This is where my relationship with Lensbaby gets a little rocky. If the Composer Pro came bundled with the Sweet 35, I might have bought it on the spot. But, instead it comes bundled with the Edge 50. A nice optic, especially since its flat field optic more accurately simulates the “tilt-shift” effect. And, I was looking for something a little wider. Lensbaby can’t tell me if or when the Composer Pro II will be bundled with the Sweet 35, and I’m not prepared to pay $424.95 for it when it has less tilt range than the standard Composer Pro (or my original Composer for that matter.)
Now, I’m also thinkin’ about two other Lensbaby products. Liking the Velvet 56 for sure. But $499.95? (And then there’s the special edition in silver with copper accents for $100.00 more.) For $469.95 I could get the venerable NIKKOR 50mm f/1.4. But instead, I get a lens with one of the worst wide-open performances ever made. Not that I’m opposed to the aesthetic. But more on that later.
The other is the Circular Fisheye, and at $299.00 (right now available for $249.95) it’s both accessible and fun. So, no complaints here.
So while these two hold appeal for me, the Velvet 56 just doesn’t resonate, even though its aesthetic does. And this gets me thinking. When was the last time I encountered such significant coma that it created an ethereal, soft-focus effect? The last time I shot with a Minolta MD lens wide open…on my Nikon that is!
Yep, you read right; below f/4, those inexpensive optical lens adapters turn a normal lens into a soft-focus portrait lens.
The extra length increases the effective focal length, and the optics create coma that imparts a soft glow while letting sharp detail show through.
So, if you love Lensbaby like I do, but you’re on a budget, choose wisely, and remember there are other options.
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