Latest sample galleries
Latest in-depth reviews
The Everyday Sling might just be the perfect pack for not carrying too much gear, combining comfort with Peak Design's signature modern style.
I've been curious about Handevision's small range of Iberit primes since Dan and I saw them in person at last year's CP+ show in Yokohama. Street prices for the lenses range between $640-800 for 24mm, 35mm, 75mm, and 90mm primes in Leica M-mount, and a little less for Fujifilm X and Sony E-mount versions, making them relatively affordable by the standards of all three systems.
Designed in Germany and made in China ('Handevision' is a portmanteau term - ‘Han’ signifies 'China' in Mandarin, while the following two letters ‘De’ represent the first two letters of 'Deutschland') the Iberit line is intended to be a low-cost alternative to 'own-brand' lenses and established third-party primes, for photographers dipping their toes into manual focus photography.
Since I tend to shoot mostly at 35mm, I was most interested in the Iberit 35mm F2.4. So when I found a used copy in Leica M mount in my local camera store recently I decided to take a chance and buy it, mostly out of curiosity. If it turned out to be really good, maybe it would find a place in my permanent camera kit. If it ended up being a dud, I had 30 days to return it for a refund.
Of course, when it comes to lenses, things aren't that simple. Most lenses shine in some situations and fail in others. Few are stunning at every aperture at every focal distance, and even fewer can shine in every environment in which they could possibly be used – lens design, after all, is an exercise in compromise. And while I was very curious about the Iberit 35mm F2.4 after handling the roughly-machined prototypes at CP+ last year, I will admit that my expectations were modest.
|The Iberit 35mm F2.4 can be 6-bit coded to be read as whatever lens you like, with the addition of some dabs of black and white paint into the pre-engraved spaces on the lens mount.|
It's up to you how (or if) you choose to code the Iberit but the profile for the last-generation Leica Summarit 35mm F2.5 offers effective distortion correction. The 6-bit code is 101011 (1 = black, 0 = white)..
Here I've filled in the black spots with craft paint, as an example. The chrome of the lens mount stands in for white because I'm lazy.
Cosmetically, the Iberit 35mm F2.4 (or my copy, at least) is a lot better than those early prototypes. The focus helicoid operates with an impressive smoothness – not quite up there with a new Leica or Zeiss prime but nicely-damped and with no wobble. An integrated focus tab is a welcome addition to the M-mount version of the lens.
The Iberit's aperture dial is a little dry and could use stiffer detents at its 1/2 stop settings, but it moves between apertures positively enough that I can tell what I'm doing when operating it with my eye to the viewfinder. The lens coatings are bright and even, and nothing rattles when the lens is shaken.
This image shows the view through the Leica M10's finder with the Iberit at its close focus position. As you can see, it intrudes considerably on the lower-right of the scene, even without a hood.
As you can also see, Carey is a man who enjoys his lunch.
Considering its relatively modest maximum aperture this is a big lens though, (especially by the standards of M-mount primes) and while nicely balanced on an M10, it does block a portion of the camera's viewfinder – even without the hood attached. Obviously this won't be a problem with the mirrorless versions.
Despite its low cost and fairly light (220g) weight, there is some brass inside the 35mm. This is most visually obvious in the focusing cam, which communicates focus distance mechanically to the camera's rangefinder. My sample of the Iberit is perfectly calibrated on our M10 (ie., the camera's rangefinder and lens's markings agree at infinity). Throughout my shooting with this lens, I didn't experience any problems with focus accuracy or focus shift – at least none that I can blame on the lens.
The mirrorless versions doesn't need the complicated and precisely-calibrated mechanical focus cam mechanism, which probably explains their slightly lower cost.
Optically, the Iberit 35mm F2.4 pleasantly surprised me. At F5.6 and F8, this lens is at least as sharp as anything else I regularly shoot with on the M10. There is some very modest vignetting at F2.4-2.8 but it's barely noticeable in normal photography, even with no lens profile assigned. Barrel distortion can be found if you go looking for it, but it's unlikely to trouble you except in close-up images of flat planes (i.e., test charts).
|The M10's built-in 35mm F2 (pre-ASPH) profile applies little or no noticeable distortion correction, so this image (shot at F4) is essentially 'uncorrected'. As you can see, with a medium-distance subject, there's virtually no distortion to correct.|
For the sake of convenience, I manually assigned a 35mm F2 pre-aspherical profile in-camera (the v4 'bokeh king' to be specific), so I could organize my files more easily in Lightroom, but if you want to, you can paint in whatever 6-bit code you like (see the table above for how to do that).
The closest lens to the Iberit's specification in Leica's current lineup is the Summarit 35mm F2.4. I opted to paint in the 6-bit code for the older F2.5 version (which is also recommended for the Voigtländer 35mm F2.5) and this results in effective correction of the Iberit's close-range barrel distortion when the M10's lens profiling setting is left on 'Auto'.
If you decide not to go that route (and I would probably recommend you don't, given the lack of distortion at normal subject distances), the barreling is trivial to correct manually in Photoshop or Lightroom. Assuming you don't use industrial paint, it's easy enough to pick off one 6-bit code and replace it with another if you want to experiment.
Central sharpness at infinity is decent at F2.4, and good by F2.8, becoming more even at F4, before reaching its full potential at F5.6, with good consistency across the frame and more than enough resolving power to create moiré in fine textures. Wide open though, there's a significant dip in sharpness about two-thirds of the way across the frame, which suggests either complex field curvature or significant astigmatism in that region.
At close focusing distances of less than ~1m the Iberit is still capable of resolving plenty of detail wide open, but contrast drops. If you've ever shot arm's length portraits on a Fujifilm X100-series camera you'll be familiar with the effect.
|Shot almost straight into the sun without a hood at F5.6, this image demonstrates the Iberit's impressive resistance to flare. The lens's simple 6-bladed aperture creates pretty boring specular highlights (take a look at the sunlight sparkling on the water in the foreground) but CA and fringing are practically non-existent.|
Flare is well-controlled, and bokeh wide open is reasonably smooth in the center, although things can get pretty busy and distracting depending on what's in the background, especially towards the edges of the frame. The Iberit's simple 6-bladed aperture is more or less circular until around F3.5 before becoming more angular when stopped down. Sunstars are (unsurprisingly given there are only six aperture blades) not among the lens' strengths.
In summary, the Handevision Iberit 35mm F2.4 is a good lens, which offers solid performance on the Leica M10. It's relatively sharp in the middle and at the edges of the frame wide open, but not competitive with modern ILC lenses with even faster apertures like the Nikon full-frame 35mm F1.8G. Modern lens design has moved optics forward, naturally, but the Iberit is still a pleasant surprise for non bokeh-fanatics.
It's very sharp across the frame by F5.6. Vignetting is negligible, distortion is simple and easy to deal with, and I can't see lateral CA anywhere in my test shots, even with all profiling turned off. There's a tiny bit of longitudinal CA that shows up as green and purple fringing wide open, but it's never distracting. Flare was a non-issue in my shooting, which makes me happy, because I don't much like the Iberit's bulky bayonet-mount hood.
In terms of performance, by the standards of lenses made natively for the Leica M mount, the Iberit is something of a bargain, provided you can live with its size. This is my only serious complaint. For a rangefinder lens, the Iberit is big, with a large 49mm threaded filter ring. In fact while markedly lighter, it's not that much smaller than Leica's 35mm F1.4 Summilux ASPH FLE and only about a filter's height shorter than the 28mm F2 ASPH. Considering it can be picked up new for a fraction of those lens' MSRP though, I can live with it.
|Shot from about 1m away, wide-open, this image demonstrates the Iberit's rather busy bokeh. Specular highlights get progressively less circular, further away from the center of the image.|
The value proposition on mirrorless is rather different. $600 is a lot to pay for a manual focus lens from a fairly obscure third-party manufacturer, when so many other options for X-mount and E-mount exist. Canon's 35mm F2 IS, for example, is easily adaptable to Sony E-mount without significant penalty, and actually costs a little less than the Iberit (not including the cost of a smart adapter, of course...). Sony also makes an FE 35mm F2.8 that will set you back $599 and an E 35mm F1.8 OSS for $450, while Fujifilm's 35mm F2 is available for under $400. Alternatives from more established M-mount manufacturers like Voigtländer-Cosina and Zeiss can be found for comparable prices new, but often their optical designs are older, and their values higher on the used market.
Ultimately, for photographers putting together an M-mount lens collection on a film or digital rangefinder body, the Iberit 35mm F2.4 is worth a serious look. I found mine used and in good condition for less than $300. It's hard to find any (functional) M-mount glass for that price, even second-hand. For mirrorless ILC photographers though, better value options exist.
Sep 25, 2018
Sep 24, 2018
Sep 21, 2018
Sep 20, 2018
The Everyday Sling might just be the perfect pack for not carrying too much gear, combining comfort with Peak Design's signature modern style.
When the Fujifilm X-T2 arrived, it was more than just a modest upgrade to the already impressive X-T1. While the new X-T3 hasn't changed the overall design of the camera, this model is way more than an upgrade; rather, it's a quantum leap.
The Movie Maker is a compact, motorized slider designed for phones, action cams and small mirrorless cameras. We think it's a fun little kit and a good value proposition for the cost, provided you can work around a few of its weak points.
Nikon's Z7 is the first camera to use the all-new Z-mount, the company's first new full-frame mount since 1959. We've put together our first impressions based on quality shooting time with a pre-production camera - check out what we've found.
What's the best camera for a parent? The best cameras for shooting kids and family must have fast autofocus, good low-light image quality and great video. In this buying guide we've rounded-up several great cameras for parents, and recommended the best.
What's the best camera for shooting landscapes? High resolution, weather-sealed bodies and wide dynamic range are all important. In this buying guide we've rounded-up several great cameras for shooting landscapes, and recommended the best.
What’s the best camera costing over $2000? The best high-end camera costing more than $2000 should have plenty of resolution, exceptional build quality, good 4K video capture and top-notch autofocus for advanced and professional users. In this buying guide we’ve rounded up all the current interchangeable lens cameras costing over $2000 and recommended the best.
|My Garden by Mitchmeister|
from The Secret Garden
|Crowded Skies by Rushlin|
from Seven types of aircraft - lighter than air
Hasselblad is expanding their X System with their announcement of three new lenses: the XCD 80mm F1.9, XCD 65mm F2.8 and XCD 135mm F2.8, along with a teleconverter. The 80mm F1.9 is the fastest in the system. Get all the details and check out Hasselblad's official sample images here.
Sigma has announced the 56mm F1.4 DC DN lens for Micro Four Thirds and Sony E mounts. The compact 56mm lens becomes the sixth DN lens for mirrorless cameras and will make a handy portrait lens on both systems.
Sigma has announced the 28mm F1.4 Art, 40mm F1.4 Art, 70-200mm F2.8 Sport and 60-600mm F4.5-6.3 Sport lenses for several full frame lens mounts, including Canon, Nikon and, in the first two instances, Sony E.
ON1 has announced the impending launch of ON1 Photo RAW 2019. The new version, due out in November, brings a handful of new tools and features in a revamped interface.
Fujifilm has said it is developing a 100MP GFX medium format camera that will include both phase detection autofocus and in-body image stabilization. The 4K-capable camera will sell for around $10,000.
Leica has announced the S3 medium-format camera – an S2 successor with a 64MP sensor capable of 4K video.
The GFX 50R is a 50MP rangefinder-style mirrorless camera. It borrows heavily from the existing 50S model but in a smaller body and at a lower price. How does it differ?
Fujifilm has announced its GFX 50R, a rangefinder-styled version of the company's GFX 50S medium-format camera. The 'guts' of the two cameras are the same, with the difference being the design, weight and Bluetooth, all at a considerably lower price.
In this episode of DPReview TV, we get our hands on Fujifilm's GFX 50R which hides a medium-format sensor in a new, more compact body. Watch to get Chris and Jordan's first impressions on image quality, video and more.
Fujifilm is adding a trio of new medium-format lenses to its G-mount roadmap. GFX owners will soon be able to get their hands on 100-200mm F5.6, 45-100mm F4 and compact 50mm F3.5 lenses. Pricing and availability have not been announced.
Micro Four Thirds users will soon get a super fast, constant aperture wide angle zoom.
Panasonic has announced it is developing two full frame mirrorless cameras: the 47MP S1R and the 24MP S1. We've been shown fairly advanced-looking but non-functional prototype cameras, and have been able to squeeze a few details from Panasonic.
Panasonic is developing a pair of full-frame mirrorless cameras that use Leica's L-mount. The S1R will feature a 47MP sensor, while the S1 will be 24MP. Both cameras will support Dual IS shake reduction 4K/60p video capture and will have XQD and SD card slots.
Leica, Panasonic and Sigma are teaming up. Expect L-mount cameras from Panasonic as well as L-mount glass from Sigma.
Ricoh has announced the development of the GR III enthusiast compact, due to ship in early 2019. The camera gains sensor-shift image stabilization and an updated 24MP sensor with phase-detection. The 28mm equivalent F2.8 lens has also been redesigned and a touchscreen added.
The 'I'm Back' is now available for a range of old film-SLRs, such as Nikon's F-Series, the Olympus OM10 or the Canon AE-1.
IRIX has announced its latest lens, the 150mm F2.8 Macro 1:1. IRIX claims the lens features 'close to zero' distortion and stands out with its 150mm telephoto focal length.
The RF 24-105mm F4L IS USM is one of four lenses to launch with Canon's new full-frame mirrorless system, and it boasts the longest reach of the range. Take a look at some of the samples we've gathered thus far as our EOS R testing continues.
Nikon's Sendai factory in the Tōhoku region North of Japan has been churning out cameras and lenses since 1971. We had the opportunity recently to visit Sendai during events to mark the launch of Nikon's new Z mount.
There's no mistaking the Nikon Coolpix P1000 – with a 24-3000mm equivalent zoom, it really is in a class of its own. It's a conspicuous-looking superzoom with one main job: getting you really close to far away subjects. We've put together a gallery showing the kind of results you can expect from it.
A new report from The Verge claims Instagram is currently testing a feature that allows users to re-share posts to their own account feeds.
GoPro has announced its HERO7 camera lineup. The updated action cameras feature new HyperSmooth and TimeWarp modes, as well as improved video and photo specs.
The latest Samsung midrange smartphone offers a super-wide-angle lens in its triple-camera setup.
The Sony 24mm F1.4 is the latest lens to join the company's premium G Master lineup. We've been shooting with one for a couple of days - here's what you need to know.
Apple released iOS 12 a few days ago and some iPhone X users are less than happy with how the new operating system has made their phones look.
Camera bag manufacturer Lowepro has introduced mark II backpacks for its ProTactic AW range with models that are said to feature an improved handling experience as well as a collection of accessories that can be attached to the outside.
Canon has announced its latest superzoom camera, the PowerShot SX70 HS. Compared to the SX60 that came before it, the SX70 has the same lens but offers a higher resolution EVF, 4K video capture and support for Canon's new CR3 Raw format.
Cosina has announced its eighth lens designed specifically for Sony's E-mount system. The Voigtlander 21mm F3.5 lens is due out October 2018.
Sony has taken the wraps off of its new 24mm F1.4 GM full-frame lens, which the company claims is the lightest in its class. Despite its fast aperture, the 24mm F1.4 is remarkably light, weighing just 445 grams (15.7 ounces). The lens will set you back $1400 when it ships next month.
In this episode of DPReview TV we take a look at Sony's brand new 24mm F1.4 GM lens, a desirable focal length for many photographers. How does it perform? Chris and Jordan give us their first impressions.