A Lensbaby lens is a dream come true for artistic, creative, and ground-breaking photographers. A company made famous by their innovative effect lenses and optics, Lensbaby has captivated the industry for nearly 14 years. This company’s newest pride and joy is the Lensbaby Burnside 35, an f/2.8 lens that is unlike any other in their arsenal.
The Burnside 35 features the iconic “swirly bokeh” that Lensbaby is famous for. This effect is seemingly influenced by the Petzval objective which causes a swirly bokeh and vignette, and it is created by pairing two doublet lenses with an aperture stop in between.
The first lens corrects spherical aberrations and the second lens corrects for astigmatism. However, the pairing creates the swirly distortion that we all love.
You can adjust the intensity of the swirly bokeh by changing the aperture: f/2.8 will be most intense, while something like an f/16 won’t have any swirl at all. The thing that I find most compelling about Lensbaby is the fact that all of the effects are in-camera/in-lens, hence saving you a lot of time on the editing front.
I was very intrigued to stumble upon this lens, as it has a feature I have never before seen in any other – a built-in vignette slider. Instead of needing to darken the edges of your photograph in post-processing, you can do an in-camera effect and save yourself the editing trouble.
It’s a manual lens
That being said, much like other lenses in the Lensbaby collection, this one is fully manual. The aperture is adjusted by rotating the aperture cuff at the very back of the lens rather than in the camera as is common for other lenses. The vignette slider is located near the cuff on the opposite side of the lens.
When rotating either the vignette slider or the aperture ring, you can feel each stop as there feels to be a minor indent that pops into place – a welcome feeling when wanting to make quick adjustments without looking up from the lens.
The focus is also manual, which may cause a bit of a learning curve for photographers that rely heavily on autofocus. However, I found that it was rather easy to see when the focus was captured or not and I was able to become proficient in a matter of a half hour.
Keeping the fully manual aspect of the lens in mind, this may not be the right piece of equipment for fast-paced action shooting. That being said, the artistic look of Lensbaby Burnside 35 can even make out of focus images look intentionally fuzzy (although any stylistic choice should look intentional, not as a mistake).
The lens’s build feels incredibly sturdy (it’s made of metal) and it is visually striking. Though I’d consider the lens fairly light in comparison to other 35mm lenses, it is still a significant weight that adds to the impression of a very sturdy build.
The lens does not come with a case, and I’d highly recommend one. Despite a sturdy build, a good bump could crack something, and that’s not a risk worth taking.
The metal front lens cap is easy to slide on and off but holds very tight when it’s on; exactly how you’d want it to be. The rear mounting cap is equivalent to all the ones I’ve seen from other lenses. The box comes with a user guide with tips and tricks on how to get the most out of your lens, a welcome addition to any lens purchase.
The vignette slider in action
The vignette slider makes a significant, visual difference in the image. It’s great to be able to see right-off-the-bat how the image will look at the various vignette stops. As well, from a purely aesthetic perspective, it can be rather fun to watch the vignette open and close on the glass itself – it’s a bit like a reptilian creature blinking.
Do keep in mind that the frame will darken significantly when the vignette slider is set at its most closed point. As such, I actually found myself using the vignette slider almost like a neutral density filter to bring out the colors of a very bright sky.
The versatility of this lens is also notable enough to bring up. You are certainly not obligated to photograph at a low aperture number and a shallow depth of field, when bumping the aperture up to f/16, architectural photographs are exceptional at the 35mm focal length. Add the vignette slider and you have a dramatic image worthy of any gallery.
This 35mm lens is nice and wide and can focus up to 6 inches away from the glass itself, excellent for macro photography. There isn’t much distortion on the subject that is in focus in the center, which is much appreciated.
Compatible with both full-frame cameras and crop sensors, I tested the Burnside 35 on my Canon 5D Mark IV (full-frame) and Canon 7D Mark II (crop sensor) to see how well it performed. I was brilliantly satisfied with its abilities for both, though it was clear to see that the full-frame yielded even more fantastic results than the crop sensor.
It’s worth mentioning that I was exceptionally pleased with how fluid the manual focus was as well as the vignette slider, both moved with ease and can be adjusted with just one or two fingers! This lens is exceptionally sharp when the focus is right, making sure that whatever you want to be the subject is very clear.
The equipment is small and easy to carry, another welcome sight in lenses.
At a retail price of $499.99 (available now), the Lensbaby Burnside 35 is worth every penny if I do say so myself. The Burnside 35 is available in the following mounts: Canon EF, Nikon F, Sony E, Sony Alpha A, Fuji X, Micro 4/3, Pentax K, and Samsung NX.
The post Review of the Lensbaby Burnside 35 Special Effects Lens appeared first on Digital Photography School.
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