The world's fastest ultra-wide zoom lens would need to dip below the familiar f/2.8 barrier – but which brand will leap first? Will it be Canon, pushing its RF lineup further, or Nikon, expanding its Z-mount options? Or Sony, continuing to build on its E-mount f/2 zooms?

Photographers across all systems have been waiting for a bright, professional, ultra-wide that combines speed, versatility, and high-quality optics – and it looks like Sony may be the first to deliver.

Sony is in the headlines – not just with its latest camera release of the A7 V – but also with whispers of a truly exciting lens: the 16-28mm f/2 GM ultra-wide-angle zoom. This would be the world's fastest ultra-wide zoom for Sony E-mount and the missing piece in the brand's growing f/2 zoom lineup.

Rumors about this type of lens have circulated for a while, often alongside talks of Sony's two new super-telephoto zooms. Now, new information has appeared from Sony Alpha Rumors, K&F Concept, DCLife, and others, supported by an update from How2Fly via X.

The constant f/2 aperture would put this optic in the same class as the 28-70mm f/2 GM and 50-150mm f/2 GM, effectively completing a trio of professional-grade f/2 zooms. Let's break it down.

The 16-28mm f/2 GM

While we can expect a high-quality G Master optic, ED/Super-ED elements, nano coatings, and robust weather sealing, nothing about size, weight, or price has leaked. A 16-28mm f/2 GM would give Sony shooters an ultra-wide zoom that matches the speed of its f/2 siblings, something the competition hasn't offered yet.

But will it be compact enough to compete with Canon's and Nikon's lighter ultra-wides? Will it justify a likely premium price tag? Those questions will remain unanswered until Sony makes an official announcement.

How it compares to Canon and Nikon

Canon's RF 15-35mm f/2.8L IS USM and Nikon's Z 14-24mm f/2.8 S are excellent lenses, but they are not a match for a zoon that's a full-stop faster aperture across this range. Sony shooters also currently lack an ultra-wide zoom with a true f/2 aperture (just having the Sony FE 12-24mm f/2.8 G Master, and, say, the Sigma 14-24mm f/2.8 DG DN Art or Tamron 17-28mm F2.8 Di III RXD).

If Sony delivers the 16-28mm f/2, it could finally put the E-mount on top in the ultra-wide zoom segment, offering, for example, better low-light performance and more creative flexibility than the competition.

This bright ultra-wide zoom would round out Sony's high-end lens roadmap, giving photographers professional f/2 options from ultra-wide to telephoto. It would also strengthen Sony's position against Canon and Nikon, especially for landscape, architecture, and astrophotography.

How realistic is the rumor?

Very. Sony has a clear history of expanding its high-end zoom lineup. Rumors suggest that this lens will be announced in December or early 2026, fitting Sony's clear pattern of updating its G Master lineup and the company's product cycle.

Stay tuned for the official announcement, and as always, we'll bring full details on specifications, pricing, and availability as soon as Sony confirms them.

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Viltrox has announced a new 2x teleconverter for Sony E-mount systems. According to Sony Alpha Rumors, the teleconverter is comprised of 9 elements in 5 groups, including 3 high refractive index elements. What's more, thanks to a full compliment of electronic contacts, it supports EXIF ​​data transmission, along with lens-based image stabilization. It's also claimed to be dust and splash resistant and is said to weigh 229g.

This is actually a world-first: it's the first aftermarket teleconverter we've seen for E-mount cameras. Until now, Sony shooters have been restricted to Sony's own 1.4x and 2x teleconverters. And as you might hope, the new Viltrox teleconverter is very well priced: at USD $280, it's less than half the cost of a Sony SEL14TC or SEL20TC teleconverter.

- See the best Sony Black Friday camera deals

Even more remarkable is that Viltrox is claiming its teleconverter supports the blistering 120fps continuous shooting mode offered by cameras like the Sony A9 III. This is particularly noteworthy as Sony has always restricted this headline-grabbing performance mode for use exclusively with its own lenses. There have been exceptions, such as the Tamron 50-400mm F4.5-6.3 Di III VXD, which does support 120fps burst shooting, but only when the focus mode is set to AF-S, DMF, or MF. Crucially, AF-C autofocus - the very setting you'll most likely want when shooting fast action - can still only be used at 120fps with Sony lenses.

It's not clear whether the Viltrox E-mount teleconverter will permit 120fps shooting in any focus mode with Sony-brand lenses, or even if it might act as a cheat adapter to fool a camera like the a9 III into enabling AF-C autofocus at 120fps with third-party lenses. If the latter turns out to be possible, we'd expect Sony execs to be rather annoyed.

Pre-order from B&H

Story credit: Sony Alpha Rumors

Cosina, the company behind Voigtländer lenses, has announced a new wide-angle prime for Sony E and Nikon Z cameras. The Voigtländer APO-LANTHAR 28mm F2 Aspherical is said to be a high-performance lens, with the APO designation signifying that it's 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.

The optical path is comprised of 12 elements arranged in 8 groups, including six low-dispersion lenses and two double-sided aspherical lenses. At 58.8mm long and 62.6mm in diameter, the lens is surprisingly compact, and it's also light weight at just 325g.

Although the lens is manual focus only, it does have electronic contacts to enable lens-body communication, EXIF data recording, while the built-in distance encoder preserves compatibility with camera bodies that have IBIS. The lens' aperture ring has a de-click function to enable stepless iris adjustment when shooting video, and a metal hood is included.

The Voigtländer APO-LANTHAR 28mm F2 Aspherical will be available in December 2025, priced at 154,000 Yen (currency conversion: US $1000, £755)

Sony has released a new firmware update for its flagship mirrorless cameras: the Sony A1 II, A1, and A9 III. Here are all the details and download links, so that you have everything to hand to update your Sony camera.

Earlier this year, in January, Sony launched its first major firmware update for these Alpha cameras, introducing new features and enhancements across its flagship models. The last update focused on improvements to still photography, video capabilities, and overall camera operability, expanding Sony's Camera Authenticity Solutions.

The latest firmware update addresses specific issues. Notably, for all three Alpha models, it fixes a problem where the camera would restart during image capture when the Recording Media was set to Sort Recording.

Sony A1 II

ILCE-1M2 System Software (Firmware) Update Ver. 2.01

Benefits and Improvements:
- Fixes an issue where setting Recording Media to Sort Recording may cause a restart during still image capture
- Fixes an issue where the effectiveness of the Soft Skin Effect when recording movies in S-Log3 was not properly adjusted

Sony A9 III

ILCE-9M3 System Software (Firmware) Update Ver. 3.01

Benefits and Improvements:
- Fixes an issue where setting Recording Media to Sort Recording may cause a restart during still image capture
- Fixes an issue where the effectiveness of the Soft Skin Effect when recording movies in S-Log3 was not properly adjusted

Sony A1

ILCE-1M2 System Software (Firmware) Update Ver. 2.01

Benefits and Improvements:
- Fixes an issue where setting Recording Media to Sort Recording may cause a restart during still image capture
- Fixes an issue where the button registered with Recall Custom Hold may not be accepted

How to update your Sony

If this is your first time updating your camera's firmware, Sony added helpful information on the download sites, along with a video guide to assist you through the process.

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Stay up to date with Sony technology with our guide to the best Sony cameras. If you are on the hunt for a new optic for your Sony, be sure to check our discussion about the best Sony lenses, wide-angle optics, and telephotos. If you are into videography, we also summarized Sony's best video lenses.

A new rumor suggests Sony could be planning to launch its first-ever pancake lens for full-frame Sony E-mount cameras. The news comes only days after Viltrox launched a crowdfunding campaign to put its full-frame E-mount pancake lens - the AF 28mm F4.5 FE - into production. If the rumor is correct, the alleged Sony FE 28mm F2.8 (SEL28F28P) would fill a gap in Sony's lens line-up, and it'd be ideally positioned to rival lenses like the Canon RF 28mm f/2.8 STM and Nikon Z 26mm f/2.8.

Read more:
The best Sony lenses
The best Sony cameras
Viltrox AF 28mm F4.5 FE full review

The source of the rumor also states that Sony's lens would be a true pancake design, unlike the existing 24mm/40mm/50mm G lens trio. It's also claimed that the new lens would not be a G-series optic, so would likely be aggressively priced to compete with the Canon lens - somewhere in the $200 region would be plausible. Even this could seem a little pricey when compared to the $99 Viltrox AF 28mm F4.5 FE, but the rumor suggests the Sony 28mm may have a the edge on the Viltrox when it comes to features. While the Viltrox lens does have autofocus (something by no means a given for such a small lens, and at such a low price point), it lacks any aperture adjustment, or even a manual focus ring. The Sony lens is said to have both these features, along with sharp image quality at f/2.8, and the source claims vignetting is minimal.

The E-mount continues to arguably be the most popular mount option for third-party lens manufacturers, with the likes of Samyang, Viltrox, 7Artisans and TTArtisan all releasing new E-mount lenses on a regular basis. While this is good news for Sony, as it makes the E-mount ecosystem more attractive to buy into, it seems Sony wants to tempt buyers away from this plethora of third-party lens options back to its own-brand offerings.

Sony Alpha Rumors wasn't able to verify the reliability of the source of this new pancake lens rumor though, so at this stage it should be taken with a generous helping of salt.

Story credit: Sony Alpha Rumors

Meike has announced a new accessibly-priced prime lens for full-frame Sony E-mount, Nikon Z-mount, and L-mount cameras. The Meike 35mm F2.0 has an optical stack comprised of 11 elements in 9 groups, a minimum focus distance of 0.45m, and can be fitted with 58mm filters.

Read more:
The best Sony lenses
The best Nikon Z lenses
The best L-mount lenses

The 35mm focal length equates to a 64-degree diagonal angle of view on a full-frame camera, and 44.2 degrees when fitted to an APS-C body. The lens has a diameter of 73mm and is 90-93mm long, depending on mount option, and it's also reasonably light weight at 298g for the E-mount version.

But the standout feature of the Meike 35mm F2.0 is that, despite its low $199.99 price tag, the lens features autofocus, courtesy of a stepping motor system. Traditionally, cheap primes like this have been 'dumb' lenses, with no electronic communication between the lens and host body and were therefore manual focus-only. But with the 35mm F2.0, Meike is following some recent Viltrox and 7Artisans prime lenses by producing a fully-featured optic that should operate much closer to an equivalent lens from the likes of Sony, Nikon or Sigma.

The Meike 35mm F2.0 is available now, priced at $199.99 / £149.99 / AU $289

Viltrox will shortly launch an Indiegogo crowdfunding campaign for a tiny new pancake lens for full-frame Sony E-mount cameras. Called the AF 28mm F4.5 FE, the lens could well become the smallest lens available for Sony shooters, and is nicknamed 'Chip' on account of its potato chip-/crisp-like slimness.

Measuring a mere 15mm long and 60mm in diameter, the lens is barely thicker than a camera body cap and weighs just 60g. It closely resembles the design of Olympus's Fisheye Body Cap 9mm f/8 lens, although the two lenses have a very different focal length.

Naturally, Viltrox had to make some compromises to create such a slim lens. The primary sacrifice being there's no diaphragm, so the aperture is fixed at f/4.5. Another unusual omission is that the lens lacks a manual focus ring, largely because it's so slim there isn't really room for one. Thankfully Viltrox has managed to find space inside the barrel for a VCM coil autofocus motor, so despite the tiny dimensions, focussing is a breeze. Another nice touch is the integrated lens shutter 'cap', which can be flicked open or shut using a small lever on the front of the lens.

You'd expect that a lens this small and simple would be inexpensive to buy, and you'd be right. The Viltrox AF 28mm F4.5 FE is priced at $99, with early campaign backers said to receive a 30% discount.

If you'd like to see how the lens performs before you pledge your backing, we've just published our full Viltrox AF 28mm F4.5 FE review - we found it really fun to use!

It seems a day barely goes by without affordable lens manufacturers such as TTArtisan, Viltrox or 7Artisans releasing a cut-price lens for mirrorless systems. Just this week, I wrote stories about the new 7Artisans AF 85mm f/1.8 for Nikon Z mount and the TTArtisan AF 75mm f/2 for Nikon Z and Sony E. 

These aren't just cheap manual focus primes for smaller sensors. They are relatively fast, full-frame-compatible autofocus lenses, designed to compete directly with the optical behemoths of the world. And there's no sign of the affordable arms race slowing down, either. It's been reported that Chinese lens manufacturers are developing autofocus zoom lenses, which would really put the proverbial cat among the pigeons.

We all know that some manufacturers have taken steps to limit third-party lens production. And on the face of it, it isn't hard to see why. More people buying cheap third-party lenses must mean fewer people buying premium glass, right? But how much market share are affordable manufacturers siphoning, really? 

I don't have the figures, but I'm pretty sure that a photographer who's always bought Nikon, Sigma or Canon glass will continue to do so. And if you're saving up for that dream Nikon Z 85mm f/1.2 S, say, the 7Artisans 85mm f/1.8 isn't going to compete with that Holy Grail purchase. But, it might provide an affordable stopgap in the meantime.

And this is the beauty of affordable lenses. They enable photographers on a budget to fill up their kitbags quicker and enjoy their photography. I fail to see how this differs from the Nikon FTZ II Adapter and Canon Mount Adapter EF-EOS R enabling users to mount cheaper DSLR glass.

An entry-level gateway

I think a large proportion of the mirrorless market – especially full-frame equipment – has become rather elitist. I've been writing about photography for so long, that I find myself calling the new Tamron 90mm f/2.8 Di III VXD Macro affordable. Compared to other macro lenses out there it's a very competitive price, but it's still $699 in the US!

As a self-confessed Nikon fanboy, I think the Big N has done a decent job of offering affordable, full-frame mirrorless lenses, what with its budget Holy Trinity of f/2.8 lenses maxing out at roughly $1,300. Expensive, but considerably cheaper than S-Line counterparts. Then you have the likes of the Z 40mm f/2 and Z 28mm f/2.8 at $309.95, and more recently the Z 50mm f/1.4 at $499.95 – a good price for such a fast aperture. 

Tamron is also producing Z-mount lenses and, having recently picked up the Tamron 28-75mm F/2.8 Di III VXD G2, I've been very impressed with its middle ground between price and quality. And yet, you simply cannot sniff at a 7Artisans 85mm f/1.8 for $299. (Caveat: We’ve not yet reviewed it.) 

I've spoken to an awful lot of hobbyist photographers during the mirrorless revolution who had all but discounted the move from their DSLR, based purely on the expense. But in 2024, cheap lenses have become a gateway to mirrorless systems. Now that mirrorless has come of age, you can pick up a decent camera for a decent price on the second-hand market, buy an affordable 50mm f/1.8 and you're ready to rock and roll. 

For some, that cheap camera and lens combination will be the genesis of a lifelong mirrorless camera obsession – and a long-term customer for the system in question. So, far from yanking customers and coffers away from the big camera companies, I'm certain that cheap lenses are encouraging latecomers to buy into mirrorless systems. 

If I'm right, blocking third-party manufacturing could prove very costly in the long run. There are still plenty of potential consumers who haven't yet made the move to mirrorless out there. 

Affordable gear might be the only way to get them through the door. 

You might be interested in the best Nikon lenses, including the best Nikon Z lenses for its mirrorless system. 

The cheap, auto-focus mirrorless lens arms race continues with the release of the 7Artisans 85mm f/1.8 for Z, a full-frame lens for Nikon Z cameras that's available for order now and is priced at $299 / £229. This plucky little prime was previously available in Sony E mount and comes hot on the heels of the TTArtisans AF 75mm f/2, another budget contender for the best Nikon portrait lenses available.

You can have the best camera for portraits, but if you don't have a lens with a suitable focal length, you're going to struggle. Many portrait photographers consider an 85mm the go-to focal length for people pics, making this affordable prime an attractive prospect for portrait photographers on a budget.

7Artisans' mid-telephoto prime is constructed from 10 elements in seven groups. It includes a pair of extra-low dispersion lenses and two high-refractive lenses to help mitigate distortions and deliver better image quality. 

The lens is built from metal and is a little heavier than the Sony E-mount variant (437.5g), weighing in at 452g. But it's still lighter than the Nikon Z 85mm f/1.8 S at 470g. It's a hair smaller than the Nikon optic, too, with a diameter of 72mm (2.83in) and length of 98mm (3.85), compared to the Nikon's 75mm (2.95in) and 99mm (3.89in).

Autofocus is controlled via a stepping motor, for smoother and quieter focusing, which should make it more suitable for video. A feature that's indicative of more premium optics is the presence of a customizable Fn button for easier operation. You'll also find a USB-C input on the rear of the lens for installing firmware updates. 

The lens has a close focusing distance of 0.8m, which is roughly what you'd expect and takes 62mm filters. A nice feature is the presence of an 11-bladed diaphragm. When paired with that fast f/1.8 aperture, it should realize nice, big circular discs of bokeh. 

You may also be interested in our guides to the best Nikon camera or the best Sony camera.

For years Tamron's 90mm macro lenses have received many accolades from DSLR users and film photographers, and at long last this fantastic lens has now come to the world of mirrorless.  

Tamron has announced the new Tamron 90mm f/2.8 Di III VXD Macro designed specifically for Sony E- and Nikon Z-mount mirrorless camera systems. This highly anticipated full-frame lens is said to deliver outstanding performance for portrait and macro photography, offering photographers a versatile tool for capturing everything from lifelike close-ups to beautifully composed portraits. 

Tamron is currently celebrating the 45th anniversary of Tamron’s original 90mm macro lens, originally introduced in 1979, and this latest iteration maintains the legacy of high optical performance with cutting-edge features. 

One of the lens's key features is its 1:1 maximum magnification ratio and a minimum focusing distance of just 9.1 inches, making it ideal for detailed close-up shots.

Sample Images

This lens stands out as the first in Tamron’s lineup to feature a 12-blade circular diaphragm, producing smooth, rounded bokeh and creating impressive starburst effects when stopped down. 

Weighing only 1.4 lbs and measuring 5 inches long, the lens is both compact and lightweight, allowing for comfortable handheld shooting during extended sessions. This compact design ensures portability without sacrificing performance, making it an excellent choice for photographers on the go.

At the heart of this lens is Tamron's VXD (Voice-coil eXtreme-torque Drive) motor, which offers quiet and precise autofocus performance. Ideal for both photography and video work, the VXD system also includes a focus limiter switch, preventing unnecessary focus hunting and allowing for more efficient shooting in challenging conditions. This combination of advanced autofocus features makes the lens well-suited for capturing fast-moving subjects while maintaining exceptional sharpness and detail.

This new 90mm f/2.8 Di III VXD Macro lens also includes a newly designed lens hood with a sliding window, allowing photographers to rotate polarizing filters with ease without needing to remove the hood. Additionally, it is compatible with Tamron’s lens utility software, which allows users to customize lens settings and update firmware for enhanced functionality. This attention to both hardware and software ensures a seamless, user-friendly experience for all photographers.

By filling a focal length gap in their mirrorless lineup, this lens offers photographers the chance to explore new creative possibilities. From portraiture to macro photography, the new Tamron 90mm f/2.8 Di III VXD Macro is set to become a standout option for both professionals and enthusiasts alike.

This new lens is only available in Nikon Z-mount or Sony E-Mount currently and can be pre-ordered from B&H for $699  or at Wex Photo Video for £599.

Tamron has been knocking it out of the park with its recent lens releases, and thanks to a leak, we now have information about a brand-new macro lens.

According to the leaked press release which has appeared on many camera rumor sites (including SonyAlphaRumors), the Tamron 90mm f/2.8 Di III VXD 1:1 Macro lens will be officially launched later this week, with Tamron stating that its 'legendary 90mm macro is reborn for mirrorless'. The lens will be available for full-frame Sony E and Nikon Z mounts and hosts impressive features to rival most macro lenses.

The 90mm f/2.8 will feature Tamron's first 12-blade aperture diaphragm enabling users to capture circular bokeh and minimal vignetting when using the lens for macro. Tamron states that the 12-blade design creates 12 rays for stunning starburst effects when stopped down, making it ideal for dramatic images with point light sources.

The lens has been ergonomically designed to be held in the palm for an extended amount of time, measuring just 126.5mm long and weighing 630g, it is considerably compact for a 90mm f/2.8 macro lens.

Tamron lenses have recently been praised for quick and efficient AF and this lens looks to follow suit with the addition of a focus limiter that can restrict the AF coverage. This may sound counter-intuitive however, when you are focusing on a stable subject with a macro lens, it prevents the AF from hunting the lens range of focus enabling quicker adjustments.

Manual focus is still an option, and a preference for some when shooting macro, and the rotational torque of the focus ring has been calibrated to assist with precise manual adjustments.

Other notable features include a new hood design with a sliding window for filter adjustments, compatibility with Tamron Lens Utility software enabling users to further fine-tune lens settings, and a minimum focusing distance of just 0.23m.

From what we've seen, the Tamron 90mm f/2.8 Di III VXD 1:1 Macro lens will be priced at just $699 / £525 – $400 less than Sony's 90mm macro equivalent.

The original Tamron 90mm macro lens was a fan favorite among users, and this lens has the potential to be the same, especially at such an attractive price!

It is also worth noting, that although the leaked information and images appear to be taken from an official Tamron press release, no official announcement has yet taken place.

You may be interested in our guides to the best Sony lenses, the best Nikon lenses, and the best macro lenses.

Fujirumors has shared a Weibo post that claims as many as three Chinese lens manufacturers are developing autofocus zoom lenses. Sadly there are no further details on what these lenses may be. However Fujirumors also spoke to Chinese lens manufacturer Viltrox last year, asking whether it was planning to release zoom lenses for Fuji X-mount. The response from Viltrox's marketing director:

Whether any of these proposed lenses will feature autofocus is uncertain, but if any Chinese lens manufacturer was to release an autofocus zoom lens, we'd bet on it being Viltrox. We've tested and revied numerous Chinese lenses, from the likes of Laowa, Yongnuo, TTArtisan and 7Artisans, but the majority of these have historically been 'dumb' primes with no electronic lens-body communication, and therefore no autofocus. Viltrox, on the other hand, has produced multiple autofocus prime lens, with full electronic communication, and the kind of build and handling to rival the likes of Sigma and Tamron. In fact, the quality and performance of the E-mount Viltrox 16mm f/1.8 AF led Phillip Reeve to assert that:

And having tested the Viltrox AF 13mm F1.4, AF 23mm F1.4, AF 33mm F1.4 and AF 56mm F1.4, we're tempted to agree - they really are superb lenses. Consequently we wouldn't be surprised to see Viltrox leading the Chinese charge to produce autofocus zoom lenses. It also shouldn't come as much surprise that China as a country should be developing autofocus zoom lenses, or that they're likely to be as good as anything Japan or Germany produces. After all, China is the manufacturing center of the world, and if the latest iPhone or electric car can be produced there without issue, then why shouldn't China be able to manufacture another precision object like an autofocus zoom lens?

Story credit: Fujirumors

Innovative lens-maker 7Artisans has unveiled a 60mm f/2.8 macro lens that can capture images up to 2x life-size, enabling incredibly detailed close-ups at double the resolution of a standard macro lens. 

With a maximum 2x magnification ratio, it enlarges the tiniest details to reveal a staggering amount of detail that is impossible to see with the naked eye. And as a full-frame-compatible lens, it makes the most of the greater light-gathering capabilities of the latest mirrorless cameras, such as the Nikon Z6 III, Canon EOS R6 or Sony Alpha 7C II. 

The manual focus lens features markings on the lens barrel to show the depth of field through its f/2.8 to f/22 aperture range. It has been constructed from 14 elements in 12 groups, including two Extra-low Dispersion (ED) and two High-Refractive elements to effectively suppress chromatic aberration and deliver exceptional image quality while providing accurate color reproduction. This optical design also helps reduce edge distortion and other aberrations.

With a 0.17m minimum focus distance, as measured from the focal plane, the lens enables photographers to get incredibly close to subjects, but unlike some ultra-macro lenses, it is also capable of focusing all the way to infinity, where its 60mm focal length makes it ideal as an everyday standard prime. The bright f/2.8 aperture and full-frame compatibility, in combination with its nine aperture blades, enable backgrounds to be blown out to create beautiful bokeh, making it double as a fabulous choice as a portrait lens.

The lens barrel has an all-metal construction for enhanced durability, yet it's pretty lightweight at just 550g. A 67mm thread enables the attachment of filters. 

The 7Artisans 60mm f/2.8 Full-frame 2X Ultra-Macro joins such oddities as the incredibly fast 7Artisans 50mm f/1.05 nifty fifty or 7Artisans 10mm f/2.8 fisheye, which surely makes the company one of the most diverse and experimental lens makers out there.

The new lens is available in Canon RF, Nikon Z and Sony E mounts and has a recommended price of $335.

Check out our guide to the best macro lenses

TTArtisan has released the AF 75mm f/2 prime for Sony E and Nikon Z-mount cameras. This full-frame prime boasts a stepping motor, delivering what TTArtisan is calling "fast" autofocus, and is priced just $199 / £199 (Australian pricing to be confirmed). 

Not only is that an incredibly competitive price for a full-frame, autofocus-capable lens that will appeal if you use your camera for portraits, but the optical construction (ten elements within seven groups) is housed within a metal body – something you'd expect from a more premium offering.

Surprisingly, it still weighs just 328-340g (presumably without and with the included lens hood, respectively), compared to the Nikon Z 85mm f/1.8 S at 470g and the Sony FE 85mm f/1.8 at 371g. Dimensionally, the Sony variant is slightly shorter at 74mm (2.91in) than the Nikon variant at 76mm (2.99in), with both featuring a diameter of 67mm (2.64in).

A standout feature of the TTArtisan AF 75mm f/2 is the presence of an aperture ring. This will surely delight Nikon Zf and Z fc users, given the notable lack of Z-mount lenses with retro-chic aperture rings, though its clicked design may not be ideal for video shooters.

The 75mm focal length isn't far off 85mm – a focal length revered by portrait photographers. And the wide f/2 maximum aperture (to f/16) should provide a suitably shallow depth of field for popping sharp portrait subjects against a soft background, while I'd hope to see nice, circular bokeh, thanks to the nine-bladed diaphragm. 

The size of this prime could make it a great companion for a portable setup, too. I could see it pairing well with a Sony A7C II or a Nikon Z f. If you wish to use it with an APS-C camera such as the A6700 or Z fc, you’ll end up with an equivalent 112.5mm focal length. 

Other specs of note include a 62mm filter thread and 0.75m close-focussing distance. The AF 75mm f/2 also features a "[USB] Type Cinterface for firmware upgrades," suggesting there will be support for the optic in the future. 

The only thing to be aware of is that autofocus isn't supported for the Sony A3000 and A3500 – though with both cameras being about a decade old, released in 2013 and 2015 respectively, this probably won't affect too many users. 

You may also be interested in our guides to the best Nikon cameras and the best Sony cameras.

At IBC 2024 in Amsterdam, Blazar Lens unveiled what they are heralding as the world’s first autofocus anamorphic lenses.

The innovative 1.33x APEX series, currently in its prototype phase, drew considerable attention at the event. Blazar showcased two focal lengths, a 35mm T1.6 and a 50mm T1.8, both designed to cover the Super 35 (S35) sensor. 

These lenses are slated to be available in several mirrorless mounts, including Sony E, Nikon Z, Leica L, and Fuji X, with discussions ongoing about a Canon RF mount option in the future.

Blazar's choice of a 1.33x squeeze ratio for its anamorphic lenses is driven by practical considerations. Autofocus systems, the company found, struggle with wider anamorphic squeeze ratios, making the 1.33x a more feasible option. 

This ratio not only improves autofocus performance but is also compatible with 16:9 sensor cameras that lack anamorphic recording modes. While the 1.33x squeeze may not deliver the pronounced anamorphic look of 1.5x or 2x ratios, Blazar claims its Apex lenses achieve a similar aesthetic to 1.5x options.

The 1.33x anamorphic format presents a compelling choice, particularly for affordable anamorphic lenses. Compared to 1.8x or 2x lenses, the 1.33x design is more versatile and easier to produce, with fewer optical compromises. It allows users to capture a wider aspect ratio without cropping, thereby maximizing image resolution. This adaptability makes the Apex series a practical option for a range of cameras with S35 sensors.

Currently, the market for 1.33x anamorphic lenses is limited when compared to other lenses on the market, but notable examples include the Viltrox Epic series, Sirui 1.33x, Slr Magic 1.33x Anamorphot-CINE, and the Hawk 1.3x. However, many of these options do not fully cover full-frame sensors, although the SLR Magic 50mm and 75mm do.

Samyang recently introduced an anamorphic front-mounted adaptor for its V-AF range of full-frame autofocus cine lenses, but this offers a 1.7x squeeze.

The Blazar Apex lenses' ability to cover full-frame and S35 sensors positions them as a versatile solution for many 16:9 sensor cameras.

Lens manufacturer 7Artisans seems to be readying four new autofocus prime lenses. In a roadmap image taken at IBC in Amsterdam and shared with L-rumors.com, we can see a total of six lenses, comprised of four new primes that will supplement two existing 7Artisan's lenses: the AF 50mm f/1.8, and AF 85mm f/1.8. The four upcoming lenses are the:

• AF 35mm F2.8
• AF 40mm F2.8
• AF 24mm F1.8
• AF 35mm F1.8

Like the existing 50mm and 85mm lenses, the four new optics look set to come in Sony E-mount, Nikon Z and L-mount variants, while all but the AF 35mm f/2.8 feature a dedicated aperture control ring. No other details about the new lenses have been made public, but if the new lenses perform anything like the current AF 50mm f/1.8, they should be compelling buys.

The AF 50mm f/1.8 marked 7Artisans' first attempt at an autofocus lens with full lens-body electronic communication. When we reviewed the lens we found it to be a well-built lens that operated smoothly and gave respectable image quality, all for a very reasonable price. The addition of four more focal length options in the AF range can only be good news for Sony, Nikon and L-mount shooters.

Story credit: L-rumors.com

Thypoch is best known for its exquisitely built Simera lenses for Leica, a line it has recently expanded to cover more mounts, as well as its quirky collapsible Eureka lens. However, as recently teased on its Instagram channel, it looks like Thypoch is going in a new direction – Simera-C cinema lenses.

The company is yet to announce any further details on its new line of cine lenses. But I am currently at IBC 2024 in Amsterdam, where the biggest brands in the world of video production come to show off their latest wares, and I have managed to get my hands on not one but three of the new Simera-C cine lenses.

The three lenses on display are 28mm, 50mm and 75mm focal lengths. Like other Thypoch lenses they feel very well constructed, made from metal with geared focus and aperture rings. But the thing that struck me immediately was just how small they are compared to other cinema lenses.

This was perhaps as they were surrounded by a section of Dzofilm’s much larger cinema lens range (Dzofilm being Typoch’s parent company), but the Simera-C lenses look adorably compact and could be perfect for anyone looking for a more low-profile cine lens for a smaller setup.

While previous Simera lenses have all launched for the L-mount, before expanding to other formats, the lenses on display here are for Sony’s E-mount cameras. However, that isn’t to say these cine lenses won’t be available for other mounts at launch – or expand to other mounts later, as was the case with previous Simera lenses.

Below you can check out the official tease for the upcoming Simera-C lenses while we await more confirmation from Typoch.

Check out our guide for the best cine lenses for more options, and you might be interested in the best cinema cameras as well. 

TTArtisan has announced the APS-C AF 14mm F3.5: a wide-angle pancake prime for Sony E-mount APS-C cameras, giving a 92-degree angle of view. Exact dimensions have yet to be revealed, but it certainly looks shallow enough to qualify as a bona-fide pancake lens, and at just 98g it's super-light. Despite the small size and low weight, the lens still packs autofocus, as well as a dedicated aperture control ring.

Read more: the best Sony lenses

Inside is an 8-element optical stack arranged in 7 groups, and the 7-blade diaphragm has an aperture range of f/3.5-f/16. The lens takes tiny 39mm filters and can focus down to 0.25m. We await further information regarding pricing and availability.

Cooke revolutionized the cinema lens market last year with the introduction of its budget SP3 series, offering a compact, affordable alternative to the renowned Cooke Panchro Classic lenses. 

Designed to replicate the signature “Cooke Look,” these lenses quickly became popular among filmmakers for their portability and cinematic quality. Now, Cooke is expanding the SP3 family by releasing the all-new 18mm T2.4, the widest lens in the series. 

Available as part of a six-lens set housed in a custom hard case or sold separately, this new addition is set to appeal to indie filmmakers, corporate videographers, and cinematographers looking to achieve professional results without the hefty price tag.

The 18mm lens joins its counterparts — the 25mm, 32mm, 50mm, 75mm, and 100mm — maintaining the same T-Stop range (T2.4-16) and full-frame sensor coverage. 

It also shares the same focus and iris ring placement, along with versatile mount options, including Sony E, Canon RF, Leica M, and L mount. While the 18mm and 100mm lenses are slightly larger and heavier than the others in the series, they remain lightweight and compact. 

All six lenses are designed for the best mirrorless cameras and best cinema camera setups, ideal for use on gimbals, drones, or in solo-operator scenarios where larger lenses might be cumbersome.

The 18mm T2.4 offers a 99° field of view on full-frame sensors, making it perfect for establishing shots, tight spaces, or immersive wide-angle scenes. Its close focus distance of 9.8” also provides flexibility in confined shooting environments. With this addition, the SP3 series now offers a comprehensive range of focal lengths, allowing filmmakers to tackle a wide variety of production needs with a single set. 

Though not budget lenses, the SP3s offer incredible value for money, especially compared to Cooke’s larger Panchro models, making them an enticing option for creatives looking for high-quality cine lenses.

Cooke’s legendary status in the world of cinema is well-earned, with their Speed Panchros having played a role in many iconic films associated with Hollywood. The SP3 series continues this legacy by making the “Cooke Look” more accessible to a broader audience. 

Known for their beautiful skin tones, smooth highlight roll-off, and stunning bokeh, thanks to 9-blade apertures and proprietary Cooke coatings, these lenses bring a touch of cinematic magic to any project. 

Whether paired with the larger Panchro/i Classics or used on their own, the SP3 series delivers remarkable visual results, making them a must-have for any filmmaker aiming to elevate their craft.

The new 18mm Cooke SP3 can be bought separately for $4,970 at B&H or the new 6-lens set with custom carry case can be bought from B&H for $25,995. 

While both options might seem expensive at first the Panchros lenses they mimic are priced between $12,900 - $14,600 each - so the SP3 series really is a bargain!

Meet Remaster Slim: Samyang's new modular lens system, consisting of three separate lenses that connect to a single mount unit. The kit contains 21mm f/3.5, 28mm f/3.5 and 32mm f/2.8 full-frame modules, while the mount is exclusively for Sony E-mount cameras. The kit has been designed for travel, street, and everyday photography, or any situation where lightweight portability is paramount. Samyang says that the mount fitted with the 32mm module weighs just 66.5g, with a thickness of only 19.5mm, making this a true, go-anywhere pancake lens.

This isn't the first time we've seen a modular lens concept though. Several years ago Lomography gave us its retro-themed Neptune system with a similar three-into-one set-up. But where the Neptune was manual focus only, the Samyang Remaster Slim has full autofocus, making it the world's first interchangeable modular lens with autofocus. The AF motor and electronics are housed in the mount section, which also sports a focus ring and AF/MF switch, along with a USB-C port for applying firmware updates. The mount is equipped with a 49mm filter thread, which can be used in conjunction with any of the three optical modules.

Samyang is promising "superior performance" from all three lens modules. The 21mm module features a 7-element optical stack arranged in 6 groups, including 2 Precision Molded and 1 Extra-low Dispersion element to reduce chromatic aberration. The 28mm optic packs 6 elements in 6 groups and features 2 PMo, 1 high refractive and 1 ED element. It's said to offer "sharp results throughout the entire frame", with enhanced resolution and reduced distortion. Finally, there's the 32mm module, which again utilizes 6 elements in 6 groups with 2 PMo and 1 HR element. It gets Samyang's UMC coating to reduce flare and ghosting, while a 7-blade aperture is claimed to provide smooth bokeh.

It is initially only available Sony E-mount - but in South Korea where the lens system has been on pre-order for a couple of weeks, the company have been asking for people's opinion of which mount it should do next (with an L-mount option getting the popular vote). 

The Samyang Remaster Slim is set for a European release this October, priced at £336 / €404 (around $450).

We await confirmation of pricing and availability in North America, where Samyang products have traditionally been sold under Rokinon branding.

The Sigma 10-18mm F2.8 DC DN | Contemporary is an ultra-wide angle lens for APS-C mirrorless cameras. Launched initially in L-mount and Sony E-mount versions, it’s now available in Fujifilm X-mount, and is a tantalizing proposition for Fujifilm users because it undercuts Fujifilm’s own-brand lenses in both price and size. A Canon RF mount version will go on sale on September 26, 2024.

Fujifilm does make two super-wide-angle lenses of its own – the Fujifilm XF 10-24mm f/4 R OIS WR and the Fujifilm XF 8-16mm f/2.8 R LM WR. The XF 10-24mm has a longer focal range than the Sigma and OIS, but a smaller maximum aperture. It’s also much bigger and more expensive, and has optical limitations that become especially apparent on the latest 40MP Fujifilm cameras. The XF 8-16mm lens goes even wider than the Sigma, but this is one of Fujifilm’s red-badge pro lenses, and it’s both much bigger and much more expensive.

Right now, then, the Sigma 10-18mm F2.8 DC DN | Contemporary looks like a smaller, more affordable and perhaps superior super-wide lens for Fujifilm fans. 

Indeed, Sigma claims this is the smallest and lightest ultra-wide-angle zoom lens for APS-C cameras, which makes its constant f/2.8 maximum aperture even more impressive. Sigma also claims its optical performance is maintained across the whole frame, with fine detail rendered perfectly right into the corners. 

This is achieved with a sophisticated optical construction of 13 elements in 10 groups, which includes three ultra-low dispersion FLD elements, one super/special low dispersion  SLD element, and four aspherical elements.

Sigma is also very open about the fact this lens relies on digital corrections too. This has become standard practice for mirrorless camera zooms, but not all lens makers are equally forthcoming about this. Images shot with the Sigma 10-18mm F2.8 DC DN will be corrected in-camera if you’re shooting JPEGs and will have a correction profile embedded in raw files for use by programs like Capture One and Lightroom.

Sigma 10-18mm f/2.8 DC DN: Specifications

Sigma 10-18mm f/2.8 DC DN: Price and availability

The Sigma 10-18mm f/2.8 DC DN | Contemporary for X-mount is available now and costs around $599 / £649 / AU$1,099. That’s substantially cheaper than the cheapest own-brand Fujifilm alternative which is the XF 10-24mm f/4 R OIS WR. This costs around $999 / £879 / AU$1,499, which is a lot of money for a somewhat average sort of lens. Fujifilm left a very big gap in its lens range for a more affordable ultra-wide zoom, and Sigma has filled it.

Sigma 10-18mm f/2.8 DC DN: Design and handling

There are some key features of the Sigma 10-18mm f/2.8 DC DN to pick out straight away. The first is its size. It’s very small and light for an APS-C ultra-wide zoom, and yet it also has that constant f/2.8 maximum aperture. It covers a pretty modest zoom range, of course, but that’s still impressive.

It’s not all good, though. There’s no aperture ring on this lens, so the aperture must be controlled from the camera body. That’s not such a downside on X-mount cameras with a conventional mode dial, such as the Fujifilm X-S10 or X-S20, but it will be a disappointment for users of the Fujifilm X-T5, X-T50, or other X-T, X-E, and X-Pro cameras with external exposure controls. Many of the best Fujifilm cameras owe their status to these controls.

This lens is also not fully weather-sealed. There is a rubber seal behind the lens mounting plate (which is made of brass) to keep out dust and moisture, but that’s it. If you’re going to be shooting in harsh conditions, bear in mind that while many of the best Fujifilm lenses are weather-sealed (look for the ‘WR’ in the name), this one isn’t.

And while the lens internals are made of metal, the exterior is fashioned from TSC (Thermally Stable Composite). Nevertheless, the exterior finish is first-rate. The semi-matt dark gray/black surface looks very smart indeed.

The action of the zoom ring is super-smooth, and the focus ring has a light, smooth feel too, though there’s no focus distance scale and no hard stops to the minimum focus and infinity settings.

The lens zooms in and out by less than a centimetre, and this combines with an internal focus system that should make the Sigma 10-18mm f/2.8 DC DN ideal for gimbal use. The best camera gimbals will be able to cope with any slight center of gravity shifts with no difficulty.

Given the 10mm angle of view at the wide and and the relatively fast f/2.8 maximum aperture, the front element of this lens is not particularly bulbous. This means you can fit relatively common 67mm filters with no need for fancy wide-angle adapters.

A petal-style hood is included. This attaches to the front of the lens with a strange kind of push-click action and is removed with a slight twist. It’s a bit odd, but you do get used to it.

Sigma 10-18mm f/2.8 DC DN: Performance

It’s asking a lot to expect a lens this wide to offer flawless, aberration-free edge to edge sharpness, and despite Sigma’s claim that this lens does exactly that, it doesn’t entirely stack up in practice.

Testing it on a 40MP Fujifilm X-T5 doesn’t really help, since Fujifilm’s latest sensor really highlights any drop-off in lens performance. Keep this in mind if you’re using an earlier 26MP, 24MP or 16MP model, since you won’t notice these issues to the same extent.

Right through the zoom range, the Sigma 10-18mm f/2.8 DC DN is extremely sharp in the center of the frame, and around the mid-way point to the frame edges. At the extreme edges, though, the definition does fall away somewhat. You’ll notice this most at 10mm, though, and by 14mm and 18mm, the edge definition is really very good. This lens certainly outperforms the Fujinon XF 10-24mm f/4 R OIS WR, which is probably what it’s mostly likely to be compared to.

Sigma’s in-built lens profiles do a great job of correcting any distortion or corner shading, though the in-camera correction of purple fringing towards the edges of the frame isn’t that great. This does contribute towards the impression that the corners aren’t that sharp – a lot of the apparent unsharpness is actually chromatic aberration. If you shoot raw you should find that the automatic chromatic aberration correction in both Capture One and Lightroom will fix this with a single click.

The Sigma 10-18mm f/2.8 DC DN does deliver excellent contrast and flare resistance even wide open. You can get really close to foreground objects for dramatic perspective effects and throw backgrounds out of focus at the same time – though there is some visible longitudinal color fringing or ‘bokeh’ fringing with defocused object outlines.

This lens uses a stepping motor AF system rather than the linear actuators in more exotic lenses, but Sigma says the focus group within the lens is light and, in real world use, this lens focuses very quickly. It’s also inaudible. In video it refocuses quickly with subject distance changes and, again, silently.

Sigma 10-18mm f/2.8 DC DN: Sample images

Here’s a selection of images taken with the Sigma 10-18mm f/2.8 DC DN at various focal lengths and shooting distances. The edge to edge performance improves at longer focal lengths, but it’s still pretty good even at 10mm. It does extremely well for a such a small and modestly priced lens.

Sigma 10-18mm f/2.8 DC DN: Verdict

The Sigma 10-18mm f/2.8 DC DN is not perfect. The lack of an aperture ring will be a disappointment for many Fujifilm users, and the lack of weather sealing and OIS may disappoint a few more. But I do think the positives easily outweigh the negatives. Compared to Fujifilm’s own ultra-wide zooms, this lens is tiny – some would say that this is the size APS-C lenses are SUPPOSED to be. Given its size, its constant f/2.8 maximum aperture is a considerable achievement. It’s true that this is over a shorter focal range than the Fujinon XF 10-24mm f/4 R OIS WR, for example, but you have to decide if you’re willing to swap the extra zoom range for an extra f-stop in maximum aperture.

Perhaps the single biggest killer feature of this lens, though, is its price. It’s not just smaller than the XF 10-24mm f/4 R OIS WR, it’s also considerably cheaper. And, admittedly over a smaller zoom range, it outperforms the Fujifilm lens optically, too.

Professional users might still look at the massive Fujinon XF 8-16mm f/2.8 R LM WR instead, which goes even wider than this lens, but that represents a huge step up in both size and price. If what you’re looking for is a more compact ultra-wide zoom for travel, architecture, landscapes or interiors, the Sigma 10-18mm f/2.8 DC DN does it brilliantly. Why pay (and carry) more?

Sigma 10-18mm f/2.8 DC DN: Alternatives

Sigma has launched a new full-frame standard zoom lens with a constant f/2.8 aperture. But where most f/2.8 standard zooms have a 24-70mm focal length, the new Sigma ups the ante by offering a 28-105mm focal range.

The Sigma 28-105mm F2.8 DG DN | Art has been designed for a wide range of subjects, from landscapes to all forms of portraiture, and even close-up shots, thanks to a 40cm minimum focus distance available throughout the focal range. That large maximum aperture also means low light needn't be an issue, and Sigma is claiming the 12-blade rounded diaphragm produces "beautiful" bokeh.

Read more:
The best standard zoom lenses
The best Sony lenses
The best L-mount lenses

Inside is an 18-element optical stack incorporating two FLD (“F” Low Dispersion), one SLD (Special Low Dispersion) and a whopping five aspherical elements. Sigma also states that one aspherical element is an especially large 66.4mm diameter and is therefore very difficult to produce, requiring advanced manufacturing techniques in Sigma's facility in Aizu, Japan. Nano Porous Coating and Super Multi-Layer Coating are applied to minimize flare and ghosting, and the lens is said to have been designed using advanced simulation technology to further reduce flare and ghosting.

This isn't the first time we've seen a constant f/2.8 standard zoom lens that goes longer than 70mm. Canon's RF 24-105mm F2.8L IS USM Z manages a similar feat, but the new Sigma is significantly smaller and lighter. Where the big Canon measures 88.5 x 199mm and weighs a hefty 1,430g, the Sigma is just 87.8 x 157.9mm, and around a third lighter at 995g. This weight reduction is thanks to the use of magnesium-alloy rather than aluminium for the lens barrel, which is responsible for a two-third reduction in barrel weight, while still maintaining good rigidity. Despite the weight-saving, the lens is fitted with weather seals, making it dust and splash-resistant, while the front element features a water- and oil-repellent coating. In addition to improving image quality, those five aspherical elements also help reduce the overall length of the lens without compromising optical sharpness.

Like its Canon 24-105mm counterpart, the Sigma 28-105mm F2.8 DG DN | Art is designed for both stills and video use. It incorporates an HLA (High-response Linear Actuator) autofocus motor for fast, responsive, precise and smooth AF, along with "noise-free" performance when shooting video. Also aiding video use is a dedicated aperture ring, equipped with a de-click switch, as well as a locking switch to prevent unintentional aperture adjustment. The zoom ring can also be locked, and released either by switch or by rotating the zoom ring.

The SIGMA 28-105mm F2.8 DG DN | Art will be available from September 26 , in Sony E-mount and L-Mount variants, priced at $1,499/£1,399.

Pre-order E-mount version from B&H
Pre-order L-mount version from B&H

Sigma's second lens for the Canon RF mount is here, and it's one that APS-C shooters have been patiently waiting for: the Sigma 10-18mm f/2.8 DC DN | Contemporary. 

Announced back in October for Sony E, Fujifilm X and L-Mount, the 10-18mm f/2.8 is "the world's smallest and lightest ultra-wide-angle zoom lens for APS-C cameras" – and is the perfect complement to Sigma's first Canon RF lens, the Sigma 18-50mm f/2.8 DC DN Contemporary.

With an equivalent focal range of 16-28.8mm in full frame terms, and a constant f/2.8 aperture throughout the zoom range, the lens fills a much-needed gap for Canon EOS R7, R10, R50 and R100 owners, essentially providing a wide-angle trinity pro lens for APS-C cameras. 

The lens retains the same core technical specs as seen on the other mounts, with 13 elements in 10 groups, 7 aperture blades, a minimum focus distance of 11.6cm at the wide end and 19.1cm at the telephoto, weather sealing, a filter thread of 67mm and a length of just 62mm. 

It is, however, slightly heavier at 270g (rather than 260g on other mounts), and has a slightly different angle of view range of 106.6° - 73.4°.

While the components may be the same, Sigma has customized the software to meet Canon's autofocus and speed performance.

"A control algorithm including AF drive and communication speed optimization has been developed specifically for Canon RF Mount interchangeable lenses," says Sigma. 

"In addition to realizing high-speed AF, the lens also supports Servo AF and in-camera aberration correction" on cameras that feature the latter function.

The Sigma 10-18mm f/2.8 DC DN | Contemporary for Canon RF goes on sale September 26 with a retail price of $659/£649 (Australian pricing to be confirmed). 

You might be interested in the best Canon RF lenses, along with the best wide-angle lenses and the best Canon wide-angle zoom lenses.

TTArtisan has just unveiled its third 100mm f/2.8 lens in 12 months... and this time the focus purely on macro photography. 

Earlier this year, we saw the Chinese lens specialist bring out a similar lens which had additional shift functionality. And last year, we saw a 'Bubble' 100mm which specialized on its bokeh performance.

The new manual focus macro lens is available in an impressive range of DSLR and mirrorless camera mounts. There are options for Sony E, Nikon Z, Nikon F, Canon EF, Canon R, Fujfilm X, and Leica L mounts. A Fujfilm GFX version is also being sold - although we are warned that this will create vignetting at the higher magnifications.

The 100mm lens provides up to 2x life-size magnification - with a close focusing distance of 0.25m. 

The lens is constructed from 14 elements in 10 groups - including six high index elements. The diaphragm has 12 blades, and at the front there is a 67mm filter ring. The metal-bodied lens weighs between 700 and 750g, depending on the mount chosen.

The telephoto macro lens is especially useful for extreme close-ups of insects and the like - but the focal length means it can also prove an effective portrait lens.

TTArtisan 100mm F/2.8 2X Ultra Macro will sell for $319.

Check out our guide to the best macro lenses currently on sale

Viltrox has just told us that a Sony E-mount version of its Viltrox AF 40mm f/2.5 lens is now available. The budget-priced autofocus prime was first launched in the Nikon Z mirrorless mount earlier in the year.

Weighing just 180g (6.3oz), the lens is suitable for both full-frame Sony cameras - with the effective focal length becoming 60mm when used on an APS-C model.

The big appeal of this new lens (as with the Nikon version) is the budget price - with the Sony version now on sale for $168 / £165.

With an f/2.5 maximum aperture, it is not quite as fast as some rival primes with this 'standard' focal length - but the affordability makes it a useful addition to a camera bag full of slower zooms.

The lens is constructed from 10 elements in six groups, including one ED lens, three high refractive (HR) index lenses, and one aspherical lens. The front element has a nano multi-layered coating designed repel water, grease, and grime. The new Viltox has seven aperture blades, a 52mm filter thread, and a minimum focus distance of 0.34cm (1.1ft).

See our reviews of current Viltrox lenses

• Viltrox AF 13mm F1.4 review
• Viltrox AF 16mm F1.8 review
• Viltrox AF 20mm F2.8 review
• Viltrox AF 23mm F1.4 Z review
• Viltrox AF 27mm F1.2 Pro review
• Viltrox AF 33mm F1.4 review
• Viltrox AF 40mm F2.5 review
• Viltrox AF 56mm F1.4 review
• Viltrox AF 56mm F1.7 review

Tamron is launching a Nikon Z version of its 50-400mm f/4.5-6.3 Di III VC VXD superzoom. The full-frame mirrorless lens was launched in Sony FE mount in 2022, and this 8x zoom will now become Tamron's fifth lens available in the Nikon Z mount.

The lens is unusual as it dramatically increases the range of the established 100-400mm range twofold - turning a telephoto zoom into an all-in-one superzoom that can be used for a wider range of subjects than just sports and wildlife. 

Furthermore, the lens offers closer focusing than you might expect from a lens of this type - offering a 1:2 magnification at the 50mm end, making it a useful substitute for a true macro lens. The minimum focus setting is just 0.25m (9.8in) at this setting - whilst at 400mm you can focus down to 1.5m (59in), with a 1:4 maximum magnification.

In our Tamron 50-400mm f/4.5-6.3 Di III VC VXD review we noted that "For action, sports and wildlife photography when you need to swap between a standard field of view and serious telephoto reach for different compositions, there’s always the risk of missing a great shot while you’re changing the lens on your camera body. This  solves the problem with its unusual 50-400mm zoom range, giving you both options in one package. It’s quite weighty for standard focal length shooting, at more than a kilogram, but has refined handling, fast autofocus, and effective optical stabilization".

The image-stabilized lens is constructed from 24 elements in 18 groups - including two XLD (eXtra Low Dispersion), three LD (Low Dispersion), one GM (Glass Molded Aspherical), and one Hybrid Aspherical lens elements. The lens weighs 1,180g (41.6oz).

The iris diaphragm uses nine blades, and it has a 67mm front filter ring. There is a connector port for use with Tamron's Lens Utility that allows you to update firmware and to implement a Focus Limiter function.

Existing Nikon Z-mount Tamron lenses include the 28-75mm f/2.8 Di III VXD G2, 70-300mm f/4.5-6.3 Di III RXD, 35-150mm f/2-2.8 Di III VXD, and 150-500mm f/5-6.7 Di III VC VXD.

The Tamron 50-400mm f/4.5-6.3 Di III VC VXD will go on sale from September 19 for $1,299/£1,249, and comes supplied with a flower-shaped lens hood. An Arca-Swiss compatible tripod collar is sold as an optional extra for $129/£109.

It's no secret that the retro look of film photography is back – and not just the celebrated film you might find on a Salgado or Adams print, but the nostalgic Nineties film look seen in family albums that were captured with film cameras. PolarPro has just made achieving this look in-camera easier with the release of its LightLeak lenses.

The PolarPro LightLeak range enables you to capture the nostalgic analog feel on the latest mirrorless cameras, by intentionally add light leaks to images. The unique lenses are designed for APS-C sensors and are available in three focal lengths, 16mm 28mm and 50mm (which translates to 24mm, 42mm and 75mm in equivalent terms, or 26mm, 49mm and 80mm on Canon cameras), offering wide to light telephoto range.

Light leaks used to be a byproduct of light accidentally leaking into the camera and exposing a streak on the film. Today it is a stylistic choice chosen by many to emulate the quirks of film, made famous by filters used on social media.

You might be asking yourself why you might use these lenses on cameras that are capable of shooting clean, crisp images, but these lenses are less about clinical precision and more about capturing the mood and moment. They seek to bring back some personality to modern cameras, which can often be too clinical. 

Above: A sample gallery of images taken with the PolarPro LightLeaks

The LightLeak lenses promise to provide "rich colors, natural grain, and light leaks" as you would get with an analog camera and film. Much like a disposable camera the lenses are fixed focus from 3.3ft / 1m to infinity, meaning once you set the focus in the camera it's locked.

The lens also has a fixed aperture of f/11, providing sufficient depth of field to make sure everything is in focus.

The shape and direction of the light leak are determined by rotating a ring on the lens. Alternatively, you can choose to have no light leaks and simply enjoy the ability to capture grain and retro colors.

The design of the lens is as you'd expect from PolarPro, with a sleek aluminum housing and protective lens caps that also look sleek and stylish.

The PolarPro LensLeak lenses are available now for Fujifilm X, Sony E, Canon RF and Nikon Z mounts. Individually they cost $129 / £100, but they are also available as a full set for $349 / £270 (Australian pricing to be determined).

You may also be interested in our guides to the best film cameras, the best film stocks, and the best retro cameras.

Samyang is teasing a new lens - but we don't have much to go on, based on the Facebook post announcing its imminent launch.

With the headline of the post promising "Something New", we see a silhouette of what looks like a very thin lens. So that, I guess, means a pancake prime lens.

We are also told that it is for Sony FE creators - so it is a full-frame lens for Sony Alpha mirrorless cameras.

We are also told it it slim, stylish, inspiring and creative – which doesn't give us a lot more information about the lens's actual specification. But a hashtag does confirm that this lens will boast autofocus.

But we do know that Samyang already has 24mm f/2.8 and 35mm f/2.8 autofocus lenses available for Sony shooters. So this may well be a different focal length - such as a 20mm? Sony already have a Sony E 20mm f/2.8 Pancake lens - but that is only suitable for APS-C-sensor cameras.

The teaser doesn't give us a launch date, but we would expect the announcement to be in the next day or two... And we'd expect, as usual, that the lens will also be made available in the Rokinon range in North America. We'll let you know the full details as soon as we have them.

Meanwhile, check our guides to the best pancake lenses and the best Sony lenses available right now

Several rumor sites are swirling with excitement over the idea that DJI is preparing to announce a new mirrorless system camera in September – that's next month – with the goal of competing directly with Canon, Nikon and Sony.

The source of this rumor seems to be an enthusiastic YouTube post by Andrea Pizzini – with some AI-generated images of a DJI mirrorless camera. While it is probably important to note he offers no concrete evidence, and Pizzini to be attempting to launch a DJI rumor site on the back of this video, there is still something to be said for the idea.

In response to the rumor, a DJI spokesperson said: "The interest in DJI is appreciated, however, we don’t comment on new product rumors. Please keep an eye on our official channels for information relating to the release of any new products."

As I said, Pizzini hasn't got much of a track record when it comes to this kind of information, and it is likely from other DJI rumors about drones that DJI will have a launch in September in any case, DJI would actually be very well-placed to produce a mirrorless camera, so – for fun – let's delve a little further.

For one thing, DJI knows camera tech inside out, admittedly – arguably – with a video bias. Even if we set aside drones, DJI already produced a number of cameras without mirrors – including the best action camera and other interesting products like the Osmo Pocket 3.

At the higher end, where it is more logical to think of competing, DJI have its Ronin 4D cameras which have caught the attention of many cineamatographers. Shooting in 8K and with a built-in gimbal, it's a sophisticated device – and much pricier than a typical mirrorless camera – but it shows the company has all the technical competence. The design also shows an approach to design with none of the baggage that established brands bring.

If you're asking "What about lenses?" then it's worth remembering that DJI is a member of the Micro Four-Thirds (MFT) alliance, and already has a number of lenses which fit that system. It has used them for the Inspire 3 and other drones in that series, as well as other higher-end drones.

DJI also makes its own, albeit limited, range of full-frame lenses with its own DL-mount for use with the Ronin 4K and the Zenmuse X9 drone camera. Some choose to see the Ronin Cinema Cameras as versions of the Inspire that don't fly, but however you see it it is capable not only of accepting DL-mount lenses but M-Mount, E-Mount and L-Mount (DJI have a compatibility guide) suggesting a good amount of homework has already been done.

In terms of customer base, Pizzini makes a very good point in his video about the blurring of the high-end consumer market, which DJI would be well-placed to address. The company is also very experienced at using apps and remote connectivity thanks to its numerous drones, and both of these technologies could be revolutionary for anyone looking for a video-focused or streaming-friendly device.

None of the established brands have been especially quick to embrace apps in the way that DJI's drones do as a matter of course. If there is any truth in this rumor (and, again, we've got nothing concrete) then it has to be said that camera lines like Sony's vlogger-focused ZV-E10 might be the kind of territory it would make sense for DJI to go for.

Built-in support for DJI's wireless microphones (like the DJI Mic 2) would also be a great selling point – personally I see these in a lot of YouTube videos these days.

There are of course a lot of reasons why this might not be true – not least the political issues DJI faces in the USA. It's also worth pointing out the huge difference in price point betwen the vlogger cameras and even mainstream mirrorless market and DJI's Ronin cinema cameras.

Nonetheless, the company has quickly expanded into new markets and price points, especially since moving to its Sky City HQ. These include power stations and video transmission tech. Why not the best mirrorless camera, next?

Last month, Astrhori teased a new macro lens on its social media while asking for product testers. It appears the tests have now been completed as the new Astrhori 120mm f/2.8 macro lens has just been announced.

Astrhori is one of many new Chinese third-party lens manufacturers, offering budget lenses for a wide range of cameras including the market's best mirrorless cameras. Its already extensive lineup includes fish-eye, tilt shift, and macro lenses with the new 120mm release its longest focal lengthed macro to date.

The Astrhori 120mm f/2.8 macro lens is a manual focus full-frame lens, currently available for Sony E, Canon RF, Nikon Z, and L Mounts. Despite its low price point of just $369, it's packed with premium features that wouldn't look out of place next to other offerings in our guide to the best macro lenses.

The lens is constructed of 14 elements in 9 groups which is key for its large f/2.8 max aperture. The 13 aperture blades produce a more rounded diaphragm, which Astrhori states provides "balanced sharpness and attractive bokeh". The quality of the out-of-focus areas of macro lenses is a key factor as the focus plane is often much smaller.

The lens' 2X magnification enables users to capture intricate details on a 'microscopic' level, and by looking at the sample images, the proof certainly is in the pudding. Insects, plants, and product shots enable captures that are not possible with the naked eye.

Macro photographers often shoot delicate subjects or subjects that can be easily affected by too much movement or sound. The Astrhori 120mm f/2.8 macro lens has added a considered de-click function to its lens.

The macro effect is enhanced further by the long 120mm focal length coupled with a minimum focusing distance of just 0.3M. This enables sufficient image compression and a closer look at those finer details.

Unlike Astrhori's macro probe lenses, the 120mm f/2.8 is more versatile and can be used to capture a wide range of scenes including portraiture. Macro lenses are often used for portraits when the photographer wants to create a dreamy feel, as the compression and bokeh are smooth and uniform.

The Astrhori 120mm f/2.8 macro lens is available to order now for $369 / £285 / AU $550 (UK and Australian prices are approximate conversions from the US price).

You may also be interested in our guides for the best macro lens, the best cheap lens, and the best lens for portraits.

The retro aesthetic is in, and with retro cameras come retro lenses – and the new Silver edition of the TTArtisan AF 27mm f/2.8 could be the missing piece to unlocking your full retro setup. 

The popularity of the vintage aesthetic has been increasing, so much that mirrorless camera manufacturers are taking influence from the past – pretty much all the best Fujifilm cameras are prime examples.

The new silver TTArtisan lens would pair nicely with silver cameras such as the Fujifilm X-T50 and Nikon Z fc, as the APS-C lens is available for Fujifilm X mount, Nikon Z mount and Sony E mount.

It must be noted that this is a new colorway and not a new lens, as the TTArtisan AF 27mm f/2.8 was initially released last year. That being said, I do believe it is a lens that has been slept on a little bit.

Right off the bat, it costs under $150 / £170 / AU$240! As good a reason as any to pick up this nifty little pancake, as cheap AF lenses like this are becoming a rare occurrence. However, despite the small price tag, it also has some great features that can make it fantastic for capturing everyday life.

The 27mm is equivalent to just over 40mm on a full-frame camera, an ideal all-rounder and one of my favorite focal lengths for street photography. The wide f/2.8 aperture is also generous, and in our review of the lens we noted great sharpness and contrast, although a slight vignette when used wide open.

The compact pancake size facilitates easy carrying and storing in bags, and even pockets if your camera is small enough. Inside the small form factor is an STM stepping motor which provides quick and efficient autofocus, enabling the user to react quickly without missing the shot.

Other notable features include a USB-C interface for firmware updates, a clicked aperture ring, and anti-shake enabling smooth video capture.

The TTArtisan AF 27mm f/2.8 lens is available now in the new silver and black colorways for an absolute steal at $149 / £169 / AU $239.

You may also be interested in our guides to the best pancake lens, the best lens for street photography and the best cheap lenses.

Yongnuo is a Chinese camera and lens manufacturer that focuses on delivering premium optics with an entry-level price tag. Over recent years its standard of development has risen, but Yongnuo has kept its attractive prices – and now it has announced a new autofocus lens packed with tech for just over $400!

The Yongnuo YN23mm f/1.4 DA DSM WL Pro has officially been announced and although packed with great features, it will fit comfortably in our guide to the best cheap lenses.

The lens is designed for APS-C sensors, meaning the 23mm focal length is the equivalent of 35mm on full-frame bodies – a common focal length for street photography and reportage, and a great all-arounder for photography and video.

Initially available for Nikon Z mount, both Fujifilm X and Sony E mount versions are scheduled for a future date.

Much like the Yongnuo YN33mm f/1.4 DA DSM WL Pro, released earlier this year, it comes complete with a wireless remote that enables the user to control aspects of the lens from a distance. 

The small controller facilitates changes to aperture and focus via a 2.4GHz radio frequency wireless link, meaning it's a great option for video.

The lens also promises great photography capabilities. Constructed of 11 elements in 9 groups, with 9 aperture blades, and a wide max aperture of just f/1.4, the lens offers great bokeh and falloff in the out-of-focus areas.

Other notable features include a quick and accurate AF stepping motor, a minimum shooting distance of just 0.3m, a control ring, customizable buttons and switches, a USB-C interface for firmware updates, and multi-layer lens coating.

The Yongnuo YN23mm f/1.4 DA DSM WL Pro is available now for Nikon Z mount for just $420 (converted from the US$276 price tag).

You may also be interested in our guides to the best cheap lenses, the best Nikon lenses, and the best wide-angle lenses.

Thypoch is a relatively new player in the photography world, but it has quickly made a name for itself with a focus on producing high-quality, manual-focus lenses. While its first lenses were designed for Leica’s M series of cameras, Thypoch is now expanding these lenses to other mounts, quickly adding the Canon RF, Nikon Z, and Sony E mounts, as well as the version I am testing here – for Fujifilm X-Series cameras. 

So far the company’s lineup includes just a couple of focal lengths, catering mostly to street, landscape, and travel styles of photography with a Simera 28mm f/1.4 and Simera 35mm f/1.4 being the first, and currently only, two lenses in the Simera range. Thypoch also has a curious collapsible 50mm f/2 lens in a separate Eureka range that I also really enjoyed playing with.

A counter to the growing number of cheap lenses flooding the market from Chinese lens manufacturers, Thypoch has become recognizable for its robust metal construction and intricate designs and can be mentioned in the same breath as companies like Vogitlander. Thypoch lenses have become pretty instantly popular among Leica photographers who value precision and durability, but also optical quality.

But, while Leica cameras are made for lenses exactly like this, how well is the Thypoch Simera 28mm f/1.4 going to transition to Fujifilm and other more modern autofocus-first cameras?

Thypoch Simera 28mm f/1.4: Specifications

Thypoch Simera 28mm f/1.4: Price

At around $649 / £660 / AU$1,058, the Thypoch Simera 28mm f/1.4 lens offers great value for its price, with high optical quality, a wide aperture, and outstanding build quality. It is around $150 cheaper than the closest Fujifilm XF 23mm f/1.4 R LM WR lens, although you of course miss out on the autofocus of that lens, as well as weather sealing. But while it is a bit cheaper, it isn’t quite as drastic of a contrast as the price between the Leica mount version of the Simera and Leica's own brand lenses, which is more like a $7000 difference.

Thypoch Simera 28mm f/1.4: Design & Handling

The Simera 28mm features an all-metal body, lending a premium feel and durability. The lens really is exquisitely designed, with lots of little touches that make it a real pleasure to use. The lens is available in black and silver finishes, and both come with matching square lens hoods. The black version has a silver ring on the front though, which is one design choice I could have done without.

The lens's compact size is well-suited for most Fujifilm cameras, and using it on my Fujifilm X-T5 the lens looked well-proportioned. Despite the metal construction, the lens was relatively balanced as well and didn't feel front-heavy, although it does weigh a reasonably heavy 347g for its compact size. For comparison, the Fuji 23mm does weigh 28g more, but it's a much larger lens with more glass and includes autofocus motors, and the wonderful, but aging, Fujifilm XF 35mm f/1.4 R lens is only around half the weight (187g). 

The aperture ring clicks decisively into place between stops, providing tactile and audible feedback and making it easy to adjust settings on the fly without taking your eye off the viewfinder. There is also a switch on the bottom to de-click the ring if you want to use the lens for video (or just hate the clicking) which is a nice feature. Thypoch’s really well-designed focus scale is also so enjoyable to use, with little red dots appearing on the lens to guide which areas of the shot will be in focus at different apertures.

The manual focus ring is smooth and well-damped and facilitates some precise focusing. I am happy that for this version Thypoch decided to ditch the focus lock switch from the Leica version of the Simera, as I didn’t find it that useful. The focus ring's textured surface also enhances grip but the larger thumb rest on the focus ring is quicker and more comfortable to use. 

However, just one drawback to an otherwise very well-designed lens is the lack of weather sealing, which could be a consideration for photographers frequently shooting in wet, dusty, or sandy conditions. 

Thypoch Simera 28mm f/1.4: Performance

The optical performance of the Simera 28mm f/1.4 is exceptional. It produces sharp images with impressive clarity from the center to the edges of the frame. Even wide open at f/1.4, the lens manages to maintain a good degree of sharpness, with only minimal softness at the edges that diminishes pretty quickly when stopped down. 

However, there was a fair amount of vignetting wide open, although from f/2.8 onwards this was a lot better, and it was gone by f/4. Otherwise, distortion is well-controlled, as was flaring. There was the occasional bit of purple color fringing around harsh backlit scenes but this can easily be nixed in editing software. 

The lens excels in low-light situations thanks to the wide f/1.4 aperture, which is a bonus for Fujifilm cameras and their APS-C sensors having less light-gathering ability than full-frame rivals. The wide aperture allows for faster shutter speeds and lower ISO settings, so cleaner images – if you don’t add any Fujifilm grain of your own that is.

The bokeh produced by the Simera 28mm is smooth and pleasing, with a 14-blade diaphragm contributing to the creamy background blur that makes subjects stand out. The lens also has its own distinct look to it, which I think might be a holdover from the original design being for Leica cameras, but there is a certain style to out-of-focus areas of images that the Fujifilm lenses don’t produce.

The lens's close focusing distance of 0.4 meters isn’t going to produce any stunning macro detail, but it's close enough to enable some creative reasonably close-up shots.

Thypoch Simera 28mm f/1.4: Sample Images

Thypoch Simera 28mm f/1.4: Verdict

The Thypoch Simera 28mm offers excellent build quality, optical performance, and a distinctive look that rivals more expensive lenses. The lens is manual focus only, however, it can be used with Fujifilm’s focus peaking and other focus guides and manual focus is smooth and precise. Image quality is great, with sharpness across the frame, although a little vignetting wide open. Background falloff is smooth and creamy, and the Simera has really pleasing characteristics not exhibited by Fuji's own lenses.

The build quality is the biggest draw to this lens, with an exceptional all-metal construction that looks very premium and feels really nice in the hand. A joy to use – and the aperture ring offers either precise clicked stops or smooth cycling through apertures at the flick of a switch. The depth of field indicator also is a quirky design flourish that I really enjoy.

The Thypoch Simera 28mm f/1.4 lens is a fantastic option for Fujifilm users looking for a high-quality prime lens at a reasonable price, however while the Simera was drastically cheaper than the Leica’s it was first introduced against – the savings are not that substantial versus the Fujifilm XF 23mm f/1.4 R LM WR lens with its autofocus and weather sealing, so it depends on how much you value a manual focus experience and the unique characteristics of the Simera range.

Alternatives

Sigma has announced a firmware update that enables several of its E-mount lenses to be compatible with the maximum 120fps burst shooting rate of the Sony a9 III. Three lenses have been given the update:

• 50mm F1.4 DG DN | Art Ver.02 (Sony E-mount)
• 105mm F2.8 DG DN MACRO | Art Ver.04 (Sony E-mount)
• 14-24mm F2.8 DG DN | Art Ver.04 (Sony E-mount)

Read more: Sony a9 III full review

We were stunned by the a9 III and its incredible global shutter that enables 120fps full-resolution RAW continuous shooting, with no strings attached. Except that last bit was only true providing you were using the camera with a supported Sony lens - third-party lenses from the likes of Sigma were not compatible with the maximum 120fps burst shooting rate. Whether or not that was because of legitimate technical reasons, or just because Sony was intentionally restricting this stand-out feature for use with its own lenses, is up for debate. But now it is available with select Sigma optics, albeit still with a rather large caveat!

While these Sigma lenses are now compatible with the a9 III's 120fps mode, this is only when used in AF-S, DMF or MF focussing modes. You can't use AF-C; the very focussing mode you're most likely to want when shooting a continuous burst of stills. Granted, you'll still be able to track subjects moving across the image frame at a consistent distance from the camera, but you won't be able to maintain focus of a subject like a cyclist or racing car that's approaching you.

Of course it is plausible that only Sony lenses have the necessary processing ability to facilitate AF-C autofocus at 120fps. But on the other hand, Sigma is more than capable of producing world-beating optics with top quality AF, so we can't help but wonder if this is just Sony artificially reserving uncompromised 120fps a9 III burst shooting for use with its own lenses.

It's not often a cheap 85mm fast portrait prime lens comes along, but that's exactly what 7Artisans have just launched for Sony full-frame E-mount cameras. The new AF 85mm F1.8 has instantly become one of the most affordable portrait primes available for Sony shooters, and unlike many budget prime lenses from third-party manufacturers, this one has stepping motor autofocussing, a configurable Fn function button on the lens barrel, as well as a USB-C port in the lens mount to enable future firmware updates. The only obvious omission here is optical image stabilisation, but since this is a lens designed for Sony's IBIS-equipped E-mount bodies, that's not a deal-breaker.

Read more:
The best cheap lenses The best Sony lenses The best Sony cameras

Optically you get a 10-element stack structured in 7 groups, including a pair of extra-low dispersion elements and two high-refractive-index elements to improve sharpness and minimise chromatic aberrations. 7Artisans hasn't skimped on the lens diaphragm either, as it uses an 11-blade aperture to keep out of focus highlights well rounded, plus it should also make for very smooth bokeh. And if you'd rather use the lens for close-ups, the 0.8-meter minimum focussing distance allows for this.

Despite its full-frame coverage and the inclusion of autofocus, the AF 85mm F1.8 is fairly light, weighing 437.5g, though it should be noted that's still noticeably heavier than Sony's own 371g FE 85mm F1.8 lens. The Sony optic is also shorter, measuring 81mm long compared to the 96mm 7Artisans lens.

But if you can manage that extra bulk, the $299/£279 retail price of the 7Artisans AF 85mm F1.8 makes it almost half the price of the Sony competition. What's more, 7Artisans has already released an AF 50mm F1.8 lens for Sony cameras that we've already reviewed, and which we found to be very good indeed, with respectable image quality. If this 85mm version performs just as well, it could be an absolute steal at the price.

The 7Artisans AF 85mm F1.8 is available to pre-order now from B&H for $299 or at Amazon for £279. 

In today's landscape, the demand for video content is at an all-time high, and more and more professionals are bulking out their kits with specialist video equipment. Cine lenses are a staple but often have a larger-than-desired price tag attached – enter 7Artisans.  

The new 7Artisans Hope Prime T2.1 S35 Cine lenses offer competition to the best cine lenses on the market, costing just a fraction of the price of some options.

Available for Sony E, Fujifilm X, Canon RF-S, and MFT mounts, the Hope Cine prime lens range is comprised of 6 lenses covering wide-angle to medium telephoto and available in black and titanium colorways. A 10mm, 16mm, 25mm, 35mm, 50mm, and 85mm offer the user versatility to capture video in a wide range of shooting scenarios.

There has been no information regarding future mount options, however, although L mount users will certainly be keen for a release. 

Despite the low price point, the lenses offer an extensive list of features for enhanced performance and ease of use, starting with the generous T2.1 aperture. 

A maximum aperture of T2.1 enables bright capture of the scene, even in low lighting conditions. It also aids in producing a shallower depth of field with a wider perspective, especially when used at the minimum focus distance of just 0.2m.

7Artisans highlights the form factor of the lenses as a key feature to be utilized by creators. Despite covering a wide focal range and being made up of 15 elements in 12 groups, the lenses are lightweight and compact, weighing just 600-800g. This is ideal for those who operate as individuals and provides easy switching of accessories such as gimbals and stabilizers.

Consistency across any cine lens line is key, as it allows the user to seamlessly swap different focal length lenses without changing the shooting rig, and the Hope lenses are no different.

A unified design specification means that the focus ring and the aperture ring are in the same position on all lenses. The focusing rings also provide a focus stroke of 260°, enabling precise focusing control and maximizing accuracy.

Other notable features include multi-layer nano-coating, compatibility with AF accessories, suppressed focus breathing, and a moisture-proof carry box.

The best part about these lenses is the price point. The 7Artisans Hope Prime T2.1 S35 Cine lenses are available individually or as part of a set. 

Pricing of the individual lenses is as follows: 10mm – $489 / £378, 16mm – $399 / £308, 25mm – $369 / £285, 35mm – $369 / £285, 50mm – $369, / £285 85mm – $369 / £285. (Australian pricing to be confirmed).

You may also be interested in our guides to the best cinema lenses, the best cinema camera, and the best camera for filmmaking. 

AstrHori is a relatively new Chinese lens manufacturer that develops affordable manual focus lenses for modern mirrorless cameras, and just in time for the summer weather to appear (hopefully!), it has announced a new 120mm macro lens.

The AstrHori 120mm f/2.8 Macro lens will be the company's longest focal length lens to date and will offer users the opportunity to focus closely on their subjects. No stranger to macro lenses, Astrhori produces some of the best macro probe lenses on the market, and although not a probe lens, the new 120mm will provide an alternative macro experience to its existing offerings.

Not much has been released regarding lens specifications, as the official announcement via its social media channels states the lens is 'coming soon', but by looking at the poster, we know that it is designed for full-frame and will feature on - Sony E, Canon RF, Leica L, Nikon Z, and Canon EF mounts.

This provides an option for most mirrorless cameras, and although the price has yet to be disclosed, Astrhori lenses come in at the lower end of the market. 

With no specifications released, we only have an image of the lens from which we can extrapolate some information. The lens looks to have a durable build quality with an all-metal body, an aperture ring, and a precise focusing ring - vital for all manual focus lenses, especially macro. 

The announcement was made on AstrHori's social media, in a post asking their community if anyone would be interested in reviewing the new lens. The caption states, "Now recruiting Reviewers. I sincerely hope that all Youtubers, Vloggers, or macro photographers will not miss the recruitment plan. Please see the posted photo for specific participation conditions".

As expected there has been an influx of comments requesting the lens, however, this opportunity will remain open until July 12, 2024, so there is still time to submit. 

You may also be interested in our guides to the best macro lenses, the best wide-angle lenses, and the best tilt-shift lenses. 

I’ve got a bit of a soft spot for Yongnuo lenses. Made in China, they tend to be of good quality and outrageously good value for money. I’ve bought Yongnuo YN50mm F1.8Z DF DSM and Yongnuo YN85mm F1.8Z DF DSM lenses for my full-frame Nikon Z-system cameras, to add to my permanent collection, and recently reviewed the Yongnuo YN33mm F1.4Z DA DSM WL Pro which, like this 11mm lens, is designed for APS-C format bodies and is compatible with Yongnuo’s optional BR-L1 remote controller. 

Unlike the 33mm lens, however, it’s so far only available in Sony E-mount, rather than catering to multiple makes of camera. Even so, it aims to be one of the best lenses for the Sony A6700, and other crop-sensor Sony mirrorless cameras.

Yongnuo YN11mm F1.8S DA DSM WL: Specifications

Yongnuo YN11mm F1.8S DA DSM WL: Price

Ultra-wide-angle prime and zoom lenses often command the big bucks, especially if they come complete with fast aperture ratings. Despite combining an ‘effective’ 16.5mm focal length in full-frame terms with a fast f/1.8 aperture, this Yongnuo lens is relatively inexpensive. It has a budget-friendly list price of around $300/£240. That makes it potentially great value for anyone wanting a really expansive perspective when using an APS-C format Sony E-mount camera.

Yongnuo YN11mm F1.8S DA DSM WL: Design & Handling

I remember when we used to call mirrorless cameras ‘compact system cameras’. Sony’s APS-C format bodies are certainly slimline and the Yongnuo 11mm follows suit. It’s barely more than a couple of inches in length, weighs in at just 260g, and has a small 58mm filter attachment thread. The filter thread is definitely worth a mention, as many ultra-wide-angle lenses have a built-in hood, which precludes the fitment of filters that are often favored for creative landscape photography, and more besides.

Despite its very compact and lightweight design, there’s a lot shoehorned into this Yongnuo lens, and I’m not just talking about the expansive 105-degree viewing angle from its ‘effective’ 16.5mm focal length and its fast f/1.8 aperture rating. That makes the lens ideal not only for landscapes and cityscapes but also for dimly lit architectural interiors and even astrophotography. 

So what else is packed into the lens? For starters, there’s an aperture control ring complete with a click/de-click switch, catering to both stills and movie capture. You also get a customizable function button, nominally for autofocus hold. And speaking of autofocus, there’s the now typical linear stepping motor which is rapid for stills and enables smooth, virtually silent autofocus transitions when shooting video.

And there’s more. Surprisingly, considering the budget price tag, the lens has a smartly finished anodized aluminum casing and a metal mounting plate complete with a weather-seal gasket. A USB-C port is also featured, for applying firmware updates if and when needed. Going beyond the often-featured autofocus/manual focus switch, the one fitted to this lens also enables trick functions with Yongnuo’s BR-L1 remote control, sold separately for around $59/£47. 

The lens’s built-in 2.4GHz radio frequency communication enables the use of the remote controller’s Fn button, A and B buttons, a rotary dial, and a little mono LCD screen. After pairing it with the lens, you can use the remote for adjusting the aperture and for manual focusing, as well as for A-B focusing, shifting between two preset focus distances along with setting the speed of the transition. As with the lens, the optional remote features a USB-C port, again for applying firmware updates but also for charging its internal battery.

Let’s not forget the glass, which is naturally a key feature of any lens. There are 10 optical elements in total, including 2 aspherical elements, Low Dispersion and Ultra-low Dispersion elements, and 3 HR (High Refractive index) elements. The overall aim is to optimize clarity, contrast, and color fidelity while keeping color fringing and other aberrations to a minimum. The front element has a fluorine coating to repel moisture and grease, and a petal-shaped, bayonet-fit hood is supplied with the lens. 

As usual, this is reversible to reduce stowage space, and the pinch-type front cap enables easy fitment and removal even with the hood in its operational, front-facing orientation. Suffice it to say, that the feature set and handling extras are both plentiful.

Amongst their other virtues, ultra-wide-angle lenses are great for exaggerating perspective for creative effect, stretching the apparent distance between close foreground and background areas within a scene. You can certainly get in close with this lens, thanks to its minimum focus distance of 15cm (6 inches) or about 7.5cm (3 inches) from the front of the lens. 

Yongnuo YN11mm F1.8S DA DSM WL: Performance

Levels of sharpness are impressive in the central region of the image frame, even when shooting wide-open at f/1.8. It’s a big ask to expect great sharpness at the edges and corners of the frame with such a wide-angle lens at this aperture, especially one that’s physically so small. Even so, wide-open corner sharpness is fairly reasonable but, as I’d expect, it pays to stop down to f/5.6 or f/8 for the best sharpness towards the edges and corners.

Contrast and clarity are good and the lens delivers good color rendition. Color fringing can be noticeable around high-contrast transitions towards the edges and corners of the frame but it’s of a fairly low order and easily within the remit of automatic correction. The same goes for barrel distortion. Again it’s only minor when uncorrected and the Yongnuo certainly doesn’t depend on automatic in-camera correction for this, unlike many recent lenses designed for mirrorless cameras.

The aperture is controlled by a 7-blade diaphragm. Stop down to narrow apertures and the lens is capable of producing striking 14-point sun stars, if you’re into that sort of thing. Designing such a physically small ultra-wide-angle lens, something has to give. Vignetting is quite noticeable at wide apertures but diminishes as you narrow the aperture to f/4 and beyond. All in all, the little Yongnuo punches well above its small size, weight, and price tag.

Yongnuo YN11mm F1.8S DA DSM WL: Sample Images

The following gallery of example shots was taken on a sunny day in the UK city of Bath, with the lens mounted on a Sony A 7II camera body in APS-C crop mode. The included images are featured without any automatic in-camera corrections for peripheral illumination, color fringing or distortion. What you see is what you get, with no corrections applied.

Yongnuo YN11mm F1.8S DA DSM WL: 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 central region of the image frame is very good, only taking a knock at the narrowest aperture of f/16, due to the usual phenomenon of diffraction. Extreme edge/corner-sharpness is less impressive at wide apertures, and it pays to stop down to f/5.6 or f/8 for optimum edge-to-edge sharpness.

Fringing:

Color fringing can be noticeable towards the edges and corners of the frame but it’s of a fairly small amount. Automatic in-camera correction is generally available to take it out of the equation, and it can be removed in software when processing RAW files.

Distortion: -1.54

The lens scores well for distortion, as the amount of barrel distortion is of a low order for such an ultra-wide-angle lens. It’s way less than with many wide-angle and even standard lenses for mirrorless cameras that we’ve tested, which rely entirely on automatic in-camera correction that can’t be disabled in camera menus.

Yongnuo YN11mm F1.8S DA DSM WL: Verdict

Sometimes, less is more. I really like that the Yongnuo 11mm is so compact and lightweight that I can practically slip it into a spare pocket and carry it around without feeling weighed down. That makes it useful to keep on hand for anytime my standard zoom runs out of viewing width, for the likes of walkabout and travel photography. Image quality and build quality are highly impressive, considering the purchase price, as are the lens’s up-market handling characteristics. All in all, it’s a small lens for a small selling price that goes large in its performance and features.

Alternatives

Chinese lens specialist 7Artisans has just announced its second-ever full-frame autofocus lens - an 85mm f/1.8 prime that is the perfect focal length for portraits. The new lens follows on from the 7Artisans AF 50mm f/1.8 which was launched last year, and was the company's first venture into autofocus, after previously only offering manual-focus lenses. The company has also released the crop-sensor AF 27mm f/2.8.

The 7Artisans AF 85mm f/1.8 will be available in Sony E-mount for full-frame Alpha mirrorless cameras. 

Impressively, it has 11 iris blades – promising circular bokeh even when closed down. There is also a built-in USB-C port on the bayonet mount that allows the lens to be upgraded easily with new firmware. There is also a function button on the side.

The lens is constructed from 10 elements in seven groups, including two ED glass elements. The lens weighs 437.5g and measures 72x96mm, , and has a 62mm front filter thread.. The closest focusing distance, meanwhile is 0.8m (0.62 feet). 

The price in China is 1580 Yuan - around US$220 or £170 - which suggests it will retail in the West for about the same price as the 7Artisans AF 50mm f/1.8.

See our round-up of the best lenses for portraits that you can buy right now

The Zeiss Milvus 15mm f/2.8 follows suit with various other families of Zeiss lenses, like the Batis and Loxia (for Sony E-mount cameras), in that it’s named after a bird. This time around, instead of being a sub-Saharan flycatcher or a stocky finch, Milvus takes its name from the red kite, a bird of prey. That sounds like a more high-performance and impressive deal from the get-go. It’s worth bearing in mind though that, in my neck of the woods, the red kite went extinct for about 100 years before being so successfully being reintroduced to the UK. I have to wonder if the writing is also on the wall for DSLR lenses, with so much of the world going mirrorless. Either way, the Milvus 15mm ultra-wide-angle, full-frame compatible lens is still available in ZE and ZF.2 options, for Canon and Nikon DSLRs respectively. In fact, these manual-focus lenses arguably work even better on Canon and Nikon mirrorless cameras via the respective companies’ mount adapters, where focusing aids like magnified preview and focus peaking come into play.

Specifications

Key features

This Zeiss Milvus lens has two key features as far as I’m concerned. First is its ultra-wide 15mm focal length, delivering a mighty 100-degree viewing angle. As an ultra-wide lens, it’s great for sweeping landscape vistas, cityscapes, architectural interiors and simply for exaggerating the perspective between foreground and background areas of a scene. Indeed, with a short minimum focus distance of just 0.25m (9cm or 3.5 inches from the front of the lens), you certainly can get in close.

The second major attraction is the fairly fast f/2.8 aperture rating. That comes in useful for maintaining quick shutter speeds for freezing motion even under dull lighting conditions, as well as enabling a fairly tight depth of field if needed, when shooting extreme close-ups. It also adds astrophotography to the remit of the lens.

A glaring omission from the feature set, at least for many digital photographers, is that there’s no autofocus. Many of us have come to rely almost entirely on autofocus since the 1970s, and the lack of it can seem a real challenge. But hang on a minute. At regular focus distance and medium aperture settings, the depth of field of a 15mm lens is huge, so ultra-precise, pinpoint focusing is largely unnecessary. As it turns out, the long throw of 119 degrees for the focus control ring enables very fine adjustments, and the silky-smooth action gives a really fluid feel.

And there’s more. The long throw of the focus ring enables a genuinely useful focus distance scale, complete with depth of field markers for all full f/stop intervals from f/2.8 right through to f/22. This enables effective ‘zone focusing’, so you can set the near and far limits covered by the depth of field for any focus distance and aperture combination. On top of that, while there’s no split screen or microprism in the viewfinders of DSLRs, there’s a focus confirmation lamp in Canon cameras and the additional benefit of focus direction lamps in Nikon cameras. Those are enabled thanks to the lens having an integral CPU and full electronic communication with the host camera body.

All in all, the lack of autofocus needn’t be a deal-breaker. And if you use an EOS R-system or Nikon Z-system mirrorless camera, the lens is fully compatible via EF-EOS R and FTZ mount adapters respectively. A bonus in both cases is that you can take advantage of magnified preview in the viewfinder or rear screen, and the option of focus peaking to help with accurate focusing.

Many ultra-wide-angle lenses have an integral hood that precludes the easy use of filters. I like that the Milvus 15mm has separate petal-shaped, bayonet-fit hood, enabling the inclusion of a filter attachment thread. A downside, however, is that the filter thread is unusually large at 95mm.

A bonus for video shooting, at least with the Nikon F-mount version of the lens, is that the aperture ring comes complete with a click/de-click option. That’s sadly lacking in the Canon edition. Both versions of the lens are epically well built, with an black anodized metal barrel and comprehensive weather-seals. And unlike many ‘metal lenses’, this one has a rubberized focus control ring which feels more tactile and less cold to the touch in chilly weather.

Performance

The lens is designed on classic Zeiss Distagon principles. As such, it has a retrofocus design that aims for optical excellence right out to the edges of the image frame, with effective correction of aberrations and very low field curvature. The complex optical path contains 15 elements which include two aspherical elements and five low dispersion elements, the latter to boost sharpness and clarity while reducing color fringing. Zeiss’s legendary T* Anti-Reflective Coating is applied to minimize ghosting and flare, and to boost contrast. To further this, the edges of all the optical elements are manually coated with pitch-black lacquer light traps are built into mechanical components to combat internal reflections.

Center-sharpness is excellent, even when shooting wide-open at f/2.8. As I’d expect, it pays to stop down to apertures of between f/5.6 and f/11 for enhancing sharpness towards the extreme edges and corners of the frame.

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:

Surprisingly, the lens delivers its best center-sharpness at the very widest aperture of f/2.8, but it remains excellent all the way down to f/11. Edge/corner-sharpness comes on song at f/5.6 and remains impressive through to f/11.

Fringing:

There’s only minimal color fringing across most of the image frame, throughout the entire aperture range. It can be a little visible towards the extreme edges and corners of the frame but is still very well controlled.

Distortion: -2.15

Barrel distortion is of a low order for such an ultra-wide-angle lens. For critical scenarios, like in architectural photography, the uniform nature of the distortion makes it easy to correct at the editing stage.

Verdict

I feel that sometimes bigger really is better, and the Zeiss Milvus 15mm F2.8 certainly delivers in terms of an oversized viewing angle. I love the way it can shoehorn vast landscape vistas into the image frame and that it works similarly well for architectural interiors and even for astrophotography. Build quality, handling and performance are all exceptional but it lacks autofocus and comes at a very steep purchase price.

• Other Zeiss Milvus lens reviews
• Zeiss Milvus 35mm f/2 review
• Zeiss Milvus 50mm f/1.4 ZE review
• Zeiss Milvus 18mm f/2.8 review
• Zeiss Milvus 21mm f/2.8 review

For solo filmmakers seeking a balance between quality and convenience, Irix lenses offer a well-integrated solution. Designed to work seamlessly together, these lenses feature consistent focus and iris gear positions, allowing for easy swaps without needing to adjust your equipment setup. 

This uniformity and matching weights and sizes will enable users to switch lenses quickly on a tripod, Steadicam or gimbal without rebalancing, streamlining your workflow on set. 

The Explorers set is an all-in-one kit that includes four versatile lenses: the 21mm, 30mm, 45mm, and Cine 65mm. Each lens is tailored to different shooting needs, from wide, distortion-free shots to tight, cinematic portraits.

ABOVE: Trailer for the Irix Explorers Cine lens set

The 21mm lens captures expansive scenes, making it ideal for establishing shots and events, while the 30mm lens is perfect for medium shots and interviews, doubling as a great portrait lens on crop sensor cameras. The 45mm lens, a favorite among users, excels in low light with a T1.5 aperture, and the 65mm lens is ideal for achieving a cinematic look that's perfect for narrative filmmaking.

Irix lenses provide consistent image quality across the board, ensuring uniform contrast, color and sharpness in every shot. This consistency is particularly advantageous in post-production, where maintaining a cohesive look is crucial. 

Most lenses come equipped with an 86mm filter thread and a 95mm front diameter, accommodating a range of filters that can enhance your creative options.

Included in the set are three essential filters: a UV filter for lens protection, a CPL filter for reducing reflections and an ND8 filter for maintaining wide apertures in bright conditions. These filters attach quickly via a magnetic mount system and are stored securely in a scratch-resistant case. This setup is ideal for solo filmmakers who need to adapt swiftly to changing shooting conditions.

Durability and versatility are key features of Irix lenses. They are weather-sealed to protect against dust, sand, and water, allowing you to shoot in various environments without worry. The set also includes a sturdy Nanuk case, known for its durability, to keep your gear safe during transport. Weighing around 8kg, the complete set is both portable and rugged, making it an excellent choice for filmmakers on the go.

The Irix Explorers set is available now, in both metric and imperial configurations, for Canon EF and RF, Sony E, L-Mount, Fujifilm X, Nikon Z, Arri PL and Micro Four Thirds. It is priced $5,330 / £4,702, or $5,430 / £4,790 for the PL kit (Australian pricing to be confirmed). 

You might be interested in the best cine lenses, along with the best cinema cameras on the market right now. 

Six years after the launch of the EOS R system, Sigma has finally released its first Canon RF mount lens: the Sigma 18-50mm f/2.8 DC DN | C. 

While it will physically fit any RF mount camera, the Sigma 18-50mm f/2.8 DC DN | C is specifically an RF-S lens – which means it is designed for EOS R bodies with an APS-C sensor, such as the Canon EOS R7, R10, R50 and R100, though it can be used on full-frame EOS R cameras in crop mode.

The lens has an equivalent focal length of 28.8-80mm and boasts a constant f/2.8 maximum aperture along with weather sealing, which effectively makes this a standard trinity lens – but one that, thanks to its Contemporary designation (the "C" in the name), is as portable as it is powerful.

Weighing only 300g and measuring just 69.2 x 74.5mm at the wide end (though it does extend as you move to the tele end), this unbelievably small optic pairs perfectly with compact bodies like the EOS R100 – which is one of the cameras I used for my Sigma 18-50mm f/2.8 DC DN | C review. 

It should be noted that this is not a lens designed exclusively for the RF mount, but is an existing lens that has been available since 2022 for Sony E, Fujifilm X and L-Mount cameras. 

As such it carries broadly the same specifications and optical formula, with 10 groups consisting of 13 elements including a super-low dispersion lens and a trio of aspherical lenses. 

That means it also inherits some of the existing optical foibles, such as fringing, uninspiring corner sharpness and pretty profound distortion (though the latter is corrected in-camera). 

Still, like its forebears, I found it one of the best APS-C lenses I've had the pleasure of using. "Sigma's debut on the Canon RF mount is a triumph," I wrote in my review. 

"Super light yet super fast, pint-sized yet power-packed, I keep coming back to the same key selling point: this is a standard trinity lens that fits in your pocket. What's not to love about it?"

The Sigma 18-50mm f/2.8 DC DN | C for Canon RF goes on sale July 11, priced £479 in the UK (US and Australian pricing to follow). 

Take a look at the best Canon RF lenses, along with some of the best standard zoom lenses currently on the market.

The Sigma 18-50mm f/2.8 DC DN | C (for Contemporary) is, first and foremost, Sigma's debut lens for the Canon RF mount. Without going into all the politics, I've waited six years for my first RF Sigma lens and the wait has been worth it – provided you're an APS-C user.

That's because the Sigma 18-50mm f/2.8 DC DN | C is specifically an RF-S lens. Which means that, while you can use it on full-frame EOS R cameras in crop mode, it has been designed for APS-C bodies like the Canon EOS R7, R10, R50 and R100. 

With an equivalent focal length of 28-80mm, weather sealing and a constant f/2.8 aperture, this is essentially a standard trinity lens for Canon's APS-C cameras – and thanks to Sigma's incredible engineering, it's barely bigger than one of those tiny cans of soda you get for mixing cocktails.

All this does come with some optical compromises, though whether you'll really notice them is another matter. Let's take a closer look…

Sigma 18-50mm f/2.8 DC DN | C: Specifications

Sigma 18-50mm f/2.8 DC DN | C: Price & Availability

Announced on April 23 2024, the Sigma 18-50mm f/2.8 DC DN | C goes on sale July 11, priced at £479 in the UK (US and Australian pricing to follow). 

It doesn't have any direct competitors, with the closest alternative being the Canon RF-S 18-45mm f/4.5-6.3 IS STM – typically sold as a kit lens with APS-C RF bodies, and selling for a much lower price of $299 / £339 / AU$299. The two lenses offer similar focal lengths, but otherwise very different propositions; Canon's is much smaller and is stablized, but offers a much slower f4.5-6.3 aperture, while Sigma's is faster, has a faster and constant aperture, and is weather-sealed. 

Sigma's lens feels appropriately priced, even without a benchmark to compare it to, as you're effectively getting a trinity lens for under 500 bucks. 

Sigma 18-50mm f/2.8 DC DN | C: Design & Handling

The Sigma 18-50mm fits perfectly in the palm, and pairs beautifully with Canon's smaller APS-C bodies – particularly the compact EOS R50 and R100, but also with the larger R7 and R10. 

Bear in mind that, while this lens is weather-sealed, the R7 is the only one of the above cameras that also possesses sealing (so you are not protected from the weather if you use it with any other RF-S body).

This is an incredibly small and lightweight lens, at just 69.2 x 74.5mm and 300g (making it slightly larger than the E mount version we reviewed in 2022). Out of interest, since it's the closest comparable RF-S optic, here's the Sigma 18-55mm next to the Canon RF-S 18-45mm. 

As you can see, in its collapsed form, the Canon is about half the size of the Sigma, but it cannot shoot until you extend it into shooting mode – whereupon it becomes the same size (though the Sigma does extend further when you zoom). 

The lens has an external zoom mechanism that telescopes out about an extra third as you zoom towards 50mm. Even so, it remains small and well-balanced at all times. For my fingers, the zoom ring has the perfect amount of throw for a barrel this compact, enabling seamless coast-to-coast racking.

Likewise, the focus ring offers "just right" tactility for manual focusing – though it should be noted that, with such a streamlined design, there is no physical switch to flick between AF and MF. 

Sigma 18-50mm f/2.8 DC DN | C: Performance

I tested the Sigma 18-55mm on both a full-frame Canon EOS R5 (in crop mode) and a Canon EOS R100. Obviously the latter is the sort of camera that the lens was designed to be used with, but I was curious about how it would perform in crop mode on a full frame camera. 

This is such a fascinating and fun lens to use. Fascinating because, as I've mentioned, it's a powerhouse akin to a 24-70mm trinity. And fun because, instead of being heavy and enormous (and expensive) like a 24-70mm trinity, it's feather-light and supremely small – taking what is usually an unwieldy workhorse for professional jobs and making it one of the best street photography lenses I've ever used!

It could serve any number of other purposes, of course. The focal length and fast aperture make it perfect for things like sports, wildlife and weddings. But I had an absolute blast, pounding the pavement and snapping shots to my heart's content. Having a lens this powerful and portable is such a game-changer for reportage.

While the R5 has a far more advanced AF system, I found this lens an absolute dream for autofocusing on the R100 as well. It's so quick to acquire focus and it keeps right up with the action, even on erratic subjects like bumblebees and moving people. The AF is ninja-quiet, too, and incredibly smooth, so this would be a great lens for shooting video. 

When shooting wide open, the Sigma 18-55mm renders really pleasing bokeh. You're not going to get the same shallow depth of field on an APS-C sensor, but the aperture enables you to create subject separation and there's a lovely quality to the defocused areas. 

This lens is also super-sharp in the center when shooting wide open, which is exactly what you want of a constant f/2.8 lens. Our lab results (see below) revealed the corners to be far less impressive, though in real-world shooting I can't say that I really noticed it. 

What I definitely did notice, though, was the distortion. As was the case with the Sony E mount version of this lens, barrel distortion is enormous at the wide end with less obnoxious pincushioning as you go long. 

It should be noted that this is all corrected in-camera for JPEG shooting, but you'll obviously see it if you work with RAW files (though it's only a few clicks to correct in post-production). I personally don't mind lenses that rely on camera correction, but I know some purists feel betrayed by a lens if it's not achieved optically. 

Sigma 18-50mm f/2.8 DC DN | C: Sample images

Sigma 18-50mm f/2.8 DC DN | C: Lab Data

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 excellent, even wide open at f/2.8, though it takes a slight dip at 35mm. Corner sharpness is inevitably lower, especially at each end of the lens's focal range where it's distinctly average at all apertures.

Fringing:

Color fringing is noticeable at middling focal lengths, and most obviously so at 18mm, though it never becomes severe.

Distortion:

Barrel distortion is extreme at 18mm, quickly transitioning to moderate pincushion distortion at longer focal lengths. Thankfully in-camera auto distortion correction will compensate for this, and evidently the lens has been engineered to rely heavily on this firmware correction.

Sigma 18-50mm f/2.8 DC DN | C: Verdict

Sigma's debut on the Canon RF mount is a triumph. Super light yet super fast, pint-sized yet power-packed, I keep coming back to the same key selling point: this is a standard trinity lens that fits in your pocket. What's not to love about it? 

Well, maybe a couple of things. It suffers the same minor optical quibbles as the earlier E-mount version, but again – in my day-to-day shooting, I didn't find these to be at all an issue. It would also have been cool, given how many of Canon's APS-C bodies lack image stabilization, if this lens was stabilized. 

Still, this lens delivers everything I could have hoped for – and if you're shooting on one of Canon's RF-S cameras, this is probably the most essential lens out there right now. 

Good work, Sigma. Now, about those full-frame RF lenses… 

Sigma 18-50mm f/2.8 DC DN | C: Alternatives

Let’s face it, many of us digital photographers don’t really like swapping between lenses on our cameras, and I’m one of them. The ever-present risk of dust blowing into the camera and sticking to the image sensor plays on my mind, especially in inclement conditions. If I’m off to shoot landscapes, cityscapes, or architectural interiors, it’s a pain to have to keep switching between wide-angle and standard lenses. 

The Tamron 17-50mm means I don’t have to. Mounted on a full-frame Sony body, it has a range of viewing angles that covers everything from 103.7 to 46.8 degrees. In practical terms, that’s really wide-angle coverage at the short end and an entirely natural perspective at the other. The zoom range also works really well for vlogging, giving the opportunity to set the scene by including the backdrop while presenting to camera, as well as zooming in for a close-up. 

Suffice it to say that this Tamron is a very versatile zoom that aims to be one of the best lenses for Sony cameras and the best E-mount lenses for vlogging.

Tamron 17-50mm F4 Di III VXD: Specifications

Tamron 17-50mm F4 Di III VXD: Price

The Tamron 17-50mm F4 Di III VXD  has a list price of $699 / £719, measures 75x114mm, and weighs 460g. 

It’s not the first wide-to-standard zoom of sorts that I’ve seen from Tamron. There’s also the Tamron 20-40mm F2.8 Di III VXD for Sony cameras which naturally has less outright zoom range but is an f/stop faster and weighs in at an even smaller and lighter 74x87mm and 365g. That one comes with a $699 / £749 price tag. Then there’s the own-brand Sony FE 24-50mm F2.8 G at a pricier $1,098 / £1,149, which has vital statistics of 75x92mm and 440g. The Sony lens doesn’t come anywhere close in wide-angle potential but again has a faster f/2.8 aperture. 

All in all, if you want to maximize your wide-angle to standard zoom range and can settle for a constant f/4 aperture, the Tamron 17-50mm looks good value for money.

Tamron 17-50mm F4 Di III VXD: Design & Handling

The Tamron 17-50mm F4 claims to be a ‘world first’ for Sony E-mount full-frame cameras, covering ultra-wide-angle to standard focal lengths in one convenient lens. Part of that ‘convenience’ as far as I’m concerned is that it’s compact and lightweight, measuring 75x114mm and weighing a mere 460g. 

Another bonus is that the overall physical length remains fixed throughout the zoom range, although there’s an extending inner barrel that nears the front of the outer barrel at short and long zoom settings, being fully retracted at around the 30mm mark. And speaking of marks, the zoom ring has markings for 17mm, 20mm, 24mm, 28mm, 35mm, and 50mm focal lengths. That covers a broad spread but, as usual with lenses for mirrorless cameras, there’s no focus distance scale.

Although the outer physical length remains fixed throughout the zoom range, I can’t say the same for the minimum focus distance. This stretches from 0.19m at the wide-angle end to 0.3m at the longest zoom setting. Even so, those are pretty short distances throughout, giving a maximum reproduction magnification of a generous 0.26x at the long end. 

From a creative point of view, I like that the short minimum focus distance at wide-angle focal lengths lets me get in really close to objects and exaggerate the perspective between foreground and background elements within a scene. It also makes the lens particularly useful for vlogging. For shooting video in general, the lens is designed to have minimal focus breathing and the constant f/4 aperture throughout the zoom range is a bonus.

When it comes to glass, the lens has 15 elements arranged in 13 groups and boasts 3 LD (Low Dispersion) elements, a GM (Glass Molded Aspherical) element and 2 hybrid aspherical elements. The mix aims to maximize sharpness and clarity while minimizing color fringing and other aberrations.

Autofocus is courtesy of Tamron’s VXD (Voice-coil eXtreme-torque Drive) linear stepping motor design. Again, this is ideally suited to both stills and video capture, being quick and snappy for stills and enabling smooth and virtually silent autofocus transitions when shooting video. A customizable function button is also featured, defaulting to autofocus-hold.

While the lens is undeniably lightweight (in a good way) it feels solid and well-built. The construction features multiple weather-seals and there’s a fluorine coating on the front element to repel moisture and greasy fingermarks. The lens comes complete with a petal-shaped, bayonet-fit lens hood which, as usual, is reversible for compact stowage. The pinch-clip lens cap is easy to fit and remove even with the hood in its forward-facing orientation.

Tamron 17-50mm F4 Di III VXD: Performance

I found the Tamron 17-50mm really easy to live with. I really enjoyed the way that the zoom range made the lens very adept for anything and everything from landscape and architectural shots to photos requiring a standard field of view. Autofocus is consistently accurate, while sharpness and clarity are very pleasing throughout the zoom range, although sharpness towards the extreme edges and corners of the frame could be a little better.

Naturally, the f/4 aperture rating isn’t exactly ‘fast’ but the 0.3m minimum focus distance at the long end of the zoom range gives plenty of scope for close-ups, with a tight depth of field. Sharpness remains very good in the central region of the frame, even at close shooting distances, a further upside being that bokeh is soft and smooth. That’s something I’ve usually found with Tamron lenses.

Many current and recent lenses designed for mirrorless cameras, especially wide-angle lenses, rely heavily on automatic in-camera correction for distortion. This Tamron is no exception, with extreme barrel distortion at the shortest zoom setting but, with correction applied, distortions throughout the zoom range become pretty much a non-issue.

Tamron 17-50mm F4 Di III VXD: Sample Images

The following gallery of images was taken throughout the zoom range of the lens, mounted on a Sony A7 II body. The location is the Bishop’s Palace & Garden in the Somerset city of Wells in the UK. For lab tests, we used the lens with a Sony A7R III camera body.

Tamron 17-50mm F4 Di III VXD: 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 impressive throughout the entire zoom range, although it pays to narrow the aperture a bit in the 35-50mm sector. Stopping down a bit also improves edge-sharpness, which comes on strong in the 17-35mm section of the zoom range, but there’s room for improvement at the longest 50mm setting.

Fringing:

Color fringing is very negligible even at the extreme edges and corners of the frame in the 17-35mm sector of the zoom range. It can become slightly noticeable at the long end when using wide apertures but remains well within the remit of automatic in-camera correction.

Distortion:

Barrel distortion is extreme at 17mm and still very noticeable at 24mm. There’s only minor barrel distortion at 35mm and a touch of pincushion at 50mm. Like many recent lenses for mirrorless cameras, the Tamron relies heavily on automatic in-camera correction, which works very well.

Tamron 17-50mm F4 Di III VXD: Verdict

For walkabout shooting, street photography and for landscapes, cityscapes and architecture, I find that I generally don’t need anything longer than a 50mm focal length, but I often want greater wide-angle coverage than a ‘standard’ 24-70mm zoom lens can deliver. The Tamron 17-50mm is a great alternative to standard fare, really stretching the envelope in terms of expansive viewing angles, while still giving me a standard perspective at the long end, as and when I want it. With nice handling and build quality, fast and consistently accurate autofocus, along with impressive image quality, this Tamron lens was an instant hit for me, and it’s very good value at the price.

Alternatives

Ever wished that your phone could take better pictures? Maybe by using real camera lenses? Then you may be interested in SwitchLens – a new crowdfunding campaign that promises to "turn any smartphone into a professional camera".

The way it does this is by enabling you to use Micro Four Thirds lenses when shooting with your phone. However, the lenses don't mount directly to your phone; they mount to an external camera unit, which contains its own image sensor (either Micro Four Thirds or 1-inch), and connects to your handset to give you the power of a larger sensor and proper optical lenses. 

If this sounds familiar, it's because this idea has been done before. In 2015, Olympus (now OM System) launched the Olympus Air A01 – an external phone camera unit that contained an MFT sensor, which enabled users to mount MFT lenses. 

Prior to that, in 2014, Sony launched the Sony QX1 – an external phone camera unit that contained a 1/2.3" sensor, which enabled users to mount E-mount lenses.

In fact, there's also a crowdfunding campaign that launched in 2021 and is finally being released now called Alice Camera – another external camera unit for your phone, once again containing an MFT sensor and enabling the use of MFT lenses. 

All of which isn't to do SwitchLens down, but to ask how it will succeed where both Olympus and Sony failed – and to ponder how it fits in the same marketplace with Alice Camera. 

ABOVE: Watch the SwitchLens announcement video

Where Alice Camera has doubled down on AI features and content creation friendliness since its announcement, SwitchLens is planting its flag based on "real light photography, capturing images untouched by AI enhancements."

It's available with one of two sensors – Sony Type 1 or Micro Four Thirds – but both sit within the same MFT mount used by Olympus / OM System cameras, Panasonic G cameras, as well as a number of Blackmagic cameras. 

Both sensors offer about 21MP resolution (eclipsing the 12MP of the Alice Camera, the 16MP of the Olympus Air and the 20MP of the Sony QX1) along with 4K 60p video, and can shoot in JPEG and RAW. 

SwitchLens communicates with your phone via WiFi, and either physically connects to your handset (using MagSafe / Qi2) for direct shooting or can work up to 32.8 feet / 10 meters away for remote shooting.

The device is listed as weighing 6oz / 170g or 6.3oz / 180g (which is either a typo or is for the different sensor configurations), including its 14500mAh rechargeable AA battery. 

Features such as focus peaking are included, and autofocus is advertised – although, if Alice Camera is anything to go by, the latter might be a question mark (check out Micro Four Nerds' video for more on that). Here are the full specs, as they stand:

The SwitchLens has already smashed its $10,000 (approximately £6,800 / AU$15,000) target, standing at $180,000 / £142,000 / AU$270,100 at the time of writing, and the campaign still has over a month to run, ending on July 26.

Pricing starts at $199 (£157 / AU$299) body only, with an additional $346 (£272 / AU$519) 3-lens kit and $649 (£512 / AU$974) 6-lens kit. Find out more at the SwitchLens Kickstarter page. 

Editor's note: As with all crowdfunding projects, there is no guarantee that the final product will match the early depictions in the campaign – or that the final product will be completed or delivered at all. DCW does not endorse this or any other crowdfunding campaign. 

Take a look at the best Micro Four Thirds cameras on the market right now, along with the best Micro Four Thirds lenses to use with them – including some of the best Olympus / OM System lenses.

Since bursting onto the photography scene from seemingly nowhere, Thypoch immediately made waves in the photography community by challenging Leica's legendary lenses for build quality and optical capabilities – but aiming to do so at a fraction of Leica's hefty prices. 

The first two lenses from Thypoch in its Simera range are twin wide-aperture prime lenses – the Simera 28mm f/1.4 and Simera 35mm f/1.4 lenses. So the range is fairly limited right now, but as Thypoch has quickly launched the Eureka 50mm lens, as well as expanding the Simera lenses to most other lens mounts, we might be on the cusp of a lot more lenses from Thypoch in the coming months.

It's quite clear just how inspired by Leica's lenses Thypoch is, as the Simera lenses borrow a lot of design queues from Leica, although there is enough new here that they can't just be dismissed as cheap knockoffs. 

So let's take a look and see if the Simera lens can compete, or if Leica's particular magic is just too hard to imitate.

Thypoch Simera 35mm f/1.4: Specifications

Thypoch Simera 35mm f/1.4 ASPH: Price

When compared to any Leica alternatives, the Thypoch Simera 35mm offers excellent value for money and is priced very competitively with manual focus lenses from other manufacturers. Although with the exception of a few companies like Voigtländer, there are not many lenses that quite have the same feel and build quality as the Simera. And even coming close to Leica’s expensive lenses in terms of quality, makes it an attractive option for photographers looking for a high-performing prime lens without breaking the bank.

Thypoch Simera 35mm f/1.4: Design & Handling

The Simera 35mm lens boasts a sleek, all-metal body in either all-black or a two-tone silver version. The body is made of an aluminum alloy, rather than brass like some Leica lenses, or the newer Thypoch Eureka lens. But this metal construction exudes durability and a premium feel that feels like it belongs to a lens that should cost substantially more. 

This is no lightweight polycarbonate lens, but despite the premium metal materials, the lens still manages to be relatively compact and lightweight, making it an excellent companion for street and travel photography, and weightier products are par for the course with Leica cameras and lenses.

The focus ring is smooth and well-damped, making manual focusing easy and precise, and it feels essential to remind everyone that this is a manual focus-only lens (for a manual focus-only camera). The focus ring has raised and textured bumps, that not only do aesthetically look very nice but also help with finding and gripping the ring.

The only thing I don’t really like about the focus mechanism is the infinity lock switch. This is a little catch that locks the focus in infinity, however, I find it is very rarely necessary to do that, and in fact, it slows down focusing in key moments as I kept finding myself struggling to release the catch. The focus rocker on Leica lenses is so much easier to use, and I am glad to see that for the non-M versions of this lens, Thypoch has used that design, although alas the current M-mount Simera continues to be made with the infinity lock switch.

Moving on to one of my favorite design flourishes I have seen on a lens in a long time – the depth of field indicator. This is a series of dots on the lens that are filled in with a red background to indicate the distance from the lens that will be in focus depending on the aperture used. It might be one of those features that has to be seen to really appreciate, but it is just a wonderful flourish that I really love about this lens.

Thypoch Simera 35mm f/1.4: Performance

In terms of image quality, the Simera 35mm lens surprised me a lot. It delivers sharp, crisp images with minimal distortion. The lens handles chromatic aberrations well, and the color reproduction is accurate. 

As with all manual focus lenses, it is often hard to distinguish if the lens is not sharp or if I have missed focus, but on the whole, center sharpness was generally very good, with the lens capturing some beautiful detail, especially close up. Towards the edges, the lens was a little soft wide open, although this isn't entirely unexpected, and the edges did sharpen up considerably as the aperture was narrowed. 

One of the key features of a Leica lens is the unique ‘Leica Look’ and while I won’t say this lens replicates any Leica 35mm lens exactly, the lens has a Leica-esque distinctive contrasty look to its images, that I would associate with Leica, and online, I don’t think anyone would be able to tell the difference. I think you could easily mix and match with any other Leica lenses in your collection and they would blend pretty seamlessly together. 

The lens’ fast f/1.4 maximum aperture is ideal for low-light conditions, and as Leica M cameras do not have IBIS, being able to shoot with faster shutter speeds in these situations is fairly essential. The wider aperture also achieves a shallow depth of field, and at f/1.4 aperture the background blur and subject isolation were really pleasing, with Leica-like softness in out-of-focus areas.

Thypoch Simera 35mm f/1.4: Sample Images

Thypoch Simera 35mm f/1.4: Verdict

Let's face it, Leica gear is expensive, you may have ended up with a Leica M camera, but can’t afford to flesh out your lens collection with premium Leica glass. Well, the Thypoch Simera 35mm f/1.4 lens is here to save the day.

Whether you’re capturing portraits, landscapes, or street scenes, the Simera 35mm is a versatile and beautifully built lens that delivers great optical performance, the lens has the creamy out-of-focus areas and high contrast look that a lot of Leica shooters seek. The lens is also a standout choice for anyone seeking a high-quality prime lens that offers solid metal construction and impressive design with neat little features like the red focusing dots. Thypoch is really out to challenge lenses coming out of Wetzlar.

Of course, the biggest factor is the price compared to Leica lenses. At $699 (at the time of writing), this puts the Simera lenses at hundreds or thousands of dollars less than Leica lenses, so you can grow your lens collection faster – Thypoch just needs to make more lenses!

Alternatives

Ulanzi is launching its first-ever interchangeable lens. The new Ulanzi AF 27mm f/2.8 is designed for use with Sony E-mount APS-C mirrorless cameras, and will have a budget price ticket of under $140. 

China-based Ulanzi is perhaps best known for its tripods - such as the impressive Ulanzi F38 travel tripod. However, despite only being founded in 2015, the company boasts that it has designed over 3,000 products and has 400+ patents for its rapidly-growing range of photo accessories. And now it is entering the lens game...

Unusually, Ulanzi is not taking the usual step for a newbie lens manufacturer of starting off with manual focus primes. It is instead going for an autofocus model for the popular Sony E-mount. It is not a full-frame lens, however, and therefore on an APS-C crop-sensor camera gives an equivalent focal length of 40.5mm.

Constructed with six elements in five groups, the AF 27mm f/2.8 weighs 182g and has a close focusing distance of 0.3m. 

There is a 52mm filter ring at the front, and a neat addition on the side is a USB-C socket, to simplify firmware updates.

The lens is already listed for sale direct on the Ulanzi website for $139.95.

See the best lenses for the Sony A6000 series of cameras

We're used to a new third-party lens being launched simultaneously in several mount options, but for the Nokton 75mm f/1.5 Aspherical, Voigtländer has adopted a staged release schedule. The lens was first released for Leica users, before being rolled out to Canon RF shooters in March this year. Then in April it was the turn of Nikon Z users to get in on the action, and now Voigtländer has announced the lens is officially getting a Sony E-mount launch.

Unlike a completely manual lens which can be adapted for multiple mounts with relative ease, the Nokton 75mm f/1.5 Aspherical does have electronic contacts for communication with the host camera body, so these must be re-engineered during the mount conversion. The inclusion of electronic lens-body communication enables features like Exif data recording, automatic live-view magnification when the focus ring is turned, and compatibility with Sony's 5-axis in-body image stabilisation (in camera bodies which offer this feature).

The Nokton 75mm f/1.5 Aspherical is a full-frame lens, and though it lacks autofocus, it's claimed that the all-metal helicoid focus mechanism offers high precision, and is also tuned with the aid of high quality grease to provide optimal resistance for silky-smooth focus adjustments.

The aperture ring can cycle through the lens's f/1.5-f/32 iris range either seamlessly or in clicked f-stops, thanks to the built-in switching mechanism. The aperture itself is a 12-blade unit, making the iris very well rounded. This should in turn provide smoother out of focus areas and creamier bokeh.

7 lens elements are arranged in 6 groups, with a single aspherical element at the back of the stack. The Sony version of the lens is 73.9mm long, 74mm in diameter, and weighs 515g; making it marginally shorter and lighter than the Nikon Z-mount version previously released. The E-mount variant also has a slightly longer minimum shooting distance of 0.55m (0.5m for the Z-mount edition). Full specs below:

The Voigtländer Nokton 75mm f/1.5 Aspherical lens for Sony E will cost ¥135,000 in Japan - at the time of writing that equates to approximately $858 / £676 / AU$1,296. The lens is expected to go on sale in Japan in July, though a global launch date has not yet been announced.

For more great lens options for your Sony camera check out our guide to the best Sony lenses in 2024.

Venus Optics has just announced a new super-fast cine lens series that takes its inspiration from the existing Laowa Argus photography range and is available across three sensor size formats. 

On top of producing some of the photography market's best macro lenses, Laowa has also been making some incredible cine lenses offering anamorphic and cine zooms at a great price with superb optical quality. 

Laowa continues to expand its cine lens range further by introducing the Laowa Argus T1 Cine Series available for full-frame, Super35 (APS-C), and MFT. Releasing a range that has the capabilities to cover most cameras is an inspired idea, and will no doubt appeal to a wider range of users.

With these three formats, the Argus cine lenses are available for Canon RF, Sony E, Nikon Z for Full-Frame, Canon RF, Sony E, Nikon Z, Fuji X mount for Super35 (APS-C), and M4/3 for MFT format. 

The focal lengths on offer upon launch do vary between sensor sizes with 28mm, 35mm, and 45mm available for full frame, 18mm, 25mm, and 33mm available for Super35 (APS-C), and 18mm and 35mm for MFT. 

One of the things that distinguishes the best cine lenses is consistency across the range, and all of the Argus Cine lenses have a maximum aperture of T1. This is extremely fast and offers users a remarkably shallow depth of field with smooth bokeh in the out-of-focus areas. 

Shooting wide open with large apertures such as T1 can also provide its own challenges such as chromatic aberration, however, Laowa assures users "the Argus T1 Cine series is meticulously designed to deliver exceptional optical performance. These lenses minimize chromatic aberration, ensuring maintained contrast and sharpness even when shooting wide open at T1 aperture."

The consistency continues with the build design as each lens has professional cine housing incorporating a 0.8 mod gear, an 80mm outer diameter with 77mm filter thread to accommodate most matte boxes, internal focusing, and a lens supporting thread. This is extremely important when swapping lenses as the similarities will mean minimal equipment adjustments and settings changes. 

Laowa also ensures consistent optical performance including color tone and contrast throughout the range. Laowa states, "Every focal length within the Argus T1 Cine Series is meticulously crafted to deliver consistent color rendition and lens performance. This minimizes the requirement for extensive editing in the post-production process after utilizing different focal lengths, ensuring seamless visual consistency across your projects".

Other notable features include low-focus breathing, a short minimum shooting distance (varies across focal lengths), and an average 270-degree focus rotation. 

The Laowa Argus T1 Cine Series is available now. The full-frame lenses are priced at $1499 | £1499 individually or $3999 | £3999 for the 3-lens set. The Super35 (APS-C) lenses are priced at $899 | £899 individually or $2499 | £2499 for the 3-lens set. The MFT $699 | £699 individually or $1259 | £1259 for the 2-lens set. (Australian prices to be confirmed). 

You may also be interested in our guides to the best cine lenses, the best cinema cameras, and the best hybrid cameras.

Sirui is expanding its Sniper Series of prime lenses by releasing two new focal lengths, adding more width and telephoto options.

Sirui launched its first AF photography lenses dedicated to mirrorless APS-C cameras late last year, and due to its affordable price point and wide aperture, the Sniper Series quickly became a fan favorite. 

The series currently consists of 23mm, 33mm, and 56mm f/1.2 prime lenses, however, they will soon be accompanied by the Sirui Sniper Series APS-C AF 16mm f/1.2 and the Sirui Sniper Series APS-C AF 75mm f/1.2, to further compliment the series.  

The great thing about the Sniper Series is that there are many consistent features throughout the range, which is no different from the new offerings. 

A main draw for the Sniper Series is the extremely fast f/1.2 max aperture, enabling shallow depth of field captures and exceptional low-light performance. The 75mm offers a full-frame equivalent focal length of 113mm which falls in the range of a great portrait lens, and when combined with the wide aperture, offers great subject separation. 

Much like Sirui's cine lenses, the company has put a considered emphasis on keeping the lenses in the series consistent, meaning that other than the focal range, not much changes between them. 

The size and weight are almost indistinguishable throughout the series, meaning that swapping lenses when using gimbals and stabilizers does not require changes to calibration or settings changes, making the Sniper Series a great video lens option. 

Color tone and lens characteristics are also uniform throughout, further providing the user with confidence that they know what to expect from each lens.

AF lenses are a relatively new product line for Sirui, as they have up until recently, focused on manual focus photography, cine, and, macro lenses. The Sniper Series however offers fast and efficient AF capabilities with Eye AF for stills and video. The STM motor also reduces focus hunting and noise even in fast-paced environments. 

Other notable features include a 360-degree focus throw, a USB-C port for firmware updates, HD Nano coating, and uniform color options throughout the rest of the Sniper Series. 

The Sirui Sniper Series APS-C AF 16mm f/1.2 and the Sirui Sniper Series APS-C AF 75mm f/1.2 will be available for Sony E, Fujifilm X, and Nikon Z mount. The lenses will be available to back on Indiegogo from June 17 with shipping expected to start June 19.  

Sirui continues to offer extreme value in an affordable package as each of the new lenses will cost just $399 | £346 | AU $535 each! (Early backer discounts are available via the Indiegogo page) Sirui also offers the Sniper Series as part of a set for further discounts, so keep an eye out for these as there are great deals to be had!

Sirui certainly means business and has been ramping up in production, offering affordable cine and photography lenses with fantastic optical performance, and I can only see further releases improving on this.

You may also be interested in the best lenses for Nikon Z mount, the best Fujifilm lenses, and the best Sony lenses.