Samyang 24mm f1.4 review
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Longitudinal Chromatic Aberration and focus shift

With lenses offering an aperture of f2.8 longitudinal CA (loCA, a.k.a. “axial color” or “bokeh CA”) may be an issue. The Samyang shows very little coloration at f1.4, mainly greenish. But stop down to f2.0 and the typical magenta coloration in the foreground (left) appears. This also shows up in real-life shots but is by comparison pretty moderate. By f4.0 the effect is gone. The test revealed little focus shift.


Above: Samyang 24/1.4 ED Longitudinal Chromatic Aberration (loCA) at f1.4. 100% crop, left = foreground, right = background


Above:Samyang 24/1.4 ED Longitudinal Chromatic Aberration (loCA) at f2.0. 100% crop, left = foreground, right = background


Sharpness and contrast

Let’s have a look at the theoretical performance of the Samyang lens first compared to the performance of the Sigma 24mm f1.4 Art:


Above: MTF of Samyang 24/1.4 ED (left), Sigma 24/1.4 Art (right), both at f1.4

These charts show the lens-performance at the largest aperture. Higher values are better and the closer the dotted and the continuous lines of each color are together the less astigmatism (= resolution depends on the orientation of the test-pattern) the lens has. The x-axis displays the distance from the optical axis (=center of the sensor) in mm. I’ll show you the real-life performance at 4 mm (center), 13 mm (DX-corner), and 20 mm (FX-corner) on a D810.

From the charts, the Samyang should perform not as well as the Sigma in the center but a little better outside the APS-C/DX image-circle – at least on paper. But let’s see how this theoretical performance translates into real life results in the sharpness test based on Siemens-stars.

What follows are near-center results (first column) followed by APS-C/DX-corner results and FF/FX-corner results on a D810. The D810 results from the APS-C/DX-corner should be a very good approximation for performance on a 16MP APS-C/DX sensor (like the D7000), because the pixel-pitch of both sensors are the same. But differences in the AA-filter and micro-lens-design of a D810 and a D7000 might yield different end-results.

Processing was done in Lightroom 6.3 from RAW at Camera Standard settings. Noise-reduction is set to 0, sharpening to 35/0.5/36/10, with no extra tone, color, or saturation-adjustment. White-balance was adjusted to a neutral white and I did some exposure compensation to make the brightness match. CA-removal is ON.

The following are all 100% crops!

Samyang 24/1.4 ED on Nikon D810; 100% crop from center, APS-C/DX-corner, FF/FX-corner


Above: 24mm, f1.4


Above: 24mm, f2.0


Above: 24mm, f2.8


Above: 24mm, f4.0


Above: 24mm, f5.6


Above: 24mm, f8.0


Above: 24mm, f11

These 100% crops directly from a 36MP D810 sensor show that the Samyang is quite sharp even at f1.4 across the full-frame sensor but a pretty low overall contrast renders the image hazy especially in the center. Focus need not be optimized separately for each crop as there is no field-curvature to speak of. Stopping down to f2.0 improves the contrast of the center visibly while the FF/FX-corner needs stopping down to f2.8 to improve markedly. Diffraction is softening the image from f11 on. Distortions are relatively low for such a wide-angle lens.
Following is a direct comparison of the Samyang (1st row) to the Sigma 24mm f1.4 Art (2nd row) and the Nikon 24mm f1.4G (last row) at f1.4:


Above: Samyang 24/1.4 ED at 24mm, f1.4


Above: Sigma 24/1.4 Art at 24mm, f1.4


Above: Nikon 24/1.4G at 24mm, f1.4

In the center the Sigma produces the sharpest image followed by the Nikon and the Samyang which suffers from low contrast. In the APS-C/DX-corner the order is reversed: the Samyang leads followed by the Nikon. The Sigma is only third place. In the FF/FX-corner all three lenses perform very similar with a slight advantage for the Sigma. Regarding field curvature at this distance: The crops of the Samyang were all taken from the same shot while both the Nikon and the Sigma needed some slight focus optimization indicating a curved field.


Performance at long distances

The Siemens-star test-targets are shot at a distance of 40x focal length. But performance of lenses also depends on the shooting distance. Therefore I do another series of test-shots of a landscape dubbed the “Unremarkables” where you can measure distances in km, not meter. I use this scene to show you how the lenses perform when almost everything is at infinity. I set White Balance to a standard daylight value to make them comparable across lenses shot at the same day and also try to make exposure comparable. There’s no tinkering with vignette-control so you see it here as it is produced by the lens. Focus was manually acquired at the largest aperture in live-view and not changed for other apertures.

You can click on the image to access the large original. Please respect our copyright and only use those images for personal use.

The main image shows the complete scene at maximum aperture to give you an impression of the angle of view and to judge vignetting. This is followed by one row of 100% crops from f1.4 to f8 each from the middle, the APS-C/DX-corner and the right FF/FX-corner. The atmosphere was pretty hazy on that morning but I had no other chance to shoot all three 24/1.4 lenses at the same time.

You can access the respective shots up to f11 via the links beneath the main image.

Samyang 24/1.4 ED shot with Nikon D810


Above: at 24mm, f1.4; also available at f2.0, f2.8, f4.0, f5.6, f8.0, f11


Above: 24mm, f1.4; 100% crop from center, APS-C/DX-corner, FF/FX-corner


Above: 24mm, f2.0; 100% crop from center, APS-C/DX-corner, FF/FX-corner


Above: 24mm, f2.8; 100% crop from center, APS-C/DX-corner, FF/FX-corner


Above: 24mm, f4.0; 100% crop from center, APS-C/DX-corner, FF/FX-corner


Above: 24mm, f5.6; 100% crop from center, APS-C/DX-corner, FF/FX-corner


Above: 24mm, f8.0; 100% crop from center, APS-C/DX-corner, FF/FX-corner

Performance is good already at f1.4 but again the center shows a low overall contrast. Best stop down to f2.0 to avoid the resulting haziness. Stopping down to f5.6 improves sharpness and contrast to very good values across the sensor and and results in very low vignetting. I shot the same scene within minutes with the Sigma 24/1.4 Art and the Nikon 24/1.4G for comparison:


Above: Samyang 24/1.4 at f1.4; 100% crop from center, APS-C/DX-corner, FF/FX-corner


Above: Sigma 24/1.4 Art at f1.4; 100% crop from center, APS-C/DX-corner, FF/FX-corner


Above: Nikon 24/1.4G at f1.4; 100% crop from center, APS-C/DX-corner, FF/FX-corner

Of the three lenses the Sigma is the best in the infinity-shot wide open although it seems to have a bit more vignetting than the Nikon. The Samyang could not translate its good performance at the close-up test to this landscape-shot. But mind you: its performance in the FF/FX-corner at f1.4 is still surprisingly good.



To make it easier to compare light fall-off in the corners of a full-frame sensor I’ve arranged a series of three shots each with the Nikon (1st row), the Sigma (2nd row), and the Samyang (last row) at different apertures. From left to right: f1.4, f2.0, and f2.8:


Above: Samyang 24/1.4 at f1.4, f2.0, f2.8


Above: Sigma 24/1.4 Art at f1.4, f2.0, f2.8


Above: Nikon 24/1.4G at f1.4, f2.0, f2.8

As you can see, the differences under controlled conditions are minimal.


Rendering of point-light sources at night-shots

Night-shots pose a different challenge for lenses as the contrast is even higher than under bright sun and point-light sources can reveal some weaknesses such as coma, haloing and color-aberrations that do not show up as prominently in other test-shots. The 100% crops below the main image show the effect of coma in the FX corner of the Samyang and the competition at various apertures. It is very strong wide open but from f4.0 the effect is negligible:


Above: Samyang 24/1.4 at f1.4; also available at f2.0, f2.8, f4.0, f5.6


Above: Samyang 24/1.4; FX-corner at f1.4 (left), f2.8 (middle), f4.0 (right)


Above: Sigma 24/1.4 Art; FX-corner at f1.4 (left), f2.8 (middle), f4.0 (right)


Above: Nikon 24/1.4G; FX-corner at f1.4 (left), f2.8 (middle), f4.0 (right)

The Samyang produces very little coma, the Nikon is the worst and the Sigma is somewhere in-between.


Rendering of out-of-focus point-light sources

This test is for the rendering of point-light sources in an out-of-focus background. The circle of confusion that is produced by this test is pretty indicative of Bokeh performance (in the background) and light fall-off. Ideally the out-of-focus image of the point-light is evenly lit and perfectly circular, with no “onion-rings”, and without coloration. Large aperture lenses normally produce an effect known as “cat’s eye” the further away from the optical axis the point-light is projected. This is due to optical vignetting in the lens barrel when light enters the lens from an angle.


Above: Samyang 24/1.4 at f1.4; also available at f2.0, f2.8, f4.0, f5.6


Above: Samyang 24/1.4 at f1.4. 50% crop from center, APS-C/DX-corner, FF/FX-corner

As the 50% crops above show: The Samyang 24/1.4 produces not the fattest circle of confusion. But that was not to be expected with a 24mm lens. It also exhibits some onion rings and the inner structure of the Bokeh ball is freckled in a way I’ve not seen before. There is also some (green) outlining and some clipping right up into the APS-C/DX-corner. Let’s see how the Sigma and Nikon compare:


Above: Sigma 24/1.4 Art at f1.4. 50% crop from center, APS-C/DX-corner, FF/FX-corner


Above: Nikon 24/1.4G at f1.4. 50% crop from center, APS-C/DX-corner, FF/FX-corner

The Nikon produces slightly bigger Bokeh balls than the Sigma but it also shows a more intense outlining in the center and the borders of the DX image-circle which is also colored green from the stronger longitudinal CAs. The circles of confusion (coc) produced by the Samyang in the center look more fluffy than from the competition – which is a good thing. But it may also be the reason that the Samyang is not the most contrasty lens in the center.

Now let’s see how this analysis of out-of-focus point-light sources translates into Bokeh-performance shooting a book-shelf.


Above: Samyang 24/1.4 at f1.4; also available at f2.0, f2.8, f4.0, f5.6


Above: Samyang 24/1.4 at f1.4. 50% crop from foreground, middle-ground, background

Foreground and background are nicely blurred. But the middle-ground suffers a bit from loCA coloring the letters green. Let’s see how the Sigma and Samyang compare:


Above: Sigma 24/1.4 Art at f1.4. 50% crop from foreground, middle-ground, background


Above: Nikon 24/1.4G at f1.4. 50% crop from foreground, middle-ground, background

The foreground is best with the Sigma followed by the Nikon and the Samyang. The middle-ground shows slightly greenish coloration from the Nikon and the Samyang. And in the background the Samyang comes up as the surprise winner: it nicely blurs the letters on the back of the books without the outlining the other lenses show. The Nikon perhaps has a little less outlining than the Sigma but still looks nervous in comparison.



Catching a strong light-source shining directly into the lens is a major risk with wide-angle lenses – even with the lens-hood attached. That could produce strange colorful ghosts-images or reduce contrast considerably through flare and glare. The appearance of flare and ghosting depends on factors like the aperture and the angle of the light hitting the lens. So to judge the proclivity of the Nikon for these artifacts I went through a series of well calculated shots against a strong light source to provoke glare and ghosting.

The results are mixed: flare and ghosting was easily provoked with the light-source inside as well as outside the frame. But the intensity of the resulting artifacts was not always very bright. See two examples below:


Above: Strong light hitting the Samyang 24/1.4 from inside (left) and outside (right) of the image frame at f8.0

So you better watch out for these effects.

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