Most of Lomography's art lenses have been a hit, but in the case of the Lomography 32mm f2. 8 Minitar, I'm not totally sure I know what the think. There's a fair amount going for it in terms of it being super small and easily mountable to a Leica M camera body, but then there's a lot of weirdness with the image quality.
The Canon 28mm f3.5 IS STM has got a few great features to it that make it very useful in various situations. Besides its compact size, it also has a cool macro light built into it. The light can be controlled using a button on the lens and can be very useful in many situations.
You really have to give it to Olympus: even when you're not working with their highest end glass, the image quality is still super stellar--and that's the case with the new Olympus 30mm f3. 5 Macro lens.
Lots of photographers that are invest into the Fujifilm camera system have been wondering whether they should go for the new 23mm f2 R WR lens or the 23mm f1. 4 R lens. Indeed, it can be confusing.
The Fujifilm 23mm f2 R WR is a lens that's designed to go along with the company's weather sealed bodies. It lives alongside the 23mm f1. 4 R and works in conjunction with the 35mm f2 R WR. It's also at a shockingly lower price point than its larger aperture cousin despite having the ability to survive a rainstorm with ease.
The Micro Four Thirds camera world has often been a major battle ground more than a collaboration: and that's very evident with the release of the new Panasonic 12mm f1. 4. For many years, Olympus has had the 12mm f2--a stellar lens in many ways that still remains so today.