Irix 150mm f/2.8

Manual-Focus 1:1 Macro

Sample Images   Intro   Format

Compatibility   Specs   Performance

Compared   Recommendations

Irix 150mm f/2.8 Macro

Irix 150mm f/2.8 Macro, Nikon F version. (manual-focus only, metal 77mm filter thread, 29.2 oz./828g, 1:1 macro, 1.14'/0.345m close focus, about $595). bigger. I'd get mine at Adorama, at Amazon or at B&H. It comes in mounts for Nikon F, for Canon EF and for Pentax K.

This 100% all-content, junk-free website's biggest source of support is when you use those or any of these links to my personally-approved sources when you get anything, regardless of the country in which you live. Get yours only from the trusted sources I've used personally for decades for the best prices, service, return policies and selection. Thanks for helping me help you! Ken.

 

January 2019   Better Pictures   Irix   Nikon   Canon   Sony   All Reviews

Best Macro Lenses

How to Shoot Macro

Canon EF 180mm f/3.5 L Macro

Nikon 200mm f/4 Micro-Nikko AF-D

Why Fixed Lenses Take Better Pictures

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Sample Images

Top   Sample Images   Intro   Format

Compatibility   Specs   Performance

Compared   Recommendations

Irix 150mm f/2.8 sample image

Spanish Tile, 29 December 2018. Nikon Z7, Nikon FTZ, Irix 150mm at about 1:2 reproduction ratio, f/3.5 at 1/800. bigger or camera-original © file.

The sides are out of focus because I'm hand-holding and it's impossible to point the camera perfectly perpendicular to the tile. Top and bottom are pretty sharp; I got luckier with vertical alignment.

 

Introduction

Top   Sample Images   Intro   Format

Compatibility   Specs   Performance

Compared   Recommendations

Good   Bad   Missing

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This IRIX 150mm is a manual-focus-only macro lens, which of course also works for normal telephoto and portrait use. Macro is best shot in the field with lens-mounted flash or in-studio with strobes to allow small apertures and eliminate motion blur. Manual focus works better than autofocus at macro distances, so there's no need for autofocus for serous macro use. The lack of autofocus makes this lens less useful for general use.

At 150mm it's 50% better than 100mm macro lenses because it lets us stand 50% farther away, which gives much better perspective of all 3D subjects, and also gives us much more working room between lens and subject so we don't block out light or annoy live subjects.

The Nikon 200mm f/4 Micro-Nikko AF-D is the world's Best Macro Lens, followed closely by the Canon EF 180mm f/3.5 L Macro. If you can't afford either of these, this lens is the next best and generally better than settling for a 100mm or 105mm macro, for 3D subjects.

For copying flat subjects any inexpensive 50mm macro is fine, and a scanner is even better. This is for 3D subjects like jewelry, flowers, small products, bugs and etc.

The manual focus is geared fast so it's great for real macro work where we usually have to turn the ring a long way for small changes in subject distance. This is not a good choice for portrait and general telephoto use because it lacks autofocus, and because the focus is geared too fast for precise focus at normal distances. This is a lens best used for real macro, product and tabletop work.

The optics are flawless, as are the optics of almost every other macro lens made in the past 40 years. We expect all macro lenses to be ultrasharp and free of distortion, and this Irix lens is, too.

 

Good

green ball icon © KenRockwell.com Sharp.

green ball icon © KenRockwell.com 1:1 (life-size on sensor) close-focus.

green ball icon © KenRockwell.com Focus lock ring.

green ball icon © KenRockwell.com Inexpensive, one-third the price of the Canon EF 180mm f/3.5 L Macro or Nikon 200mm f/4 Micro-Nikkor AF-D.

green ball icon © KenRockwell.com Nice case, spare rear cap and metal tripod collar included.

green ball icon © KenRockwell.com Included tripod collar foot fits Arca-Swiss receivers.

 

Bad

red ball icon © KenRockwell.com Non-compensating diaphragm, which means that the indicated apertures don't show the effective aperture as focused more closely. You'll have to compensate manually as you change distance if you're using manual exposure or manually-set studio strobes. This causes no problems with typical TTL exposures, but serious macro work is usually shot with manual exposures and strobes which will require more attention with this lens than with Nikon's own AF lenses which compensate automatically.

red ball icon © KenRockwell.com Made in Korea. The Canon EF 180mm f/3.5 L Macro and Nikon 200mm f/4 Micro-Nikkor AF-D are both made in Japan.

 

Missing

gray ball icon © KenRockwell.com Only stops down to f/32.

gray ball icon © KenRockwell.com No infinity focus stop.

gray ball icon © KenRockwell.com No image stabilization. Use this with flash or strobes if you hand-hold.

gray ball icon © KenRockwell.com Included tripod collar has no 90º clicks, friction lock only.

 

Irix 150mm f/2.8 Macro

Irix 150mm f/2.8 Macro, Nikon F version. bigger.

 

Format

Top   Sample Images   Intro   Format

Compatibility   Specs   Performance

Compared   Recommendations

This is a full frame lens and I'm reviewing it as such.

It also works great on APS-C cameras, on which you may make the usual inferences.

 

Compatibility

Top   Sample Images   Intro   Format

Compatibility   Specs   Performance

Compared   Recommendations

 

Caveat

This is an off-brand lens and while it should work, it might not. Get yours only from an approved source so you can return it if it just doesn't work for you. Also know that off-brand lenses bought today may or may not work with new cameras bought in the future.

 

Nikon

The Nikon F version should work perfectly (with manual-focus only) on every FX digital and DX camera.

It also should work great (with manual-focus only) with most 35mm AF Nikon cameras, but won't work with any manual-focus camera because it has no aperture ring. It will always shoot at f/32 on manual-focus cameras.

 

Canon

The Canon EF version should work flawlessly (with manual-focus only) on every Canon DSLR and SLR made since 1987.

It should work flawlessly (with manual-focus only) on every Canon full-frame and every Canon APS-C DSLR.

It should work flawlessly (with manual-focus only) on every 35mm EOS camera.

Use an EF to RF adapter to use this on Canon's Full-Frame mirrorless cameras.

Use the EOS-M adapter to use this on Canon's EOS-M mirrorless cameras.

 

Sony

Oddly there is no Sony version. You could try the Canon EF version with the Metabones adapter. Good luck.

 

Specifications

Top   Sample Images   Intro   Format

Compatibility   Specs   Performance

Compared   Recommendations

 

Optics

12 elements in 9 groups.

3 ED extra-low dispersion elements, which help reduce secondary axial chromatic aberration.

4 high refractive-index elements.

Internal focusing.

Multicoating, also called "neutrino" coating.

 

Coverage

Nikon: FX, 35mm and DX.

Canon: Full-Frame, 35mm and APS-C.

Full-Frame, 35mm and APS-C.

 

Diaphragm

Irix 150mm f/2.8 Macro

Irix 150mm f/2.8 Macro at f/32. bigger.

11 rounded blades.

Stops down to f/32.

 

Focal Length

150mm.

When used on Nikon DX cameras, it sees the same angle of view as a 225mm lens sees when used on an FX or 35mm camera.

When used on Canon's APS-C cameras, it sees the same angle of view as a 243mm lens sees when used on a full-frame or 35mm camera.

See also Crop Factor.

 

Angle of View

16.2º diagonal on full-frame.

 

Focus

Manual focus only.

270º  focus ring rotation.

Internal focus.

No external movement as focused, so no air or dust is sucked in.

 

Focus Scale

Yes.

 

Infinity Focus Stop

No.

 

Depth of Field Scale

No.

 

Reproduction Ratio Scale

Yes.

 

Infrared Focus Index

Yes.

 

Close Focus

1.14 feet (0.345 meters).

 

Maximum Reproduction Ratio

1:1 (1.0×).

 

Image Stabilizer

None.

 

Filters

Metal 77mm filter thread.

 

Hood

Plastic bayonet hood included:

Irix 150mm f/2.8 Macro

Irix 150mm f/2.8 Macro with included hood and tripod collar. bigger.

 

Case

Nice zippered padded case included:

Irix 150mm f/2.8 Macro

Included Case, Irix 150mm f/2.8 Macro. bigger.

 

Tripod Collar

Irix 150mm f/2.8 Macro

Irix 150mm f/2.8 with included tripod collar, hood and caps, Nikon F version. bigger.

Removable metal tripod collar included.

Its foot fits Arca-Swiss receivers.

 

Size

2.80" ø maximum diameter × 5.21" extension from flange, without collar.

87 mm ø maximum diameter × 135 mm extension from flange, without collar.

 

Weight

29.220 oz. (828.4g) actual measured weight, lens only.

Rated 29.6 oz. (840g).

 

Quality

Made in Korea.

 

Announced

Fall 2018 at Photokina.

 

Packaging

Irix 150mm f/2.8 Macro

Irix 150mm f/2.8 box. bigger.

 

Irix 150mm f/2.8 Macro

Irix 150mm f/2.8. bigger.

 

Included

Lens, tripod collar, case, hood, front cap, rear cap, spare rear cap and paperwork.

 

Price, USA

$595, January 2019.

 

Performance

Top   Sample Images   Intro   Format

Compatibility   Specs   Performance

Compared   Recommendations

 

Overall   Autofocus   Manual Focus

Breathing   Bokeh   Distortion   Ergonomics

Eyeblow   Falloff   Filters   Lateral Color Fringes

Macro   Mechanics   Sharpness

Spherochromatism   Stabilization

 

Overall

Performance          top

Like most macro lenses made over the past 60 years, optical performance of the Irix 150mm is essentially flawless. Your ability to get sharp, straight images will be limited only by your abilities and not by this lens.

This IRIX 150mm macro is optimized for hand-held and real macro shooting. Its manual focus system isn't optimum for precise focus on a tripod at large apertures or at longer distances; instead it's optimized for close-distance macro shooting.

 

Autofocus

Performance          top

There is no autofocus.

 

Manual Focus

performance          top

Manual focus is smooth, and geared very fast.

The focus range of a normal 150mm lens (infinity-1.5m) is covered in just one-inch (2cm) of the focus scale, so it's very finicky if you're trying to set an exact focus with live view. You have to be very, very slow and careful to set it just right when magnified.

This speed is optimized for real macro shooting, where to get from 1:2 to 1:1 it takes half the focus scale. For day-to-day studio tabletop work it's ideal.

 

Focus Breathing

Performance          top

Focus breathing is the image changing size as focused in and out. It's important to cinematographers because it looks funny if the image changes size as focus gets pulled back and forth between actors. If a lens does this, the image "breathes" by growing and contracting slightly as the dialog goes back and forth.

The image from this lens gets bigger as focused more closely.

 

Bokeh

Performance          top

Bokeh, the feel or quality of out-of-focus areas as opposed to how far out of focus they are, is good. Bokeh is neutral. Backgrounds go out of focus, with typically circular blur circles:

Irix 150mm f/2.8 distoriton

Davis 6250 weather station, 08 January 2019. bigger or camera-original © file.

As always, if you want to throw the background as far out of focus as possible, shoot at f/2.8 and get as close as possible.

 

Distortion

Performance          top

The IRIX 150mm f/2.8 has no visible distortion, bravo!

This is important for a macro lens, which is often used for documentation.

These aren't facts or specifications, they are the results of my research that requires hours of photography and calculations on the resulting data.

 
Correction factor on Full Frame
100' (30m)
±0.0
30' (10m)
±0.0
10' (3m)
±0.0
3' (1m)
±0.0

© 2019 KenRockwell.com. All rights reserved.

Irix says it has 0.1% distortion but doesn't list the magnification ratio. Even 0.1% is totally invisible.

 

Ergonomics

Performance          top

 

Irix 150mm f/2.8 Macro

Irix 150mm f/2.8 Macro, Nikon F version. bigger.

Most of the lens is focus ring, which is excellent.

The plastic focus lock ring works great, better than Nikon's manual-lens focus locks used to.

The focus is geared very fast, so it's optimized for fast hand-held shooting. Because of this it is difficult to set precise focus if you're on a tripod and using magnified live view.

 

Eyeblow

performance          top

There is no eyeblow; no air pumps in or out of the back of the lens as focused.

 

Falloff

Performance          top

Falloff is negligible. It's invisible unless you greatly exaggerate it by shooting a gray field and placing these on a gray background; it will not look this bad in actual photos of real things:

 

Falloff on Full Frame, correction turned OFF.

 
f/2.8
f/4
f/5.6
Infinity
IRIX 150mm f/2.8 falloff
IRIX 150mm f/2.8 falloff
IRIX 150mm f/2.8 falloff
1:4
IRIX 150mm f/2.8 falloff
IRIX 150mm f/2.8 falloff
IRIX 150mm f/2.8 falloff
1:2
IRIX 150mm f/2.8 falloff
IRIX 150mm f/2.8 falloff
IRIX 150mm f/2.8 falloff
1:1
IRIX 150mm f/2.8 falloff
IRIX 150mm f/2.8 falloff
IRIX 150mm f/2.8 falloff

 

© 2019 KenRockwell.com. All rights reserved.

 

Filters, use with

performance          top

There's no need for thin filters.

Go ahead and use your standard rotating polarizer and grad filters.

I can stack a few filters have no problems, even on full-frame.

 

Lateral Color Fringes

Performance          top

There are no color fringes as shot on Nikon cameras, which by default correct for any that may be there.

 

Macro Performance

Performance          top

Macro performance is great; it focuses up to 1:1, life-size on the sensor:

Irix 150mm f/2.8 macro performance

Casio G-Shock Solar Atomic Watch, 08 January 2019. bigger or camera-original © file.

The sample is shot at f/2.8. The lens is marvelously sharp, but in actual practice you'll see that there is zero depth of field. Every element of the watch face is at a different distance and is out of focus.

Good luck, this lens is essentially optically perfect, but at macro distances depth of field doesn't exist with any lens.

 

Mechanical Quality

Performance          top

Irix 150mm f/2.8 Macro

Rear, Nikon F version Irix 150mm f/2.8 Macro. bigger.

This is a Korean-made plastic and metal lens. It's mostly metal, save for some of the front section. Irix calls this the "Dragonfly" mechanical version.

 

Hood

Plastic bayonet.

 

Front Bumper

None.

 

Filter Threads

Metal.

 

Hood Bayonet Mount

Plastic.

 

Front Barrel Exterior

Plastic.

 

Focus Lock Ring

Plastic.

 

Focus Ring

Rubber-covered metal.

 

Rear Barrel Exterior

Metal.

 

Tripod Collar (included but not shown)

Metal.

Removable.

No 90º clicks, friction lock only.

 

Identity

Lightly engraved in metal barrel.

 

Internals

Seem like mostly metal!

 

Weather Gaskets

Irix 150mm f/2.8 gaskets

Irix 150/2.8 weather gasketing. bigger.

 

Dust Gasket at Mount

Yes.

 

Mount

Dull chromed metal.

 

Markings

Lightly engraved when on metal; painted on plastic parts.

Most of the engraved markings are filled with mildly fluorescent white paint.

 

Serial Number

Laser engraved in black-on-black on bottom of barrel near mount.

 

Date Code

None found.

 

Noises When Shaken

Mild clunking.

 

Made in

Korea.

 

Sharpness

Performance          top

Lens sharpness has nothing to do with picture sharpness; every lens made in the past 100 years is more than sharp enough to make super-sharp pictures if you know what you're doing. The only limitation to picture sharpness is your skill as a photographer. Only the least talented people spend the most time worrying about lens sharpness. Skilled photographers make great images with whatever camera is in their hands; I've made some of my best images of all time with an irreparably broken camera! Most pixels are thrown away before you see them, but camera makers don't want you to know that.

If you're not getting ultra-sharp pictures with this, be sure not to shoot at f/11 or smaller where all lenses are softer due to diffraction, always shoot at ISO 100 because cameras become softer at ISO 200 and above, avoid shooting across long distances over land which can lead to atmospheric heat shimmer, be sure everything is in perfect focus, set your camera's sharpening as you want it (I set mine to the maximum) and be sure nothing is moving, either camera or subject. If you want to ensure a soft image with any lens, shoot at f/16 at ISO 1,600 at default sharpening in daylight through heat shimmer of rapidly moving subjects at differing distances in the same image.

The great news is that, as we expect with all macro lenses, it's ultra-sharp corner-to-corner, even wide-open at f/2.8. This lens is ultra-sharp, but actually getting something in perfect manual focus is another issue due to the tiny depth of field all lenses have at close distances. The imprecise manual focus action makes it difficult to set exact focus when on a tripod at large apertures. Forget hand-holding at large apertures at close distances; your breathing will move the camera enough to put it out of focus!

Here's a calculated (not measured) MTF chart:Irix 150mm f/2.8 MTF

Irix 150/2.8 calculated MTF. bigger.

 

Spherochromatism

Performance          top

Spherochromatism, also called "color bokeh" by laymen, is an advanced form of chromatic aberration in a different dimension than lateral color. It can cause colored fringes on out-of-focus highlights, usually seen as green fringes on backgrounds and magenta fringes on foregrounds. Spherochromatism is common in fast lenses of moderate focal length when shooting contrasty items at full aperture. It goes away as stopped down.

Here's a full-frame image of a watch not quite square to the camera. The left side is slightly farther away:

Irix 150mm f/2.8 Spherochromatism

Casio G-Shock Solar Atomic Watch, 08 January 2019. bigger or camera-original © file.

 

Irix 150mm f/2.8 Spherochromatism

Crop from above. bigger or camera-original © file.

You'll see only the slightest green fringes around the out-of-focus text on the left, and a hint of magenta on the right side that's slightly closer.

This is excellent; spherochromatism is essentially nonexistent in this lens.

 

Image Stabilization

Performance          top

There is no Image Stabilization (IS or Vibration Reduction (VR)), and the in-camera stabilization of the Nikon Z7 doesn't work well with this lens on the FTZ.

Therefore use flash or strobes for your lighting if hand-holding, or use a tripod or fast shutter speeds.

 

Compared

Top   Sample Images   Intro   Format

Compatibility   Specs   Performance

Compared   Recommendations

I shoot all day so I prefer the much more expensive Canon EF 180mm f/3.5 L Macro and Nikon 200mm f/4 Micro-Nikkor AF-D because each is better made and feel much better in my hands. I use these for years; I don't care about the price.

I prefer this 150mm over any 105mm or 100mm lens for actual macro work because while shorter lenses can make my pictures look as close, I prefer the perspective gained from standing farther away for the same shot. It's unnatural to show just about any product from just a few inches away as you have to do with shorter macro lenses. Likewise I prefer longer macro lenses so I don't have to get so close that I block my own light, often a problem when you actually are shooting macro subjects.

 

Recommendations

Top   Sample Images   Intro   Format

Compatibility   Specs   Performance

Compared   Recommendations

This is the best macro lens short of the masterpiece Canon EF 180mm f/3.5 L Macro and Nikon 200mm f/4 Micro-Nikkor AF-D. It wins simply on focal length; all macro lenses are ultrasharp. It all comes down to focal length and ergonomics.

While this is a great lens for serious macro, its manual focus is too twitchy (fast) for use at normal portrait and landscape distances; I'd use any 100mm or 105mm lens from a camera maker for better mechanical quality and autofocus.

If shooting in a studio I use the hood and don't bother with caps or filters. I let the hood protect the lens, and put it away uncapped in my cabinet when done.

I use a clear (UV) protective filter instead of a cap when in the field. I only use a cap when I throw this in my bag, otherwise I leave a clear protective filter on my lens at all times so I'm ready to shoot instantly.

The best protective filter is the 77mm Hoya multicoated HD3 UV which uses hardened glass and repels dirt and fingerprints.

For less money, the B+W 77mm 010 is an excellent filter, as is the multicoated version and the basic multicoated Hoya filters or the 77mm Nikon Clear (NC - UV), but the Hoya HD3 is the toughest and the best.

Filters last a lifetime, so you may as well get the best. The Hoya HD3 stays cleaner than the others since it repels oil and dirt, and will outlast this lens.

For color slides like Fuji Velvia 50, I use a 77mm Nikon A2 or 77mm Hoya HMC 81A outdoors.

For B&W film outdoors, I'd use a 77mm Nikon Y48 or O56 filter, or a 77mm Hoya HMC Yellow K2 or 77mm orange filter. Use a yellow filter for normal results outdoors on B&W, and I prefer the orange for stronger clouds. If you use no filter the skies and clouds will be washed-out because B&W film is overly sensitive to blue and ultra-violet light; a yellow filter gives a natural rendition. A 77mm red filter will give darker skies with even more prominent clouds.

I'd get mine at Adorama, at Amazon or at B&H. It comes in mounts for Nikon F, for Canon EF and for Pentax K.

This 100% all-content website's biggest source of support is when you use those or any of these links to approved sources when you get anything, regardless of the country in which you live. I use the stores I do because they ship from secure remote warehouses where no one gets to touch your new camera before you do. Buy only from the approved sources I use myself for the best prices, service, return policies and selection.

Thanks for helping me help you!

 

© Ken Rockwell. All rights reserved. Tous droits réservés. Alle Rechte vorbehalten.

 

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07-08 January 2019