[Sony E] Very sharp lens. My first prime for landscape. I just noticed that It’s a struggle to unmount it in my camera, that I need to turn it along with the dials all the way. But, nevertheless, this is worth buying.

[T2.9] I really like this lens. My photography is better with this lens because it makes me pick exactly what I want in focus. No more handing over the focus point to autofocus. It works well on both my A7R2 and my 6300. You also get the EXIF data from this lens. I do have to use the EVF to focus so you want to have a tripod tall enough so you don't have to hunch down.

[15] I purchased this lens for my sony FX9 and I shoot with the raw extension. I mostly use the 28/135 F4 sony cine zoom lens. I needed something a bit more wide with a fastest aperture. My dream came true. this lens is excellent, extremely sharp and delivered stunning results. I have tried also the sony 16/35 GM master f2.8.. . but sometimes a real cine lens is better when autofocus(es) has their limitations and when manual focus is required for creativity. highly recommended

[Full Frame] In over 40 years of industrial and feature film making, the Irix primes are my favorite series of prime lenses, favored over the big name lenses that cost 4-5x. They are fast, sharp, have very natural-looking out-of-focus highlights, and the sealing is a bonus for those like us, who shoot a lot of exteriors. Hopefully Irix will soon offer something in the 65mm-85mm range so we can relegate our current short telephoto to the B camera lens set.

[Sony E] It is very good I like it .

[Sony E] I've used this lens on a variety of shoots, and it's incredible. Very lightweight. Relatively low profile. Very smooth focusing with zero breathing. Some people have bashed it for being a T2.9. If there's a person in the world who can run-and-gun a doc shoot at T1.4 without a focus puller, AC, etc., then I want to meet that person post-haste and get some tips. For the rest of us mortals, T2.9 will do just fine. Especially if you're filming with an Fs5 or 7, which are already great in low light as it is. I always love the question in Q&A's, How did you make it so both people are in focus at the same time. Try stopping down to 4.5 or 5.6. That's where this lens gets awesomely sharp, and pulling focus is a total breeze as a one-man-band.

It's not for everyone. It's definitely a lower-contrast lens, a look that I happen to like, but looks different than Zeiss CP glass (or the 21-100 Zeiss zoom). The bokeh is beautiful on the MK. Even though having to change lenses (and buy the other) is a bit inconvenient, they're par focal, which makes things easier, and they're extremely light-weight, but seem to have good build quality. I rented, didn't purchase, so it's hard for me to comment on long-term durability. For what I do, higher-end documentary features and shorts, this lens is perfect.

[T2.9] Fantastic lens, great optics and very small. very happy with the purchase.

[Full Frame] This lens is truly a gem. Superb craftsmanship, sharpness and color rendition., it's a wide angle lens with very little distortion. Pulling focus is a breeze with this lens. With added accessories it has turned my BGH1 into a full-fledged cinema rig.

[T2.9] This is not so much a review of the Loxia 21mm because I only have it for 5 days and because of physical problems I am not able to go out shooting at the moment.
But I can tell from the pictures I took inside the house that this lens looks very promising.
And the feel of this lens is real Zeiss with the all metal build and buttery smooth manuel focussing.
And infinity is there just before the hard stop.

This feel is quite different from the Zeiss Batis 18mm I do own.
Which is a lovely lens to, but not that traditional Zeiss feeling.

The real reason for writing this interview is that I keep reading that this 21mm lens (and also the other Loxias) is hard to install and to remove because there is hardly place to get good grip on the lens.

I do like to mention that there is a small company in Germany who did solve this problem with the Pocket pano lensgrip, they are specially made for the Loxia lenses and do not cost a fortune.
As I can see they do ship worldwide.
So if you like to solve the problem google Pocket pano lensgrip and you will find pocketpano.de
Their site is in english too, maybe you have to choose first between english and german.

I did order 2 of them, one for the 21mm and one for a future Loxia 50mm.
And when it is attached to the lens you hardly see the difference, it becomes one with the lens.
And it works flawlesley, i now have very good grip on the lens.

So I do hope I can help some people solving this problem.
And it would be a pitty if this lens looses stars in the reviews because of this now easy to solve problem.

Best regards,
Joep

[T2.9] This lens is the equivalent of having a set of CP.2 primes in the form factor of a zoom. There's zero focus breathing, beautiful bokeh, beautiful micro contrast. We just used this lens on an Fs7ii for a feature narrative film, and people have been commenting on how great it looks. I thought I would explain why: it's this lens. The focus is smooth, and we kept it mostly at an T4.5 except for a few scenes. You'll definitely want a focus puller if you're wide at 2.9. It's advertised at being a T2.9-3.9, but none of us could tell the difference really. It looked great at all ends of the zoom range. There was no discernible difference in sharpness wide or telephoto (like most zoom lenses out there). Just know that it's very large, and will weigh down your camera. In theory it would work for doc work, but would be a lot to carry, and would probably be intimidating toward subjects. For narrative work on a budget, I can't recommend it enough. it's better contrast, sharpness and focus breathing than the Fujinon MK series, and leaps and bounds better than any photo zoom lens. I can't recommend this enough.