I looked forward to this lens, as it completes the idea of having at least three "standard" focal length, to be able to work with more advanced.
With the wider, medium and longer, focal length, the question is, of course, how much they match each other, so a series of images can be taken, and the Velvet aesthetic stays comparable. I would say that they work as a set very well.
I assume the focal length was set more based on image quality than to create a set (small field of view equals the next longer lens compared to the wider field of view, like with the classic 35, 50, 85 sets).
The construction is flawless, and overall, it feels like a handcrafted lens. Built to be used for generations. I love the long throw of the focus barrel.
However, I could easily live without the F/Stop clicks.
The only downside for me is the Studio lit. It might work well in a studio set up, but in the field, it is not safe, and all my lenses with these slide lits have a replacement from day one. I love the lits by itself, but not on the lens.
With its wide field of view, it becomes even more a candidate for image stitching, thinking about 360ºx180º. Stitching larger images with the 56 and the 85 was already no problem. (The opposite would be a Petzval construction, hard to stitch, if at all).
My test to create an equirectangular showed no problems. The contrast and color are well produced. I say that, as any 360ºx180º images might look into the sun and with the sun, which is typically a considerable stretch. The lens performed well.
I like to have more variety with these lenses. For example, with the glow, while being in a single F/stop. The Specular highlights can bloom quite heavily. Which requires a Polarizer to tame those, or just to balance them with other brighter areas. I needed to use a specific Wide Angle Polarizer with a 28mm lens to get a smooth adjustment established.
On the other hand, a Pearlescence filter allows here to add even a little bit more velvet to the whole images. I prefer here a level stronger over the 56, to compensate for the wide-angle.
Those filters usually help to minimize the chromatic aberration a little bit, which is not needed here, so far I can tell after around 1,000 exposures with it.
The lens has no contacts to the camera, and any application that needs the data needs an option to write this into the data set manually.
The distortion is well adjusted and reasonable, as is the vignetting.
A considerable advantage is the close focus option, and the achieved Bokeh is terrific.
All my explorations were done with a Canon EF version of the lens, and with a Canon 5dm4.
As a side note, I have all LensBaby full-frame optics and lenses, so I'm somewhat biased.
LensBabies are part of my lens collection (I collect lenses for over 40 years) is these are a vital part of my Art. I really look forward to each new idea coming from LensBaby.