7artisans has been teasing the launch of a new lens – and I have been trying to work out what it is from the limited information provided by the silhouetted image and the Chinese writing.

The first thing that's clear is that this will be second lens in 7artisan's MAX range. The first was the AF 135mm f/1.8 Max – a fast, metal-bodied autofocus prime for Sony, Nikon, and L-mount full-frame mirrorless cameras. It is safe to assume that the newest addition will also be a fast prime and available in these three mounts.

If you use Google to decipher the characters, you then get this rough translation "Automatic ultra wide-angle. A new starting point." The petal-shaped lens hood in the image also reaffirms this is a super-side lens – as is the suggestion that it would be a good lens for astrophotography.

Reading on, the teaser says "The secret will be revealed soon", and then adds the enigmatic last line, "In its eyes, there are no right angles."

I might be reading too much into this, but to me this strongly suggests this is a fisheye lens - ie non-rectilinear prime that purposely doesn't correct for distorted lines in order to fit more into the frame.

Rumor site Asobinet.com additionally tells us that the model number for this new lens 012456 - and that these six digits will contain both the focal length of the lens, and its maximum aperture. It offers 10mm f/4, 12mm f/4 or 14mm f/2 as possibilities – all of which could easily be diagonal (non-circular) fisheye lenses of the type I am imagining.

What we also know is that the first Max lens was competitively priced… The 7artisans AF 135mm f/1.8 Max is now on sale for $689/£615 in Sony FE, Nikon Z, or L-mount fittings.

Hopefully we really will get full details soon…

With camera manufacturers now focused on mirrorless systems, it would be easy to assume DSLR lenses have faded into history. Japan's latest sales figures suggest otherwise. According to Japanese retailer Kitamura, a 11-year-old Canon DSLR lens climbed to No.2 in its best-selling lens chart for June 2026 – outperforming almost every modern mirrorless lens on the list.

The lens in question is the Canon EF 50mm f/1.8 STM. The only optic ahead of it is the Sigma 18-50mm f/2.8 DC DN Contemporary for Canon RF mount – the company's first RF lens. The zoom is also available for Sony E, L-mount and Fujifilm X-mount.

Kitamura's June Top 10 reflects today's mixed lens market, with two lenses each from Sigma, Canon, Sony and Nikon, while Tamron and Fujifilm each claim one spot. Yet among all those zooms, there's just a single prime lens in the ranking – and it's the budget-friendly DSLR fifty first released more than a decade ago.

Kitamura's 10 best-selling lenses, June 2026

1. Sigma 18-50mm f/2.8 DC DN | C (RF-mount)
2. Canon EF 50mm f/1.8 STM
3. Sigma 28-70mm f/2.8 DG DN | C ( E-mount)
4. Canon RF 100-400mm f/5.6-8 IS USM
5. Nikon Z 24-120mm f/4 S
6. Sony E 70-350mm f/4.5-6.3 G OSS
7. Fujifilm XF 16-55mm f/2.8 R LM WR II
8. Tamron 25-200mm f/2.8-5.6 Di III VXD G2 (E-mount)
9. Nikon Z 180-600mm f/5.6-6.3 VR
10. Sony FE 24-70mm f/2.8 GM II

Why the Canon EF 50mm f/1.8 STM is so popular

Launched in 2015, Canon's EF f/1.8 STM is still available for $169 / £129, making it one of the most affordable first-party prime lenses on the market.

In our review, we described the classic nifty fifty as an "affordable marvel that any Canon photographer should own."

Our reviewer, Matthew Richards, praised its combination of sharp optics, smooth bokeh, fast and reliable AF (autofocus) and exceptional value for many, arguing that it outperforms Canon's EF 50mm f/1.4 USM in almost every meaningful area apart from its wider maximum aperture.

Its lightweight 160g (5.6 oz) design only adds to its appeal, making it an easy everyday lens for DSLR photographers.

Perhaps most impressively, our testing found that the budget-friendly prime delivered more accurate AF than the pricier EF 50mm f/1.4 USM, and produced sharper images across much of the f/1.8-2.8 aperture range.

It also offered better edge sharpness on APS-C cameras, along with lower levels of color fringing and distortion.

Taken together, those qualities help explain why a decade-old DSLR lens continues to attract buyers, even as the camera industry shifted almost entirely to mirrorless systems.

You might like...

Browse the best standard zoom lenses, the best telephoto lenses, and the best Canon lenses for DSLRs.

Viltrox has officially announced that two of its popular line of "Air" prime lenses are coming to Micro Four Thirds cameras (MFT), giving the format a much-needed shot in the arm of third-party support.

While MFT is the longest-running and most prolific mirrorless format, having launched back in 2008, third-party manufacturers have gradually stopped releasing new lenses over the years.

Perhaps most significantly, Sigma stopped developing Micro Four Thirds lenses back in 2023 (though it has produced OEM lenses for OM System, such as the M.Zuiko 150-600mm).

However, this announcement could signify that Viltrox is about to fill the void left by Japanese third-party lens makers.

The Viltrox 25mm f/1.7 Air along with the Viltrox 35mm f/1.7 Air have both been confirmed for MFT cameras, offering respective 50mm and 70mm equivalent prime focal lengths.

The former is a slightly crowded space, including first-party "nifty fifty" options in the form of the weather-sealed OM System 25mm f/1.8 II and the affordable "plastic fantastic" Panasonic Lumix G 25mm f/1.7 Asph.

(The Panasonic Leica DG Summilux 25mm f/1.4 II has reportedly been discontinued.)

The latter is a different story, though, with the closest autofocus options being the Olympus M.Zuiko 30mm f/3.5 Macro and the Panasonic Lumix G Macro 30mm f/2.8 Asph Mega OIS, both of which offer a shorter 60mm equivalent experience.

While it hasn't been confirmed by Viltrox, my assumption is that these lenses are simple mount swaps with the same general size and optical formula for larger APS-C image circles (since they are already available for Fujifilm X, Nikon Z and Sony E).

In other words, don't expect the lenses to possess new slimmed-down designs that better befit the more compact MFT bodies.

Still, if these first two primes prove popular, it seems likely that we can expect more Viltrox optics to make their way to Micro Four Thirds. In addition to the brilliant Evo and Lab lenses, I'd personally love to see the Viltrox AF 28mm f/4.5 – an ultra-thin autofocus pancake lens.

Pre-orders and international pricing have yet to be confirmed, but both the Viltrox 25mm f/1.7 Air and Viltrox 35mm f/1.7 Air carry a price tag of ¥899 in China – which is around $130 / £99 / AU$189.

You might also like…

Check out the best Micro Four Thirds lenses currently available, which includes some of the best Olympus / OM System lenses.

Meike has launched a new fast portrait prime lens: the 85mm f/1.4 Mix II. If that sounds familiar, it's been only a matter of months since the company gave us another 85mm lens, the 85mm f/1.8 SE II.

But where that was a budget lens, this new version costs over twice the price. The extra cash buys you that extra 1/3-stop aperture speed, along with a much more substantial build - the f/1.4 Mix II is both bigger and nearly twice as heavy as the f/1.8 lens. Meike has managed to lighten it compared to the original f/1.4 Mix though, and it's equipped with a smoother and quieter ‘Hyper STM’ autofocus motor. The Mix II can also focus closer than its f/1.4 predecessor - 0.81m vs. 0.98m - and it's claimed to have better sharpness and resistance to flare.

The image quality advantages come courtesy of a 15-element optical stack arranged in 11 groups. The glass includes three ED (Extra-low Dispersion) elements, three HR (High Refractive index) elements and one aspherical element, along with multi-layer coatings. On the outside you'll find a physical aperture ring that moves in 1/3-stop steps, plus a click/de-click switch that enables smooth and silent aperture transitions when shooting video.

The 85mm f/1.4 Mix II is available for Nikon Z (FX), Sony E (FE), and L-mount cameras and costs $569 / £429 / AU$826. As mentioned, that's a serious price increase compared to the existing 85mm f/1.8 SE II, but the f/1.4 is built to be a professional-grade tool, and judged by that standard, it's very well priced compared to equivalent Nikon, Sigma and Sony lenses.

We've already got our hands on a Meike 85mm f/1.4 Mix II to see how it performs compared to its rivals - check out our full review here.

The Megadap M2RF makes a tantalizing promise: to enable manual focus Leica M lenses, designed for rangefinders with their magical rendering, to be used on Canon RF cameras with full support for Dual Pixel Autofocus – including eye tracking and subject detection.

Well, it's tantalizing and it's also true: the Megadap M2RF transforms Leica's gorgeous rangefinder glass into autofocus EOS R optics. Something for which, as a Canon shooter, I'm doubly grateful, given how closed the RF mount is to full-frame AF lenses from other manufacturers.

I had a blast using ultra-refined M-mount lenses to capture images with their unique character on my Canon EOS R5, though there are definitely a few asterisks that potential buyers should be aware of.

Megadap M2RF: Price & availability

The Megadap M2RF adapter is available for pre-order now, priced $399 / £429 (Australian pricing to follow).

For comparison, Megadap currently produces two other cross-mount autofocus adapters: the Megadap ETZ21 Pro+ (Sony E to Nikon Z) for $249 / £259 and Megadap EFTZ21 (Canon EF to Nikon Z) for $299 / 299.

Megadap M2RF: Build & handling

The build quality on the Megadap M2RF is first class. This isn't one of those flimsy adapters you get on eBay; it's a reassuringly heavy, substantially constructed device, beautifully machined and with thick, solid gold-plated contacts.

It has a custom coreless motor, with dual-hall (using two magnetic sensors) and optical sensing, using an electronic helicoid driver system for steady and precise control of the attached lens.

All the controls are likewise exquisitely made, from the aperture switch to the AF / MF selection button to the lens release. This feels every inch a premium product, befitting the luxury Leica glass that will be mounted to it.

As I'll explain in the Performance section below, the aperture switch is used to select the aperture from the preset positions that sync with your camera's aperture setting.

The AF / MF button gives you a one-touch toggle between auto and manual focus (whereupon M2RF retracts back to infinity). You can also double-tap the button in manual mode to engage manual macro mode, which fully extends the lens to its maximum focus position.

As a bonus, because the adapter extends the lens by up to 4.5mm beyond its original position, this reduces the 0.7m standard minimum focus distance of M lenses – enabling you to get close-up shots without accessories like extension tubes, unlocking new creative opportunities.

I also want to shout out the front and back caps, which are so often an afterthought from third-party manufacturers. These are handsome-looking transparent caps, bearing the Megadap logo, and like the rest of the unit feel very premium.

Even so, while it's an impressively robust product, there is one key limitation to the lenses you can mount to the Megadap: how much they weigh.

While every make of M-mount glass is supported, whether it's made by Leica, Voigtländer, Zeiss or anyone else, it only plays nicely with lenses that are 500g or less – which means that bigger, heavier M glass won't be well suited, as they put too much strain on the mount and motor.

And of course, if you're feeling brave, you can double-stack almost any other vintage lens (such as M42 glass) via an M-mount adapter and then attach that to the M2RF for even more creative possibilities.

Megadap M2RF: Performance

I primarily tested the Megadap M2RF with the Leica Summilux-M 50mm f/1.4 Classic and Leica Summicron-M 28mm f/2 Asph. Overall, it delivers pretty astonishing performance for specific genres of photography – or, perhaps more accurately, for a specific pace of photography.

For portraiture, still life, landscape, travel, street and everyday shooting – in other words, shooting at a fairly soft pace or with a gently moving subject – it's absolutely brilliant.

For example, the autofocus keeps up with people absolutely wonderfully during a portrait session. The eye tracking is particularly impressive, and it's also steady and reliable for head and full-body tracking when your subject moves around. Using the Megadap for the first time is really quite a magical experience.

However, other genres and paces of photography are definitely not well suited to what the Megadap does. If you're hoping to shoot fast action like sports or wildlife, that's not what this adapter is for. Nor are most forms of video, where multi-axis movement overwhelms the device.

More than just the capabilities of the device itself, though, it's important to understand that there is a lot expected of the user that may surprise someone expecting a plug-and-play, fully automatic experience.

The Megadap M2RF is a "push-pull" adapter that uses a helical drive to move the lens forward and backward in order to shift the plane of focus. As such, you must remember to turn the focus ring of your adapted lens to infinity or performance will be substantially impeded.

It's definitely something that takes some getting used to – and especially if you're somebody who whips your camera in and out of a bag, you need to be mindful of knocking the focus ring too far.

In addition, when mounting the lens, you need to synchronize its aperture value to your camera's by setting it to a specific aperture value – f/1.4, f/2, f/2.8 or f/4 – corresponding to the values on the aperture switch on the side of the adapter.

Again, if you don't do this then the performance will be significantly degraded. Getting your muscle memory used to these steps each time you use the adapter or switch lenses is crucial, otherwise you'll likely experience hunting or complete focus failure.

Obviously different lenses are going to have different focal length and aperture combinations, which is a further point to factor in.

The adapter comes with four factory presets (Leica Summilux-M 50mm f/1.4 Asph, Leica Summicron-M 35mm f/2 Asph, Zeiss Biogon T* 25mm f/2.8 ZM and Voigtländer 50mm f/1.2 Nokton Aspherical II), but it can be customized for any four lenses via the Megadap M2RF Custom Tool.

While it's brilliant to be able to add your own lens data (which is then helpfully written to your EXIF), it's fair to say that Megadap's expertise is in optics and not software. The Custom Tool is certainly usable, but it's a bit clunky and doesn't have the same premium feel as the M2RF itself.

Megadap M2RF: Samples

Megadap M2RF: Verdict

I've always been skeptical about cross-system adapters, but I was pretty blown away by the Megadap M2RF… once I'd mastered its setup intricacies! Setting infinity focus and syncing the aperture before shooting is an extra step when mounting a lens, but once it becomes part of your muscle memory you can enjoy seamless shooting.

I love the magical rendering of Leica's M lenses, but rangefinder focus gets harder as my eyes get worse with age. So it's nothing short of liberating to be able to use them on an RF-mount camera – and the ability to make use of Canon's Dual Pixel AF and algorithmic subject detection is a truly transformative experience.

It's obviously important to be aware of the Megadap's limitations. While it offers fairly fast focus that can keep up with gently moving genres, it's not designed for fast action – which limits its usefulness for wildlife, sports and video. But then, I don't believe anyone is really interested in adapting M lenses for any of those.

The Megadap M2RF is ideally suited for the intended purposes of M glass, like portraiture or street photography. It replicates rangefinder results on your RF camera but supercharges them with the power of Canon's autofocus. If you've ever wanted to add a touch of class to your EOS R camera, this might be the best way to do it!

You might also like…

Take a look at the best Leica M lenses to adapt and, if you get a taste for the finer things, check out the best Leica cameras.

While a few high-end Nikon Z lenses are still made in Japan, the ‘Big N’ famously shifted Nikon camera production to Thailand back in 2020, with lens production now split between Japan, China, and more recently, Vietnam. As far as I was aware, only the Nikon Z DX MC 35mm f/1.7 is produced in Vietnam, but according to Nikon Rumors, it appears to have been joined by the Nikon Z 28-75mm f/2.8.

The rumor website was tipped off by the proprietor of another website called Photosynthesis, which is dedicated to cataloguing Nikon lenses. Although not confirmed by Nikon, an image of the Nikon Z 28-75mm f/2.8 clearly showing ‘Made in Vietnam’ on the underside of the barrel adds credence to the claim and you have to wonder if other optics could follow.

Nikon Rumors points towards new US tariffs as being the likely catalyst for the decision, surmising “moving manufacturing from China to Vietnam incurred additional expenses (...) which will be reflected in pricing.” As a Nikon photographer myself, it’s certainly nice to know where the company’s products are produced, but as far as I’m concerned it’s business as usual.

Sure, potential price rises are always going to be a concern, but that’s not a Nikon-specific problem. We know that both component scarcity and costs, along with a challenging economic climate and higher cost of living, are affecting consumer electronic prices across the board. Nikon also has an established presence in Vietnam, so it's not like it's starting from scratch.

Plenty of imaging goods are produced in Vietnam. Canon, Tamron, and Ricoh all have Vietnamese factories, and I can’t see there being any noticeable differences in quality from Nikon lenses produced in China, after all, the Nikon Z DX MC 35mm f/1.7 was awarded 4.5 stars on test. I’ll be interested to see if more ‘Made in Vietnam’ Z lenses appear and will, of course, update you if Nikon makes an official announcement.

You might also like...

Nikon’s first full-frame mirrorless camera makes an ideal upgrade for the budget-conscious photographer. Here’s why I still recommend the Nikon Z6 in 2026. It’s like When Harry Met Sally: Suddenly, I’m looking at the Nikon ZR like it’s a viable stills camera. My screen time is already atrocious – in a world where retro compact cameras are king, I’d like to see more hybrid viewfinders.

The Leica Summicron-M 28mm f/2 ASPH. is now in its third generation, and this latest version brings one of the M system’s most versatile focal lengths firmly into the modern era.

Combining a fast f/2 aperture, a compact aspherical design, an integrated hood, and a new 0.4m close-focusing distance, it promises classic Leica handling with greater flexibility than ever before. I tested it on the new Leica M EV1 to see whether this £4,700 / $6,000 lens can justify its considerable price.

Leica 28mm Summicron-M f/2 ASPH. Specifications

Mount: Leica M-mount
Lens design: 9 Elements in 6 Groups
Maximum aperture: f/2
Minimum aperture: f/16
Angle of view: 74°
Minimum focusing distance: 1.3' / 40 cm
Filter size: 46 mm
Dimensions: 2.3 x L: 2.2" / ø: 58 x L: 55 mm
Weight: 9.7 oz / 275 g

Leica 28mm Summicron-M f/2 ASPH. key features

The Leica Summicron-M 28mm f/2 ASPH., model 11618, represents the third generation of Leica’s fast 28mm lens for the M system. It takes the traditional qualities associated with an M lens – compact dimensions, mechanical controls, premium construction and a clear focus on photographic simplicity – and updates them for the latest generation of digital Leica cameras.

Its 28mm focal length makes it an extremely versatile option for documentary, travel, street, and environmental portrait photography. It is wide enough to include plenty of context within the frame, but it does not immediately introduce the more extreme perspective effects associated with wider focal lengths. For photographers who like to work with a single lens, 28mm can cover a surprisingly broad range of subjects.

The fast f/2 maximum aperture adds another layer of versatility. It allows the lens to be used comfortably in lower light while also providing some control over depth of field, particularly when working near the new 0.4m minimum focusing distance. A 28mm lens will never produce the same dramatic subject separation as a fast 50mm or 75mm optic, but the combination of f/2 and close focusing makes it possible to isolate details while still retaining a sense of the surrounding environment.

Aspherical elements are used to help maintain strong image quality while keeping the lens compact. This is one of the core appeals of Leica’s modern M lenses: they deliver impressive optical performance without turning the camera into a large or cumbersome system.

The biggest practical development is the extension of the focusing range from the traditional 0.7m limit down to 0.4m. The lens remains mechanically coupled to the rangefinder between infinity and 0.7m, while focusing between 0.7m and 0.4m requires Live View or an electronic viewfinder.

This model also features the built-in retractable hood that is becoming increasingly common across Leica’s newer close-focus lenses. I particularly like its implementation on the 28mm Summicron-M. It keeps the overall package neat, removes the need to carry a separate hood, and feels entirely in keeping with the compact philosophy of the M system.

Leica 28mm Summicron-M f/2 ASPH. Build and handling

The Leica Summicron-M 28mm f/2 ASPH. is built to an outstanding standard, exactly as you would expect from Leica. Its metal construction feels substantial without making the lens unnecessarily heavy, and every control has the precision required from a fully manual lens at this level.

Mounted on a Leica M camera, it creates a wonderfully compact and well-balanced package. The 28mm Summicron-M feels reassuringly solid in the hand, yet it is small enough to carry for an entire day without becoming a burden. That compactness is an important part of the lens’s appeal, especially when compared with fast 28mm lenses designed for larger autofocus mirrorless systems.

The built-in hood is one of my favourite aspects of the design. It slides smoothly into position when required and retracts neatly when it is not needed. There are no separate accessories to attach, remove, or potentially lose, and the hood does not disrupt the clean silhouette of the lens.

The manual focusing action is beautifully smooth and offers enough resistance to make precise adjustments without feeling slow. Leica has also incorporated a noticeable stopping point when the lens reaches 0.7m. From there, you deliberately push the focusing mechanism further to enter the extended close-focus range between 0.7m and 0.4m.

I found this particularly encouraging in use. You can clearly feel the transition when the camera is held to your eye, so there is never any confusion about whether you have moved beyond the range that can be focused through a traditional optical rangefinder. It is a small mechanical detail, but one that makes the expanded focusing range feel intuitive rather than awkward.

The aperture ring is equally impressive. It is incredibly responsive, with positive clicks that are easy to feel when the camera is held to your eye. This makes it straightforward to make quick exposure adjustments without lowering the camera or checking the position of the aperture markings.

I tested the lens on the new Leica M EV1, and I have to say that the combination works incredibly well. The compact dimensions of the lens suit the body perfectly, while the electronic viewfinder lets you make full use of the close-focus range without changing how you operate the camera.

On a Leica M11-P or another optical rangefinder-equipped M camera, reaching the close-focus range means switching to Live View and relying on the rear LCD screen. That can interrupt the otherwise fluid experience of shooting through the optical finder. The M EV1 eliminates this slightly strange operational change.

With the EVF held to your eye, you can continue focusing smoothly from infinity all the way down to 0.4m. Focus magnification and electronic focusing aids also make it much easier to confirm critical focus, particularly when working at f/2 or f/2.8.

Leica 28mm Summicron-M f/2 ASPH. Performance

The images produced by the Leica Summicron-M 28mm f/2 ASPH. are fantastic. At its maximum aperture, the lens delivers a lovely combination of detail and character. Images remain sharp, but they do not feel overly harsh or sterile, and there is a pleasing transition between areas that are in and out of focus.

Shooting at f/2 also gives the lens a distinct visual quality. There is enough separation to draw attention to a subject when working at shorter distances, but the 28mm field of view continues to provide context around it. This makes the lens particularly effective for environmental portraits, close documentary details and low-light street photography.

As the aperture is stopped down, the rendering becomes progressively more controlled and clinical. Between f/4 and f/8, the lens produces the kind of crisp, detailed and highly consistent results that make it suitable for landscapes, architecture, travel and general documentary work.

I normally tend to photograph between f/4 and f/8, particularly when using wide-angle lenses. However, while testing the 28mm Summicron-M on the Leica M EV1, I found myself shooting much more frequently at f/2 and f/2.8.

That was largely because the EVF made it easier to hit critical focus. Rather than relying entirely on rangefinder alignment or moving to the rear screen when entering the close-focus range, I could keep the camera to my eye and confirm exactly where focus was falling. This made me far more confident about using the lens wide open.

The ability to focus down to 0.4m also changes the way the lens can be used. Previous versions of the 28mm Summicron-M were already excellent documentary lenses, but the shorter minimum focusing distance opens up opportunities for photographing smaller details, food, objects and more intimate moments.

It does not transform the lens into a macro optic, but it brings a useful new dimension to a focal length that is often associated primarily with wider scenes. You can move closer, fill more of the frame and take greater advantage of the f/2 aperture without needing to change lenses.

The 28mm Summicron-M also feels extremely consistent throughout its aperture range. At wider settings, it offers a little more atmosphere and character, while smaller apertures produce cleaner, more technically precise results. This gives photographers a meaningful creative choice rather than simply encouraging them to stop down for better quality.

As expected from a modern Leica aspherical lens, the overall rendering is refined and controlled. Detail is excellent, contrast is strong without feeling excessive, and images have the clarity required to make the most of high-resolution M cameras.

Sample images: Leica 28mm Summicron-M f/2 ASPH. 

Leica 28mm Summicron-M f/2 ASPH. lab results

We run a range of lab tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion and chromatic aberrations.

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the center of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths. The tests also measure distortion and color fringing (chromatic aberration).

Sharpness:

Sharpness is excellent in the center of frame, even wide open at f/2. Move out towards the corners and sharpness quickly drops off, however, though at least there's no further reduction in sharpness when you reach the extreme corners of frame.

Fringing:

There's a little fringing visible in the corners of frame at mid-to-narrow apertures, and wide open you might spot some aberrations in the mid-frame, but it's nothing distracting.

Distortion: -0.33

The lens produces just a hint of barrel distortion, but it's impressively minimal for a wide lens.

Leica 28mm Summicron-M f/2 ASPH. Verdict

The Leica Summicron-M 28mm f/2 ASPH. is an extremely versatile lens and one that is capable of producing outstanding images. Its compact construction, fast maximum aperture, and expanded focusing range combine to make this third-generation model the most practically capable version Leica has produced.

The built-in hood is a welcome improvement, the aperture and focusing controls feel exceptional, and the noticeable transition at 0.7m makes the close-focus mechanism easy to understand through touch alone. These details show how Leica has modernised the lens without losing the mechanical simplicity that defines the M system.

Its partnership with the Leica M EV1 is particularly convincing. The electronic viewfinder allows the lens’s extended focusing range to feel like a natural part of the shooting experience rather than an additional feature that requires a change in technique.

On an optical rangefinder body, the need to move to the rear LCD once you pass 0.7m can still feel a little awkward. On the M EV1, however, you simply continue focusing with the camera held to your eye. That makes the 28mm Summicron-M feel more complete and encourages greater use of both its close-focus capabilities and wider apertures.

There is, of course, no escaping the price. At $6,000 / £4,700, the Leica Summicron-M 28mm f/2 ASPH. represents a considerable investment. That is a lot of money, no matter how you look at it, and there are significantly more affordable 28mm alternatives available for the M system.

However, as I often say with Leica lenses, this is not necessarily something you buy with the intention of replacing it in a few years. It is a lens that could remain in your camera bag for the rest of your photographic career. Viewed across decades of use, that initial cost may become easier to justify.

The 28mm Summicron-M produces the kind of outstanding images that it should at this price, while its build quality and mechanical operation feel designed to last. The cost must still be seriously considered, particularly when comparing it with other options on the market, but there is no questioning the quality or capability on offer.

For photographers who want one of the finest compact 28mm lenses available, particularly those using the Leica M EV1 or another EVF-equipped M camera, the third-generation Summicron-M 28mm f/2 ASPH. is an exceptional choice.

If you enjoyed this, you might also like our best Leica M lenses guide, Leica Q3 review, Leica M EV1 reivew, and see the best Leica cameras.

Telephoto lenses make you a lazy photographer. There, I said it. That might sound like a strange admission from someone who spent years working as a professional sports photographer, particularly when I was fortunate enough to use some of the finest long lenses ever made. At different points in my career, I had access to a 600mm f/4 lens and a 200mm f/2, and both were absolutely fantastic lenses in their own right.

They were fast, sharp, beautifully made, and capable of producing images with a level of clarity and subject separation that cheaper lenses could only dream of matching. When you are standing beside a sports field and need to deliver a certain photograph, there are few better tools for the job.

However, what those lenses offered in optical quality, I sometimes felt they took away from my imagination.

A 600mm lens could bring almost any part of the action straight to me. During a show jumping competition, I could stand in one position and photograph as many as six different fences around the course. That sounds fantastic, and in many ways it was. If I needed a strong image of a particular rider, having six opportunities to capture the perfect moment dramatically increased my chances of delivering the shot.

For a working sports photographer, that reliability matters. Clients are not always interested in how hard you worked to get an image. They simply want the photograph. A long telephoto lens gives you reach, consistency, and the ability to cover more of the action without constantly changing position. The problem is that it can become too easy.

Once I knew I could photograph most of the course from one place, there was less incentive to move. I did not need to walk to the far side of the arena, crouch beside a fence, search for a cleaner background, or think about how the light might change from another angle. The lens solved the problem of distance, but in doing so, it sometimes removed the challenge that forced me to be creative.

Earlier in my career, when I was working with a 70-200mm f/2.8 or even a simple 50mm f/1.8, I had no choice but to move. I had to anticipate where the action would happen, decide which fence might produce the most dramatic image, and physically put myself in the best possible position. Those limitations made me work harder, but they also made me see more.

With a shorter lens, I would look for ways to include the atmosphere around the action. I might photograph a rider approaching through the crowd, frame a horse against the architecture of the venue, or use foreground elements to give the photograph greater depth. I was not simply trying to fill the frame with the subject. I was thinking about the entire scene.

That is where telephoto lenses can make us lazy. They encourage us to believe that getting closer is the same as making a better photograph. It is not. A tightly framed image of a rider clearing a fence can be technically perfect, but technical perfection does not automatically make it interesting. If every photographer is standing in the same position with a similar long lens, everyone is likely to come away with a variation of the same photograph.

The images that stand out are often the ones created by photographers who were willing to move, experiment, and occasionally risk missing the safe shot in pursuit of something better.

This is not an argument against telephoto lenses. I loved using the 600mm f/4, and the 200mm f/2 remains one of the most extraordinary lenses I have ever worked with. Both were professional tools that helped me deliver photographs under pressure, and there were plenty of situations where nothing else would have done the job as effectively. However, I also think photographers need to recognize when a tool begins to dictate the way they work.

A long lens can quickly become a comfort zone. You find a suitable position, attach the biggest lens in your bag, and wait for the action to arrive. The photographs might be sharp, correctly exposed, and commercially usable, but the process can become repetitive. You stop exploring because the lens allows you to remain exactly where you are.

Photography should involve more than pointing expensive glass at a distant subject.

Sometimes the best thing you can do is leave the telephoto lens behind. Take a 50mm lens, move closer, and accept that you might miss a few photographs. Force yourself to think about backgrounds, light, composition, and timing rather than relying on reach to solve every problem.

You may not come away with six safe opportunities at the same image, but you might come away with one photograph that nobody else saw. Telephoto lenses are incredible tools, but they should not become substitutes for movement, curiosity, or imagination. The moment a lens makes photography feel too comfortable is probably the moment you need to take it off the camera.

Photographing the partial phases of a solar eclipse with a smartphone is traditionally rather basic – you clumsily hold the lens of a pair of solar eclipse glasses over the smartphone’s lens, then snap away. However, with modern multi-camera phones sometimes switching lenses at exactly the wrong moment, everything can get a bit too DIY. The K&F Concept ND1,000,000 Phone Solar Lens Filter is designed to solve all of that by delivering a clip-on solar filter that covers all smartphone lenses without any fuss.

It’s important to note that the K&F Concept ND1,000,000 Phone Solar Lens Filter is not a certified safe solar filter, but merely an ND1,000,000 filter. However, while it should not be used to visually look at the sun, it reduces the sun’s brightness enough for photography and is perfectly safe for a smartphone.

Rather than using a fragile piece of solar film taped over the camera, this kit combines a 58mm or 67mm ND1,000,000 filter screwed onto a plastic smartphone mount. It’s basically a clip-on solar photography filter for phones, aimed at eclipse chasers who want a straightforward way to record the partial phases – the changing crescent sun – of any solar eclipse.

A much more limiting imaging platform than K&F’s standalone ND1,000,000 filter – which uses the same optical idea and performed well on a manual camera – I am reviewing the K&F Concept ND1,000,000 Phone Solar Lens Filter as a practical phone accessory rather than a specialist astronomical filter, but it's nevertheless one of the best solar filters if you're a dedicated smartphone shooter.

K&F Concept ND1,000,000 Phone Solar Lens Filter: Specifications

K&F Concept ND1,000,000 Phone Solar Lens Filter: Price

The K&F Concept ND1,000,000 Phone Solar Lens Filter comes in two sizes – 58mm ($35 / £27) and 67mm ($40 / £30). The 58mm version works fine for an iPhone, which bunches lenses in one corner, while the 67mm is aimed at Android (including Samsung Galaxy and Google Pixel) phones, which can have a strip of lenses less suited to a circular filter. Given the tiny savings, the 67mm version is the one to choose if you plan to share the filter while observing a solar eclipse with a group.

At this price, the K&F Concept ND1,000,000 Phone Solar Lens Filter sits in a useful space. It’s more polished and durable than taping eclipse glasses or loose solar film (such as Baader AstroSolar Safety Film) over a phone camera, but much cheaper and more portable than building a dedicated eclipse-photography kit around a mirrorless camera, a telephoto lens, and a solar filter.

However, value depends on expectations. If all you want is a simple souvenir image of the crescent sun during a partial eclipse, the asking price is reasonable. If you are expecting crisp sunspots, a large solar disc, and publication-quality results, the money is better spent on a standalone filter for a proper camera setup.

K&F Concept ND1,000,000 Phone Solar Lens Filter: Design & Handling

The design is straightforward. The filter, packed separately, screws into a plastic press-on clip mount, which clamps onto the phone and positions the glass over the camera lens. That simplicity is the product’s biggest strength, but there are a few caveats. A smartphone may have wide, ultra-wide, and telephoto sensors, and the camera app may switch between them automatically as you zoom.

Before eclipse day, it’s best to know which lens your phone uses and to make sure the filter fully covers that lens. However, if you buy the 67mm version of the K&F Concept ND1,000,000 Phone Solar Lens Filter, it’s likely going to be able to cover all of the lenses on your phone.

I was able to leave a phone case on both iPhone and Android smartphones when I tested the K&F Concept ND1,000,000 Phone Solar Lens Filter, though thick, rugged cases may need to come off. That is worth knowing in advance, because removing a case while an eclipse is underway is exactly the kind of avoidable faff that leads to missed shots.

Safety when imaging the sun is essential. The K&F Concept ND1,000,000 Phone Solar Lens Filter is for filtered smartphone photography through the phone screen, not for direct visual observation. It is not a substitute for certified solar eclipse glasses, and it should not be used for looking directly at the sun.

K&F Concept ND1,000,000 Phone Solar Lens Filter: Performance

Optically, this filter is closely related to K&F’s standalone ND1,000,000 filter, which performs well on a manual camera. In that form, mounted on a telephoto lens, the filter produced pleasing solar images with visible sunspots, solid contrast, and a neutral-to-slightly-warm yellowish-white sun that was easy to adjust in post-processing.

On a smartphone, the experience is more limited. I tried using the K&F Phone Solar Lens Filter handheld, and it worked in the most basic sense: the sun was filtered, visible, and I was able to take an image. However, the resulting images were very simple. The solar disc was small, framing was fiddly, and the overall image quality was governed far more by the phone’s camera system than by the filter. In short, it was blurry and not worth having.

The K&F Concept ND1,000,000 Phone Solar Lens Filter can reduce light and allow a phone to capture the sun, but it cannot give a smartphone the reach of a 400mm lens or the manual control of a mirrorless camera. Handheld shots are fine for proving you were there, or for sharing a quick image of a partial eclipse, but they should not be judged against dedicated eclipse photography.

Cue a tripod. Once the phone was stable in a clamp on a tripod, it was much easier to zoom in on the sun, refine framing, and avoid accidental movement. It still took practice, and it was hot work. The sun drifts through the frame, the clip can be nudged during handling, and some phones become awkward when digital zoom and automatic lens switching get involved.

The only sensible approach is to test the entire setup days before the eclipse, and absolutely not during first contact, but it’s not complicated. After 10 minutes of experimenting, I had images that were as good as I was going to get.

Shooting in Raw is technically worthwhile if your phone supports it – just for added flexibility in adjusting exposure, contrast, color temperature, and sharpening later on in post-processing – but that kind of user is not the market for the K&F Concept ND1,000,000 Phone Solar Lens Filter. My shots featured a reasonably sharp solar limb, but no sunspots or any surface detail.

It would definitely work for the partial phases of a solar eclipse, and with your phone already on a tripod, you’ll be ready for totality if you’re in the path (which is in Greenland, Iceland, and northern Spain on August 12, 2026) – just remember to remove the K&F Concept ND1,000,000 Phone Solar Lens Filter when it gets dark. And turn off your flash…

K&F Concept ND1,000,000 Phone Solar Lens Filter: Verdict

The K&F Concept ND1,000,000 Phone Solar Lens Filter with Press-on Mount Kit is best understood as a souvenir-shot accessory. It’s ideal for people who do not own, and do not want to buy, a manual camera, but want souvenir shots of a solar eclipse, which almost everyone does once it’s underway. It’s compact, affordable, and much more elegant than improvising with tape and eclipse glasses, though the biggest difference you can make is a tripod, which will vastly improve images.

Learn how your phone handles zoom and lens switching before the eclipse begins, don’t expect a perfect shot, and the K&F Concept ND1,000,000 Phone Solar Lens Filter is a practical and well-priced eclipse accessory for casual smartphone users.

Alternatives

An awful lot of photographers have never used lens filters and, thanks to the ever-increasing dynamic range of modern mirrorless cameras, the frankly mind-boggling capabilities of the latest photo editing software and even a few clever in-camera effects (I’m looking at you, OM System), there have never been fewer reasons to ignore lens filters altogether.

But if any of that sounds at all familiar to you, and especially if you’ve never used a lens filter before, then I’m here to tell you: that is a great shame. Using lens filters isn’t just fun; I think it’s an important step in almost every photographer’s journey.

Don’t get me wrong, how often you use lens filters will depend on the genre(s) that you shoot. But if you’re a prolific photographer, you’ll almost certainly encounter a situation where a physical lens filter would fit the bill at some point.

For example, I capture a lot of motorsport photography and a neutral density filter is a useful asset when capturing pans with extremely slow shutter speeds. Because many races take place during the brighter months and in the middle of the day, it can often prove impossible to reach shutter speeds such as 1/20 sec without using an ND.

But I digress; the whole point of this article is to explain how using a lens filter changed my whole relationship with photography.

How a simple lens filter changed my relationship with photography forever

Perhaps the most cliched piece of photography advice is "get it right in-camera".

I generally agree with the sentiment, but there are times when I oppose it. For example, if your image is sharp, you’ve got enough resolution to play with and you didn’t have time to refine your framing, I see nothing wrong with heavy cropping at all.

However, you should absolutely aim to get it right in-camera where possible. That’s where lens filters come in.

Filters enable you to produce all manner of effects in-camera. And I believe that to be extremely important for several reasons, but by far the most important is that it enables you to realize the image you have in your mind’s eye as you take it.

I remember the first time I used a filter; unsurprisingly, I was using an ND filter to restrict the amount of light entering my camera, so I could use a very slow shutter speed to blur a body of water. It was like watching a magic trick happen right before my eyes.

I couldn’t believe that I’d managed to create what I was seeing on my camera’s playback screen without the use of digital editing software. It was all me and my camera!

That was a huge confidence booster – and boy did it ramp up my love for photography. I don’t think it’s hyperbole to say that using a filter for the first time can transport you right back to when somebody first handed you a camera as a child.

I love photo editing more than most. But at its core, photography is about using a device that exposes a light-sensitive material to light, enabling you to capture a moment in time.

A lens filter doesn’t take away from that process; it adds to it. It interacts with the light as it enters your camera – shapes the light, if you will – and leaves you to marvel at the results.

If you’ve never thought about using a filter before, get yourself a cheap one I don’t care whether it’s an ND, ND grad, polarizer, diffusion filter or anything else; every photographer should try a physical lens filter at least once.

You might also like...

Filters require a good understanding of the exposure triangle and if there’s one genre of photography where filters are essential, it's landscape photography. Plus, here are the best cameras for landscape photography.

These days we see some absolute behemoth full-frame camera sensors packing 50, 60 and now close to 70MP (megapixels). While these specs are certainly attractive, and do contribute towards the overall quality of your images, they’re only as good as the lens you pair them with.

Megapixel counts can create a false perception, with many photographers – especially newcomers – falling into the trap of thinking the higher the number, the better quality their images will be.

To an extent, this is correct. After all, a top-tier full-frame model – such as the Sony A7R VI with its 67MP sensor – will enable you to crop in closely in post-production without losing definition or degrading image colors. Given you use the same high-quality lens, you'll get much more leeway than if pairing it with an older DSLR with, say, a 24MP sensor.

However, if you stick a poorly made lens onto that same Sony full-frame beast then it’s a different story – and you won’t even need to crop the image tightly to see the difference.

What you need to keep in mind is that lenses are what determine the sharpness, clarity and even the color rendering, as well as suppressing aberrations and distortion.

So if your lens doesn’t handle these tasks well, then a high-resolution sensor will only highlight the flaws of your poor-quality lens. On the other hand, a great lens can make even a modest sensor perform better.

Then there's the physical size of the camera sensor to consider, which, arguably, is more important than pixel count too. Cramming too many megapixels onto a physically small sensor can result in smaller individual pixels, which may yield noisier, less detailed photos in low-light conditions.

While this issue is best exemplified by smartphones, some APS-C cameras, like the Canon EOS R7 and Fujifilm X-T5, have been criticized for it.

All this isn’t to say that you should completely ignore MP counts and only buy the most expensive lenses. Not at all. In fact, cheaper third-party manufacturers like Tamron, Sigma and now Viltrox produce lenses that give premium native glass like Sony G Master and Nikkor S lenses a close run for their money.

But the point I am making is that you shouldn’t splurge on a camera body because of its attractive sensor, only to then cheap out on the lens you’re going to pair it with.

You might also like…

Here’s our expert pick of the best cheap lenses for your camera. And if you're all about the pixels, these are the highest resolution cameras you can buy right now.

Viltrox has announced the release of its full-frame 26mm autofocus (AF) Evo pancake lens for Sony E-mount and Nikon Z-mount cameras. This pancake prime brings the sophistication of longer-barreled telephoto lenses that, until now, we've had yet to see.

The Viltrox AF 26mm f/2.8 Evo is the first full-frame AF pancake lens to feature not only a dedicated aperture ring, but a focus ring too. On an APS-C body, it has an equivalent focal length of 39mm.

This latest addition to Viltrox's apochromatic-dedicated Evo lineup could become a new favorite among photographers wanting a pocket-friendly lens with solid aberration-busting abilities, but that also features a high level of built-in tactile control.

With the dual control ring system, it seems like Viltrox is trying to corner the pancake corner of the lens market by out-sophisticating the competition (which includes its own, budget-friendly and even slimmer Viltrox AF 26mm f/4.5, which lacked any rings and had a fixed aperture).

While Sony and Nikon both produce equivalent native AF lenses, in the Sony FE 24mm f/2.8 G and Nikon Z 26mm f/2.8, the Sony model is not a true pancake lens at almost twice the thickness of the Viltrox – and the Nikon, which is ever so slightly thinner, features a single (albeit) programmable, control ring.

Like any true pancake lens, Viltrox has packed this tactile control into a lens that's incredibly thin. Yet despite being just 23.8mm thick, it houses an optical design of 8 elements in 6 groups (including a high-refractive and a pair of aspherical elements) with a minimum focusing distance of 0.2m.

"To my mind, the 26mm Evo proves that the best things sometimes do come in small packages," said my colleague Matthew in his Viltrox AF 26mm f/2.8 Evo review.

"Despite its wide-angle perspective and reasonably fast f/2.8 aperture, the lens is less than an inch thick, quintessentially qualifying as a pancake prime. Even so, its image quality is impressively sharp and crisp, and the lens manages to pack both focus and aperture control rings.

"All in all, I love this lens as a travel companion and for everyday shooting, and it’s great value at the price."

The Viltrox AF 26mm f/2.8 Evo is available now, with an RRP of $299 USD / £279 / AU$579.

You might also like…

Here’s our pick of the best pancake lenses. These super-skinny primes and zooms save size and weight!

Voigtländer has announced the APO-Lanthar 90mm F4 Close Focus VM, a compact medium-telephoto prime lens designed for full-frame M-mount rangefinder cameras.

Scheduled to arrive in August 2026, the new manual-focus lens promises premium optical performance without the size and weight normally associated with highly corrected telephoto glass.

The APO-Lanthar name is reserved for some of Voigtländer’s most ambitious lenses, and this latest model uses an apochromatic optical design to suppress axial chromatic aberration and other unwanted color fringing.

Its construction includes eight elements arranged in seven groups, with six elements made from anomalous partial dispersion glass to deliver high resolution, strong contrast, and consistent performance across the frame.

Despite its advanced optical design, the lens measures just 54.8mm from the mount surface and weighs only 235g. The relatively modest maximum aperture of F4 helps keep the body impressively compact, while also reducing viewfinder blockage when the lens is used with an optical rangefinder. It will be available in both silver and black finishes, with each version featuring a durable all-metal barrel.

Image samples

Close-focusing performance is another major part of the lens’s appeal. The APO-Lanthar 90mm F4 Close Focus VM can focus down to 0.5m, extending beyond the typical 0.7m limit for rangefinder-coupled lenses.

At its closest setting, it offers a maximum magnification of 0.28x, while Voigtländer says the apochromatic correction helps maintain image quality even when photographing subjects up close.

The lens also includes a high-precision rangefinder coupling mechanism, an all-metal helicoid for smooth focusing, and a click that identifies the point where focusing moves beyond the coupled range.

A compact dedicated metal hood is included, extending by only around 9mm to reduce flare without significantly interfering with the camera’s framelines. The Voigtländer APO-Lanthar 90mm F4 Close Focus VM will carry a suggested retail price of ¥121,000 ($759 / £550 approximately) when it launches in August.

The ultra-wide zoom doesn’t just cover wide perspectives – the category also tends to be “ultra” pricey, not to mention oversized. But the new Tamron 12-20mm f/2.8, available in full-frame E-Mount and Z-Mount, slides into the category with not just a competitive third-party price but a lightweight design.

Beyond offering a tantalizingly more affordable ultra-wide zoom, Tamron's lens also marks a new era for the brand. The Tamron 12-20mm f/2.8 is its full name, dropping the usual “Di III VXD G2” jumble of letters at the end. (Tamron tells me the designation for APS-C and stabilization will remain, but this lens doesn’t fall in either category.)

The lens also features a new design that’s somehow full of sleek, clean lines yet packed with extra controls. I spent a week with the Tamron 12-20mm f/2.8 shooting the stars and landscapes – including getting photobombed by lightning bugs. This is how well the new optic holds up.

Tamron 12-20mm f/2.8 review: Specifications

Tamron 12-20mm f/2.8 review: Price

The Tamron 12-20mm f/2.8 retails for $1,699 / £1,449 / CA$2,299 for E-Mount and $1,799 / £1,529 / CA$2,399 for Nikon Z Mount.

While that’s still a four-figure price, it puts the lens at around half the cost of Sony’s 12-24mm f/2.8 GM and around $600-700 less than the Sony 12-24mm f/4 G and Nikon 14-24mm f/2.8 S in the US.

Tamron 12-20mm f/2.8 review: Design and Handling

The Tamron 12-20mm f/2.8 doesn’t look like a typical Tamron, as the lens marks the beginning of a new look for the popular third-party optics maker. The design is all clean lines and shiny black surface that, outside of the wealth of different controls, gives the lens a streamlined, minimalistic feel.

When I first picked up the lens, I was surprised at how light it is, as it looks like it should be heavier. That’s due in part to the new finish that looks almost metallic, though Tamron sticks with plastic for the lighter profile.

The lens weighs 20.2 oz / 570g for the E-Mount variant and slightly more for the Z mount.

In comparison, Sony’s 12-24mm f/2.8 GM reaches farther, but comes in at a heavier 1.86 lb / 847g – and the Tamron is only five grams heavier than Sony’s 12-24mm f/4 G. Nikon’s native ultra-wide zoom is 14mm at the widest and still slightly heavier at 1.4 lbs / 650g.

While the design of the lens feels more minimal, the lens barrel actually houses a ton of controls. The first ring out from the mount is a control ring, which controls aperture on the Sony E-Mount version and can swap between aperture and exposure compensation on the Nikon Z Mount.

The Z Mount option has a control lock that prevents an accidental bump from throwing off the exposure settings, and both variants have a switch to click or declick the aperture or control ring.

That bank of control switches also includes a customizable lens function button, a custom switch, an auto-to-manual focus switch, a manual focus lock and a zoom lock.

That focus lock was excellent for shooting astrophotography and keeping the stars in focus between frames – though the number of switches meant I had to turn on a flashlight to make sure I flipped the right one.

After that bank of controls is the zoom ring, followed by the focus ring. Both rings have a slightly different grip pattern to them in order to help differentiate by feel.

Like most ultra-wide zooms with a bright aperture, the front of the Tamron 12-20mm f/2.8 has a curved piece of glass that prevents using the standard front filters. Sheet filters can be cut to size to fit the back of the lens instead.

The lens has a built-in petal-shaped hood and a nice oversized lens cap that still fits over the hood and curved front. The lens also includes a self-gripping lens wrap for added protection.

That lens design is completed with one of my favorite features: weather-sealing. Tamron says the lens has multiple seals through the controls, rings and mount, as well as fluorine coating on the front to help repel buildup.

There’s a USB-C port to support firmware updates and the Tamron Link accessory, but that port has the same waterproofing as the iPhone’s charging port.

Tamron 12-20mm f/2.8 review: Performance

The genre that I was most excited to try with the Tamron 12-20mm f/2.8 was astrophotography. I’m always looking for a wide view and a bright aperture when photographing the stars, and the 11-20mm range is excellent for this type of shot.

Astrophotography, of course, requires manual focus. Getting the stars locked in sharp took some patience (and focus peaking) hindered by the swarm of mosquitoes that comes with astrophotography in the summer.

The focus lock was very helpful, and I managed to get several star shots that I was happy with – and even a few lightning bugs.

Switching to autofocus, the lens didn’t seem to have any issues locking on to the usual suspects in front of an ultra-wide lens and had a few misses across the landscapes and perspective play the lens is built for.

The focus range is also aided by a minimum focus distance of 7.1” / 0.18m at the widest zoom position. That’s certainly not macro territory, but it is enough to exaggerate the perspective distortion of a 12mm lens by getting in really close to the subject.

The mix of ultra-wide perspective, bright f/2.8 aperture, and close focusing capabilities captured an impressive gallery of images across astrophotography and landscapes.

At the center, subjects are sharp without being overly sharp. Towards the edges, the sharpness can soften a bit. For astrophotography, the stars on the edges appeared slightly more smudged than the stars at the center. The focus was also very sensitive at f/2.8, so getting the stars locked in was a challenge.

On the flip side, while ultra-wides aren’t known for bokeh, get close to the subject and shoot at f/2.8 and there’s a bit of background blur to be had here. Bokeh is round with smooth edges and no evidence of soap bubbling.

There’s a light vignetting in some shots, particularly at 12mm, but nothing too troublesome.

Direct the lens towards the sun, and the optic can catch a bit of sun flare and an occasional arc of light, but ghosting spots are well-controlled. Step the aperture down, and the sun becomes a 12-point starburst.

I didn’t spot any colored fringing or chromatic aberration over the course of my week with the lens.

While full lab testing is needed to see how the optic directly compares with its competitors, I was overall happy with the Tamron 12-20mm f/2.8 – I just wished for a little more edge sharpness in some shots.

Tamron 12-20mm f/2.8 review: Early Verdict

The Tamron 12-20mm f/2.8 doesn’t reach quite as far as many competing ultra-wide zooms, but the lightweight design and more affordable price are well worth the trade. The lens has plenty of controls and an understated design, but most importantly it comes in an easily transportable weight for the category.

The 12-20mm offers some versatility while still hitting the ultra-wide perspective. Images are acceptably sharp at the center and only slightly smudged towards the edges. Vignetting is minor and I didn’t spot any aberration.

I did wish for a tad more sharpness on the edges – and getting the stars perfectly in focus was a challenge. The Tamron 12-20mm f/2.8 has just launched, so our forthcoming lab tests will offer a better overall picture of how the image quality compares to competing optics.

My early experience with the lens, however, has been overwhelmingly positive.

Alternatives

You may also like

Take a look at the best wide-angle lenses or the best Nikon Z lenses or the best Sony E lenses.

Tamron’s lenses come with so many suffixes that the names sound almost royal. So when Tamron told me about the new 12-20mm f/2.8, I had my fingers poised, waiting for the second half of the name. Except… that’s it.

Tamron’s new lens is named simply the “Tamron 12-20mm f/2.8” – it’s not followed by the usual jumble of “Di III VXD G2” at the end.

Photographers will be undoubtably excited over the Tamron 12-20mm f/2.8 lens’ lightweight design, which is nearly half the weight and half the cost of the farther-reaching Sony 12-24mm f/2.8.

The full-frame lens also comes in the Nikon Z mount, where it still comes in under the price, under the weight and slightly wider than the Nikon 14-24mm f/2.8 S.

Tamron tells me that lens abbreviations will still be used for VC (Vibration Compensation or stabilization) and the Di designation for APS-C lenses – but the Tamron 12-20mm f/2.8 is neither of those things.

Tamron’s new lens doesn’t just have a new naming convention, but launches a new look for the popular third-party lens maker as well.

The lens leans towards a more mechanical, robust design and focuses on more "tactile joy", leaning into the feel of the materials and plenty of physical controls in the era of smartphone photography.

Ultra-wide zooms tend to sit on the heavy side, but the Tamron 12-20mm f/2.8 slides in at a 20.2oz / 570g in E-Mount and just 5g more in the Z-Mount. I had no problems carrying the lens around, spending a week shooting landscapes and astrophotography with the new optic.

The 12mm focal length is an encompassing view that captures striking scenes, and the f/2.8 aperture lets in a lot of light – for the zoom category, anyway. I snapped shots with sharp centers and only a minor tendency to smudge towards the edges.

The ultra-wide can also create some fun perspective distortion, helped by the fact that the lens can focus as close as 7.1 inches / 0.18m. That focus system uses Tamron’s modern VDX (Voice-coil eXtreme-torque Drive), even though there’s no VXD listed in the name itself.

Shooting with the Tamron 12-20mm f/2.8 for a week, I think this is a lens that a lot of photographers will be excited about.

The lens is rather lightweight and affordable for the category. My biggest complaint was the difficulty of manually focusing such a wide perspective – and a very slight softening in the stars towards the corners.

Photographers won’t have to wait long for Tamron’s new ultra-wide. The Sony E-Mount variant is set to ship on July 30, with the Z-Mount to follow on August 27. The lens retails for $1,699 / £1,449 / CA$2,299 for the E-Mount and $1,799 / £1,529 / CA$2,399 for the Z-Mount.

For more insight, read my Tamron 12-20mm f/2.8 review.

You may also like…

Take a look at the best Sony E-Mount or the best Nikon Z-Mount lenses.

I am a proud owner of a Fujifilm X100VI. I even managed to get one of the limited-edition versions from the anniversary. It genuinely is a wonderful camera that’s easy to use and even easier to have with you. It scored ‘Best for Travel’ in our Fujifilm Camera Buying Guide, and it’s a well-deserved accolade. The fixed 23mm (35mm equivalent) lens does have an in-between feel that’s a great fit for street shots and travel, but neither wide enough for proper landscapes nor long enough for portraits. When I say equivalent, it’s because the X100VI uses an APS-C sensor, which has a 1.5X multiplier on focal lengths.

Of course I wanted to find some way to get wider and longer shots, without adding significant weight. Fortunately, Fujifilm does have a wide and tele adaptor lens for this system, but at a price. I do own these as there were no real alternatives at the time. It was inevitable that other makers would seek to add more competitive options. The big question, of course, is whether they match up to Fujifilm's version, or if that’s not the intention, do they offer something different and unique that I might prefer?

Here I'm looking at Viltrox’s recently launched versions of these screw-on lens adaptors. The WCL-X100VI and the TCL-X100VI, wide and tele respectively. These are significantly lower in price than the Fujifilm version, but is this because the adaptors don’t hit the mark on quality? Maybe I’d be better off saving up and getting the original?

Who are Viltrox even? Well, Viltrox are a well-established third-party lens manufacturer working across a range of camera systems: Fuji, Sony, Nikon, Canon and others. Initially they created manual focus lenses, but branched into autofocus lenses in more recent years. They have a range for the X-Series, and I’m particularly fond of the XF13mm f1.4, which is very sharp for astrophotography. You can check out our Viltrox AF 75mm f/1.8mm and AF 90mm f/2.2 review for more.

I’m happy with the pedigree that Viltrox has established, which gives me some hope for the quality of these as a potential alternative to the Fuji WCL-X100II and TCL-X100II. And with Viltrox's reputation for having lenses that sit well above their price point, it could be a win-win on price and performance.

Specifications

Price and Availability

The WCL-X100VI lists for $159, £159, €179, while the TCL-X100VI is $189, £179, €219, though Viltrox often has sales. Given that the Fujifilm versions are $399, £289, €319 and $399, £299, €339, respectively, I think this is a fantastic price point.

Even a not-so-genius like me can see that there’s a massive saving to be made should the lenses stack up. These adaptors have just been launched and are accessible from the Viltrox website or via their suppliers. Given the solid nature of the adaptors, and the amount of glass, I think the build quality exceeds the listed price. If price were the main concern, there are other options, including the Freewell Tele adapter at $149.99 and combined Wide and Macro adapter at $99.99-even cheaper if price is an issue.

Design

Viltrox definitely went out of their way to make these match the X100VI in colour, with both silver and black versions available. I have the silver versions, and they match the camera really well, along with being very similar to the Fujifilm versions. When testing without the lens caps on, I had to read the name on the adapters each time to make sure I’d pulled out the one I wanted to use for the shot while comparing. So yes, aesthetically, they’re quite similar to the originals. Both the WCL and TCL have a knurled ring, which is nice in hand, and distinguishes them from the Fujis’.

It’s having these originals to compare that really makes any potential issues stand out. The filter threads on the Viltrox also match those of the originals, meaning that if I had started with the Viltrox, I wouldn’t lose out if I went to the Fujifilm versions later. I have a lovely 67mm diffusion filter from K&F Concept that gives soft portraits with the TCL, for example.

The lens cap on the TCL is the central pinch-to-remove type that is now the default everywhere (and I am glad to see this). The rear caps and cap on the WCL are Viltrox-branded push-on rubber with the thread marked on them. Still not as cool as the screw-on rear caps from Artra Labs though. Realistically, both Fuji and Viltrox need something better for the back of the adapters, as these wear over time and become loose and easy to misplace.

The adapters screw on easily and are immediately recognised by the camera, showing a W or T icon on the camera screen. Viltrox says this is due to a combination of a magnetic mount and an integrated chip in the camera. This embeds metadata in the file so programs like Lightroom Classic can automatically apply the correct lens correction for that adapter. They also label the focal length correctly, so the TCL shows as 33mm, for example. Viltrox do warn that metal-on-metal screwing can cause issues, but I feel it would take a reasonable amount of force to cross-thread. Just be careful! There’s a small ring that unscrews from the front on the built-in lens to give access to the threads. Something else for me to lose.

Both lenses use 5 elements in 4 groups, whereas Fuji has 4 elements in 4 groups for the WCL and 4 elements in 3 groups for the TCL-this explains the roughly 50g difference between each brand’s version of the teleconverter. It’s an impressive reason for the additional weight. As with other Viltrox lenses, there’s a nano coating on the lenses to help retain sharpness, while minimising aberrations and chromatic dispersions. It’s not perfect, as there is a situation where flare is very visible-more shortly. The final note that I should make on the glass is that these don’t change the minimum aperture, so you have the option to shoot at f2.0 with either lens.

Performance

Getting these adapter lenses on and off was flawless, but keeping the caps despite making use of the cloth bags for each lens wasn’t. I couldn’t find them after my first use- I did eventually! I wanted to give these a test in some of my typical shooting situations, so I shot both outside and in studio.

I often shoot quick model sets with the TCL. I had a day-long shoot with Olga Solo, and as part of that I did some test shots to compare to the Fuji. When I A/B’d the shots together I was surprised by how similar they were. Initially, the auto white balance had the Viltrox looking warmer and with better contrast, but when I made them the same temperature and tint in Lightroom, they were hard to tell apart. There is maybe a small amount more vignetting on the Viltrox TCL, but it’s very subtle. Other brands, like Freewell, have significantly more darkening of the corners.

The TCL is wonderfully sharp with these studio shots, again directly comparable to the Fujifilm. Viltrox was definitely trying to match the look and has succeeded. The Viltrox TCL is a little heavier, but in practice you don’t notice the difference.

The Wide Converter lens is practically weightless, meaning I could forgo the tele for some travel elements; I could always use the digital zoom and lose some of the 40MP I have to save weight. Equally, that zoom with the TCL gives a nice 100mm equivalent view, back to the wide lens. When I compare the photos to the original wide converter, they’re very similar.

I used the Viltrox in a variety of situations, and the main issue I could find is that there’s a dramatic flare with the sun in the centre of the frame sometimes, as with this sunset shot in the woods. Even dropping or raising the camera helped significantly, but I haven’t seen anything like this before. It’s the only real negative I have with the lens.

When I tried this during the afternoon, aiming at the sun, it didn’t flare, so it may just have been a fluke related to the conditions in the woods. Flare isn’t strictly a bad thing, and as an avid user of Boris FX Optics, where I add flare, I can’t complain about it artistically. It’s where I can’t control it that I have an issue. Besides this, the lens performed flawlessly for me. At the beach, in the woods, even out camping. When compared to the Fuji, there was very little difference-often anything I thought I’d notice would turn out to be a slightly different white balance or a minor change in shutter speed.

Given that Viltrox only advertises these as conversion lenses for the X100 series, it’s not setting itself up for comparison directly. But I think they match the look and feel of the X100VI beautifully, as well as competing in optical quality-probably the key metric.

Sample Images

Verdict

I think the Viltrox TCL-X100VI and the WCL X100VI are an excellent addition to my X100VI kit. They’re optically great and easily compete with Fujifilm’s versions of these converters. I love the retro look and the additional knurled ring that adds a unique visual element. The lens caps are great, but I do think there needs to be a better rear cap system. I love that the styling sits perfectly with the camera, so much that I think it looks like it could just be part of the camera natively.

I find the weight to be more than acceptable, even with the TCL being heavier than other versions. They’re more than pocketable should I decide to go out with the camera around my neck-though I’d avoid jeans pockets for moisture.

My only concern is that flare, but I’m finding it hard to repeat, so it may have been a fluke. Perhaps a mix of the shadow and light, and maybe I hadn’t screwed the converter on far enough? Either way, these will come in the small messenger bag for my X100VI, along with a small flash, ready for everything from landscapes to portraits, as well as those travel shots.

I would not hesitate to recommend these converters to anyone, whether budget-driven or otherwise. Viltrox has come through again, showing that they are a force in the optics world.

Alternatives

I’ve mentioned alternatives throughout, but in summary there are three other alternatives:

• Fujifilm have their own converter lenses used for comparison in this review.
• The Freewell Tele adapter combines a Wide and Macro adapter. These do match the styling of the X100VI, but also offer a macro option. The converters have threads on them as well, so require a threading ring to connect them, which comes as part of the kit. The TCL has a strong vignette, and may be related to the fact that they don’t trigger the lens correction switch like Viltrox.
• Artra Labs have slightly longer tele at 60mm equivalent and 24mm equivalent versions. They advertise the 24 as a 16mm and the 60mm as the equivalent. This is entirely true, but at first glance I thought it was a much wider lens for the WCL. It does vignette significantly, though with a lot of barrel distortion.

At the end of January we reported on a new SG-image 35mm autofocus lens sporting a rather attractive retro barrel design that had been spotted on several rumor websites. Internally, the lens seemed the same as SG-image's full-frame AF 35mm f/2.2 launched last year, but the revamped retro version had several styling cues that made it ideally suited to cameras like the Nikon Zf and Nikon Zfc.

New details have now emerged about this rumored lens. It is officially called the SG-image AF 35mm f/2.2 Classical Edition, and is priced at $158. It's available for Nikon Z, Sony E, and L-mount cameras, and if you really want to complete the retro look, you can spec it with a square lens hood for an additional $10.

According to SG-image:

This CE Classic Edition features a specially upgraded retro vintage exterior. Polished silver decorative trim paired with knurled textured focus ring recreates iconic classic lens styling, perfectly matching silver retro mirrorless bodies. Full aviation-grade metal barrel delivers solid premium texture, low-profile engraved focal scale maintains minimalist vintage charm, making it a collectible daily carry lens for aesthetic-focused photographers.

Inside the stylish all-metal barrel is a 7-element optical stack arranged in 5 groups. A 9-blade diaphragm, combined with the wide f/2.2 maximum aperture, is said to provide natural bokeh for portrait and still life photography. The 35mm focal length is ideal for street and general purpose photography on full frame cameras, or the lens would work well as a standard prime on APS-C bodies where it'll give a 52.5mm-equivalent focal length. Despite the metal barrel, weight has been kept to a reasonable 163g, and the lens itself is very compact at just 36.2mm long with a 69mm barrel diameter.

The SG-image AF 35mm f/2.2 Classical Edition is available to buy now from SG-image direct.

Kase, a Chinese brand known for its ND filters, is building a new tiny pancake lens with an unusual twist. The Kase FE 24mm f/3.8 is a pancake with autofocus and a built-in flip lever cap, to replace standard lens caps.

Kase has confirmed that the full-frame pancake lens is launching in Sony E-Mount, but reports hint that additional mounts may be in the works including Leica L-Mount, Nikon Z-Mount and Fujifilm X Mount.

If you’ve never heard of Kase lenses, you’ll be easily forgiven as the 24mm is only the brand’s fourth lens – building on a history of creating lens filters to creating the lenses themselves.

The new 24mm lens is deserving of the “pancake” category, coming in at 16mm / 0.62 inches thick and about 60g / 2.11 oz, which is about the weight of a tennis ball.

But as someone who loses lens caps on new optics with frightening speed, the feature that caught my attention is that the Kase 24mm has a built-in lever flip cap. Turning a small slide on the front of the lens closes a piece of plastic over the glass, creating a built-in lens cap.

Built-in lens caps are common on compact cameras, but less so on mirrorless optics – though a small number of pancake lenses, including the VIltrox AF 28mm f/4.5 and Olympus Fisheye Body Cap 9mm f/8, have the feature. The lens is not only small but has fewer pieces to try to keep track of.

To get to that size, however, there are some sacrifices. The lens’ aperture is fixed at f/3.8 – no more, no less. But while many budget lenses skip the autofocus, the Kase FE 24mm f/3.8 uses a VCM motor for autofocusing. The lens can focus as close as .3m / 11.8 inches, which translates to a 0.1x macro ratio.

Kase says the lens is designed with six groups and six elements, including components to help reduce distortion, chromatic aberration, and vignetting.

Kase hasn’t yet shared a price or availability date for the new lens. The 24mm joins the Kase 150mm f/5.6 AF Reflex, 85mm f/1.4, and 200mm f/5.6 lenses in a growing list of optics from the China-based brand.

You may also like...

Browse the best pancake lenses or the best lenses for travel photography.

Collapsible lenses are nothing new: lenses such as the OM System 40-150mm F4 PRO M.Zuiko, Canon RF-S 18-45mm F4.5-6.3 IS STM, as well as several generations of Nikon kit zooms must first be extended from their retracted positions before they can be used. This keeps the lens barrel as short as possible when the lens is not in use.

Now it seems Panasonic might be working on a macro lens that incorporates a collapsing lens barrel. A recent patent applicaton discovered by Asobinet shows diagrams of a small prime lens with an f/2.8 maximum aperture. The illustrated lens appears to be an L-mount design, rather than Micro Four Thirds, as the lens's electrical contacts are at the top of the barrel. The exact focal length isn't specified, but the optical design isn't actually the focus of the patent. Instead, the aims specified in the patent are:

To provide a lens barrel that displays different information depending on the shooting mode and can suppress the size of the lens barrel in the optical axis direction when not shooting.

Judging by the patent diagrams, this barrel retraction is achieved by a third ring, located behind the aperture and focus rings. It shows stops for 'Macro' and 'Retract’, positioned on either side of a central setting; presumably a standard shooting mode. Though no exact dimensions are given, the length of the lens in its retracted state appears smaller than the diameter of the barrel, indicating this is indeed a compact design for an L-mount macro lens. With the lens extended to its standard (non-macro) shooting mode, a focus distance scale is revealed, and this marks the other aim of the patent:

[To] display different distance scales depending on the shooting mode, such as displaying a first distance scale in normal shooting mode and displaying a second distance scale in macro shooting mode.

In the lenses retracted state, neither the first nor the second distance scale would be displayed. Rotated the mode ring to the normal shooting position and only the first distance scale is displayed. Change to the macro mode and the lens barrel would extend further forward, revealing the second distance scale while also hiding the first. The idea sounds like an elegant piece of lens engineering, combining the smallest possible barrel length with two distance scales that automatically switch depending on the rotational position of the shooting mode ring. Whether or not Panasonic can turn these patent diagrams into a fully-functioning lens remains to be seen.

Story credit: Asobinet.com

Sirui has expanded its Vision Prime 1 full-frame cine lens lineup with three new focal lengths, but the real magic is that each lens ships with user-interchangeable mounts for four major mirrorless camera systems!

The new 15mm T1.6, 75mm T1.4, and 150mm T4 Macro 1.5x lenses all come with Sony E, Canon RF, Nikon Z, and L-Mount support in the box, giving filmmakers a far more flexible way to build a cine lens kit without being locked into one camera system.

The new additions broaden the existing Vision Prime 1 series, which already includes 24mm, 35mm, and 50mm T1.4 primes. With the arrival of the 15mm, 75mm, and 150mm, the range now covers everything from dramatic ultra-wide shots to portrait work, telephoto compression, and close-up macro detail.

The 15mm is designed for immersive compositions, tight interiors, and wide establishing shots, while the 75mm offers a more flattering mid-telephoto look with natural compression and soft background separation.

The 150mm is arguably the most specialized of the three, bringing integrated 1.5x macro capability and a 0.29m minimum focus distance. That gives filmmakers the ability to capture fine texture, product detail, nature work, and dramatic close-ups, while still benefiting from the compression of a longer focal length.

It makes the lens a useful addition for anyone who wants one optic that can move between macro-style detail and more distant telephoto framing.

All lenses in the Vision Prime 1 series cover a 46mm image circle, making them suitable for full-frame mirrorless cameras and open-gate shooting without vignetting.

Sirui says the optical design uses aspherical elements, ED glass, and HRI glass to improve sharpness, reduce chromatic aberration, and control distortion, with resolving power intended to go beyond the demands of modern 8K sensors. The series is also designed with consistent cine handling in mind, including identical gear positions, a 270-degree focus throw, and an all-metal build.

The user-interchangeable mount system is what gives these lenses their strongest appeal, especially for filmmakers who move between camera brands or want to future-proof their kit. Each lens comes natively in Sony E-mount, with RF, Z, and L-Mount modules included, and SIRUI says the mounts can be swapped quickly without shims.

The new Sirui Vision Prime 1 15mm T1.6, 75mm T1.4, and 150mm T4 Macro lenses will be available in Black and Metal Grey from the end of August.

Metal or plastic? That’s one of the key questions left to answer for a newly teased lens coming to the E-Mount, L-Mount, and Z Mounts: The Meike AF 85mm f/1.2.

A post on the Chinese social media platform Weibo from the Independent Photographer’s Association (which was quickly picked up by rumor sites) says that the Meike AF 85mm f/1.2 is currently under development. But while the post claims that the optical design is “nearly complete,” the brand has yet to choose between a metal or plastic barrel design.

Irix famously gave its customers the choice as to the material used in some of its lenses - producing both metal and ABS versions of with both Blackstone (metal) and Firefly (ABS) versions of tis 11mm f/4 and 15mm f/2.4 wide-angle primes.

The upcoming Meike 85mm is said to prioritize weight with the optics design, but choosing the final barrel materials will play a key role in just how lightweight the lens ends up. A plastic variant would be around 750g to 780g – that’s about 26.4 to 27.5 ounces.

A metal design would push that weight even higher, to 870g / 30 oz on the low side and 900g / 31.7 oz on the high side.

Labeling a lens as “lightweight” is relative. A prime that weighs well over a pound doesn’t exactly scream lightweight, but f/1.2 primes aren't exactly known for being light. If the lens ends up hitting that projected weight – even the metal one – it would sit weight-wise somewhere between the 642g Sony FE 85mm f/1.4 GM II and the 1160g Nikon Z 85mm f/1.2 S.

I love a good metal lens – the material feels far more luxurious in my hands – and frankly feels like it can take more of a beating than plastic barrels. But metal lenses tend to be the ones that have me wishing for something smaller at the end of a long, all-day shoot.

With the information coming from Weibo – a frequent source of Chinese lens brand leaks and development announcements – it's unclear if Meike is the source or if the lens remains a rumor. A number of details on the upcoming lens are missing. But, if the early post is accurate, then the lens at least has autofocus and is built for full-frame E-Mount, Z-Mount, and L-Mount cameras.

You may also like...

For more, take a look at the best 85mm lenses or the best portrait lenses.

Fujifilm has released its widest-ever lens for it GFX medium format camera system. The Fujifilm GF19-35mmT3.5 PZ OIS WR has a built-in power zoom capability making it a perfect companion for the Fujifilm Eterna 55 cinema camera that went on sale last year.

The wide-angle zoom has an effective focal range of 15-28mm once the 0.79x crop factor is taken into account - which is impressively wide. In fact, it becomes the widest focal length of any GF lens - with the current widest prime being the GF23mm f/4 R LM WR.

It becomes the cine specialist lens in the GF range - joining the GF32-90mmT3.5 PZ OIS WR power zoom that was launched alongside the GFX Eterna 55 cinema camera.

The new GF19-35mm shares identical exterior dimensions with the existing GF32-90mmT3.5 PZ OIS WR so can share the same rig setups and follow focus system. It features a three-ring system that allows independent manual control of focus, iris, and zoom, with all three operating rings use the same 0.8M gear pitch.

The autofocus lens weighs 4.6lbs/2.1kg and has an internal focus system and is said to have minimal focusing breathing. The image-stabilized zoom is constructed from 23 elements in 15 groups, including four extra-low dispersion (ED) elements, and has 13 iris blades. It measures just over 8.74 inches / 222mm in length.

The Fujinon GF19-35mmT3.5 PZ OIS WR will go on sale at the end of July for a recommended price of $5,499.95/ £4,699 / AU$8,499.

Check out our guide to the best Fujifilm GF lenses

Sony's new FE 100-400mm f/4.5 GM OSS has made an immediate impact, shooting straight to the top of Japan's best-selling lens rankings just weeks after launch.

According to sales data from retailer Yodobashi, Sony's latest telephoto lens (available for $4,298 / £4,399) claimed the No.1 position during the first half of June – an impressive debut for what Sony says is the world's first full-frame mirrorless zoom lens to offer a constant f/4.5 aperture.

Photographers were eager to get their hands on the new optic, which replaces Sony's long-running FE 100-400mm f/4.5-5.6 GM OSS with a brighter aperture, faster AF (autofocus), and an internal zoom design. While Sony celebrates, the question is: what happened to last month's No.1, the Nikon Z 70-200mm f/2.8 VR S II?

Yodobashi's Top 10 lenses (1st half June)

1. Sony FE 100-400mm f/4.5 GM OSS
2. Sony FE 24-70mm f/2.8 GM II
3. Sony FE 70-200mm f/2.8 GM OSS II
4. Hasselblad XCD 35-100E
5. Tamron 25-200mm f/2.8-5.6 Di III VXD G2 (E-mount)
6. Canon RF 100-400mm f/5.6-8 IS USM
7. Sony FE 50-150mm f/2 GM
8. Nikon Z 24-70mm f/2.8 S II
9. Canon RF 70-200mm f/2.8L IS USM Z White | Black
10. Nikon Z 24-120mm f/4 S

Success for Sony's top-tier lens lineup

Alongside the debut of the FE 100-400mm f/4.5 GM OSS at No.1, Sony demonstrated the strength of its premium G Master lineup by placing four lenses in Yodobashi's latest Top 10.

The Sony FE 24-70mm f/2.8 GM II claimed second place, followed by the Sony FE 70-200mm f/2.8 GM OSS II in third, while the Sony FE 50-150mm f/2 GM secured seventh.

No other manufacturer matched Sony's representation in the rankings, highlighting the continued demand for its high-end E-mount lenses among photographers in Japan.

Premium glass: the fastest zoom for medium format

The Hasselblad XCD 35-100E secured fourth place, continuing a strong run that has seen it regularly feature among Japan's best-selling lenses throughout 2026.

Designed for the Hasselblad X, the XCD 35-100E remains the fastest zoom lens currently available for a medium-format camera, with a maximum aperture of f/1.8 at the wide end.

This premium optic can effectively replace seven high-end prime lenses worth over US$20,000, making it one of the most versatile workhorse lenses in professional photography

Where did Nikon's champion zoom go?

Claiming the top spot after its release, the Nikon Z 70-200mm f/2.8 VR S II has dropped out og Yodobashi's Top 10 entirely.

The rapid fall shows how competitive Japan's lens market can be. Newly launched optics often win from a surge of pre-orders and early demand, getting them to the top of the sales charts before interest naturally levels off.

Whether Sony's new FE 100-400mm f/4.5 GM OSS can maintain its momentum remains to be seen.

Its groundbreaking constant f/4.5 aperture gives it a unique selling point, but future rankings will reveal whether its early success reflects sustained demand or typical post-launch excitement.

You might like...

Browse the best standard zoom lenses, the best 70-200mm lenses, and the best telephoto lenses.

A compact and affordable telephoto lens for Canon EOS R-series cameras is the new number one best-selling lens in Japan, according to major retailer Kitamura.

While the Canon RF 100-400mm f/5.6-8 IS USM claims the top spot, a third-party 18-50mm standard zoom makes a trio of appearances in the top 10 across different mounts, making it one of the chart's standout performers.

The Sigma 18-50mm f/2.8 DC DN | C is the company's first Canon RF lens and an ideal choice for APS-C cameras such as the EOS R7, R10, R50 and R100. Both lenses are relatively affordable in their categories, with Canon's 100-400mm priced at $749 / £599 and Sigma's 18-50mm available for $659 / £468 (RF-mount).

Kitamura's 10 best-selling lenses, May 2026

1. Canon RF 100-400mm f/5.6-8 IS USM
2. Sigma 18-50mm f/2.8 DC DN | C (E-mount)
3. Sigma 28-70mm f/2.8 DG DN | C (E-mount)
4. Sigma 18-50mm f/2.8 DC DN | C (X-mount)
5. Fujifilm XF 16-55mm f/2.8 R LM WR II
6. Fujifilm XF 70-300mm f/4-5.6 R LM OIS WR
7. Sigma 18-50mm f/2.8 DC DN | C (RF-mount)
8. Sony FE 50mm f/1.8
9. Sony FE 100mm f/2.8 Macro GM OSS
10. Sony FE 40mm f/2.5 G

#1 lens: Canon's affordable super-telephoto zoom

While telephoto lenses in the 400mm range are typically large, heavy and expensive, the Canon RF 100-400mm f/5.6-8 IS USM stands out as a compact and affordable alternative, making it a popular choice among wildlife, nature and sports photographers.

For comparison, Canon's pro RF 100-500mm f/4.5-7.1L IS USM costs $2,899 / £2,385, and weighs 1530g, while the RF 100-400mm is priced at $749 / £599 and weighs just 635g.

While it isn't weather-sealed, the lens features Canon's fast USM AF (autofocus), up to 5.5-stop image stabilization, and delivers impressive all-round image quality in a remarkably portable package.

Although designed for Canon's full-frame EOS R cameras, the RF 100-400mm is an excellent match for APS-C bodies such as the EOS R7 and R10. As we found in our review, it's about the same size and weight as a typical 70-300mm zoom, while Canon's 1.6x crop factor delivers an effective 160-640mm field of view.

The real winner: Sigma's third-party lens success

Launched for Canon RF in 2024, the Sigma 18-50mm f/2.8 DC DN | C was Sigma's first AF lens for the mount – a long-awaited release for Canon EOS R users.

Unlike many standard zooms, the 18-50mm is remarkably compact at just 290g, yet combines solid build quality with a fast, constant f/2.8 aperture. In our review, we said that "this Sigma is a little lens that really does punch well above its weight."

It delivers impressive image quality, features weather-resistant construction, and comes with a budget-friendly price tag. Available for four different mounts, it's easy to see why the lens has become a favorite across multiple camera systems.

Seeing this lens rank second, fourth and seventh in Kitamura's latest sales charts is no surprise. While Canon's RF 100-400mm takes the top spot, Sigma's compact standard zoom is arguably the biggest success story in the rankings.

You might like...

Browse the best telephoto lenses, the best budget telephoto lenses, and the best standard zoom lenses.

Photographers have become obsessed with speed. An f/2.8 lens is no longer considered particularly fast; f/1.8 is apparently the minimum, and f/1.4 is treated as though it is an essential requirement for producing anything remotely creative.

Then there are the f/1.2 and f/0.95 lenses, which promise extraordinary subject separation alongside equally extraordinary prices, sizes and weights. But how often do we genuinely need to shoot that wide open The uncomfortable answer is probably not very often.

Look through the metadata of your favourite photographs and you may discover that the expensive f/1.4 lens you convinced yourself you needed spends most of its life at f/2.8, f/4 or even f/8. We buy these lenses for what they can theoretically do, rather than for the settings we actually use when we are out taking photographs.

I am just as guilty of this as anyone. I recently sold a Leica Summilux f/1.4 lens and replaced it with something slower. Much slower, according to the internet. I now prefer – wait for it – an f/2.5 lens.

That might sound like a considerable downgrade on paper, but in practice it suits the way I photograph far better than the faster and considerably more expensive alternative.

The truth is that I normally shoot the f/2.5 lens at around f/4 or f/8 anyway. Those apertures give me the depth of field I want, allow more of the scene to remain recognisable, and usually deliver excellent sharpness across the frame.

Photography is not always about turning every background into a featureless blur. Sometimes the environment matters just as much as the subject, particularly in documentary, travel and street photography.

Even when the sun goes down, f/2.5 is more than enough for most situations. Modern cameras perform incredibly well at higher ISO settings, while sensible shutter speed choices can keep images sharp without demanding an enormous aperture.

You need to understand how slowly you can comfortably handhold your camera and how far you are prepared to push the ISO. That feels like a far more useful skill than relying on f/1.4 to solve every low-light problem.

There are compromises with ultra-fast lenses that rarely receive the same attention as their headline aperture. They are generally larger, heavier and more expensive, while depth of field can become so narrow that keeping both eyes sharp in a portrait becomes a challenge.

Some also perform noticeably better when stopped down, meaning that photographers pay a significant premium for f/1.4 only to use the lens at f/2.8 to achieve the result they actually want.

There will always be photographers who genuinely need an f/1.4 lens – and there are situations where that additional light or shallower depth of field can make a real difference.

However, for most of us, f/2.8 is already more than fast enough – and something like f/2.5 certainly should not be viewed as a limitation. Stop chasing specifications, look at the apertures you really use, and buy the lens that best suits how you photograph.

You may find that the supposedly slower option is the one that finally gets out of the way and enables you to concentrate on making pictures.

You might also like…

If you still fancy yourself a speed demon, take a look at the fastest lenses you can buy right now.

Tamron is no stranger to producing lenses with unconventional focal ranges. There's the 35-150mm f/2-2.8 Di III VXD, 20-40mm f/2.8 Di III VXD, 17-70mm f/2.8 Di III-A VC RXD, and most recently, the 35-100mm f/2.8 Di III VXD. All are excellent lenses though, with their non-standard focal lengths bringing benefits like additional shot versatility and better overall portability.

Now it seems Tamron could be planning another unique lens, this time with a 50-130mm focal range. The tip-off comes from a recent release of a Tamron patent application, which mentions an extremely precise focal length of "51.5100-130.9425". 'F value' is quoted as 2.8840, so presumably the design would feature a constant f/2.8 maximum aperture.

Judging by the patent diagrams, the design features 17 lens elements, arranged in 7 groups. Three separate diagrams show the position of the elements with the lens set to its shortest, medium and longest focal lengths, and it's clear from these that focussing would be internal, unlike Tamron's 35-100mm lens where the barrel extends as you increase focal length.

As this is only a patent application, there is absolutely no guarantee Tamron will actually manufacture such a lens, let alone when we might get our hands on one. However, if it did choose to put a 50-130mm lens into production, the focal range could be very handy for applications like portraiture. At 50mm you'd have the option to shoot full-length images, or even small group shots. 130mm would be suitable for tight close-ups, and there's every option in between for other compositions. What's more, if the lens was to also have a reasonably high magnification factor, it could also double as a useful tool for macro photography.

Sirui is teasing a new lens on Chinese social media which is going to be fully launched later this week. According to the post, the lens will be a portable telephoto lens – and as far as we can tell from the outline in the monochrome silhouetted image in the teaser, it is pretty small.

The only other clue we get along with the phrase "Handheld telephoto" is the accompanying words "Explore without boundaries".

So what do we think the lens is? The above information doesn't give a lot away - but we are told that all will be revealed on Thursday July 2 at 7pm Beijing time (so 7am Eastern, or 12 noon in UK).

The shape of the lens makes me think is not a zoom – given that it is described as a telephoto. Sirui is also best known for its primes. It is also particularly known for its anamorophic and cine lens ranges (but it doesn't look like it will be one of these either).

But is this an APS-C lens - or a full-frame one?

Sirui has recently introduced its Aurora range of autofocus photography lenses - and currently this consists of a 35mm f/1.4 and an 85mm f/1.4. So there is already a telephoto - but potentially this could be a 135mm f/2, perhaps?

A more likely option, probably, is that this is an addition to the Sniper range of fast autofocus lenses for APS-C cameras. This currently comprises of 16mm, 23mm, 33mm, 56mm and 75mm lenses - all with f/1.2 maximum apertures. So there are already to telephoto options - with effective focal lengths of 84mm and 112.5mm. Squeezing in a longer option would be attractive to some - but keeping the f/1.2 aperture would make it unlikely to be particularly portable.

So the identity of the new lens may need to remain a puzzle until it is unveiled on July 2.

Back in April, Shenzhen-based cheap lens manufacturer TTArtisan announced the launch of a brand-new series of prime lenses dubbed the Neo Series.

In doing so it announced the TTArtisan AF 50mm f/1.8 Neo and the TTArtisan AF 85mm f/1.8 Neo, with the former listed as coming soon and the latter listed as a follow-up.

The ‘nifty fifty’ was priced at just $89 and now, a post on Chinese social media site Weibo from the Independent Photographers Association has seemingly revealed details about the 85mm's price and construction – along with the fact that it's coming to Sony E and Nikon Z, followed later by L-Mount.

The post (translated by Google) states that the lens is ¥499, which would roughly equate to $73 / £55 / AU$106.

The lens is said to weigh just over twice the weight of the smaller 156g TTArtisan AF 50mm at 330g. This is considerably lighter than the Nikon Z 85mm f/1.8 S, which weighs in at 470g.

Just like its 50mm counterpart, the AF 85mm f/1.8 Neo is constructed from 12 elements in 8 groups. However, it’s not yet clear whether this will also match the nifty fifty by having two extra-low dispersion and four high-index elements.

The 85mm optic will also have an 11-bladed aperture, which should result in smooth, circular bokeh. The minimum focusing distance is quoted to be 0.8 meters, which matches the aforementioned Nikon lens, and the TTArtisan’s 85mm will have a 62mm filter thread.

It’s not mentioned in the post, but I can only assume that the AF will be driven by a stepper motor, just like the 50mm.

The fact that the lens is coming to Nikon's mirrorless mount is particularly interesting, given Nikon’s ongoing high-profile legal battle with Viltrox.

There’s no official date for the lens’ release, and at the time of writing I cannot find it available at any retailer, so watch this space. If you’re in the market for a cheap 85mm prime, this could be it.

You might also like...

Looking for a cheap camera to go with your cheap lens? Maybe you’re in the market for the best Nikon camera or best Sony camera.

When I think about third-party lenses, I think about optics that sit at a more affordable price range – but the latest trends list coming out of Japan suggests that third-party lenses aren’t only about snagging a bargain.

According to Minna Camera, an online “flea market” of sorts for selling new and used camera gear, the trendiest third-party lenses in Japan over the last seven months are almost exclusively zooms. But, some of the most popular third-party optics are those that cover a range that’s hard to find from the first-party brands – and many of the lenses aren’t budget picks either.

The top ten third-party lenses in Japan are a near even split between Sigma and Tamron, with Sigma at 54.7 percent and Tamron at 45.3 percent. While a Carl Zeiss lens made the top 20, only those two popular optics brands make up the top ten list, which includes:

• Sigma 28-70mm f/2.8 DG DN (Sony E)
• Tamron 17-70mm f/2.8 Di III-A VC RXD (Fujifilm X)
• Sigma 150-600mm f/5-6.3 DG OS HSM (Canon EF)
• Sigma 18-50mm f/2.8 DC DN (Fujifilm X)
• Sigma 24-70mm f/2.8 DG DN II (Sony E)
• Tamron 90mm f/2.8 Di III Macro VXD (Sony E)
• Tamron 18-300mm f/3.5-6.3 Di III-A VC VXD (Sony E)
• Tamron 150-500mm f/5-6.7 Di III VC VXD (Nikon Z)
• Tamron 50-300mm f/4.5-6.3 Di III VC VXD (Sony E)
• Sigma 24-70mm f/2.8 DG DN (Sony E)

While there are a number of standard focal length options on the list, including multiple 24-70mm f/2.8 workhorse lenses, several of the top lenses are options that don’t quite have an exact match in the brand native to the mount.

The Tamron 17-70mm f/2.8, for example, covers an equivalent of a 25.5 to 105mm, all-in-one lens that still maintains that bright f/2.8 throughout the range. That’s an unusual combination that doesn’t have an exact match from Fujifilm – and the crop sensor lens is also available in the Sony E, and now Canon RF and Nikon Z.

Similarly, Tamron’s 18-300mm and 50-300mm cover an all-in-one approach that makes the lenses more unusual.

Even the top lens, the Sigma 28-70mm f/2.8 DG DN doesn’t have an exact match, though Sony does offer the same focal length range in an even brighter f/2 lens.

The number of lenses on the list that don’t have an exact match from a first-party brand, combined with the number of lenses selling for more than ¥100,000 ($618 / £468 / AU$839 / CA$877), leaves Minna Camera drawing one key conclusion: Buying a third-party lens isn’t necessarily about getting a better price.

The other thing that surprised me about the list of top third-party lenses is that only one prime makes the list, a Tamron 90mm that has macro capabilities. While I’m not surprised that there are more zooms than primes, I would have expected at least one of Sigma’s popular Art series primes to be a trending option.

Another surprise? While I fully expected Sigma and Tamron to dominate the list, the growing number of third-party Chinese lens brands hasn’t become popular enough to break into the top 20, though expanding the list to 20 options does bring in a Carl Zeiss lens.

The top trending third-party lenses in Japan – and from an app that has both new and used lenses – may not match up exactly with the trends in other regions. But, the data offers an interesting insight into the popularity of some third-party lenses – and it seems it’s not just about price.

You may also like...

take a deep dive into the best zoom lenses or the best telephoto zoom lenses.

Over 10 years since introducing the L-mount, Leica has finally launched its first macro lens for its SL range of mirrorless cameras. The Leica APO-Macro-Elmarit-SL 100mm f/2.8 will be available to buy by the end of the year.

With a design based on the Leica APO-Macro-Elmarit-R 100mm f/2.8 that was launched for its DSLRs in 1987, the new macro lens will offer a lifesize magnification and a minimum focusing distance of 29cm. The full-metal body is 137.6mm long and weighs 862g, without the supplied lens hood.

Announced at the same time as the new Leica SL-3P camera, the macro lens will not go on sale until the end of 2026, and will retail for $2,700 / £2,100.

Despite the wait for its release, I managed to have a brief chance to try out the new Leica APO-Macro-Elmarit-SL 100mm f/2.8 during a studio session with fashion photographer Pat Domingo at Leica's Wetzlar HQ in Germany.

The photos I shot are below, with full technical details…

Check out our guides to the best macro lenses, and the best Leica SL lenses

Launched alongside the new Leica SL3-P camera, the Leica Summilux-SL 50mm f/1.4 ASPH claims to be the world's most compact 50mm f/1.4 autofocus lens. At just 75.5mm long and with a diameter of 74mm, it is a substantial shrinking of the original Leica 50mm f/1.4 SL lens launched back in 2016.

In 2023, Leica introduced a smaller version of its Summicron-SL 50mm f/2 ASPH. Now the shrinking process has been applied to the 50mm f/1.4 – and remarkably, it is even smaller than the latest 50mm f/2.

Weighing in at 584g, the Leica Summilux-SL 50mm f/1.4 ASPH can't claim to be the world's lightest full-frame 50mm f/1.4 AF lens, however – but nonetheless this is a remarkable technological achievement for the pioneer of the L-mount lens system. Using state-of-the-art manufacturing processes, the lens uses 11 aperture blades and two aspherical lens elements and promises "high-quality images even in challenging lighting conditions, while also producing precise subject isolation and a soft, natural bokeh."

The new Leica Summilux-SL 50mm f/1.4 ASPH will not go on sale until the end of 2026, but has an anticipated price tag of $4,950 / £3,890.

Despite the delay until its availability, we managed to have a brief session using it at the launch event in and around Leica's German headquarters, using it on the new Leica SL3-P.

Check out our guide to the best Leica SL lenses, and to the best L-mount lenses overall

If you’re a Sony photographer who’s in the market for a fast telephoto zoom, but don’t want to pay ‘trinity’ G Master prices then the newly announced LK Samyang AF 60-180mm f/2.8 FE (distributed under the Rokinon brand in the USA) will surely tickle your fancy. This affordable alternative to the more traditional 70-200mm f/2.8 has been co-engineered with historic German optical company Schneider Kreuznach.

It’s priced at just $TBA / £899 / AU$TBA making it significantly cheaper than the Sony FE 70-200mm f/2.8 GM OSS II, while also being much lighter. The Samyang AF 60-180mm f/2.8 FE weighs just 730g, which isn’t far off the weight of the Sony FE 24-70mm f/2.8 GM II.

Short telephoto zooms are a great alternative to a macro lens if you don’t require true 1:1 macro. The Samyang AF 60-180mm f/2.8 FE boasts an impressive minimum-focus distance of 0.35m at the wide end and a maximum magnification of 0.26x. Close-up photography should also benefit from Samyang’s Floating Focus System, which is said to minimize optical degradation at varying focusing distances in a bid to deliver reliable results throughout the frame.

The lens features a nine-bladed aperture and comprises 17 elements in 14 groups, which includes one high refractive, seven extra-low dispersion and two aspherical elements, combining to reduce aberrations and deliver sharper, clearer imagery.

The lens features a linear stepper motor (STM) which is said to deliver autofocus that is fast, precise and quiet for both stills and video applications. As far as physical onboard controls, the barrel features an AF/MF switch, a focusing ring, a zoom lock and a USB-C port for firmware updates.

Filters are accommodated via a 77mm thread, while weather sealing is present at critical junctures to help protect the lens’s internals against water and dust penetration. Samyang specifically states “light rain”, as always, no lens is impregnable, but weather sealing is always a boon for peace of mind.

When it comes to the lens’s build, Samyang has rather cryptically referred to a high-strength, lightweight material that was newly developed in house and is said to provide a “solid yet lightweight structure for reliable use in various shooting conditions.” The Samyang AF 60-180mm f/2.8 FE joins the existing 14-24mm f/2.8 and 24-60mm f/2.8 to complete a budget ‘holy trinity’ for Sony photographers.

You might also like...

Looking for more glass for your Alpha camera? Check out the best Sony lenses. If you want a bargain, check out the best cheap lenses. And if you're not quite sure what you're looking for, here are the best camera deals.

Not many people are still walking around with a first-generation 2007 iPhone in their pockets – but camera lens tech ages differently. According to new data from Japan, photographers aren’t afraid to twist a 20-year-old lens onto their camera.

The data comes from Minna Camera, a photo gear buying and selling app popular in Japan. The company compiled a list of all the lenses still being sold on the platform that are at least 15 years old in order to find the most popular retro lenses still being used today. The research uses data from the last seven months of sales.

The top ten lenses on the list are nearly all zooms, with just two prime lenses in the top ten – hinting that photographers aren’t just after images with less modern sharpness but versatility too.

Two of the top three retro lenses, in fact, are superzooms that cover a wide-to-telephoto range without lens swaps. The Nikon AF-S 24-120mm f/4G ED VR takes the number one spot, a lens that first launched in September 2010. While Nikon has a similar Z Mount lens, the DSLR lens’ average selling price on Minna Camera is less than a third of the cost of the Z mount 24-120mm.

A Canon all-in-one zoom takes the third-place spot: The EF 24-105mm f/4L IS USM. Launched in the fall of 2005, the lens is the oldest option on the top ten list. Like the top Nikon lens, the Canon 24-105mm has a mirrorless equivalent (but also an even a brighter f/2.8 option), but the average used price on Minna falls much lower.

A prime slots in between those two super zooms in second place, one of only two primes on the list: The Canon EF 100mm f/2.8L Macro IS USM, released in October 2009. The lens is also the only specialty lens on the list with its macro designation for close-up shots.

Much of the list is dotted with so-called “workhorse lenses," the 24-70mm f/2.8 and 70-200mm f/2.8 versatile bright zooms that typically come with a pro-level price. The full list of the top ten retro cameras over the last seven months, according to Minna Camera, includes:

1. Nikon AF-S 24-120mm f/4G ED VR
2. Canon EF 100mm f/2.8L Macro IS USM
3. Canon EF 24-105mm f/4L IS USM
4. Nikon AF-S 24-70mm f/2.8G
5. Canon EF 70-200mm f/4L IS USM
6. Canon EF 70-200mm f/2.8L IS II USM
7. Nikon AF-S DX 35mm f/1.8G
8. Nikon AF-S 70-200mm f/2.8G ED VR
9. Nikon AF-S 28-300mm f/3.5-5.6G ED VR
10. Panasonic Lumix G Vario 45-200mm f/4.0-5.6 Mega OIS

Only one mirrorless lens made the list, the Panasonic 45-200mm, a nod towards the Micro Four Thirds long history. That lens launched alongside the first commercially available mirrorless camera – the Panasonic Lumix G1 – released in October, 2008.

Interestingly, Minna Camera crafted a similar list of the most popular cameras that are at least 15 years old. On average, those cameras still tended to be newer than the list of lenses. I can easily see why this is – I think one of the best ways to get the retro look that’s popular right now, without giving up digital, is to adapt an older lens – I even adapted an old film SLR lens to work on my mirrorless camera.

You may also like...

Browse the best Nikon DSLR lenses or the best Canon DSLR lenses.

Canon RF and Nikon Z crop sensor shooters are finally getting an affordable f/2.8 all-in-one zoom. The longstanding favorite Tamron 17-70mm f/2.8 Di III-A VC RXD will begin shipping for Canon RF Mount and Nikon Z Mount next week on July 02, bringing a best-selling third-party E-Mount and X-Mount lens to more crop sensor bodies.

The Tamron 17-70mm f/2.8 is a highly versatile lens that earned 4.5 stars in tests of the Sony E-Mount version, which launched in 2021.

The new mount updates of the 17-70mm is only the third Tamron lens launched for the Canon RF mount, but join a list of ten other Nikon Z mount optics from the popular third-party brand.

Moving the lens to Canon RF mount is notable, as Canon doesn’t offer its own native constant f/2.8 zoom made specifically for crop sensor cameras – though pricier full-frame f/2.8 zooms will also work on crop sensor bodies. The Tamron will join a highly limited number of third-party constant-aperture lenses for crop sensor RF bodies, including the Sigma 18-50mm f/2.8 and Sigma 10-18mm f/2.8.

Nikon Z mount shooters already have access to a native constant aperture zoom with the Nikon Z DX 16-50mm f/2.8 VR, but Tamron’s launch notably extends the long end of the zoom range by another 20mm.

The new Canon RF and Z Mount options keep what made the earlier E Mount and X Mount options a popular choice, including the constant aperture, stabilization, and weather-resistant construction.

The 17-70mm range is equivalent to a 25.5-105mm full frame range on the Nikon Z and 27.2-112mm on Canon RF. That allows the lens to capture both a wide angle and shorter telephoto without lens swaps. Adding to the versatility is a minimum focus distance of .19m / 7.5 inches for close-up capabilities.

Packing that wide zoom range and constant aperture into one lens creates an optic that is larger than most variable aperture kit lenses, putting the RF mount version at 117mm / 4.6 inches long and the Nikon Z at 121.3mm / 4.8 inches long. The lens weighs around 530g / 18.7 oz on Canon RF and 540g / 19 oz on Nikon Z.

As an existing lens arriving on more mounts, it’s fairly easy to predict the image quality coming from the new lens. Based on the E-Mount tests, photographers (and videographers) can expect pleasant images with soft bokeh and solid sharpness – though a few settings create softer edges, and the images look best with lens profile corrections applied.

The Tamron 17-70mm f/2.8 for Canon RF and Nikon Z begins shipping on July 02. Both mounts are expected to retail for $749 / £549.99 / CA$949 – which converts to about AU$1082.

You may also like...

Take a deep dive into the best Nikon APS-C lenses or the best Canon APS-C lenses.

Variable ND filters are an essential purchase for any serious run-and-gun videographer. If you want to keep your shutter speed under control, maintain a wider aperture in bright light, or avoid constantly changing fixed ND filters between shots, a good VND is one of the quickest upgrades you can make to a camera setup.

Freewell has teamed up here with seasoned YouTuber Brandon Li, known for his fast-moving travel and documentary-style filmmaking, and this kit has clearly been designed around speed, convenience, and minimizing the number of individual filters you need to carry.

I tested the Pro Kit, which includes the VND/CPL, ND32, Glow Mist ¼, and base adapter ring (in my case, 77mm). The idea is simple enough: leave the base ring on your lens, then attach the filters magnetically as needed. You can use the VND/CPL on its own for 1-5 stops, add the ND32 to extend the range up to 10 stops, or bring in the mist filter when you want a softer look.

That makes it a direct alternative to buying several separate filters, and it will be of obvious interest to anyone looking through our guides to the best variable ND filters or the best filters for photography. The question is whether the convenience justifies the price.

Specifications

Price

The Freewell x Brandon Li Magnetic VND/CPL Pro Kit is not cheap, with the Pro Kit priced at $379.99 at the time of writing, discounted from a listed regular price of $449.99. The Basic Kit, which excludes the Glow Mist 1/4 filter, is currently priced at $349.99.

On one hand, the Pro Kit replaces several separate filters and gives you a lot of flexibility in a relatively compact package. You are getting a VND/CPL, ND32, mist filter, magnetic caps, and a proper case, so the value looks stronger when considered as a complete system rather than a single filter.

However, I do think Freewell should include more than one base ring. My 82mm filter came with one 77mm magnetic adapter ring, and if I want to use the same filters across lenses with different thread sizes, I will need to buy additional rings separately, which aren’t cheap. That is not unusual with magnetic systems, but at this price, it feels like Freewell could have included at least one or two common step-up sizes.

Design & Handling

At least the Freewell x Brandon Li kit feels like the premium product its price suggests. The filters have a solid, neatly machined feel, and the whole system is slimmer than I expected considering how much functionality is being squeezed in. On my 77mm diameter lens, the main filter is larger than the lens thread, which helps avoid vignetting, but it still does not feel overly bulky on the camera.

The design comes in a single distinctive green color. It is subtle rather than garish, but it does still stand out a little on my otherwise all-black camera and kit. I suspect this will be a love-it-or-hate-it for a lot of people. I do not mind it, but anyone who likes their gear to disappear visually might find it a bit more noticeable than a standard black or silver filter ring.

The magnetic base ring screws onto the lens, and from there, the system becomes much quicker than conventional screw-in filters. The main VND uses a locking system rather than relying only on magnets. You line up the red marks on the edge of the magnetic adapter ring and the edge of the VND, snap the filter into place, then twist so the lines no longer match. At that point, it is locked on. It is simple, and once you have done it a couple of times, it becomes second nature.

The locking mechanism for adding extra filters to the front is less elegant. You again have to line up the red marks, but I found the alignment slightly less obvious as the marks are very subtle, and because the magnetic connection is strong, the filter tends to snap on before you have everything exactly where you want it. Pulling it off again is harder than it should be, partly because the ND section can rotate and partly because the filters are slim, so there is not a huge amount to grip.

Once everything is locked in, I am very confident the attachments are not coming off. The problem is more about the process of stacking. If you want to use the ND32 and the mist filter together, the second filter locks in, but the additional filter effectively sits magnetically on top of the glass of the second filter. That means the top filter does not feel quite as secure, and I noticed it could rub against debris trapped between the filter surfaces. It is workable, but it is the least polished part of the system.

You can also attach the included mist filter or ND32 directly to the ring without using the VND, which is very useful. The magnetic connection is strong, and I never felt like the filter was going to be knocked off easily.

The VND itself is quite stiff to turn, which I actually think is a positive, as it means I was not accidentally unlocking it or knocking it out of position when handling the camera.

I do really like the lens cap. It is magnetic, made from solid metal, and has a built-in gray card, which is a genuinely useful touch for video work. The case is also excellent. Freewell has done a good job here. Its dome shape slots easily into a kit bag, feels protective, and has space for four or more filters.

Performance

Optically, the Freewell x Brandon Li kit performed very well in my testing. The biggest thing I look for in any variable ND is whether there is an obvious X pattern, and I could not see one here. The filter has hard stops, which reduce the chance of overdoing the polarisation effects.

Color shift is well controlled. There is a very minor shift at the top end, but I would describe it as almost negligible with the VND/CPL on its own. In some shots, I could see a slight yellow cast comparing images side by side, but I probably wouldn't notice in real-world shooting, and it is easily corrected in post. For anyone already grading footage or editing raw photos, this is not something I would lose any sleep over.

I also saw no vignetting on the 24mm end of my lens, even when stacking all three components, although this is helped by the fact that the filter is effectively oversized for my 77mm lens thread.

The built-in CPL does a great job at cutting reflections, and having the CPL integrated with the VND just reduces the need to stack yet another separate filter just to manage glare and reflections. I probably wouldn't buy a pro VND without the ability to twist the whole filter to adjust polarisation.

Adding the ND32 on top of the 1-5 stop VND range gives you much more flexibility in very bright light, but it also adds a little more color cast. The yellow tone becomes more noticeable than with the VND alone. Again, it is something I would be happy to correct in editing rather than a dealbreaker, but if you need straight-out-of-camera perfection, then fixed NDs are much better here.

The Glow Mist 1/4 filter is quite strong. That is not necessarily a criticism, but it is not something I would leave on permanently. Used carefully, it can give highlights a softer, more cinematic bloom and take a little bite out of digital sharpness, but here, the effect is not especially subtle, so I would use it deliberately.

Verdict

The Freewell x Brandon Li Magnetic VND/CPL Filter Kit is an incredibly good filter system. I like it so much that it has become the default glass on the front of my lens.

I was impressed by the build quality, the secure locking system, and the optical performance. I saw no visible X pattern, no vignetting on my 24mm lens, and only very minor color shift with the VND/CPL. The ND32 and mist filter introduce a little more warmth, but nothing I would consider difficult to correct.

There are a few frustrations. I do not think it is generous enough to include only one base ring at this high price, especially when the whole point of a system like this is using the same filters across multiple lenses. Stacking multiple filters is also more fiddly than the main magnetic system suggests.

Even with those caveats, if you are mostly shooting video, switching between stills and motion, or working quickly outdoors, having a VND, CPL, ND32 and mist filter in one compact setup is genuinely useful.

Alternatives

My colleague Mike made a fascinating observation on the latest episode of our podcast.

"People that are not photographers are drawn to macro photography, I always find. If you give someone a camera with a macro lens, who's not necessarily a photographer, I think they'll be well happy going around [taking pictures], trying it out."

Now that he's said it, it seems so obvious. I know so many people who, the odd selfie or cat photo aside, have no interest in taking pictures. But they specifically upgraded to phone because it had a macro mode, or they asked if they could "have a go" with my macro lens to photograph coins or buttons or tiny mushrooms in the forest.

The act, or indeed art, of photography itself doesn't really resonate with them. But being able to see the world differently is something that resonates with everyone. I think it's the same reason that a magnifying glass is such a brilliant gift for kids.

"It's something people kind of do with their phones, a little bit like astrophotography but more accessible," Mike continued. It's a way of partaking in something that you don't see with the human eye. It's a novelty, isn't it.

"You can kind of go around with a macro lens and look at everything at a macro level, and it kind of seems amazing and interesting."

Chris agreed, adding that macro photography is pretty unique in that it doesn't even require you to leave the house – something that became a pretty big deal a few years ago, during the pandemic.

"[Even if] you're stuck at home, it's raining, you can't get out or whatever – get a macro lens. Get a bit of broccoli or cauliflower or something out of your fridge, and take close-up pictures of it. It's amazing."

Unlike many genres of photography where a cost is involved – either in terms of investing in lighting and equipment, or simply in travelling to locations or hiring models or other creatives – macro can essentially be enjoyed with no further outlay.

It also complements many other hobbies, creating a bridge between pastimes that enables people to increase their enjoyment of both.

"I do like gardens," said Chris. "I don't – as my father said, I'm a plantsman, not a gardener – so I like plants, I don't like the actual gardening bit. I buy lots of plants, but I'm not very good at actually creating the whole garden thing. So I enjoy going to a garden and looking at the different plants and photographing them."

To that point, I think macro is something that many photographers shoot to relax. It's something they can do for themselves, independent of whatever "proper pictures" they take. It's a pastime within a pastime, which can remind us why we fell in love with photography in the first place.

Indeed, when I split up with my ex (who is a photographer), we had to divide up some kit. We both shot on the same system and shared a few lenses – but the only lens she absolutely insisted on keeping was the macro.

Even my wife (who is not a photographer) has expressed an interest in learning photography so she can take macro shots of nature while we're out on walks. So I guess, if you want to Trojan horse your family or friends into taking an interest in photography, put a camera with a macro lens in their hands.

You might just unlock a new photography buddy – or change someone else's life the way photography has changed yours. You can watch the full discussion on macro lenses in our podcast below (I've teed it up to the right timestamp).

You might also like…

Take a look at the best cameras for macro photography and the best macro lenses, along with the best ring flashes for macro photography.

SG-Image is rumored to soon be releasing a new lens for Micro Four Thirds cameras: the AF 25mm f/1.8. This lens is already available for Fujifilm X and APS-C Nikon Z and Sony E-mount cameras – it’s the widest and most affordable lens in SG-Image's range of five autofocus mirrorless lenses. At just 31mm long it almost qualifies as a pancake prime, and the lens is refreshingly lightweight at 145 grams, despite having an all-metal barrel. SG-Image claims this "may be the slimmest 25mm f/1.8 lens in the world" - you be the judge of that.

Inside are 7 elements arranged in 5 groups, including 3 high-refractive-index elements to reduce chromatic aberrations. Other specs include a 0.3-meter minimum focussing distance and a 52mm filter thread diameter.

With its focal length equating to around 37.5mm in full-frame terms, the lens is ideal for street photography, while the fast f/1.8 max aperture should also make it very useful in low light. Factor the aperture diaphragm with its fairly generous nine blades and bokeh has the right ingredients for sumptuous smoothness.

Unlike affordable third-party primes of old which would have sacrificed autofocus and electronic contacts to stay in budget, the AF 25mm includes an AF motor, which SG-Image says is fast, accurate and quiet.

Though rumored to be launching on June 15th, the MFT variant of the SG-Image AF 25mm f/1.8 isn't yet showing on the brand's website. Once it does, expect it to cost $125, assuming it's priced in line with the lens's other three mount options. Like those, the MFT version will probably also be available in a choice of black or silver barrel finishes.

Story credit: 43rumors

According to Leica Rumors, Meyer Optik Görlitz is continuing its comeback and is now apprently working on the with a sort a lens that immediately catches the eye. After a break of almost a year and a half, the Hamburg-based optics maker has confirmed that it is developing a new 42mm f/1.2 lens, including a version for Leica M-mount.

That alone is enough to make many rangefinder users pay attention. A 42mm focal length sits in that interesting space between the classic 35mm and 50mm fields of view, offering something slightly different for everyday photography, portraits, travel, and available-light shooting. Pair that with a very fast f/1.2 aperture, and this starts to sound like a seriously characterful optic.

Inside, the lens is said to feature 10 elements in total, including two aspherical elements and two floating elements. That suggests Meyer Optik is aiming for more than just vintage charm here, with optical correction and close-range performance clearly part of the design brief. The lens will be offered for Sony E, Canon RF, and Leica M mounts, which should give it appeal beyond the Leica world.

But the detail I cannot stop looking at is the inclusion of 15 red aperture blades. Do red aperture blades make a real-world difference to the final image? I am definitely not convinced. My feeling is that this is more about aesthetics than optical performance, but I have to admit, I absolutely love it. There is something wonderfully bold and slightly indulgent about seeing that flash of red inside a handmade lens.

The new Meyer Optik Görlitz 42mm f/1.2 will be handmade in Hamburg, Germany, and while there is still more to learn about pricing, availability, and final performance, it is already one of the more intriguing lens developments for Leica M users and others. In a market often dominated by technically perfect but visually forgettable lenses, this feels like something with a little more personality.

If I were stranded on a desert island with just one lens, I’d want it to be a 70-200mm f/2.8. At the wide end, you've got a versatile short telephoto that can be used for everyday snaps and portraits, while the zoom range provides enough reach for wildlife photography. This class of lens also tends to work very well for close-up work if you don’t need true 1:1 macro.

But if you’re thinking of stepping up to a full-frame camera or even switching systems, who makes the very best 70-200mm? Well, everyone’s favorite Hong Kong-based photography YouTuber Matt Granger has answered that question, pitting pro-grade f/2.8 telephoto zooms from five of the top manufacturers against each other in a real-world head-to-head battle.

During the video, Matt tests the autofocus, build, image stabilization, and image quality of each lens, attached to a high-resolution camera. The Leica Vario-Elmarit-SL 70–200mm f/2.8 ASPH is used with the Leica SL3, the Canon RF 70–200mm f/2.8L IS USM Z on the Canon R5 Mark II, the Nikon Z 70–200mm f/2.8 VR S II on the Nikon Z8, the Sigma 70–200mm f/2.8 DG DN OS Sports on the Sigma fp L, and the Sony FE 70–200mm f/2.8 GM OSS II on the Sony A7R V.

Ultimately, Matt concludes that the Nikon, Canon and Sony exist in a class of their own, but there are a few caveats, so to find out his opinion on each lens, make sure you watch the video (above) all the way to the end. If you’re interested in finding out the telephoto lenses that Digital Camera World rates, check out the best telephoto lenses.

You might also like...

Want a lens that's a little shorter? Check out the best standard zooms. If you're after something with more reach, here are the best lenses for bird photography. And to stay up to date, here's the latest camera news.

Ultra-wide lenses typically come with a curved front glass that prevents the lenses from usuing filters in the traditional sense. But a new lens from Brighin Star has an unsual take with a filter holder that also doubles as a lens hood. The Brightin Star 14mm f/2.8 spans an impressively wide view – and arrives compatible with full-frame E Mount, RF Mount, Z Mount, and L Mount mirrorless camera bodies.

The Brightin Star 14mm f/2.8 covers an impressively wide 116-degree view, but like most ultra-wides, that creeates a curved front element, making traditional screw-in filters impossible.

Instead, the full-frame lens includes a detachable filter holder that can accommodate square 82mm ND filters, but also supports circular polarizing filters. The filter holder also doubles as a lens hood.

Filter holders for ultra-wide lenses aren’t uncommon, but most are sold seperately. Brightin Star includes a filter holder, but also allows it to double as a lens hood to help prevent flare too.

The manual focus design, 116-degree wide view and f/2.8 aperture is a mix meant for astrophotography as well as architecture and interiors. The lens is built with 13 elements in nine groups, including coatings to reduce flare and help keep stars sharp. Brightin Star says that the design is meant to minimize lens distortion.

While the manual focus is perhaps expected for the brand and price point, I’m surprised that the lens still offers focusing as close as .2m in front of the lens. That could help photographers turn the perspective distortion that comes from such a wide view into a quirky creative effect.

The lens uses a ten-blade aperture, which means narrowing that f/2.8 aperture down will turn points of light into ten-point starbursts.

The Brightin Star 14mm f/2.8 will be available beginning on June 17. The lens is set to retail for $279 in the US – about £208 / AU$394 / CA$390. Until June 27, Brightin Star is offering a $40 launch discount.

You may also like...

Take a deep dive into the best lenses for astrophotography or the best ultra-wide lenses.

It's tough being an S9 owner. Panasonic proudly announced an ultra-small full-frame camera that's about the same size as a Fujifilm X100VI – but the only ultra-small lens available for it was barely fit for purpose, and every other L-Mount lens was comedically oversized on the camera.

Since then, even the so-called small Lumix S 40mm f/2 and TTArtisan 40mm f/2 are too chunky for my taste. But thankfully, mercifully, Viltrox has come to the rescue with an ultra-small lens that the Lumix S9 has been screaming out for.

Already available for Sony E, Nikon Z and Fujifilm X mounts, the Viltrox AF 28mm f/4.5 has just been launched for L-Mount. It's a super-thin pancake lens that's just 15mm thick, making it a perfect pairing for the svelte S9.

I wish this lens was available for the S9 at launch, as I think it would have utterly transformed the reception that greeted the camera. Instead of Panasonic's poorly-received, manual focus, fixed-f/8 26mm pancake, this is the proof-of-concept optic that the Lumix deserved.

As it is, the Viltrox AF 28mm f/4.5 – which my colleague Matt Richards awarded four stars in his review – offers silent and snappy autofocus, a faster (but still fixed) f/4.5 aperture and tasty central sharpness (even if it gets choppier towards the edges of frame). Heck, it even has a built-in lens cap that can be engaged with the flick of a slider switch!

All that tech and it's still slimmer than Lumix's 18.1mm-thick pancake – and only a shade heavier, too, at just 60g (compared to 58g).

And while I've been moaning about the S9, the L-Mount version of this lens obviously fits any camera using the mount – it's equally at home on the similarly small Sigma BF, chunkier bodies like the Lumix S1IIE or even a Red Dot camera like the Leica SL3. But we all know that it's meant for the S9.

"I feel that the Viltrox AF 28mm f/4.5 is the last word in convenience and portability, thanks to its incredibly small and lightweight build," Matt said in his Viltrox AF 28mm f/4.5 review. "I really like using it for street photography and for walkabout/travel shooting, as it keeps size and weight to an absolute minimum."

He does note that the fixed aperture can prove tricky (though nothing that isn't remedied by nudging your ISO) and found that flaring can be an issue, but otherwise concluded that "it's a fun lens that keeps things simple." Which is exactly what I want from my S9 – and is exactly what the 26mm f/8 failed to deliver.

Anyway, S9 users like me can finally shut up as we've got the lens we always wanted. It's available now for $99 / £90 (Australian price to be confirmed). Now, if only Samyang can be persuaded to bring the Remaster Slim to the L-Mount as well… 

You might also like…

This is definitely one of the best lenses for the Panasonic Lumix S9, but see how it fares against the best L-Mount lenses from all manufacturers.

Photographing the sun safely has traditionally meant one of two things: building a DIY filter using specialist solar film, or investing in a dedicated astronomical solar filter system. The K&F Concept ND1,000,000 takes a different approach.

Rather than using a dedicated solar film, it’s essentially an extremely dark 20-stop neutral-density filter that reduces sunlight by a factor of 1,000,000. Designed primarily for ultra-long-exposure photography, it’s a convenient, durable, and straightforward screw-in design.

Compared to fragile Baader AstroSolar Safety Film or foldable universal filters like the Daystar Universal Lens Filter, the K&F filter is much easier to travel with. There’s no cardboard to crush in your luggage, no delicate film to puncture or stretch, and no tape-covered DIY construction rattling around your camera bag.

For this review, I tested the filter primarily on a DSLR camera with a 100-400mm telephoto lens. The results were surprisingly impressive – though not without important compromises and safety considerations.

K&F Concept ND1,000,000: Specifications

K&F Concept ND1,000,000: Price

The K&F Concept ND1,000,000 is simple and reasonably affordable. Available in 49mm, 52mm, 58mm, 62mm, 67mm, 72mm, 77mm, 82mm, and 95mm sizes, prices typically hover around the $50 / £38 mark for the 77mm size, and there are frequent discounts.

That’s competitive pricing considering the filter also doubles as a creative long-exposure tool outside eclipse seasons. Unlike specialist solar film that may sit unused for years between eclipses, the K&F ND1,000,000 can also be used for ultra-long daytime exposures, smoothing water, removing crowds, cloud streak effects, and minimalist landscape photography. So it should appeal to photographers worried about investing in niche eclipse gear.

However, dedicated solar filters still offer advantages in thermal management and safety certification. The K&F is ultimately a photographic ND filter first and foremost, not a purpose-built astronomical solar filter.

K&F Concept ND1,000,000: Design & Handling

Safety first. The K&F ND1,000,000 is a photographic filter, not a certified visual solar observing filter. You should never look directly at the sun through it – or via a DSLR's optical viewfinder. Mirrorless EVFs and rear LCD Live View systems are the safest workflows to use (besides, zooming in on a Live View image of the sun is the best way to manually sharpen the image).

The K&F ND1,000,000 feels surprisingly well-made for the money. The aluminum frame threads smoothly with no cross-threading issues, the grip texture is easy to handle even with gloves, and the included hard protective case is tough. It occupies almost no space in a camera bag and feels substantially more durable than solar film systems.

However, there are practical trade-offs. Glass solar filters absorb and retain heat far more than solar film systems do. After prolonged shooting sessions in direct sunlight – the definition of an eclipse shoot, which can last over three hours – the filter becomes distinctly hot to the touch. This makes removing the filter quickly before totality slightly trickier than with lightweight slip-on film filters, which typically rely on cardboard or tough plastic housings.

That said, you don’t necessarily need to fully tighten the filter during eclipse photography. Leaving it slightly loosened allows much faster removal just before totality while still remaining secure enough for shooting the partial phases.

K&F Concept ND1,000,000: Performance

Considering its intended purpose as a creative long-exposure filter rather than a specialist astronomy product, the K&F ND1,000,000 performs impressively well. Mounted on a Canon 100-400mm telephoto lens attached to a mirrorless camera, image quality was genuinely good. Contrast remained strong, flare was well controlled, and the filter introduced no obvious vignetting or focusing issues during testing. The ND1,000,000 should be the only filter mounted on the lens when imaging the sun to avoid ghost reflections.

Compared to DIY solar film filters, the screw-in design makes setup dramatically simpler, especially while traveling. There’s no concern about crushed filter cells, wrinkled film, or masking tape-secured housings. For lightweight eclipse expeditions, that convenience becomes extremely appealing. Dedicated solar film systems still hold a clear optical advantage.

With ISO100 and f/8 dialed in, exposures between 1/13 sec and 1/100 sec produce usable images, with 1/50 sec superior. Compared to Baader AstroSolar Safety Film, the K&F filter produces a yellow-tinted and slightly softer image of sunspots and the solar limb, as well as a little less contrast across the sun’s disk. The difference isn’t huge for casual use, but experienced eclipse photographers will notice it.

The K&F Concept ND1,000,000 ND filter gets hot. Dedicated solar film reflects much of the sun’s energy away before it enters the lens, whereas dense glass ND filters absorb more internally. Since prolonged Live View sessions in hot environments may increase thermal stress on both the filter and camera, it’s something to consider.

Without formal solar certification documentation, the K&F ND1,000,000 should be considered for occasional mirrorless solar photography with moderate telephoto zooms – thereby avoiding the need for optical viewfinders. With those caveats in mind, it works far better than many photographers might expect.

K&F Concept ND1,000,000: Verdict

The K&F Concept ND1,000,000 is not a replacement for dedicated astronomical solar filters, but that’s not really the point. What it offers instead is one of the most practical, compact, and travel-friendly ways to occasionally photograph the sun with a mirrorless camera. For eclipse travelers wanting a lightweight setup without DIY filter construction, it makes sense. Image quality is solid, handling is straightforward, and the screw-in design is dramatically easier to travel with than delicate solar film systems. The ability to repurpose it for creative long exposures outside eclipse season also helps justify the purchase.

However, the compromises are real. Dedicated solar film from Baader or Thousand Oaks remains cheaper, sharper, and better able to handle heat. This filter should also never be treated as suitable for direct visual observing.

For casual eclipse photography and lightweight travel kits, the K&F ND1,000,000 is an excellent option. But for publication-grade solar imaging at long focal lengths, specialist solar film still leads the way.

Alternatives

What’s in a name? Thypoch is a Chinese manufacturer best known for its Simera f/1.4 manual-focus prime lenses and more movie-focused Simera-C T1.5 cine lenses. Thypoch takes its name from ‘epoch’ and Simera is Greek for ‘today’. Taking a step forward, the new Voyager 24-50mm is the company’s first autofocus zoom lens, advertised as ‘the cine-soul in motion, bringing world-class cinematic rendering to your everyday kit’.

I’ve seen a variety of full-frame compatible standard zoom lenses that aim to be as compact and lightweight as possible, but they usually come with the compromises of a fairly slow aperture rating that varies with focal length, a lack weather-seals, and come up short at the long end of the zoom range. A couple that spring to mind are the Canon RF 24-50mm f/4.5-6.3 IS STM and the Nikon Z 24-50mm f/4-6.3. On the other hand, traditional ‘trinity’ standard zooms with a constant f/2.8 aperture rating tend to be much bigger and heavier, but a variety of downsized alternatives have come to market, generally with a different zoom range to the classic 24-70mm (see ‘pricing’ below).

A notable recent newcomer in the alternative trinity camp is the LK Samyang / Rokinon AF 24-60mm f/2.8 FE for Sony Alpha mirrorless cameras, designed in partnership with Schneider-Kreuznach. Like the Samyang, Thypoch’s first autofocus zoom aims to be one of the best standard zooms on the market, as well as one of the best lenses for Sony full-frame E-mount cameras, at least if you’re on a tight budget.

Thypoch Voyager 24-50mm f/2.8: Specifications

Thypoch Voyager 24-50mm f/2.8: Price

The launch price of the Thypoch Voyager 24-50mm f/2.8 is a relatively budget-friendly $649 / £489 / AU$926. For the sake of comparison, other ‘alternative trinity’ standard zooms include the Canon RF 28-70mm f/2.8 IS STM at $1,249 / £1,249 / AU$1,599 and the Nikon Z 28-75mm f/2.8 at $1,197 / £889 / AU$1,499. Naturally, the Thypoch is also a direct competitor to the Sony FE 24-50mm f/2.8 G, which has a much more expensive list price of $1,298 / £1,149 / AU$2,000, costing about twice as much.

Third-party offerings for Sony E-mount cameras include the Sigma 28-70mm f/2.8 DG DN | C at $989 / £779 / AU$1,320 and the Tamron 28-75mm f/2.8 Di III RXD G2 at $899 / £649 / AU$1,279. The LK Samyang / Rokinon AF 24-60mm f/2.8 FE that I mentioned earlier launched at $899 / £635 / AU$1,209. On the face of it, the Thypoch looks very competitively priced.

Thypoch Voyager 24-50mm f/2.8: Design & Handling

Along with a constant f/2.8 aperture, an almost constant theme to ‘alternative trinity’ standard zooms is that they sacrifice wide-angle coverage, typically starting at 28mm instead of 24mm. The Thypoch, along with the Samyang / Rokinon, buck the trend and match full-sized trinity zooms with a 24mm minimum focal length. The wider perspective is very noticeable when shooting. However, something’s gotta give and what you gain in wide-angle coverage you lose in telephoto reach. Again, most alternative trinity standard zooms stretch to 70mm or 75mm, the Samyang / Rokinon only gives a nod to telephoto reach, maxing out at 60mm, and the Thypoch has none at all, only going to a ‘standard’ 50mm focal length at the long end.

In its defense, Thypoch claims that its first autofocus zoom lens covers three classic or ‘golden’ focal lengths of 24mm, 35mm and 50mm. I’d personally add 28mm to the list, bringing the total up to four. Either way, the net result in terms of handling is that you get a very useful range of focal lengths, all with the same ‘constant’ f/2.8 aperture rating. More remarkably, and unlike with the Samyang / Rokinon lens, the Thypoch has a fully internal zoom mechanism, so the physical length of the lens doesn’t extend at any zoom setting.

Despite the downsized design and lightweight build, the lens is based on no less than 16 optical elements arranged in 13 groups. Those include two aspherical elements, three ED (Extra-low Dispersion) elements and three HR (High Refractive index) elements. The aim is to maximize sharpness, clarity and color rendition while minimizing unwanted aberrations. Nano-structure coatings are also applied to suppress ghosting and flare.

A key facet of any ‘trinity’ zoom lens is the relatively fast and constant f/2.8 aperture, that remains available at all focal lengths. Advantages include the ability to maintain quick shutter speeds under low lighting conditions, to freeze motion and avoid camera-shake without needing to bump up your camera’s ISO setting too much. But the biggest plus point is that you can gain a tighter depth of field for creative effect, isolating subjects within a scene by blurring the background. Bokeh becomes an important factor in the overall performance of the lens and to help ensure that bokeh remains attractive when stopping down a little, the aperture is based on a well-rounded 10-blade diaphragm.

Handling feels impressively up-market, especially for such a budget-friendly lens. The zoom and focus control rings work with smooth precision. Helped by the fully internal mechanisms for both, there’s no hint of zoom creep. The dedicated aperture control ring operates in one-third click steps through its entire range of f/2.8 to f/22, complete with a marked, calibrated scale for easy reference. As usual, there’s an ‘A’ (Auto) position at the narrow end of the range, for controlling the aperture from the host camera body, rather than on the lens itself. It’s a must if you’re shooting in Program AE or Shutter-priority modes.

A couple of downsides are that there’s no switch for locking the aperture ring in its Auto position, so you need to be careful not to nudge it accidentally to a narrow aperture setting when controlling the aperture from the camera body. A bigger problem for videographers is that there’s no de-click switch for the aperture control ring. The upshot is that smooth, silent and stepless aperture transitions are unavailable. Back on the plus side, handling extras include an AF/MF focus mode switch and a customizable function button on the left hand side of the barrel. I’d generally use the latter for autofocus-hold.

Low-budget lenses from certain camera manufacturers (Canon and Nikon spring to mind) are notorious for being supplied with no hood, the item in question being sold separately as an ‘optional extra’. I’m happy that a good-quality and efficient petal-shaped hood is supplied with the Thypoch, as part of the standard kit.

When attached, the hood doesn’t extend very far but does offer extra resistance against ghosting and flare, as well as giving some physical protection to the front element of the lens. It’s a win-win.

I’ve used various lenses that are designed to be lightweight, which have plastic rather than metal mounting plates. That’s not the case here, as the Thypoch features a ‘proper’ metal mounting plate with gold-plated electronic contacts, a rubber weather-seal and a USB-C port for applying firmware updates, if and when needed.

Thypoch Voyager 24-50mm f/2.8: Performance

Like most modern lenses designed for mirrorless cameras, the Thypoch utilizes a linear stepping motor for autofocus, as well as for shifting the relevant groups of elements when focusing manually. Autofocus speed is quite pedestrian for this type of focusing system but typically whisper-quiet in operation. Similarly, manual focusing is smooth and precise. The lens’s autofocus abilities are compatible with Sony AF options like face/eye-detection and tracking, while focus peaking is available for manual focusing.

In my ‘real-world’ tests, sharpness was a bit of a mixed bag. I found center-sharpness to be generally very good when the lens was correctly focused, even at the widest aperture of f/2.8, although it paid to stop down a little at the longest zoom setting. Levels of sharpness towards the edges and corners of the frame were a little lackluster at f/2.8, but noticeably better at medium apertures, again dropping off at the longest zoom setting, where narrowing the aperture gave relatively little improvement.

My main issue with the Thypoch's performance is that I encountered a problem with the lens frequently autofocusing a little short of the subject on which I was trying to focus, especially at or near the long end of the zoom range. This front-focusing issue made foreground areas look sharp, but sharpness was lacking in areas in the scene that were at the distance I was autofocusing. I’m confident that the problem doesn’t lie with my Sony A7 III camera body, as I haven’t had the same issue before or since with all of my other Sony and third-party E-mount lenses (I have many). I’m hoping it's an issue that Thypoch might be able to fix with a firmware update for the lens.

Back on the plus side, the quality of bokeh is pleasingly soft and smooth at f/2.8 and remains attractive when stopping down a bit, aided by the well-rounded 10-blade aperture diaphragm. This helps to maintain a reasonably circular appearance for ‘bokeh discs’ caused by defocused lights or bright spots. In addition to smooth bokeh, there’s good control over axial chromatic aberration (bokeh fringing) at f/2.8, with an absence of colored fringes around high-contrast transitions just in front of or behind the plane of focus. The following gallery contains shots of a phrenology head against a garden backdrop, taken at various apertures from f/2.8 to f/8. It serves as a good test for sharpness, bokeh and axial chromatic aberration.

For such a relatively compact f/2.8 constant-aperture zoom, there’s fairly little vignetting even with automatic in-camera correction disabled. The same holds true for distortions, which rely rather less heavily on automatic in-camera correction than many recent lenses designed for mirrorless cameras, especially those that aim to be compact in size. Unlike when using many of these lenses, you can opt to disable automatic in-camera correction for distortion, rather than it being forced on.

Thypoch Voyager 24-50mm f/2.8: Sample Images

The following gallery of sample images was shot at the Bishop’s Palace and Gardens in the English city of Wells. Most of the pictures were shot in pairs, demonstrating the field of view and overall image quality at the shortest and longest zoom settings, respectively. Some of them taken at or around f/8 demonstrate the front-focusing issue that I encountered mostly at the long end of the zoom range. I also shot some of the images wide-open at f/2.8, to give an idea of the quality of bokeh.

Thypoch Voyager 24-50mm f/2.8: Lab Results

We run a range of lab tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion and chromatic aberrations.

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the center of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths. The tests also measure distortion and color fringing (chromatic aberration).

Sharpness:

In laboratory conditions, center-sharpness generally proved very convincing even wide-open at f/2.8, although it dropped off substantially at the long end of the zoom range. Edge/corner-sharpness is comparatively disappointing at wide apertures and fails to improve much when stopping down to medium aperture settings at the longest zoom setting.

Fringing:

The lens does very well to minimize both lateral and axial chromatic aberrations, which remain negligible across the whole image frame, throughout the entire zoom and aperture ranges.

Distortion:

There’s the typical swing of barrel distortion at the shortest zoom setting, switching to pincushion at the long end. However, the Thypoch does a whole lot better to keep distortions to a minimum, compared with many modern lenses designed for mirrorless cameras. As such, it relies much less on automatic in-camera corrections than is often the case.

Thypoch Voyager 24-50mm f/2.8: Verdict

As some say, ‘if something looks too good to be true, it probably is’. An alternative trinity standard zoom lens that’s so compact and lightweight, selling for such a budget-friendly price, makes the Thypoch Voyager 24-50mm f/2.8 look like a lens that would be wonderfully easy to live with, as well as a standout bargain to buy. Add to that the impressive, weather-sealed build quality, handling extras like an AF/MF focus mode switch, customizable function button and dedicated aperture control ring, and the lens does indeed look a little too good to be true, considering its selling price.

I wanted to fall in love with this Thypoch lens but, while I do like it a lot, I have a couple of reservations. My main problem is that I found autofocus accuracy to be inconsistent in my real-world tests, and that edge/corner-sharpness was disappointing at f/2.8 throughout the zoom range. Narrowing the aperture to medium values brought little improvement at the longest zoom setting. Center-sharpness was also relatively poor at the long end of the zoom range when using the widest aperture.

For a lens based on a rich cine heritage and billed as being ‘cine-soul in motion’, I’m also surprised that there’s no de-click switch for the aperture control ring, or that the ring isn’t permanently de-clicked. Maybe it’s just because I only tend to use an aperture control ring (where available) when I’m shooting video rather than stills.

Ultimately, the Thypoch looks an attractive lens at an appealing price, and it’s refreshingly compact and lightweight, with solid build quality. It’s just not as excellent as I’d hoped, mostly because my review sample was hampered by poor autofocus accuracy.

Alternatives

Chinese lens manufacturer has just posted that it is launching three autofocus lenses for Nikon APS-C mirrorless cameras tomorrow, June 16.

The 7artisans 25mm f/1.8, 35mm f/1.8 and 50mm f/1.8 are already available for Sony E and Fujifilm X mounts - but now will go on sale for use on models such as the Nikon Z50 II and the Z fc.

The trio of lenses is designed to be ultra-lightweight - hitting the scales at around 180g (6.35 ounces) each. When the crop factor is taken into account, the lenses with provide equivalent focal lengths of 37.5mm, 52.5mm and 75mm.

The prices of the new Nikon AF versions will cost the same as for existing mounts, with the individual lenses costing $125 a piece - or you can buy all three in a set for $359.

Some people might not be aware that Tamron's largest shareholder is Sony. Which, in a very roundabout way, kinda means that Sony makes lenses for rivals like Canon and Nikon. However, that could be about to change thanks to "a massive capital upheaval, perhaps the largest since the company's founding".

For years Sony has owned the biggest share in Tamron, enjoying a 15.35% slice of the company as of December. But according to a report by Digital Camera Life, the second-largest shareholder – activist hedge fund investor Effissimo Capital Management – could might have muscled its way to a majority interest.

As of December, Effissimo owned 10.76% of Tamron. However, as of April, the group has increased its ownership stake to 17.38%. So unless the electronics giant likewise bought a bigger stake in Tamron, Effissimo now owns 29,691,800 shares compared to Sony's 25,038,000.

Who is Effissimo Capital Management?

Effissimo is a Singapore-based hedge fund investment firm that has made a name for itself by strategically buying into Japanese manufacturers such as Nissan and Toshiba, the latter leading to a buyout that privatized the company.

Described by the Financial Times as "a secretive fund run by Japanese managers," Effissimo is "known for its high-profile campaigns against some of the biggest names in corporate Japan".

Often acting in the background, Star Magnolia Capital notes that "Effissimo quietly built large, economically decisive stakes in target companies and then pushed for change through behind-the-scenes engagement".

All of which suggests that its controlling interest in Tamron is not a benign investment but may signal an intention to modify the direction of the company.

What does Effissimo's move mean for Tamron (and Sony)?

So what does this all mean? Digital Camera Life has some interesting insights.

The outlet clarifies that Tamron may not necessarily welcome Effissimo's aggressive purchasing of shares, but may be using its presence "as a legitimate 'justification' for management reform" following the 2023 scandal that saw former president and CEO, Shiro Ajisaka, depart Tamron over misappropriation of company funds.

"Does Tamron want to be free from Sony? The answer is 'no.' Sony will continue to be Tamron's most important 'guardian angel' and 'biggest business partner.' There is virtually no reason for Tamron to want to separate from Sony.

Sony's firm hold of 15.35% of the shares acts as a safety valve (a white knight-like role) that prevents the company from being taken over by another company."

It posits that Tamron's recent announcement that it plans to launch more than 10 lenses per year "might be a positive response (or defense) to the pressure from these funds (demands to increase corporate value instead of letting cash sit idle)."

As such, it could actually be a positive move for all concerned – specifically in terms of accelerating the push into the Canon RF lens ecosystem.

You might also like…

See how Tamron's glass ranks among the best Sony lenses, the best Canon RF lenses and the best Nikon Z lenses.

Voigtlander is bringing out one of its legendary Nokton fast prime lenses in both Canon RF and Nikon Z fits. The new full-frame mirrorless lenses promise a retro-looking wide-angle lens with a fast maximum aperture that providing a classic lens that uses modern optical technology.

The Voigtlander NOKTON Classic 35mm F1.4 will, however, remain traditional in that it will not offer autofocus or image stabilization as part of the design.

Unlike modern performance-oriented lenses, these wide-angle primes "intentionally retains aberrations to pursue the lens's unique character and the beauty of its rendering".

The 35mm f/1.4 uses eight elements in six group, with a Gauss type construction forming a symmetrical shape around the aperture, aiming to reproduce the unique rendering of classic lenses.

Nokton lenses were originally introduced in the 1950s primarily for use in lowlight, but in the digital era they are sort after for their smooth, gente bokeh, and soft rendering when used at maximum aperture.

The lens offers a minimum focusing distance of 0.26m, and uses ten aperture blades.

The Nikon and Canon options use different designs for the focusing ring of the lens, to give the distinct looks in keeping with each brand's own heritage. The Canon RF version weighs 260g, while the Nikon Z opton weighs 250g.

Both versions are set to go on sale in July, with at a price of 90,000 yen (equivalent to around $562 / £420).

The Leica 21mm Summilux-M f/1.4 ASPH is not just another wide-angle lens in the M system; it is one of Leica’s most ambitious pieces of glass. Combining an ultra-wide 21mm field of view with a fast f/1.4 aperture, it offers a rare mix of dramatic perspective, low-light capability, and shallow depth of field that few lenses of this type can match.

On paper, it is a specialist lens, but in use it quickly becomes something far more versatile, opening up creative possibilities for documentary work, travel, interiors, environmental portraits, and available-light photography.

For Leica M photographers, the 21mm Summilux sits in a unique position. It is wider than the classic 28mm and 35mm focal lengths many rangefinder users gravitate toward, yet it retains the character and speed expected from the Summilux name.

It is a lens designed for photographers who want to step closer, include more of the world around their subject, and create images with a sense of space, atmosphere, and depth. In this review, I take a closer look at how it handles, how it performs, and whether this remarkable wide-angle Summilux still justifies its place in the Leica lineup.

Leica 21mm Summilux-M f/1.4 Asph: Specifications

Mount: Leica M-mount
Full frame: Yes
Autofocus: No
Image stabilization: No
Angle of view: 92°
Minimum aperture: f/1.4
Minimum focusing distance: 2.3 ft / 70cm
Maximum reproduction ratio: 1:29
Dimensions: 2.7 x 2.6 in / 69.5 x 66mm
Weight: 1.3 lb / 580g

Leica 21mm Summilux-M f/1.4 Asph: Build and Handling

The Leica 21mm Summilux-M f/1.4 ASPH is everything you would expect from a premium Leica M lens. It is solid, beautifully finished and has the kind of engineering feel that reminds you exactly why Leica lenses are held in such high regard. It feels like a proper piece of photographic equipment rather than just another lens, and there is a real sense that this is something designed to be used, treasured and kept for decades.

In the hand, the lens feels reassuringly substantial without becoming unmanageable. The focus ring is wonderfully smooth, with a short and precise focus throw that makes manual focusing feel intuitive and rewarding. The aperture ring is equally satisfying, clicking into place with a snappy, mechanical confidence. Everything about the main construction of this lens feels considered, premium and deeply sophisticated.

However, there are a few handling points worth mentioning. Because this is a 21mm lens, you do not get automatic frameline detection in the same way you would when mounting a 28mm, 35mm or 50mm lens on a Leica M camera. The widest framelines shown by modern Leica rangefinders are 28mm, which means you are forced to compose in a different way.

On a modern digital Leica M body, that means using live view on the rear screen or adding a Visoflex electronic viewfinder, which shows the entire image the lens sees and helps with critical focusing.

If you are using a Leica M without live view, whether digital or film, you will need the separately sold Leica 21mm external optical viewfinder to properly see what you are taking. Of course, if you are using this lens on the modern Leica M EV1, then this is not an issue at all, as the built-in EVF allows you to see the full 21mm field of view without any additional accessories.

Having reviewed this lens on the Leica M11-P, I found myself opting for live view with red focus peaking, which made the whole process of shooting with this lens far more accurate and enjoyable. It is not quite the pure rangefinder experience some Leica users may want, but with a 21mm lens this wide, it does make practical sense.

One small frustration is the lack of a focusing tab. The focus action itself is superb, but a thumb tab would have made quick focusing feel even more instinctive, especially for street and documentary work.

There is also the lens cap. While correct for the period in which this lens was produced, the lightweight plastic Leica-branded cover does not really match the premium quality of the lens itself. This is admittedly being very picky, but when you are spending this much money on a lens, you do want the accessories to feel just as special.

Leica 21mm Summilux-M f/1.4 Asph: Performance

The performance of the Leica 21mm Summilux-M f/1.4 ASPH is fantastic. This is a lens that oozes quality, not just in how it is built, but in the images it produces. When paired with a modern 60MP Leica M body such as the M11-P, the level of detail, sharpness and rendering is truly impressive.

A 21mm lens is already a dramatic focal length, giving you a wide, immersive view of the world, but the Summilux adds something extra. The f/1.4 aperture gives this lens a character that is not commonly found in ultra-wide M lenses. It allows you to work in low light, separate subjects in a subtle but beautiful way, and create images that have both scale and atmosphere.

The image quality is excellent across real-world use. Detail is crisp, contrast is strong, and colors have that unmistakable Leica richness. It is the sort of lens that rewards careful composition, but it can also be used in a more instinctive way once you get used to the 21mm field of view. Architecture, interiors, environmental portraits, travel, documentary and street photography all suit this lens brilliantly.

However, one thing that is slightly annoying is the minimum focusing distance of 0.7 meters. For a lens this wide, there are times when you naturally want to get closer to your subject, especially when trying to create a more dramatic foreground or intimate perspective.

The 0.7m limit can be a challenge in some shooting situations, and it is one of the few areas where the lens feels slightly restricted compared with more modern close-focusing designs.

That said, when you work within its limits, the results are exceptional. The Leica 21mm Summilux-M f/1.4 ASPH is not simply sharp for the sake of being sharp. It has character, presence and a beautiful way of drawing a scene. The files it produces feel rich and full of life, especially when used with the latest high-resolution Leica M sensors.

Leica 21mm Summilux-M f/1.4 Asph: Sample photos

Leica 21mm Summilux-M f/1.4 Asph: Lab results

We run a range of lab tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion, and chromatic aberrations.

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the center of the image frame, corners, and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths. The tests also measure distortion and color fringing (chromatic aberration).

Sharpness:

Center sharpness wide open is good, but not particularly special - you'll have to stop down to f/4 for a noticeable improvement, but even then we'd expect better performance from a prime lens like this. Corner sharpness is downright disappointing through most of the aperture range, only becoming respectable at f/11.

For some reason our lab data test shots had aperture f/stop values recorded in EXIF data which didn't match the lens's physical aperture settings. Our f/1.4 shots were also recorded with narrower aperture values, hence the lack of f/1.4 data in our test results.

Fringing:

Fringing in the center and mid region of frame is negligible, however it is noticeable in the corners of frame throughout the aperture range.

Distortion: -0.93

There's slight barrel distortion, but it shouldn't be easily visible in real-world shooting.

Leica 21mm Summilux-M f/1.4 ASPH Verdict

The Leica 21mm Summilux-M f/1.4 ASPH is one of those dream lenses. It is the kind of lens you buy once, use with pride and very possibly keep for the rest of your life. It is beautifully made, truly fantastic to use and capable of producing images that feel every bit as special as the lens itself.

Yes, it is incredibly expensive. At around $9,840 / £7,500, this is a serious investment, even by Leica standards. It also comes with a few practical compromises, including the lack of 21mm framelines in the rangefinder, the need for live view, Visoflex or an external finder, and the 0.7m minimum focusing distance.

But none of that takes away from what this lens is. If 21mm is your desired focal length, and you want one of the finest ultra-wide Leica M lenses ever made, then the Summilux-M 21mm f/1.4 ASPH is a significant investment into your photography that will be worth every penny of your hard-earned cash. It is expensive, rare and slightly demanding, but it is also magnificent.

You might also like

Best Leica M lenses
Leica M11-p review
Leica Q3 review

The Leica 35mm Summilux-M f/1.4 ASPH has long been one of the defining lenses of the M system, combining the classic 35mm field of view with the speed, character, and low-light capability of Leica’s Summilux line.

This latest close-focus version feels like the most complete expression of that legacy, taking everything photographers already love about the 35mm Summilux and expanding its usability in a meaningful way.

While 35mm has always been one of the most versatile focal lengths for rangefinder photography, this lens goes a step further by focusing beyond the traditional 0.7m rangefinder limit, reaching down to 0.4m when used with live view, the Visoflex, or an EVF.

That close-focus ability may sound like a small update on paper, but in real-world use it makes the lens feel far more flexible, especially for detail shots, environmental portraits, travel work, and everyday storytelling. In this review, I take a closer look at its build, handling, performance, and whether this could be the pinnacle of Leica’s 35mm Summilux line.

Leica 35mm Summilux-M f/1.4 ASPH Specifications

Mount: Leica M-mount
Full frame: Yes
Autofocus: No
Image stablization: No
Minimum aperture: f/1.4
Minimum focusing distance: 0.4 m.
Construction: 9 elements in 5 groups
Diaphragm blades:
Dimensions: 46x58mm
Weight: 338g

Leica 35mm Summilux-M f/1.4 ASPH Build and Handling

The Leica Summilux-M 35mm f/1.4 ASPH. is everything you would expect from a modern Leica M lens. It is beautifully made, reassuring in the hand, and finished with the kind of precision that makes using Leica glass such a pleasure. This is not just a tool; it is a piece of photographic engineering that feels designed to last for decades.

The most important update is, of course, the close-focus ability. Traditionally, Leica M rangefinder lenses have focused down to 0.7m, but this lens goes beyond that, allowing you to focus from 0.6m down to 0.4m. This might not sound like much on paper, but in real-world use, it makes the lens far more versatile. It opens up closer detail shots, tighter portraits, and more intimate compositions that were previously harder to achieve with a standard rangefinder-coupled 35mm Summilux.

Leica has also built a very useful physical indication into the focus throw. As you focus closer than 0.7m, you feel a small notch in the focus movement. This tells you that you are moving past the physical rangefinder focusing ability of the camera. From 0.6m down to 0.4m, you cannot focus through the optical rangefinder and must instead use live view, a Visoflex electronic viewfinder or, on a Leica M body with an EVF, the electronic finder.

This is a clever and reassuring design touch. It means you always know where you are in the focusing range, and it avoids any confusion when moving from traditional rangefinder focusing into the close-focus zone. It also makes this lens feel like a true bridge between classic Leica M shooting and a more modern way of working.

However, because the lens now focuses from 0.4m all the way to infinity, the focus throw is longer than some users may be used to from a more traditional 0.7m-to-infinity M lens. For very quick street photography, this may take a little getting used to. It is not a flaw as such, but it does slightly change the feel of the lens compared with older 35mm Summilux designs.

This is also the first Leica 35mm lens to come with the newer rounded built-in hood. In performance terms, the hood works well, and it gives the lens a more compact and modern appearance compared with the more traditional square hoods of the past. Personally, I tend to lean more towards the classic square hood design, but that is very much a matter of personal preference.

The practical advantage of the new rounded hood is that it drastically reduces the amount of frameline blockage compared with the older square hood design. That means you can see more of your image through the rangefinder, which is a genuine benefit when focusing quickly and grabbing a picture. For a 35mm lens designed to be used in real-world situations, that is a very welcome improvement.

Leica 35mm Summilux-M f/1.4 ASPH Performance

Optically, the Leica Summilux-M 35mm f/1.4 ASPH. is outstanding. In fact, this is probably the sharpest 35mm lens Leica has ever produced. As someone who regularly uses a 35mm lens and also the 50mm Summilux, this lens excels in optical quality, tonal control, and overall rendering in a way that genuinely feels like it surpasses some of the so-called “holy grail” Leica lenses of the past.

From f/1.4 through to f/16, this lens is outstandingly sharp. Wide open, it delivers a beautiful mix of clarity and atmosphere, with a slightly dreamy rendering from around f/1.4 to f/2.8. There is sharpness, but it is not harsh. It has that Leica glow and depth that makes images feel rich, three-dimensional, and full of character.

Stop the lens down to around f/4 and beyond, and it becomes a different animal. The rendering becomes sharper, more clinical, and more precise, making it perfect for documentary work, architecture, travel, and any situation where you want maximum detail and definition. This is one of the most impressive things about the lens: it gives you two distinct looks in one compact body.

At wider apertures, it has mood, atmosphere, and softness in the right places. Stopped down, it becomes incredibly crisp and controlled. This makes it a dream for anyone who wants a versatile 35mm lens that can adapt its style to the shooting environment. It can be romantic and characterful one moment, then clean, sharp, and highly detailed the next.

The tonal range is also exceptional. Shooting in color, the lens produces beautiful transitions, rich shades, and a refined sense of depth. There is a real clarity in the way it handles light and shadow, allowing images to feel natural but still unmistakably Leica. In black and white, the lens is equally impressive, delivering deep contrast, strong separation, and a wonderfully classic look.

The close-focus ability also adds real creative value. Being able to move closer than 0.7m gives the 35mm focal length a fresh sense of flexibility. It allows you to create more intimate frames, isolate smaller details, and produce images that would previously have required either cropping or switching to another lens. For travel, portraiture, street photography and documentary work, that extra focusing range makes a noticeable difference.

Sample images: Leica 35mm Summilux-M f/1.4 ASPH

Leica 35mm Summilux-M f/1.4 ASPH Lab results

We run a range of lab tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion, and chromatic aberrations.

Find out more about: how we test and review on Digital Camera World

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the center of the image frame, corners, and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths. The tests also measure distortion and color fringing (chromatic aberration).

Sharpness:

Sharpness (line widths per picture height)

Aperture

CenterMid-frameCorners

Sharpness Data

Timestamp (f/)	Center (line widths per picture height)	Mid-frame (line widths per picture height)	Corners (line widths per picture height)
2	1570	1447	804
2.8	1893	1721	1215
4	2438	2064	1618
5.6	2621	2290	1818
8	2724	2331	2143
11	2451	2270	1915
16	2049	1963	1672

Sharpness at larger apertures could be better, but stop down to f/4 and the lens is very sharp in the center and mid region of frame. Corner sharpness is disappointing wide-open, but again it soon improves and by f/8 it's excellent.

For some reason our lab data test shots had aperture f/stop values recorded in EXIF data which didn't match the lens's physical aperture settings. Our f/1.4 shots were also recorded with narrower aperture values, hence the lack of f/1.4 data in our test results.

Fringing:

< Prev

Center

Next >

f/2

0.37

f/2.8

0.26

f/4

0.23

f/5.6

0.27

f/8

0.3

f/11

0.28

f/16

0.18

01.252.53.755

Center Data

Product	Value
f/2	0.37
f/2.8	0.26
f/4	0.23
f/5.6	0.27
f/8	0.3
f/11	0.28
f/16	0.18

f/2

0.7

f/2.8

0.66

f/4

0.69

f/5.6

0.72

f/8

0.74

f/11

0.68

f/16

0.73

01.252.53.755

Mid-frame Data

Product	Value
f/2	0.7
f/2.8	0.66
f/4	0.69
f/5.6	0.72
f/8	0.74
f/11	0.68
f/16	0.73

f/2

0.81

f/2.8

0.78

f/4

1.28

f/5.6

1.43

f/8

1.37

f/11

1.44

f/16

1.37

01.252.53.755

Corners Data

Product	Value
f/2	0.81
f/2.8	0.78
f/4	1.28
f/5.6	1.43
f/8	1.37
f/11	1.44
f/16	1.37

1 of 3

Fringing in the center and mid region of frame is negligible, just barely becoming visible in the corners of frame, and even then only at f/4 and narrower.

Distortion: -0.89

There's slight barrel distortion, but it shouldn't be easily visible in real-world shooting.

Leica 35mm Summilux-M f/1.4 ASPH Verdict

The Leica Summilux-M 35mm f/1.4 ASPH. is a truly exceptional lens, and one that feels like the pinnacle of the 35mm Summilux line. It takes everything photographers already love about the 35mm Summilux and makes it more usable, more flexible, and more capable for modern shooting.

The close-focus feature is not a gimmick. It genuinely expands what this lens can do, allowing you to move beyond the usual 0.7m limit and focus down to 0.4m when using live view, Visoflex, or an EVF. Combined with its outstanding sharpness, beautiful tonal range, and two distinct rendering styles, this is one of the most complete Leica M lenses available today.

At $6,900 / £5,400, it is undeniably a massive investment. But considering its optical performance, close-focus ability, superb construction, and ability to deliver both dreamy character and clinical sharpness, it feels like money well spent for anyone serious about the 35mm focal length.

This is a lens you can use in almost any situation, from travel and portraiture to street photography and documentary work. It is compact, beautifully made, optically exceptional, and wonderfully versatile. If 35mm is your preferred focal length, this close-focus Summilux-M is not just one of the best Leica lenses you can buy; it may be one of the finest 35mm lenses Leica has ever made.

You might also like

Best Leica M lenses
Leica M11-p review
Leica Q3 review

Among eclipse chasers and photographers, Baader AstroSolar Safety Film has achieved near-legendary status. Manufactured by Baader Planetarium in Germany, it has become one of the most widely trusted materials for safe white-light solar photography and observation.

During the 1999 total solar eclipse across Europe, Baader Planetarium reportedly supplied enough solar safety film for more than 20 million eclipse viewers – a remarkable indication of the company’s scale and reputation within the astronomy community.

But it’s not for everyone. Unlike rigid glass solar filters or photographic ND filters, AstroSolar is an ultra-thin 0.0004-inch [0.01mm] metalized film specifically engineered for observing and imaging the sun safely with telescopes, binoculars, and camera lenses.

It’s available in a number of forms, including loose A4 sheets for DIY filter construction, and integrated into products like Baader’s ASBF AstroSolar Binocular Filters, ASBF Solar Filters for Binoculars and Camera-Lenses, and its ASTF AstroSolar Telescope Filter. All come in various sizes and block 99.999% of visible sunlight.

For this review, I tested several products using the same AstroSolar film, including a homemade binocular filter made from an A4 sheet, an ASBF AstroSolar Solar Filter used on a small telescope, and an AstroSolar Solar Filter used on a camera’s zoom lens.

While the housings and mounting methods varied, the underlying optical performance remained the same throughout.

Something to note about AstroSolar Safety Film is that, technically, it does not meet the strict ISO 12312-2 international standard required for eclipse viewers. The problem is that it allows slightly too much UV light through.

However, it has been safely used by amateur and professional astronomers for several decades with telescopes, binoculars, and camera lenses, whose glass elements filter out the excess ultraviolet light. The safest way to use it on a camera is by using a digital viewfinder.

Baader AstroSolar: Specifications

Baader AstroSolar: Price

AstroSolar film occupies an interesting position in the solar filter market because, while the loose A4 sheets themselves can appear relatively affordable, complete large-aperture filter builds quickly become more expensive than equivalent Thousand Oaks polymer-based filters.

However, an A4 sheet of AstroSolar Safety Film can produce multiple DIY filters for telephoto lenses or binoculars, making it relatively economical in the long term, while Baader’s own filters made with AstroSolar Safety Film are lightweight and reasonably travel-friendly – though delicate.

Availability can also be frustrating. While Baader products are extremely common throughout Europe, they are not always widely stocked in North America, particularly close to major eclipses when demand spikes dramatically.

Baader AstroSolar: Design & Handling

The first thing most photographers notice about Baader AstroSolar Safety Film is just how thin it is. Compared to Thousand Oaks polymer film, which is darker on one side with a reflective metallic surface on the other, AstroSolar Safety Film is identical on both sides and feels far more fragile.

It’s prone to tearing or scratching if mishandled, particularly around the edges or if packed carelessly during travel. Extreme care is required when making and using homemade filters; resist the temptation to stretch it, instead keeping it slack (wrinkles or ripples in the film make zero difference to optical quality).

That said, it’s crucial to store Baader filters very carefully so the film doesn’t get damaged. Do that, and a filter – whether homemade or pre-constructed – can last for many years.

During testing, I used Velcro straps mounted on a Baader filter and a camera's lens hood to keep everything in place, and masking tape to secure a homemade filter. Both methods made it relatively quick to remove the filter.

Baader AstroSolar: Performance

Compared to Thousand Oaks polymer film and many glass solar filters and ND filters, AstroSolar Safety Film consistently delivered noticeably sharper images with cleaner edge definition and stronger micro-contrast during testing.

At focal lengths around 70-200mm, the differences are relatively modest, with the sun much smaller in the frame. But once moving into the 400mm range, the optical advantages of AstroSolar Safety Film become clear.

Most noticeable are sunspots, which look sharper, as well as a more defined solar limb. That’s helpful because, depending on the lens used, significant cropping is typical during post-processing after an eclipse. The more detail there is in the raw file, the better.

One characteristic of AstroSolar Safety Film is its neutral white rendering of the sun’s disk. Unlike Thousand Oaks film, which produces a warm orange sun straight out of the camera, Baader renders the sun white or slightly bluish-white.

That provides more than enough flexibility during post-processing; you can always warm a white sun, but you can’t recover detail.

One reason AstroSolar Safety Film is slightly sharper is that it is slightly brighter. It’s essentially why the film is not used in eclipse glasses (and why it's best to use a digital, not optical, viewfinder).

For photography, however, the brighter image allows faster shutter speeds, which yield more detail. In my tests at ISO100 and f/8, exposures of 1/500 sec, 1/800 sec, and 1/1000 sec produced excellent images, with the latter yielding the most detail. Anything longer was overexposed.

All the different AstroSolar Safety Film products I tested – from DIY A4 sheet filters to Baader’s own ASBF binocular filters – performed identically.

Baader AstroSolar: Verdict

Baader AstroSolar Safety Film is the benchmark choice for serious eclipse photographers and high-resolution white-light solar imaging.

Its ability to allow fast shutter speeds to preserve fine detail, excellent contrast, and neutral solar images makes it slightly superior to competing filter materials, particularly at longer focal lengths.

It’s not perfect. The film demands much more careful handling than Thousand Oaks polymer filters; it’s more expensive for larger apertures, and beginners may initially find DIY filter construction intimidating.

But for photographers chasing top-quality eclipse imagery, those compromises are relatively minor.

Alternatives

Total solar eclipses may happen somewhere on Earth almost every year, but for most photographers, they’re rare events to capture. That makes solar filters a surprisingly difficult buying decision. Should you spend heavily on a premium threaded glass filter or opt for something lighter, cheaper, and more adaptable? After all, solar filters are only necessary for the partial phases – but then there are also partial solar eclipses and annular solar eclipses, both of which demand a solar filter.

Daystar’s Universal Lens Filter is firmly aimed at those seeking versatility. Rather than a traditional screw-in filter, this clever fold-flat design uses trusted American-made Thousand Oaks SolarLite film mounted inside a collapsible cardboard cup that slips over the front of lenses, binoculars, and small telescopes. Available in three sizes, it’s designed as a universal solution for eclipse photographers who may use multiple lenses (or who frequently upgrade gear) and want something inexpensive, portable, and easy to remove quickly during totality.

It’s important to understand exactly what material is being used here. Alongside Baader Planetarium and American Paper Optics, Thousand Oaks is widely regarded as one of the “big three” eclipse filter manufacturers relied upon by experienced eclipse chasers. SolarLite film is also used in eclipse glasses and in solar filters for equipment.

I tested the filters on a DSLR camera with a 100-400mm telephoto zoom lens to see whether its low-tech approach could genuinely compete with more sophisticated, pricier solar filters.

Daystar Universal Lens Filter: Specifications

Daystar Universal Lens Filter: Price

One of the Daystar Universal Lens Filter’s biggest strengths is value. Prices start at just $17 / £21 for the smallest ULF-50 model, rising to $30 / £37 for the larger ULF-90 version designed for telescopes and large telephoto lenses. Compared to threaded glass solar filters, which can easily exceed $100/£75 even before you start buying multiple thread sizes for different lenses, the Daystar system is inexpensive. Its universal design also means a single filter can often work across multiple optics. During testing, I was able to swap the filter between telephoto zoom lenses, binoculars, and a spotting scope.

However, the tradeoff is longevity. Unlike aluminum-framed glass filters, the Daystar’s folded cardstock construction inevitably feels temporary. After repeated use, transport and setup, it will likely accumulate tears in the cardboard and some reinforcing tape (though the SolarLite film itself is hard-wearing). Considering the modest asking price, that’s reasonable.

Buy Daystar solar filters at Astroshop.eu

Daystar Universal Lens Filter: Design & Handling

The Daystar Universal Lens Filter is very simple. It ships flat, housed in a square plastic envelope, and folds into a cup-shaped holder, with cardboard tabs that serve both as structural supports and gripping fins to hold the filter against the outside of a lens barrel.

In practice, the setup is slightly fiddly the first time, though the process quickly becomes familiar. Once assembled, the fit is surprisingly secure, particularly on larger telephoto lenses, where the tabs grip the barrel tightly. However, because this is fundamentally a slip-on system rather than a locking threaded filter, I found myself instinctively reaching for masking tape during windy conditions.

But what photographer doesn’t carry masking tape? For eclipse chasing, it’s important because the consequences of a solar filter falling from a lens mid-shoot are potentially catastrophic. Securing the filter in three places gave far more confidence during testing, especially when the sun was lower in the sky (if you’re shooting straight up, gravity keeps it in place).

One major advantage over threaded filters became obvious during testing: removal speed. During a total solar eclipse, the filter must be removed entirely moments before totality so the corona can be photographed. The Daystar’s slip-on design is dramatically faster to remove than threaded filters, which can be awkward to remove quickly.

What makes this product very different from other solar filters is its use of Thousand Oaks SolarLite film, which produces a warm orange sun rather than the neutral white sun associated with Baader AstroSolar film and ND filters. It largely comes down to aesthetic preference, but the warmer tone is immediately more natural straight out of the camera.

Another advantage of Thousand Oaks SolarLite over Baader AstroSolar is that the polymer film itself is more robust. The cardboard may degrade after a few eclipses, but the polymer film is very unlikely to tear or crease, which makes it easier to travel with.

Daystar Universal Lens Filter: Performance

For eclipse photography and casual solar imaging, the Daystar filter performs very well. Mounted on a 100-400mm telephoto zoom, exposures were straightforward to manage, manual focus worked well, and the solar disk showed strong contrast with clearly defined sunspots. In some ways, the warm orange sun produced by the Thousand Oaks film is irrelevant given what can be done in post-processing, but it does save time.

One practical difference compared to Baader AstroSolar film is exposure speed. The Thousand Oaks SolarLite film produces a dimmer image, which requires slower shutter speeds under identical conditions. For example, with ISO100 and f/8, anywhere between 1/13 sec and 1/40 sec produces a terrific image, whereas it’s more like 1/500 or 1/1000 sec using Baader AstroSolar film.

If you demand fine sunspot detail and razor-sharp solar edges, choose products using Baader AstroSolar film, but only if you’re using extreme focal lengths. For anyone shooting with telephoto zooms between 70-400mm, the Daystar filter delivers more than enough sharpness for high-quality eclipse sequences, composites, and social media-ready imagery.

The filter’s practical advantages arguably outweigh its very slight optical shortcomings. Its lightweight design packs flat into a camera bag, one filter can fit several lenses, and the ability to remove it instantly during totality is so valuable.

Daystar Universal Lens Filter: Verdict

The Daystar Universal Lens Filter is not elegant, premium, or especially durable, but it succeeds brilliantly at what it’s designed to do: provide a low-cost, lightweight, and versatile way to safely photograph the sun. Its foldable cardboard design may initially feel crude compared to other products, but in real-world eclipse photography, it’s surprisingly practical. The universal fit, rapid removal during totality, and compact portability make it particularly attractive for traveling eclipse chasers using multiple lenses or telescopes. Don’t bank on its cardboard remaining intact for more than three or four trips, though the tough polymer filter itself will likely last much longer.

Sure, it offers slightly softer detail and marginally slower exposure speeds than Baader AstroSolar film, particularly at long focal lengths. But it also provides a pleasing orange rendering of the sun, saving time on post-processing. For occasional eclipse photographers, the Daystar Universal Lens Filter is easy to recommend. Just keep some masking tape in your camera bag.

Alternatives