We’d normally use ultra-wide lenses for two reasons: (1) to capture something very big (i.e. landscapes, buildings, stars in the sky); or (2) to create a sense of space in a place where there is none (i.e. real estate photography). Portraits are generally a big no-no because its inherent visual perspective creates a sense of unease. But then again, a cinematographer like Masanobu Takayanagi can use it masterfully in Silver Linings Playbook to subtly bring out Bradley Cooper’s troubled mental state in front of Jennifer Lawrence.
I bought my Rokinon 14mm f/2.8 on a whim and while it was on sale. At $339 MSRP, it is one of the most affordable lenses in the Sony E Mount line up. But as neither a landscape or an astrophotographer, I had no real need for an ultra-wide. And I suspect for real-estate photographers, who incidentally have the highest average salaries out of all photographer types, they won’t be relying on this bargain basement lens with wild barrel distortions either.
One day, over better qualified candidates like the Zeiss 55mm f/1.8 and as if to defy the camera gods, I decided to bring this lens during my recent trip to China for Lunar New Years since Asia, in general, is great for street photography. So, I challenged myself to use a 14mm ultra-wide on the streets and this is what I’ve learned.