35 Photos Through the Lensbaby Edge 35

Imagine changing your photography instantly. Like many photographers, I am always on a quest for optical sharpness, and only B&H Photo and a few local camera stores know how much this quest has cost me over the past 30-some years. When handed an optic like the new Lensbaby Edge 35, my first reaction is, “What in the world will I photograph with this lens?” It is well outside my photographic wheelhouse. But, once you strap the Edge 35 onto your camera, you immediately sense a certain creative freedom as you come to realize that not every part of every photo needs to be in razor-sharp focus.

Over the years, I have also become a fan of shallow-depth-of-field images and I find myself on a search for ever-faster glass (yet another expensive quest). Again, put the Lensbaby Edge 35 on your camera and you find yourself creating shallow DOF effects that can only be realized by other tilting lenses, regardless of their maximum aperture size.

Photographs ©Todd Vorenkamp

Instead of getting wordy about the Lensbaby Edge 35 as it was mounted on a Fujifilm X-T3, I will let the images (and captions) speak for themselves here and explain (when needed) what makes this lens a tool for unlocking your visual imagination to capture creative and unique images.

Selective-focus cloudscapes are possible with the Edge 35.

Here you can see the difference between horizontal and diagonal tilt, one that goes up Fulton Mall in Brooklyn. If you are going to do the “miniature” or “toy” effect from a rooftop, include the street.

This scene, captured with a standard 35mm lens, would be pretty mundane. The Edge 35 gives it a unique aesthetic.

The Lensbaby Composer II allows you to tilt the Edge 35 vertically, horizontally, diagonally, or anywhere in between. Here I went semi-diagonally on the left thirds line, to keep the tree in focus, while the rest of the world melts away.

The “miniature” or “toy” effect at dusk and night. No need to question why I consider myself a “night photographer” when you see these two images.

This is an abstract from my building’s elevator that almost didn’t survive an in-camera edit. I am glad it did.

This building is about 2/3rds of the way to its 63 floors. Not many lenses will let you blur the bottom while keeping the top floors in focus.

The Federal Courthouse, in Brooklyn, where El Chapo has been hanging out. You’d need an f/0.1 lens to get this kind of DOF action.

I am a chicken finger connoisseur, but this is as close as I come to food photography. Excellent grub, by the way.

Does this man know he is about to walk into the World of Bokeh?

The shallowest depth-of-field hallway ever

I couldn’t position the tripod here, so this shot is handheld. Look closely, everything from the railing in the foreground to the building in the background is relatively sharp. Everything to the right and left? Not so much.

Horizontal tilting at the top third of the frame

Dial-out the tilt on the Edge 35 and you have a sharp 35mm lens with some nice sun stars. Then, tilt away.

The Bokeh Tower. This building, when finished, will have the highest rooftop pool in the Western Hemisphere, as well as an observatory on top.

The Edge 35 allows another unique perspective.

Do these brave mariners know they look like they are rowing across a pond in a diorama of Central Park?

Delayed trains are less of a hassle when you have a camera and a beautiful station to photograph.

Good luck getting a photo that looks like this with a smartphone camera.

This archway is photogenic, but even more so with the Edge 35.

I was among many photographers on this bridge. Based on the lenses I saw, this is the most unique image captured during those minutes. PS: Photography educators, feel free to use this image as an example of framing.

I know where your eye is going in this frame. Imagine a model leaning up against that post while the rest of the underground melts away.

You’d think that this dog was John Lennon reincarnate, based on the paparazzi-like number of photographers who were drawn to the leash-less K-9. The tilt of the Edge 35 helped here, but I wish I’d gotten the dog’s face sharper.

The Lensbaby Edge 35 mounts on the Lensbaby Composer Pro II (if you already own one) or it can be purchased with the Composer Pro II for Fujifilm X, Canon EF, Nikon F, Micro Four Thirds, and Sony E mounts. It offers a 35mm focal length, an aperture range from f/3.2 to f/22, and a minimum focus distance of 7".

What are your thoughts on the Lensbaby Edge aesthetic or the Lensbaby lineup of optics? Do you have questions about the Lensbaby system? Keep us up to date in the Comments section, below.

2 Comments

David E.

4 years ago

I've been using Lensbaby Optics for 3 or 4 years now - started with a Sweet 50, and added an Edge 50. I also have a Trio 28, that I'm just getting to know.

The Sweet is easier for a beginner to grasp, I think, but I prefer the kind of effects that you can get with the Edge. You have a great selection in this collection! As I'm using a Sony a6500, the Edge 35 is appealing to get a wider view than the 50, and I'm seriously considering adding one to the collection at some point. Also worth mentioning - focus peaking is tremendously useful for these optics to give you an idea of where your slice or sweet spot is going to be!

Todd V.

4 years ago

Hey David,

Thanks for the kind words! I very much appreciate them!

Very cool that you are a Lensbaby fan. I personally enjoy the freedom of creativity when using them. They are fun!

Very good point regarding focus peaking. It is invaluable for the Edge lens.

Thanks for stopping by and reading Explora!