Above: to illustrate that, I’ve superimposed a red frame where the outer edge represents the coverage from the 16mm. Here’s the three stabilised clips side-by-side with IBIS alone on the left, IBIS with digital stabilisation in the middle, and IBIS with enhanced digital stabilisation on the right. Silent operation combined with these stealthy looks makes the combination popular with street photographers and documentary wedding photographers who wish to remain unnoticed to capture moments candidly. Say you’re traveling and wander into a little market or small shop and find it interesting. So you decide to take out the wide angle and get the entire shop into one shot.

As you’d expect at the price, the lens has no ‘professional’ aspirations and is aimed predominantly at the beginner/mid-range photography sectors. As such, there are no weather-seals but the standard of construction nevertheless feels solid and robust. So your nose gets elongated, your jaw looks like it’s protruding, and your head looks ginormous! Sound familiar? 17mm lens – not so flattering for the model in this image. Notice how each mistake flows into the next? They are all mostly related. So if you can solve one issue you’re well on your way to taking better wide angle images. In the example to the right, note how the person's head has become abnormally large relative to their body. This can be a useful tool for adding drama or extra character to a candid shot, but certainly isn't how most people would want to be depicted in a standard portrait.

Often times in photography, less is more. Say more with less stuff in your images. See how simple, yet graphic, the images below are? Focus is silent and fast, perfectly complementing Fujifilm X mount mirrorless cameras for discreet shooting. The expert photographers have been recognised for their contribution to a wide range of photographic genres from the high-speed world of Motorsport to Landscapes and Specialist portraiture. In my opinion, the 16mm f/1.4 is quite simply the best wide angle lens available for Fuji x series cameras today, thanks to its image quality, build and versatility. The distortion correction profile used here seems to be mismatched to the lens - images are under-corrected towards the centre and over-corrected towards the edge eg. #9. The Adobe profile does a much better job. In terms of CA, the lens has a ton of it, which gets enlarged when correcting for distortion. It looks like no CA correction was applied here, or it was ineffective. Turning this on in ACR reduces it a lot (but there's still quite a bit left).

You’ll have a hard time deciding between this f/2 Fuji lens and the f/1.4 variant in fact since the f/2 offers very similar image quality at almost half the price (and weight!) of the f/1.4 lens. Above: Close them both to f4 and there’s minor improvements to contrast and sharpness, but again the 15-35 stays slightly ahead…Next here’s the EOS R with digital movie stabilisation alone. Remember the camera doesn’t have IBIS and the lenbs doesn’t have optical IS, so this is basic digital compensation alone and I’d say it looks pretty good. All Ben’s clips are filmed at f2.8 and 1/50. The f/2 is lighter and weather-resistant (see the amazing video later on in this review), whilst the f/1.4 is obviously slightly better in low light. The 16mm F1.4 lens gives you an equivalent of 24mm with a DX camera, such as the Nikon Z30, Nikon Z50 or Nikon Zfc. This is a good “standard” walkaround length for typical subjects such as landscape and even street photography work. It’s significantly wider than the closest Nikon DX lens prime lens, which is the Nikkor Z DX 24mm f/1.7 lens, which gives an equivalent focal length of 36mm.