After recently switching around some glass, I started to think what option I might like for 21mm. When I came across a Leica option that has internal distortion, just like the Sigma 17mm I ditched last year, I started to sour on the idea, realizing that during the four months I traveled with that lens in the kit, I used it maybe three or four times.

Same with the 11-23mm on another junket a few years back. And in all my books combined, I have maybe three print images total that were shot with wider than 24mm. So a hefty investment in that focal length started to seem like a bad idea. But one option presented itself at the other end of the spectrum: a 7artisans 18mm f5.6 for L.

Easy to find locally, weighing 146 grams, and costing less than US$80, it was worth a laugh, I figured. Reviews slammed it for vignetting, soft corners, and mild distortion, among other things. But for non-critical work, Instagram, perspective control shots, could it be shoehorned into doing the job?

The short answer: yes. Ultrawides sometimes get criticized for poor corners because people don’t know how to focus them. And every MF ultrawide has its own characteristic for getting optimal focus on the field’s depth. With the 7artisans 18mm, it’s taking me some time to figure out what works best for getting both distant and near objects in focus, but on a relatively flat field it’s a surpisingly decent lens.

Will I eventually feel as though I deserve a better option? Probably. But for little expense, little weight, and a little effort, for the moment it’ll cover the infrequent times I need something that wide. Closest thing I could think of to compare it to is the old Nikon 20mm f2.8 AF-D, which was about ten times the price and not one bit better. And made of plastic!

SL2/7artisans 18mm f5.6 . . .