I’ve been largely impressed with Sirui products over the years, and it’s been quite a few years at that. The company launched in 2001, becoming a well-known brand for tripods within five years. In 2015, Sirui branched out into anamorphic and cine lenses, as well as diversifying into the lighting market in 2022. On the lens front, Sirui is still most widely known (and highly regarded) for its cine lenses but the one I’m reviewing here is a full-frame autofocus lens for stills cameras, although of course that encompasses video shooting nowadays.

From the relatively recent Aurora range, this 35mm is currently one of two lenses on offer, the other being an 85mm prime that matches the 35mm for its fast f/1.4 aperture and has mostly the same handling characteristics. Both lenses aim high in terms of features, handling, build quality, performance and value for money, the 35mm intending to be among the best street lenses on the market.

The two lenses are available in a wide range of mount options, comprising Sony E (FE), Nikon Z (FX), L-mount and Fujifilm X. Although full-frame compatible, the 35mm lens has an ‘effective’ focal length of just over 50mm on APS-C format cameras, serving as a ‘nifty fifty’, which is naturally the only option with the Fuji X-mount edition.

Sirui Aurora 35mm f/1.4: Specifications

Sirui Aurora 35mm f/1.4: Price

The Sirui Aurora 35mm f/1.4 has a list price of $549 / £549 / AU$889, which makes it particularly affordable for a lens of this type. By comparison, the own-brand Sony FE 35mm f/1.4 G Master weighs in at a whopping $1,498 / £1,429 / AU$1,999, although Nikon makes a relatively budget-friendly (and more basic) Nikkor Z 35mm f/1.4 for $677 / £649 / AU$1,099. Independent Chinese competition includes the even faster Viltrox AF 35mm f/1.2 Lab at $999 / £869 / AU$1,649 and there’s the Japanese Sigma 35mm f/1.4 DG II Art for $1,059 / £849 / AU$2,049. Whichever way you look at it, the Sirui Aurora 35mm looks great value at the price.

Sirui Aurora 35mm f/1.4: Design & Handling

The Sirui Aurora 35mm f/1.4 is a sight to behold, even before you get it out of its packaging. It’s beautifully presented in a full-color printed box, complete with fabric lift-up tab and ID card. Inside that, the lens sits resplendent in its own posh soft case, reminiscent of the ones that up-market Sigma lenses come in, but in blue, silver and black instead of just plain black.

The lens itself follows suit, with a black anodized aluminum barrel, a full set of switches and function buttons, bright blue Sirui badge and an Aurora logo in a script font that makes the lens look like it’s been signed by hand. But as they say, looks can be deceiving, so I’m hoping not to be disappointed.

When you lift the lens from its padded case, the first impression is that it’s a high-quality item. Everything looks and feels up-market, from the weather-sealed metal base to the fluorine coated front element. It’s pretty lightweight for a 35mm f/1.4 prime as well, measuring 3x4 inches and weighing in at 490g, or a smidge over one pound.

Like most lenses for mirrorless cameras nowadays, the Aurora has an autofocus system that’s based on a linear stepping motor. Typical of the breed, it’s quick and virtually silent in operation, and is electronically coupled to a manual focus ring. As is also generally the case, there’s no focus distance scale apart from the one you might have as an option in your camera body’s electronic viewfinder or rear screen.

Swapping between autofocus and manual focus modes is a simple case of operating the AF/MF switch on the side of the lens barrel. That saves any time and effort faffing around in camera menus to make the change. Just above the switch is a customizable function button that I tend to use for AF-hold, although a range of other options is generally available depending on the camera body.

Like all the other switches and controls, the aperture ring is clearly marked, this time on one-third f/stop increments, all the way from the widest aperture of f/1.4 to the narrowest of f/16. That’s all well and good if you’re shooting in Aperture-priority or Manual shooting modes, but there’s also an A (Auto) position for camera-driven adjustments and for shooting in Program and Shutter-priority modes.

I don’t consider myself to be clumsy but I do find that it’s all too easy to nudge an aperture control ring from its Auto position to a narrow aperture setting by accident. The Aurora guards against this with the provision of an Iris Lock switch. I’m very much in favor of that.

Catering to both stills and video, the aperture ring also features a click/de-click switch, thus allowing for precise, one-third incremental steps or smooth and silent aperture transitions respectively. It’s another nice touch that is sure to find favor with hybrid shooters and content creators who alternate between stills and video.

One final word on aperture is that the lens has a particularly well-rounded diaphragm, based on no less than 13 curved blades. This helps to maintain the quality of bokeh when stopping down from the widest aperture of f/1.4. There’s plenty of quality glass in the optical path as well, with three aspherical elements, two ED (Extra-low Dispersion) elements, one Special ED element and two HRI (High Refractive Index) elements in the chain.

Like the lens itself, the hood feels a quality item, with an efficient petal-shaped profile, a grippy rubber handling ring, a ridged interior surface and a lock/release button. As usual, it also has a bayonet-fit design and can be reversed on the lens for compact stowage.

Maintaining the quality theme, even the lens caps look and feel nicely designed and well made. The front cap has a pinch-style release mechanism that makes it easy to fit or remove even when the hood is fitted to the lens in its business orientation.

Finishing up at the back end, there’s a metal mounting plate that features gold-plated electronic contacts and a rubber weather-seal ring. There’s actually a comprehensive set of weather-seals fitted through the whole lens. Another bonus is that the mounting plate includes a USB-C socket, which you can use for applying firmware updates.

Sirui Aurora 35mm f/1.4: Performance

After such high expectations based on the apparent quality, presentation and finish of the lens, performance turned out to be a bit of a mixed bag in my tests. Starting out with a positive, the f/1.4 aperture definitely delivers a tight depth of field along with attractively smooth bokeh, especially when shooting close-ups.

Producing soft defocused areas within images is certainly not a problem, but I found sharpness more of a challenge. I didn’t get the autofocus hit rate that I’m used to when using my Sony A7 III camera body and stepping motor-based lenses. Even manual focusing proved to be a bit hit and miss. When correctly focused, the lens still lacked sharpness towards the edges and corners of the frame, and that’s after stopping down to medium apertures of around f/5.6 and f/8. To demonstrate, the pair of images below show a full-frame image on the left, and an enlarged section from near one of the corners on the right.

Back on the plus side, there was little evidence of any axial or lateral chromatic aberrations during my testing, the latter being minimal even right out at the edges of the frame. Ghosting and flare were also kept to small amounts.

There’s no real problem in terms of distortion either and unlike many modern lenses designed for mirrorless cameras, the Sirui doesn’t rely heavily on automatic in-camera corrections.

One of the tests that I often run for ‘fast’ lenses is to shoot a phrenology head in my back garden, starting with the widest available aperture and stopping down to a medium aperture in single f/stop increments. The results give good indications of sharpness and the quality of bokeh for defocused areas. Moreover, fast lenses often suffer from axial/longitudinal chromatic aberration at the widest apertures, also known as bokeh fringing. This displays as color fringing around high-contrast transitions, just in front of and behind the plane of focus. The black lines and writing on the white porcelain of the phrenology head are a good test for this as well.

The following gallery contains shots taken at full f/stop steps from f/1.4 to f/8. The lens does well in most respects but if you zoom in to the images for an enlarged view, you’ll notice a serious lack of wide-aperture sharpness. I initially suspected autofocus inaccuracies but repeated the entire sequence, focusing manually with maximum magnification in preview, and got much the same results. Wide-aperture vignetting (darkened corners) is also very severe.

Sirui Aurora 35mm f/1.4: Sample Images

Images in the sample gallery below were taken on a bright, sunny morning at the ‘floating harbor’ of Bristol Docks in the south west of England. I used a selection of wide aperture settings for a tight depth of field when shooting close-ups, and narrower apertures where I wanted edge-to-edge sharpness for more expansive subjects.

Sirui Aurora 35mm f/1.4: 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 in the center of frame is excellent, but it soon drops off as you move towards the corners. Even in the mid-frame image quality is very soft, and it's downright dire as you reach the corners.

Fringing:

There's visible fringing in the corners of frame when you stop down past f/2.8, but it's not severe.

Distortion: 0.75

The lens produces a touch of pincushion distortion, but not enough to be distracting.

Sirui Aurora 35mm f/1.4: Verdict

I think that the Sirui Aurora 35mm f/1.4 looks and feels a highly impressive lens. It’s beautifully presented and robustly built with an anodized aluminum barrel and comprehensive weather-seals. It also features a wealth of handling exotica, including an AF/MF focus mode switch, customizable function button and an aperture control ring with an iris lock and click/de-click switch.

All in all, the Sirui looks unfeasibly great value for money, but I found a sting in the tail when it came to actual performance. Autofocus accuracy proved a little inconsistent in my tests, and sharpness across the image frame was a moveable feast, even when the lens was correctly focused. All in all, I think the Sirui looks a great lens, but it’s not really as good as it looks.

Alternatives

The growth of the retro camera look has sparked a resurgence in disposable cameras – but one start-up is taking the lens from a recycled disposable camera and building a compact mirrorless lens with it. Bold Lens Co. is a Thailand-based company building mirrorless lenses from the lenses of old disposable cameras.

Bold Lens isn’t the first company to make a cheap mirrorless lens meant to mimic the look of a disposable film camera. But the Bold Lens BL-32, is unusual in that the budget lens still uses an adjustable aperture rather than a fixed opening. The company says it's the first disposable camera lens remake to use an adjustable aperture.

First, Bold Lens takes used Fujifilm QuickSnap disposable film cameras and pulls the optic from them. Then, it 3D-prints the lens housing, complete with six curved 3D-printed aperture blades. The final lens is assembled by hand.

The result is a 32mm lens with an f/5.6-f/22 adjustable aperture built for APS-C cameras. Focusing is all manual, with an adjustable focus ring. The lens is built from four major components, without any electronics: a 3D-printed body, the recycled lens element, the aperture blades, and the camera mount.

Sample images shared by Bold Lens illustrate a soft look that feels reminiscent of the imperfect disposable film camera. The narrow f/5.6 aperture encourages a higher ISO, which can create the grain that also feels like a more old-school look.

Like many budget lenses, there are no electronic contacts on the lens, so the aperture needs to be adjusted directly from the lens, and some cameras will need to enable the “shoot without lens” setting.

The hand-assembled lens is being sold in small batches, but it's available for several different mounts, including Fujifilm X, Sony E, Nikon Z, Canon EF-M, Canon RF, and Micro Four Thirds.

Because the lenses are made in small batches – around 15 a month – orders are checked for stock and international shipping availability. The lens sells for $49 – about £36 / AU$70 / CA$69.

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Photographer, videographer and all-around curious chap Max Adams (@max_madeit) has released several Instagram Reels of a jaw-dropping macro setup involving multiple extension tubes, teleconverters and a 400mm super-telephoto lens.

The setup is so long that it requires two tripods just to hold the whole thing aloft!

In the video (above), he breaks down the components: a Sony A1 Mark II, the Canon EF 400mm f/2.8 L IS USM, a 2x teleconverter, a 1.4x teleconverter, and no less than 7 extension tubes, before photographing a tiny flower.

The problem is that the 400mm minimum focusing distance means that the subject has to be set back about 10 feet in order to focus.

Max rectifies this situation in another video (above) by swapping out the 400mm optic for a 100mm f/2.8 macro lens. This time, the subject (a grain of rice) is positioned just six inches from the front element.

The result is an extreme close-up of the grain’s surface; so large is the grain of rice, it’s obviously beyond 1:1 macro.

What I did find rather hilarious was some of the comments. In the very first video showing the setup, one commenter wrote: “Perfect for street photography,” and another said: “Nice for handheld stacks”. Yeah, right!

Still, as amazing (and ridiculous) as using seven extension tubes may be, the record remains held by YouTuber Nicolas Grant who stacked an even more ludicrous twenty of them together.

If anyone is feeling bold, and feels like surfing the Black Friday camera deals for cheap tubes, there's bound to be a Guinness World Record in this somewhere…

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Thypoch has announced a new lens in its Simera-C cine lens range. The Simera-C 100mm T1.9 is the longest entry in the now seven-strong line-up, complementing the existing 16mm, 21mm, 28mm, 35mm, 50mm and 75mm Simera-C lenses. The new 100mm telephoto prime is compatible with full-frame Sony E and Leica M cameras, and Thypoch also produces adaptors to convert the M-mount version to Canon RF, Fujifilm X, Nikon Z, L Mount, Arri and other cameras.

The 100mm Simera-C shares an identical mechanical design and positioning of its geared aperture/focus rings to the other lenses in the series, meaning it can integrate seamlessly into follow focus rigs. Thypoch has also taken care to ensure the 100mm is a similar weight to other Simera-C lenses to further improve common handling characteristics: the 100mm weighs just 477g in E-mount form, making it slightly lighter than the 16mm and 12mm lenses. The lens's 67mm front filter thread also matches that of the 75mm Simera-C.

The lens’s optical stack consists of 11 elements arranged in 8 groups and features a unified optical design that includes the series' low-saturation blue coating to ensure uniform color matching across the lens range. The longer focal length of the 100mm makes it easier to shoot close-ups with a shallow depth of field to better isolate your subject, while a 0.85m minimum focus distance increases shot versatility. Bokeh should also be super-smooth, as the lens is equipped with an iris consisting of no fewer than 16 blades. Focussing is manual only, but that's fairly standard for a cine lens that's likely to spend much of its time in a rig.

You can pre-order the Simera-C 100mm T1.9 now from B&H. Expect to pay $879 for the E-mount version, while the M-mount edition is priced at $959.

15 camera lenses from Pentax, Olympus, Fujifilm and Nikon are disappearing from the market, with some officially ending their production cycle while others are listed as discontinued by major Japanese retailers, including Yodobashi and Map Camera.

The list includes everything from fast professional zooms and telephoto lenses to compact primes. While retailer listings alone don't confirm a global discontinuation, such changes at Japanese retailers can be an early indication that availability in other markets may soon follow.

Some lenses remain available in the US and UK, although stock is becoming limited and harder to find, while others have successors or alternative options. Here's a breakdown of all 15 lenses, what's known about their status, and where photographers can still buy them.

Discontinued lenses

Pentax

• HD Pentax-DA* 16-50mm f/2.8 ED PLM AW
• HD Pentax-DA 21mm f/3.2 AL Limited
• HD Pentax-D FA* 50mm f/1.4 SDM AW
• HD Pentax-D FA* 70-200mm f/2.8 ED DC AW
• HD Pentax-D FA 28-105mm f/3.5-5.6 ED DC WR
• HD Pentax-D FA* 85mm f/1.4 ED SDM AW
• HD Pentax-D FA 24-70mm f/2.8 ED SDM WR
• HD Pentax-DA 16-85 mm f/3.5-5.6 ED DC WR
• SMC Pentax-DA 18-135 mm f/3.5-5.6 ED AL [IF] DC WR
• HD Pentax-DA 35 mm f/2.8 Macro Limited
• SMC Pentax-DA* 300 mm f/4 ED [IF] SDM
• HD Pentax-D FA 150-450 mm f/4.5-5.6 ED DC AW

Ricoh officially confirmed that the 12 lenses are discontinued, following on from the announcement that production is stopping on all current DSLR cameras.

Olympus

• Olympus M.Zuiko Digital 45mm f/1.8

The Olympus silver version is now listed as discontinued at major Japanese retailer Yodobashi. There are OM System branded version of this lenses still available in black, however.

Fujifilm

• Fujifilm XF 50-140mm f/2.8 R LM OIS WR

The Fujifilm XF 50-140mm f/2.8 R LM OIS WR is now listed as discontinued at major Japanese retailers, including Map Camera – hopefully a Mark II version will be announced soon.

Nikon

The Nikon AF-S 105mm f/1.4E ED is listed as discontinued at US retailer B&H.

Nikon never released a direct mirrorless successor to the telephoto prime. Alternatives are the Z MC 105mm f/2.8 VR S or the Z 135mm f/1.8 S Plena.

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7Artisans, the Chinese budget lens manufacturer, has released its long-awaited ultrawide AF 10mm f/4 APS-C pancake lens, and this thing is so light you might forget that it’s even attached to your camera.

Coming in at just 2.5oz (71g) – yes, you read that right – the new 7Artisans lens is just half an ounce heavier, if you can even use that word here, than the TTArtisan AF 24mm F3.8 Mini, which, weighing approximately 2oz (57g), is the lightest AF pancake on the market.

Acccording to Chinese technology news publisher, ITHome, The new 10mm f/4 APS-C pancake launched today, October 29, for Sony E-mount and Fujifilm X-mount, with a price tag of ¥699 (approximately $100 / £75) on the Chinese e-commerce site JD.com (unfortunately tricky to access outside of China).

Tucked inside its insanely light, 1.2-inch (33mm) body are nine optical elements in seven groups, including one extra-low dispersion (ED) element, one high-refractive-index element, and two aspherical elements. There’s also a stepping motor (STM)-driven AF system that has a minimum focusing distance of 0.6ft (0.2m).

But considering the inherently massive depth of field that an ultrawide focal length like 10mm boasts, AF might seem unnecessary. And, in all honesty, it may well be.

While AF definitely brings added convenience, when shooting at this focal length, almost the entire frame stays in focus simultaneously, arguably making precise autofocusing redundant unless taking close-up shots.

AF has increasingly crept into wide-angle pancake lenses over the last few years, with recent APS-C releases like the TTArtisan AF 27mm f/2.8 and Viltrox AF 28mm f/4.5 touting the feature. So, no doubt a driving force behind the decision to include AF in the 7Artisans 10mm f/4 pancake was competitiveness.

Still, if you’re not a fan of manual focusing, then, regardless of necessity, the STM AF in the new 7Artisans 10mm f/4 pancake will surely be a welcome feature. But we’ll have to wait for a wider release to find that out for sure.

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To all intents and purposes, the new Viltrox AF 35mm f/1.4 Pro is exactly the same size and weight as its existing Viltrox AF 50mm f/1.4 Pro and Viltrox AF 85mm f/1.4 Pro counterparts. All three lenses also have identical handling characteristics, with the same set of control rings, switches and buttons. That’s undoubtedly more by design than accident, resulting in a threesome of ‘Pro’ f/1.4 primes with highly desirable focal lengths, that don’t interrupt your creative flow when swapping between them.

Typical of Viltrox, the 35mm gives you a lot of bang per buck. Optical highlights include two Ultra Precision aspherical elements, three ED (Extra-low Dispersion) elements and four HR (High Refractive index) elements in a layout that comprises 16 elements in total, arranged in 12 groups. There’s an especially well-rounded 11-blade aperture diaphragm and HD Nano multi-layer coatings, the overall aim being to deliver ‘Pro-grade’ image quality.

Build quality is similarly high-end, with a sturdy metal barrel and mounting plate that feature a comprehensive set of weather-seals and a fluorine coating on the front element. The same applies to pro/enthusiast-grade handling characteristics, including a dedicated aperture control ring with a click/de-click switch, a customizable function button and an AF/MF focus mode switch. Autofocus itself is courtesy of a fast and virtually silent Hyper VCM (voice-coil motor) system, going one step beyond the more standard linear stepping motor.

Although new, the Pro isn’t the only Viltrox 35mm party in town. We’ve been previously impressed by the compact, lightweight and budget-friendly Viltrox AF 35mm f/1.8 Evo II, as well as the top-end and super-fast Viltrox AF 35mm f/1.2 Lab, both of which are also available in Nikon Z and Sony E-mount options. The new Pro prime sits between these two lenses in the line-up, both in terms of size and weight as well as price.

And speaking of price, the AF 35mm f/1.4 Pro launches at $829 / £739 / AU$1,299. The price tag is a bit weightier than for the Viltrox AF 50mm f/1.4 Pro at $549 / £525 / AU$889, or the Viltrox AF 85mm f/1.4 Pro at $598 / £569 / AU$999, but the 35mm still looks potentially very good value for money nonetheless.

Best known for its affordable anamorphic lenses, Sirui is launching another range of more conventional autofocus lenses for mirrorless cameras. The Swift lens promises compact and affordable primes, and is being launched with both a 20mm f/2.4 and a 40mm f/2.2 which will go on sale before the end of the year.

The Swift 20mm F2.4 is described as an ultra-wide lens for landscapes, architecture, street photography and vlogging. Meanwhile the Swift 40mm F2.2 is touted as giving a natural angle of view for portraits, street scenes and everyday photography.

Weighing between 207g and 215 g, depending on lens and mount, the lenses are also described as being well-suited for APS-C mirrorless cameras as well as full-frame ones (hence why they will be available in Fujifilm X-mount).

The two lenses share the same outer shell, with a diameter of about 69.5 mm, a length of 60-62 mm, a 58 mm filter thread, and a nine-blade aperture. The 20mm has a minimum focus distance of 0.2m, whilst the 40mm will focus down to 0.4m.

The 20mm F2.4 is constructed from 11 elements in 9 groups, including two aspherical elements, two ED (extra-low dispersion) elements and two HRI (high refractive index) elements. The Swift 40mm F2.2 has 11 elements in 8 groups, with one aspherical element and two ED elements.

Each lens uses an STM stepping motor for autofocus, and has a clicked aperture ring, an AF/MF switch and a customizable Fn button for AF lock or other camera functions. A weather-resistant construction is designed to the lens against dust, stains and splashes.

The Sirui Swift 20mm f/2.4 and 40mm f/2.2 will retail for $149 / £129.90 each, and will be available in Sony FE, Fujifilm X, and L-mount options.

Nikon has officially announced the Nikkor Z 120-300mm f/2.8 TC VR S – a fast telephoto zoom with a built-in teleconverter – which will go on sale from the middle of November. The lens which will be become a must-have for professional sports photographers was teased as a development announcement by Nikon back in May.

The lens is the modern successor to the 300mm f/2.8, which was the standard lens of action photographers in years gone by, and is a full-frame Z-mount replacement for Nikon's own 120-300mm f/2.8E AF-S FL ED SR VR for its autofocus DSLRs.

The lens not only provides a constant aperture zoom range, but offers a 1.4x teleconverter that can be engaged with a flick of a switch - stretching the maximum focal length to 420mm (with the maximum aperture dropping to f/4).

Weighing in at 2735g, or just over 6 lbs, it is around 1.5 lb (705 g) ligher than its F-mount predecessor, despite the addition of the teleconverter.

It becomes the third pro telephoto lens in the Nikon Z lens range to come with this built-in teleconverter facility, joining the existing the Z 600mm f/4 TC VR S and the Z 400mm f/2.8 TC VR S.

Specifications

Mount: Nikon Z
Full frame: Yes
Autofocus: Yes
Stabilization: Yes (up to 6.5 stops)
Lens construction: 30 elements in 24 groups
Angle of view: 20° 20′ to 8° 10′ (14° 40′ to 5° 15′ with teleconverter)
Diaphragm blades: 9
Minimum aperture: f/32 / 45
Minimum focusing distance: 2m at 300mm, 0.98m at 120mm
Maximum magnification ratio: 0.14x / 0.2x
Filter size: 112mm (plus 46mm rear drop-in)
Dimensions: 5.1 x 14 in / 128 x 1,353.5mm
Weight: 96.5oz / 2,735 g)

The lens uses a Silky Swift VCM (SSVCM) autofocus motor which Nikon claims is its most advanced AF motor, driving focus elements with extraordinary speed, accuracy and quietness.

An anti-reflective Arneo coating developed by Nikon has been used in conjunction with Nano Crystal Coat, to further reduce ghost and flare effects caused by incident light entering the lens vertically. This this is allow for the outstandingly clear capture of images even when a light source is located within the frame. Diagonal incident light, meanwhile, is dealt with using a Meso Amorphous coating on the lens.

Pricing

Nikon Z 120-300mm f/2.8 TC VR S is available to pre-order from to day for $13,999 / £13,999 / AU$21,999 and is expected to start shipping from mid November.

🇺🇸 Pre-order at BH Photo for $13,999

🇬🇧 Pre-order at London Camera Exchange for £13,999

🇦🇺 Pre-order at Teds Cameras for AU$21,999

Zeiss has reminded the photography world that it is still making lenses for the Leica M-mount, and while that might sound like good news for rangefinder enthusiasts, I can't help but feel that it also highlights just how little has changed in more than two decades.

According to Leica Rumors, the German optics manufacturer recently took to social media to remind photographers that its ZM lens lineup is still very much alive, offering a respectable selection of optics for Leica's legendary M system. And while I am certainly pleased to see another established name supporting the M-mount, I do wonder whether Zeiss has become a little too comfortable relying on its past successes, rather than looking toward the future.

To put things into perspective, the Zeiss ZM system dates all the way back to 2004, when lenses including the Biogon T* 21mm f/2.8 ZM were first announced. That was 22 years ago, and while the range has seen some additions over the years, including the excellent Distagon T* 35mm f/1.4 ZM introduced in 2014, the overall lineup has remained remarkably familiar. Today, Zeiss still offers everything from the ultra-wide Distagon T* 15mm f/2.8 to the classic Planar T* 50mm f/2, providing Leica photographers with a healthy selection of focal lengths. However, when you consider just how much the camera industry has evolved since 2004, it does feel as though Zeiss has largely been standing still, particularly when it comes to developing something genuinely new for the M system.

Of course, there is absolutely no denying the optical quality of Zeiss lenses. The company has built its reputation on producing exceptional glass, and its ZM lenses are no exception, offering excellent sharpness, contrast, beautiful rendering, and the sort of mechanical construction that feels perfectly at home on a Leica rangefinder. Perhaps more importantly, they deliver much of what photographers love about Leica lenses without the considerably higher price tag that often comes with that famous red dot. For anyone looking to build a Leica M system without spending a small fortune on native optics, Zeiss remains a compelling alternative, and I would certainly never discourage anyone from considering one. After all, a great lens doesn't suddenly become a bad lens simply because it is getting older.

However, as someone who shoots with Leica M cameras regularly, I can't help but feel that the ZM system is beginning to show its age. Leica has continued to refine its optical designs, introducing close-focusing capabilities and making the most of modern digital M cameras, while other third-party manufacturers have been pushing the boundaries of what affordable rangefinder lenses can offer. Zeiss, meanwhile, seems content to keep offering essentially the same familiar designs, with little indication of a major refresh on the horizon. I would personally love to see a new generation of ZM lenses, perhaps with more compact designs, improved close-focusing capabilities, or even entirely new optical formulas that take advantage of today's increasingly demanding digital sensors. Zeiss certainly has the expertise to make it happen, which makes its apparent lack of ambition in this particular corner of the market all the more frustrating.

Then again, perhaps I am missing the point entirely. One of the greatest attractions of the Leica M system is that it doesn't demand constant technological reinvention, and a lens designed more than two decades ago can still produce incredible photographs today.

There is something rather refreshing about a manufacturer continuing to support products that have already proven themselves, rather than replacing them simply for the sake of having something new to sell. As the old saying goes, "if it ain't broke, don't fix it," and perhaps that is exactly the philosophy Zeiss has adopted. Nevertheless, while I am delighted that Zeiss hasn't abandoned the Leica M-mount, I would love its next announcement to be about an exciting new lens rather than another reminder that it still makes the old ones.

Because after 22 years, surely it is time for something new?

Check out our guide to the best Leica M lenses

Retro camera designs are a longstanding trend in photography. But while photographers have multiple options for retro-inspired digital cameras, a retro-inspired lens is arguably much harder to find.

That’s what grabbed my attention when Sigma announced a new “CL” lens series last week, which will debut in 2027 with the L-Mount and E-Mount Sigma 50mm f/1.4 CL DG Contemporary.

The upcoming 50mm lens looks quite retro with its metal exterior and focal distance scale. But Sigma seems to hint that the new CL lens isn’t just about a retro look to the lens itself, but to the image that it creates too.

Sigma describes the images coming from the lens as a “gentle softness within the in-focus plane” and a “soft rendering of texture that helps the subject stand out.”

Sigma has so far only announced the development of the lens for a Spring 2027 launch, but Australian photographer Mitch Lally tested an early sample at a portrait shoot and described it this way: “The subject remains sharp and detailed, but the transition into the out-of-focus areas has a softer, less clinical quality. Wide open at F1.4, the backgrounds have a softness and character that adds to the overall feel of the image.”

That “less clinical quality” grabbed my attention. Retro cameras and photographs that look like they were shot on film are trending – but the lens is half the equation to getting that look and often forgotten.

Modern camera lenses have made significant strides forward in creating tack-sharp subjects and fighting off flare and ghosting with modern coatings. But at what point does a lens become too technically perfect?

I want a reasonably sharp subject, but not so sharp that I can count the pores in my portraits. This feels particularly true lately: toss an overly sharp, “perfect” image on the internet today, and watch the AI accusations roll in. I’ve even started toning down the skin edits in my portraits. Skin without texture isn’t human.

And then, there’s lens flare. Many modern lenses brag about using coatings to prevent lens flare, but I actually love lens flare most of the time. Yes, there are scenarios when I want full clarity in challenging backlight, but most of the time, I’d rather have streaky golden light.

I’ve adapted old film lenses to my modern mirrorless camera in order to really try to get a more film-like look on digital. But I want to have my cake and eat it too – I want lenses that have both character and modern features. I’ve taken to using a warm diffusion filter on a majority of my portraits so I can get warm tones and glowing light, but on a modern autofocus lens.

Looking at the sample images from the Sigma 50mm f/1.4 CL DG Contemporary, I’m drawn to the soft colors and smooth bokeh. The subject still looks sharp, but not overly so, and there’s a nice fall-off to that soft background.

While Sigma has already shared a full set of technical specifications, the development announcement lacks a key detail: Price. The upcoming CL will be smaller and lighter than Sigma’s 50mm f/1.4 Art. I think if it’s also more affordable, it may draw a lot of photographers who prefer a softer, more retro style.

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The last DSLR lens Nikon announced, back in 2019, was the Nikon AF-S 120-300mm f/2.8E FL ED SR VR. Its spiritual successor leaked online before Nikon revealed official images or specifications, fuelling speculation about the much-anticipated lens. Now, major US retailer B&H has listed the Nikon Z 120-300mm f/2.8 TC VR S as "coming soon".

What's also "coming soon" is the price of Nikon's latest professional-grade S-line telephoto zoom. Its DSLR predecessor launched at around $9,500 / £9,500 six years ago, but photographers online speculated that the new Z-mount version would cost significantly more.

Rumored to be the most expensive lens in Nikon's Z lineup, the optic has attracted price speculation as high as $16,000 / £12,000. Now, Nikon Rumors report that "the US price of the upcoming Nikon Nikkor Z 120-300mm f/2.8 TC VR S lens will be $13,999" – around $2,000 less than some photographers had expected.

However, even at this rumored price, Nikon's new lens remains out of reach for many photographers, especially those who don't work full-time professionally and there's another catch…

Nikon's most expensive S-line telephoto lens?

To date, Nikon's most expensive S-line lenses are the Z 600mm f/4 TC VR S, priced at $16,196.95 / £14,999, and the Z 400mm f/2.8 TC VR S, available for $14,696.95 / £13,499. Both optics are currently discounted at B&H in the US, with savings of up to $2,000.

The Z 120-300mm f/2.8 TC VR S is rumored to be announced on October 28 or 29, so we could soon find out the retail price of Nikon's highly anticipated telephoto zoom.

The Z 120-300mm f/2.8 TC VR S will feature an integrated 1.4x teleconverter, extending its maximum focal length to 420mm while reducing the maximum aperture to f/4.

Nikon has already incorporated the same teleconverter technology into its Z 600mm f/4 and Z 400mm f/2.8 fast telephoto prime lenses.

The Z 120-300mm f/2.8 TC VR S is expected to be produced in very limited quantities, and Nikon Rumors reports that long waiting times are expected.

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Are you a Nikon fan? Check out the best Nikon cameras and the best Nikon Z lenses. Also, here's the latest camera news.

Enthusiast and professional photographers often seek to supplement their standard zoom lens with one of the best 70-200mm lenses, when adding telephoto reach to their outfits. The relatively fast and constant f/2.8 aperture rating is a major selling point, but these lenses don’t come cheap and they tend to be relatively big and heavy. Tamron is renowned for offering great glass at competitive prices, and sure enough, it launched its current budget-friendly, ‘alternative trinity’ Tamron 70-180mm f/2.8 Di III VC VXD G2 for Sony E-mount cameras back in 2023, following up two years later with a Nikon Z-mount version in 2025.

That 2-year offset also applies to the most cut-price Tamron 70-300mm f/4.5-6.3 Di III RXD, a more traditional low-budget telephoto zoom released for Sony in 2020 and for Nikon in 2022. The more powerful Tamron 50-400mm f/4.5-6.3 Di III VC VXD also follows suit, Sony and Nikon editions launching in 2022 and 2024 respectively.

The 50-300mm lens that I’m reviewing here is yet another budget-stretching Tamron telephoto zoom, released in the summer of 2024, but so far there’s no Nikon version. In terms of technical prowess, performance and price, it sits between the Tamron 70-300mm and 50-400mm zooms, aiming to be one of the best budget telephoto lenses and one of the best lenses for Sony cameras, at least if you’re wanting to keep your costs down.

Tamron 50-300mm f/4.5-6.3 Di III VC VXD: Specifications

Tamron 50-300mm f/4.5-6.3 Di III VC VXD: Price

What price a budget telephoto zoom? The Tamron 50-300mm f/4.5-6.3 Di III VC VXD lists at $699 / £629 / AU$1,158, substantially undercutting the ‘alternative trinity’ Tamron 70-180mm f/2.8 Di III VC VXD G2, which sells for $1,099 / £999 / AU$2,349. It’s also less expensive than the Tamron 50-400mm f/4.5-6.3 Di III VC VXD, which delivers longer maximum telephoto reach at a price of $1,299 / £999 / AU$2,399. The flipside is that the more down-market Tamron 70-300mm f/4.5-6.3 Di III RXD with its relatively basic autofocus system and no optical stabilizer is cheaper to buy at $399 / £399 / AU$999.

Tamron 50-300mm f/4.5-6.3 Di III VC VXD: Design & Handling

If you don’t feel the need for the extra 100mm of reach delivered by the Tamron 50-400mm zoom, this 50-300mm will save you a fair chunk in size, weight and cash. It’s very travel-friendly for a telephoto zoom, measuring a compact 75x150mm / 3x5.9in and weighing in at a mere 665g / 1.5lb. Ultimately, it’s very lightweight for carrying around all day and for handheld shooting, as well as being small to stash away when you’re done.

Despite being a bit of a lightweight (in a good way) the Tamron packs quite a lot of glass into its optical path. The arrangement comprises 19 elements in 14 groups, including two LD (Low Dispersion) elements and two XLD (eXtreme Low Dispersion Elements) with a view on enhancing sharpness and clarity while minimizing color fringing. Tamron’s high-tech BBAR G2 (Broad Band Anti-Reflection, Generation 2) multi-coating is applied, to add extra resistance against ghosting and flare.

Although a touch under 6 inches long in its shortest configuration, the Tamron is typical of budget telephoto zooms in having an extending inner barrel. The upshot is that as you stretch through the zoom range from 50mm to 300mm, the lens physically grows in length to a maximum of just over 8 inches, as shown in the images above and below.

The act of zooming itself is based on a large, forward-mounted control ring. It has a grippy, ridged surface and the ring operates smoothly and precisely, without any stiff or jerky spots along the way. It’s conveniently marked at focal lengths of 50, 70, 100, 135, 200 and 300mm.

Typical of autofocus lenses, the manual focus ring is rather smaller but it’s still bigger than in many similar lenses. The chances are that you might never even use it, as the lens has a particularly fast, virtually silent and consistently accurate autofocus system. Indeed, it’s based on a VXD (Voice-coil eXtreme Drive) motor, rather than the more run-of-the-mill linear stepping motor that’s often featured in modern lenses. A further bonus for close-up photography is that you can focus right down to 22cm / 8.7in at the short end of the zoom range (as measured from the image sensor in the camera body) enabling up to 0.5x macro magnification.

Despite the budget-friendly price of the lens, it features a ‘Focus Set’ function button on the side of the barrel. You can customize the button’s action by using the Tamron Lens Utility software (more on that later), selecting options that include focus preset, A-B focus, a focus range limiter and AF/MF focus mode selection.

One bugbear with any zoom lens that physically extends through its zoom range is that it might tend to stretch out when you’re carrying it around. This makes it more awkward to live with and more likely to get bumped somewhere along the line. To keep it restricted to its minimum length, the Tamron features a zoom lock switch on the side of the barrel.

A petal shaped hood is supplied with the lens. It does its job simply and effectively, having the usual bayonet-fit mechanism. Also as usual, you can reverse-mount it on the lens for compact stowage.

I always tend to fit a hood when using a lens, if one is available. Apart from reducing the risk of ghosting and flare when shooting against the light, they always give physical protection to the front glass element.

As I mentioned earlier, you can use the free Tamron Utility software to apply firmware updates and to customize the lens, linking it to a computer with a USB-C cable. A more elegant and portable solution is to invest in the Tarmon-Link Bluetooth Module, which is tiny, weighs next to nothing and sells for $50 / £59 / AU$80. You can plug this into the lens’s USB-C port at the rear of the barrel and work your customization magic from an app on your smartphone, when you’re out and about.

Although compact and lightweight, the Tamron feels robust and nicely engineered. The mounting plate is made from metal rather than plastic and features a rubber weather-seal gasket to guard against the ingress of dust and moisture through the joint between the lens and camera body. Further weather-seals are incorporated into the lens barrel to ensure a weather-resistant construction.

Tamron 50-300mm f/4.5-6.3 Di III VC VXD: Performance

As I’ve come to expect from many of Tamron’s current lenses, the voice-coil motor autofocus system is very fast and consistently accurate. While testing the lens with my Sony A7 III camera body, I found that autofocus snapped into position almost instantaneously, with all but the trickiest subject matter or the gloomiest of lighting conditions. Autofocus was also well able to keep up with swiftly moving subjects in continuous AF mode. Similarly, Tamron’s proprietary ‘Vibration Compensation’ system works very well, although it doesn’t have the switchable modes of some of the company’s more exotic lenses, including the Tamron 50-400mm f/4.5-6.3 Di III VC VXD.

I feel it’s good that optical stabilization is included, even if all but Sony’s first generation of Sony Alpha full-frame cameras feature IBIS (In-Body Image Stabilization). An upside is that optical or ‘in-lens’ stabilization tends to work better than IBIS at long telephoto focal lengths. Furthermore, the lens is easily compact and lightweight enough for use with Sony’s A6000-series of APS-C format cameras, on which it has a powerful ‘effective’ zoom range of 75-450mm, taking it into ‘super-telephoto’ territory. Historically, most of Sony’s APS-C cameras didn’t feature IBIS, making optical stabilization even more of a must-have feature.

I’d class the actual zoom range of the lens as a performance factor. Unlike the 70-300mm lenses of old, as well as Tamron’s relatively new edition that has an identical zoom range, this lens kicks of at a completely standard focal length of 50mm, which gives an entirely natural perspective. The practical value is that when alternating between standard and telephoto compositions, you’re less likely to have to keep swapping the lens on your camera body. Not only is this more convenient, it also enables you to capture fleeting, definitive moments instead of missing important shots altogether, because you were swapping between different lenses. The images above and below demonstrate the extremities of the zoom range, taken of the same scene from the same position, using 50mm and 300mm zoom settings.

Levels of sharpness are impressive, both throughout the entire zoom range and across the whole image frame, from the center to the extreme edges and corners. Clarity, contrast and color rendition are also very good, optical performance benefitting from the LD and XLD optical elements that I mentioned earlier. Conversely, bokeh is nice and smooth, which I’ve generally found to be a common trait of Tamron lenses. Despite this one not having a very fast aperture, longer focal lengths enable a tight depth of field.

As well as delivering very respectable sharpness, the lens does well to suppress color fringing. Again, this holds through throughout the whole zoom range, right out to the corners of the frame. Pincushion distortion can be a bit noticeable, especially at longer zoom settings, but this can be virtually eliminated by automatic in-camera correction, along with any visible trace of color fringing.

Not just a telephoto zoom with long reach, the lens is also advertised as having a 0.5x macro facility at its 50mm focal length, for extreme close-ups. When trying this out, I found that images were nice and sharp at the center of the frame. However unlike ‘proper’ macro prime lenses with a flat field design, the Tamron gets really blurry towards the edges of the frame, when shooting flat subjects head-on. You’ll see this in the 0.5x macro shot below, taken of a row of color pencils on a sheet of paper.

Tamron 50-300mm f/4.5-6.3 Di III VC VXD: Sample Images

The following gallery of example images was shot on a mostly overcast morning in the area between Underfall Yard and Bristol Marina, part of the Floating Harbour in Bristol, South West England. I used various focal lengths to give an idea of image quality throughout the zoom range. Some of the pictures were taken in pairs, shot of the same scene from the same position using the shortest and longest focal lengths respectively, to demonstrate the quality at both extremities of the zoom range.

Tamron 50-300mm f/4.5-6.3 Di III VC VXD: Verdict

I feel that the Tamron 50-300mm f/4.5-6.3 Di III VC VXD gives a lot of bang per buck. I’m impressed with the speed and accuracy of its VXD voice-coil motor autofocus system, and the effectiveness of its VC optical stabilizer. They combine to ensure an excellent hit rate when shooting tricky subjects in action, sports and wildlife photography, to which this telephoto zoom is ideally suited.

Sharpness, clarity and color rendition are all very good, and the lens also delivers smooth bokeh along with good suppression of distortion, color fringing, ghosting and flare. In practical terms, I also like that the lens is compact and lightweight, making it easy to carry around and comfortably convenient for even long periods of handheld shooting.

All in all, I think that the Tamron is a very wise buy for both full-frame and APS-C format Sony mirrorless cameras, giving a powerful ‘effective’ 75-450mm zoom range on the latter. I just wish it was also available for other makes of camera, instead of just for Sony.

Alternatives

There are certain names in the world of cinematography that need very little introduction, and Cooke Optics is undoubtedly one of them. The British lens manufacturer has spent decades helping filmmakers capture some of cinema's most recognizable images, and now it is bringing one of its most celebrated lens families into the modern era.

The new Cooke S4 FF/i series takes the character of the legendary S4/i Super 35 lenses and reimagines it for full-frame cinema cameras, offering filmmakers that unmistakable Cooke look without being restricted to smaller sensor formats.

The new collection consists of six prime lenses, covering 18mm, 25mm, 35mm, 50mm, 75mm, and 100mm focal lengths, all featuring a fast T2.0 maximum aperture. However, these aren't simply the original lenses with a larger image circle. Cooke has developed an entirely new optical design intended to preserve the characteristics that made the S4/i series so popular, including natural skin tones, subtle warmth, and beautifully controlled contrast.

The company also promises expressive lens flares and a softer, more organic rendering that avoids the overly clinical sharpness sometimes associated with modern cinema optics. For filmmakers who value character just as much as technical perfection, that could be an incredibly appealing combination.

Of course, image quality is only part of the story, and Cooke has clearly considered the practical demands of modern filmmaking. Each lens features a consistent 87mm front diameter, while weights range from just 1.45kg to 1.8kg (3.2 to 4 pounds), making the new series approximately 29% lighter than the original S4/i Super 35 lenses.

This should make them particularly attractive for handheld shooting, gimbal setups, and Steadicam work, where every ounce matters. Close focusing is another impressive feature, with an average minimum focusing distance of approximately 385mm (15 inches) across the range, allowing cinematographers to capture intimate details without constantly reaching for a specialist macro lens.

Another fascinating aspect of the S4 FF/i series is the attention Cooke has paid to the way these lenses render light. Each features a nine-bladed iris with slightly curved blades, designed to produce beautifully rounded bokeh and smooth out-of-focus backgrounds. The company has also carefully engineered the lenses to produce layered, colorful flares that add atmosphere without overwhelming the image.

Combine this with consistent color matching across all six focal lengths, Cooke's advanced /i metadata technology, and compatibility with professional full-frame cinema cameras such as the Sony Venice, Red V-Raptor VV, and Arri Alexa LF, and you have a lens collection that feels very much designed for serious filmmaking.

Naturally, owning a piece of Cooke's legendary optical heritage doesn't come cheap. The new S4 FF/i lenses are available to preorder for $15,000 each in the US, or £13,2000 per lens in the UK, with PL and LPL mount options available. That puts them firmly in professional cinema territory rather than something most enthusiast filmmakers will be adding to their camera bags.

Nevertheless, I think there is something exciting about seeing a manufacturer like Cooke continue to develop lenses that prioritize character and storytelling rather than simply chasing sharper images. At a time when modern cameras can capture extraordinary levels of detail, these new full-frame primes are a welcome reminder that the way an image feels can be just as important as how technically perfect it looks.

Classic film lenses often sported a metal design with a focal distance scale – two features that will be part of an entirely new line of premium, classically-inspired lenses from Japanese lens maker Sigma. The Sigma 50mm F/1.4 CL DG Contemporary, expected to launch in the spring of 2027, is the first in what the company says is an entirely new CL lineage designed to “maximize the joy of shooting.”

The upcoming 50mm f/1.4 lens, which is coming to both L-Mount and Sony E-Mount, mixes a metal housing, hood, and magnetic lens cap with a design that’s meant to be lightweight and compact for an ultra-bright aperture prime. Adding to the retro look, the lens will be available in black or silver.

As a development announcement, the lens’ specifications are subject to change, but Sigma’s teaser hints at a design that’s about 2.1 inches / 54mm from the front of the lens to the mount for the L-mount version. The lens is expected to weigh about 13.2 oz / 375g. That’s about half the length of the existing Sigma 50mm f/1.4 DG DN Art and about 45 percent lighter.

While the upcoming lens sports a focal distance chart much like retro manual-focus film lenses, the 50mm f/1.4 uses a newly developed RDD actuator motor for autofocus. Sigma says the new motor uses magnets and coils to move the lens’ focusing unit. The lens doesn’t have an internal focusing design, so the length of the optic changes as the focus adjusts, a move Sigma says was made to keep the overall size compact.

Turning the lens’ manual focus ring will also temporarily switch the lens into manual focus mode without needing to switch back and forth between auto and manual focus modes.

Sigma says the lens uses simulation technology to help control aberrations. “Through exhaustive simulations,” Sigma wrote in the development announcement, “aberrations have been intentionally controlled to achieve a gentle softness within the in-focus plane, smooth and attractive bokeh, and characterful background rendering that helps the subject stand out.”

The lens is built with nine elements in six groups, including three aspherical elements to help control flare and ghosting.

Sigma says the upcoming 50mm f/1.4 is the first in a new CL series of lenses that will use all-metal designs and depth-of-field scales. The lens also has dust and splash seals, as well as a front coating to repel oil and water.

As a development announcement, Sigma hasn’t yet shared a price for the Sigma 50mm F/1.4 CL DG Contemporary, which is expected to arrive in the spring of 2027.

Sigma announced the development of the new series alongside the launch of the new Sigma FP2, a compact hybrid full-frame mirrorless that now shoots up to 6K open gate.

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Leica might be about to bring back another classic lens, and if the latest rumors are anything to go by, we could soon see a new Summaron-M 35mm f/2.8 joining the legendary M-mount lineup.

According to reports from Leica Rumors, subsequently picked up by Japanese photography website Digital Camera Life, Leica is reportedly preparing to revive the historic 35mm lens for around €2,000 ($2,240 / £1,685).

Now, as someone who has spent years shooting with Leica cameras and has always had a soft spot for the brand's older glass, this is exactly the sort of announcement that gets me excited. However, while I would absolutely love to see another classic Summaron return, there is one part of this rumor that I am finding particularly difficult to believe, and that is the price.

To put things into perspective, Leica already offers the beautiful Summaron-M 28mm f/5.6, a modern recreation of its classic 1950s design, which currently costs around $3,600 / £2,750. That is an extraordinary amount of money for a relatively slow, manual-focus lens, but then again, this is Leica we are talking about.

The company has never positioned itself as the affordable choice, and much of the appeal comes from its craftsmanship, heritage, and unmistakable approach to photography. So, while the idea of a newly manufactured Summaron-M 35mm f/2.8 arriving for just €2,000 sounds wonderful, I cannot help but think that figure is a little optimistic, especially given the pricing of Leica's existing 35mm lenses.

Interestingly, the secondhand market tells a rather different story. The original Summaron 35mm f/2.8, which was produced between 1958 and 1974, can still be picked up for around $1,500 / £900, depending on its condition and version. Meanwhile, its older and arguably more characterful sibling, the Summaron 35mm f/3.5, can often be found for as little as $550 / £400.

The latter was produced in much larger numbers, predominantly in the older Leica Thread Mount (LTM) screw fitting, although native M-mount versions were also produced in smaller quantities, and screw-mount examples can be adapted for use on modern Leica M cameras. For photographers who appreciate classic rendering rather than absolute optical perfection, it remains one of the most interesting and relatively affordable ways to experience vintage Leica glass.

And this is where my personal preference comes into play. While I can certainly understand the appeal of Leica bringing back the Summaron-M 35mm f/2.8, I would actually be far more excited to see a modern recreation of the earlier 35mm f/3.5. I have admired this lens for years, particularly for its wonderfully old-fashioned rendering, with that almost uncoated-looking character, gentle glow around highlights, and beautifully restrained contrast. There is something rather magical about the way these older lenses handle light, particularly when shooting black-and-white photography, where the flatter tonal profile can give images a timeless, almost cinematic quality. In a world where manufacturers are constantly chasing sharper corners, greater contrast, and clinical optical perfection, I find myself increasingly attracted to lenses that do precisely the opposite. In fact, I have often considered buying an original Summaron 35mm f/3.5 just to experience that character on my digital Leica cameras.

Which brings me back to that rumored €2,000 price tag. If Leica really is planning to introduce a more affordable classic Summaron, I would personally think a recreation of the slower 35mm f/3.5 makes considerably more sense. It would offer something genuinely different from the company's current 35mm lineup, appeal to photographers who love vintage rendering, and potentially sit at a more accessible price point without stepping too heavily on the toes of its modern Summicron and Summilux lenses. Better still, if Leica could preserve the original's wonderful optical personality while adding the convenience and build quality of a modern M-mount lens, I think it could be an absolute winner. At around €2,000, I would genuinely struggle not to be among the first to place an order.

Of course, if the rumors are correct and Leica really is preparing a Summaron-M 35mm f/2.8 instead, I would still welcome it with open arms. I simply cannot see Leica selling such a lens for €2,000 when its current 28mm f/5.6 costs considerably more. If I had to make an educated guess, based purely on my experience of the brand and its pricing over the years, I would expect something closer to €3,000 ($3,360 / £2,525) for a modern 35mm f/2.8 recreation. And if Leica somehow manages to surprise us all and bring it to market for less than that, I would consider it something of a bargain by Leica standards.

For now, though, we must take all of this with a generous pinch of salt. Leica has not officially confirmed that a new Summaron is coming, let alone which version it might revive or how much it would cost. The rumored specifications and pricing could change, or the lens might never materialize at all. Nevertheless, I love the idea of Leica continuing to celebrate its extraordinary optical heritage rather than simply chasing the next technical breakthrough.

Whether that means a new Summaron-M 35mm f/2.8 or, as I am secretly hoping, a recreation of the gorgeous little 35mm f/3.5, I would be delighted to see another classic return. I just wouldn't get too attached to that €2,000 price tag quite yet.

Check out our guide to the best Leica M lenses you can buy right now

The Canon RF 28-70mm f/2 L USM is a popular pro lens thanks to an unusually bright aperture – but a recent patent indicates that the optical engineers at Canon are exploring the possibility of an even longer f/2 zoom.

A recent patent published in Japan details a design for a compact, high-performance zoom lens that uses three or more focusing groups rather than the current RF series’ more typical two. Tucked in among the different patent drawings for potential lenses with such a design is a 70-200mm f/2 lens.

The patent, published in Japan on October 16 and first spotted by Canon Rumors , details a design that uses three focusing groups in order to create smaller zooms. While the patent isn’t specifically for one lens, the drawings reference a potential 70-200mm f/2 among even lenses like a 50-85mm f/1.4.

The challenge of making a bright zoom is making it small enough to carry at the same time. Reducing the size of a zoom means bringing optical groups closer to each other. The problem with that, the patent says, is that it leaves no room for the autofocus groups.

The patent hints that using “three or more” focus units could help shorten that distance, making it possible to create a bright zoom lens while avoiding a significant increase in size to get that brighter aperture.

The patent isn’t Canon’s first to reference using more than two focus groups. Another patent earlier this year from Canon explored using three focus groups to increase focusing performance.

Using more focus groups isn’t a completely new idea for Canon either – the company’s Dual Nano USM lenses use two autofocus motors. The newer VCM or Voice Coil lenses often pair the magnetic VCM system with a second smaller Nano USM autofocus motor, like with the Canon RF 35mm f/1.4L VCM.

The recent patent details several potential designs that could use three autofocus groups in order to create a brighter aperture without creating an overly heavy lens. But the possibility of a 70-200mm f/2 is drumming up a bit of excitement, considering how popular the 28-70mm f/2L USM lens is.

The Canon 28-70mm f/2L USM uses an ultrasonic autofocus motor and cuts some of the wide angle off of a more typical 24-70mm – but the lens is still notably heavier than the 24-70mm f/2.8L IS USM.

At 3.1 pounds / 1430g, Canon’s 28-70mm f/2L is actually heavier than the RF 70-200mm f/2.8L IS USM. That’s a perfect example of just how challenging making a reasonably sized 70-200mm with a bright f/2 would be.

Canon’s patents hint at what the company is working on behind the scenes – but the existence of a patent doesn’t guarantee that such a design will eventually become a real product. Canon often sets records for the number of patents filed in a year, which means many of them don’t become actual products. That leaves the concept of a 70-200mm f/2 zoom as wishful thinking and rumors, for now.

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Take a look at the best Canon RF lenses for more inspiration.

Until now if you wanted to go really wide with a Fujifilm GFX camera, your widest option would have been the Laowa 15mm f/4.5R Zero-D Shift Lens, while Fujifilm's widest GF offering would be the GF20-35mmF4 R WR. But now AstrHori has absolutely smashed the wide-angle record for GF-mount lenses with its new MF 8mm F2.4 Circular Fisheye Lens. For context, an 8mm medium format focal length equates to just 6.3mm in full-frame terms, and it results in a colossal 220-degree field of view. That's so wide that this lens can actually see behind itself, and it also means you've even got to be careful when hand-holding the camera, as your own fingers may start encroaching into the image frame!

Obviously being a circular rather than rectilinear fisheye lens, this field of view means each shot will contain a circular image projection within a black frame, and distortion will be integral to the circular rendering, but that's all part of the fun.

Despite the immense field of view, the lens itself is surprisingly compact for a medium format optic, measuring just 62mm long and weighing in at 517g. Focussing is manual only, but that's really no issue with a lens with such a short focal length, as depth of field will be huge, even at the maximum f/2.4 aperture. This is also fast enough to make the lens suitable for astrophotography, should you want to capture more of the night sky than ever before in a single frame.

Inside the metal barrel is a 10-element optical stack arranged in 8 groups, containing two extra-low dispersion elements and two high refractive index elements to help reduce chromatic aberrations - vital on a lens with such a wide field of view. The aperture diaphragm is comprised of 10 blades, which has the potential for creating smoother bokeh, but you'll have to fully exploit the 0.1m minimum focus distance to create anything close to a shallow depth of field with a lens this wide.

The AstrHori 8mm f/2.4 Circular Fisheye Lens is available to pre-order now, in either Fujifilm GF or Hasselblad X mounts, each priced at $398, which is makes this one of the least expensive new medium format lenses available.

Pre-order now from B&H

All listed lens models in the latest Top 10 chart published by major Japanese retailer Yodobashi are zoom lenses. This might not be a big surprise, as zoom optics are a popular choice among photographers of all levels and all genres. While one manufacturer dominates the ranking, a third-party model, described as a "high-flying all-in-one superzoom," is the real showstopper.

Yodobashi shares that in the second half of September, the No.1 spot goes to the Sony FE 24-70mm f/2.8 GM II, followed by the Sony FE 70-200mm f/2.8 GM OSS II and Sony FE 100-400mm f/5.6-8 OSS. The manufacturer dominates the chart with a total of four models, including the Sony FE 16-35mm f/2.8 GM II at No.10.

However, the third-party lens that stands out – which is the only third-party zoom in the chart – is the Tamron 25-200mm f/2.8-5.6 Di III VXD G2 for Sony E-mount in fifth place. Here's why the optic is a great all-in-one travel solution and its catch.

Yodobashi's 10 best-selling lenses (2nd half Sep 2026)

1. Sony FE 24-70mm f/2.8 GM II
2. Sony FE 70-200mm f/2.8 GM OSS II
3. Sony FE 100-400mm f/5.6-8 OSS
4. Canon RF 70-200mm f/2.8 L IS USM Z | White | Black
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. Nikon Z 70-200mm f/2.8 VR S II
8. Nikon Z 24-120mm f/4 S
9. Nikon Z 180-600mm f/5.6-6.3 VR
10. Sony FE 16-35mm f/2.8 GM II

The "high-flying all-in-one superzoom"

Available for $899 / £729 for Sony E-mount, the Tamron 25-200mm f/2.8-5.6 Di III VXD G2 is a lens that can "genuinely replace a pair of standard and telephoto zooms," as DCW reviewer Matthew Richards states. And with the V3 firmware, you can also shoot macro subjects.

The only catch with this super-all-in-one solution is that it's only available for Sony cameras. Photographers working with other systems are missing out.

For Nikon shooters, the own-brand Nikon Z 24-200mm f/4-6.3 VR would be a great choice. While this lens is not listed in the Top 10, it adds optical stabilization and has marginally more wide-angle coverage, available for $846.95 / £879.

The Canon RF 24-240mm f/4-6.3 IS USM is an option for RF-mount, available for $949 / £959. While it features a slower aperture, it provides a wider focal length at the short end and a longer focal length at the telephoto end.

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Browse the best Sony lenses, the best Nikon Z lenses, and the best Canon RF lenses. We also curated a guide to the best standard zoom lenses and telephoto lenses.

Voigtländer is celebrating 100 years of its legendary Skopar lens with a rather beautiful special edition of one of its most recognizable optics.

The new Color-Skopar 35mm f/2.5 Skopar 100th model takes the tried-and-tested formula of the long-running Color-Skopar 35mm f/2.5 P II and gives it an elegant silver makeover, complete with a matching metal lens hood and a specially designed aluminum rear cap.

It's a fitting tribute to a lens name that has been part of photographic history for an entire century, and one that should certainly catch the attention of Leica rangefinder enthusiasts.

One of the biggest attractions of the Color-Skopar has always been its remarkably compact design, and this anniversary edition is no different. Measuring just 23mm in length, it's an incredibly slim lens that looks perfectly at home on a Leica M camera.

Despite its small dimensions, Voigtländer hasn't compromised on the handling experience, with a carefully shaped focusing lever that sits naturally beneath your finger and a beautifully tactile aperture ring with precise clicks. It's the sort of mechanical simplicity that makes shooting with a manual-focus lens so enjoyable, particularly for street and documentary photographers who appreciate a more considered approach to photography.

The anniversary treatment extends beyond the silver finish, with Voigtländer including a specially designed metal bayonet-mount hood featuring distinctive slits. Not only does it complement the overall appearance of the lens, but its design also helps minimize viewfinder obstruction when shooting with a rangefinder camera.

There's also a rather unusual three-piece rear lens cap, precision-machined from aluminum to provide a premium metallic finish without adding unnecessary weight. These might seem like small details, but they're exactly the sort of touches that make a commemorative lens feel a little more special.

Sample images

Underneath that elegant exterior, the Color-Skopar retains the traditional manual-focus experience that has helped make Voigtländer lenses so popular among rangefinder photographers.

Its all-metal helicoid focusing mechanism is precision-machined and carefully adjusted, while specially selected grease provides the right amount of resistance for smooth, accurate focusing.

The lens also features a high-precision rangefinder coupling mechanism, allowing photographers to focus accurately through compatible rangefinder cameras, even when shooting at wider apertures.

The Color-Skopar 35mm f/2.5 Skopar 100th model features a VM mount compatible with Leica M-mount cameras, although it can also be adapted for use with modern mirrorless systems.

Its full-frame image circle makes it suitable for both 35mm film and full-frame digital photography, while the compact design is particularly appealing to photographers who want to keep their camera setup as small and unobtrusive as possible.

For those who appreciate the craftsmanship, simplicity, and character of traditional rangefinder photography, this anniversary edition is a lovely reminder that sometimes the most appealing lenses aren't necessarily the biggest, fastest, or most complicated.

Check out our guide to the best Leica M-mount lenses

Back in July we reported on the announcement of Voigtländer's new APO-Lanthar 90mm F4 Close Focus VM; a compact medium-telephoto prime lens designed for full-frame Leica M-mount rangefinder cameras.

It was originally scheduled to arrive in August 2026, but after a slight delay we can now confirm that the lens available to buy from B&H in the US and Wex in the UK, either in black or silver finishes, both priced at $749 / £599.

The APO-Lanthar name denotes that the lens is derived from the Apochromat design. This manufacturing process was developed to reduce chromatic aberration in film photography, but the technology is claimed to still be effective for supressing fringing in digital photography today.

Inside the APO-Lanthar 90mm F4 Close Focus VM you'll find eight elements arranged in seven groups, with six elements made from anomalous partial dispersion glass which is said to deliver high resolution, strong contrast, and consistent performance across the frame.

Despite its advanced optical design, the lens measures just 54.8mm long and weighs only 235g. The compactness is helped by the relatively f/4 modest maximum aperture, which negates the need for the large elements which would be required for f/2.8 and faster optics. Another benefit of the smaller barrel size is it reduces viewfinder blockage when the lens is used with an optical rangefinder.

Image samples

Close-focusing performance is another major aspect of the lens’s appeal. The APO-Lanthar 90mm f/4 Close Focus VM can focus down to 0.5m, extending beyond the typical 0.7m limit for many 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.

Can a lens ever be cute? Well, I think this Sigma is. It’s super-small, slender and lightweight, and looks a little beauty. And it looks pretty remarkable as well. I’ve known professional photographers who almost always shoot with prime lenses on their full-frame cameras. If they do have a zoom lens, it’s likely to be one of the best 70-200mm f/2.8 lenses. It’s a classic telephoto choice that combines a versatile zoom range with a fairly fast and constant f/2.8 aperture, making it one of the best choices of wedding and event photography lenses, and more besides.

Despite their huge popularity, I’m not totally sold on 70-200mm f/2.8 lenses, as I feel that they’re often big, heavy and very expensive to buy. As with wide-angle and standard zooms, we’re seeing more ‘alternative trinity’ telephoto zooms that retain the constant f/2.8 aperture but pack it into a much more conveniently compact, lightweight and affordable package. The Tamron 70-180mm f/2.8 Di III VC VXD G2 is a case in point, and one of my personal favorites.

The thing is, we don’t all shoot with full-frame cameras. There are particular advantages to crop-sensor cameras, and the APS-C format has long been a popular choice. Lenses tend to be smaller, lighter and less expensive, but that doesn’t mean we should have to compromise on quality or versatility. With that in mind, Sigma started making a set of alternative trinity f/2.8 zooms, kicking off with the wide-angle Sigma 10-18mm f/2.8 DC DN | C and standard Sigma 18-50mm f/2.8 DC DN | C lenses, in Canon RF-S, Fujifilm X, Sony E and L-mount options.

The eagerly awaited follow-up is the Sigma 50-120mm f/2.8 DC OS | C that I’m reviewing here. It follows suit in most of the same mount options, but not L-mount. I’m not surprised. Off the top of your head, can you think of any current APS-C format L-mount cameras? Anyway, the new Sigma tele zoom looks an absolute little gem. Let’s see if its beauty is more than just skin deep.

Sigma 50-120mm f/2.8 DC OS | C: Specifications

Sigma 50-120mm f/2.8 DC OS | C: Price

Splash out on a set of conventional, full-frame trinity zooms and you’ll need deep pockets to afford them and a deep bag to put them in. The APS-C format Sigma 50-120mm is comparatively small, light and affordable at $799 / £699 / AU$1,400. It completes the set, building on the previously launched Sigma 10-18mm f/2.8 DC DN | C at $729 / £649 / AU$1,178 and the Sigma 18-50mm f/2.8 DC DN | C at $659 / £479 / AU$807. If you want an even faster standard zoom, there’s also the Sigma 17-40mm f/1.8 DC Art at $919 / £799 / AU$1,650.

For further context, the full-frame compatible Sigma 70-200mm f/2.8 DG DN OS Sports costs $1,649 / £1,499 / AU$3,040, while the Tamron 70-180mm f/2.8 Di III VC VXD G2 sells for around $1,099 / £999 / AU$2,449. Equivalent APS-C format telephoto zooms with a constant f/2.8 aperture are very thin on the ground, but there’s the Fujifilm XF 50-140mm f/2.8 R LM OIS WR, which is about twice the price of the Sigma 50-120mm in most world regions, at $1,899 / £1,449 / AU$2,399.

Sigma 50-120mm f/2.8 DC OS | C: Design & Handling

The Sigma 50-120mm f/2.8 DC OS | C is so small that it comes in a pint-sized little cardboard box (with fully recyclable packing, no less). It’s so lightweight that when I picked up the box, I thought it was actually empty and they’d forgotten to put the lens in it. Talking specifics, or rather specifications, the Sigma measures 67x99mm / 2.6x3.9in and weighs 390g / 13.8oz. So it’s less than 4 inches long and weighs less than a pound. Over in the heavyweight corner of the ring, the Fujifilm XF 50-140mm f/2.8 R LM OIS WR is about 7 inches long and weighs 35oz (about 2.5x as much). Remarkably for a constant f/2.8 zoom, the Sigma also has a small 55mm filter attachment thread, compared with the Fujifilm’s 72mm thread.

The Sigma packs a complex optical path into its downsized design, comprising no less than 18 elements in 13 groups. Specialist glass includes 3 SLD (Special Low Dispersion) elements, one top-tier FLD (‘Fluorite’ Low Dispersion) element and 4 aspherical elements, the last of these enabling further physical shrinkage as well as enhancing image quality.

Before I get too carried away about just how small this lens is, I should point out that unlike most 70-200mm full-frame lenses, the Sigma physically extends at longer zoom settings. I say ‘most’, but not all full-frame lenses of the genre have an internal zoom mechanism, the Canon RF 70-200mm f/2.8L IS USM being a notable exception. But while the Sigma has an extending inner barrel, the total amount of physical extension is only about an inch, as you zoom from 50mm to the longest 120mm setting. You can see how that looks in real life by comparing the images above and below.

The zoom ring itself operates with smooth efficiency and has a nice tactile feel throughout its range. There are no stiff or jerky spots along the way and while only modest torque is required to rotate the ring, the lens doesn’t suffer at all from any zoom creep, even with the added weight of the hood being attached. Indeed, no zoom lock switch is featured in the design. There are also no switches for swapping between autofocus and manual focus modes, nor for switching the optical stabilizer on and off. In keeping with the compact design, these settings are deferred to menu options in the host camera body.

Further tech shoehorned into the lens includes an HLA (High-response Linear Actuator) autofocus motor, which is essentially a linear stepping motor by another name. It aims to deliver fast, snappy and consistently accurate autofocus for stills, along with smooth and virtually silent autofocus transitions when shooting video. As usual for this type of arrangement, the autofocus motor is also employed during manual focusing, being driven by the electronically coupled manual focus ring.

Although handling feels broadly similar to that of Sigma’s sibling 10-18mm and 18-50mm zooms, the 50-120mm lens gains a dedicated aperture control ring. It’s clearly labelled in full f/stop increments, with one-third f/stop interim marker lines. As usual, it has an A (Auto) setting just off the narrow end of the scale, next to the f/22 setting, which enables the aperture to be controlled from the host camera. This is essential for using the camera in Program and Shutter-priority shooting modes. As with AF/MF and optical stabilization, however, there are no companion switches for the aperture ring, so you don’t get a de-click option for shooting video, nor a locking switch for the Auto position.

The lens comes complete with a circular-profile hood. This has the usual bayonet fixing and can be reversed on the lens for compact stowage. It feels a high-quality item, perfectly matching the lens itself.

The hood is tailor-made and only adds about an inch to the physical length of the lens. Using the hood not only helps to fend off ghosting and flare when shooting into the light, but also offers physical protection for the front glass element against any knocks and scrapes.

Build quality feels very good throughout. The construction feels robust despite its lightweight design, and features multiple weather-seals including a rubber gasket around the metal mounting plate.

A nice finishing touch is that the lens is not only supplied with front and back caps and a hood, but also with a neat drawstring pouch. It’s rather a featherweight compared with the padded soft cases that Sigma often supplies, but more in keeping with the relatively small and lightweight nature of this lens.

Sigma 50-120mm f/2.8 DC OS | C: Performance

As advertised, the autofocus system proved rapid and consistently accurate in my tests. The lens is capable of a tight depth of field, especially when shooting wide-open at f/2.8 at short object distances or towards the long end of the zoom range. This makes consistently accurate autofocus all the more important. I also found that the autofocus system was well able to track fairly fast-moving objects.

An excellent hit rate is assured, not only by the autofocus system, but also by the optical stabilizer. I tested the lens with a Sony A6000 body that has no IBIS (In-Body Image Stabilizer) and that holds true for most APS-C format Canon EOS R system cameras, most back-catalog Sony Alpha cameras and some Fujifilm X system cameras. The Sigma’s optical stabilizer is definitely worth having, even if your camera does feature IBIS. Optical stabilizers tend to perform better than IBIS at telephoto focal lengths and this one’s worth from 6.5 stops to 4.5 stops as you stretch through the zoom range from 50mm to 120mm.

The ‘effective’ 75-180mm zoom range in full-frame terms isn’t quite a match for the 70-200mm of conventional ‘trinity’ telephoto zooms, but it’s not far off. The Canon RF-S mount actually comes a little closer at maximum telephoto reach, equating to 80-192mm in full-frame terms, thanks to Canon’s 1.6x rather than 1.5x APS-C crop factor. Using the Sony E-mount version, I didn’t notice any real difference at the short end of the zoom range, and if you desperately need that extra bit of reach at the long end, a little creative cropping can often suffice. Either way, the images above and below demonstrate the overall zoom range, taken of the same subject from the same position at focal lengths of 50mm and 120mm respectively.

I found that levels of sharpness and clarity to be excellent, both throughout the entire zoom range and across the whole image frame. Color rendition is also beautiful. I was less enamored that the aperture ring rotates with clearly audible click steps. That can be problematic when shooting video, as there’s no de-click option for the aperture ring. Naturally, due to the telephoto nature of the lens, you’ll need to stop down to medium apertures to gain sufficient depth of field, when shooting 3-dimensional objects that are fairly close by. At least, you will if you want most or all of them to look sharp, as demonstrated in the bicycle image below.

For this kind of lens, there’s another facet of performance comes to the fore, and that’s the quality of bokeh. It can be a struggle for APS-C format lenses to deliver a tight depth of field, as this is more dependent on the ‘actual’ rather than ‘effective’ focal length. Again though, the Sigma impresses with attractively soft and smooth bokeh in defocused areas, along with a natural looking roll-off between focused and defocused elements in a composition. The aperture diaphragm is particularly well-rounded, being based on 11 blades, which helps to maintain the quality of bokeh when stopping down.

Axial/longitudinal chromatic aberration (also referred to as ‘bokeh fringing’) is also well controlled around high-contrast transitions just in front of or behind the plane of focus. All of these facets are demonstrated in my test shot below, taken of a phrenology head at a focal length of 92mm, wide-open at f/2.8.

There’s fairly good control over distortion which is well within the boundaries of automatic in-camera correction, and there’s virtually no color fringing to be seen even with in-camera correction disabled. The lens also does well to maintain clarity and contrast while minimizing ghosting and flare, when shooting against the light. For the following image, I was shooting towards the sun, with lots of light coming in from the sky as well as bouncing off the sea. The lens maintains good contrast while keeping ghosting and flare very much at bay.

Sigma 50-120mm f/2.8 DC OS | C: Sample Images

The following gallery comprises images taken on a sunny morning at Weston-Super-Mare, a popular tourist destination on the boundary of the Severn Estuary and Bristol Channel in South West England. The first few shots in the gallery were taken in pairs, captured of the same scene from the same position, but at both extremities of the zoom range. This gives you an idea of the total zoom range on offer. I also shot a variety of other images, using various focal lengths and aperture settings, including the widest aperture of f/2.8 to show the quality of bokeh with the minimum depth of field.

Sigma 50-120mm f/2.8 DC OS | C: 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 is very good wide-open at f/2.8, becoming excellent with just a single f/stop reduction to f/4, throughout the entire zoom range. Extreme edge-sharpness doesn’t look too great based on short-range shooting of our lab charts, but at more typical focus distances, it proved impressive in our real-world tests, as you can see in my sample images.

Fringing:

Both lateral and axial chromatic aberrations are entirely negligible. You’d hard pressed to see any color fringing anywhere in the image frame, even with automatic in-camera correction disabled. That holds true throughout the entire zoom and aperture ranges.

Distortion:

There’s a little pincushion distortion at 50mm, a little more at 70mm, and it can become fairly noticeable towards the long end of the zoom range. However, the Sigma relies much less on automatic in-camera correction for distortion, compared with many modern lenses for mirrorless cameras, especially those designed with compactness in mind. With auto correction applied, distortion becomes a non-issue.

Sigma 50-120mm f/2.8 DC OS | C: Verdict

I have a bit of a love / hate relationship with ‘proper’ trinity telephoto zoom lenses. I love their versatility and usefulness for anything and everything from daily shooting to action, sports, wildlife and portraiture, and especially for weddings and events. But I hate that they’re typically big, heavy and very expensive to buy. The Sigma 50-120mm f/2.8 DC OS | C for APS-C format Canon, Fujifilm and Sony cameras gives me all of the good stuff, but miniaturized into an amazingly compact and lightweight package that’s also much more affordable to buy.

That ‘good stuff’ includes an effective 75-180mm zoom range (80-192mm for Canon), complete with fast, virtually silent and consistently accurate autofocus and effective optical image stabilization. Image quality is top-drawer, combining superb sharpness, clarity, contrast and color rendition with smooth and dreamy bokeh.

I like that the lens includes a dedicated aperture control ring, but I feel it’s a bit of a shame there’s no click/de-click switch, nor switches for auto/manual focusing modes and stabilization on/off. However, I’m happy to forego these in the pursuit of downsizing, and it also keeps the control layout relatively simple and straightforward. Ultimately, this Sigma makes a compelling case for using a crop-sensor camera instead of a full-frame body. It’s a proper pocket rocket!

Alternatives

The viral popularity of the compact camera has sparked a renewed interest in pancake lenses – and now budget lens maker TTArtisan has introduced an optic that fits an f/3.8 aperture and autofocus in a lens that weighs 57g / 2oz.

The TTArtisan AF 24mm f/3.8 Mini is a full-frame pancake lens coming to Sony E and Nikon Z mounts. Once mounted on the camera, the lens sticks out just 16mm / .6 inches. To put things in perspective, that’s about ten pennies stacked together or the measurement of one side of standard game dice.

Despite the compact size, TTArtisan has managed to fit a VCM, or voice-coil motor, autofocus inside. That autofocus can lock on to subjects as close as .3m / 11.8 inches from the front of the lens.

The lens fits in six optical elements in six groups, including two extra-low dispersion elements and two aspherical elements.

Even capping the front of the lens for storage doesn’t add to the lens’ size. The lens uses a built-in lens cover that’s deployed using a slider at the front. (A rear cap is also included in the box.)

TTArtisan also built a USB-C port into the metal mount for firmware updates.

The China-based TTArtisan is no stranger to building budget compact lenses, but the new 24mm Mini is smaller than the TTArtisan AF 27mm f/2.8 and AF 14mm f/3.5, which are both built for APS-C sensors.

The TTArtisan AF 24mm f/3.8 Mini is already available to order for the Sony E-mount, with the company saying that the Z Mount is coming soon. Orders are open through TTArtisan as well as retailers like B&H (US) and Clifton Cameras (UK). The pancake lens retails for $99 / £89 (about AU$142 / CA$136).

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For more lenses that make a mirrorless feel small, take a look at the best pancake lenses.

The constant aperture f/2.8 zoom tends to be a lens category that’s both expensive and heavy, but there’s a growing number of options built specifically for APS-C that put that coveted f/2.8 into a zoom the size of a kit lens. The new Tamron 16-50mm f/2.8 A is one such lens.

Built for APS-C bodies across Sony E, Canon RF, Nikon Z, and Fujifilm X mounts, the lens comes in at a 10.8oz / 305g package. I twisted the lens on a compact Sony A6700 and took it on a fall color hike, and the price and aperture are going to make it a very tempting choice for everyday carry.

Tamron 16-50mm f/2.8 A review: Price and Availability

The Tamron 16-50mm f/2.8 A sits at a price point that feels excellent for APS-C shooters. It’s well under the price of first-party lenses like the Sony E 16-55mm f/2.8 G and the Fujifilm XF 16-55mm f/2.8 R LM WR II, but it also sits at a price that competes with other third-party optics like the Sigma 18-50mm f/2.8 DC DN Contemporary.

The lens price varies slightly by mount. The E-mount and X-Mount sit at $529 / £399 / CA$749, while the Z-Mount and RF-Mount sit at $549 / £429 / CA$749.

The E-Mount and RF-Mount ship first on October 29, with the Z-Mount following on November 19 and the X-Mount on December 17.

Tamron 16-50mm f/2.8 A review: Specs

Tamron 16-50mm f/2.8 A review: Build and Handling

The Tamron 16-50mm f/2.8 A is deceptively small. It looks small enough to be a kit lens, not a constant-aperture zoom. The 10.8oz / 305g weight and 3.2 inch / 79.6mm length make it an easy lens to take on long hikes.

The lens is an external zoom type, which means the lens does get slightly longer as it zooms in.

The lens itself carries a minimalist design – there’s no bank of control switches at all, just a focus ring, a zoom ring, and a USB-C port for firmware updates and Tamron Link support.

My only complaint about the design? I would have loved an aperture ring, but tiny lenses can’t pack everything, and that’s one of the sacrifices to get a lens this lightweight.

But Tamron didn’t sacrifice weather seals in order to bring down the weight and price. The lens has several weather seals throughout. I only had a sunny weekend with the lens, but I gave the lens a few squirts with a plant mister, and the lens (and camera) was unbothered.

The lens ships with a removable petal-shaped lens hood.

Tamron 16-50mm f/2.8 A review: Performance

I took the Tamron 16-50mm f/2.8 A on a weekend hike to photograph the fall colors. The lens squeezes an excellent range and bright aperture into a lightweight optic. Close focusing capabilities up to 6 inches / .15m on the wide end and 11.5 inches / .29m on the long end add to that versatility.

Images coming from the lens have decent sharpness, with subjects that are crisp but without being overly so.

Unaltered, the lens has some barrel distortion at 16mm and barrel distortion at 50mm, but using the lens profile inside Lightroom corrects this in a click for RAW files.

Some images have a light vignetting at the corners, more noticeable at 50mm than at 16mm. Again, the lens profile does a nice job of quickly cleaning up those corners.

Turning from leaf peeping to pixel peeping, I did spot some occasional purple fringing when shooting backlit, high-contrast scenes and viewing the photos at 100 percent. This chromatic aberration was stronger in the untouched RAW files than on the JPEGs, and wasn’t strong enough to notice without viewing at 100 percent.

That f/2.8 creates some lovely bokeh. Large points of light create round bokeh balls; through smaller, more distant bokeh does take on some onion ringing.

Shooting towards the sun, I was able to capture some lovely, hazy lens flare. Filtered through the leaves, this flare looked like added sparkle. On the flip side of that lovely flare, however, there are some occasional purple ghosting spots when shooting into the sun.

I had just a weekend with the lens to test it out ahead of launch – lab testing and more challenging autofocus tests are needed before I can give the lens an official rating. But my initial experience is that the lens delivers a solid balance of sharpness and bokeh. There’s some minor purple fringing, while the vignetting and barrel distortion correction rely heavily on the lens profile to correct.

Tamron 16-50mm f/2.8 A review:

The Tamron 16-50mm f/2.8 A is so small that it feels like a kit lens, yet it packs in a constant f/2.8 aperture. The lens is a fantastic option to replace a narrow-aperture kit lens, but the versatile zoom and close-focusing capabilities also make it a great everyday lens, as well as a tempting travel lens.

It’s a lens that's light enough to carry around for hours, while still offering weather-sealing. I missed the aperture ring a little, but that may be a worthwhile sacrifice for the weight savings.

The lens expertly balances image quality with portability and price. Images are sharp, and bokeh and flare are lovely. There’s some vignetting and barrel distortion corrected by the lens profile, and some occasional purple fringing to contend with, however.

The price is also highly competitive, coming in close to the Sigma 18-50mm f/2.8 DC DN Contemporary, with a steep price difference compared to first-party lenses.

Alternatives

The f/2.8 constant aperture zoom is considered the professional standard, but the category tends to sit at both a high price point and a heavier design. But Tamron has just built an f/2.8 zoom built for everyday carry – and for matching the compact size of APS-C shooters from Canon, Sony, Nikon and Fujifilm.

I took the Tamron 16-50mm f/2.8 A on a fall color hike. Weight-wise, shooting with the new lens felt like using a kit lens. The lens sits at just 10.8 oz / 305g and it’s only about 3.2 inches long (though the Nikon Z mount sits at 4.8 inches / 121.3mm and 11.2oz / 315g).

But while the weight felt like a kit lens, the bokeh from shooting at f/2.8 did not. Shooting at 50mm and the minimum focus distance of 11.5 inches / .29m on the long end created a lovely mix between sharpness and bokeh.

The 16-50mm doesn’t reach as far as competing 16-55mm lenses, but I thought the range was an ideal balance between versatility and keeping the lens lightweight. I was happy to fit some wide shots, longer shots, and close-ups – though not quite macro territory – all without swapping lenses.

Like a lot of modern lenses that prioritize size, using the lens profile is a must to avoid vignetting and barrel distortion. The one quirk that I couldn’t quite completely fix in one click was some occasional purple fringing when shooting backlit branches – minor enough not to spot when viewing the whole image, but detectable when pixel-peeping at 100 percent.

Another feature that didn’t feel like a kit lens? The Tamron 16-50mm f/2.8 A does have weather seals for shooting in rain and snow, as well as helping prevent dust buildup.

The new Tamron is built for budget as well as size, sitting between $529 / £399 / CA$729 and $549 / £429 / CA$749 depending on the mount - that converts to around AU$757-AU$786.

The Tamron 16-50mm f/2.8 A joins a growing list of lenses built for crop sensor shooters that mix a bright aperture with a compact design. Tamron’s biggest competitor here is probably the Sigma 18-50mm f/2.8 DC DN Contemporary, which is slightly lighter but also a bit less wide.

First-party competitors like the Sony 16-55mm f/2.8 G and the Fujifilm XF 16-55mm f/2.8 R LM WR II have a larger price gap, along with being heavier optics.

The Tamron 16-50mm is launching first to the Sony E-Mount and Canon RF Mount with an October 29 ship date. A Nikon Z mount is expected to follow on November 19th, and a Fujifilm X mount on December 17.

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Read the full Tamron 16-50mm f/2.8 A review. Or, take a look at the best lenses for travel.

Accordning to Leica Rumors, Light Lens Lab is preparing to expand its growing lineup of apochromatic lenses, with reports suggesting that a new 50mm f/2 APO lens for Leica M-mount cameras is currently in development.

According to Leica Rumors, the upcoming optic is expected to arrive sometime in 2027, giving Leica rangefinder photographers another potentially exciting alternative to the German manufacturer's own premium glass.

For anyone familiar with Leica's legendary APO-Summicron-M 50mm f/2 ASPH., the prospect of another apochromatic 50mm lens is certainly interesting. APO lenses are designed to minimize chromatic aberration, delivering exceptional sharpness, contrast, and color accuracy, particularly in challenging lighting conditions. Leica has long been regarded as a benchmark in this area, but its lenses command some extraordinary prices, which makes the arrival of another manufacturer developing high-performance APO optics particularly appealing.

Light Lens Lab has already demonstrated its ambitions with the introduction of its 35mm f/2 Apochromatic lens, which features an advanced optical formula incorporating four aspherical elements and a floating lens group. That lens marked the beginning of a much larger project for the Chinese manufacturer, which has been steadily building a reputation for producing beautifully constructed, traditionally styled lenses inspired by some of photography's most celebrated optical designs. Its new APO series represents an interesting departure from recreating classic lenses, concentrating instead on developing original, high-performance optics.

The rumored 50mm f/2 is also expected to be one of several new additions to the company's apochromatic lineup, with reports suggesting that 28mm f/2, 75mm f/2, 90mm f/2, and even 135mm f/2 lenses could follow. That's an ambitious selection of focal lengths, and if Light Lens Lab can deliver the optical quality it is promising, it could become a serious contender in the premium manual-focus lens market. As someone who has spent years shooting with Leica cameras, I find this particularly exciting. More choice in the M-mount system is always welcome, especially when manufacturers are prepared to push optical performance rather than simply reproduce the character of vintage glass.

There is still plenty we don't know about the upcoming 50mm f/2 APO, including its optical construction, dimensions, weight, and, perhaps most importantly, its price. The company's existing 35mm f/2 APO starts at $2,099, so this certainly isn't a manufacturer exclusively targeting the budget end of the market. However, with Leica's own APO-Summicron commanding a considerably higher price, the prospect of a new 50mm APO alternative is something worth watching closely. Whether Light Lens Lab can genuinely challenge Leica's optical excellence remains to be seen, but 2027 is already shaping up to be an interesting year for M-mount photographers.

Images of the yet-to-be-released Nikon Z 120-300mm f/2.8 TC VR S have surfaced online, giving a tantalizing glimpse of the much-anticipated optic in action. The imagery, shared by Nikon Rumors, was captured at the weekend’s F1 Singapore Grand Prix and appears to show the super-telephoto zoom lens being used by two different photographers. In both cases, the optic is attached to the flagship Nikon Z9.

According to the rumor website, we could see an official release at the end of the month. As to where we stand right now, Nikon acknowledged its existence back in May, via a development announcement, and has set up a product page. But official details are thin on the ground.

What we do know is that the professional-grade S-line optic will have a built-in 1.4x teleconverter, pushing the telephoto end to 420mm f/4. On paper, this should be a fine lens for wildlife and sports photographers who want to keep their shutter speed high and their ISO low, thanks to that fast aperture. Nikon already offers built-in 1.4x teleconverters on its Z 400mm f/2.8 and Z 600mm f/4 prime lenses.

The lens will be the spiritual successor to the Nikon AF-S 120-300mm f/2.8E FL ED SR VR, which was the very last DSLR lens Nikon announced, back in 2019 alongside the Nikon D6. That lens has since been discontinued, but it was priced at around $9,500 / £9,500 at launch, so I’d expect a similarly range-topping price point for the new Z lens.

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The f/2.8 zoom is often considered the standard for a high-quality lens – and that type of lens makes up half of Japan’s top ten lenses. But the number one lens? It’s actually a five-year-old telephoto that sacrifices aperture for a low price: The Canon RF 100-400mm f/5.6-8 IS USM.

The data comes from Kitamura Camera, a Japanese retailer in Japan that recently ranked its top-selling interchangeable lenses for September 2026. Half of that list is occupied by zooms that have an f/2.8 aperture, along with two f/1.8 primes and one teleconverter.

But two lenses buck that bright trend. The Canon RF 100-400mm in first place uses a narrower variable aperture in order to create a beginner optic that fits in more price points – and is also more compact. The result is a lens with big reach that more beginners can afford.

The other zoom that doesn’t shoot at f/2.8 trades a slightly narrower aperture for a lens with a massive zoom range. The Nikon Z 24-120mm f/4 S still has a constant aperture, but trades the f/2.8 for an f/4 in order to go beyond the usual 24-70mm and hit a telephoto 105mm on the long end.

But while an affordable zoom may take the top spot, the most dominant type of lens on the trends list is the f/2.8 zoom – a list that includes more affordable third-party choices as well as first-party optics. Those bright zooms also share another distinguishing feature: most of them are built to be compact and lightweight.

The most popular lenses in Japan, according to Kitamura Camera, are:

1. Canon RF 100-400mm f/5.6-8 IS USM
2. Sigma 18-50mm f/2.8 DC DN Contemporary (Sony E-Mount)
3. Fujifilm XF 16-55mm f/2.8 R LM WR II
4. Sigma 28-70mm F/2.8 DG DN Contemporary (Sony E-Mount)
5. Nikon Z 24-120mm f/4 S
6. Sony 2x Teleconverter
7. Sigma 20-60mm f/2.8-4 DG Contemporary
8. Canon RF 50mm f/1.8 STM
9. Canon RF 28-70mm f/2.8 IS STM
10. OM System M. Zuiko Digital 17mm f/1.8 II

Most of those f/2.8 zooms are built with size in mind. The Sigma 18-50mm f/2.8 DC DN Contemporary – which has made multiple appearances on Kitamura’s trends list – is built for APS-C sensors and weighs just 290g.

Fujifilm’s 16-55mm f/2.8 is the second-generation version, and the biggest change is that it cuts out quite a bit of weight compared to the earlier lens.

The Sigma 28-70mm f/2.8 on the list is a full-frame for Sony E as well as L-Mount that takes 4mm off the wide end compared to the more standard 24-70mm, but does so in order to reduce the size.

The Sigma 20-60mm f/2.8-4 is the only f/2.8 zoom that isn’t a constant aperture, instead hitting f/4 at 60mm. But it’s also built with size in mind, at just 3.5 inches / 88mm long.

Canon’s most popular f/2.8 zoom in Japan isn’t the more standard pro 24-70mm, but the 28-70mm that’s both lighter and more affordable than the more typical focal length.

Just two prime lenses sit on the list – a nifty fifty for Canon’s mirrorless system and a Micro Four Thirds 17mm. OM System hasn’t popped up on Kitamura’s top lenses list for the last two months, but the PEN F was the second best-selling camera there last month – the compact 17mm could be riding on the success of the new compact, retro camera body.

The inclusion of a teleconverter on the list feels a bit unusual, but recent reports suggest that the use of these lens extenders is on the rise.

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Canon’s gear graveyard is growing, with Canon Japan’s official repair services ending support for a handful of cameras and lenses before the end of the year. But while the cameras that Canon will stop repairing soon are all digital, the list of lenses looks quite different. The oldest one? It’s from 1996.

According to Canon Japan, these lenses will no longer be eligible for repair services soon:

• EF 70-200mm F/4L USM
• EF 135mm f/2L USM
• EF300mm F4L IS USM
• EF 85mm f/1.2L II USM
• EF-S 15-85mm F3.5-5.6 IS

The first three lenses reach the end of their support lifespan in November 2026, while the last two only have until the end of October 2026 to be eligible for repair. Canon has already stopped manufacturing these lenses, but the optics will soon no longer be able to be repaired by Canon’s technicians.

But while the cameras that Canon is ending service for were all introduced in 2016 and 2017, the lenses that Canon is killing off are much older, released in the 1990s and early 2000s.

The EF 135mm f/2L USM was introduced in 1996. Camera history buffs will be quick to recognize that was before Canon’s first digital SLR, the EOS D30, which didn’t arrive until 2000.

The fact that Canon’s repair team has been supporting a film lens for 30 years is rather remarkable. Canon has shifted from film, to DSLR, to mirrorless in that same time frame, and now offers the RF 135mm f/1.8 IS USM for mirrorless shooters.

But the age of the EF 135mm f/2L USM raises an interesting question: how long should photographers expect camera lenses to last, really? For digital cameras, Canon tends to continue offering support and repairs for about a decade, as seen with the list of cameras from 2016 and 2017 that will no longer be supported by the end of this year.

Lenses have traditionally outlasted camera bodies, even going back to analog. A camera’s shutter tends to have an expected lifespan much like the mileage on a car. Camera technology also seems to evolve at a much faster pace than glass elements.

As camera resolutions climb above 40MP and even above 60MP (and 100MP for medium format), those high-resolution bodies often need more advanced glass in order to create sharp images across that higher resolution.

Of course, the retro photo look is very on-trend at the moment, and one of the ways to get that look without switching to analog is to adapt older film lenses to a modern mirrorless camera. The result is often a softer image, often with iconic lens flare. But these older lenses often at least need a good cleaning, and Canon technicians have been supporting that for three decades for the 135mm.

Canon’s 135mm f/2 lens is legendary, and many photographers asked for an update for years during the DSLR era. But that’s not the only lens from the 1990s that Canon will no longer repair.

The Canon EF 70-200mm f/4L USM was introduced in 1999. Canon made two more variants before the RF era, adding IS in the second generation in 2006 and updating the lens a third time with the EF 70-200mm f/4L IS II USM in 2018.

Canon launched the EF 300mm F4L IS USM in 1997. Unlike the 70-200mm, it didn’t get a refresh over the years, and even among the RF lens family, Canon doesn’t currently have a 300mm prime.

The Canon EF 85mm f/1.2L II USM, a 2006 launch, is still a beloved focal length, now offered in the RF 85mm f/1.2 L USM.

Canon is also ending support for one crop sensor lens this year, the EF-S 15-85mm F3.5-5.6 IS USM. That lens remains a bit unique in its longer focal-length coverage, where modern kit lenses are typically either shorter, like the RF-S 18-45mm, or longer, like the RF-S 18-150mm.

While Canon is ending official support for those lenses, third-party technicians will likely still be able to clean and, if parts are available, repair those optics.

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The Sigma 16-300mm f/3.5-6.7 DC OS | Contemporary is finally coming to Nikon Z mount. Digital Camera World reviewer Matthew Richards said this APS-C all-in-one zoom lens ticked all the right boxes for a ‘superzoom’ when he reviewed the Canon RF version back in 2025. But, as is often the case, a Z-mount variant has taken a while to come into fruition.

That all changes today. APS-C Nikon photographers can take advantage of the world’s first mirrorless lens with an approximate zoom ratio of 18.8x, delivering a 35mm equivalent zoom range of 24-450mm. From wide-angle to super-telephoto, this ‘one-and-done’ lens will cover everything from landscapes to wildlife.

It also boasts a maximum magnification ratio of 1:2 at 70mm for frame-filling close-ups, while Sigma’s High-Response Linear Actuator motor is designed to produce “exceptionally fast, smooth and accurate autofocus”. A boon for a super-telephoto lens like this is optical image stabilization, providing up to 6 stops of stabilization at the wide end and 4.5 stops at the telephoto end.

There’s also a rubber gasket around the mount to provide some weather sealing, which Sigma rates as dust- and splash-resistant with a water-repellent coating. According to Sigma, communication speed optimization and the lens’s AF drive have been specifically designed for the Z mount.

The lens is also designed to minimize flare and ghosting, as well as focus breathing. It comprises 20 elements in 14 groups, including 1x 'F' Low Dispersion, 4x Special Low Dispersion, and 4x aspherical elements. The aperture is controlled via a 9-bladed diaphragm, with a max aperture of f/22-45, while the filter sports a 67mm thread.

This lens brings the total of Sigma lenses available for Nikon Z mount to four, with the Sigma 16mm f/1.4 DC DN | C, Sigma 30mm f/1.4 DC DN | C and Sigma 56mm f/1.4 DC DN | C also available. The Sigma 16-300mm f/3.5-6.7 DC OS | Contemporary will have an RRP of $769 / £599 and is set to launch on November 5.

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Bright telephotos tend to be heavy optics, but Sigma’s newest lens is a 50-120mm with an f/2.8 aperture that’s less than 10 cm / 4 inches long. The Sigma 50-120mm f/2.8 DC OS Contemporary is a bright, compact zoom built for APS-C cameras, debuting in Sony E, Fujifilm X, and Canon RF mounts.

The October 08 launch completes Sigma’s Contemporary “holy trinity” series alongside the 10-18mm f/2.8 and 18-50mm f/2.8. But Sigma says that even all three lenses in a camera bag together still weigh less than 1kg / 2.2 pounds.

The new 50-120mm acts as a 75-180mm lens in full-frame equivalent, trading the more standard 70-200mm range for a design that’s built to match the compact design of APS-C bodies. The lens weighs in at 390g / .85 lbs.

Sigma says that the new lens raises the standard for APS-C constant zooms. The lens uses a high-response Linear Actuator autofocus motor, alongside Sigma’s latest stabilization tech that brings 6.5 stops of stabilization at 50mm and 4.5 stops at 120mm.

The lens is an external-style zoom, which means the length of the lens changes based on focal length. But the company says that the lens was built to minimize focus breathing for video shooters.

Like the other two lenses in the trinity, the 50-120mm skips out on the focus mode switch and stabilization switch for a more minimalist design. The design still manages to fit in weather-sealing and an oil-repellent coating at the front.

Part of the allure of the APS-C format is the more compact body designs – but those smaller cameras tend to feel unbalanced with larger lenses mounted on the front. While there are plenty of first-party and third-party full-frame 70-200mm f/2.8 lenses built for full frame that will work on APS-C, there are relatively few made specifically for the more compact sensor format.

Fujifilm has the XF 50-140mm f/2.8 R LM OIS WR, but that lens is more than twice as heavy and nearly twice the cost. Sony has the 55-210mm f/4.5-6.3 OSS and the 70-350mm f/4.5-6.3 G OSS, but neither lens has a constant f/2.8 aperture. Canon’s closest APS-C lens is the RF 75-300mm f/4-5.6.

The new Sigma 50-120mm f/2.8 is notably missing a mount: the Nikon Z. While the new APS-C zoom doesn’t include Nikon’s mirrorless bodies, today Sigma also announced that the existing Sigma 16-300mm f/3.5-6.7 DC OS Contemporary will be arriving for the Z Mount in November.

Perhaps the most appealing part of the new Sigma 50-120mm f/2.8 could be the price. The 50-120mm lens is set to retail for $799 / £699 – which converts roughly to AU$1,326 / CA$1,317.

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The Tamron 20-40mm f/2.8 Di III VXD is a fantastic compact zoom lens – but the unusual lens was only available for the Sony E-Mount when it launched in the fall of 2022. That’s changing as Tamron brings the lightweight lens to the Nikon Z mount for the first time this month.

The Tamron 20-40mm f/2.8 Di III VXD lens earned a 4.5-star rating in tests for the Sony E-Mount variation, but the lightweight full-frame lens will be available for the Nikon Z mount beginning on October 22.

The 20-40mm lens has a narrower reach than the more standard 24-70mm, but the trade-off is a much lighter, more compact design. The Nikon Z version will come in at 380g / 13.4 oz, taking up an 88.7 mm / 3.5-inch slot inside a camera bag.

The unusual 20-40mm focal length makes the lens a bit harder to directly compare with Nikon’z existing lenses. But the Tamron 20-40mm f/2.8 does come in at a lighter weight than the Nikon Z 14-30mm f/4 S. It weighs nearly twice as much as Nikon’s tiny 24-50mm f/4-6.3, but comes in only slightly longer – and with a constant f/2.8 aperture.

At 20mm, the lens is wide enough for some landscape shots as well as vlogging and selfies, while the long end adds versatility for portraits and snapshots.

Like the earlier E-Mount version, the lens packs in a Voice-coil eXtreme-torque Drive or VXD autofocus motor that’s built for speed and precision. The lens can focus as close as 6.7 inches / 0.17m from the front of the lens for close-ups.

The lens is built with weather seals, protecting the 12 optical elements on the inside from dust and moisture. A USB-C port supports the Tamron Link accessory for controlling the lens using a mobile app.

The Z Mount variation of the Tamron 20-40mm f/2.8 Di III VXD will arrive on October 22, retailing for $729 / CA$999, which is about £551 / AU$1,046.

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It appears that Canon may be looking to expand its current lineup of non-L-series macro lenses for budget-conscious RF-mount shooters.

According to a new patent (publication number: 2026-155997) published by the Japan Patent Office on October 6, the company has at least devised a 90mm f/2.8, 100mm f/2.8, 130mm f/2.8, and 180mm f/4.0 prime lens featuring a distinct optical design from the company’s current L-series (Luxury) macro lenses, but that would still achieve life-size subject reproduction.

Currently, photographers navigating Canon’s full-frame mirrorless lineup face a divide in macro options. The accessible RF 85mm f/2 Macro IS STM offers everyday shooting but tops out at 1:2 (0.5x) magnification.

And the flagship RF 100mm f/2.8L Macro IS USM delivers sharp performance and 1.4x reproduction, but carries a steep price tag and is on the bulky side.

While there’s no saying which budget Canon could truly be gearing these patented designs toward, it would make sense if the lenses were affordable, lightweight, non-L primes capable of true 1:1 life-size reproduction without the weight or cost of L-series glass.

And according to the patent, Canon could be trying to solve this size and cost challenge with a nifty optical formula.

Instead of extending the front barrel during close focusing, the system contains a five-group structure with two counter-moving internal focus groups to achieve 1:1 magnification while suppressing focus breathing.

What’s more, a negative rear element group shortens the overall barrel length, while a simplified single-element front group comprising low-dispersion glass, in theory, would keep chromatic aberrations in check without adding unnecessary weight.

While patent filings never guarantee production, this latest publication does make it seem likely that Canon is actively developing 1:1 magnification lens offerings for its mid-range RF lineup.

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We rather like Voigtländer's Nokton 23mm f/1.2 lens for APS-C cameras - it's beautifully made, very sharp if you stop down to f/4, and can produce gorgeous bokeh wide open at f/1.2. The lens has been available for Nikon DX and Fujifilm X-series cameras for some time, but only in a black finish. But now Fujifilm X shooters have the option to pre-order a silver version of the lens, making it a perfect match for silver editions of cameras like the X-T5, X-M5 and X-E5. The pre-order price is currently $599, making it a handy $50 cheaper than the current black edition.

Both color options appear identical in every other way, meaning you get an all-metal barrel, and though there's no autofocus, there are electronical contacts enabling data communication with the camera body. Inside are ten optical elements, including a complex double-sided aspherical element and two ‘abnormal partial-dispersion’ glass elements that aim to minimize chromatic aberration. The 23mm focal length makes the lens ideal for street photography, equating to 35mm on a full-frame body. Despite the fast maximum aperture and solid build, Voigtländer has managed to keep weight down to 240g, so the lens feels right at home on a camera like the X-M5. Check out our full review for more details.

And that's not the only Nokton lens to get the silver treatment: the Nokton 35mm f/1.2 for Fujifilm X mount can also now be had in silver (the black version has been available since 2021). The lens features an almost symmetrical, Double-Gauss layout, which helps reduce optical aberrations over a large focal plane. It has 12 aperture blades for smooth, rounded bokeh, a minimum focus distance of 0.3 meters and a front filter size of 46mm. Expect to pay $649 for the silver version, which matches the price of its black counterpart.

Both the Nokton 23mm f/1.2 and Nokton 35mm f/1.2 can now be pre-ordered in silver from B&H.

LK Samyang, known as Rokinon in the US, has finally announced the release date of the long-awaited 28-135mm f/2.8 Sony FE full-frame standard zoom, which the company says will come to market in February 2027.

The Korean budget lens manufacturer made the announcement on its Instagram on September 30, with a second post finally giving us the technical specs we’ve also been dying for – following the zoom's earlier appearance at CP+ in February.

Honestly, I’m impressed, and I think we’ve got a real contender that could shake up the “do-it-all” focal-length segment of the lens market for the first time in a while.

Swipe to see the Samyang AF 28-135mm f/4 FE specs

The obvious eye-catcher is the versatile 28-135mm focal length combined with the fast f/2.8 aperture.

This is a seriously versatile setup — in fact, it’s the first-ever lens to combine this specific zoom range and maximum aperture — and, on paper, I’m inclined to believe Samyang when it says the forthcoming kit will work for “every moment.”

Although, the maximum wide angle of 28mm does cut you off at a slightly awkward point. My go-to lens is the Sony FE 24-105mm f/4 G Master, and I can tell you that those extra 4mm do make a difference.

These often save me having to change to my dedicated wide-angle and I can’t see the Samyang being quite as helpful at the wide-angle end, despite the claims.

The other big deal here is the voice coil motor (VCM), which is another first for Samyang, as none of its previous AF lenses have featured this kind of motor.

VCMs can handle large-aperture glass smoothly and pretty quietly, too. It’s good to see Samyang seemingly paying serious attention to AF performance in a lens that, in theory, could be used to shoot subjects like wildlife.

The weather-sealed zoom will weigh 854g and is constructed with 20 elements in 16 groups.

Going by the announcement, I have to say this lens looks promising, to say the least. Funnily enough, I recently scratched my Sony 24-105mm f/4 and am now getting mad lens flare.

If the build quality is there and Samyang prices the lens in line with how it normally does, maybe the forthcoming 28-135mm f/2.8 could be its replacement. Though, we’ll see if this is all too good to be true in a few months time.

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Brightin Star's latest MF 50mm F2.0 Tri-Sight lens seems fairly normal with its fixed 50mm focal length, but it stands out from the crowd by boasting user-selectable 'rendering modes' which alter the character of out-of-focus highlight points. Choose from Smooth bokeh (soft highlights), Prime (sharper, more defined highlights), or Foams (dreamy, bubble-like light flares)

The system works using a dedicated control ring positioned between the focus and aperture rings. This moves a floating group of lens elements back or forth within the barrel to vary the focus distance, altering the convergence characteristics of light rays passing through the lens. This then results in the change in bokeh style, depending upon where the light converges relative to the focal plane.

This feature alone would make the MF 50mm F2.0 Tri-Sight pretty special, but Brightin Star also includes four circular plate inserts with novelty aperture cut-outs. These turn what would otherwise be round out of focus highlights into a choice of butterfly, star, triangle, or four-leaf clover shapes. The effect is certainly eye catching, though not entirely unique, as Lomography implemented a similar feature in its Petzval and Daguerreotype Achromat lenses. Brightin Star's method of fitting the inserts is more unusual though, as rather than slotting them down into the barrel, you instead unscrew a locking ring at the lens mount, fit the plate, then re-attach the ring. There is also a slot in the barrel, but this is designed to take conventional drop-in 37.5mm filters.

The barrel itself is made entirely of metal and features a neat retractable hood. Weight ranges between 429g and 454g, and length between 70mm and 74mm, depending on mount option. The aperture diaphragm is comprised of a generous 11 blades and is de-clicked for smooth aperture transitions when shooting video. Videographers may also appreciate the included detachable focus lever that helps with fine focus adjustments - useful, as the MF 50mm F2.0 Tri-Sight does not have autofocus.

Inside is a 7-element optical stack arranged in 6 groups. Up front is a custom-made protective lens made from precision-ground, ultra-thin glass measuring just 0.7mm thick. This is necessary as the floating group of elements which adjust the bokeh appearance actually extend forward of the main barrel when in Foams mode, making the front element more vulnerable to damage. Consequently, Brightin Star recommends the lens is stored with the bokeh control set to Prime mode, where the barrel is retracted.

The Brightin Star MF 50mm F2.0 Tri-Sight lens is available now for full-frame and APS-C Sony E, Canon RF, Nikon Z, and L-mount cameras, priced at $349.99/£263.99

Laowa has just announced "the world's first full-frame AF 35mm lens with true 1:1 magnification", promising the unique life-size rendering of a macro lens with the environmental context of a wide-angle lens.

Unlike traditional macro optics, built around longer focal lengths that carve a subject out of the scene, the new Laowa Acris 35mm f/2.8 1x Macro Apo brings a 1:1 reproduction ratio to a much wider perspective – and combines it with a fast f/2.8 aperture and advanced autofocus.

Well, the autofocus part comes with a bit of an asterisk: the lens will be available with AF on Sony E, Nikon Z and Canon EF mounts, while on Canon RF and L-Mount it is manual focus only.

The AF versions offer what Laowa is calling a Dual-Mode Hybrid Focusing system designed to work across all distances.

The Standard Autofocus mode (from infinity to 0.5m) "delivers fast, responsive, and accurate subject acquisition for everyday shooting, street photography, and environmental portraits."

Then there is Macro Focus Assistance (from 0.5m to 1:1), which "takes over in the close-up range to provide tactile micro-step manual precision. This setup integrates seamlessly into focus-bracketing workflows, making handheld or tripod-based focus stacking simple, efficient, and exceptionally accurate for high-depth-of-field macro shots."

As the name suggests, the Laowa Acris 35mm f/2.8 1x Macro Apo boasts Laowa's apochromatic optical design, which the manufacturer says "virtually eliminates both longitudinal and lateral chromatic aberrations (CA) in both in-focus and out-of-focus areas."

The optical design features a total of 13 elements in 10 groups, with 9 aperture blades in the AF version and 13 in the manual. The minimum focus distance is 180mm, with a minimum working distance of 48.6mm.

Weight and dimensions vary across the various mounts. The Sony version is a good representation of the mirrorless versions at 79mm x 114mm and 560g, with a 72mm filter thread, while the Canon DSLR version measures 79mm x 87.4mm and weighs 530g, with a 67mm filter thread.

All versions of the lens are weather-sealed, which makes this a very capable option for shooting outdoor subjects or working in damp and dusty environments.

The Laowa Acris 35mm f/2.8 1x Macro Apo is on sale now, priced $449 (£339 / AU$645).

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Lomography has taken one of the most recognizable looks in experimental photography and pushed it into completely new territory, with the Joseph Petzval Métamorphose 35mm f/1.8 – a new focus-coupled, bokeh control art lens designed for both photographers and filmmakers.

Available for Sony E, Canon RF and Nikon Z mounts, the new optic moves beyond the classic Petzval swirl and introduces a far more aggressive, almost vortex-like rendering that can be adjusted in-camera directly.

The Petzval name is already synonymous with wonderfully strange backgrounds, swirling bokeh and portraits that look as though they have been dragged straight out of another century – but the Métamorphose takes that character considerably further.

At its strongest bokeh setting, Lomography says the lens creates a perception-bending optical warp around an incredibly sharp center, with points of light stretching into comet-like shapes and the background appearing to surge around the subject.

At closer focusing distances that effect becomes even more pronounced, combining stretching and swirling bokeh to make the subject appear almost as though it is jumping out of the frame. At the opposite end of the scale, the effect can be dialled back for a much calmer rendering, with softer edges and soap-bubble-style bokeh textures.

The strength of the effect is adjustable across seven levels, while further changes can be made through aperture and focus, giving photographers and filmmakers considerably more control over just how strange they want their final image to look.

Lomography sees the lens as a creative storytelling tool, capable of adding a sense of speed to static scenes, creating feelings of confusion or movement, and even recreating some of the visual language associated with classic horror films.

What makes the story particularly interesting is where the optical design comes from. Lomography says its inspiration stretches back more than 200 years to the work of German mathematician and physicist, Carl Friedrich Gauss.

His Single Gaussian lens design from 1817 suffered from significant coma and astigmatism – optical characteristics that saw it deemed unsuitable for photography and instead used for telescopes. Lomography has deliberately embraced those imperfections, rather than correcting them, using the historically rejected design as the starting point for a modern photographic and cinematographic lens.

The 35mm lens uses 6 elements arranged in 5 groups and offers a fast f/1.8 maximum aperture, closing down to f/22 through a stopless iris-style aperture system. There is also support for drop-in rear aperture plates, a 62° field of view, a minimum focusing distance of 0.35m and a 67mm filter thread.

There are no electronic contacts, as you would probably expect from something this deliberately old-school in its optical philosophy, with focusing handled entirely manually through a helicoid mechanism.

Sample images

Lomography has clearly paid particular attention to filmmakers as well. The Métamorphose features a 180° focus throw, mod 0.8 follow-focus gearing and stopless control rings for focus, aperture and bokeh adjustment.

There is also a built-in quarter-inch lens support for tripod, handheld and gimbal setups, while the focus-coupling mechanism is designed to prevent unwanted focus shift as the bokeh effect is changed. That means the character of the background can effectively be altered during a shot, opening the door to gradual transitions and increasingly pronounced subject isolation without interrupting focus.

I have always liked lenses that do something genuinely different rather, than simply chasing another tiny improvement in sharpness, and the Joseph Petzval Métamorphose certainly looks as though it falls into that category. This is not a lens pretending to be clinically perfect; its entire appeal comes from exaggerating the optical characteristics lens designers spent generations trying to remove.

For photographers and filmmakers who enjoy creating their look in-camera rather than adding everything afterwards, this could be one of the more unusual 35mm lenses we have seen for some time.

The lens is currently available for presale through Lomography's website, with delivery beginning in December, and will carry a price of $649 (approximately £489 / AU$930).

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Pixel peepers love to analyze the look of a lens’ bokeh – but one new third-party, multi-mount lens is giving photographers a slider to choose how those out-of-focus areas render. The Brightin Star MF 50mm f/2.0 Tri-Sight is a full-frame lens built around bokeh control.

Using a slider on the lens, photographers – and videographers – can choose from three different styles. The Prime setting is a standard mode for sharp subjects and well-defined, circular bokeh in the background.

The “Foams” setting creates a well-defined edge to those bokeh balls, sometimes endearingly dubbed “onion ring bokeh.” Brighton Star says this setting also creates dreamy lens flares.

On the opposite end, the Smooth setting on that bokeh slider creates softer, larger bokeh from points of light. This setting also creates a softer overall look, much like using a diffusion filter.

So how does building three different looks into one lens work? Brighton Star says that adjusting those Tri-Sight bokeh settings slides the lens groups back and forth. This movement will either over or under-correct spherical aberration, which also helps shape that bokeh.

While the bokeh slider is perhaps the new lens’ most unusual feature, that’s not the only way creators can manipulate bokeh. The lens ships with a set of drop-in discs that shape the bokeh, including a triangular shape inspired by old cinema lenses, a star, a butterfly, and a four-leaf clover. Using cut-outs to shape bokeh is a common photography trick, but Brightin Star is building the feature into the lens with a rear insert.

Those bokeh-focused features are wrapped up in a metal lens barrel, including a built-in, retractable hood. The focus ring has an optional lever, while the aperture ring is the de-clicked style.

The Tri-Sight lens launches in four different mounts with full-frame coverage: Sony E, Nikon Z, Canon RF, and the L-Mount. While the size varies slightly by mount, Brighton Star calls it a compact lens, with the length of the lens varying from 7 cm to 7.4cm depending on the mount.

If the Brightin Star MF 50mm f/2.0 Tri-Sight sounds familiar, that’s because the lens was first teased as a prototype earlier this year. Now, the lens has been officially announced, with orders opening up and retailers beginning to list pre-orders.

The lens retails for $399 / £302 (about AU$572 / CA$566).

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The Leica APO-Macro-Elmarit-SL 100 f/2.8 is the kind of lens that makes its intentions clear from the moment you pick it up. This is a serious piece of glass, designed not only to deliver exceptional macro performance, but also to serve as a highly capable medium telephoto for portraits, sport and general detail work.

Paired with the Leica SL3-S, the Leica's first L-mount macro lens feels every bit as premium as its price suggests, with the sort of build quality, balance and attention to detail I would expect.

Leica APO-Macro-Elmarit-SL 100 f/2.8 Specifications

Mount: L-mount
Full frame: Yes
Autofocus: Yes
Image stabilization: No
Minimum aperture: f/2.8
Minimum focusing distance: 0.95" / 2.41 cm
Optical deisgn: 17 Elements in 12 Groups
Dimensions: 5.4 x 3.03" / 137.2 x 76.96mm
Weight: 28.25 oz / 800.89 g

Leica APO-Macro-Elmarit-SL 100 f/2.8 Build and handling

There is very little about the APO-Macro-Elmarit-SL 100 f/2.8 that does not feel Leica-like. The construction feels reassuringly substantial, the controls are beautifully finished, and the lens has the sort of solidity I would expect from an optic designed to spend its life attached to a professional SL body.

Mounted on the Leica SL3-S, it feels extremely well balanced. This is not a tiny or particularly lightweight lens, but neither does it feel unnecessarily cumbersome once attached to the camera. If anything, the additional weight suits the SL3-S nicely and makes the combination feel like a serious professional setup rather than an oversized lens hanging from a smaller body.

One of the most useful controls is the focus limiter positioned on the left-hand side of the barrel. During most of my testing, I initially left the lens operating across its full focusing range, which works perfectly well under normal circumstances.

However, when moving quickly from photographing something in the distance to attempting to focus on a subject very close to the ground, I occasionally found that the lens would hunt as it searched through its enormous focusing range.

Switching the limiter into its 0.3-0.5m close-focus range solved that slight issue almost immediately. Once the lens knew roughly where I wanted it to focus, autofocus became much faster and more decisive, and I experienced none of the hesitation I had encountered while leaving it unrestricted. It is a small control, but one that makes a noticeable difference when working quickly with macro subjects.

Leica APO-Macro-Elmarit-SL 100 f/2.8 Performance

This is where the APO-Macro-Elmarit-SL 100 f/2.8 really begins to justify itself. Image quality paired with the SL3-S was outstanding, and I frequently found myself surprised by just how much fine detail the lens was able to resolve.

Even when photographing macro subjects at f/2.8, some of the resulting images appeared at first glance as though they had been shot using something closer to an f/1.4 prime. Backgrounds dissolve beautifully, giving close-up images an almost dreamlike quality, while the subject remains impressively well defined.

It is only when you begin zooming into those files that the real character of the lens becomes apparent. The fine texture of a petal, tiny imperfections on a leaf, and minute surface detail are all reproduced with remarkable clarity. There is a tremendous amount of information within the plane of focus, even when the depth of field itself is extremely shallow.

That combination is what impressed me most. There are plenty of lenses capable of creating attractive background blur, and there are plenty of macro lenses capable of capturing fine detail, but the APO-Macro-Elmarit-SL 100 f/2.8 manages to combine the two exceptionally well. Images can look soft and atmospheric from a normal viewing distance while simultaneously containing an extraordinary amount of sharp detail exactly where the lens has focused.

The 100mm focal length also makes considerably more sense once you stop thinking exclusively about macro photography. For portraits, it provides pleasing compression and excellent subject separation, while sports and documentary photographers could equally use it as a conventional medium telephoto before moving immediately into close-up detail shots.

That versatility could prove particularly valuable for photographers trying to tell a wider story. A sports photographer could photograph an athlete from a distance before moving in to capture the texture of their equipment, the stitching of a glove, or another smaller detail. A portrait photographer could move between headshots and close-up images, while nature photographers could switch effortlessly from wider compositions to the intricate patterns found within plants and flowers.

Sample images: Leica APO-Macro-Elmarit-SL 100 f/2.8

Leica APO-Macro-Elmarit-SL 100 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:

Sharpness is excellent in the center of frame, from f/2.8 right through to f/11. Equally impressive is how well the lens maintains this sharpness into the corners of the image frame at all apertures.

Fringing:

Fringing is kept consistently low, at all apertures - you won't see any aberrations in real-world shooting.

Distortion: 0.05

This is as close to a zero-distortion lens as you'll find.

Leica APO-Macro-Elmarit-SL 100 f/2.8 Verdict

The Leica APO-Macro-Elmarit-SL 100 f/2.8 is one of those lenses that becomes considerably more interesting once you stop looking at the name on the barrel. Yes, it is an exceptional macro lens, but reducing it to that description would seriously undersell what Leica has produced.

I found it to be an excellent f/2.8 medium telephoto in its own right, capable of producing superb portraits, sports images and detail shots before turning almost instantly into a highly capable macro optic. Paired with the Leica SL3-S, image quality was exceptional, and the resolving power of the combination was, at times, astonishing.

The occasional focus hunting I experienced when moving rapidly between distant and very close subjects was the only real weakness I encountered, but it was also incredibly easy to correct using the focus limiter on the side of the lens. Once set appropriately for close-up work, the autofocus became fast, confident, and reliable.

Price will naturally be the biggest barrier for many photographers; coming in at $2,700 / £2110, there are certainly more affordable macro lenses available. However, I would argue that the APO-Macro-Elmarit-SL 100 f/2.8 should not be judged purely as a macro lens. For photographers who want one extremely high-quality 100mm f/2.8 telephoto capable of portraits, sport, and general photography, while also being able to produce extraordinarily detailed close-up images, this new Leica could be a genuine godsend.

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The anamorphic look has had something of a resurgence over the last few years, driving a good number of manufacturers to invest in producing (relatively) affordable anamorphic lenses at various squeeze factors. This has enabled many filmmakers to create projects with the distinctive look you get, at far less prohibitive costs.

Sirui is one such company and it has released a number of anamorphic lenses in the past, which have gone down well with the community. The Saturn range in particular seemed to have just the right balance of features, performance and cost.

Another development in filmmaking has reared its head, however, and Sirui is spearheading a change in lens technology to try to fit this – and that is social media. Well, vertical video.

While there are ways to get ‘normal’ footage to work on socials, such as cropping a 16:9 shot or turning the camera to fit the vertical format, it does have some limitations – and they are most obvious for those wishing to publish anamorphic footage.

Frame edges, bokeh shapes and, most obviously, flares just don’t look right when rotating the camera, as the squeeze direction is off by ninety degrees and cropping such a wide image could be problematic when trying to reframe the content.

With this in mind, Sirui has developed the Saturn V2 lenses with a neat feature: the lens / mount can be unlocked and rotated.

I haven’t seen this before and was keen to test it out, while also seeing whether the Saturn V2s are a useful addition to my kit – even without this feature, as image quality and performance on a shoot are just as, if not more, important than a rotating mount.

Having shot with countless lenses over the years, including the Blazar Remus (another lower-cost anamorphic), I opted for an L-Mount set – which consists of a 35mm, 50mm and 75mm T2.9 – to go with my Lumix S5 for a compact, lightweight setup. Sony E and Canon RF options are also available.

Sirui Saturn V2 35mm / 50mm / 75mm T2.9: Price & availability

Each of the lenses – the Sirui Saturn V2 35mm T2.9, 50mm T2.9 and 75mm T2.9 – is available for $599 / £529 / AU$749.

The three-lens kit, comprising the entire set, is available for $1,699 / £1,589 / $2,693. While that isn’t a small investment, it does represent excellent value – and includes the hard case, along with a free gift in the form of a Sirui Alien Series Crab Clamp with Magic Arm (worth $29 / £27 / AU$46).

The selection of focal lengths gives you coverage for a broad range of shots and the build quality is even better than the cost might have you believe. Compared to other anamorphic lens sets, you are getting a great deal.

Sirui Saturn V2 35mm / 50mm / 75mm T2.9: Specifications

Sirui Saturn V2 35mm / 50mm / 75mm T2.9: Design & build

I have the Saturn V2 set, which includes the 35mm, 50mm and 75mm T2.9 in a very nice hard case, with foam cutouts for the lenses and accessories.

The three lenses are identical in dimension except for length, with the 50mm and 75mm gaining a few millimeters extra. All three have gears for both iris and focus, pitched to fit standard follow focus / PIZ motors, and the rings are far enough apart that dual motors should fit.

If you have used the previous version, you won’t be surprised by the form factor. These are compact lenses – much smaller, in girth at least, than your typical cine lenses – barely wider than the L-Mount itself.

They feel great in the hand, too. Weighty and solid, thanks to the metal construction, and finished in a satin charcoal paint, bar a couple of silver rings. Markings are clear in both white for iris and focal distance in meters, and orange for feet.

Each lens ends in a 62mm filter thread so, while you could add a matte box, for a small rig you could save some cash on filters too, as they generally increase in cost with size.

It’s worth noting that the front of the barrel is fixed. The focusing section, which sits behind and partially beneath it, rotates, but there is a section of the front barrel that protrudes over the focus ring.

It doesn’t extend much in radius, and is unlikely to cause any issues, but when focusing by hand you may find yourself coming into contact with it. It may be aesthetically pleasing, but I’d rather it wasn’t there – especially as I can’t see a use for it, other than being a place to label the lens as a 1.6x anamorphic (information that is found on the front, too).

The only other feature to be found is the locking tab on the left side, right by the mount, which allows for the entire lens to be rotated 90°.

Maximum aperture for all three lenses is T2.9, fairly standard at this price point. The minimum is T16 with no clicks in the gearing, ideal for videography. There’s a very smooth action and lovely damping to the ring, as is the same for the focus ring, which makes for easy operation.

It’s also worth noting that the equivalent field of view (compared to a spherical full frame lens) is wider. Vertically you retain the same coverage but horizontally, that stretched image gives you a far wider field of view. The 35mm becomes 22mm, the 50mm covers 31mm while the 75mm is equivalent to a 47mm.

The Saturn V2s looks and feels premium, although there’s a distinct lack of weather sealing gasket around the mount so I wouldn’t be overly confident in adverse conditions.

I’m a fan of the compact nature of these lenses, as well as the feel. The weight is good and both iris and focus rings are smooth. My only gripe is that the throw isn’t all that great. Fine with a motor that can be adjusted for speed, but it could be problematic otherwise, though I'll come on to that.

Overall a pleasing design that looks and feels good, which is best suited to small set-ups – which I imagine is the target market.

Sirui Saturn V2 35mm / 50mm / 75mm T2.9: Performance

I’ll start off with handling, which is generally very good. The compact nature of the Saturn V2 set makes it easy to build a small, light rig, ideal for handheld shots or solo filmmakers – but it’s easy to expand it where needed, thanks to the geared focus and iris rings.

I generally use my S5 as a true hybrid, without a cage, rods and so on – and for this, the Saturn V2 is perfect. Really easy to pop in a shoulder bag and take on trips and hikes, but I have tricked it out with a focus motor, field monitor and my PolarPro mattebox, and found that to work really well, too.

As mentioned, the focus throw is a bit short for my liking. At just 120° and with a larger aperture setting, nailing critical focus can be slightly challenging – although almost all cameras will have focusing aids, which do help. With a smaller aperture this problem drops away, and the ring really is nice and smooth, plus the damping helps a lot.

Speaking of focus, a big part of the look gained from shooting anamorphic is the out-of-focus areas, especially the bokeh. The Saturn V2s produce pleasantly consistent bokeh, with just a touch of onion skinning and a little bit of color fringing (although not overly obtrusive).

The size of these lenses (ranging from 100.9mm to 112.2mm) means balance is very good, too, and I have no issue with them feeling front-heavy, something to keep in mind if you are a regular gimbal user.

All this means nothing, though, if the image produced isn’t what you are after. Anamorphic lenses have an inherent look, which is one reason they are so popular. They don’t have the most clinical image, with a slightly softer appearance than a spherical lens, along with the headline flares and often some distortion towards the edges.

These would usually be considered flaws, if you were reading a review of a non-anamorphic lens, but here they tend to be sought after, as their character can be pleasing. Of course, there is the field of view to be considered as well.

Anamorphics come in different squeeze factors and the Saturn V2s sit around the middle of the range at 1.6x – but that isn’t the whole story. Your final output will depend on your sensor size and dimensions, and whether you are shooting open gate or in something like a Super35 mode.

There’s a lot of interplay between different elements of your shot to be considered. For example, some cameras will force you to crop in on the sensor if you want to shoot slow-motion footage. So, consider these factors when making your decision.

For my case I am shooting a 3:2 full frame in 4K on the S5. Unfortunately the S5 doesn’t have an internal desqueeze of 1.6x for monitoring, but it has 1.5x which is close enough – and I often have a field monitor attached, which does have the 1.6x desqueeze. This is purely for camera use, though, and squeezing the footage in Resolve isn’t affected.

You can see some sample images below, which are the correct ratio and they show the image characteristics of these lenses. I shot a sequence showing both flares and differences in sharpness and edge distortion.

Having used a good number of anamorphic lenses over the years I was expecting to see more of both, but the Saturn V2s are pretty clean in both regards.

For a start, while there is some pincushion distortion and sharpness falls off towards the edge, it isn’t as strong as I expected and is quite pleasing to my eye. Depending on your sensor and timeline ratio, you may not see much at all.

Optical performance is generally very good here. Minimum focus distance is average at 0.9m, but sharpness is excellent across all three focal lengths – although the 75mm is a little softer than the others.

The trio all show some edge softness wide open, but that is virtually eliminated at T4. It’s worth noting that they aren’t as sharp as their spherical counterparts, thanks to the nature of anamorphic squeezing, but it’s minimal.

Chromatic aberration and color fringing, on the other hand, are more noticeable. High-contrast edges show some across the aperture range. It’s not so much that it becomes a problem, but you may spot some magenta. Again, this decreases with higher T-stops.

Vignetting is visible at the extremes of all the lenses, again slightly more so with the 75mm, but like distortion, it’s not strong and will likely disappear once you crop to your timeline.

Anamorphic flares are often a headline feature and, whether you love them or hate them, they are part and parcel of shooting this type of lens. This set has neutral flares, which should pick up the colour of the light source causing them. Personally I prefer this to the blue, but that’s really personal taste.

Flares are definitely present, but not as strong as those found in other lenses – and I’m all for it. You retain the character they provide, without overwhelming the image.

Lastly, there is the Saturn V2 party trick: the 90° swivel. Increasing amounts of vertical video are being made and this doesn’t cause an issue for other lenses – but shooting anamorphic can be a headache because, as soon as you turn the camera for vertical shooting, your bokeh, flares and distortion all fall the wrong way.

While that could be a creative choice, there’s no control over it – so Sirui added the rotating mount. All you do is orient your camera for vertical shooting then pull back the little switch and rotate the lens. This only goes in one direction, so the right side of your camera will be at the top.

The action is very smooth and there is no play in the resting position at either end. It simply locks into position with a satisfying click and you are good to go. The button is spring-loaded, meaning you won’t be able to accidentally knock it out of position.

Because of the squeezing aspect to shooting this way, it takes a minute to get accustomed to framing – but that could just be middle-aged vertical video-avoiding mindset. Either way, the lenses perform identically in both orientations.

This a neat trick and something I can see become more common, as shooting for social media becomes ever more popular – especially narrative work, where this type of lens excels. Props to Sirui for innovating and giving us new opportunities.

Sirui Saturn V2 35mm / 50mm / 75mm T2.9: Sample video

Sirui Saturn V2 35mm / 50mm / 75mm T2.9: Verdict

The Saturn V2 set of lenses is ideal for solo filmmakers or creators, who want the benefits of a characterful image for use across various deliveries. That rotating mount makes them perfect for content creators and social media shoots, as well as more traditional horizontal output.

They are solidly built and, besides a short focus throw, very easy to operate – and could reduce accessory costs, too, thanks to a small filter size.

Sirui Saturn V2 35mm / 50mm / 75mm T2.9: Alternatives

Modern cameras and lenses try to fix imperfections like vignetting and color casts, but a new trio of filters from PolarPro leans into the imperfections to embrace a look that feels like it stepped out of the 1970s. The PolarPro Radial Gradient filters create an edge of color with a clear center to build an old-school look in-camera.

The new Radial Gradient filters come in a three-pack – one blue, one red, and one orange – and are designed to build in dramatic, warm, cool, and atmospheric color shifts that are strongest at the edges.

PolarPro says the look created by the filters changes a bit with the light on the subject. The company demoed the look the filters create with a 1970s drive-in-themed photo shoot in LA. Behind-the-scenes videos show a variety of different modern cameras being used on the set, but the resulting photographs have the vignetting and color casts that build a more classic feel.

The colors aren't the only way the filters aim to build a retro look. The sample images and videos suggest the filters have a slight diffusion to them, creating softer blooms of light that feel like vintage lenses.

Linear gradients are a popular filter format, but the radial gradient is far less common, creating vignetting at the edges that many modern lenses aim to avoid. While radial gradients aren’t common among modern filter options, the look feels reminiscent of some creative filter sets from the 1970s and 1980s, like Cokin’s Creative Filter System.

The Polar Pro Radial Gradient Filters, announced earlier this week, come in four different circular screw-in sizes as well as a Helix magnetic filter system option. A set of three starts at about $180 for the smallest size (about £136 / AU$256 CA$254).

The sizes range from 49mm – which also fits with the company’s filter adapter for the Fujifilm X100VI – to 82mm.

Shipping is expected to begin on October 7, with pre-orders open now.

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I’m once again left feeling jealous of all the photographers with access to Nikon Japan’s Nikon Direct storefront, because the ‘Big N’ has launched more tantalizing swag: a neck warmer and paper cups based around the fastest Nikkor lens in history, the Nikon Z 58mm f/0.95 S Noct.

Okay, so paper cups certainly weren’t on my bingo card for 2026, and more Nikon swag wasn’t exactly the big new release I’ve been waiting for, but I’ll take a neck warmer and paper cup that looks like the mighty Noct.

The Lens Neck Warmer Noct is definitely something I could see accompanying me on a cold hike. Ribbed fabric represents the focus ring, and the classic Noct script is embroidered just below the focal length and aperture markers. The fabric is fleece, so I’m guessing it’s pretty warm, too.

The Lens Paper Cups Noct come in a pack of 25 and feature a similar Noct-inspired design to the neck warmer, but more detailed, with printing made to look like a control ring, LED screen, tripod foot and more. I guess these 280ml cups would make a great talking point at a photography-themed party, exhibition or camera club meet.

Pricing and history

Sadly, these items are Nikon Direct exclusives, which means they are available only to Japanese domestic customers. The Lens Neck Warmer Noct is priced at 4,500 yen (roughly $29, £21, AU$40), and the Lens Paper Cups Noct (Set of 25) are priced at 1,500 yen (roughly $9.50, £7.15, AU$13.44).

If you’re wondering why the Nikon Z 58mm f/0.95 S Noct is such a big deal, it’s the latest in a very exclusive line of premium lenses that represent the pinnacle of Nikon’s optical engineering. The Z-mount Noct was released in 2019 with an eye-watering RRP of $7,997 / £8,299. Think of it as a conceptual lens that's available for purchase, designed to showcase the very pinnacle of the Z mount’s capabilities.

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A "remarkably compact yet well-built" zoom lens is the No.1 best-selling lens in Japan right now, according to major retailer Kitamura. Interestingly, the most popular optics are from third-party manufacturers.

The Sigma 18-50mm f/2.8 DC DN | C for E-mount sits at the top of the chart, followed by another Sigma optic for E-mount: the 28-70mm f/2.8 DG DN | C. Close behind is the Sony FE 100-400mm f/5.6-8 OSS – an affordable telephoto zoom, available for $848 / £799.

Since I started reporting on sales charts in Japan years ago, I have never seen more than three optics sharing the same position. However, in Kitamura's latest August 2026 sales chart, five lenses from Fujifilm, Sony, Canon and Tamron are tied at No.9.

Kitamura's best-selling lenses, August 2026

1. Sigma 18-50mm f/2.8 DC DN | C (E-mount)
2. Sigma 28-70mm f/2.8 DG DN | C (E-mount)
3. Sony FE 100-400mm f/5.6-8 OSS
4. Nikon Z 24-120mm f/4 S
5. Canon RF 50mm f/1.8 STM
6. Sigma 150-600mm f/5-6.3 DG DN OS | Sports (E-mount)
7. Canon EF-S 24mm f/2.8 STM
8. Sigma 20-200mm f/3.5-6.3 DG | C (E-mount)
9=. Fujifilm XC 13-33mm f/3.5-6.3 OIS
9=. Sony FE 70-200mm f/2.8 GM OSS II
9=. Sony FE 24-70mm f/2.8 GM II
9=. Canon EF 50mm f/1.8 STM
9=. Tamron 25-200mm f/2.8-5.6 Di III VXD G2 (E-mount)

No.1 lens: Sigma's "remarkably compact yet well-built" zoom

In our review, we found that the Sigma 18-50mm f/2.8 DC DN | C is "remarkably compact yet well-built". At just approx. 290g, it punches well above its weight. It delivers impressive image quality, features weather-resistant construction, and comes with a budget-friendly price tag.

5 lenses come ninth – from Fuji to Canon, Sony and Tamron

Five lenses are tied at No.9 in Kitamura's best-selling chart for August 2026. From Fujifilm to Canon and Sony to Tamron, the five optics cover a broad range of focal lengths and uses.

Fujifilm's XC 13-33mm f/3.5-6.3 OIS launched in 2025 as the smallest and lightest zoom lens in the Fujifilm X-mount lineup, adding just 125g to the camera bag.

The Sony FE 70-200mm f/2.8 GM OSS II is a light workhorse, while Canon's EF 50mm f/1.8 STM remains a compelling value option that delivers impressive image quality. Lastly, the Tamron 25-200mm f/2.8-5.6 Di III VXD G2 is an all-in-one superzoom.

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The Fujifilm X100VI is a travel wonder, giving loads of options for street, cities, and portraits with its 23mm lens (35mm Equivalent). Being a 40MP camera, I’d have no hesitation cropping in a fair bit to get the shot, so I could effectively treat it as a portrait lens if pushed. One thing I can’t do is get a wide shot. I could potentially stitch photos together, but only for shots lacking movement. Fujifilm does make lens adaptors that do wide and telephoto views. Roughly 28mm equivalent and 50mm. To be clear, Fujifilm is an APS-C format camera, so it has a 24mm instead of a 36mm wide, full-frame sensor. This means focal lengths appear 1.5 times larger.

For me, 24mm is usually where I’d consider wide for landscapes, and 70mm would still be a little wide for headshots, though shooting vertical images would approximate this. The Fujifilm WCL and TCL are not cheap, with the TCL coming in a little more expensive. Often people will just get the wide and crop for the tele look. 28mm is far better than 35 for landscapes, so it’s still a worthy investment for when I want those wider shots-and I do.

One alternative option for supplementing the camera at a better price is the Freewell lens adaptors. Freewell makes a range of goods that fit the X100 series, including Arca tripod plates, thumb grips, and even a circular polariser/mist/lens hood kit. These accessories are well loved by X100 users, including me, so it will be interesting to see how their lenses fare. These follow suit from phone camera adaptors in that the wide adaptor had two parts, the base of which works as an effective close-up lens. And I do mean close.

Freewell doesn't just make for Fujifilm. They make a huge range of filters, including film influencers' products. They’re well established, have an excellent design reputation, and produce popular and often unique products.

Specifications

Price and Availability

The Telephoto is $149 / £126, which I think compares quite well to the Fujifilm TCLX100II at £299. The Wide Angle Macro is $99.99 / £102. Again this is much cheaper than the Fujifilm WCLX100II which lists for £289. Another quality option to price against are the Viltrox set, listing at €219 and €179 respectively.

Given the feature set and the quality, the price is reasonable for these compared to both the Fujifilm and Viltrox alternatives. Atralab have similar products at €124 for a wide/macro, €81 for a wide and €99 for a telephoto, with similar issues to the Freewell.

Design

I have the silver version of these lenses, but they are also available in black. These match the tone of the silver on the X100VI perfectly and look good on it. The X100VI uses a screw thread to attach adaptors. To access this, I had to unscrew a small ring from the front of the built-in lens. Most of the adaptors I have used to date simply screw on directly, but Freewell takes a different approach. Each lens comes with a separate, beefy adapter ring. It’s an extra step in getting the lens on, which I found annoying when I was in a hurry, but it does give far more support. I did leave it on when swapping between adaptors, and it didn’t seem to affect the normal lens operation. The downside is I couldn’t cover the main lens when not using the adaptors.

The Telephoto has quite plain styling, but I have to say that I don’t like the large text saying 1.5x Telephoto on it. It just looks tacky. Otherwise, it feels solid and not out of place, despite being a large piece of glass. The aluminium alloy material choice is reassuring that it can handle the pressure of the streets. It is a lot heavier than the Fujifilm version at 273 g, compared to 180 g. I couldn’t find any information on the element composition of the lens. It may be 5 elements in 4 groups, but that information isn’t readily available.

The Wide/Macro is similar, but smaller. Again, unnecessarily large text on the side of the lens, but generally better-looking. As the macro is part of the wide lens, I simply unscrewed the front section and stored it in the soft case. The soft case deserves a mention because of all the soft cases that come with these adaptors; Freewell’s is by far the nicest. I think it feels rather plush. The lens weighs 173 g, comparable to the Fujifilm wide lens at 150 g. It does have a macro lens and the adapter ring, so it’s reasonable.

One design choice that is a design by omission is the lack of a magnetic switch that embeds metadata about the nature of the attached adaptor. With Fujifilm and Viltrox, I can see if I’ve used the telephoto or wide adaptors in the metadata, and it will apply corrections based on this. I’d be a fool to assume that the distortion properties of the lenses match those of the Fujifilm, but currently there are no automatic corrections applied that suit either lens. And these are definitely needed. Most systems these days use metadata as a way to instruct my processing software to apply a lens correction. I have to manually work out something that’s close and use a preset to attempt this correction, which isn’t optimal as I prefer to not spend my life editing.

Each lens has a standard, plastic lens cap with no branding, and a push-on rear cap. I’ve mentioned the soft case already. The box is beautifully designed, something I rarely think about, but this was notable.

Overall, these look good, and the knurled effect on the adapter ring reminds me a little of the design of the Viltrox lenses. They match the X100VI well, in both shades, looking made for the camera.

Performance

The good looks only get a lens in the door; I need it to perform to keep it in my bag for use. I was really excited to use these lenses, and I have to say I felt a little disappointed by them. My first time using them centred mostly around location shooting with Tink Kaos. I was making use of the leaf shutter of the X100VI to get higher shutter speeds with off-camera flash. Normally I’d have to use high-speed sync to achieve this, which means full power, slow recycle times, and a faster-draining battery. Not so with the X100VI.

I chose to focus mainly on using the Telephoto for this to allow shallower depth of field and more subject in frame. I did choose to use the Wide lens for a few quick shots as a rough test of flare based on my experience with the telephoto. Being a sunny day, I opted to use the sun as a rear light with more controlled soft light from the front. Once the sun hit the lens, the flare was immediate and very obvious. Now I like flare and often add it using Boris FX Optics, but there I have control. This just gives a double cyan and orange spot. I had to use my hand to block the sun in lieu of an appropriate lens hood.

The other issue I had that day was that, despite using the rather excellent eye focus, there were far more misses than hits. Usually this is quite rare, but it did leave me distrusting the lens for critical shots. The flash was firing, so it should freeze motion, and 1/160 at f2.8 should be enough for this on static shots. But it wasn’t. And as I wasn’t doing anything different from shot to shot, there was no way to predict when it wasn’t focusing. I should add that, as it was a bright enough day, I had 3 points of contact-two arms and my face using the viewfinder instead of the screen; the camera should be steady.

The lens does have green chromatic aberration, which I easily fixed with a click in Lightroom.

The final thing that I found noticeable, especially with the sky in the shot, was a vignette on the shot, with a visible darkening in the corners. I used the manual section of Lightroom with an amount of 50 and a midpoint of 30 to correct for this. Both of these Lightroom settings could be saved as a preset and applied to the shots as a batch fix.

I did shoot a lot more with the lens, though, and found that it could be very sharp, like with this exhibition installation as part of our international arts festival.

My first shots using the wide were disappointing. Even at f5.6 with eye focus on, the focus was on the dress and the face was soft. Even if the actual focus point was the dress, I’d expect the face to be in focus at f5.6 at 28mm equivalent.

I made a trip to a location where I often shoot the Milky Way for some shots at sunset. The friary itself looked crisp and clear even at f5, though the contrast seems to have suffered from mild flare. I did wipe the lenses in advance of shooting just in case.

I also shot a few exposure brackets to create HDR photos for more dynamic range. Processing these did reveal some edge vignetting that wasn’t really visible in unedited shots. The bottom corner shows a flare that I suspect is light reflecting off the filter threads, and it wasn’t there in every shot with the sun.

I’m not convinced by the wide adapter. The other part of this is the Macro. And folks, this is fun. I’ve seen people express worry that this lens causes the camera lens to throw a wobbly when, in reality, this lens needs to be REALLY close to the subject. So close that, in sunlight, the lens can cast a shadow on the subject if you’re not careful. Once you’ve accepted that you need to be close, then this does become fun, giving very abstract images, and even high apertures still give very shallow depth of field.