Lensbaby Velvet 85 - Review

So as of June 27th Lensbaby have announced a new lens. The Velvet 85mm.

I have been lucky enough to product test this lens and below is my honest and unbiased review of my time spent with it. but first, let me trace my history with Lensbaby products back to the beginning. 

Lensbaby Velvet 85 -  Model / Make up - Sofia Mayers

Lensbaby is a brand that I have been a fan of for quite some time. They are a creative company that helps photographers bring an element of difference to their photography. I still remember the first time someone recommended that I check out this company and the creative lens' and optics that they did for photographers. I was experimenting with old school products using screw on filters or smearing vaseline on my lens' to create a soft focus look to some of my photos. 

Lensbaby Velvet 85 - Model - Finley Alice Clarke - Make up - Charlotte Fenwick

My first lens I purchased was a composer pro with a 50mm sweet optic. This was a lens that had a focus area in the centre of the lens, that was classed as the sweet spot. You could then pivot the lens around to move this sweet spot to the desired place in your composition and then the rest of the image would gradually fall off into a pleasing soft streaky blur. It gave some really interesting results and after the first time, I used it for some portraits I fell in love with it.

Lensbaby Velvet 85 - Model - Brooke Amos

I added to my collection of optics over time for the composer line and I was still using them at least for a couple of images every shoot I did, just to add a bit of variety. But after a while, I kind of kept leaving it in the draw and nearly forgot about it all together.  

But out of nowhere, Lensbaby announced a new product that they were just about to launch and I was enthralled by the images I was seeing with this new Lens that they had manufactured. That lens was the Lensbaby Velvet 56 f1.6.

This was a lens that was capable of creating really soft velvet glowing images but also pin sharp images depending on the aperture that you were using. It was a fantastic lens, it gave me some of my favourite images to date. I won't go into too much detail about that lens, but just know it was and still is a fantastic bit of kit and I love using it. 

Lensbaby Velvet 56 -  Model - Emily Hardisty

Fast forward to April 2017 and I got a wonderful opportunity to product test the beautiful big brother to the Lensbaby Velvet 56mm, the Lensbaby Velvet 85mm. 

Lensbaby had seen my previous work that I had created with the Velvet 56, a lens that was more of an art lens and every day/macro lens. Although I had used mine for a whole host of portraits they felt and so did I, that it wasn't categorically a portrait lens. 

So they created the Velvet 85. 

Lensbaby Velvet 85 -  Model - Blue Kiss

Now for that honest and unbiased review. 

I spent two months with the lens and really put it through a rigorous test. I used it on several shoots, in a variety of different settings from natural light portraits to studio head shots. 

I’ll start with the build quality of this lens is exceptional. As with the 56mm, the Velvet 85 has an all metal body that really feels like it can withstand anything you throw at it. The focus ring gives beautifully smooth movement through the course of its travel distance and is easily found without needing to take your eye from your viewfinder. Using the aperture ring is pleasant and once an aperture is selected it firmly falls into place and stays there.  

Lensbaby Velvet 85 -  Model - Alice Neale - Make up - Charlotte Fenwick

The creative look this lens is capable of is when wide open at f1.8is that you get this very soft velvety glow that spans the entirety of the image. It looks nearly out of focus, however, it's more of a diffused look, then out of focus. Kind of reminding me of vintage soft focus lens from a bygone age. Although at f1.8 I can’t say I was a huge lover of the how soft the images actually were.  But there is a sweet spot in the centre of the lens, and as you stop down the aperture ring, that sweet spot grows bigger. Meaning that more of the image becomes sharper and in focus and the velvet glow slowly gets less. Using the lens at apertures like f4 and f5.6 meant you could have a relatively large sweet spot of focus, yet still have a pleasing yet subtle amount of edge fall off. Using this for portraits is great because it helps to draw the viewer into the image and directly where you want them to, whilst also giving the image an intriguing feel to it. 

Lensbaby Velvet 85 -  Model - Megan Hughes

As a portrait photographer, I love to use lens’ that really compliment the person I'm photographing, and using focal lengths from around 80mm -120mm have always been my go to choices. Shooting with lens’ in that range helps give great compression to facial features and makes everything look in proportion as if you were looking at your subject with your just your eyes. I found the Velvet 56mm to have a little bit of distortion, especially when trying to fill the entire frame with a subject's face at quite close distances. The Velvet 85 has no such issue, it creates a beautiful rendition of a subject's face, as any good portrait lens should. 

Seeing this is a manual lens, in terms of focusing and selecting aperture it takes a little time to get used to. Especially if all you’ve ever known or used is auto lens’. When using this in natural light environments its a lot easier to use, as when you select an aperture and focus it changes it there and then so you can see what depth of field and level of velvet effect will be, just by looking through the viewfinder or LCD screen. However, this does pose maybe one of the only issues I found with this type of lens. When shooting in poorly lit environments or stopping down to apertures in the region of f8 and higher, it becomes very hard to see your subject and get them in focus, because very little light is coming through the lens. On days when you have good light or in a studio environment if there is plenty of available light/modelling lamps this shouldn’t cause any issues though. I used this in some really dark locations and found if I wanted a nice sharp spot and keep a velvet glow look, keeping the lens in f4 I was still able to focus without any issues in finding my subject. Granted I may have taken more photos than I normally would but this was to compensate for it being a manual lens, and I wanted to make sure I covered myself in getting a perfectly focused image. 

Lensbaby Velvet 85 -  Model - Sadie Connolly

One aspect I didn’t fully test out though on this lens is the macro capabilities, I used it probably a hand full of times to try and get a different perspective of the subject I was photographing. But seeing as I like to photograph whole faces I didn’t really pursue this setting too much. I will say though that it did impress me with how close you could get to something and it be pin sharp from just9 1/2 inches away.

Creating images with Velvet 85 is an absolute joy. Using it in the region of f2.8 to f5.6 your images will have a large enough sweet spot to get a good portion of the focus area sharp. Whilst also maintaining that soft and dreamy velvet look. When working on location, combine this with a blown out foreground or background details and you get gorgeous bokeh as well. 

Lensbaby Velvet 85 -  Model - Leigh Sinden

Use it in a studio and crank it to f8 and above and you have one of the sharpest portrait lenses’ on the market today. Plus you can bring a bit of flare to your images with bringing the aperture back down to around f4 again. 

Lensbaby Velvet 85 -  Model/Make up - Sister of sinister

In short, this Lensbaby Velvet 85 is, in my opinion, a must have for any creative photographer out there. I can forgive it for being too velvety and soft at f1.8 and hard to see through at f16 in poorly lit environments. Because at the end of the day this lens is a beautiful beast that isn’t just a one-trick pony. It's a sharp, versatile, artistic portrait lens that you will love using at any chance you get. All Lensbaby have to do now is a create an autofocusing lens and then all my prayers would have been answered, and I would potentially never need to change to a different lens. 

A big thank you to all the people that helped me with these images 

Sofia Mayers, Finley Alice Clarke, Alice Neale, Leigh Sinden, Megan Hughes, Blue Kiss, Sadie Connolly, Sister of sinister, Studio Visage and Charlotte Fenwick - Make up artist. 

Muddy Footprints - Part 1 - NSFW

I love working on location. There is so much freedom when I get to work outside. I love doing studio work and working in indoor locations. But nothing quite beats working outside in vast amounts of open space and having to work with whatever you have around you. I got to do such things with the awesome Kelly Maynard the other weekend. 

This was my first time working with kelly and after about 5 minutes of talking with her, I knew I had found the perfect model for the shoot we had planned. My idea was to head to the local forest near to where I live and play around with a couple of styles from simple beauty portraits to few more experimental art nude ideas. Kelly’s desire and commitment to our shoot was unlike anything I had previously experienced. She was quite literally willing to roll around in the cold wet mud for the sake of creating a beautiful set of images.I’m so glad we were lucky with the weather on the day, as for the previous 48 hours it had been constant heavy downpours and blusterous cold winds, and as much as I believe that Kelly would have stood for a period of time in the rain if it meant getting a good image, I didn’t feel that would have been fun or the right thing to do for our first shoot together. Here're a few of the images from our day in the woods. More will follow.

Enjoy. 

Paint It Black - NSFW

A few weeks ago I had the joy of working with a lovely new model Kristýna. I had been a follower and admirer of her work for the past year and was excited that we were getting an opportunity to be working together. 

We had a few communications before the shoot and bounced around a couple of ideas. She chose a couple of ideas similar to my previous boudoir photoshoots as well as a few more edgy art nude ideas,  and then to my surprise a concept that was unusual to anything I had tried before. 

Kristýna a native of the Czech Republic was like a breath of fresh air, someone who was willing to put commitment and her all into an idea. After we ticked off a few different styles, we got stuck into the unusual idea we had. Which was to be covered in black paint. We wanted to capture something different, that neither one of us hadn't done before and this was certainly it. 

If you've never experienced what a whole load of paint feels like on your exposed skin, then you won't know how weird it feels and how useless you become, when you can't move a great deal in fear of getting paint anywhere it shouldn't.

I tested the paint on myself the night before, for a couple of reasons. The first being to see if there were any reactions to the paint being in contact with the skin. Thankfully all was good on that front. The second was to see how much paint would be needed to get the shots we wanted. You'll be surprised at how far a little paint does go. 

The useless feeling comes over you soon after you have paint over your hands and body, and you can't do anything. You start feeling like you have to scratch every other part of your body that doesn't have paint on it. You get the urge to pee. §In my case, this all happened at the same time as my phone started to ring. Talk about Sod's law. 

Never the less Kristýna took this challenge and accepted it, without any hesitation. She embraced the messiness and owned it. Apart from the odd stray hair that got in her eyes, we didn't have too many problems in getting the images we wanted. 

I thoroughly enjoyed working with Kristýna, and couldnt have asked more of her on the day.  We are already planning  for the next shoot. Hopefully, this time, there won’t be any paint in sight.