like the 15mm f/2.4 Blackstone. The body is magnesium alloy, with distinctive white printed lettering marking magnification factor, as well as focus distance in feet and metres.

The grippy, rubberised focus ring has a long 270-degrees of travel, which should theoretically make it easier to apply small focus tweaks, however we found it to be fairly twitchy when you need to make precise focus tweaks. Ahead of the focus ring is a focus locking ring which will locks the focus ring to stop it being accidentally nudged.

Unusually for a macro lens, the Dragonfly is fully weather sealed with 5 gaskets protecting ingress points along the lens barrel. It helps make the Dragonfly even more adept at outdoor insect photography.

Irix has gone all-out on optical quality, as the Dragonfly's optical path contains 12 elements arranged in 9 groups. Within these are 3 super-low dispersion ED glass elements and a further four higher refractive index (HR) elements. A rounded 11-blade aperture diaphragm promises smooth bokeh.

Despite the Dragonfly's fairly compact  87 x 135 mm dimensions and reasonable 840g weight, Irix also includes a tripod mounting collar. It's a useful addition as a well-balanced camera is crucial in achieving the best possible image sharpness. It also makes it very easy to switch between portrait and landscape orientation.

Though manual focus only, the Dragonfly still has all the necessary electrical contacts to communicate exposure, aperture and EXIF data with your camera.

Lab tests

Sharpness

Being a manual focus lens, it takes a keen eye and very steady hand to set the focus ring to the exact optimum focus point. But get it right and the Dragonfly produces good centre-frame sharpness, from wide open through to f/8. Even so, for a quality prime lens, we would usually expected peak sharpness to top 2000 line widths/picture height. Edge sharpness is a little less noteworthy, but it's still fairly respectable across the entire aperture range. 

Fringing

Chromatic aberrations are present at all aperture settings, but are minor enough not to be easily visible in real-world images. These figures are taken from the corners of frame where fringing is at its worst, yet the Dragonfly still performs well in this test.

Distortion

The Dragonfly produces ever so slight pincushion distortion, but it's low enough not to be visible in everyday shooting.

Specifications

Lens mounts: Canon EF, Nikon F, Pentax K
Focal length: 150mm
Maximum aperture: f/2.8
Minimum aperture: f/32
Field of view: 16⁰ (diagonal)
Minimum focus: 0.345 m
Focus ring rotation: 270 degrees
Magnification ratio: 1:1
Number of diaphragm blades: 11
Lens construction: 12 elements in 9 groups
Weather seals: yes
Lens hood: supplied
Tripod collar: supplied
Filter size: 77 mm
Weight: 840g
Dimensions: 87  x 135 mm (without tripod collar and lens hood) 

Verdict

We're fans of Irix's wide-angle lens offerings, and it's good to see Irix's distinctive styling and quality build carried over to the 150mm Dragonfly. Going without autofocus can seem daunting, but the careful, slow-paced world of macro photography really lends itself to manual focusing. If the Dragonfly's focus ring had slightly more rotational travel for easier focus tweaking, it'd be even more enjoyable to shoot with.

As with any manual focus lens, peak optical performance is very much user-dependent, but in the right hands the Dragonfly is capable of delivering superb image quality. Image sharpness is high, while fringing and distortion are in real terms almost non issues.

Factor the Dragonfly's significantly lower price, lower weight, and weather sealing compared to Sigma's rival 150mm APO Macro lens, and it's clear Irix has another winner here, providing you're good to go manual.

Features: 4/5
Build & handling: 4/5
Image quality: 4.5/5
Value: 4.5/5
Overall: 4.5/5

Read more
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Depending on your age, those adventures probably began with "film", which was either in the form of a compact camera or by taking a quick snapshot with a mobile phone. But these items were only tools that helped us to reflect the time and technology of the times in which we lived, enabling us to record the moment. 

The desire to capture and preserve the moment is often guided by the uncertainty of our memories or the need to share our emotions with others. Alternatively, we can go a step further and not only capture the moment, while expressing it in a form that seems the most attractive: going from the time documented to the situation to how we want to artistically express what we see.

The subject of expressing yourself with the aid of a camera is extremely interesting, because each of us has their own individual sense of aesthetics on the basis of which we try to find our own path in the world of photography. But before we can build up a style that will distinguish our work from other photographers, some considerable time will have to pass, along with the many places and people that we need to get to know.

It was probably the pioneer of street photography, Henri Cartier-Bresson, who most accurately summed it all up:

Of course, this is not synonymous with switching the camera into high speed mode in order to achieve those 10,000 photographs as quickly as possible. We have to remember that analogue photography reigned when Henri made his quote, so each photo had a meaning – and a real cost. We believe the above quotation should be there to encourage every individual to use their first 10,000 photos to learn all about photography; to discover the art from the inside out, and through which we can consciously choose our photographic specialism. 

What you, the beginner, can start with is landscape photography. Because of its nature, it allows slow work, with the user having to focus on every parameter of the photo: the sensitivity, aperture, focal length, and time.

To be able to enjoy the full dynamic range and low noise we should always have with us the true friend of each photographer: a tripod. It must be stable, durable and as light as possible; modern materials allow us to achieve such a compromise (carbon fibre such as the Genesis C3 Carbon, for example). Thanks to this we can ask for the lowest nominal ISO value (depending on the camera, this value will vary from 50 to 200).

The aperture parameter is also important, because it directly influences what is happening in the frame – it decides what remains sharp and what remains hidden in the beautiful bokeh. It is also worth checking where the "golden centre" of our lens is, that is, deciding and using which aperture values ​​will generate the sharpest picture within the frame (usually an aperture between f/5.6 and f/8.0, depending on the lens, although there are exceptions). However, the use of these aperture parameters limits our ability to modify this particular parameter and thus work at different times.

Now as regards the focal length, well, there are no unambiguous answers. In landscape photography, it has always been assumed we use extreme focal lengths in order to achieve photos with "this thing" – that is, the ultra-wide-angle or telephoto. The focal length (or rather the angle of view they generate) directly determines the perspective with which we will have to work: with wide-angle lenses, this will be stretched, and the object in the foreground will appear significantly larger and closer than on subsequent ideas. 

Telephoto lenses are characterized by their compression of the perspective in which the photo seems flatter (and there is nothing negative about this), and far-away objects seem to be closer. 

So there is no universal answer as to which is "better" – our choice determines our work and the effect we want to achieve.

But we do have one remaining parameter – time. 

For us as individuals, time is linear. It flows and we can do nothing about it. 

But time is subjective for the camera. We can shorten it by freezing the movement or stretching it, thus extending out the average progression of objects that are moving within the frame.

Now we inevitably come to the heart of the topic being discussed: the possibility of making creative use of grey filters in the landscape. 

Let's start with the grey filter itself. A good-quality grey filter is a plate of optical glass, and coated with a special coating, which is responsible for reducing the amount of light transmitted through its surface, while not affecting the colour of the photo in a noticeable way. 

These filters can then be divided into two main species: round and square. Round filters, as the name suggests, are round, and their assembly takes place by means of a threaded ring placed on their frame. The advantage of such a solution is intuitiveness, fast assembly and tightness. Square filters are square shaped filters (full grey) and rectangles (half filters); mounting on the lens is possible thanks to a dedicated holder.

There is one simple rule when it comes to half filters – they are irreplaceable in those situations where we want to overcome those vast differences in exposure of the frame – between the light and dark parts – so that the displayed histogram does not touch any of the edges (this will prevent underexposure or burning of the image). Whereas grey filters are full, they are supposed to create a characteristic effect – that is, they blur the motion by limiting the amount of light falling onto the camera sensor – although they can also be used in a portrait in those situations where we want to enjoy a wide-open aperture (for example, f/1.8) on a sunny day, and our camera doesn’t allow the faster shutter speed.

Below, we will try to familiarize ourselves with the characteristics of grey filters, specifying their type and application depending on the scene being photographed, and with the use of Irix Edge filters as an example.

Irix Edge 100x150mm Gradual Filters

In scenes where there is a clear difference between light and dark areas, we may have a problem with recording information simultaneously in the light or dark parts of the image, due to the technical limitations of the camera sensors (or photosensitive materials). 

Now professional full-frame digital cameras (35mm) allow you to record a scene within which there is a difference in light intensity in the order of 15 EV (for ISO 100), but even this is not enough sometimes. Therefore, we must find ways to register more information in light and shadow than those offered by the camera itself.

Those problems associated with recording a technically difficult scene may be particularly troublesome to those holders of older photographic equipment that do not have enough in the way of advanced sensors to meet such conditions. The use of square filters is a simple way to breathe a second life into old cameras (both digital and analogue); while they are a few years behind, they still enjoy a great reputation. Whether this is due to the nature of the service they provide, the colours generated by the camera, or it’s simply sentimentality for equipment that has been with us for some considerable time, we know and understand these pieces of kit perfectly and we don’t want to swap them for anything else. 

The Irix Edge Soft Gradient Filter is a filter in which the gradient is extended – there is a long transition between full transparency and maximum density (about a third of the filter height). Thanks to this feature, we can obtain a natural tonality of the image when shooting scenes with irregular horizons such as wooded areas and mountainous regions, as well as urban scenes. We should cover the area of the frame with the sky (naturally the brightest part of this) as this obscures the densest part of the filter, while the gradient covers the irregular horizon line.

The Irix Edge Hard Gradual Filter is a filter whose transition between full transparency and shaded area is narrow. This type of filter works well for scenes where the horizon is flat and regular, for example by the sea or across a flat plain. In this situation, the upper part of the image (the sky) is definitely brighter than the rest of the frame and this part should be covered with a filter.

The Irix Edge Reverse Gradual Filter is a relatively new type of filter that combines the features of both a hard and soft filter. It finds its application in the field of sunrise and sunset photography. All of us have at some point tried our best to capture a beautiful view of the sun emerging from the horizon, and then encountering one problem: either the frame was visible, the sun above the horizon has turned into a white spot, or we’ve managed to capture the sun with a beautiful façade of pastel colours in a background of black emptiness. This filter’s design allows us to eliminate this difficulty – it is half transparent, turning to full density (hard gradual), and then gradually reducing the density (soft gradual). Such a construction ensures that we are covering the narrow spectrum of the frame within the horizon line, thus giving the possibility of a correct exposure of the photograph.

The Irix Edge Full-ND 100x100 is a full grey filter – the entire surface is responsible for the reduction of light.

This filter is especially useful when we want to extend the exposure time and not by means of other exposure parameters that are available from the camera or, as previously mentioned, we want to use bright optics on a sunny day and our camera does not allow for a shorter exposure (a shorter shutter speed).

For example, we want to take a picture with a soft water image (motion blur), and we know our camera has the minimal native (non-programmatically) ISO 100, and the lens is the sharpest when setting the f/4.0-8.0 aperture. Optimal settings will include ISO 100, an aperture of f/8.0, and a time depending on insolation (the sun’s radiation) – during the day the shutter speed will usually be from 1/50 to 1/1000. It is definitely too short a time to blur any movement. Therefore, we can choose a filter suitable for our requirements (with the desired density).

Filter densities

These filters come in different densities, and are usually densities for gradient filters that range from ND4 (density 0.6/2EV) to ND32 (1.5/5EV). The situation is different for full ND filters: here, the density range of filters reaches the extreme values, from ND4 to ND1000 (density 3.0/10EV) and higher. As a result, each and every photographer is able to choose something for themselves, knowing their needs (and the limitations of their own equipment), as well as the circumstances in which they usually come to photograph.

The sheer amount of filters and their density may be of some embarrassment, but after a while we are able to sense which filters are the best options for our work. 

 Irix Edge Filters were used in compiling this article. 

Innovative lens manufacturer Irix is launching its third prime lens at Photokina 2018... and it is going to be the Irix 150mm f/2.8 Macro. 

Following its 11mm and 15mm super-wide lenses that this new optical company has released so far, Irix has been teasing about the announcement about Dragonfly over the last couple of days – but now the full details of the lens have now been finally revealed.

The lens uses three super-low dispersion glass (ED) elements, plus a further four high-refraction-index (HR) elements. Irix claims that this provides images with near-zero distortion (at a level of 0.1%, we are told).

Focus is manual only, but precise control is offered with a wide focusing ring that rotates through a full 270°. The lens is supplied with a detachable tripod ring for stable shooting from a support. A deep lens hood is also provided.

Irix 150mm f/2.8 Macro – full specs

Lens mounts: Canon EF, Nikon F, Pentax K
Focal length: 150mm
Maximum aperture: f/2.8
Minimum aperture: f/32
Field of view: 16⁰ (diagonal)
Minimum focus: 0.345 m
Focus ring rotation: 270 degrees
Magnification ratio: 1:1
Number of diaphragm blades: 11
Lens construction: 12 elements in 9 groups
Weather seals: yes
Lens hood: supplied
Tripod collar: supplied
Filter size: 77 mm
Weight: 840g
Dimensions: 87  x 135 mm (without tripod collar and lens hood)

The 150mm focal length is longer than usual for a macro lens, but perfect for photographing outdoor subjects such as dragonflies, butterflies and insects – as it allows to photograph them at up to 1:1 magnification from a distance that is less likely to scare off the subject, or cast a shadow over it. Sigma already a 150mm f/2.8 EX DG OS HSM Macro lens.

The lens is the first lens to come with what a new finish it has developed, that it has appropriately called Dragonfly. For this, the aluminium frame of the lens has been enclosed in an external structure made of aluminium-magnesium alloys and composite elements. This is said to combine the the features of the Firefly and Blackstone finishes offered on its previous two lenses.

Pricing and availability have yet to be announced.

Read more:
What new cameras are coming out in 2018? Rumors and predictions

The market in fixed-focal-length (prime) lenses is booming, especially for more specialised optics like ultra-wide-angle lenses.

And despite the high-tech thrills of autofocus, auto-exposure and auto everything else, there’s a growing number of lens manufacturers who seem intent on turning back the clock to the days before autofocus. Irix is a notable newcomer, blending Swiss design with Korean manufacture. 

Read more: The complete guide to Canon's lens terms

Although this Irix 15mm lens lacks autofocus, it has all the electronics to enable focus assist and confirmation lamps in the viewfinder, and for the aperture to be set from the camera body. It can therefore be used in Program, Aperture Priority and Shutter Priority exposure modes, as well as in metered Manual mode.  

The optical path includes two aspherical, two extra-low-dispersion and two high-refractive-index elements, along with neutrino standard/nano coatings.    

Bonus extras for focusing include a focus-lock ring and a fine-tuning mechanism to tailor the lens to specific camera bodies.    

Weather seals are fitted to the mounting plate, focusing ring and focus lock ring. The alternative Blackstone edition of the lens adds an extra seal at the front.

Build & handling

Available in Canon, Nikon and Pentax mounts, the lens is offered in two editions. The Firefly has a quality plastic casing, while the Blackstone features a magnesium alloy build and adds engraved, glow-in-the-dark markings. The Firefly and Blackstone 15mm lenses are optically identical. 

The smoothness and precision of manual focusing is impeccable, and the thumb-friendly ridge on the focus ring adds to the feel. Focusing aids include a click-step as you pass the infinity position and markings for both depth of field and hyperfocal distance at apertures of f/8, f/11 and f/16. 

You can fine-tune the calibration of the focus distance scale for individual camera bodies, adding precision to zone focusing. The lens is supplied with a petal-shaped hood, complete with a sliding flap for adjusting the rotation of 95mm filters. There’s also a slot in the rear of the lens for gelatin filters.  

Performance

Vignetting is quite severe at apertures wider than f/4 and we experienced a few exposure inaccuracies during our tests with the Nikon-fit lens. 

Even so, contrast and sharpness are excellent, colour fringing and distortion are superbly well-controlled, and resistance to ghosting and flare is very good. 

Lab tests

Sharpness

Sharpness is measured at the centre and edge of the frame and across the aperture range. The Irix is very good when you shoot with the lens wide open – and becomes superb between f/4 and f/16.

Colour fringing (nearer 0 is better)

• f/2.4 1.01
• f/5.6 0.76
• f/16 0.6

Colour fringing is measured at three aperture settings (below). It's almost completely absent in this lens, even towards the extreme frame corners.

Distortion 

Distortion is displayed on a scale of negative values (barrel distortion) through zero (zero distortion) and positive values (pincushion distortion). Here, it is less than when using the same focal length with most wide-angle zooms.

Verdict

The Irix 15mm f/2.4 combines impressive handling and build quality with superb image quality, at a bargain price. The only flaw in our review sample was the lack of exposure consistency. 

Specifications

Full-frame compatible: Yes
Mount options: Canon, Nikon, Pentax
Image stabiliser: No
Minimum focus distance: 0.28m
Field of view: 110 degrees (diagonal)
Focus type:  Manual only
Focus limit switch: No
Internal focus: Yes
Filter size: 95mm plus rear gelatin
Iris blades: 9 (rounded)
Weather seals: Yes
Supplied accessories: Caps, hood, pouch
Dimensions (dia x length): 114 x 100mm
Weight: 581g (Canon fit, 608g)

Read more: Digital Camera World Quiz: Lens techniques

We often associate macro photography with scenes from a meadow, insects or flowers. The spring and summer period is a time of very intensive activity because it’s the most fertile part of the year in this field.

Sometimes, however, there are those occasions where there is little or no opportunity to shoot in the field, with the weather’s indifference to our photographic desires often holding us back, especially over the winter, which generally offers very little assistance to macro photography.

There are those winter evenings that go on forever, and are generally grey and gloomy. But there’s nothing to worry about; you don’t have to put down your equipment for months on end or wait for the weather to improve. 

Here, I will try to show you that shooting at home can be not only pleasant, but also effective.

Setting up your macro shot at home

There are several benefits to shooting at home. We have full control over the entire exposition – both subject and camera – and the time and conditions to set everything up precisely. And there’s no wind! Everyone who’s attempted to take those outdoor shots knows that even the minimal amount of grass or flower movement results in a blurred photograph.

Now in home conditions, you’ve got better control over the light. You don’t have to worry about very harsh sunlight that can sometimes be a hindrance to your macro photography.

You can also use the fanciest and strangest gadgets available that support shooting, and no one will look at you strangely.

But what can you photograph?

Well, you can take lots of pictures, of course, but it all depends on what's playing in your soul.

These can be various items: textures, flowers collected from the pot or bought in a flower shop, water drops, ice cubes, fruit, various delicacies, the list is endless. All you need to do is just look around the house a little; you’ll certainly find many interesting subjects there!

But here we’re going to learn how to photograph flowers at home. Whether it’s day or night, you’ll be able to achieve a very similar effect to a natural soft morning light.

Equipment

The equipment that I used to take all the photographs is a Pentax K3, plus an Irix 150mm f/2.8 lens. A tripod is also absolutely essential in home conditions, and it’s important that it is solid and stable.

Lighting

If you have a macro lamp then that’s a great thing; but if not, it’s not a significant problem as it's enough to use two or three desk lamps, preferably with a power switch.

Diffusion material

You’ll need this for the lamps to diffuse the light. The light emitted from lamps is often too harsh; ugly reflections and unsightly hard shadows are created, and too much contrast causes the photograph to lose its detail. 

Diffusers can be made at very little cost; they can be sheets of white paper, cups of large yoghurt, polypropylene material such as an apron, or polypropylene films that add interesting colour effects to the background in addition to softening the light. I used foam that I put Nashi pears in from my local supermarket. 

I know from my own experience and that of many other photographers that my own home-made diffusers work best, and many additional materials literally cost pennies. But some of these materials can easily melt, so remember to fix them at a safe distance from the light bulb.

Diaphragm

This only needs to be something small – which you can also put together yourself by sticking a slightly creased piece of aluminium foil onto a piece of paper, for example. A white sheet of paper or a mirror works well.

Background

This can be a wall or any other handmade background, such as something that suggests gradient, glitter paper, coloured papers, shiny decorations, and so on – there are loads of things that can be placed into the background for a nice colourful bokeh effect.

Floristic sponge

This is also known as an Oasis, and is available at florists or garden stores. This is a very useful block of light porous material in which you put flowers, and you can create compositions at your discretion. The hard sponge should be soaked with water so that fresh flowers can last longer.

Flowers. In winter, fresh flowers can pretty much only be purchased at the florists, with larger outlets often having quite a wide choice. Dry flowers are best in autumn; maybe the house will also have some dried flower arrangements.

You’ll also need a flower washer to create a dew effect.

A place to shoot

You'll get great results during the morning, shooting the window glass when the light is still soft and delicate. During the day there can a lot of light around the home and you can easily afford to take pictures. 

The exact place doesn’t matter, as long as the light in your chosen location isn’t too harsh. In the evening you can choose any corner for the photo – the only thing you need to consider is access to a plug socket for connecting the lamps!

You can find more information about the Irix 150mm macro lens on the Irix website.

This article was prepared by Irix brand photographer Iwona Sikorska.