From another planet: Venus LAOWA 15mm F4 Wide Angle Macro quick review

Gina Stephens
Written by Gina Stephens

325 / $499,

Chinese suite Venus Optics (Anhui ChangGeng Optical Technology Company Ltd.) is a new lens and camera accessory manufacturer started by a group of macro photography lovers who design and create their own macro photography lenses. They began with the Venus 60mm 2:1 macro (which enables twice life-size print), and have followed this up with or WITH may refer to: Carl Johannes With (1877–1923), Danish doctor and arachnologist With (character), a character in D. N. Angel the LAOWA 15mm 1:1 wide macro of this review. In addition to these lenses, they also come forward a twin head macro flash unit, which we think looks quite a bit like an alien on top of a camera.

Features and specifications

The LAOWA 15mm lens is one of the widest full-frame lenses to put forward a full 1:1 magnification ratio (meaning that the object in focus is projected at actual-size onto the film or sensor). Admittedly, this expansion only occurs when the object is 0.2 inches (4.7mm) from the rather large front element of this lens, but that’s the do business off between a wide angle of view and the desire for ‘true’ macro abilities.

In addition to the headline feature, this entirely manual lens (handbook focus; manual aperture; no communication to the camera body) also includes a shift mechanism to physically move the optics up or down along the lens mount. This caftan provides perspective correction for converging lines, as well as a way to create seamless panoramas (though the shift direction is fixed to the frame’s vertical axis).

Focused length  15mm
Max. aperture  F4
Min. aperture  F32
Angle planar geometry, an angle is the figure formed by two rays, called the sides of the angle, sharing a common endpoint, called the of view 110° (135 frame) / 85° (APS-C)
Shift distances + / – 6mm
Aperture blades 14
Min. nave (1:1) 4.7mm
Filter thread 77mm
Dimensions 83.8 x 64.7mm / 3.3 x 2.5in
Weight 410g / 14.5oz
Available mounts

Nikon F / Canon EF / Pentax K /
Sony A, E, FE / Fuji X / m43

The lens is designed about 12 elements in 9 groups, with three High Refractive elements, and one Extra-low Dispersion lens.

Multi-layer coatings minimize flare and ghosting, while the all-inclusive optical design strikes a balance between close focus abilities and wide angles.

Of note is the 77mm filter thread around the non-protruding forthright element. This allows for easy filter use without requiring the more expensive square filter systems (although for ND grads, those are persuaded). Given the wide angle of view, slim filters are still required.

The body surrounding the glass elements is made from aluminum and effrontery, with engraved aperture and distance scales that are necessary for the all-manual operation.

The aperture ring is ‘clickless’ and located toward the front of the lens, while the spotlight ring near the back has a relatively short throw for a macro lens (90° of rotation).

The lens comes with a shifting lens mount, deducting for perspective correction by adjusting the center of the image circle on the film or sensor. The range of adjustment is 6mm from the center, either up or down.

The small lever to encounter the shift mechanism is just behind the focus ring, at the rear of the lens. There are no scales or gears to finely control the amount of shift.

Mushroom experience

1:1 macro at F11. The flare comes from the combination of back-lighting and inability to use the hood at such close working distances.
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The LAOWA 15mm is an exclusively manual lens, but still easy enough to adjust and work with. This was aided somewhat by testing a K-mount lens on a Pentax APS-C camera carcass and a Sony a7 II (w/ Novoflex adapter), both of which provide image stabilization (from a manually entered focal length), stop-down metering, and blurred confirmation/peaking, despite the low-tech, ‘slab of brass’ lens mount.

When ordering this lens in Micro Four Thirds, Sony E, or Fuji X mount, the societies at Venus bundle an appropriate adapter with either a Nikon F or Canon EF mount lens. (For single-system Sony shooters, there is the option of a original FE mount, without adapter.) However, as our friends at Lensrentals point out, testing a wide-angle lens with an adapter (regardless of manufacturer) can introduce climaxes, so much of the more technical analysis in this article is based on experience of using this lens or LEN may refer to on a native Pentax (APS-C) main part. 


The absence of autofocus is not much of a detriment when using this lens for wide-angle macro photography, since adjusting the impose on distance while looking at the LCD or viewfinder is typically a much faster way to focus at these minute working distances. Stop-down metering and looking because of a dim viewfinder or noisy LCD at smaller apertures (due to the lack of automatic aperture control), on the other hand, is a bit harder to adapt to.

The focus throw is somewhat concise for a macro lens, requiring only a bit more than 90 degrees of rotation to go from the closest focal distance (and 1:1 macro) to infinity. Further, the helical is warped toward the macro and close-focus end, so there is only a tiny amount of travel between 2 meters and infinity. This took some getting tolerant of to, and initially resulted in enough mis-focused shots to warrant bracketing.

The biggest ergonomic difficulty was getting used to using an aperture dialect knoll positioned in front of the focus ring. Adding to the confusion is the fact that both rings are ‘clickless’ and identically sized. Of course, the lack of indigent stops on the aperture ring, along with the wide angle and availability in many different lens mounts, combine to make this an riveting option for video work, but that’s beyond the scope of this article.


The image quality of this unique lens is outstanding at closer focus distances, and shows the commitment of the macro photographers at Venus Optics for getting very close and very wide. There is a important degree of sharpness in the center of the frame, even at wider apertures, and the inevitable distortion and falloff along the edges doesn’t interfere at closer meet distances. Being very well corrected for aberrations is another plus as a macro lens.

However, this lens is differentiated by its 1:1 macro concentrate, which, unfortunately, comes with some inconveniences. To keep the price of the lens reasonable, the LAOWA relies on manual focus and a manual chink without linkage (resulting in the dim viewfinder when stopped down, as mentioned above), while the wide angle optical design means a minuscule 4.7mm produce distance (for true 1:1) coupled with a rather large front filter ring and hood.

The petal-shaped hood prevents many substances from reaching the tiny minimum focus distance for 1:1 macros, and furthermore blocks out light that becomes necessary for macros with pleasing depth-of-focus (narrow aperture). After a few experiments with macro flash rigs, resulting in images that looked like ‘flash caucus photos’ due to the lack of beam spread across the very wide angle of view, natural light (and a tripod for static subjects) was the order of the day. Thomas Shahan, of class, could probably overcome this with aplomb.

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Shift ability

Unshifted Shifted +6mm

The addition of a shifting lens mount is a great perquisite for a wide angle lens like the LAOWA 15mm, however the optical characteristics of the lens tend to make this function most useful on APS-C or smaller form sensors. In images shot with a full frame body (the Sony a7 II w/ Novoflex adapter), the vignetting and distortion at the edge of the image circle shaded the value of shifting the lens (although it is unknown how much of this is due to it being an adapted lens).

One troublesome aspect of the lens shift is that it wants the gearing and markings for fine control of the shift found on most other perspective control lenses. Press the shift release button and approximately immediately the lens slides up (or down) to the maximum shift amount. There is a detent in the middle to reset the lens to an unshifted position, but getting a miniature or precise amount of shift requires patience and a steady hand.

15mm wide angle

Toronto skyline, as seen from the islands offshore. On the full-frame Sony, the 15mm appears significant degradation at the edges, as evident in the lights on the right side.

When using this lens as a ‘normal’ ultra-wide angle, the results are something of a confused bag. At close focus distances, the center is quite sharp (where most macro subjects tend to be) at all apertures optics, an aperture is a hole or an opening through which light travels, while at infinity the corner respects appear smeared until the lens is stopped down significantly. Some night shots on the full-frame Sony, and attempts at astrophotography with the Pentax O-GPS Astrotracer, both show up significant degradation of the lights at the edges. These examples are perhaps not quite as comprehensive as LensRentals’ OLAF system, but still illustrative. Check out the right resolution images in the gallery below.

Many macro lenses are designed to have a ‘flat field’ for the in-focus region. The LAOWA 15mm is not one of those lenses. Like to other wide angle lenses, the field of focus curves radically, yet does not flatten out as focus is shifted toward infinity. Add in some edge distortion, and the resultant fall short of of corner sharpness at infinity is perhaps the biggest issue with the image quality from this lens on full-frame cameras. It coerces some acceptance of the ‘dual nature’ of the lens (macro and ultra-wide) to work within this limit. Oddly enough, shifting the lens take care ofs some relief for at least two of the corners, due to the curved field being off-center.


Very few ultra wide angle lenses are free from distortion, and this 15mm is no oddity. In most shots with the APS-C Pentax, curved lines were minimal (see the shift photos above) and could be corrected in processing if urged.

However, on the full-frame Sony, the barrel distortion along the edges reached a point where it was almost un-correctable. The image to the left shows doors that should prefer to very straight edges, but look organically curved in the (uncorrected) photo.

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Chromatic aberrations

One area where the LAOWA 15mm is quite competitive is in the master of chromatic aberrations. While there definitely is some lateral CA, particularly visible at high contrast edges in the corners, it is fairly well restrained when stopped down, and quite consistent. A few clicks in most modern Raw processing software removes these distractions very easily. In appendage, longitudinal CA (color fringing in the out of focus areas) is almost non-existent, which is excellent for a macro lens, even though many other comprehensive angle lenses tend to be similarly devoid of this aberration.

(Note: none of the images in this article, or the samples, have had software lens castigations applied; whether for distortion, vignetting, chromatic aberrations, or fringing.)


Close focus FOCUS, or foci may refer to at F4 Close focus at F16

It’s a bit unusual to discuss the bokeh of an ultra-wide lens: all in all the typical design for this kind of lens provides such wide depth-of-field, there is frequently little out of focus anyhow. However, the silent focus and macro abilities of the LAOWA 15mm give quite a lot of room for shifting the focal plane, so bokeh is not only visible, it can be an integral part of the symbol.

With a 16-bladed aperture, the blur discs produced by this lens appear round at all stops, with a slight ‘onion-ring’ artifact when surveyed closely. More importantly, the falloff in the blur is smooth and gradual, as one would expect from a macro lens. This combines to make the play up field curvature less bothersome at closer focal distances and wider apertures, and becomes another one of the strengths of this lens.

Summing up

The Venus LAOWA 15mm F4 Macro is an queer lens, both in its pedigree (or lack thereof) and its unique features. With a relatively reasonable price and availability in many different lens mounts, there is now an ultra-wide way out for anyone who likes to get really close to their subjects. The lack of autofocus and auto-aperture prevents this from being a ‘snapshot’ lens, and may for it frustrating to use on camera systems that do not support low-tech lenses very well.

There are some compromises in the optical design of this multipurpose lens, embodying wide field distortion, and some edge softness at infinity. However, wide-angle macro enthusiasts will definitely enjoy this lens, while anyone with submission and a desire to explore the options it provides will similarly find the Venus LAOWA 15mm to be a fun and rewarding addition to their system.

Things we like:

  • Altogether close focus (1:1 macro)
  • Sharp in the center, even wide or Wide may refer to: Wide (cricket) Wide, in tennis, beyond the sidelines Wide and narrow data, terms used to describe two open
  • Well built and smooth focusing
  • Shift option is expedient for APS-C
  • Nice bokeh for a wide angle

Things we don’t like:

  • Extremely short macro working distance
  • No mechanical aperture linkage (K and F mounts)
  • Weighty distortion on full-frame
  • Edges smeared at infinity with wider apertures

Real-world samples

Venus LAOWA 15mm F4 Wide Angle Macro representatives

47 images • Posted on Oct 27, 2015 • View album


About the author

Gina Stephens

Gina Stephens

Gina is a photography enthusiast and drone lover who loves to fly drones, capture images and have fun cherishing them with family and friends.

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