7Artisans 10mm F2.8 II Fish-Eye ED review: The Mark II edition of one of my favorite fisheyes

The 7Artisans 10mm F2.8 II Fish-Eye ED is designed for mirrorless cameras and comes in a wide range of mount options, at a bargain price.

7Artisans 10mm F2.8 II Fish-Eye ED
(Image: © Matthew Richards)

Digital Camera World Verdict

I kind of fell in love with the original version of the 7Artisans 10mm F2.8 II Fish-Eye ED – so much so that I bought one after reviewing it three years ago. The new Mark II edition promises to be even better, redesigned to do full justice to cameras with 40 or more megapixels under the bonnet. Its build and image quality are hugely impressive, making it a real steal at the price.

Pros

  • +

    Great edge-to-edge sharpness

  • +

    Solid metal construction

  • +

    ‘De-clicked’ aperture control ring

Cons

  • -

    No autofocus, but it’s no problem

  • -

    Fully manual, so no EXIF data

  • -

    Not weather-sealed

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7Artisans has been making lenses since 2015 and, like most of its back catalog, this is a fully manual lens with no built-in electronics. The lack of autofocus isn’t really a problem because, as a fisheye lens, the depth of field is gigantic.

The only real issue is that no lens-based EXIF data is recorded in images. I love the huge viewing angle and funky-looking distortion of fisheye lenses, this one being a ‘diagonal’ rather than ‘circular’ fisheye, so it delivers a frame-filling image on the full-frame cameras for which it’s designed.

A bonus of being a fully manual lens is that it’s available in a wide range of mount options, including Canon RF, Leica L, Nikon Z, and Sony FE. The angle of view measures 185 degrees on the diagonal, beating the 178 degrees of the original 7Artisans 10mm f/2.8 Fish-Eye. All in all, the Mark II aims for a spot in the line-up of the best fisheye lenses on the market.

Shown here on a Sony A7 II body, the lens is reasonably compact and lightweight. The Mark II adds fluorescent markings, making them easier to read in the dark – a neat bonus for astrophotography. (Image credit: Matthew Richards)

7Artisans 10mm F2.8 II Fish-Eye ED: Specifications

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Mount optionsCanon RF, Leica L, Nikon Z, Sony FE
Lens construction11 elements in 8 groups
Angle of view185 degrees
Diaphragm blades10
Minimum aperturef/16
Minimum focus distance0.15m
Focus typeManual
Filter sizeN/A
Dimensions75x95mm
Weight602g

7Artisans 10mm F2.8 II Fish-Eye ED: Price

Launching at the tail end of 2024, the 7Artisans 10mm F2.8 II Fish-Eye ED came to market with a price tag of $278/£269. That’s pretty much the same as the selling price of the original lens, which makes it far less expensive than most own-brand options from camera manufacturers. That’s the sort of bonus I’d expect from a fully manual lens.

7Artisans 10mm F2.8 II Fish-Eye ED: Design & Handling

As with many fisheye lenses, the 7Artisans packs its mighty 185-degree viewing angle into a remarkably compact and lightweight package, measuring 75x95mm and weighing 602g. That’s despite having a fairly fast f/2.8 aperture rating, which is a bonus for shooting the likes of architectural interiors or taking in the huge expanse of a night sky. New fluorescent markings on the barrel make them easier to read after sundown.

Typical of fisheye lenses, the petal shaped hood is a fixed, integral part and offers physical protection to the bulbous front element. (Image credit: Matthew Richards)

One potential problem with architectural interiors for the likes of museums and cathedrals is that tripods are prohibited. Given the huge viewing angle of this lens, there’s a danger of tripod feet creeping into the image frame anyway.

Being a ‘dumb lens’, the camera doesn’t even know that the lens is attached, let alone its vital statistics. As such, in-body image stabilization isn’t available by default, but you can dial in the focal length in the menus of many cameras, enabling stabilization for handheld shooting. Either way, the very short focal length and ultra-wide viewing angle makes camera-shake less of a problem.

With no electronics, aperture needs to be set using the lens’s de-clicked control ring. (Image credit: Matthew Richards)

As with the original lens, there are 11 elements in 8 groups but the Mark II swaps out the Hoya ULD (Ultra Low Dispersion) element, replacing it with two ED (Extra-low Dispersion) elements. There’s also one aspherical element. The aperture diaphragm gains two additional blades, taking the count from eight to ten. 10-point sun stars are definitely on the menu.

The lens has a full metal build, including the barrel, mounting plate and slip-on front cap. The quality of construction feels very convincing but, as I’d expect at this price point, there are no weather-seals. (Image credit: Matthew Richards)

Build quality is impressive, with a sturdy and nicely finished metal barrel and mounting plate. The same goes for the integral hood that protects the front element, as well as for the slip-on front cap. There are no weather-seals but that’s hardly surprising, given the purchase price.

The manual focus ring has good tactile feedback and comes complete with depth of field markers for apertures of f/4, f5.6, f/8, f/11 and f/16. In practice, at f/5.6 and narrower apertures, you can pretty much set the focus ring to 2m and forget about it. (Image credit: Matthew Richards)

Fully manual lenses offer a very hands-on experience, and I’m happy to say that the focus and aperture rings work smoothly and precisely, with good tactile feedback. The de-clicked aperture ring requires a satisfying amount of torque for rotation, making it difficult to nudge from its intended setting accidentally. Depth of field markers are on hand, ideal for zone focusing in the tried, trusted and traditional way.

When it comes to the lack of autofocus, I found that I could effectively just set the focus distance to 2m and the depth of field at f/5.6 or narrower apertures would cover everything from really close up to infinity. For anything other than extreme close-ups, it’s therefore pretty much like a focus-free lens.

A nice extra touch is that the lens is supplied complete with a stylish carrying case, which is a snug fit. (Image credit: Matthew Richards)

7Artisans 10mm F2.8 II Fish-Eye ED: Performance

I’ve used plenty of fisheye lenses that are sharp in the central region of the image frame but disappointingly a bit blurry towards the edges, along with pronounced color fringing. The Mark II follows in the footsteps of the original lens by delivering impressive sharpness even out at the edges and corners of the frame, as well as doing an admirable job of minimizing color fringing.

Don’t look down! Look up instead – fisheye lenses give an interesting view of ornate architectural ceilings and this one is impressively sharp from edge to edge.EXIF: Sony A7 II + 7Artisans 10mm F2.8 II Fish-Eye ED (1/60 sec, f/5.6, ISO 2500) (Image credit: Matthew Richards)

Naturally, barrel distortion is off the scale, but that’s what gives fisheye images their distinctive look and visual impact. It’s also one of the reasons that we don’t run lab tests on fisheye lenses, the other being that we’d need a test chart of architectural proportions.

With its monster 185-degree viewing angle (on the diagonal), the 7Artisans fisheye gives that trademark extreme barrel distortion effect.EXIF: Sony A7 II + 7Artisans 10mm F2.8 II Fish-Eye ED (1/60 sec, f/5.6, ISO 160) (Image credit: Matthew Richards)

7Artisans 10mm F2.8 II Fish-Eye ED: Sample Images

The images in the following gallery were taken at Wells Cathedral, in the English county of Somerset, as well as in the surrounding city streets, albeit on a very dull and misty day, somewhat typical for the time of year in the West Country.

7Artisans 10mm F2.8 II Fish-Eye ED: Verdict

I feel that there are definite improvements over the original edition of this lens, the Mark II doubling up on extra-low dispersion elements and having a more well-rounded 10-blade aperture diaphragm, which also happens to produce lovely 10-point sun stars. It’s beautifully built with a sturdy metal construction, the aperture and focus rings work smoothly and precisely, and the image quality is fabulous. I’d go out and buy one right now if I didn’t have the original version as a permanent fixture in my kit bag. Whether or not it’s worth trading in my original lens for a Mark II is a trickier matter. For now, I’ll stick rather than twist.

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FeaturesIt has all the fisheye features I need but no autofocus, nor any electronics.★★★★
DesignCompact and lightweight, it’s an ideal mirrorless fisheye and very nicely built.★★★★★
PerformanceImage quality is highly impressive for a fisheye lens, with excellent edge-to-edge sharpness.★★★★★
ValueConsidering the build and image quality, it’s absolutely stellar value for money.★★★★★

(Image credit: Matthew Richards)

Should you buy the 7Artisans 10mm F2.8 II Fish-Eye ED?

✅ Buy this...

  • You want that classic fisheye look that can make images really stand out from the crowd.
  • You’d like a fisheye that’s versatile enough to take on everything from architectural interiors to the night sky above.

🚫 Don't buy this...

  • You feel the need for autofocus but, trust me, manual focusing causes no problems with this fisheye lens.
  • You’d prefer a ‘circular fisheye’ that gives a full 180-degree viewing angle on the horizontal and vertical, rather than on the diagonal, and produces circular images.

Alternatives

Image

The AstrHori 12mm F2.8 Fisheye is another fully manual lens for mirrorless cameras, available in Sony E, Canon RF, Nikon Z, L-Mount and medium frame Fujifilm GFX mount options. It costs around $256/£259.

Image

The Sigma 15mm F1.4 DG DN Diagonal Fisheye Art is a relatively big, heavy and fully-featured lens, complete with autofocus and a super-fast f/1.4 aperture rating. It’s available in Sony E and Leica L mount options, designed for full-frame mirrorless cameras. It also has a relatively weighty price tag of around $1999/£1859.

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Matthew Richards

Matthew Richards is a photographer and journalist who has spent years using and reviewing all manner of photo gear. He is Digital Camera World's principal lens reviewer – and has tested more primes and zooms than most people have had hot dinners! 

His expertise with equipment doesn’t end there, though. He is also an encyclopedia  when it comes to all manner of cameras, camera holsters and bags, flashguns, tripods and heads, printers, papers and inks, and just about anything imaging-related. 

In an earlier life he was a broadcast engineer at the BBC, as well as a former editor of PC Guide.