The iF Design Award 2026 winners have been announced – and Nikon has taken home seven awards across its imaging lineup.

Presented by the iF International Forum Design, the iF Design Award is one of the most recognized marks of excellence in product design, highlighting innovation, quality, and influence.

This year's winning Nikon gear spans a wide range of categories, including mirrorless cameras – notably the brand's first cinema camera – as well as a powerzoom lens, the Nikon Imaging Cloud, the Coolshot Pro III Stabilized/ Coolshot 50i GII, and the Stabilized 10x25 S / 12x25 S binoculars. But what makes this gear stand out? Here's a closer look at the award-winning camera lineup.

Nikon's award-winning gear

Nikon ZR: first cinema camera

"It packs diverse functionality that enables an uncompromising shooting experience and quality without complex accessories, featuring internal RAW recording with RED Digital Cinema's industry-leading colour science, a large monitor with optimized aspect ratios, directional control for the built-in microphone, the world's first in-camera 32-bit float audio recording, and video-optimized design.

"Disrupting conventional constraints in film production, the ZR liberates cinematic expression for all creators."

Nikon Z50 II: pro power in a baby body

"The Nikon Z50II is a mirrorless camera that combines the power of expression and operability needed for creative imaging with the same image-processing engine and superior performance found in higher-end models.

"Through "Imaging Recipes," users can effortlessly achieve the distinctive looks of their favourite creators, while flagship-level subject detection and superior AF performance ensure confident shooting even for those new to cameras."

Nikon Z5 II: brilliant full-frame mirrorless

"Equipped with the same EXPEED 7 image-processing engine as Nikon's flagship model, it delivers superior AF performance and the ability to respond to a variety of situations, including low-light conditions.

"This single camera expands imaging possibilities with still and video capabilities housed in a tough body that satisfies Nikon's strict quality standards. The Z5II delivers superior performance, including advanced shooting functions from higher-end models to a wide range of users, inspiring creativity in creators."

Nikon Z 28-135mm f/4 PZ lens: impressively compact and light cine lens

"This 28-135mm standard power-zoom lens is optimized for video recording. It was developed to support videographers in situations such as documentary filming or solo location shoots, where reshoots are difficult, and mobility is a necessity.

"With superior optical performance that supports high-resolution 8K, smooth operability suited to video recording, and the versatile functionality of power zoom, this lens expands possibilities for video recording."

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The first round of pre-orders for the new Nikon Z 70-200mm f/2.8 VR S II have reportedly sold out across several major retailers in Japan just one day after reservations opened on March 3, 2026.

Demand for Nikon's latest professional telephoto lens appears to have quickly exceeded the first production batch allocated to stores. Large Japanese retailers, including Yodobashi Camera and Map Camera, now list delivery as "after the release date," as highlighted by DC Life.

A statement on Nikon Japan's official page also confirms strong demand: "Due to the large number of orders we have received for this product, it may take some time for delivery. Thank you for your understanding."

While customers can still place pre-orders, many retailers indicate that new orders will likely be fulfilled from later shipments, meaning buyers may have to wait beyond the initial launch window.

Availability & price

The new lens launches at a recommended retail price of $3,196.95 / £2,999 / AU$5,399 – a noticeable increase over the launch price of the original version, which debuted at $2,596.95 / £2,599 / AU$5,099 in August 2020.

The early demand shows that photographers are – despite the higher price – eager to get their hands on the updated optic.

The lens is currently scheduled to go on sale in late March 2026, with UK and US retailers accepting pre-orders. Stores such as Park Cameras note "Pre-order today to receive yours first - stock expected in March."

The Nikon Z 70-200mm f/2.8 VR S II

The Nikon Z 70-200mm f/2.8 VR S II was officially announced on February 24, 2026, as the successor to Nikon's flagship Z-mount telephoto zoom.

The previous generation lens, the Nikon Z 70-200mm f/2.8 VR S, earned widespread praise when it launched. In our review, we described it as "probably the best 70-200mm zoom in the world. Ever." thanks to its outstanding sharpness, fast AF (autofocus), and excellent stabilization.

The Mark II version aims to build on that reputation with a lighter design, improved AF performance, and updated optics, while maintaining the professional-grade image quality that made the original lens a favorite among sports, wildlife, and event photographers.

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The BCN+R Rankings for 2025 are in, and Canon's EOS R50 has officially claimed the top spot among the best-selling cameras in Japan.

Originally released in 2023 – this compact, beginner-friendly mirrorless camera climbed steadily from first place in its launch year, to second in 2024, and now it's number one.

The Canon EOS R50 is a camera that teaches and one that beginners can grow with, visually and technically. This steady rise over three years highlights: accessibility and real-world usability outweighs flashy specs – no matter if the camera was released years ago.

While Sony's ZV-E10 II comes in close behind second, the R50 stands out for its versatility. Unlike the ZV-E10 II, which focuses heavily on vlogging, the R50 balances excellent stills and 4K video in a small package.

Coming at No.3 is another Canon favorite, the EOS R10. A slightly more advanced mirrorless camera than the EOS R50...

While Sony has four spots in BCN+R's top-selling cameras in 2025 ranking, Canon shows its dominance in Japan's entry-level mirrorless market: users get cameras that are affordable, lightweight, and easy to master, while still offering great performance that rivals other models.

BCN+R's top selling cameras in 2025

1. Canon EOS R50
2. Sony ZV-E10 II
3. Canon EOS R10
4. Sony ZV-E10
5. Sony A6400
6. Nikon Z50 II
7. Fujifilm X-M5
8. Sony A7C II
9. Olympus Pen E-P7
10. Nikon Z30

The BCN+R ranking is based on aggregated unit sales data from major Japanese electronics retailers throughout 2025, reflecting real-world camera purchases.

Why the Canon EOS R50 tops the charts

The Canon EOS R50 has been steadily rising since its 2023 launch. It's 24.2MP APS-C sensor delivers excellent image quality, for both stills and 4K video, while the Dual Pixel CMOS AF II system (autofocus) keeps subjects sharp for photography and vlogging alike.

And – unlike other cameras, it's NOT purely aimed at content creators. Most importantly – the R50 offers beginner-friendly menus and guided UI that teach photography while shooting.

Plus, the R50 is compatible with Canon's growing RF lens lineup – opening the door to a full lineup of high-quality lenses, making it a camera that beginners can grow with.

And while the R50 is a great all-rounder, the R10 shows Canon's entry-level mirrorless strategy in action. It's slightly more advanced, offering 15fps continuous shooting, uncropped 4K video, and more AF points.

The R10 is for users who want a little more control and speed without stepping up to a larger or more expensive camera.

The mirrorless market in 2025 – Overview

In short: entry-level cameras dominate, and Canon takes the lead. Beginners and travelers are driving mirrorless sales, with compact, easy-to-use models leading the charts. Vloggers camera remain popular as Sony's ZV-E10 II and ZV-E10 demonstrate. And older models like the Olympus Pen E-P7 (released 2021) remain competitive alongside newer 2025 releases.

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Zoom lenses continue to dominate Japan's photography market. That's no big surprise, given that most photographers prioritize flexibility and workhorse lenses. Map Camera's top ten best-selling lenses of 2025 once again show this strong preference, as the list is dominated by standard-zooms, telephotos, and super-zooms.

And – for the second year in a row, one versatile zoom has topped the charts: the Nikon Z 24-120mm f/4 S. Despite competition from newer releases, it continues to outsell rival optics thanks to its balance of range, reliability, and consistent real-world performance.

2025's lens ranking features a familiar mix of proven favorites and newer arrivals. Professional standard zooms such as the Sony FE 24-70mm f/2.8 GM II remain highly popular, while affordable primes and high-magnification super-zooms, including the Canon RF 45mm f/1.2 STM and Sigma 20-200mm, are also included.

MapCamera 2025 best-selling lenses

1. Nikon Z 24-120mm f/4 S
2. Nikon Z 24-70mm f/2.8 S II
3. Canon RF 45mm f/1.2 STM
4. Sony FE 24-70mm f/2.8 GM II
5. Sony FE 70-200mm f/2.8 GM OSS II
6. Canon RF 100-400mm f/5.6-8 IS USM
7. Sigma 20-200mm f/3.5-6.3 DG | Contemporary (Sony E-mount)
8. Nikon Z 50mm f/1.8 S
9. Tamron 25-200mm f/2.8-5.6 Di III VXD G2 (Model A075S, Sony E-mount)
10. Nikon Z 26mm f/2.8

Single lenses that can handle "it all" remain in high demand. The list also highlights a growing appetite for super-zooms that let photographers move from wide-angle landscapes to telephoto action and close-up detail without the need to swap lenses.

The unbeatable all-rounder

The Nikon Z 24-120mm f/4 features a remarkable 5x zoom range that makes it a perfect all-around companion for travel, street, and everyday photography.

It strikes a sweet balance. It's more versatile than the 24-70mm f/2.8 S II, lighter than professional telephoto lenses, and more accessible than high-end optics. Its combination of reliability and all-around performance is exactly why it continues to top sales charts year after year.

The lens builds on the popularity of Nikon's classic AF-S 24-120mm f/4G ED VR for full-frame DSLRs, but now in a mirrorless design. The Z-mount version takes full advantage of a larger mount diameter and closer proximity to the sensor, resulting in enhanced sharpness and image quality across the entire zoom range.

While the lack of vibration reduction (VR) makes it less suitable for DX-format cameras (like the Z 50 and Z fc), the in-body stabilization (IBIS) found in full-frame Z-series cameras easily compensated for this.

In the end, the Nikon Z 24-120mm f/4 S proves that the best lens isn't always the fastest or the most exotic. Often, it's the one that can handle everything you need, from landscapes to portraits, street photography to travel, with consistent quality and effortless convenience...

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Japan's latest camera sales rankings are in – and once again, the top of the chart looks eerily familiar. According to newly released monthly data aggregated by BCN Retail from major electronics retailers and online stores across Japan, the Canon EOS R10 with RF-S 18-150mm kit has finished December 2025 exactly where it left November: in first place.

That result means a camera launched all the way back in July 2022 is again Japan's most popular and sold camera. In a market flooded with fresh APS-C camera bodies, updated vlogging tools, and even a brand-new full-frame release, Canon's compact hybrid continues to outperform them all on sheer demand.

December's chart also brings notable movement further down the list. Sony strengthens its vlogging grip, Nikon maintains steady APS-C momentum, Fujifilm sneaks back into the top ten, and Panasonic's G100D reappears. Most eye-catching of all, however, is a brand-new full-frame Sony camera debuting straight.

BCN+R Camera Ranking (Dec 2025)

1. Canon EOS R10 RF-S 18-150mm IS STM lens kit
2. Sony ZV-E10 II double zoom lens kit (black)
3. Canon EOS R50 double zoom lens kit (black)
4. Sony ZV-E10 II power zoom kit (black)
5. Nikon Z30 double zoom kit
6. Canon EOS R50 double zoom lens kit (white)
7. Sony A7 V
8. Nikon Z50 II double zoom kit
9. Fujifilm X-M5 XC 15-45mm lens kit (silver)
10. Panasonic Lumix G100D W lens kit

Canon's EOS R10 remains the camera Japan won't let go of
The Canon EOS R10 is what Japanese buyers want from a modern camera: speed, reliability, and flexibility at a price (sub-$1,000) that still makes sense. Bundled with the versatile RF-S 18-150mm, it remains one of the most complete "do-everything" kits available to beginners and enthusiasts alike.

Its staying power comes down to balance. Fast burst shooting, Canon's Dual Pixel CMOS AF II system, strong oversampled 4K video, and a compact, lightweight body keep it feeling current.

Canon also reinforces its dominance with the EOS R50, which holds both third and sixth place in black and white. Together, Canon accounts for three of the top six positions.

Sony's SV-E10 II lineup continues its steady climb
Sony's refreshed ZV-E10 II models hold onto second and fourth place. The double kit remains the more popular option, while the power zoom variant caters to travel shooters and run-and-gun video creators who prioritize smooth focal transitions.

Nikon stays competitive
Nikon maintains momentum with the Z30 at No.5 and the Z50 II at No.8, both of which continue to perform well as accessible entry points into the Z-mount ecosystem.

Sony goes full-frame
The biggest surprise this month, however, is the Sony A7 V, which debuts at No.7 just weeks after its December 2025 launch. It's rare to see a full-frame body enter Japan's top ten so quickly – and rare still to do so without a kit lens. Its appearance signals strong early interest, even if APS-C still dominates overall volume.

Fujifilm and Panasonic re-enter the conversation
The Fujifilm X-M5 climbs back into the top ten at No.9, suggesting renewed interest in compact and design-focused APS-C cameras. Meanwhile, Panasonic's Lumix G100D returns at No.10 as a lightweight hybrid option for casual shooters.

Who's missing?

Notably absent this month is OM System's Pen series, which featured prominently in November's BCN+R ranking. Seasonal demand appears to have shifted toward newer releases and more aggressively priced kits, pushing OM System out of the top ten entirely.

So, what will finally dethrone the Canon EOS R10? Japan seems perfectly content sticking with a three-year-old camera that still delivers exactly what most buyers want – and little else has come close to matching that formula yet.

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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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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.

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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.

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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

Choosing the right focal length is a crucial part of the creative decision making process for a photographer. You can have the best camera for beginners, but if you don't truly understand focal length, you'll struggle to pick the right lens for the right situation.

Focal length is used to determine your lens's angle of view, which is what you see when you look through your camera's viewfinder. The angle of view is measured from the point where rays of light converge within a lens (the point of convergence) to the camera's sensor (or film) and is calculated while the focus is set to infinity. 

You will also come across the terms field of view and angular field of view. Technically, angle of view, field of view, and angular field of view are different. But the differences are minimal – not to mention disputed – so I'm going to simplify things by referring to angle of view, exclusively.

Lenses with fixed focal lengths are known as prime lenses and lenses with varying focal lengths are zoom lenses. Understanding the angle of view is crucial when identifying, say, the best lenses for bird photography and is something that seasoned photographers do instinctively. 

In short, the smaller the focal length, the wider the angle of view and the more 'wide-angle' the lens. The larger the focal length, the narrower the field of view and the more 'telephoto' the lens. Focal lengths are often split into six categories. Below, you'll find a breakdown of each category and the genres of photography they’re often associated with. 

It's worth noting that these parameters can shift slightly, depending on where you look or who you ask. We'd suggest viewing them as guidelines that will help you get used to choosing the right focal length for the job. Ultimately, the best focal length will always be the one that helps convey your creative vision. 

Understanding crop factor

I will be referring to focal lengths in 35mm (or full-frame) terms. If you're using an APS-C or Micro Four Thirds camera, you will have to work out the 35mm-equivalent focal length of your desired lens to find the category that it occupies.

Because APS-C and Micro Four Thirds sensors are smaller than full-frame sensors, they have a crop factor, which you can use to find out the 35mm-equivalent focal length. To find this out, multiply your lens's focal length by 1.5 if you're using an APS-C Nikon, Fujifilm or Sony camera, 1.6 if it's an APS-C Canon camera, and 2.0 if it's a Micro Four Thirds camera.  

So, a 50mm lens on a Nikon DX body has a comparable angle of view to a 75mm lens on an FX body, because 50 x 1.5 = 75. 

• Photography cheat sheet: Focal lengths explained

1. Ultra wide angle  

Focal lengths below 24mm are referred to as ultra-wide-angle. Such focal lengths provide extremely wide angles of view and are often used to cram huge pieces of architecture or sprawling landscapes into the frame. Fisheye lenses use ultra-wide-angle focal lengths too, but feature even wider angles of view due to their specialist construction. 

The best lenses for astrophotography are often ultra-wide angle, due to astrophotographers requiring a wide enough field of view to capture the panoramic night sky. 

2. Wide angle 

Wide-angle focal lengths offer wide angles of view that aren't as extreme as their ultra-wide counterparts. The wide-angle ballpark sits between 24 and 35mm, and is used to capture landscapes and architecture. Wide-angle lenses suffer from barrel distortion and are therefore not used for conventional portraits. 

The best lenses for landscapes are typically wide angle, allowing landscape photographers to capture sprawling vistas with more manageable barrel distortion than ultra-wide-angle lenses, which can diminish subjects by making them appear smaller within the scene. 

3. Standard 

Standard focal lengths range from 35 to 70mm and are generally considered the most versatile focal lengths. The 'nifty fifty' (or 50mm prime) is a perfect example of a standard focal length that's used to shoot a wide range of subjects, as it's close to human vision, making it popular for casual, street and documentary photography.

The best lenses for street photography tend to be standard lenses, providing an authentic angle of view, which complements the subject matter. 

4. Short telephoto 

Focal lengths of 70 to 300mm are sometimes referred to as telephoto, but that doesn't tell the whole story. It's worth recognizing the short (or medium) telephoto category, which generally goes up to 135mm, as it's particularly suitable for portraits and close-up photography. 

The best macro lenses are usually short telephoto focal lengths – particularly useful when working with skittish subjects who might spook if you get too close.

5. Telephoto

With short telephoto lenses ranging from 70 to 135mm, anything beyond this (up to 300mm) is simply telephoto. Such focal lengths provide increasingly narrow angles of view and a decent amount of reach. They're therefore commonly used by sports and wildlife photographers. 

The best lens for sports photography will almost always be a telephoto or super-telephoto optic (the latter is up next).  

6. Super telephoto 

Go beyond 300mm and you're into super-telephoto territory. These focal lengths feature the narrowest angles of view and furthest reach. Super-faraway subjects are the order of the day, making them ideal for wildlife, aviation events and picking out individual sportspersons from the sidelines. 

The best telephoto lenses are often super-telephoto examples. Perfect for getting you close to the action, from a faraway vantage point. 

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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.

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

Micro-scale toy models of four Nikon cameras have been released in Japan. The set of four 'Gashapon' includes the Nikon Z9 fitted with a Z 24-70mm f/2.8 S lens, and the Nikon Z fc with Z DX 16-50mm f/3.5-6.3 VR lens. There are also two 35mm film cameras: the iconic Nikon F from 1959 with a Nikkor-s 55mm f/1.2 lens, and the Nikon SP from 1957 equipped with a W-Nikkor 3.5cm f/1.8.

Gashapon are small capsule toys dispensed from dedicated vending machines. Each toy usually costs around $1-5 USD. Gashapon has been around since the 1960s and are hugely popular in Japan, with a growing fan base in other parts of the world. Most Gashapon are released as themed sets (like this set of four Nikon cameras), with the idea being the purchaser will want to collect the full set. However, this may not be easy, as it's often difficult or simply not possible to see the contents of each capsule inside the vending machine before purchase.

The cameras featured in the “Nikon Miniature Collection” are just that - tiny - with the Nikon F toy measuring only 2cm in height. Though even at this tiny scale, the toys are fairly well detailed replicas of their full-size counterparts, with the lens on each camera being removable and a body cap supplied to replace it. The Z fc model is also said to come with a random sticker that can be used to customize it in some way. Each miniature Nikon camera/lens combo will cost 500 Yen, or around $3.50 / £2.70 / AU$5.20.

Read more: The best Nikon cameras • The best Nikon Z lenses

In late August Sony released its second-generation 85mm f/1.4 G-Master lens: the FE 85mm F1.4 GM II. Coming a whole eight years after the release of the original 85mm f/1.4 GM, we were expecting a lot from the new lens, and we weren't disappointed. Compared to the original, the new lens proved sharper throughout its aperture range, while delivering better bokeh quality and faster autofocus. We also appreciated the inclusion of extra handling features, as well as the slightly reduced overall weight.

Sony FE 85mm F1.4 GM II full review

But while the Sony FE 85mm F1.4 GM II is undoubtedly a great portrait prime (and it should be, for the price you'll have to pay for one), how does it compare to the competition? After all, Canon, Nikon and Sigma each offer fast, high-quality 85mm primes, while the Sigma 85mm F1.4 DG DN Art does so at a much lower price point. Here we'll compare the Sony FE 85mm F1.4 GM II to the aforementioned Sony-fit Sigma 85mm, as well as the Canon RF 85mm f/1.2L USM DS and Nikon Z 85mm f/1.2 S (these are the closest rival lenses to the Sony, as neither Canon nor Nikon produces f/1.4 mirrorless 85mm lenses).

When judged on our lens lab test metrics: image sharpness, severity of chromatic aberration, and lens distortion, which manufacturer produces the best 85mm fast prime? Let's find out...

Image sharpness

In terms of outright sharpness in the center of the image frame, the Nikon reigns supreme, though the new Sony G-Master lens isn't far behind. The Canon and Sigma lenses both deliver respectable center sharpness, but they're noticeably softer than the Nikon, and to some extent, the Sony. Though the Canon and Sigma can't match the outright sharpness of the other lenses, they are do at least provide very consistent sharpness at all apertures.

However, the Nikon Z 85mm f/1.2 S has clearly been optimized for maximum center sharpness, and this comes at the expense of corner sharpness. It's far softer in the corners than the Sony and Canon lenses, especially at larger apertures (though it could easily be argued that a lack of corner sharpness isn't a deal-breaker for a lens that'll likely be used for portraiture, where the corners of an image will almost always be out of focus anyway).

The Sony FE 85mm F1.4 GM II comes out on top for corner sharpness, albeit by a narrow margin. It's worth noting that we tested the Sigma lens using a relatively old 24.3MP Sony a7 (mark 1), whereas the Nikon and Sony lenses were tested with a 45.7MP Z7 II and a 42.4MP a7R III, respectively. While a higher-resolution body may extract more sharpness out of the Sigma lens, we tested the Canon 85mm f/1.2 using an original EOS R body, and its 30.3MP sensor didn't stop the Canon lens massively outperforming the Nikon 85mm in terms of corner sharpness, despite the Nikon being tested on a 45.7MP body.

Chromatic aberration

As for chromatic aberration (purple fringing visible on sharp boundaries between very dark and very light elements of an image), all four lenses score well, keeping fringing below a level that'd be easily noticeable to the naked eye. The Sigma lens is the best performer here, and is so at all apertures, but the Canon and Sony lenses aren't far behind. The Nikon is statistically worst, but the results are close enough to the competition for any difference to go unnoticed in real-world shooting.

Distortion

We'd expect 85mm lenses to be relatively neutral when it comes to distortion, and this is the case for the Sony, Canon and Nikon lenses. Only the Sigma lens generates noticeable distortion, in this case of the pincushion variety.

Verdict

Of course, there are far more factors in determining a great lens than just the image quality metrics we lab test. Other image quality attributes like contrast and bokeh should be considered, as should autofocus and stabilization performance, along with overall build quality. But even with all these factors in mind, as well as its excellent performance across all of our lab tests, the Sony lens is still hard to beat.

The Canon and Nikon f/1.2 lenses are better in some areas and worse in others, but crucially they're also far more expensive to buy. Even if you ignore their extra cost, apart from being marginally faster, neither is convincingly better than the Sony lens. 

The Sigma 85mm F1.4 DG DN Art is significantly cheaper than the Sony, and this does justify it performing less well in our lab tests. For many it'll be the smart, value-focussed buy. But if you can splash the extra cash, you'll be rewarded with superior image quality from the Sony lens, as well as cutting-edge features and technology. It all comes together to make the Sony FE 85mm F1.4 GM II the best full-frame 85mm lens on the market right now.

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

The first specifications for the Nikon Z50 II have popped up online, with reports that the camera will be launched before the end of the year and feature a refreshed body – but familiar hardware on the inside.

The original Nikon Z50 was a capable camera that I felt got unfairly overlooked. Launched in 2019 it was the company's first APS-C camera in the Z series, offered super-compactness and performance aimed at intermediate shooters. 

However, perhaps in an attempt to get its mirrorless ducks in a row in the early days, Nikon bequeathed it with some divisive specs – namely its 20.9MP image sensor. With every other APS-C camera on the market having at least a 24MP sensor, it left the Z50 feeling a bit conservative in the resolution stakes… and it looks like the same will be true of its successor.

According to a report by Nikon Rumors, the Nikon Z50 II will be pretty technologically similar – right down to the "same 20.9MP DX-format CMOS sensor" seen in the OG model.

"Hopefully my info is wrong, and they will introduce a new sensor," reads the report, noting that the resolution landscape has shifted dramatically. "Fuji for example, is already using a 40MP sensor in their latest X100VI camera".

I thoroughly believe that 21MP is enough for most needs; my daily drivers are the 20.3MP Olympus PEN E-P7 and the 20.4MP OM System OM-5. However, those are both Micro Four Thirds cameras – and unfortunately, the market expects more of cameras with larger sensors. 

Canon, for example, was quick to replace the original EOS R6 with its 20.1MP sensor. And when Fujifilm's latest bodies all pack 40MP sensors, and with even the entry-level $300 Canon EOS R100 having a 24.1MP sensor, I wonder how wise it is to stick with 20.9MP as we move into 2025. 

Still, there are reportedly some welcome changes coming to the Nikon Z50 II. The same report notes that it will feature the newer Expeed 7 image processor (which may provide superior imaging and AF performance) along with the switch to a USB-C port. The camera will also possess a fully articulating screen, as part of its "updated body design". 

If these early specs are accurate – and, as with all camera rumors, they need to be taken with a big spoonful of salt – the Nikon Z50 II looks to be more of a light refresh than a wholesale update. 

That said, a fresh coat of paint certainly did wonders for the Nikon Z fc, which is itself a Z50 with an "updated body design", so I will be very interested to see how the mark II is received. 

You might be interested in the best Nikon cameras, along with the best Nikon lenses in general and the best Nikon Z lenses for mirrorless cameras in specific.

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.

Viltrox has a new Sony-fit version of budget-priced  AF 56mm f/1.7. Already on sale in NIkon Z and Fujifilm X mount, the lens is designed for use with APS-C cameras - and as such offers an effective focal length of 85mm – making it a great lens for portrait photography. 

The ideal focal length for head-and-shoulder portraits, coupled with the wide f/1.7 aperture will enable the user to create shallow depth of field, isolating the subject from the background. With nine aperture blades, it promises the sort of dreamy bokeh that you usually only get with much more expensive prime lenses.

The 56mm f/1.7 has an internal focusing and a silent STM autofocus motor, enabling fast and accurate focusing for both stills and video. Vitrox says that the focus breathing is "almost imperceptible when the focus changes".

The lens is constructed from 11 elements in nine groups, including four extra-low dispersion lenses and three lenses with high refractive index, combating aberrations and dispersion. It weighs just 171g and is 72mm long.

Other features include HD multi-layer nano lens coating, a 52mm diameter filter thread, EXIF info transmission support, and a built-in USB-C port for updating firmware.

The AF 56mm f/1.7 sells for $180 / £139 / AU$315.

You can read our full review of the Nikon-fit Viltrox AF 56mm f/1.7

See our guides for more information on the best portrait lenses and the best Sony lenses

Nikon has rolled out new firmware to 5 of its Z-mount Nikkor lenses, adding a much-longed-for feature for all manual focus shooters.

Linear focus has now been added as an option when manually focusing with the focus ring – in addition to the default non-linear focus – making it easier to make fine adjustments.

The lenses benefiting from the update include some of the best Nikon Z lenses on the market – the Nikon Nikkor Z 28-75mm f/2.8, Nikkor Z 28mm f/2.8(SE), Nikkor Z 40mm f/2(SE), Nikkor Z 40mm f/2, and the Nikkor Z 28mm f/2.8.

The firmware notes are the same for all included lenses and reads as follows:

" • The lens now supports options for [Focus ring rotation range] * in the camera [CUSTOM SETTINGS MENU] in addition to [Non-linear]. When a linear option is selected, rotating the control ring the selected amount in manual focus mode will take the lens from the minimum focus distance to infinity, regardless of the speed with which the ring is rotated.

* As of August 2024, the cameras that support this option are (from “C” firmware version 2.00) the Z9, Z8, Z6III, Zf and (from “C” firmware version 1.40) the Z7II and Z6II. "

The download pages for each lens can be found using these links:

Nikkor Z 28-75mm f/2.8 (Ver.1.10), Nikkor Z 28mm f/2.8(SE) (Ver.1.10), Nikkor Z 40mm f/2(SE) (Ver.1.10), Nikkor Z 40mm f/2 (Ver.1.10), and the Nikkor Z 28mm f/2.8 (Ver.1.10).

For those wondering what linear and non-linear focusing means, and the differences between them, you're not alone. I had to do a little research myself to find out.

Both are terms to describe different ways lenses allow you to manually focus when using the focus ring. Non-linear focusing moves the focal point based on how fast you rotate the ring,

Linear focusing is the type of manual focusing that existed before the invention of autofocus and is perhaps the one most often thought of. Instead of the focal point moving depending on how fast you turn the ring, linear focusing moves the focus point depending on how much you turn the ring. This is the same way focusing works on traditional manual lenses and cine lenses as it allows the user to pull focus gradually.

Linear focusing enables the users to make more refined adjustments by incrementally turning the ring, a very useful update for owners of these Nikon Z lenses. If you are unfamiliar with how to update your Nikon lens, there is a helpful step-by-step guide on the download page.

You may also be interested in our guides to the best Nikon lenses, the best Nikon cameras, and the best mirrorless cameras.

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.

We've just reviewed Nikon's latest Z-mount lens: the Z 35mm f/1.4. As we've come to expect from the best Nikon Z lenses, it's very impressive. However, this isn't the only 35mm Z lens that Nikon offers. The older Z 35mm f/1.8 S was one of the very first Z-mount lenses, but despite its age and slower aperture rating, it's around 40% more expensive to buy than the f/1.4.

Traditionally a lens with a faster aperture has commanded a price premium over a slower optic: take standard zoom lenses as an example - a 24-70mm f/4 will always be cheaper than an f/2.8 version. But it's exactly the opposite in the case of the Nikon 35mm pair - why is that? The answer is that little 'S' moniker at the end of Z 35mm f/1.8's model name. Nikon's S-Line lenses, are, according to Nikon:

At the top of the line-up of NIKKOR Z lenses and were developed by Nikon engineers aiming at the very highest levels of optical performance...they provide distinct advantages such as the ability to shoot wide open with near-zero drop in sharpness right across the frame.

S-line lenses are also likely to receive advanced coatings like Nikon's Nano Crystal coat to minimize ghosting and flare, while their general build quality should be more robust than a non-S-Line optic, and you can expect more comprehensive weather sealing.

But is this just marketing hype to justify a premium price tag, or do S-Line lenses like the 35mm f/1.8 S actually perform significantly better than a non-S-line optic like the new Z 35mm f/1.4? Well, we've lab tested both lenses, and we can actually confirm that spending the extra cash on the f/1.8 S WILL indeed get you a higher performing lens.

Read more:
Nikon Z 35mm f/1.4 full review
Nikon Z 35mm f/1.8 S full review
The best Nikon Z lenses

Lab results

In terms of simple sharpness, the f/1.8 is noticeably and consistently sharper across the whole image frame, although it is worth noting that the f/1.4 is still a very sharp lens.

It's the same situation when we look at chromatic aberration. Both lenses keep color fringing below noticeable levels, but where the f/1.4 only just manages this, levels of fringing from the f/1.8 S are almost non-existent at smaller apertures.

We also found that both lenses also register almost zero distortion, however since Nikon Z bodies automatically correct for optical distortion and this can't be disabled, our distortion scores aren't necessarily reliable.

So there you have it: here's a rare instance of a slower lens being better than an equivalent faster optic, and it seems that Nikon S-Line premium really is worth the extra cash. None of this is to say that the Z 35mm f/1.4 is bad though - far from it - the take-home here is that the Z 35mm f/1.8 S is a truly spectacular lens.

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

Nikon hasn't forgotten about its older camera models as it releases new firmware for the Nikon Z6 and Nikon Z7.

Now in the third and second model iterations of the Nikon mirrorless full-frame cameras (respectively), you may have thought Nikon's firmware updates would be reserved for the latest and greatest Nikon cameras. However, Nikon is great at future-proofing older cameras and continues to monitor bugs and release fixes.

Earlier this year Nikon even updated some of its discontinued DSLR cameras, a joy for existing users and proof that Nikon is a company that values its user's money.

The recent firmware updates for the Z6 and Z7 won't knock your socks off but they are still vital in getting the maximum potential out of your camera. The notes are identical and read as follows:

Nikon Z6 (VER.3.70) / Nikon Z7 (VER.3.70)

"Changed the default values for the following settings displayed when connecting wirelessly:

• Encryption keys

• The password displayed after the camera's default settings are restored

Fixed an issue that would cause some buttons on the camera and MC-N10 to stop responding when the MC-N10 shutter-release button was used to start or end movie recording."

If you are unfamiliar with updating the camera firmware, Nikon provides a detailed step-by-step guide of the process that can be found on the download page. It is a simple action that can fix those camera pet peeves!

First released in 2018, the Nikon Z6 and Z7 represent its first foray into the development of full-frame mirrorless cameras, a step that the company has not looked back from, as Nikon's mirrorless Z system continues to win awards for its optical performance.

This year saw the release of the brand new Nikon Z6 III, the new flagship that offers users enhanced stills and video capabilities, giving competitors a run for the best mirrorless camera on the market.

You may also be interested in our guides for the best Nikon cameras and the best Nikon lenses.

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

It’s been a long time coming and the rumor mill has been at fever pitch for a year or more, but Nikon has finally unveiled the latest in its Z6 line of ‘enthusiast’ full-frame mirrorless cameras. 

With a lower 24.5Mp count than its more upmarket (and expensive) Nikon Z8 and Nikon Z9 pro models, which boast twice the resolution at 45.7Mp. It’s a little bit bigger than its predecessors (the Z6 and Z6 II shared almost identical dimensions), but a fair bit smaller than the bigger-bodied Z8 and Z9. It shares some of the same tech as the similarly enthusiast-level Nikon Zf but ushers in some serious upgrades and has more up-to-date handling characteristics, whereas the Zf has retro styling with plentiful control dials, more akin to a classic Nikon 35mm film camera. 

Ultimately, the Z6III aims to be among the best Nikon cameras on the market, as well as taking full advantage of the best Nikon Z-mount lenses.

Nikon Z6 III: Specifications

Nikon Z6 III: Price

As I mentioned at the outset, the Nikon Z6 III is about 25% more expensive to buy than previous Z6-line bodies when they were launched. For comparison, the original Z6 launched in November 2018 at $1,999 / £2099, and was followed by the Nikon Z6 II in December 2020, priced at $1,999 / £1999 / AU$3,299. The Z6 II addressed criticisms of the original model by adding a second SD card slot and dual processors, offering a fast burst rate of 14fps and improved buffer capacity. 

The Nikon Z6 III launched in July 2024 at $2,499 / £2,699 / AU$4,499. That might seem like a substantial price hike but I feel the Z6 III is very good value, considering its new tech, which includes the partially stacked image sensor, electronic viewfinder, and uprated image stabilization system. For the sake of comparison, the Z6 III body is similar in cost (identical in the USA) to the launch price of competing models aimed at enthusiast photographers and content creators, including the Canon EOS R6 II at $2,499 / £2,799 / AU$3,799, and the Sony Alpha A7 IV at $2,499 / £2,400 / AU$3,499.

For new adopters rather than upgraders, the new Nikon Z6 III is available in three kit options, as well as a body-only package. The kits offer a modest discount compared to buying the camera and lenses separately. The kit with a Nikon Z 24-70mm f/4 S costs $3,099 / £3,249 / AU$4,999. I love this lens for its superb optical quality throughout the zoom range, and it’s one of the sharpest kit lenses ever made. 

If you need additional reach, the Nikon Z 24-120mm f/4 S kit costs £3,539 / AU$5,999, provides an extra 50mm of reach, and covers short-telephoto focal lengths. The Nikon Z 24-200mm f/4-6.3 VR kit is priced at £3,439 / AU$5,799, and although not an S-line lens, this one is noted for its stunning optical quality considering its zoom range and includes built-in VR for super telephoto shots.

Nikon Z6 III: Key Features

I’ll start with what remains the same, as it’s a shorter list. As previously mentioned, the sensor resolution is the same, at 24.5Mp, It has two memory card slots; one CFexpress (backward-compatible with XQD) and one SDXC USH-II. It takes the same EN‑EL15c battery that slots into the protruding grip at the bottom of the camera, and a pair of rubber flaps on the side reveals the mic, headphone, USB-C, and HDMI sockets, plus an ‘Accessory Terminal’ for connecting a remote controller. 

Just as the Nikon Zf was no mere ‘reskinned’ Z6 II, the Z6 III takes some tech from the Zf, but also some from the flagship Z8 and Z9, while also adding some new innovations of its own. While the sensor has the same megapixel count as previous models, it’s an all-new ‘partially stacked’ sensor, which enables much faster readout speeds than previous-generation sensors. It’s not as flat-out speedy as the fully stacked sensor in the Z 8 and Z 9 but is nevertheless about 3.5x faster than the readout of Nikon’s previous 24.5MP sensors. 

The upshot is that while the camera has a mechanical shutter, you won’t need to use it for most shooting scenarios, and can instead rely solely on the fully electronic shutter. This enables blistering shooting speeds of up to 120 frames per second, although images are limited to using DX crop mode, which is about 10MP in size. Dropping to 60fps enables full FX 24.5MP images. If you do engage the mechanical shutter, then the frame rate drops to a still-impressive 20fps for JPEG images and 14fps for Raw images. Impressively, the Raw buffer depth is cavernous, catering to over 1,000 shots.

One time you’ll definitely need to use the mechanical shutter is if you’re shooting with flash. That’s because the readout from the image sensor when using the electronic shutter isn’t quite fast enough to accommodate the very brief pulse of light from a flashgun. Even so, it's more than capable of keeping up with the action for sports and wildlife photography, including panning, without exhibiting signs of ‘shutter lag’ that would otherwise cause images to shear. Nikon’s decision to develop a ‘partially’ rather than fully stacked sensor is down to cost; aiming to keep the Z6 line of cameras reasonably affordable.

The sensor is mounted onto an in-body image stabilization (IBIS) device that offers up to eight stops of stabilization, up from five stops with the Z6 II. Following the ‘one over’ rule that says you should shoot at a shutter speed of the reciprocal of the focal length (1/200 sec at 200mm), you would theoretically be able to get sharp shots on the same 200mm focal length with shutter speeds as slow as 1 sec – provided your subject is static, of course.

What’s more, the IBIS is designed to pivot around the active focus point, rather than arbitrarily shifting the sensor. This gives even greater finesse in keeping the intended subject sharp, rather than basing stabilization on the whole image frame. It’s the same system that debuted in the Zf, and like that camera, can be used for a trick ‘sensor-shift shooting’ mode, where the sensor is shifted by tiny amounts and a series of images are taken, which can then be merged in Nikon’s NX Studio software for super-detailed high-resolution shots equivalent to 96 megapixels. Both the subject and camera have to be perfectly still for this to work, so you’ll need to use a tripod.

As with other Z-system cameras, the autofocus points are spread across the length and breadth of the imaging sensor, giving edge-to-edge autofocus no matter where in the frame your subject is. This time around it has 299 AF points spread across the entire sensor, like the Zf, and it’s not an insignificant increase over the 273 points of previous Z6-line cameras.

Autofocus works right down to an exposure value of -10EV, which effectively means the camera can focus on subjects when lighting conditions are too dark for the naked eye to see clearly. That can be a major bonus for night photographers, as well as potentially making autofocus possible for astrophotographers. 

The camera is powered by the latest generation of EXPEED 7 image processor, as used in the Z8, Z9, and Zf. That’s a major step forward from the EXPEED 6 processor used in the Z6, while the Z6 II featured a pair of EXPEED 6 chips. Nikon says that this processing grunt enables powerful autofocus performance that matches that of the Z8 and Z9, and there’s a raft of subject detection modes for people, animals, and vehicles. 

The vari-angle touchscreen rear LCD has a resolution of 2.1Mp, and unlike the tilt-only design for shooting high or low of the previous Z6-line cameras, this time around it’s a full vari-angle screen that flips out to the side and can be rotated 180 degrees up and down for front-facing selfies or reversed so the screen is tucked away for protection when shooting with the viewfinder. When shooting in a vertical orientation, the information overlay automatically rotates too, as first debuted in the Z9. Some may still prefer the relatively quick and easy operation of a tilt screen, as featured on previous Z6-line cameras, but the front-facing facility of the vari-angle screen makes the Z6 III much more useful for vlogging as well as for taking selfies.

As in other Z-series cameras, the information in the electronic viewfinder (EVF) is mirrored from the rear LCD and reflects the exposure settings dialed in, as well as the ability to overlay vital information such as a histogram, in-camera level, and grid display. 

The electronic viewfinder of the Z6 III is something of a masterpiece in its own right. It’s the brightest and highest-resolution EVF that Nikon has ever made. While previous Z-system cameras’ EVFs top out at 3.69 million dots, this one has seen a significant increase in the pixel count to 5.76Mp. The EVF refresh rate is a super-smooth 60fps, to a realistic-looking display, and it’s incredibly bright, measured at 4000 nits, which auto-adjusts according to the ambient light. 

This increased brightness will be particularly beneficial for sports and wildlife photographers who’ve perfected the ability to shoot with one eye looking through the viewfinder, while the other looks for the subject itself in the real world, providing a more natural balance when shooting in bright light. 

The EVF also has a DCI-P3 color gamut, for a wider range of more lifelike colors than previously, and of course, it’s fronted by Nikkor glass, to ensure the projected image is crisp and sharp right to the corners of the display.

Nikon Z6 III: Design & Handling

When it comes to the physical build of the camera, it’s very much evolution rather than revolution, with the near-identical button layout, aside from the aforementioned Playback and Release Mode button swap. It took a little getting used to, coming from a previous-generation Z6, but it makes sense as you may well wish to change from Continuous to Single Shot shooting mid-shoot, and the button placement makes it easier to do this without taking your eye off the viewfinder.

Our main grumble with the Z 6/7 line was the lack of direct access buttons for oft-used features, the most obvious of which is the ability to change the focus mode between Single (AF-S), Continuous Drive (AF-C), and Manual focus (MF), although this is set to one of the pair of programmable Function buttons at the front of the camera. However, while these Function buttons are user definable, we reckon most will leave them to the defaults as they are set to such vital functions. 

That said, a jab of the ‘i’ button does bring up a quick menu of commonly used settings, which becomes second nature to access, but more advanced functions, such as bracketing (which has its own dedicated button on the Z 8/9 and DSLRs like the D850) require delving into the menu system.

The top-plate LCD illumination button is a welcome addition, enabling you to see your settings when shooting in dark environments as the OLED display isn’t particularly bright.

While it looks pretty similar to the previous Z6 line, side-by-side the difference is more obvious, and it’s a fraction bigger and heavier. The differences may be slight, but one upshot is that owners of the previous model’s battery grip will have to invest in the new MB-N14, which is purpose-built for the Z6 III. That can be a real pain if you’ve already swapped from the original battery grip for the Z6 after upgrading to the Z6 II – it’s a different grip for all three cameras. Likewise, custom-fit third-party accessories such as L-brackets are likely to require reinvesting in if you’re upgrading from the previous model.

Nikon Z6 III: Performance

I was thoroughly impressed with the performance of the Z6 III before even fully pressing the shutter button to take my first shot. Just putting my eye on the viewfinder gave me an instant wow factor. The new OLED viewfinder combines high dynamic range with an enhanced color gamut, as well as ultra-high-resolution, and with none of the dreaded lag for which electronic viewfinders have often been notorious. The outcome is an incredibly lifelike display that rivals an optical viewfinder but with the additional attraction of a live preview for parameters including exposure value, white balance, and alternative picture control settings like portrait, vivid, and landscape. In essence, ‘what you see is what you get’!

Next up, there’s the autofocus system. For quite a while now, Canon has been shouting loudly about its much-vaunted ‘deep-learned AI’ autofocus technology in recent EOS R-system cameras. I’ve found that the latest generation of subject-tracking autofocus in Nikon Z-system cameras is every bit as good, arguably even better. Our team initially tried out the Z6 III on a rooftop basketball court in North Greenwich, within striking distance of the O2 Arena. The camera tracked the fast-moving players with unerring accuracy, consistently picking out human forms and latching onto them. Selecting the Person subject recognition mode and setting the wide-area focus mode, the camera unwaveringly locked onto the basketballer's faces and eyes as they battled one-on-one, shooting hoops. It certainly felt like a more reliable performance than when using previous Z6-line cameras, and akin to the Z8 levels of speed and accuracy.

I found animal-recognition autofocus similarly superb, seeking out a pet cat in a range of indoor and outdoor environments and switching to the animal's head and then eyes even at fairly lengthy distances. I had the same positive experience with birds and other animals. In most cases, I was able to set the autofocus subject recognition system to ‘automatic’, with the confidence that it would pick out my intended subject matter. I’ve become used to recent Nikon Z-system cameras finding vehicles like cars, motorcycles, trains, planes, and bicycles, but the Z6 III even picked out a distant lawnmower in one of my test shots.

The camera feels entirely natural in the hand, with the bulbous grip that houses the battery feeling comfortable to hold while offering a firm grip. 

In normal use, the camera defaults to using the electronic first curtain shutter or mechanical shutter, depending on shutter speed. In fully electronic shutter mode, you might initially miss the physical and audible feedback from the mechanical shutter operating. It can be disconcerting at first, with only the briefest of flashes indicating that a shot has been taken, particularly when set to the higher 120fps or 60fps frame rates. There’s good news, however, in that these super-fast frame rates come complete with continuous autofocus and exposure metering. Of course, you can set an electronic sound to provide further feedback.

Naturally, the bottom line in terms of performance is image quality. The superb sharpness, clarity, and all-round optical performance of Nikon’s Z-mount lenses has always been a big draw to the Z-system for me, and the Z 6III makes the very most of these lenses. Sure, the 24.5-megapixel Z6 III doesn’t tax the resolving power of lenses as much as the 45.7-megapixel Z8 and Z9, but pixel-peeping reveals excellent levels of fine detail and texture. In our lab tests, the Z 6III scored higher than the Z 6II for resolution, in the ISO 100-6400 section of the sensitivity range, matching it at higher ISO settings.

There’s been talk in some quarters that the speed of the partially stacked image sensor comes at the expense of a drop in dynamic range. I found that dynamic range was actually very good in my tests, drawing level with that of the Zf at all ISO settings. Our lab tests for dynamic range returned very similar results to the Zf and Z6 II and were actually slightly better than for the Z9. In practical terms, I found I was able to push the exposure compensation of Raw files in Nikon NX Studio by a full +5 EV stops and get very good detail in near-black shadows with fairly little noise. The Z6 III certainly compares favorably with the Z6 II in this respect, as well as with similar Canon and Sony cameras.

Our lab results for raw signal-to-noise weren’t quite as good as from the Z 6II at high ISO settings but, again, very similar to the Zf. In real-world shooting, I found that the Z 6III delivered really clean image quality even at super-high ISO settings, with impressive retention of fine detail and texture.

Color quality is up to Nikon’s usual high standards. There’s a wealth of picture control options to choose from, which you can tweak to your own preferences. I’ve always been a fan of Nikon’s Active D-Lighting which, in the Z6 III, gives the typical advantage of reigning in very bright highlights and boosting detail in very dark shadows, for a more balanced overall exposure. My only slight complaint with Z-system cameras in general, and inherited by the Z6 III, is I feel that all of the many and varied options for Auto white balance can sap a little of the warmth from very sunny scenes, compared with switching to the Daylight white balance setting. Many would argue, however, that the results are simply ‘accurate’ and that there’s plenty of latitude for making adjustments to Raw files anyway.

When it comes to battery life, the Z6 III is par for the course as a mirrorless camera. Depending on how much you use the viewfinder and rear screen, you can expect about 360 to 390 shots from a fully charged EN-EL15c battery. I’m a bit frustrated that Nikon (among other manufacturers) no longer supplies a standalone charger with its cameras, instead relying on in-camera charging. Even so, quick USB-C charging is supported and separate chargers aren’t expensive to buy. A bonus is that the Z6 III is backward compatible with older EN-EL15a and EN-EL15b Nikon batteries, which have a slightly lower capacity. Only the ‘b’ and ‘c’ versions of the battery can be charged in-camera.

Nikon Z6 III: Video

Video capture tops out at 6K/60p rather than 8K, but I suspect that’s more than enough for most videographers and content creators. On the plus side, 4K UHD/60p footage from oversampled 6K footage is very crisp, and, thanks again to the fast readouts of the partially stacked image sensor, there’s negligible rolling shutter effect. Reign in the resolution to Full HD and 240p is available for 10x slow-motion video capture. Further options include shooting 10-bit log files for maximizing dynamic range and enabling precise color grading in post. Video compression options include N-RAW (12 bit), Apple ProRes RAW HQ (12 bit), Apple ProRes 422 HQ (10 bit), H.265/HEVC (8 bit/10 bit), and H.264/AVC (8 bit).

Nikon Z6 III: Lab Results

For our lab data comparison, we pitched the Z6 III against its main full-frame rivals from Canon, Panasonic and Sony: the Canon EOS R6 Mark II, Panasonic S5 II, and the Sony Alpha A7 IV.

Resolution (line widths/picture height):

Resolution is measured using standardized text charts which give results in line widths / picture height, which is independent of sensor size.

Based on image sensors with practically identical megapixel counts, resolution throughout most of the ISO range is virtually the same for the Nikon and Canon cameras. Inevitably with its higher 33MP resolution, the Sony a7 IV comes out on top in this test.

Dynamic range (EV):

Dynamic range is a measure of a camera's ability to record extreme brightness ranges and still retain detail in the brightest and darkest parts of the scene. It's measured in EV (exposure values, or 'stops').

There’s very little to choose from between the Z6 III and Panasonic S5 II here - both cameras capture excellent dynamic range throughout our tested sensitivity range. The Canon and Sony cameras don’t fare quite so well.

Signal to noise ratio (decibels):

This test compares the amount of random noise generated by the camera at different ISO settings as a proportion of the actual image information (the 'signal'). Higher values are better and we expect to see the signal to ratio fall as the ISO is increased.

The Z6 III and the competition from Canon and Panasonic are very evenly matched when it comes to image noise levels, especially at higher sensitives where noise is most apparent. The higher-resolution Sony holds its own but isn’t quite as impressive.

Nikon Z6 III: Verdict

My first reaction to the Nikon Z6 III was that it’s a bit pricey compared with previous Z6-line cameras. Now that I’ve got to know it, it actually seems very good value for money. Headline attractions include a new ‘partially stacked’ image sensor that enables super-fast readouts, equating to mighty shutter speeds and continuous drive rates, along with stellar video performance. The OLED viewfinder with its ultra-high-resolution, high dynamic range and extended gamut is the best electronic viewfinder I’ve ever used, rivaling the clarity of an optical viewfinder in giving an incredibly realistic display. It’s a stunning camera for shooting stills, and the new vari-angle screen with its front-facing facility makes the Z6 III equally adept for vlogging and other videography. The speed, accuracy and consistency of the autofocus system with its subject recognition and tracking abilities is superb, even in near-darkness, and the bottom line is that image quality simply stellar.

Alternatives

Laowa is teasing the launch of the world's first-ever lens that is both a zoom and a shift lens. To date shift lenses have only been prime lenses - and the ability to have a choice of focal lengths in the one zoom will be of huge interest to architectural photographers. 

We don't know much about this lens as yet—we will have to wait until Monday, 08 July, for more information on what this innovative lens actually offers. But the launch has been announced on Laowa's Weibo social media channel, promising a video launch at 7.30pm Chinese time – so 10.30am ET / 3.30pm BST.

From the name and the teaser image, we can tell that this is not a tilt-shift lens and will only offer shift movements. Laowa already offers an attractively-priced 15mm f/4.5 Zero-D Shift wide-angle prime that offers ±11mm on full-frame cameras. This manual-focus lens is available in Canon RF, Canon EF, Nikon Z, Nikon F, Sony FE, L mount, and Pentax K mounts. It also produces a Laowa 20mm f/4 Zero-D Shift lens option.

The shift movements allow the lens to move sideways or vertically relative to the camera, correcting for converging verticals while keeping the image sensor parallel to the surface being photographed.

The launch invitation shows that the lens has a rotating collar at the rear, that allows you to move the lens so that it can shift either vertically or horizontally. And it is also clear that this a manual focus only affair. It also shows that it has a minimum focus of 0.15m (6 inches).

Rumors suggest that it will have a focal length of 12-24mm with a maximum aperture of f/5.6 - but we can't confirm this, although there is an existing Laowa 12-24mm f/5.6. It is also hard to be sure whether this is for full-frame, or solely for APS-C crop sensor cameras.

We will have to wait until next week to have the answers…

I’d been toying with the idea of moving to mirrorless for just over a year. But with the ailing Nikon Z6 II no longer looking like a good long-term investment as a professional body, I’d pretty much decided my first dip into mirrorless waters would be the Nikon Z6 III. 

But here’s the thing. I was used to my D800’s bulbous body, tank-like build and 36.3-Mp sensor. What I really wanted was the newly released Nikon Z8. The problem was, I wasn’t in a position to drop £4,000 on a camera. So, with my D800 on its last legs, I bought a Nikon D850. 

I was well aware the best DSLR ever made would be my last, and I loved it. It was – and still is – everything I could possibly want and need from a camera. If you’re a hobbyist photographer (or even a pro) who has no desire to shell out on high-end Z-mount glass, the Nikon D850 remains an extremely viable, extremely capable option. 

But, I work for N-Photo: The Nikon Magazine and spend a lot of my time using Z-mount glass. Quite frankly, not having a Z-Series camera was becoming an issue for me. So, I made up my mind that I was going mirrorless and bought into the rumors that the Z6 III was well on its way. And so I waited. And waited. And waited…  

By the time the UK-based Photography & Video Show came around, I was royally fed up with the rumour mill’s bogus release dates. What’s more, sumptuous show deals meant the Z8 had plummeted to around £3,299 (as low as I’d seen it). I had plenty of camera gear lying around, so I decided to offload as much as I could to fund a Z8. Less than two months later, Nikon announced the Z6 III. Darn...

Should I have bought a Nikon Z6 III?

Now, if you haven’t seen the Z6 III’s spec list, it’s mighty impressive. It boasts the world’s first partially stacked sensor, which Nikon says will provide 3.5x the readout speed of the Z 6II. It’s got the world’s brightest EVF. Burst speeds that top out at 120fps. AF acquisition in near darkness (-10EV). And the same EXPEED 7 image processor found in the Z8/9.

And if you’re a videographer, well, the Z6 III is an absolute dream. Uncropped 6K/60p and 4K/60p, and cropped 4K 120p, all internal. 240p full HD for 10x super-slo-mo footage and support for Raw video formats straight out of the box, no Raw video output upgrade needed (à la Z 6II).

If the Z8 is a mini Nikon Z9, then the Z6 III is a bit like a mini, mini Z9 or a mini Z8. Yes, the 24.5-Mp sensor will be a bone of contention for some and a boon for others. But given Nikon already offers big 47.5-Mp sensors in the Z7 II, Z8 and Z9, I think Nikon made the right choice. And that’s coming from somebody who would have preferred a 30 or 33-Mp camera. It just makes business sense having that variety in the range. 

In fact, the only polarizing feature is the price. The Z6 II launched at $1999 (£1999) and the Z6 III is priced at $2,500 (£2,699). Now, accounting for inflation, that partially stacked sensor and all that flagship tech, I don’t think this is a bad price. My concern is that it leaves a mid-range price tag hole in the Z-series line-up, especially when the Z6 II is eventually discontinued (whenever that may be). 

So, now you’ve read the pretext. Am I regretting shelling out on a Z8, two months prior to the Z6 III launch? Nope. Not one iota. Don’t get me wrong. The Z6 III is an incredibly powerful camera in its class. I could shoot on a Z6 III for the next five years and it would fulfil my every need. But since the Z8’s release back in May of 2023, its already decent value has become exceedingly good in todays – admittedly expensive – camera climate. As of right now, the UK’s leading camera stores are selling the Z8 for £3,299. And in the US, you can pick it up for $3,497.

In fact, the Z8 is such a good camera, there’s an argument that it’s a little too good. After all, unless you’re a very specific type of pro who requires vertical controls, extended battery life, dual CFExpress cards and an ethernet port, there’s almost no reason to overlook the Z8 in favour of the much more expensive Z9. They’re ostensibly the same camera, but the Z8 is smaller and lighter.

Okay, so the Z6 III isn’t insignificantly cheaper than the Z8 and its vari-angle screen, small form factor and fewer megapixels will make enough of a difference to many, but I have to say, Nikon has kind of done it again. The Z6 III, just like the Z9, highlights how incredibly decent value the Z8 really is.

And that’s why I love my Z8. It might not be the undisputed heavyweight champion of the world, but it is pound-for-pound the best Nikon on the market.

And with the Z9, Zf and now the Z6 III for company. The division’s looking more competitive than ever.

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

Nikon has announced a 35mm f/1.4 mirrorless lens, just weeks after Canon launched one of its own. And while the lenses have their differences, the biggest one is the price: Nikon's lens is about a grand and a half cheaper than Canon's. 

The Nikon Nikkor Z 35mm f/1.4 is the company's long-awaited wide-angle Z system lens, ideal for street photography, reportage and documentary work, carrying a retail price of AU$1,099.

That compares to the similarly long-awaited Canon RF 35mm f/1.4L VCM with its $2,599.95 price tag. That's a AU$1,500 difference, which is 137% more expensive. 

Again, they're very different lenses that do very different things; Canon's is a premium L-series lens, and one of its new generation of hybrid photo-video optics. Nikon's, meanwhile, is not even a member of its premium S-series family.

Still, if you're one of the many people for whom a 35mm f/1.4 lens is an essential part of your kit bag, on paper this is a helluva win for Nikon. 

This full-frame lens features 9 groups featuring 11 elements, including a pair of aspherical elements, with a 9-diaphragm aperture design. Measuring 88.5mm in length, with a 74.5mm diameter, it has a 62mm filter thread with a minimum focus distance of 0.27m and a maximum magnification of 0.18x.

Notably, it's also Nikon's first Z lens to feature an f/1.4 aperture. (Equally of note, Canon's 35mm is also its first RF lens with an f/1.4 aperture.) Rumors persist that this will be followed by a 50mm f/1.4, and a premium 35mm f/1.2 S lens is officially on Nikon's roadmap.

The Nikon Nikkor Z 35mm f/1.4 lens is set to go on sale in July. 

Take a look more of the best lenses for street photography. You might also be interested in the best Nikon Z lenses, designed for the best mirrorless cameras from Nikon.  

The new Nikon Z6 III possesses a spec sheet stuffed with intriguing features – none more so than its partially stacked image sensor, a world-first. 

The question is, what does "partially stacked" actually mean? 

Well, in terms of performance, it enables the Nikon Z6 III to achieve speeds never before seen on a 24MP full-frame camera. It matches the 120fps bursts (albeit in cropped DX format, at around 10MP) of the fully stacked 45.7MP Nikon Z8 and Z9 flagship cameras.

It also makes the camera capable of crazy video resolution, including internal full-frame 6K 60p RAW, full-frame 1080p 240p and DX-crop 4K 120p. All of which is a first for a full-frame sensor in this category.

So, what does "partially stacked" mean in technical terms? I asked Nikon to explain the science – though this isn't quite the techy talk-through I was hoping for. This is how Ricci Chera, Nikon School Trainer, explained it:

"The partially stacked full frame sensor in the Nikon Z6 III allows for much faster readout speeds over the Nikon Z6 II. This faster readout helps to reduce rolling shutter, increase resolution and frame rates in video and improve performance when shooting still images. 

"A partially stacked sensor is not as fast as the fully stacked sensor in the Z8 and Z9, however the Z6 III has the fastest sensor readout in its class."

That explained what a partially stacked sensor does, but not really what it is. Thankfuly, everyone's favorite techy YouTuber Gerald Undone gave us this explanation: 

"Only some portions of the sensor have that extra circuitry that make it stacked, located at the top and the bottom to give the sensor an impressive speed boost without inflating the cost as much when compared with other fully stacked sensors." 

So there you go. I always thought that being stacked was a binary thing; that a sensor either is stacked or it isn't (much as a sensor either is global shutter or it isn't). Turns out that specific segments of an image sensor can be stacked, rather than the whole thing, to ramp up performance in specific ways. Thanks for the explainer, Gerald! 

You might be interested in reading more about the best Nikon cameras, along with the best Nikon Z lenses specifically and the best Nikon lenses for DSLRs and mirrorless alike.

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

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.

If you’re of a certain age, there’s a good chance you spent your formative photography years lusting after a Nikon. After all, Nikon was the it camera brand for decades. Its gorgeous SLRs were ahead of their time and captured the hearts and minds of millions. It even landed on the Moon. And when digital rocked the industry, Nikon acted decisively, beating its peers to the punch by launching the now-legendary D1. 

This trend continued well into the noughties. Remember hit crime procedural CSI? The whole forensic crew and their mothers were packing the best Nikon cameras. And so, for that matter, was everyone else. Owning a digital compact camera was like owning a watch: everyone had one. How else could you photograph your tipsy friends sipping WKD, while listening to Scooter in Ibiza?

But trouble was brewing...

Apple launched the iPhone in 2007, starting a chain reaction that would bring the compact market to its knees. In 2013, Sony challenged both Nikon and Canon’s dominance over the pro market with the release of the world’s first pro mirrorless, the A7R. Despite launching some of the best DSLR cameras ever made, Nikon was no longer seen to be operating at the forefront of camera technology. And it hurt. 

Unaware of the Big N’s legendary history, new generations of photographers adopted Sony as their camera brand of choice. And somewhere along the way, the Internet ilk started referring to Nikons as potatoes. The Big N’s cool factor was at an all-time low. Nikon finally entered the full-frame mirrorless market with its incredible Z mount. And by the Nikon Z6/Z7 II, I really thought it was firing on all cylinders. But the naysayers persisted. Then, the Nikon Z 9 came out. 

Suddenly, the delay in joining the mirrorless party made sense. It launched with a newly developed stacked sensor, internal 8K 30p video and the world’s fastest burst speed. Then came the Nikon Z8; an all-but-flagship camera in a smaller body. Then the Nikon Zf, arguably the most authentic retro-themed digital camera ever made. Heck, Nikon even landed the lion's share of the prizes handed out at the prestigious Camera Grand Prix Awards. 

YouTubers are reviewing Nikon cameras without a wry smile, once again a Nikon is set to land on the Moon, and the gap in mirrorless tech between Sony has been bridged. Imagine my glee, when I visited the cinema recently to watch the Alex Garland movie Civil War, only to find the experienced photojournalist (Kirsten Dunst) using a Sony mirrorless and the up-and-coming Gen Z journo (Cailee Spaeny) touting a Nikon FE2. 

Nikon’s back, baby! But for us fans, it never went away.

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

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.

I cannot think of another type of photo gear where the gap between the top spec and budget option is more out-of-step with performance than prime lenses. Take  the mainstay of any self-respecting camera bag, the 50mm prime. You can pick up a 50mm with an aperture of f/1.8 in most mounts for a couple of hundred pounds or so. But if you want the f/1.2 version then you can easily end up paying a couple of thousand. That’s a massive difference. 

Of course there’s also an f/1.4 option in most mounts, but let’s focus on budget vs premium. A quick check of the Nikon, Canon and Sony price lists gives the following…

Nikon Z 50mm f/1.8 S $549 / £479 / AU$869

Nikon Z 50mm f/1.2 S $1,899 / £2,119 / AU$2,989

Sony FE 50mm f/1.8 $198 / £159 / AU$439

Sony FE 50mm f/1.2 GM $1,899.99 / £2099 / AU$2,599

Canon RF 50mm f/1.8 STM  $199.99 / £219.99 / AU$439

Canon RF 50mm f/1.2L  $2,099 / £2449.99 / AU$3,299

So is f/1.2 worth it? 

This isn’t going to be a lab-based lens sharpness test (if it was then the verdict would be that yes, f/1.2 lenses are slightly sharper, perform better and are better built, but they’re also usually much bulkier). Instead, this is more about the conundrum many of us go through - whether to pay more for a wider aperture, and is f/1.2 as wonderful as we think it will be?

First, let’s talk aperture size. The difference between f/1.8 and f/1.2 is just over one stop, so you’d need half the amount of light for a similar exposure. For some situations like astrophotography, that difference can be huge. But for most of us, the extra stop (or half-stop for f/1.4 lenses) isn’t so important, as we can just crank up our ISO. 

Couple the low light performance of modern cameras with cutting edge AI-powered noise reduction tools (Lightroom’s AI Denoise, DxO PureRaw), and we should think nothing of shooting at ISO3200 more. This lessens the need for that f/1.2 aperture.

So let's put the low light gains of f/1.2 to the side. And while we’re at it let’s also strike off the build quality and forget about the added extras - does anybody need a tiny OLED screen on their lens? Or another function button? Or a control ring that keeps accidentally getting nudged?  Discount all these factors and mostly what we’re left with is depth of field and image quality.

Of course, there are many happy buyers who’ve forked out for the f/1.2 lenses with their slightly sharper images, the option to capture the merest sliver of in-focus detail, and bokeh with extra cream. But - bar pixel-peepers - will anybody actually notice? Whatever the brand, the gulf in cost between the f/1.2 and f/1.8 version is not reflected by a similar gulf in image quality. It’s more of a small pond.

I’m all for paying through the nose if it means getting better performance or extra features. But for me, the marginal gains don’t justify the price tag. Photography has been my job for decades and I’ve used all sorts of 50mm primes, and the thing is, the budget options are almost too good. So I’d rather spend that extra couple of thousand elsewhere. 

Of course, we can’t lump all primes under the same banner. A 400mm prime is a different beast entirely. But for wider focal ranges, most of us are likely to find a budget option that fulfills our needs. 

That being said, if you love a certain focal length, let’s say you shoot street photos at 50mm, or all your portraits at 85mm, then it may make sense to fork out top dollar. Likewise if you need better autofocus performance, or if you shoot video and really want that shallow depth of field. But an obsession with creamy bokeh can be an unhealthy thing. 

Does anybody really care whether their bokeh highlights are perfectly circular or ever-so-slightly oblong? Not me.

Have you ever come back from a far-flung destination, only to be disappointed to discover your memory card is full of so-so holiday snaps? We’ve enlisted the advice of travel pro Steve Davey, who shows you how to get under the skin of a location to capture the ‘sense of a place’ and show the side that you don’t see in the holiday brochures. 

Our apprentice stays closer to home, exploring the West Country to capture bluebell woods, rapeseed fields, stately homes and ancient monuments, under the instruction of landscape pro Mark Bauer. 

Emma Dunham tells how she transformed her career from taking portraits of people to foodie photos in the N-Photo interview. Plus Motorsports supremo Jon Nicholson shares a lifetime of images of capturing everything on four wheels, from banger-racing to Formula 1.

We take a super-close look at eight of the best macro lenses for F- and Z-mount Nikons, to help you take larger-than-life shots of everyday items. And we also check  out Nikon’s stunning new superzoom, with its gargantuan 28-400mm focal length range. 

We have our usual mix of practical shooting and editing projects, including how to shoot road bike racing, get close-ups of bees, capture the excitement of a football match, and take sporty portraits with a stroboscopic effect, as well as mastering Affinity Photo’s HSL tool and adding a misty effect to scenes in Photoshop CC.

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Subscription deals: Our guide to the best photo magazines

Nikon is certainly on the upswing winning multiple awards for its recent camera and lens releases.  

The release of the Nikon Z8 and Nikon Zf in 2023 has revitalized the Nikon name along with the ever-expanding lens lineup for the Z system. Last year also saw the release of the Nikon Nikkor Z 180-600mm f/5.6-6.3 VR supertelephoto zoom which also won a TIPA 2024 award.

Nikon has just released a firmware update for this lens, fixing an issue that affected focusing accuracy when used at the longer end of the lens' focal range. 

The full firmware notes can be found below along with the download page:

Nikon Nikkor Z 180-600mm f/5.6-6.3 VR (Version 1.01)

"Changes from Firmware Version 1.00 to 1.01

Fixed an issue that focus may be inaccurate at a focus distance of infinity with a focal length around 400mm to 600mm in a low-temperature environment".

Nikon has made its award-winning lens even better by fixing this issue, meaning users can realize the full potential of the lens.

 The lens performed remarkably during our testing, resulting in a five-star review. It was praised for its internal zoom and focus mechanism and its incredible stabilization capabilities that enable 5.5-stop optical VR, essential when using a lens of this focal range.

Updating firmware on lenses is relatively new, and the procedure of updating depends on the lens in question. Some modern lenses have USB-C interfaces on the body, and some require an update through the camera body via a memory card.

This lens falls into the latter category and a more detailed step-by-step guide can be found on the download page.

Nikon is one of the best at issuing firmware updates and is constantly future-proofing its cameras and lenses. I personally think that Nikon's establishing an incredible Z lens lineup and keeping it updated is one of the main reasons for its increase in popularity, and has made Nikon a cool brand again!

You may also be interested in our guides to the best Nikon camera, the best Nikon Z lenses, and the best Nikon telephoto lenses.

Thypoch has just released its hotly anticipated new lens line, with a lens that pays homage to the past. 

The Thypoch Eureka 50mm f/2 was first shown at The Photography & Video Show earlier this year, and it certainly created a buzz around the venue. Designed to pay homage to the lenses from the Fifties, the Eureka is a 50mm collapsible lens available for Leica M mount. 

Thypoch is a new lens manufacturer specializing in creating manual focus optics. Last year saw the debut release of the Simera line, comprised of the Thypoch Simera 35mm f/1.4 and Thypoch Simera 28mm f/1.4, lenses focused on modern image and storytelling (initially for Leica M, and later launched for Canon RF, Nikon Z and Sony E and Fujifilm X). 

ABOVE: Watch Thypoch Eureka launch video

The new Eureka has been developed in direct contrast to this approach, paying homage to the lens design of the past, specifically mid-Century photography. 

It is hard not to be intrigued by a manual focus collapsible lens released in 2024 but, if current market trends are anything to go by, it is so retro that it is now modern and contemporary. Inspired by lenses like the Leica Summicron and Summar from the Fifties, the Eureka injects classy style aesthetics of the period into a freshly designed piece of glass. 

In addition to the classic silver aluminum look, the first thing you notice is that the lens is tiny. Due to its collapsible nature, it is small enough to slip into your pocket and carry around with ease – ideal for street photography. It measures just 41.2mm when extended and is only 27mm when collapsed. 

The bells and whistles that come with the form factor do not take away from the optical design of the lens. The Eureka incorporates a six-element, four-group typical unsymmetrical Double-Gauss optical design, with Thypoch stating that it "ensures that every shot is rendered with precision and clarity, inviting photographers to explore the boundless potential of their craft."  

An extra-low dispersion element is included to minimize chromatic aberration, and a high refractive index element corrects the curvature of the field and combat spherical aberrations.

A 12-blade  diaphragm creates a smooth spherical aperture window, which enables circular bokeh and smooth out-of-focus areas. When used in combination with the max aperture of f/2, it creates sufficient subject separation and depth of field offering a smooth contrast between that in focus and that out. 

The Thypoch Eureka 50mm f/2 is available now in a silver aluminum version and comes with a front cap, a rear cap, a UV filter and a photo book. It will be available for $579 / £475 / AU $870. 

In late August the Eureka will also be released in a brass version, which will be a little heavier and a little more expensive at $859 / £675 / AU $1,300.

Thypoch has been making some fantastic Leica alternative lenses that offer great optics for a fraction of the price of a Leica lens, and the Eureka looks like it will certainly follow suit.  

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

The Yongnuo YN33mm F1.4 DA DSM WL Pro is a tempting proposition. Like most photographers, I’ve always loved the natural perspective and fast aperture of a ‘nifty fifty’, at least on full-frame cameras. This APS-C format lens gives the same viewing angle with an ‘effective’ 50mm focal length, and a fast f/1.4 aperture rating that leaves ‘trinity’ f/2.8 zooms for dead. 

I’ve been impressed in the past with Yongnuo primes for both APS-C and full-frame cameras, which I’ve found deliver impressive performance at an outrageously competitive selling price, but this one adds something new, with built-in radio frequency communication. 

As such, it aims to be one of the best lenses for the Sony A6700, the best lenses for the Nikon Z fc, and the best lenses for the Fujifilm X-T5 cameras, and other bodies in the same APS-C ranges as those cameras.

Yongnuo YN33mm F1.4 Pro: Specifications

Yongnuo YN33mm F1.4 Pro: Price

The Yongnuo YN33mm F1.4 DA DSM WL Pro is available in Nikon Z (DX), Sony E, and Fujifilm X mount options at a price of around $268 / £215. That works out to a big saving compared with the own-brand Sony E 35mm F1.8 OSS at $423 / £325 and the Fujifilm XF 33mm F1.4 R LM WR at $699 / £699. 

The closest Nikon equivalent is the Nikon Z DX 24mm F1.7 at $277 / £269 which, like the Sony, not only has a slower aperture rating but also a wider than standard viewing angle, equating to a 36mm in full-frame terms. Other independent competitors include the Sigma 30mm F1.4 DC DN | C at $339 / £319 and the Viltrox AF 33mm F1.4 at $299 / £227. That makes the Yongnuo lens look potentially great value against all of these apart from the similarly inexpensive Viltrox. 

One thing that sets the Yongnuo apart is that you can buy the Yongnuo BR-L1 remote control 2.4GHz as an optional extra for around $59 / £47, as I’ll come to later.

Yongnuo YN33mm F1.4 Pro: Design & Handling

I got hold of the Z (DX) mount version of the lens to use with my Nikon Z fc. I felt that the compact 69x89mm dimensions and 378g lightweight build made the lens feel immediately at home on the camera body, and the same would apply to Sony and Fujifilm APS-C format mirrorless cameras. Although small and light, the lens feels well-built and features extensive weather seals, including a rubber gasket on the mounting plate, which is made from chrome-plated metal rather than plastic and features gold-plated electronic contacts. There’s a fluorine coating on the front element, to repel moisture and grease.

Despite the down-market price tag, the lens has some quality glass. The total count of 11 elements includes two LD (Low Dispersion) elements and four HRI (High Refractive Index). Yongnuo’s ‘Nano’ multi-layer coating is also applied to minimize ghosting and flare. I like the fast f/1.4 aperture rating and that the diaphragm is based on nine blades, making it better rounded than the seven blades often featured in competing lenses.

There’s no shortage of electronics packed into the lens. Autofocus is courtesy of the now common and typically fast, near-silent linear stepping motor variety. It comes with the usual electronically coupled manual control ring and there’s a further narrow control ring just behind it, nominally for de-clicked aperture control but both rings are customizable. 

My only gripe in terms of handling is that the ‘aperture’ control ring turns very easily with practically no resistance and I found I was continually nudging the aperture away from what I wanted it to be. The answer, on my Nikon Z fc at least, was to disable the control ring altogether in the camera’s custom settings menu, and only enable it when I actually wanted to use it.

Next up there are two L-Fn (Lens Function) buttons. Again, these work independently and can be assigned to the same or different functions. Normally I’d use them both for autofocus-hold, so they fall naturally under the thumb in both landscape and portrait orientation shooting. There’s also what looks like an AF/MF switch but is labelled SW I and II. You can use it for switching between autofocus and manual focus, but also for handing over control to the optional 2.4GHz RF wireless Yongnuo BR-L1 remote control. 

The handily small controller features an on/off switch, Fn button, A and B buttons, a rotary dial and a little mono LCD screen. After pairing it with the lens, you can use it for adjusting the aperture and for manual focusing, as well as for A-B focusing, where you can shift between two preset focus distances as well as setting the speed of the transition. 

The Fn button on the remote controller replicates the setting of the Fn button on the lens. Both the lens and the optional remote feature USB-C ports for applying firmware updates, and the remote’s port is also used for charging its internal battery.

To me, the remote controller feels a bit plasticky and it’s not entirely straightforward to use. Even so, it’s worth the money and can be used with any Yongnuo lens that features wireless remote compatibility, although you have to repeat the pairing process each time around.

Yongnuo YN33mm F1.4 Pro: Performance

The fast f/1.4 aperture brings the prospect of maintaining quick shutter speeds under low lighting conditions and, more importantly for me, gaining a tight depth of field for isolating subjects against a blurred background. Bokeh is an important factor with this type of lens and the Yongnuo does well to produce good smoothness in defocused areas. The nine-blade aperture helps to retain well-rounded bokeh disks when stopping down a little.

I noticed a little axial chromatic aberration (aka bokeh fringing) when shooting wide-open. It’s often a problem with ‘fast’ lenses, causing color fringing around high-contrast edges just in front of and behind the plane of focus, anywhere across the entire image frame instead of being confined to the edges and corners. Even so, the Yongnuo does better at controlling this aberration than the competing Sigma 30mm F1.4 DC DN | C lens.

Center-sharpness is very good wide-open at f/1.4, becoming excellent at f/2 and narrower apertures. For really good edge/corner sharpness, it’s best to stop down f/2.8 or preferably somewhere between f/4 and f/11, which is exactly what I’d expect. Color fringing in terms of lateral chromatic aberration is very minimal even out at the edges and corners of the frame, throughout the entire aperture range. Barrel distortion can be noticeable but can generally be taken care of by automatic in-camera correction, or at the editing stage. All things considered, Yongnuo’s performance is very good indeed.

Yongnuo YN33mm F1.4 Pro: Sample Images

The following gallery of example images was mostly shot in the Bishop’s Palace & Gardens, situated in the Somerset city of Wells in the UK. I used my trusty Nikon Z fc for testing the lens.

Yongnuo YN33mm F1.4 Pro: 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 from the center of the frame to the extreme edges is pretty good at f/1.4. Levels of center-sharpness are impressive between f/2 and f/8, while edge/corner-sharpness comes on strong between f/4 and f/11.

Fringing:

Levels of color fringing are very well controlled throughout the entire aperture range, not requiring any help from automatic in-camera correction.

Distortion: -2.7

Barrel distortion can be noticeable but is nevertheless of a fairly low order compared with many lenses for mirrorless cameras. As such, there’s the option of enabling or disabling automatic in-camera correction, rather than having it ‘forced on’.

Yongnuo YN33mm F1.4 Pro: Verdict

I like that there’s a lot packed into this little lens. I like the dual-function buttons and dual control rings, the smaller one of which I’d generally for aperture control. I’m not so happy that this ring doesn’t have the option of click steps or a lockable Auto position but I can understand the omission of a ‘multi-function’ control ring. Image quality is very satisfying and autofocus proved consistently accurate in my tests, which are major plus points. I’m not sure that I’d ever use the optional wireless controller, but it works and is a neat extra if you feel the need. Ultimately, it’s a very nice compact lens and great value for money.

Alternatives

AstrHori's first full-frame autofocus lens has now been released for the Nikon Z mount – and at just $420 for an 85mm f/1.8, it might be the best value-for-money portrait lens released so far this year. 

AstrHori is a third-party lens manufacturer that makes some of the market's most affordable lenses, including tilt-shift, macro, and fisheye – and in recent times, the low price point does not mean low performance. 

Following the example of other third-party Chinese lens manufacturers that have historically only produced manual focus lenses, AstrHori has started to develop AF lenses. It recently released its first full-frame AF for Sony E mount, and now it has come to the Z mount. 

The AstrHori 85mm f/1.8 full-frame AF lens offers one of the most popular portrait focal lengths, enabling the user to isolate the subject and compress the background. The lens can also be mounted on APS-C cameras, providing an equivalent focal length of 127.5mm – not far from the Nikon Plena. 

The lens is constructed with 9 elements in 8 groups, and the wide f/1.8 aperture offers low light performance and creative potential. The shallow depth of field combined with the focal length produces extremely soft bokeh, which AstrHori states is "well-suited for a rich detail of a portrait".

The autofocus capabilities are what sets this lens apart from the rest of the ArtHori lineup, offering a fast and accurate AF system compatible with eye and face tracking. This is particularly useful in combination with the stepping motor, which drives quiet continuous autofocus, making the lens ideal for stills and video alike. 

Other notable features include electronic contacts for communicating and transferring EXIF data, a USB-C port for future firmware updates, and a multi-layer coating that has also been applied to suppress flare and ghosting. 

The AstrHori 85mm f/1.8 full-frame AF lens is available now for $423 direct from AstroHori. Although we have yet to get our hands on this lens and put it through DCW testing, for the price and the specs alone it strikes me as a great deal – and perhaps even the best bargain of the year.

You may also be interested in our guides to the best Nikon Z lenses, the best Nikon camera, and the best lenses for portraits.