Ever since I started shooting DSLRs with APS-C sized sensors I have struggled to find the perfect go-to lens for the majority of my photos. I love the speed and image quality of my old A series 50mm f/1.7 but the lack of autofocus and relatively tight F0V (75mm equiv.) makes it less than ideal for a lot of my shooting. When my friend Stephen said he was sending me his DA 35mm f/2.8 Macro Limited to take for a spin I was pretty sure that it was going to be the lens I have been looking for. I had read all the reviews so I knew that it was a sharp lens with top-notch build quality. All that remained was for me to live with it for a few days…

Pros:

• Razor sharp starting at f/2.8.
• Virtually no flare and very low CAs or fringing.
• Wonderful bokeh (especially during macro use).
• Impeccable Limited build quality.
• Smaller and lighter than most 1:1 macro lenses.
• Durable*
• Ultra close focusing capability.
• Built-in lens hood.
• Excellent bang-for-the-buck.

*I didn’t test this lens’ durability but my friend Stephen did. Within minutes of opening the box he dropped it from a height of 1M onto concrete. The filter mount ring took the brunt of the impact (note silver filed away area in these shots) but the function of the lens was not otherwise affected. Wow!

Cons:

• Slow focusing due to extremely long focal range.
• Lack of focus limit switch (might correct previous point).
• Focus ring spins during autofocus operation.
• Included lens cap falls off too easily.
• Extremely limited stand-off distance at 1:1 magnification (read: “none”).
• Diffraction may be a problem above f/8 with non-macro shots.

Conclusion:

Turns out this is not the do-it-all lens I’ve been looking for. Now, before all you Pentaxians out there start accusing me of bashing Pentax again, let me explain…

The DA 35mm f/2.8 Macro Limited is one of the best macro lenses I have ever used. It absolutely blows everything away within 2 feet of the front of the lens. I love the natural look the 35mm (52.5mm equiv) FoV provides. I can easily see this being one of the best lenses available for shooting products in a studio setting. If I were still walking the floor at Asian electronics trade shows it would be my go-to lens (lots of close-up shots of products held in my hand). However, the things that make this lens so good at what it was designed to do also make it less than perfect for my everyday use. If your primary interest is up-close hand-held macro photography, look no further. Buy this lens. If, like me, you are thinking that this lens might double as a good medium focal length lens for everyday use, please read the rest of my review and decide for yourself:

Build Quality and Size:

Here we see the DA 35mm f/2.8 Macro Limited focused at infinity along side the standard 18-55mm Pentax kit lens…

and here we see the macro lens focused to its closest setting (0.139M)…

and here along side my old A series 50mm f/1.7 lens. The point here? This is a very compact lens. Even when extended for close-up focus. Also, even with the rock-solid aluminum casing it weighs slightly less than the plastic kit lens (7.6oz vs. 7.8oz). There is absolutely no excuse for not being able to find a place in your bag for this lens.

I mentioned the focus ring in the cons. The double row of knurled rings just below where it says “PENTAX-DA 1:2.8 35mm…” in the photo above is the focus ring. It is very nicely damped in manual mode and features Pentax’s nifty Quick-shift Focus System to allow focus fine tuning in AF mode. The double-height ring provides a great grip for your fingers during manual focusing. However, since it takes up so much of the 35’s diminutive body, you have to be careful not to grab it accidentally when holding the camera with two hands (left hand supporting lens) if you don’t want to loose a little skin off your finger tips ;-)

Otherwise, the build quality of this lens is superb. You’ll never question the $480 price tag once you handle one for the first time.

Image Quality:

Uncropped f/2.8 @ ISO 100 shot of dew on leaf (NOT 1:1 magnification).

100% crop from the center of the first image.

The resolving power of this lens is amazing. I’m sure my old 10MP K10D isn’t even coming close to getting the most out of this baby. I’m not going to get into resolution specifics here. There are plenty of other websites that can confirm what I experienced first hand: this is one of (if not the) sharpest lenses you can hang on your K Mount. Here are a few shots I took with it on my Flickr page.

The nine bladed aperture provides wonderful round bokeh at all aperture settings.

It also provides nice 18 pointed starbursts when stopped down for long exposure night shots (if you are so inclined to use it for such things). They are not quite a clean as the ones that come off of the DA* 16-50 f/2.8 but they are certainly an improvement over the kit lens.

The DA 35mm Macro has a built-in retractable lens hood. Without the hood this lens produces almost no flare. Compare the example above with this similar one shot with the DA* 16-50 f/2.8:

Even though Pentax thoughtfully includes an excellent built-in lens hood with the DA 35mm Macro it doesn’t need one!

Handling:

The DA 35mm Macro requires you to get very close to your subjects to achieve maximum magnification. Here is the shot I took above while focusing at 1:1 on my kit lens with the 35 Macro:

Very close indeed. This is fine for shooting flowers, products and other static and aproachable subjects. If you want to shoot creatures that might not appreciate a lens pressed up in their face you might want to look elsewhere. The only real problem I had with this was the camera blocking light from my subjects. Being so close with the lens to the subject you’d pretty much need a studio and strobes to get enough light in there.

I’ve had experience with longer macro lenses that put you farther away from the subject and I have to say I prefer the up-close DA 35mm Macro. The wider FoV gives a more natural 3D look to the images and makes it easier to lock in focus while shooting hand-held.

This incredible focus range (infinity to 0.139M) is the DA 35 Macro’s Achilles heel. It is very deliberate and accurate when shooting macro but becomes slow and laborious when taking snap shots. If the camera misses the focus point it will usually run all the way to one extreme of the focal range and then back to the focus point where (hopefully) it will lock on. If not, it will continue on to the opposite end of the focus range before heading back to try again. On a normal lens this “focus hunting” can be a bit annoying as the lens “ziiiip-ziiiips” back and forth before locking focus. On the DA 35 Macro focus hunting goes more like “ziiiiiiiiiiiiiiiiiiiip, ziiiiiiiiiiiiiiip, ziiiiiip, ziiip-zip.” I missed a ton of snap shots with the kids while this lens oscillated back and forth the focus scale on me.

Don’t misunderstand me. I’m not saying the focus isn’t accurate. As all Pentaxians apparently already know, their DSLRs do not have the fastest autofocus system. The DA 35 Macro exacerbates this problem considerably. Its deliberate focusing is an important feature for shooting critical macro shots in controlled conditions but is also the main reason why it isn’t a replacement for standard lenses for every day use. IMO there’s nothing wrong with being good at what you do and sticking to it.

That being said, it is not to say that the DA 35mm Macro can’t be used for every day shooting. When more deliberate shooting is possible all the things that make this such a great macro lens also make it an excellent portrait lens. Most people do not recommend a lens this wide for portrait use. I found it to be great for portrait shots where you want the feeling of being up close and personal while getting a bit more of the scene into the shot for context. Like this:

Of course what’s working for me here most are the 35mm focal length and the sharpness. If you are willing to give up the macro performance there are other lenses that can likely better serve as wide angle portrait lenses.

The only head scratcher for me with the DA 35mm Macro is Pentax’s choice in lens cap. The included cap is machined from aluminum and velvet lined. While this gives it a distinctly premium look and feel, it kept falling off the lens while in my bag. Also, it is easily knocked off while the camera is hanging on your shoulder strap. When I buy one of these lenses I will add a spring clip style 49mm lens cap to my order.

Pentax K10D with DA 35mm f/2.8 Macro Limited lens.

So, the DA 35mm Macro does what it does and does it quite well. Just don’t expect it to do all things equally as well. If you need/want and excellent macro lens then you’d be hard pressed to do much better. If you are looking for a good normal lens for taking those every day shots do what I did and pick up an FA 35mm f/2 AL while you still can. It was a close call for me. I had $500 to spend so I could have gotten the macro lens, but I decided to go with the slightly faster FA lens instead. So far I am quite pleased with my decision- though I really miss the DA 35mm Macro’s build quality and ability to get in close. I can easily justify getting the DA 35mm Macro for use as a dedicated macro/studio lens later on to round out my lens collection.

Some sample shots I took with the DA 35mm Macro while testing it for this review.

About the shots for this post: I shot the studio shots for this post using Fuji’s new F200EXR point-and-shoot camera. I’m not a big fan of PnS cameras but this little wonder has definitely gotten my attention. These shots are straight out of the camera at ISO 800. The camera’s various manual controls allowed me to get the exposure and WB right while the high ISO capability meant I could still go hand-held to knock the shots out quickly. BTW, this shot of the F200EXR was taken with the DA 35mm Macro. See what I mean about it being ideal for product photography?

After shooting digital for 10 years I finally started shooting RAW exclusively in September 2008. What took me so long? Probably the same thing that keeps most amateur photographers from shooting RAW: the added time and complexity of post-processing RAW images. That all changed when I discovered Adobe Photoshop Lightroom’s customizable default development settings. By creating a custom set of image adjustments I get Lightroom to do most of the work for me as I import my images. I often refer to my “default import settings” in my blog posts so I figured I should share what those settings are. Here are the settings that I have found that work best for me and my Pentax K10D in Lightroom v1.4 and make shooting RAW work so well for me:In order to create a set of custom develop settings you should start with Adobe’s default settings. To do so, select an image, enter the Develop Module and simply click on “Develop” in the menu bar then select “Set Default Settings…”

When the dialog box appears select “Restore Adobe Default Settings.” You will need to do this for each camera you use with Lightroom. To do so, simply find images shot with each camera and repeat this process (use the Metadata Browser in Library mode to find images shot with specific cameras). Obviously, don’t do this if you have previously saved custom develop settings you want to keep :-/

Once you have established a baseline for your develop settings it’s time to apply the adjustments you wish to make to ALL future images you import into Lightroom. I emphasized “all” because these settings should only serve as the basic image parameters you start with. Keep in mind that RAW files imported into LR do not retain any of the custom image settings that you apply in-camera (ie: sharpness, saturation, contrast, etc.). To automatically apply in-camera settings to your RAW files at import I’m pretty sure you have to use your camera manufacturer’s proprietary RAW software. Personally, I’d rather not be futzing with in-camera image parameter settings while I’m shooting and instead focus my time and attention on focus, composition and exposure. By creating this baseline default development setting you’ll only have to spend time adjusting white balance and applying creative effects.

The first area to adjust are the Basic settings. Be sure to leave the white balance (WB) default set to “As Shot.” Otherwise, LR will override your in-camera “auto” setting to whatever you select here (you are shooting in auto WB, right?). Once you have imported images adjusting white balance shot-to-shot will be one of the few things you will have to do. Of course the WB eyedropper makes this quick and easy and you can efficiently copy and paste settings to entire batches of photos shot in the same light. Sure beats having an entire batch of JPEGs shot at the wrong setting ;-)

Next, I like to dial in a bit of Clarity. I can’t really say what Clarity does but it seems to help define edges and brings out subtle details and gives images more depth. Too much Clarity can create distracting dark halos around edges much in the same way an over-processed HDR image does.

I also like to bump the Vibrance slider up a tad to make the color pop a bit more. I prefer using the Vibrance slider over the Saturation slider as Vibrance seems to be more subtle and does not blow out highlights as bad as Saturation does. This is a highly personal setting as many people prefer more neutral (say: “flat”) color. For me, I like my colors to pop. +25 is my baseline setting. I often go much higher :D

The only thing I do with the Tone Curve adjustment pane is to set the Point Curve to “Medium Contrast.” This seems to give the best overall balance to my images. Any other adjustments I make here are done on a case-by-case basis.

No default changes here. I only use the HSL / Color / Grayscale sliders to tweak specific areas of specific images (mostly to make a specific color pop or to tone map grayscale images).

Again, no default changes here. Thus far in my Lightroom usage the only thing I use Split Toning for is to warm up the occasional B&W image.

I do make a few changes to the Detail settings. I generally like my images to be sharp. However, I hate the look of “sharpened” images. I have found that dialing in a moderate amount of Sharpening at a relatively small radius gives the right look. A handful of Detail does just what you’d expect- pops detail- without over sharpening the overall image.

In my experience, all lenses impart some kind of CAs to images. Unfortunately, they don’t all do it in the same way at all times. The only default setting I have found that works well is setting the Defringe to All Edges. I like to use the Lens Corrections pane to add vignetting to some of my images for creative effect. However, I don’t always do this so I leave the Vignetting settings alone for my default settings.

I don’t know much about what is going on here. Logic would dictate that the specific camera model setting (Pentax 1.00 in my case) would be the way to go. However, my images are all jacked up if I use anything other than ACR 4.4. I’m sure that there’s some pretty useful fine tuning that can be done here but I just keep it on ACR 4.4 and close this pane so I’m not tempted to mess with it ;-)

Now, simply go back to “Develop”–>”Set Default Settings…” and this time select”Update to Current Settings.”

Now the next time you import a batch of RAW images Lightroom will apply your custom develop settings as the default baseline. This will keep you from having to hit every adjustment pane for every image- freeing you up to focus more on composition and creativity while still giving you the most control possible over your images!

Pentax K10D, SMC PENTAX-DA f/3.5-5.6 18-55mm AL @ 43mm, ISO 400, f/8, 1/60 sec, +0.7 EV, IS on

I love rusty old mechanical stuff. This bike has been slowly rotting on the bike rack outside my building all year. The afternoon light was really nice when I took this shot. I shot it at f/8 because I knew that at this close distance it would give me a bit more depth of field and would really make the detail pop. I processed my RAW file in Adobe Lightroom using the Direct Positive preset. The only other thing I did was bump up the Recovery a bit to bring a little more detail back into the highlight areas.

Pentax K10D, Pentax SMC-A 50mm f/1.7 (manual focus), ISO 100, f/8, 1/400 sec, +/- 0 EV, IS off

Water sealant application on the new Auburn University student dining hall. Wide shot: