Zeiss has revealed its latest move in the cinema lens world with the launch of the new Horizon Anamorphic series, a high-end full-frame lens lineup designed for serious professional filmmakers.

These are not everyday lenses for casual video shooters, but a new generation of Zeiss anamorphic primes built for major productions, offering a 2x squeeze factor, strong oval bokeh, and the kind of cinematic character that anamorphic users chase.

The new Zeiss Horizon Anamorphic series includes seven focal lengths, ranging from 35mm to 200mm. The lineup covers 35mm, 40mm, 50mm, 75mm, 110mm, 150mm, and 200mm options, giving cinematographers a complete set of primes for a wide range of shooting situations. Zeiss says these lenses have been designed to deliver a clean, sharp, and neutral starting point, while providing enough flexibility for filmmakers to shape the image to their own taste.

One of the biggest talking points is the fully motorized design. Zeiss has built focus and iris motors directly into the lenses, removing the need for external motors on set. That should make rigging cleaner and faster, while also allowing the lenses to work directly with existing industry-standard lens control systems. For productions where time, reliability, and repeatability matter, these lenses could make for a serious tool rather than just another impressive-looking piece of glass.

The other clever feature is the interchangeable look tuning back element. This allows cinematographers to adjust the rendering of the lens, changing things like contrast, sharpness, and overall character without affecting scale accuracy or calibration. In simple terms, the Horizon lenses are not locked into one fixed personality. They can begin from a crisp, clean Zeiss look and then be tuned to feel softer, more stylized, or more characterful, depending on the production.

The lenses also mark quite a visual shift from Zeiss’ more traditional cinema designs. Each Horizon Anamorphic lens features dual displays and touch panels built into the barrel, giving operators direct access to live focus and iris values. These displays show current focus distance and t-stop information, while also allowing users to move through lens settings directly on the lens itself. It is a much more modern, tech-forward approach than many would expect from a traditional cinema prime.

Zeiss has also built the encoding systems directly into the lenses, with factory calibration and lens scales stored inside each lens. That means productions should not need to re-map scales or re-rig motors when moving between lenses. For high-end sets where metadata, accuracy, and consistency are essential, that could be a major time-saver and one of the reasons these lenses will appeal to cinematographers working at the very top end.

Despite all that built-in technology, Zeiss says the Horizon Anamorphic lenses remain surprisingly manageable in weight. They are said to be roughly comparable to Zeiss Master Anamorphic 2x primes, even though the new Horizon lenses use a larger 114mm front diameter. All seven lenses share that same 114mm front, which should make life easier when swapping lenses with matte boxes and other accessories.

The 35mm T2.3, 40mm T2.3, 50mm T2.3, and 75mm T2.3 lenses are each 199mm long, while the 110mm T2.3, 150mm T2.3, and 200mm T2.9 lenses measure 262mm. Weights range from 2.42kg to 3.25kg, or around 5.34lb to 7.17lb, so these are still serious professional lenses, but not wildly out of step with what filmmakers working in this space will already expect.

Zeiss has not yet confirmed pricing for the Horizon Anamorphic series, but let’s be honest, these are not going to be cheap. The 40mm, 50mm, and 75mm lenses are expected to start shipping this fall, with the 35mm, 110mm, 150mm, and 200mm lenses set to follow later this year or in 2027.

For filmmakers looking for a modern anamorphic system with built-in motors, digital controls, and a tunable optical character, Zeiss’ new Horizon lenses could be one of the most interesting cinema launches of the year.

As someone who reviews cameras and lenses for a living, I’ve seen quite a few lenses – but optics legend Zeiss is teasing an upcoming lens to be launched on June 2 – and it looks unlike anything else that I’ve ever seen.

The teaser comes from an event scheduled for June 2 at the Zeiss Lens Demo Center in Los Angeles, California. The event comes with a tagline, “Experience a new Horizon in Zeiss Lens Technology.” Zeiss is calling it “the next major advancement in lens technology.”

But what’s most curious about the upcoming event is the image. Zeiss has shared an image of a shadowy lens. As most teasers go, the image is rather par for the course – it’s standard practice to use lighting to hide details in a teaser image.

But there’s enough detail there that has me thinking that the lens looks quite different from a classic lens shape for one key reason: There’s a large rectangular cut-out on the side. I can just make out the hint of some sort of controls or perhaps ports inside the cutout. I tried to brighten up the image a bit in Photoshop, but the shadows are just too dark to recover.

My guess? I’m thinking the cutout will house some sort of controls, but I could very well be surprised by what ends up coming from the announcement.

There’s one more key hint inside the event as to what this mysterious lens could be: The event is being hosted by Zeiss Cinematography. That makes it seem pretty clear that the launch will be a professional cinema lens rather than for stills.

Regardless, my curiosity is piqued, and I’m itching to see what’s in store, even if I never shoot with the lens in person but only see the results on my TV screen.

The demo is scheduled for 6 PM to 9 PM PT on June 2, so I don’t have long to wait before seeing if my guess is correct.

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The Zeiss Contaflex cameras are well known to, shall we say, more "mature photographers". They were a series of leaf-shuttered SLRs in the Fifties and Sixties.

What most people don’t realize is that the first Contaflex was a very unusual twin-lens reflex (TLR) camera that used 35mm film rather than the usual 120 (6x6) roll film, and featured a focal plane shutter and interchangeable lenses – at least for the taking lens. The fields for other lenses were etched into the viewfinder screen.

It was also the first camera with a built-in selenium exposure meter, which was hidden under its nameplate. Zeiss had already patented a coupled meter at the time, but it was not included in the Contaflex as the engineers deemed it “too complicated”.

Thus the meter (seen on the top, to the left of the viewfinder) required the photographer to read the meter and manually transfer the shutter and lens settings to the camera.

This first Contaflex appeared in 1935, though production stopped at the start of World War II.

After the war, in 1953, Zeiss Ikon (based in Stuttgart, West Germany) produced the first of what would be a long line of Contaflex 35mm leaf-shuttered SLR cameras, employing the newly-developed Compur reflex shutter.

Such shutter mechanisms require the shutter to be open for viewing. When the shutter release is pressed, they close and allow the mirror to lift out of the way, before reopening and closing again, to make the exposure. If it sounds complex, well, it is!

The reason a leaf shutter was chosen, rather than the focal-plane shutters favored by the Japanese, was simply because by then, Zeiss owned both the Prontor and Compur shutter-making factories.

These first Contaflex cameras had a fixed 45mm f/2.8 Tessar lens with simple front-element focusing. (The Tessar brand name comes from the Greek word “tessar”, meaning four, as the Tessars are a four-element design.)

Later models had a proper helical thread, which moved the entire lens for focusing, along with “convertible lenses” where the rear element remained behind the shutter, but the front elements could be exchanged for different ones, changing the focal length.

This limited the designs to between 35 and 115mm with a maximum f/4 aperture. At the time this was not considered a drawback, as almost nobody but pros ever bought accessory lenses.

The last hurrah for the Contaflex line came in 1967, with the introduction of the Zeiss Contaflex 126 – whose only relation to the rest of the Contaflex family is its name. It accepted Kodak 126 (Instamatic) cartridges, one of very few ambitious cameras to use that film. It had a focal plane shutter and seven dedicated lenses.

Lenses for the Contaflex 126 are often confused with lenses for other Contaflex cameras, but they can only be used on the 126 body. It, of course, can only use the obsolete 126 cartridge, so the value of these lenses is not very high despite their famous names.

Zeiss presented its new, top-of-the-line Contarex at Photokina in the fall of 1958, with deliveries promised for spring 1959, but it was not generally available until March 1960.

The Contarex was the first 35mm, focal-plane-shutter SLR to provide direct meter coupling to the shutter, aperture and film-speed settings, which were interconnected by cords.

The camera had an “aperture simulator”, or iris, in front of the selenium meter cell. It was a “match-needle” system, in which the user aligned the meter needle with an index triangle that is visible both in a top plate window and, to the right, in the viewfinder.

This original Contarex quickly gained the nicknames of the “Bullseye” or “Cyclops” due the prominent position of the selenium light meter.

The Contarex was a wonder (or a nightmare) of German engineering and manufacture, with a weight and a cost to match. Including the 50mm f/2 Carl Zeiss Planar standard lens, it sold for DM1,450 – or roughly $450.

That’s over $100 more than a Nikon F that had reached the market a year earlier, in March 1959 – and it's the equivalent of roughly $4,000 today!

Read more of David Young's ongoing series on classic cameras

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Zeiss has launched its latest spotting scope, the Conquest Apia 65, a lightweight and compact optical device designed for wildlife enthusiasts on the go.

Coming in as a mid-tier-priced scope but touted to feature high-end optics, Zeiss puts forward the Conquest Apia 65 as an affordable solution to the tradeoff between optical quality and compact design when it comes to the most portable spotting scopes.

The second model in the Conquest series, the Apia 65 features a 65mm lens diameter which Zeiss claims achieves an 87% light transmission rate, closely rivaling its big brother scope, the Conquest Gavia 85, itself boasting an 88% light transmission rate.

Touted to have a “HD optical system” made up of aspherical elements and extra-low dispersion glass, the Apia 65 should deal with aberrations well while enabling you to see both a wide view and the finer details thanks to a 20-50x zoom range.

Zeiss has coated the Apia 65 lens with its proprietary LotuTec, which creates a hydrophobic and oleophobic layer for maintaining optimal performance in adverse conditions.

Bolstering durability is the magnesium and aluminum housing, with the entire device measuring 11.7inches and weighing 47.5oz.

Although not the shortest nor lightest higher-end compact spotting scope on the market, it still looks like the Apia 65 is set to give its smaller and more premium competitors, notably the Swarovski ATC 17-40x56, a good run for their money and at a much lower price.

The Swarovski ATC 17-40x56, which measures 10 inches, weights 43oz and achieves 88% light transmission, but costs around $2,900 / £2,150, while the Zeiss Conquest Apia 65 comes in at around $1,700 / £1,275.

With the release of the Conquest Apia 65, Zeiss continues its efforts to meet the growing demand for lightweight, smaller spotting scopes that don't sacrifice optical quality while keeping ergonomics in mind.

You can buy the Zeiss Conquest Apia 65 at major photography retailers including B&H Photo (US), Park Cameras (UK) and London Camera Exchange (UK).

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See how the Zeiss Conquest Apia 65 compares to other kits available by reading our expert guide to the best spotting scopes.

Zeiss has announced the latest Otus ML lens. Joining the existing Otus ML 1.4/50 and 1.4/85, the Otus ML 1.4/35 is a large-aperture, moderate wide-angle lens that promises unparalleled optical quality.

The Otus ML lens series for mirrorless cameras features a new optical design inspired by the legendary Otus series for DSLRs, renowned as the world’s best manual prime lenses. This series brings Zeiss's exceptional optical performance to mirrorless cameras: Sony E-mount, Nikon Z-mount, and Canon RF-mount.

Through ultimate precision engineering and mechanical design, these lenses deliver extraordinary sharpness, vibrant colors, and Zeiss's signature "three-dimensional" rendering, allowing photographers to capture every detail of a moment exactly as they see and feel it.

While the new 35mm lens captures a wide field of view, its focal length and aperture also allow the subject to stand out beautifully. It offers complete manual control over focus, depth, and detail. The design incorporates aspherical surfaces to suppress distortion and anomalous partial dispersion glass to combat chromatic aberration. Furthermore, the Zeiss T coating minimizes lens flare and internal reflections, enhancing contrast and color fidelity. With a fast maximum aperture of f/1.4, it excels in challenging low-light conditions and features a 10-blade diaphragm for soft, harmonious bokeh.

The all-metal construction of the Otus ML 1.4/35 reflects top-tier craftsmanship. The precision-engineered mechanics provide a unique physical sensation. The metal exterior features a knurled focus ring that operates with a silky touch from infinity to a minimum focusing distance of 0.3m.

The aperture ring operates with 1/3-stop clicks (1-stop between f/11 and f/16) and features a switchable de-click mechanism for seamless, stepless adjustment. For reliability in harsh conditions, the mount features a blue silicone weather seal, and internal seals protect all moving parts from dust and water droplets.

The optical formula consists of 15 elements in 11 groups, including two aspherical elements and seven anomalous partial dispersion glass elements, for the ultimate in optical quality.

The optics are optimized for Sony E, Nikon Z, and Canon RF mounts, and each version is equipped with electronic contacts to support EXIF data and various camera-assist functions. All versions include a metal petal-shaped lens hood (reversible) and a Zeiss-branded cushioned lens pouch.

The lenses will be available in all three mounts from April 2026 and will set you back a sizeable $2,299 in the USA (pricing in other territories to follow).

Zeiss has revealed Aatma: a new range of nine high‑end, full‑frame cine lenses. The line-up consists of 18mm, 25mm, 35mm, 40mm, 50mm, 65mm, 85mm, 100mm, and 135mm primes, all with a T1.5 maximum aperture. The Aatma range is positioned above Zeiss’ CP.3 and Nano Prime cine lenses, and is roughly equivalent in price to the company’s Supreme offerings. The design of Aatma lenses is said to have been inspired by some of Zeiss's most iconic 20th century lenses, while incorporating the mechanical reliability, data integration, and workflow compatibility that's expected for current video production.

“With Aatma, we wanted to give cinematographers an expressive and characterful choice within the ZEISS offering,” says Jeanfre Fachon, Senior Product Manager Cinema at ZEISS. “Over the years, we have come to acknowledge how much some of our legacy lens lines are still appreciated. But Instead of simply remaking them, we looked at their most appealing characteristics and drew inspiration to incorporate into a new optical design.”

The name Aatma comes from the Sanskrit word for “innermost essence”, “self”, or “soul”. This is in-keeping with Zeiss' aim for the lenses to produce image quality that evokes emotion, while maintaining consistency across the set. Aatma's visual look has been tuned to be reminiscent of classic Zeiss image quality, producing gently rendered skin texture with softened contrast, smooth and vibrant focus transitions, and lush bokeh featuring a subtle soap bubble highlights in out of focus areas.

Zeiss has also paid particular attention to the mechanical design of Aatma lenses. Each lens has the same barrel positioning for its focussing and aperture rings, along with a standardized 95mm front barrel diameter and a weight of between 1.22 and 1.7kg. The 18mm and 135mm lenses are bulkier, measuring 114mm in diameter and weigh around 2.3kg. This uniformity makes it easy to change lenses when the camera body is fitted in a rig, with no adjustment required to any follow focus gearing. The lenses are equipped as standard with an Arri PL mount. As with all modern Zeiss cine lenses, each Aatma lens features an eXtended Data (XD) output socket enabling frame-by-frame data on lens vignetting and distortion, along with standard metadata. The lenses are also fully integrated with the Zeiss CinCraft ecosystem, supporting efficient VFX, camera tracking, and virtual production workflows.

Aatma lenses are available to pre-order now from B&H, either individually or as a full nine-lens set, with delivery expected to begin in June 2026. You'd better have deep pockets though, as each lens will set you back between $20,950 and $25,500. Pricing of the full set has yet to be announced, but it'll certainly be well into six figures.

When it comes to choosing binoculars, I can survey good-value options from the likes of Bushnell and Celestron, step up to consumer favorites bearing the Fujifilm, Canon, Nikon, and Olympus logos, or really get serious and see what Leica, Zeiss, and Swarovski have to offer.

Why choose Zeiss binoculars? Well, if it’s searingly sharp optics, a classic design, and a robust build I’m after, which should last years of use out in all elements, then the brand’s offerings are pretty much peerless. Unless, that is, I pit them against manufacturers such as Leica or Swarovski, who will give Zeiss a run for its money. And from the outset, that’s the key issue here: cost. But then, near-perfection never comes cheap.

With their heroic-sounding name, the Zeiss Conquest HDX 10x32 examined here are smaller and more affordable than the larger objective lens-incorporating Zeiss SFL 10x50 binos, yet still have sufficient heft and rigidity to feel premium when held in the hand. The main attributes to focus on – no pun intended – are that standard, albeit useful, 10x magnification, married to a 32mm objective lens size.

Compact dimensions overall require compact optics, and in theory, a 32mm lens will gather less light and project a noticeably less-bright view than a 50mm or even 42mm option. Still, we do get its maker's much-venerated T* lens coating here, and the Zeiss will slip into a jacket pocket without feeling like a dead weight. So, in theory, I could take it to gigs and sporting events, not just the great outdoors for wildlife watching and nature observation.

If I start thinking of these as a single pair of binoculars with lots of potential uses, then the outlay seems a lot more reasonable. So how do the Zeiss Conquest HDX 10x32 shape up in terms of versatility, practicality, and performance? Will they, indeed, conquer all observational challenges, or fall at the first hurdle?

Zeiss Conquest HDX 10x32: Specifications

Zeiss Conquest HDX 10x32: Price

When checking out competing compact binoculars from more consumer-oriented brands, the Zeiss Conquest HDX 10x32’s price tag may seem rather large in comparison to its compact size. Cost-wise, we’re looking at around £899 / $979.99 / AU$1,569, although marginally better deals may be had by shopping around.

However, for a rugged, well-built Zeiss-branded device that performs excellently, to me, it feels like value for money. Compared to Zeiss’s own SFL 10x50, at twice the price, the smaller Conquest HDX 10x32 delivers a comparably just-as-clear and impressive viewing experience; this model seems more enticing.

Zeiss Conquest HDX 10x32: Design & Handling

Small yet mighty appears to be the ethos here. While the design is conventional, the Zeiss Conquest HDX 10x32 binoculars not only offer a degree of waterproofing, like peers from rival brands, but are shockproof, too. Subtle rubber armor provides sufficient grip to the exterior that I could achieve a steady hold, despite these binos' compactness, giving rise to judder/wobble-free views handheld.

With no built-in image stabilization or any screw thread at the base to allow mounting on a travel tripod, these binos are all about staying active and ready for any observational opportunity. They are a device that I can whip out from my pocket in seconds, should a suitably inviting subject suddenly appear on the horizon.

Spongy rubber front and rear caps are provided to protect the binoculars' precious glass when in transit. The cover for the eyepieces can be tethered to prevent accidental loss, while the front caps hang down when in use, attached to an elastic lens surround. The lens caps are removable, should one wish, which might well be the case, as I found these caps had to be squeezed tightly into place to prevent them from accidentally popping back open; a very minor irritation in terms of handling.

Otherwise, the conventional design here gives rise to intuitive use. I could hand these to anyone – as I did to a friend I bumped into walking back from taking product photographs – and they’d immediately be up and running. The large, ridged rubber focus wheel sits directly between the eyepieces, where it’s impossible to miss. The body of the binoculars has a degree of give to it, whereby it’s possible to quickly adjust the interpupillary distance between the eyepieces to best line up with your own eyes and provide a clear, large circular view of whatever’s being observed. Twist-up eyecups and a dioptric adjustment encircling the right eyepiece complete the compact yet superior package. In terms of practical usage, these Zeiss Conquest HDX 10x32 binos handle like a dream.

Zeiss Conquest HDX 10x32: Performance

Fortunately, it’s a dream I don’t need to wake up from. A close-focusing distance of a mere 1.5 meters proves very respectable when wanting to bring something closer that is not necessarily very far away, and ideal for observing skittish squirrels and wildfowl. As the magnification is a standard 10x, I found that the field of view is also wide enough that I don’t have to keep taking my eyes away from the eyepieces to locate the subject and then re-focus, saving time and allowing me to continue doing what I picked up the Zeiss Conquest HDX 10x32 to do: observe.

The quality and clarity here is such that I was able to view a jackdaw on a neighbour’s roof attempting to pluck small flies out of the air. Not only the bird but also the insects buzzing around it were sharply rendered, which is impressive indeed from what appears, on the face of it, to be ‘humble’ pocket binoculars.

With image sharpness ably maintained edge-to-edge, I found it very hard to spot instances of chromatic aberration/purple fringing, even when actively looking for it. Views through the Conquest HDX 10x32 display plenty of color and contrast, with the device punching above what I’d expect of a 32mm objective lens, in terms of light-gathering ability and overall clarity. Yes, these are premium binoculars, with Zeiss’s much vaunted T* lens coating, but the performance is visibly premium too.

I expected to be impressed with anything Zeiss, but even when handling it straight after testing the same manufacturer’s SFL 10x50 model, it more than holds its own against its more expensive sibling.

Zeiss Conquest HDX 10x32: Verdict

Those sifting through binoculars to find the one that delivers the goods as a compact all-rounder will find their grail in the Conquest HDX 10x32. Not too big or too small, not too lightweight nor too heavy, just about everything here – including, especially, the class-leading optical performance – feels just right. Comfortably ergonomic and well-constructed, it really is hard to find fault, except, perhaps, in the cheapest elements, such as the stretchy rubber lens caps that have a habit of popping open.

But it’s the views provided that count. And here the Zeiss Conquest HDX 10x32 binoculars really deliver, with punchy contrast, color-rich, razor-sharp results. There’s no need to squint to pick up on the finest of details, from a bird’s shiny nostril to the fluffy hairs on a squirrel’s tail, whether the subject under observation is near or far. These come highly recommended as premium yet compact performers.

Alternatives

Zeiss is a world-renowned expert in optics, so anything featuring its glass inevitably comes with a premium price tag, including its own SFL 10x50 binoculars. But why ‘SFL’? In Zeiss’s world, this stands for ‘Smart Focus’ and ‘Lightweight’. While the 'Lightweight' aspect is self-explanatory, the Japanese-made binos' blurb suggests ‘Smart Focus’ relates to the positioning of a large, ridged focus wheel between the eyepieces. There’s nothing unusual about this control’s centralized location, or anything noticeably ‘smart’ about it, but its maker insists its ergonomics enable fast focus adjustment. Which I wouldn’t argue with: its tactile and responsive functionality is undoubtedly useful for tracking moving wildlife.

I believe the jewel in this model’s crown, however, is its ultra-high definition 50mm objective lenses. The manufacturer says that it has managed to squeeze these into a traditional 42mm frame size. What’s more, the combination of 50mm lenses and larger exit pupils is claimed to allow for 42% more light than competing 42mm binoculars. The result, to my eyes, is a noticeably brighter image than expected from a device of this size.

But, given the sizeable cost of investing in a pair, do the Zeiss SFL 10x50 provide birdwatchers and nature lovers with an equally large return, in terms of not only usability, but also performance? Read on to find out.

Zeiss SFL 10x50: Specifications

Zeiss SFL 10x50: Price

While their specification packs a punch and the performance promises to be top-notch, at £1,899 / $1,799.99 / AU$3,273, the cost of these Zeiss binoculars reflects their sophistication. For slightly less money, a sensible alternative would be image-stabilized binoculars like the Fujifilm Fujinon Techno-Stabi TS-L 2040, with smaller 40mm objective lenses yet a more powerful 20x magnification. That said, I feel the observational quality of these Zeiss binoculars, in terms of achievable clarity, is a step up from the Fujifilm.

A closer performance, in terms of sharpness and clarity, comes from the premium Swarovski NL Pure 10x42, though they are a fair whack more expensive than even these Zeiss binos as a result. Ultimately, it feels like this model sits between the very, very good and the absolute best when it comes to high-powered premium binoculars; a very respectable market segment to sit in. Further options in the Zeiss SFL range exist in the simultaneously released 8x50 and 12x50 models.

Zeiss SFL 10x50: Design & Handling

Rendered in serious black, these SFL 10x50 binos have a very conventional-looking yet classy design. The quality of their construction feels high. A big lens usually means additional weight, but Zeiss claims a magnesium body construction has ensured they are around 19% lighter than competing binoculars with a 50mm lens.

They certainly do not feel heavy in the palm, but nor are they so lightweight that holding them steady proves a problem. There’s enough real estate here that I was able to get a nice firm grip on the rubberized surface and experience judder-free viewing handheld. That’s just as well, as there is no screw thread on the unit for possible tripod mounting if arms get tired or shoulders stiffen.

The focus wheel is much chunkier than expected. That and its central location enabled me to find it easily with my fingertips, without needing to take my eyes away from the eyepieces. Here, focusing is possible from just shy of six feet to infinity. The official claim is that it takes 1.4 ‘turns’ of the wheel to move through the entire available range. I find a lot of focus wheels to be very stiff in use to prevent accidental jogging. On the Zeiss, by contrast, the action feels just right, so I can quickly find critical focus a second or two after sighting a possible subject.

It’s not just the larger-than-average 50mm objective lenses that aid light transmission, but also the various coatings applied to the lens elements, including what Zeiss terms its T-Star multicoating, which claims to boost light, color, and contrast, plus a hydrophobic coating that allows for use in all weathers. That’s welcome, as I don’t want to be constantly stopping to wipe binoculars clean if I’m using them in the rain. The body is nitrogen purged, which means it should not fog up in damp conditions, either.

For added comfort, there is a bit of give to the binoculars’ central mechanism, which allows for the interpupillary distance to be adjusted to better suit one’s own eyes. Eyecups are of the twist-up variety, and there is a dioptric adjustment dial encircling the right eyepiece for fine-tuning, if needed. I found this control a little stiff to turn, but I didn't feel the need to use it anyway.

Zeiss SFL 10x50: Performance

Capable of focusing from just under six feet away to infinity, these Zeiss SFL 10x50 binoculars are practical, versatile, and, in terms of quality of image, deliver a real wow. I came to use them after recently testing the rival Fujifilm Fujinon Techno-Stabi TS-L 2040 and 1640, and though they are capable performers in the image-stabilized binocular segment, the difference these Zeiss binoculars made was immediately noticeable and very positive. In my view, these Zeiss are second only to the more expensive Swarovski NL Pure 10x42 in terms of naturalistic, life-like results.

Peering through these binoculars not only gave me a brighter view than expected, but one that was crystal clear, right into the edges of the frame. Suddenly, I was up close and personal to the beak of a yawning seagull resting on a post, some six feet from me. I could also zoom in on people taking in the air on their apartment balconies on the other side of the river, without any visible softness or distracting judder when using the binocular handheld.

Chromatic aberration is well controlled, though on very bright days, I did very occasionally spot flashes of purple fringing between areas of high contrast. In fairness, that was only because I was actively pointing the binoculars at more challenging subjects and actively seeking out possible instances. Overall, the Zeiss SFL 10x50 punches above its size and weight in terms of performance.

Zeiss SFL 10x50: Verdict

Sometimes quality costs, and that’s certainly the case with these Zeiss SFL 10x50; their decent magnification is wedded to generously sized objective lenses that let in plenty of light. This adds up to razor-sharp images with a real natural depth and a wow factor that justifies the asking price. I found they assisted me in the identification of fine, distinguishing details from afar. It makes these binoculars a top choice for birders, nature, and wildlife fans who want premium quality while also providing a slightly more affordable alternative to luxury binoculars from the Swarovski brand.

Alternatives

The second lens in Zeiss's Otus range for mirrorless cameras is now confirmed for a September launch. The Zeiss Otus ML 85mm f/1.4 will go on sale in September - and we now have the full specification for this manual-focus portrait lens, which will be available in Canon RF, Nikon Z, and Sony FE mounts.

The Otus range has its origins as a high-quality options for DSLR cameras, but earlier this year Zeiss announced that it was at last going to produce Otus lenses in mirrorless lens. The first was the Zeiss Otus ML 50mm f/1.4 which we tested back in April. The Zeiss Otus ML 85mm was promised for later in the year - but at the time we didn't have a precise date for its launch, or detailed specifications.

The Otus ML 85mm f/1.4 will weigh between 1033g and 1061g (around 2.3lb) depending on which mount you get it in, and will measure between 105.7-109.7mm long, with a diameter of 87.9mm.

The lens is constructed from 15 elements in 11 groups, and uses a 10-bladed iris. It's minimum focusing distance is 0.8m (2.6ft), providing a maximum magnification ratio of 0.12x. There is a front-mounted 77mm filter ring.

Designed to use in a wide range of conditions, the lens has a blue sealing ring to protect the camera lens interface from dust and moisture, while additional seals provide protection against splashes. It claims to be able to function in environments ranging from -20°C to +55°C.

The  Zeiss Otus ML 85mm f/1.4 will go on sale in September for $2,999 / £2,350. That will make it significantly more expensive than Sony's own FE 85mm f/1.4 GM II lens, - despite not offering autofocus. And if you are Nikon or Canon users you can even get an 85mm f/1.2 autofocus lens for around the same price.

There aren’t many photographic companies with a longer or more illustrious heritage than Zeiss, originally founded in Germany all the way back in 1846. With bicentennial experience in the driving seat, the company knows a thing or two about lenses and is renowned for making some of the world’s finest optics.

If proof were needed, look no further than the Otus range of f/1.4 28mm, 55mm, 85mm and 100mm prime lenses, designed for Canon and Nikon DSLRs. They’ve achieved near-legendary status and picked up a string of awards along the way, but there’s been nothing new this decade. But fter six years on pause, Otus is now back in ‘ML’ mirrorless guise, kicking off with f/1.4 50mm and 85mm lenses.

They’re not the first Zeiss lenses for mirrorless cameras and without even counting Sony’s Zeiss-badged lenses. There are own-brand Zeiss Loxia manual-focus, full-frame lenses for Sony E-mount cameras. Then there are autofocus, full-frame lenses in the shape of Zeiss Batis for Sony E-mount cameras, along with Zeiss Touit APS-C format autofocus lenses in Sony E and Fujifilm X mount options. Like the original Otus lenses, the new Otus ML primes are manual-focus affairs, but the 50mm f/1.4 nevertheless aims to be one of the best standard prime lenses of all time.

Zeiss Otus ML 50mm f/1.4: Specifications

Zeiss Otus ML 50mm f/1.4: Price

Let’s cut to the chase. The Zeiss Otus ML 50mm f/1.4 aims for optical perfection, based on the very finest glass. That doesn’t come cheap. It has a selling price of $2,499 / £2,100 / AU$4,025 but, in fairness, that’s much less expensive than the older Otus 55mm f/1.4 for DSLRs, which sells for around $3,990 / £3,400 / AU$6,388. The price of the new lens compares fairly favorably with top-ranking (albeit faster) 50mm primes including the Canon RF 50mm f/1.2L USM at $2,299 / £2,449 / AU$3,699, the Nikon Z 50mm f/1.2 S at $2,097 / £2,299 / AU$3,698 and the Sony FE 50mm f/1.2 G Master at $1,998 / £2,099 / AU$3,148.

Zeiss Otus ML 50mm f/1.4: Design & Handling

Let’s address the elephant in the room. You might well be thinking, “All that money for a modern lens that doesn’t even have autofocus? That’s nuts!” And you certainly wouldn’t be the only one. But hang on a minute. Zeiss argues that ‘manual focusing is an experience in itself. Zeiss Photography Category manager Petra Visuri goes further still, saying “Manual focusing is more than a method – it’s a way for photographers to connect deeply with their creative power and craftsmanship, enabling both unparalleled control and artistic freedom.”

For my part, I’ve known professional photographers who seem to have rangefinders for eyeballs and the kind of muscle memory that manually dials in the correct focus distance in a trice, without even thinking about it. Sadly, I’m not one of that elite band. Even so, aids like focus-peaking and a magnified live preview right in the viewfinder make precise manual focusing with the Otus ML much easier with mirrorless cameras, compared with a DSLR.

As I’d fully expect from a Zeiss manual-focus lens, the focus ring works with a really fluid feel and a very long throw (or rotational travel), in this case of 259.5 degrees. Physically rather than electronically coupled to a helicoid drive system, the focus ring is wonderfully tactile. The only downside is that with such a long throw of nearly three-quarters of a full circle, it can a bit of a journey focusing from the minimum distance of 0.5m all the way to infinity, or visa versa. In practice though, that’s something you seldom or maybe never need to do in real-world shooting. I could be unkind and say that’s the sort of thing that autofocus lenses do, when they’re hunting back and forth trying and failing to acquire a target.

It's not just the focusing that’s manual. The aperture is also adjusted by a physical control ring and, unlike with many lenses that feature an aperture ring, there’s no ‘Auto’ position for camera-driven control. That precludes shooting in Program and Shutter-priority modes. You might feel the limitations are a complete pain but, if you’re already sold on manual focusing, you might find the insistence on using the aperture ring is an extra bonus that adds to the ‘hands-on’ shooting experience.

Either way, the aperture ring operates in one-third click steps from wide-open at f/1.4 down to f/11. The change from f/11 to the narrowest aperture of f/16 operates in a single click step for that full and final f/stop. The aperture diaphragm itself is based on 10 curved blades and is particularly well-rounded as a result, aiming to retain maximum quality for bokeh when stopping down a little.

If you’re into shooting video as well as stills (isn’t everyone, these days?) you’ll prefer a stepless aperture control ring. The Zeiss obliges with a click/de-click option. Again, that’s certainly not unique in the current market.

However, while most lenses with this facility have a switch for making the change, the Otus sticks with a method that I’ve seen on a few Zeiss lenses before. It’s supplied with a small key - the only part of the kit that frankly looks and feels a bit cheap. It’s a bit like a miniature flat-bladed screwdriver. To change between click and de-click modes for the aperture ring, you need to take the lens off your camera and make the adjustment via a small flat-headed screw-like pin in the lens mount.

I suppose you could argue that at least this makes it impossible to change between click and de-click options accidentally, but I think it’s a bit of a chore.

Control over focusing and aperture come together with a depth of field scale between the two rings. It’s marked for apertures of f/4, f/5.6, f/8, f/11 and f/16. Unlike with many autofocus lenses and more especially zoom lenses that I’ve tried this with in the past, the markers proved pretty accurate in my tests. They enable traditional ‘zone focusing’, where you can set the near and far limits covered by the focus distance to retain sharpness within a specified zone.

The markings for focus distance (in feet and meters), depth of field and aperture are all colored in a rather garish shade of yellow, inherited from the original Otus lenses. Again, the coloring can split opinion. Some might think it looks a bit cheap but, from a practical point of view, the bright yellow markings are very easy to read, even under extremely low lighting conditions.

Let’s talk glass. Based on Zeiss’s famed Distagon (retrofocus) design, the Otus ML takes its optical cues from the original Otus 55mm lens. It makes extensive use of elements with anomalous partial dispersion and features two aspherical elements. The aim is not only to enhance sharpness and clarity across the entire image frame, but to minimize both axial and lateral chromatic aberrations. Going further still, the lens strives for premium color rendition, micro-contrast and that elusive (mythical?) ‘3D pop’ which is often attributed to top-notch Zeiss lenses.

All that posh glass is encased in a full metal jacket, which extends to the mounting plate, barrel, knurled aperture and focus control rings and even to the circular-profile hood. The last of these is a similarly high-quality item, complete with black flocking on the inner surface to minimize reflections.

Zeiss Otus ML 50mm f/1.4: Performance

In my real-word tests, the Otus ML 50mm delivered stunning levels of sharpness, even when shooting wide-open, from the center of the image frame right out to the extreme edges and corners. Equally important or even more so, in my opinion, the quality of bokeh proved to be beautifully soft and dreamy, with a really natural roll-off between focused and defocused areas. Color rendition is superb, while contrast and clarity are exemplary. That ‘3D pop’ accolade is well earned, with a truly three-dimensional look to images.

Axial chromatic aberration (also known as bokeh fringing) isn’t entirely non-existent but is of a very low order, even when shooting wide-open at f/1.4. Lateral chromatic aberration, which can be equally problematic at medium to narrow apertures instead of just at wide apertures, is negligible even at the edges and corners of the image frame where it tends to be more noticeable. There’s the slightest touch of pincushion distortion but not enough to be noticeable in most shooting scenarios, even when uncorrected.

Manual focusing is an acquired taste and a skill that comes with practice. It’s not something that comes naturally to most photographers nowadays, but manual focusing does work very well with this lens, adding to the overall performance and feelgood factor.

Zeiss Otus ML 50mm f/1.4: Sample Images

Pretty much any lens can make everything look nice on a bright sunny day. Dull, overcast conditions are more of a challenge, which was the prevailing weather for this gallery of images, shot in the UK city of Bath.

Zeiss Otus ML 50mm f/1.4: Lab Results

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

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

Sharpness:

The Otus 50mm doesn’t deliver the best lab scores for sharpness that we’ve ever seen but in real-world testing, sharpness, micro-contrast and clarity are all exceptional, right across the entire image frame and throughout the aperture range.

Fringing:

Lateral chromatic aberration is negligeable even out at the extreme edges and corners of the image frame. And that’s with automatic in-camera correction disabled.

Distortion: 0.67

There’s a very slight touch of pincushion distortion when uncorrected but it’s generally almost impossible to spot in real-world shooting.

Zeiss Otus ML 50mm f/1.4: Verdict

Alternatives

The new Vivo X200 Ultra is sounding like an amazing option for smartphone photographers. And the news just keeps on getting more exciting – a Zeiss 200mm lens on this new flagship phone. Let's see how this works.

Vivo’s partnership with Zeiss is not new – they have been working together since late 2020. However, this time the new lens possibilities are different. In product manager Han Boxiao's post on Weibo, which we translated using Deepl, he kicked things off with "Subverting imagination!"

Boxiao followed with the news that the 200mm zoom lens, co-engineered with Zeiss, will be an available add-on option for the Vivo X200 Ultra. An attached image shows the 200mm optic connected to the phone, indicating that the zoom can be mounted using a custom adapter over the X200 Ultra's 200MP periscope zoom lens.

The lens has an aperture of f/2.3 and consists of 3 groups featuring 13 high-transparency glass elements. It enhances the native 3.7x optical zoom of the 200MP sensor. With a focal length equivalent to 200mm, the lens provides 8.6x optical zoom and up to 70x hybrid zoom.

Han Boxiao stated that shots taken at up to 800mm (35x zoom) are highly usable, while shooting at a focal length of 1600mm (70x zoom) is equivalent to the original 30x zoom effect.

Here are the other optics you can expect for the Vivo X200 Ultra (according to the Federation of Independent Photographers on Weibo):

• 85mm Zeiss APO super telephoto lens II
• 14mm Zeiss ultra-wide-angle lens
• 35mm Zeiss human documentary lens

All three lenses come with Zeiss T* coating, full-focus OIS (optical image stabilization), and they can shoot 4K 60p 10-bit log video, as well as 4K 120p slow-motion video. Plus, the Vivo X200 Ultra features camera control buttons, zoom flash andSLR-level flash portrait capabilities.

With the announcement that the X200 Ultra will be available with an advanced photography kit, this smart device becomes increasingly interesting among smart photographers of all kinds.

The launch is set for April 21 in China, though Vivo hasn’t confirmed international availability yet. With all the growth we’ve seen in recent years, let’s keep our fingers crossed that the new flagship smartphone arrives in global markets too.

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If imitation is the sincerest form of flattery, then cameras should be blushing at all the attention from smartphone brands. At one of the biggest smartphone events of the year, both Xiaomi and RealMe showed off experimental devices that gave smartphones mirrorless-like lenses. But while the Xiaomi Optical Modular System and RealMe Interchangeable Lens Concept were unveiled in 2025, the concept “cameras” took me back a full decade – because camera companies already tried to do the same thing years ago, and failed.

The year is 2014 and, hot on the heels of the company’s very first full-frame mirrorless camera the year before, Sony took another risk and launched the QX1, an APS-C sensor that used E-Mount lenses and attached to a smartphone. The Sony QX1 was, essentially, a camera without the camera. The QX1 offered the sensor and lens mount, but operating the camera was largely done through whatever smartphone it was mounted on.

Sony would later go on to announce the XQ10 and XQ30, zooming smartphone-attachable cameras with a point-and-shoot sized sensor, and the XQ100, a smartphone-attachable camera with a one-inch sensor similar to the RX100 series. A year after the XQ1, Olympus tried the Air A01, a Micro Four Thirds sensor and lens mount that similarly omitted the LCD screen in favor of a smartphone.

All four of those cameras from Sony and Olympus have all been discontinued, without successors, indicating that the unusual format wasn’t popular enough to get up off the ground. But, fast forward ten years and now there’s not just the Xiaomi Optical Modular System and the RealMe Interchangeable Lens Concept, but the upcoming Alice Camera as well as the SwitchLens that raised more than $800,000 on Kickstarter.

That raises the all-important question: Did cameras like the Sony QX1 fail because the technology wasn’t ready yet, or because not enough people even want a cross between a smartphone and a mirrorless camera?

I remember trying out one of the early Sony QX cameras. One of my biggest issues with the camera-that's-not-quite-a-camera was the delay that resulted from having to connect to the phone using Wi-Fi. There was a noticeable delay between when the shutter release was pressed and when the image was actually taken, rendering it fairly useless for shots of moving subjects.

But 2025 technology could help allay some of that issue. The Xiaomi concept camera-phone uses LaserLink, which uses near-infrared to transfer the data to the phone. The RealMe concept eliminates the need to connect wirelessly entirely, where the phone is essentially the mirrorless camera body, just with glass to protect the sensor when a lens isn’t in use. The Alice Camera uses wireless connectivity, albeit in a more modern form including Wi-Fi 6.

But the other part as to why I think cameras like the QX1 and Air A01 failed to take off is that smartphones have terrible ergonomics for taking photos. The thin design is excellent for slipping into a pocket, but not so great for holding up a large lens for long periods without having something to wrap your fingers around.

Another potential factor at play is that, in 2025, it's not just photographers buying cameras. Influencers are undoubtedly playing a role in the market as well and could be drawn to the concept of a smartphone that operates like a mirrorless camera. Ten years ago, influencers were a far smaller niche category of buyers.

Cameras like the QX1 weren’t the only experiments to try to mix the best of dedicated cameras with mobile photography. Cameras like the Zeiss ZX1 and Samsung Galaxy NX are dedicated cameras, but with an Android operating system that allows them to run photo editing apps and share images without a smartphone at all. But, like the QX and Air series, have both been discontinued.

Perhaps what is most ironic about smartphone brands' attempts to be more camera-like is that it comes at a time when dedicated cameras are seeing a resurgence. Compact cameras are now in high demand after nearly dying out, in part for the small size and, I could argue because it’s not a smartphone. A dedicated camera gives you more than ergonomics, swappable lenses, and better image quality; it gives you the ability to capture memories without being distracted by notifications and apps. Or, for that matter, draining the smartphone battery.

I’m amused but also glad to see the latest attempts to merge smartphones and mirrorless cameras into one device, however. I think the engineers who design cameras and the photographers using them both need creativity and experimenting – even if those experiments feel slightly recycled or never really get up off the ground. But, I certainly won’t be first in line to buy a smartphone-mirrorless mashup.

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High-end German optics company Zeiss is back in the photo game. On Tuesday, February 25, Zeiss unveiled the new Otus ML lens family, a move that brings the company’s earlier f/1.4 primes to mirrorless mounts. The new Zeiss Otus ML 1.4/50 and Zeiss Otus ML 1.4/85 lenses are slated for a 2025 arrival in Sony E, Canon RF and Nikon Z mounts. While the new lenses continue the manual focus and wide f/1.4 features of the original Otus line, there’s another key change besides the new mounts: a lower price point.

The Zeiss Otus ML 1.4/50 is what the company is calling “a versatile all-rounder” while the 85mm is targeted towards portrait photography. But while the features like the all metal design fall under what many predicted from the companies earlier teasers, the ML series is posed to sit at a significantly lower price point than Zeiss’ older DSLR Otus optics. The 50mm carries a list price of $2,499 / £2,100 with the 85mm at $2,799 / £2,350. That price is higher than many first-party primes with autofocus, but it’s a significant cut from the brand’s DSLR lenses, like the Otus F-Mount 85mm which is still available for $4,490 / £3,800.

Zeiss’ announcement says the line includes the 50mm and 85mm “for the start,” implying additional focal lengths could potentially be added to the Otus ML family down the road.

The Otus ML line-up will carry a few commonalities among lenses in the DSLR series. Zeiss says the optics are designed to create “the characteristic Zeiss 3D pop,” thanks to a design tailored to true colors, sharpness and micro contrast. Aspherical, or curved, lens elements help keep that sharpness even on the edges of the image while an apochromatic design helps maintain color accuracy and reduce chromatic aberrations.

Both newly announced lenses will also have a metal construction. Weather seals help the lenses withstand splashes, including a blue-colored sealing ring at the mount. While the company says the lenses are crafted for photographers, the aperture ring can be de-clicked, a design feature favored by videographers. The De-click feature isn’t a switch or button but an included tool used to loosen an adjustment screw on the lens mount.

Like the DSLR lenses, the Otus ML line is manual focus only. Zeiss highlights those manual adjustments, however, saying that manual focusing is “an experience itself.” The metal focus ring controls a helicoid drive.

“Manual focusing is more than a method – it’s a way for photographers to connect deeply with their creative power and craftsman-ship, enabling both unparalleled control and artistic freedom,” said Zeiss Photography Category manager Petra Visuri.

At launch, the lenses listed on the Cosina website only shared specifications for the Otus ML f1.4/50, which is built with 14 elements in 11 groups as well as 10 aperture blades. The size and weight of the lens varies slightly based on the mount, but ranges from 92.9mm to 96.9mm and 677g to 718g.

The 50mm will also have electronic communication with the camera body despite being manual focus, which will include supporting EXIF information and in-body stabilization for cameras with the feature. The Z-Mount and RF-mount lenses list support for focus peaking and magnification in those specs, but the E-mount lens only lists magnification. Both the E-Mount and RF mount list support for lens correction, a detail missing from the Z-mount communication specifications.

Zeiss says the 50mm lens is slated for a May 2025 release date, with the 85mm to follow later in the year. The lenses are already available for pre-order through multiple retailers including B&H in the US (85mm and 50mm) and Wex Photo in the UK (85mm and 50mm).

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After more than five years without releasing a new photography lens, Zeiss has finally broken its silence. The legendary optics manufacturer has taken to social media to tease a brand-new lens – and I couldn’t be more excited!

Over the past four days, Zeiss has been drip-feeding cryptic teasers on Instagram, sparking speculation among photographers. While the company has remained tight-lipped on specific details, one thing is certain: it will be a new addition to its Otus lineup.

The Zeiss Otus series is regarded by many as the gold standard for image quality, featuring incredibly fast f/1.4 apertures with virtually no aberrations. Until now, Otus lenses were designed exclusively for DSLR cameras, using the Nikon F-mount, therefore the upcoming release is expected to mark the beginning of a mirrorless Otus range – an exciting development for modern photographers.

Zeiss' teaser campaign has included behind-the-scenes glimpses and sample images, fueling anticipation. Commenters have been speculating wildly; will it be a wide-angle or telephoto lens? Sony E-mount or Nikon Z-mount? Zeiss has responded to many of these guesses with nothing more than a wry "👀" emoji, keeping the mystery alive.

From the limited clues available, my instinct leans toward an 85mm f/1.4 or 100mm prime. Examining the teaser footage, the size of the lens and the length of its hood suggest a longer focal length rather than a wide-angle option. The Otus lineup features distinct lens hoods for each focal length, and this one appears longer than those on existing wide-angle models.

Adding to the intrigue, B&H Photo has teased, "Something big is coming!". This could simply refer to Zeiss’ long-awaited return, or it might hint at a longer focal length prime, supporting my theory.

One wild idea circulating in the comments is that Zeiss might release multiple lenses at once; after five years of silence, this wouldn’t be entirely out of the question. In fact, looking at the variety of sample images in the teasers, it’s not as far-fetched as it first seems.

The official announcement is set for February 25 2025. Until then, we’ll have to wait and speculate on what Zeiss has in store.

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Optics manufacturer Zeiss hasn’t launched a dedicated mirrorless lens in awhile – but a new teaser shared to Instagram suggests that hiatus is about to come to an end. Zeiss has shared a new teaser on social media with the line “Get ready for owlsome news!” along with a photo of an owl. Because the term Otus refers to a genus of short-eared owls, I’m predicting the brand is getting ready to launch an addition to the Otus line of photography lenses.

Zeiss makes optics from smartphone camera lenses to scopes, but the company's line of camera lenses has had a quiet few years. The company launched some cinema lenses in 2021, but Mirrorless Rumors points out that the company hasn’t launched any optics focused on stills for six years.

The company’s new teaser suggests that’s about to change. The post was shared to the Zeiss Camera Lenses page, so some sort of camera lens is coming soon. But, beyond that fact, anything else is just pure speculation over both what is coming and when it may be coming.

However, the photo, caption, and the fact that the teaser photo was shot with the existing Zeiss Otus 1.4/85 lens makes me fairly confident in speculating that the upcoming lens may be part of the Otus line. Zeiss says its Otus line was originally designed for the most demanding stills photographers, but the line of prime lenses is also often used by filmmakers, as the lenses also have a high resolving power for 4K video.

The Otus line currently includes four prime lenses that are all f/1.2 optics, including a 28mm, 55mm, 85mm, and 100mm.

The teaser also doesn’t note any sort of timeline, though the upcoming CP+ show at the end of the month tends to be prime time for multiple photo-related new releases.

Of course, the teaser is vague enough that I could be disappointed and the owl doesn’t mean the Otus line at all. But the teaser being shared specifically to the camera lens page may get many photographers' hopes up for some new glass.

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Zeiss has just unveiled the latest addition to its cellular trail camera lineup – the Secacam 3. This model is the most affordable in the series, yet it delivers an impressive range of features, making it an exciting prospect for nature enthusiasts and conservationists alike.

Zeiss is an industry-leading manufacturer in all things optics, from binoculars and monoculars to photography lenses, each is designed to offer the very pinnacle of optical quality, the same is true for its trail cameras. Sitting beneath the Secacam 5 and Secacam 7 in the lineup, which cater to more professional needs, the Secacam 3 strikes an ideal balance between advanced functionality and accessibility.

With a 3-megapixel sensor, a standout feature of the Secacam 3 is its exceptional low-light performance, achieved through Zeiss’s IR Boost technology. Designed for discreet observation, the camera uses 940 nm invisible infrared light to deliver crisp, detailed images even in complete darkness. Whether capturing nocturnal wildlife or subtle movements at dawn, it ensures clarity without encroaching on natural behaviors.

Product Developer at Zeiss Carsten Hess states, "With the new Zeiss Secacam 3, we offer a new trail camera for impressive nature recordings, whether during the day or at night. A modern chipset enables optimized image processing and compression, for faster transmission times and detailed images even at night or in shaded areas".

The camera’s user-friendly design further enhances its appeal. A tilting 1.9-inch display allows for easy setup, enabling users to frame their shots with precision before leaving the device in position. Additionally, the battery magazine cartridge makes power replacement straightforward and convenient as there is no need to adjust or reposition the camera to swap out batteries conserving optimal and consistent camera positioning.

Built for adaptability, the Secacam 3 combines innovative motion detection with practicality. Its PIR Fresnel lens ensures sensitivity to even the smallest movements, while a fast trigger speed of under half a second minimizes blur, ensuring sharp, well-timed captures.

The USB-C data transfer system moves away from traditional SD cards, streamlining the process of retrieving footage, and LTE (Long Term Evolution) cellular connectivity across 35 countries keeps users updated with real-time notifications via the Zeiss app. The app also includes practical features like AI-based animal recognition and night-image recoloring, adding further layers of functionality for users.

As is vital for trail cameras, durability is at the heart of the Secacam 3’s design, and with an IP66 rating, it withstands tough environmental conditions, whether exposed to rain, snow, or heat. Compact and robust, it’s equally suited for backyard enthusiasts and those venturing deep into remote wilderness.

The Zeiss Secacam 3 is available to preorder now for its scheduled release on January 28, priced at just £119 / €129.99 (Australian and US availablility and pricing yet to be confirmed). The Secacam 3 is a highly accessible option within the Zeiss trail camera lineup, while the higher-end Secacam 5 and Secacam 7 offer more specialized tools for professional use, the Secacam 3 caters to a broader audience without sacrificing quality.

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Foldables always sacrifice camera quality thanks to their extra thickness, moving parts and hinge, and the fact they have to squeeze in two screens, but the Vivo X Fold 3 feels like the lowest-compromise foldable to date. 

While Samsung hass enjoyed a monopoly on the big-screen foldable market with its Galaxy Z Fold line – the Z Fold 6 being the latest addition – and the Google Pixel Fold's clunky design let it down, lesser-known smartphone makers have been making much more compelling foldable camera phones.

The OnePlus Open set the trend in motion, featuring a periscope camera and a Sony LYTIA-808 stacked primary sensor, and bringing back its Hasselblad co-branding to great effect when we tested it. It launched globally in 2023, and you can buy it right now. In China, phones like the Xiaomi Mix Fold 3 also ship with a periscope camera and Leica co-engineering. 

The new X Fold 3 Pro brings Vivo and Zeiss’s impressive image processing we saw on the Vivo X100 Pro to a foldable form, with a primary 1/1.3-inch sensor – around the same size as the iPhone 15 Pro’s main camera – and a 64MP periscope camera, plus an autofocusing 50MP wide angle camera. Vivo also crams in the largest battery of any foldable, while making the X Fold 3 Pro lighter than an iPhone 14 Pro Max.

The problem with Vivo

The main issue with Vivo phones has been their limited availability. Most of its phones, including the X100 Ultra – regarded as the best camera phone around by many – are only available in China. The X Fold 3 Pro also has limited availability, with the recent launch outside China being limited to India and potentially some other markets in the future.

An Indian launch is excellent for enthusiasts in the West. For starters, it’s the first Vivo foldable to launch outside China. It also means anyone looking to import the phone with Western services, including Google Wallet, Android Auto, and the Google Play Store, can do so without any headaches. For typical smartphone buyers, though, importing a pricey foldable isn’t realistic.

And so, Vivo’s undeniably impressive X100 Ultra and X Fold 3 Pro may be applying pressure on Samsung from a distance, even showing its phones up in areas, but they aren’t taking market share from the Z Fold 6 maker in global markets just yet.

But this is changing; Vivo has reached an agreement on a patent dispute that has unlocked Western availability. The new Vivo V40 series has been confirmed for Europe as part of a Euro 2024 sponsorship campaign. The rumoured X200 Pro flagship has also popped up on UK carrier EE's databases, bolstering rumours of more widespread launches for the Zeiss partner.

Whether this means we will get an X Fold 3 Pro launch remains to be seen, but we're hopeful that a successor may hit Europe in the future.

Vivo X Fold 3 Pro camera

So why are we covering the Vivo X Fold 3 Pro? Because the phone is a technology showcase, and a peek into the future of foldable smartphone photography. 

Starting with the primary camera, its 50MP Omnivision OV50H sensor has a 1/1.3-inch size, and the f/1.68 lens is optically stabilized. This is the biggest sensor of any foldable. The lens also features a Zeiss T* coating to reduce reflection and boost clarity. The ultra-wide camera is powered by a 50MP 1/2.76-inch Samsung JN1 sensor, matched with an f/2.0 lens and it has autofocus so can lock onto close-up subjects and keep everything in focus for landscape shots.

As for the periscope Zeiss telephoto camera, it features a 1/2-inch Omnivision OV64B sensor, an f/2.57 aperture and OIS. The 3x zoom reach might not sound too impressive, but Vivo’s demonstrated how powerful its AI zoom is in the X100 Pro, and this clarity-boosting works to great effect on the X Fold 3 Pro. 

We comfortably shot at 10x with usable photos for sharing, and up to 6x for croppable results. The tele camera also supports telemacro capture with a nearest focus distance of around 20cm, making it great for product photography. 

Vivo includes three shooting modes – Vivid, Textured, and Zeiss Natural – and also captures at five optical or digital focal lengths in its Zeiss Portrait Mode capture: 24mm, 35mm, 50mm, 85mm and 100mm. The X Fold 3 Pro also shoots 8K video at up to 30fps, 4K video at up to 60fps, and can shoot at either 8.6 or 24Mbps bit rate.

The X Fold 3 also gets Vivo's V3 imaging chip it calls an AI ISP. Built on a 6 nm process, it supports computational photography processing while reducing energy consumption and, according to Vivo, delivers a 30% boost in power efficiency when compared to its prior model. Matched with the high-capacity battery, this bodes well for all-day shooters.

Being a foldable, the X Fold 3 Pro also captures part-folded photos and video. There’s nothing new here, but the fact you can part-fold the phone to steady it works very well with Vivo’s pro mode. You can also take a cover screen selfie and use the main camera, taking full advantage of Vivo’s large primary camera sensor. 

This arguably makes the Vivo X Fold 3 Pro the best vlogging phone around. No other phone gives you such a big sensor with a preview of your video, so you can easily frame yourself while benefiting from natural depth separation, and the fast f/1.67 aperture doesn't hurt either.

So after a few weeks with the X Fold 3 Pro, it’s definitely one of the best, if not the best, foldable camera phones we’ve used, especially when it comes to zoom clarity, even if it can’t topple Vivo’s flagship X100 Pro.

Vivo X Fold 3's best-in-class specs

The Vivo X Fold 3 Pro’s 5700mAh battery is the largest of any foldable, much larger than the 4400mAh battery in the Galaxy Z Fold 6, yet at 236g, it’s lighter than the 239g Galaxy. With very fast-charging, a 100W wired charge powers it up fully in just over 30 minutes, and there’s also 50W wireless charging.

Vivo’s the only foldable maker that’s been able to squeeze in two ultrasonic in-display fingerprint scanners – one on the outer screen and one on the inner screen – so even when the screens are wet, you can still unlock the X Fold 3 Pro. And the phone’s screens are also much larger than those of the Z Fold 6, with an 8-inch inner screen versus the 7.6-inch Z Fold 6.

So what can Samsung learn from Vivo?

Before this turns into a Samsung bash-fest, there are many practical ways Samsung’s foldable bests Vivo’s. The Z Fold 6 has pen support with the inner screen, a longer software update promise, better after-sales support in the West, and the phone has a smaller footprint thanks to its smaller screens, which many will prefer.

Samsung is also pushing AI hard, so the Z Fold 6 is a more polished software package. From sketch to image to language tools like website summaries and translation support and tighter integration with popular services like Instagram, it offers a wide range of features.

It’s also clear that Samsung’s trying to keep its camera size down. While the OnePlus Open, Xiaomi Mix Fold 4 and Vivo X Fold 3 Pro have huge camera bumps, Samsung’s is a simple strip of relatively subtle cameras. So before we talk about what Samsung can learn from Vivo, it’s important to highlight some of the ways Samsung’s already getting things right for a certain kind of user.

But for us, the main way Samsung can improve its foldable series would be to give into a bigger camera bump and get more specced-out hardware in the Z Fold series. Bigger sensors and better optics are both critical to class-leading photography and video quality, and that’s where Vivo’s nailing it.

So if you’re a photographer on the hunt for the best foldable camera phone, the Vivo X Fold 3 Pro is likely the best flip and fold phone of 2024, followed by the OnePlus Open. But if you want the best after-sales support in the West, where Vivo’s foldable isn’t sold, the Z Fold 6 is still your safest bet.

Check out the best camera phones in 2024

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

Specifications

Key features

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

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

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

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

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

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

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

Performance

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

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

Lab results

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

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

Sharpness:

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

Fringing:

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

Distortion: -2.15

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

Verdict

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

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

Smartphone photography is big business, so it's no wonder brands like OnePlus, Huawei, Xiaomi and Vivo have all partnered up with iconic photography brands like Hasselblad, Leica, and Zeiss to boost their imaging cred. 

Smartphone fans consider Vivo something of a darling with its exceptional X Series, despite the fact its phones aren’t always widely available in the West. But for customers who don’t know much about brands like Vivo, Oppo or Xiaomi, an iconic camera brand logo around the back of a phone could add a much-needed trust factor. But are these camera partnerships all empty marketing, or can they really give you confidence that taking the plunge will actually get you better photos? 

In this three-part piece, I will examine the three hottest smartphone brands with camera maker partnerships: Vivo and Zeiss, OnePlus and Hasselblad, and Xiaomi and Leica. I will also outline the scope of the collaborations, discuss critical reception, and cover the phones showcasing the joint camera tech. Finally, I will share my conclusion as to whether the partnership is a bad take or a winning shot.

So strap in as we deep-dive into the partnership between Chinese phone maker Vivo, behind the well-reviewed X100 Pro, and German imaging icon, Zeiss, best known for its quality lenses.

This isn’t Zeiss’s first rodeo

Unlike Xiaomi and Leica, or Hasselblad and BBK Group (OnePlus and Oppo), Vivo and Zeiss seem to have a partially open relationship.

My first trip to Zeiss HQ in Germany wasn’t with Vivo, it was in 2012 with Nokia, testing out the Nokia 808 Pureview, the first phone to use pixel binning, an image processing technique Zeiss actually had a hand in pioneering. This speaks to Zeiss's longstanding involvement in mobile photography.

While the partnership between HMD Global (Nokia’s parent company) and Zeiss ended in 2021, Zeiss branding has adorned Sony Xperia phones for years, with Zeiss’s T* coating featured on high-end models like the Xperia 1 V. This reduces visual imperfections like refraction and reflection.

What’s different about the partnership with Vivo, however, Is how deep the integration is across both hardware and software. I caught up with the Vivo team to get a full more detailed understanding of the collaboration.

Vivo and Zeiss: hardware

While speaking with Vivo’s in-house imaging experts, they shared a cooking analogy that sets the scene for how Vivo sees the collaboration. When you make a dish, you improve your chances of success if you use excellent ingredients. With photography, the ingredient is the raw data that falls on the sensor. Zeiss helps Vivo get the best-quality information to the sensor as a starting point.

According to Keshav Chugh, Vivo's camera R&D product manager, both Zeiss optics and a Zeiss T* coating help the primary camera get the best-quality raw data possible for the flagship Vivo X100 Pro and Vivo X100 Ultra, recently announced in China. You can see some samples from the Vivo X100 Ultra below in Keshav's X post. 

Vivo goes so far as to call its flagship’s primary camera a Zeiss 1-inch Main Camera, and the telephoto camera a Zeiss APO Floating Telephoto Camera, the first apochromatically corrected lens in a smartphone. While tele lenses typically suffer from worse chromatic aberration (purple fringing) than wider lenses, Vivo’s lens system, certified by Zeiss, reduces this effect and performs competitively in my tests.

Vivo and Zeiss: software

Vivo’s photo processing has been making waves over the last couple of years thanks to its impressive photo quality and progressive take on computational photography. When discussing the AI of it all with Vivo, the team was keen to hit home, before you even get to tuning, Vivo and Zeiss’s collaboration focuses on making sure the foundation of the photo is rock solid. In other words, images should pack minimum Delta E (variance between what’s seen, what’s captured, and what’s displayed). This is especially important in portraits, with the X100 Pro featuring six Zeiss-inspired portrait digital lenses.

At 24mm, Vivo’s portrait look emulates Zeiss’s Distagon flare, at 35mm, it’s the Zeiss B-Speed triangular cinematic spot, at 50mm you get a circular flare, or alternatively a Biotar rotary focus flare as a second 50mm option. Punching in further, and an 85mm portrait pulls up Zeiss’s Sonnar cream spot and finally, a tight 100mm portrait creates a Planar dreamy spot paired with soft, low-saturated, platinum tones. When you think some flagship smartphone Portrait Mode options are: on or off, Vivo and Zeiss’s efforts are impressive even before you come to take a portrait photo. Vivo was keen to stress that while many portrait modes are mathematical calculations to create blur, its own version is more bespoke.

Many people, myself included, shy away from portrait mode on smartphones. It can look clunky and overdone. But because Vivo offers such a range of options and you can dial up or down the effect after taking your shot, it's easy to refine the results to a level of subtlety that doesn't detract from the quality of a photo.

As for Vivo’s general photo processing, this is mostly handled by Vivo and certified by Zeiss, and what’s also interesting (if slightly off topic), Vivo applies different photo processing to China-focused devices compared to its global phones. Global devices feature no generative AI (gen AI) to enhance a picture, upscale dynamic range, apply opt-in beautification, etc. Vivo phones launched in China, on the other hand, do feature gen AI, and they also feature opt-out beautification to reflect typical regional user preferences.

Zeiss also lives in two more areas within Vivo phones. The first is in the Zeiss Natural look. This dictates the aesthetic of your photo, with Zeiss Natural being the most balanced of all the looks on offer, while Vivid and Textured, the two alternatives, add more stylistic processing.

Finally, Vivo’s Zeiss co-branded phones enjoy a branded watermark, complete with shooting parameters so you can easily see just how hard the camera (and the processing) have worked to get the shot.

Vivo and Zeiss: a marriage made in…

If Vivo’s recent phones are anything to go by, this partnership is most certainly a marriage made in heaven. Vivo’s X100 Pro is the most reliable camera phone I’ve ever used for point and shoot photography. Its processing isn’t always the most authentic, so Vivo’s phones might not be the top choice for photography purists, especially when zooming in beyond 10x owing to how much it cleans up shots – but as I covered in my feature on the X100 Pro’s processing, it was a crowd pleaser at my family Christmas. After I took a few group shots, everyone loved how the phone’s camera simultaneously flattered and captured the mood of the day.

Vivo phones and where to find them

While you could buy the Vivo X80 Pro and X90 Pro in Europe, the more recent X100 Pro, and the V30 Pro – its upper-midranger – are mainly available in Asian and Middle Eastern markets. This could be owing to a patent dispute with Nokia that has prevented brands like Oppo and Vivo from selling their phones in Europe. With Oppo returning to Western markets with the Reno11 F this year, and Vivo issuing a statement that the dispute has been resolved, there is a chance we could be welcoming Vivo phones back to Europe in the future. 

Until then, anyone who lives somewhere Vivo phones aren’t widely available will have to import one. Having used both the X100 Pro and V30 Pro in the UK and across Europe, I can confirm both phones work well, with full access to the Google Play Store and network bands. However, if you do decide to import a Vivo phone, there are pitfalls, not least of all the limited after-sales support.

Vivo's just revealed that its X Fold 3 Pro will be launching in India in June, making it the first foldable from Vivo to launch outside China. This wider release is a promising sign for anyone enamoured with Vivo's Zeiss imaging and on the market for a foldable for two reasons. The first is that Indian devices run what is termed global software, so they natively support Google services like Android Auto, making them more attractive imports. The India launch could also be the first wave of a wider release plan that includes the West.

Running down the Vivo X Fold 3 Pro's imaging highlights, it features three cameras, a 50MP main camera with a large 1/1.3-inch sensor, a 64MP periscope camera with a 1/2-inch sensor, and a 50MP ultra-wide with a 1/2.76-inch sensor and PDAF. As you can see in Vivo's tweet, linked above, the camera gets Zeiss portrait highlights, and given how good Vivo is at eking out quality images from mobile hardware, it could be the best foldable camera around when it drops.

Vivo and Zeiss: the future

There's no getting around it, the future of smartphone photography is generative AI. And with Vivo and Zeiss having announced an extension of their partnership in May 2024, we can look forward to both brands taking their next AI-imaging steps together for the foreseeable future.

But why is AI such a silver bullet for smartphone photography? Smartphone sensors and lenses are small, a particular challenge on the telephoto end, and AI looks set to be the weapon of choice for compensating for this inherent limitation. With Vivo at the cusp of incorporating computational photography in its phones, we're guessing it will be pioneering more advanced AI models in its upcoming devices, especially when it comes to zoom.

I touched on how much Vivo cleans up zoomed-in shots in the X100 Pro with its 50MP telephoto camera, and the new Vivo X100 Ultra, with a 200MP telephoto camera, looks set to be the cleanest zoomer the internet has ever seen based on early reports out of China. By instantly bracketing, masterfully pixel-binning, and using object recognition to clean up zoomed-in detail incredibly well, Vivo really is leading the charge, out-performing technically more complex, further-reaching zooms like the 85-170mm continuous zoom on the Sony Xperia 1 VI.

As for where Zeiss fits into Vivo’s imaging story, provided the lens specialist can keep delivering its expertise, lenses and coating, the mutually beneficial partnership should continue to bear fruits for both businesses.

So while Leica appears to be swaying Xiaomi in a very classical direction with its photo processing on the Xiaomi 13T and 14 Ultra, and Hasselblad seems to be meeting OnePlus and Oppo in the middle with measured computational photography on the OnePlus 12 Pro and Open, I’m arguably more excited by what Vivo and Zeiss are on track to do. Sure, the purist photographer in me may die a little when my X100 Pro takes a photo that looks much better than real life, but when you’re taking photos that look this good on a smartphone without labouring too hard over your shot, it’s very hard not to be impressed and excited by the shape of things to come.

Check out the best camera phones in 2024

Zeiss has just unveiled 6 new cine lenses for mirrorless full-frame cameras, promising 'true cinema for all'. 

Zeiss is a lens manufacturer specializing in high-quality compact lenses, offering supreme optics for photography stills and specialized cinema cameras. Many had thought Zeiss had left the photography and video industry, with its last lens issued in 2019, but Zeiss is back, and looking to bridge the gap with 6 new cine lenses designed for modern mirrorless full-frame cameras. On first look, the lenses appear stunning and seem likely to establish themselves among the best cine lenses on the market. 

The lenses will initially be released for Sony E mount, making them a fantastic pro cine lens option for Sony's cinema line of cameras such as the Sony FX3, FX6, FX9, and the upcoming Burano. The 6 prime lenses come in 18, 24, 35, 50, 75, and 100mm focal lengths, with a consistent high-speed aperture of T1.5 (f-stop is a theoretical value t-stop is tested transmission of light). They will be available for sale individually but also as part of a set.

Zeiss has designed these lenses with all levels of filmmaking in mind. Full-frame mirrorless camera technology has advanced a long way in the past few years, with many now being Netflixed-approved. This has lowered the entry for professional cinematography, and these lenses look to hit that particular market. Full-frame sensors are typically large and amplify visual depth and character, the Zeiss Nano lenses are designed to cover the larger sensor enabling users 'to craft images rich in volume and personality'.

With a maximum aperture of T1.5 and incredible close focus capability, the Nano Prime offers a stunning depth of field and bokeh rendering, even when used with the widest angle. The 12-blade iris enhances smooth and circular bokeh for what Zeiss calls the "creation of true cinematic images".

The compact package of the Zeiss Nano Primes offers versatility across the range, with the consistent position of focus and iris rings that streamline lens changes, and a 95mm compendium ring and an 86mm screw-in filter thread enable seamless integration between gimbals and drones.

Durability and build quality have always been a speciality of Zeiss lenses, as on top of the typical sleek design, the Nano lenses are certified for use in extreme weather conditions. This is important as it enables the use of the lenses in tough environments without fear of damage, and as Zeiss states, it makes the Nano Primes the go-to lens for every day.

Other notable features include compatibility with Zeiss' Interchangeable Mount System (IMS), an electronic interface for real-time lens data to cameras hud, and easy-to-read calibrated scales for a smooth 280° focus rotation and a 90° iris ring rotation for precise control.

Although we are yet to get our hands on these lenses, they look the business! They offer professional cine lens performance for entry-level cinema line cameras. I have recently been debating whether to get a Sony FX6 or FX3 to start my filmmaking journey, and these lenses may just have swayed my decision.

It is worth noting, however, that these lenses are not cheap. They seem decently priced when compared to the higher-end Zeiss Supreme Cine lenses, but coming in at around the $4,490 (per lens) mark, there are cheaper alternatives such as the Sirui Nightwalker series and even the highly rated Sigma Cine line.

Zeiss' history of creating exceptional lenses should not be discounted, however, as I am sure that although on the more expensive side, the performance justifies it!

For more information on the best equipment for video and filmmaking, you may be interested in our guides to the best camera for filmmaking, the best camera for film students, and the best video lighting. 

If you're plugged into the latest smartphone news, you may have seen the Vivo X100 Pro taking the internet's mobile tech blogs, sites, and socials by storm. Its popularity isn't just because its camera is so impressive, but it specifically comes down to its processing being something of an AI extravaganza. Vivo sticks it to Samsung's AI-everything with the most in-your-face AI photo processing we've seen to date – but here's the real zinger – we don't hate it. In fact, the Vivo X100 Pro is an excellent camera phone that's winning us over day by day.

Vivo has a long track record of making Zeiss co-branded phones with impressive cameras. From the gimbal-stabilized Vivo X80 Pro to the 1-inch sensor-packing Vivo X90 Pro. And the new X100 Pro's standout features are its superb telephoto camera, and its mind-boggling photo processing.

While it's been available in South East Asian markets for a few months, the X100 Pro is finally getting a limited European release, which is currently confirmed for Austria and Czechia. While we don't know if it will be available further afield just yet, the fact you can buy it in Europe means it should be relatively simple to import. Plus, with full Google Play Services support, it works with Android Auto and WearOS, apps typically incompatible with imported phones.

After a few weeks of testing the phone ourselves, though, does Vivo and Zeiss's collaboration justify the buzz, or is the X100 Pro just another cog in the never-ending AI hype machine?

Vivo X100 Pro camera explained

The Vivo X100 Pro is a triple 50MP camera smartphone. It brings back the 1-inch sensor from the X90 Pro for the main camera, levels up the telephoto to a Zeiss APO Floating Telephoto camera (more on that later), and there's also an ultra-wide camera, which packs a fast f/2 aperture.

While we'd normally get stuck into the main camera specs first, the X100 Pro's APO Floating Telephoto camera has piqued our interest the most, so we'll begin here. It has a 50MP 1/2-inch sensor, a respectable size for a tele-camera. Matched with a 100mm equivalent lens with an f/2.5 aperture and an 18cm nearest focus distance, it all sounds good, but why's it a "Zeiss APO Floating Telephoto Camera"?

The name refers to the design of floating elements that Zeiss uses in high-performance camera lenses. This optimises the alignment and distance between lenses to enhance the quality of telephoto images, thereby helping the Vivo X100 Pro limit fringing and ghosting. And with a new, CIPA 4.5-level anti-shake system behind the telephoto camera's OIS, it also helps keep handheld telephoto shots looking crisp.

As for the wide camera, it marks the return of the 1-inch, 50MP IMX989 sensor that features on the Vivo X90 Pro and Xiaomi 13 Pro and 13 Ultra. This time around, Vivo has upgraded the Zeiss T* coating to reduce reflectivity and produce clearer image quality. The lens also features a 23mm equivalent focal length and an f/1.75 aperture.

Finally for the camera specs: the ultra-wide. The least standout of the bunch, but nevertheless, a capable camera, it couples autofocus with a nearest focus distance of 4cm, so it can capture close-up shots. Matched with its 50MP resolution and impressive aperture, it delivers a shallower depth in macro photos than we would expect from a typical ultra-wide.

There's one more thing Vivo does that it claims helps its X100 Pro edge ahead – it features a customized V3 chip to supplement the Dimensity 9300 processor's ISP. This is where the camera's AI smarts seem to come from, with what Vivo terms "multi-concurrent AI cognitive-ISP architecture" at play. When we read those words in Vivo's press materials, we weren't convinced, but after some time with the phone, we're warming up to the idea this chip makes a difference.

Vivo X100 Pro photo quality

What really impressed us about the Vivo X100 Pro was how reliable it was. Point, shoot, and we had a photo that almost always looked as good as we'd have hoped – sometimes better, seldom worse. After years of testing smartphones, this isn't a characteristic many camera phones can promise – flagship Pixel and OnePlus phones tend to be the leaders in this respect – so it looks like Vivo's off to a great start with its processing.

Also impressive is that whichever camera we tended to use – the main or telephoto camera – this positive impression didn't waver. As we don't tend to shoot using the ultra-wide too much, we didn't push it as hard, but all-in-all, the X100 Pro captures some of the most camera-like, least smartphone-like photos we've ever seen from a mobile.

You can see from the photo samples the level of background blur from the primary and telephoto cameras is really impressive. While there isn't a variable aperture here, as found on the Huawei P60 Pro or Xiaomi 13 Ultra, if you want a less shallow depth of field, the ultra-wide delivers. With its high resolution, its photos also hold up well when cropped into.

If you're happy with a soft-focus background, though, or want to capture product shots that look detailed and stylized, the Vivo X100 Pro is amongst the best camera phones we've used for the job. 

One aspect of the camera we didn't always love is the way Vivo processes human faces. Even when we turned off beautification, the phone would attempt to beautify subjects, sometimes with reckless abandon. This is especially true when zooming in beyond 150mm. While the X100 Pro uses AI to piece together a scene, helping its zoom out-perform the optically further-reaching iPhone 15 Pro Max's 5x tetraprism telephoto camera, faces pieced together by AI can start to look like oil paintings, and it's a little eerie.

That caveat aside, the Vivo X100 Pro could well be the most impressive camera phone on the market right now, delivering more nuanced photo processing than the ultimate superphone – the Samsung Galaxy S24 Ultra – and more powerful camera hardware than the excellent OnePlus 12.

The rest of the phone

More than a mighty camera, the X100 Pro is the first phone to launch with the MediaTek Dimensity 9300 chipset. A powerhouse mobile processor that also includes a 2023/24 ISP to help with the advanced computational photography Vivo employs. This chipset features a flagship 12-core GPU, and games playback on it brilliantly. 

With a large 5,400mAh battery for comfortable day-long use, the Vivo crams in one of the highest-capacity batteries in a smartphone, and the X100 Pro also powers up quickly with 100W wired and 50W wireless fast charging.

The X100 Pro's LTPO screen is a large 6.78-inch size with a high-beam 3000 nits peak brightness. Vivo also applies smart optimizations for games to help them render better on the phone. We tested Genshin Impact, and while many flagship Android phones make it look soft compared to an iPhone, the X100 Pro's in-game clarity-enhancer crisped things up nicely.

Running Android 14 with FunTouch OS 14 (Vivo's custom interface), the X100 Pro has excellent app support and was smooth and stable in our time with it. FunTouch OS isn't the cleanest Android skin around, but if you like tinkering with your tech, it gives you plenty of menus, transitions, and settings to customize.

Should you buy a Vivo X100 Pro?

If you don't like the idea of importing your phone, then the obvious answer is: no – the Vivo X100 Pro isn't for you – you would be better served with one of the best camera phones of 2024 that's available where you are right now.

For anyone who's open to the idea of going beyond Apple, Google, and Samsung, venturing into international waters, and is fascinated by what Vivo's doing with its camera, the Vivo X100 Pro is one of the most interesting camera phones we've ever tested.

While its camera hardware, design, screen, and impressive power inside are all good, they don't seem to break photography boundaries. It's the Vivo X100 Pro's V3 imaging processor and AI processing that's really making the waves.

So if you're feeling brave and have cash to splash – the X100 Pro is pricier than the Samsung Galaxy S24 Ultra in some markets – then you might find the Vivo X100 Pro proves to be the forbidden fruit that ups your smartphone photography game like no other.

Zeiss is a name long associated with optics, but the brand has only just launched its first two trail cameras, the Zeiss Secacam 5 and 7, following the company's acquisition of Secacam in June 2023.

Making a bid for our best trail cameras list, these are weather-resistant, and offer extensive network coverage using the European frequencies which are often harder to find for trail camera consumers. As such Zeiss is supplying an integrated multi-roaming SIM card which covers 35 European countries (including EU holdouts like the UK and Switzerland). That means the camera uses the best mobile network available where you place the camera.

The Zeiss Secacam 5 features 60 "black" LEDs which allow it to illuminate the scene in total darkness and capture video or photos. The camera features a 5-megapixel image sensor, and can interpolate images up to 12 megapixels. It is supplied with a 32GB memory card as well as the SIM and 8 AA (LR6) batteries are supplied, so it's ready to use from the box (Zeiss plan to make a solar panel available in 2024).

It has a triggering speed of less than 0.45 seconds and automatic flash strength adjustment to balance battery usage against bad exposure. Operation is via the controls and 2.4-inch display inside, or via the Zeiss Secacam App, which lets you remotely view images taken with the camera.

The Zeiss Secacam 7 is essentially the same camera, but built in a physically larger casing. That makes it a little less discrete – a little more difficult to camouflage – but on the other hand makes it easier to access in two ways. The door to the controls is beneath the lens, so the camera remains pointed in the final direction as you set it up – a composition benefit. Secondly, there is a removable battery magazine which is easier to change. Zeiss is simply offering you the choice.

The unit alone is £199 for the Zeiss Secacam 5 and £249 for the Secacam 7. The cameras will offer pay-as-you-go top-ups for photos and videos, or a monthly subscription to access the cellular services – some of these have AI options which will only show you the animals you want to see (e.g. deer, birds), and they can color the night images based on what it remembers from the daytime.

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Hypothetical question: You used to be a basketball player in high school. Fast-forward almost half a decade, and you haven't played basketball since – but are you still a basketball player, if you never officially stated that you'd stopped playing? 

Completely unrelated topic: Legendary lens manufacturer Zeiss has insisted that it has not, in fact, left the photographic lens business – despite not launching a new photographic lens in over four years.

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Recently there have been widespread reports that Zeiss had left the photo lens market. These ostensibly started following a post on the Fred Miranda forums, though we've been painfully aware that Zeiss hasn't released a new photo lens since 2019 (having focused instead on cinema lenses). Either way, word made its way from Zeiss insisting that it is not, in fact, leaving the photo lens industry. 

Another completely unrelated topic: Olympus repeatedly insisted that it was not, in fact, leaving the camera industry until, shortly thereafter said insistence, it left the camera industry.

Regardless, here's what Zeiss had to say (in an incredibly roundabout way, via a statement published by Sony Alpha Rumors, via a query from inquisitive Zeiss ambassador Greg Watermann):

"Zeiss has not withdrawn from the photo lens market.

A simple look at https://www.zeiss.com/consumer-products/int/photography.html or Amazon.com shows that we are still promoting and selling our photo lenses.

But we have to face the facts. In the first months of the pandemic, the global market declined significantly and irreversibly. And companies have to adapt.

And, of course, we are bringing our unique expertise to mobile imaging. Because it is also clear that consumers, as well as ambitious and professional photographers, increasingly prefer their smartphones for all-day photography."

So, there you have it. If, by 'we're not actually making any new photo lenses but we're still selling the ones we made over four years ago' you infer 'we're still in the photo lens market', then Zeiss is still in the photo lens market. Just don't hold your breath for an actual new lens.

Looking for great Zeiss glass? Check out our reviews of the Zeiss Milvus 18mm f/2.8, the Zeiss Milvus 35mm f/2 and the Zeiss Milvus 50mm f/1.4 ZE.

Vivo has confirmed that it will be launching its latest flagship, the X90 Pro, globally, and while that does include Europe, it won't be hitting shelves in the US. 

With its 1-inch Sony sensor, that's a crying shame, as the X90 Pro is only the second smartphone to launch with the behemoth Sony IMX989. The first phone to feature it – the excellent Xiaomi 12S Ultra, launched exclusively in China – making Vivo's offering the sensor's global debut of sorts.

So what does the X90 Pro offer other than a big main camera sensor? Quite a lot actually. For starters, the primary camera's lens use Zeiss T* glass, and there are Zeiss highlights within the camera UI too. 

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Vivo's also introducing the latest version of its proprietary performance chip – the V2, which supports with tasks like image processing, and there have been upgrades across the board when it comes to design and spec. The charging, for example, has been bumped up to 120W for a full charge in as little as 29 minutes. 

Vivo's also swapped out the power for MediaTek Dimensity 9200 silicon, making it the first phone to feature the flagship chipset announced at the end of 2022.

But the Vivo X90 Pro doesn't appear to upgrade in every area. Its screen is slightly lower resolution than the excellent X80 Pro, which we loved when we tested it. This year, Vivo's also dropped the periscope camera, taking the telephoto range back from 5x to 2x zoom, and Vivo's trademark gimbal system is also missing.

So it appears Vivo's putting all its eggs in the main camera's basket – smart move or a misfire?

Specifications

Rear cameras: 50MP main, 50MP ultrawide, 12MP telephoto (1x zoom)
Front camera: 32MP
Processor: MediaTek Dimensity 9200
Memory: 256GB storage + 12GB RAM
Screen Size: 6.8-inch 1260 x 2800
Battery: 4,870mAh
Size: 164.07 x 74.53 x 9.34mm
Colors: Legendary Black (vegan leather)

Key features

The absolute key headline grabber here is that 1-inch 50MP camera. The sensor was created as part of a collaboration between Sony and Xiaomi, which gained Xiaomi exclusivity over it for a time. It is unequivocally the largest camera sensor in a traditional form factor smartphone, besting Samsung's 200MP Galaxy S23 Ultra in terms of sensor size by some margin. Now Vivo's rocking it, we're excited to see how it stacks up with Zeiss glass and Vivo's typically cool processing. 

On first impression, it packs all the characteristics of a big sensor: a shallow depth of field and great noise handling. As a result, for anyone who seldom switches to their zoom camera, the X90 Pro looks like an instant contender for the best main camera on any phone out now.

But the elephant in the room really is the downgrade in the Vivo X90 Pro's zoom range versus last year's phone. With zoom champs like the S20 Ultra packing two zoom ranges – 3x and 10x telephoto – Vivo's 2x maximum reach is underwhelming.

Thankfully, the secondary cameras do pack decent hardware, with the 2x 50MP lens sporting a 50mm focal length with an f/1.6 aperture, and that's matched with a Sony IMX758 sensor. As for the ultra-wide angle camera, it shoots with an f/2.0 aperture and a Sony IMX663 sensor.

Vivo's V2 chip is also worth talking about. We've been seeing more brands supplement ISPs with their own processors – Oppo with its MariSilicon X on Find X5 Pro and Find N2, for example.The V2 Chip supports imaging across both the camera and the display, so everything on-screen looks spot on. 

Getting into specifics, it features an AI noise reduction algorithm and an upgraded HDR algorithm, so is tailored to supplement the ISP when capturing challenging scenes.

It also upscales on-screen frame rates, so even 60fps content appears to look smoother than it might on other 120Hz displays, and does so with minimal impact on the phone's battery, according to Vivo.

Build and handling

The Vivo X90 Pro is a premium phone. The second we got it in our hands, the vegan leather back echoed camera designs of old, while the weighty camera bump asserted itself, as did the stark metal trimmings around the frame and rear.

On the right side are power and volume buttons, at the base is a USB-C port, and the top side sports a flat strip of glass, inside which sits an IR blaster and the words "Professional Photography". 

While it's a thick phone thanks to its huge camera, the X90 Pro's sides taper in elegantly, with the curved front and back meeting the polished metal frame seamlessly. On the back Vivo's included a Zeiss insignia to hit home the fact this phone packs Zeiss hardware and software, and the top and bottom of the back are also divided by a novel metal strip with the words "Xtreme Imagination, Vivo/Zeiss co-engineered".

All these insignias and words might sound tacky, but thankfully they're all relatively subtle, and generally, once we got past the heft of the X90 Pro's massive camera bump, we were impressed by the package on the whole.

Vivo has bumped up the battery slightly year on year, so the X90 Pro packs a 4870mAh battery, bringing it in line with the 5000mAh competition, and there's also fast wireless charging support too, capping out at 50W with the right charger.

Wired charging is where the X90 Pro's been boosted the most, up from 100W to 120W, so a full charge should take just 29 minutes, and in under 9 minutes, you can power up to 50 percent. 

Performance

Vivo's X90 Pro is the first phone to launch with MediaTek's mighty Dimensity 9200 chipset, and the first flagship to launch in the west with a MediaTek SOC as opposed to a Qualcomm Snapdragon chip.

The chip sports a host of advancements – it's the first to support RGBW sensors natively and includes a number of AI ISP upgrades for superior noise reduction, even for RAW photos. It also offers plenty of gaming benefits too over alternatives, most notably raytracing support.

In our brief time with it, everything on the Vivo X90 Pro 5G appeared to run smoothly, and even RAW shots from its mighty 50MP camera were snapped without any hanging about.

Early verdict

The X90 Pro seems like a mighty smartphone on first impression. At this stage, though, we're more excited by what it represents than we are about the phone itself.

Firstly, it represents brands taking a punt on really advanced camera hardware in their phones and going all-in on larger sensors. The huge, 1-inch Sony IMX989 is a game changer for mobile photography, and the more brands that get on board and invest in it, the sooner we'll see the best it can offer. It will also herald a new breed of smartphone photographers – RX100 owners, for example – leaving their pricey compact cameras at home.

Vivo's X90 Pro also represents a punt on MediaTek. Thus far, Qualcomm has been the flagship chip maker of choice, but if the X90 Pro's performance lands well, then it could drive chipset competition and innovation like never before, which will directly impact imaging and computational photography. As too will the increased use of custom ISPs like the Vivo V2 chip – a further trend the X90 Pro represents.

In summary, the Vivo X90 Pro looks like a brilliant phone from the offset, and it could be the best camera phone of the year with that huge 1-inch sensor. While there appear to be some shortfalls compared to last year's model, as a package, we look forward to finding out if it's more than the sum of its parts.

Details of the expected Vivo X90 series of smartphones, expected to launch in December, have leaked online. The line-up is expected to include three smartphones – the Vivo X90, X90 Pro, and X90 Pro+. 

Notorious tipster Digital Chat Station, via TechGoing, has leaked, via Chinese social media site Weibo, that the Vivo X90 will feature a 1.5K resolution display and be powered by the Dimensity 9200 (its predecessor the Vivo X80 was powered by the Dimensity 9000 chipset), which hasn’t actually been officially announced yet. 

The Zeiss-branded camera that the Vivo flagships use are also to get a bigger one-inch sensor, according to GSMarena, for its main 50MP camera. The telephoto camera is rumorord use a pixel-binned 64MP telephoto camera, that will output 16MP images.

Courtesy of TechGoing, we know that the rumored Dimensity 9200 chip is coming, as it has appeared on the AnTuTu benchmarks. The SoC has recorded a total score of 1,266,102 – a total of a CPU score of 273,413, a GPU score of 550,767, a memory score of 246,809, and a UX score of 195,113. It’s tipped to launch next month, ahead of the X90 in December and is said to be equipped with a Cortex X3 main CPU. It’s rumored that the X90 AND x90 Pro will use this new chip. 

Digital Chat Station has also alleged that the X90 will carry support for 120W fast charging – he previously leaked it will have a 4,700mAh dual-cell battery – and will offer improved dust and water resistance over its predecessor, albeit without an IP68 rating. Camera wise, he tips the smartphone to feature a Sony triple rear camera system, consisting of a 50MP primary, 12MP ultra-wide and 12MP telephoto portrait. 

Vivo X90 Pro+: Specifications 

TechGoing has also provided intel on the Vivo X90 Pro+, which is rumored to come with a Samsung 6.78-inch AMOLED E6 display, which will support a 2K resolution, a 120Hz refresh rate, and 1440Hz high-frequency dimming. Under the bonnet, the X90 Pro+ is said to boast a Snapdragon 8 Gen 2 Chip. 

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One of three lenses bought by Stanley Kubrick and used to shoot the film Barry Lyndon is on long-term loan to the Carl Zeiss German Headquarters Museum of Optics. 

The Zeiss Planar 50mm f/0.7 and nine other lenses were developed specifically for NASA’s Apollo program, but it appealed to one of history's greatest film directors as well. Under Kubrick’s direction, Jan Harlan, the executive producer on several Kubrick films including Eyes Wide Shut and The Shining, acquired the lens, which was then used to capture Barry Lyndon's famous candlelit interior scene.

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This incredibly rare lens is significant because only ten were ever made – six of which were especially for NASA, and the remaining lenses were purchased and modified by Kubrick to use in filmmaking. The ultra-fast lens was designed by Dr Erhard Gltazel and Hans Sauer, and incorporated a double-Gauss optical design. At f/0.7 it lets in roughly quadruple the amount of light as an f/1.4 lens, making it ideal for shooting low-light scenes. 

"In 1972, I was able to pick up the lens here in Oberkochen directly from the developers," Harlan told Zeiss. "And now I'm bringing it back home on loan to the museum to honor the heritage of Stanley Kubrick."

Back in 1975, when Barry Lyndon was released, filmmakers were restricted when it came to low-light scenes by the sensitivity of the film stock, but using a prime lens with such a fast aperture enabled Kubrick to work in incredibly challenging candlelight. In order to make the scene as bright as possible, Jan Harlan revealed that each candle possessed three wicks rather than one, which meant the flames flickered brighter. 

Based in Oberkochen, Germany, the Zeiss Museum put on a special exhibition of the Planar 50m f/0.7 lens in celebration of Mr Harlan’s visit to the home of optical innovation. For more than 175 years, Zeiss has been producing some of the best quality optics for medical, scientific, and photographic use. Taking up over 10,700 square feet, the museum includes some of Zeiss’ most important technological developments as well as a look back at its history. 

Entry to the museum is free and it's open Monday to Friday from 09:00-17:00pm. For more information, visit the museum website.

Vivo has made some excellent camera phones, especially since partnering with Zeiss and pioneering mobile gimbal tech in the X51 5G – the brand's first major Western release. 

While in the past, it's taken as long as half a year for Vivo's phones to be announced outside China after their initial unveiling, the X80 Pro 5G, Vivo's 2022 flagship, has been confirmed for the UK after just a couple of months. Costing £1,199 (approximately $1,430), though, this is one very expensive flagship. 

For the same price as the X80 Pro, you could buy an iPhone 13 Pro Max or Samsung S22 Ultra. Vivo's phone has to be seriously good if it wants to earn a spot on your wishlist and our best camera phones of 2022 podium.

The X80 Pro 5G's camera definitely looks promising. At the helm is a large, 1/1.3" 50MP sensor. Vivo adds its gimbal tech to the 50mm portrait lens, and there's a periscope camera too. Better still, the ultra-wide camera has autofocus, and it also doubles up as a macro camera. 

The question is, can this powerful camera phone justify its dearer-than-an-iPhone price?

Vivo X80 Pro 5G design and screen

The Vivo X80 Pro experience feels special before you even get to the phone. Open the box and in addition to one very sleek-looking smartphone which we'll come onto, there's the best-looking case we've ever seen included with a phone. Complete with faux-leather texturing. Instantly – this made a great first impression. 

The front of the phone is taken up by a broad, bold curved screen that has tiny bezels and a centered selfie camera punch-hole cutout. With its curved back tapering in to meet the front, while the X80 Pro is actually a beefy phone on paper, in the flesh, it still feels elegant, with a relatively thin metal frame along the sides. 

We're much more concerned about the back of the phone than the front, given the fact that's where you'll find the Zeiss-branding and quad-camera system. An interesting layout, the camera surround is a boldly raised rectangle, in which you'll find three cameras grouped together within a circle, and a flash and periscope camera floating in its orbit. 

A mirror finish and a whole lot of size mean that the Vivo X80 Pro 5G's camera bump is exceptionally attention-grabbing. That said, we do like the attention Vivo's paid to make the camera portion of the design feel special – call us maximalists.

As for the phone's construction, it's a matte glass and metal mix. The glass on the front and back hasn't been confirmed as Gorilla Glass – so we can't comment on its scratch resistance. That said, the phone does ship with a pre-fitted screen protector and the phone's IP68 water and dust resistant – so there's some peace of mind to be had on that front. 

With a USB-C port and a SIM slot at the base, and all the buttons on the right side of the phone, there aren't any surprises, though the infrared blaster at the top is a nice-to-have feature, turning the phone into a TV remote control. Unlike the other Zeiss-co-branded smartphone on the scene, the Sony Xperia 1 IV, there's no physical camera button, so while this is a phone made with photography enthusiasts in mind, it isn't quite as traditional as Sony's flagship line. 

It would be a crying shame if an all-screen-fronted phone like the Vivo X80 Pro 5G had a bad screen – luckily, it doesn't. In fact, this is one glorious, large, curved AMOLED display with a smooth 120Hz refresh rate and a balanced natural color profile. 

Vivo's making sure all the screen-cred acronyms are checked – this is a latest-gen LTPO3 panel,  is 10-bit, showcasing 1B colors, and in turn, supports HDR10+ video. With a peak brightness of up to 1500 nits in auto mode, it also gets bright enough to easily see outdoors, and being a quality AMOLED screen, it dims right down too. 

With its large 6.87-inch screen and sky-high 3200×1440 (WQHD+) resolution, the Vivo X80 Pro is sharp and immersive, with 517 pixels in every inch, making it one of the crispest phones you can buy.

Vivo X80 Pro 5G camera

The Vivo X80 Pro’s quad-camera introduces Sony's large IMX 866 1/1.3" sensor on the primary camera. With an f/1.6 lens matched with OIS, this is one of the best-specced main cameras of any phone we've tested. 

 Vivo has migrated its mobile gimbal tech to the first telephoto camera – a 50mm, f/1.9 lens matched with a 1/2.93" Sony IMX 663 sensor. While the specs are less impressive, the gimbal stabilization should help eke out decent performance here.

The phone's far-reaching telephoto camera is a periscope module with an 8 MP resolution 1/4.4" sensor. That's matched with an f/3.4 lens with OIS, and a 125mm focal length.

Finally for the back of the phone, the ultra-wide camera features a 48MP f/2.2 module with a 114˚ field of view and a 1/2" sensor.

The front camera is also specced out, with its 32MP, 1/2.8" sensor with an f/2.45, 26mm wide-angle lens. 

Vivo's camera UI is fully customizable, with the only modes that must be on the main carousel of options being Photo and Video. Additional modes include: High Resolution, Night, Portrait, Pro, Pano, Live Photo, Slo-mo, Time-lapse, AR Stickers, Supermoon, Ultra HD Document, Astro, Pro Sports, Long Exposure, Double Exposure, Dual View and AI Group Portrait.

The camera phone can capture up to 8K 30fps video from the rear (or 4K 60fps), and 1080p 60fps video from the front. What's also handy is that the Pro mode can switch to video, so you can take control of your footage, shoot in LOG, activate focus peaking, exposure feedback and manually switch between lenses and turn off stabilization.

Vivo also debuts its V1+ image chip in the X80 Pro, which Vivo claims supports the image management from camera to screen. 

Vivo X80 Pro 5G camera review

If the Sony Xperia 1 IV is an enthusiast's camera phone that alienates more casual photographers, the Vivo X80 Pro 5G is a great middle-ground that automates most setting but gives users a lot of control over their imaging. 

The main camera does a great job of capturing a shallow depth of field when photographing close-up objects up to around 1.5m away – impressive for a smartphone. While the 50mm lens is there for portraits, therefore, the main camera also does an impressive job of capturing faces. 

Detail from the main camera is also strong, and while processing is heavy-handed at times, with aggressive sharpening, they nevertheless look pleasing and are information-rich enough to crop into by around three times.

Vivo's contrast and exposure balancing is frequently good but showcases higher contrast than we personally like in many scenes. These situations benefit from SRAW, the brand's take on high-bitrate RAW capture. An example can be found in the image below, a photo of the Samsung Galaxy A53 5G.  it highlights ou can eke out a huge amount of shadow detail by switching to this mode and editing images either on-device or in Photoshop at a computer.

Like the best camera phones around, Vivo automatically fires up long-exposure shooting when the lights drop, saving you from having to switch out to Night Mode. This does a great job of capturing extra detail and works across the camera mix. 

The primary camera is the best for night photography with its big sensor, but all the cameras are competitive. Where the telephoto camera mix does fall behind the competition is reach. Vivo's flagship can't stack up to the Galaxy S22 Ultra with its 10x zoom equivalent optical lens, though beats out the iPhone 13 Pro Max.

The ultra-wide camera also doubles up as a macro camera, given the fact it features autofocus, which is seldom seen even amongst flagships. This is a great addition, and while its pure photo quality falls behind the ultra-wides on the Oppo Find X3 Pro and Find X5 Pro, helps Vivo stay competitive when it comes to versatility.

Dwelling on the 50mm gimbal-stabilized portrait camera for a moment, Vivo's decision to add a micro-gimbal to this module initially confused us. Why not just boost the main camera that bit more? That said, after a couple of weeks with the phone, it makes much more sense. The Vivo X80 Pro 5G's cameras don't have a weak link per se, even if the periscope camera is the weakest of the bunch. 

What's more, whether you're taking a photo at 24mm or 50mm, the Vivo copes well in challenging light, especially if you don't mind shooting in SRAW and editing your photo later. This is especially handy for portraits.

The portrait mode automatically activates the 50mm camera, and the first photo below was taken with it – though the artificial background blur has been disabled. The result is a very impressive image considering it was taken on an object moving at pace.

Selfies captured on the Vivo X80 Pro 5G a bit of a travesty as far as we're concerned. Vivo's beauty filters are active by default and are far too heavy-handed, totally distorting reality. 

As you can see from the example below, the beauty mode automatically applies make-up to female faces and made other 'beauty' changes. For male faces, the camera smoothed skin and brightened eyes. While this mode would have been okay if it wasn't active by default when we fired up the selfie camera, things are getting out of hand when your selfie camera reflects a distorted reality back at you out of the box. 

Videos captured on the Vivo X80 Pro 5G are well held together well and offer varying degrees of stabilization. Focus is fast, though the focal point could be smaller for fine-tuned touch focusing. Footage looks smooth at up to 4K resolution, but 8K capture misses out on rock-steady stabilization, letting some handshake through. With phones like the ROG Phone 5 – a gaming phone that misses out on OIS sporting stabilization all the way up to 8K, we're not sure why Vivo couldn't include it on the X80 Pro 5G.

Additional specs

With an Qualcomm Snapdragon 8 Gen 1 chipset, the Vivo X80 Pro 5G has flagship power, and in turn, flagship power drain and heat production. 

Able to handle the latest games at high graphics settings, the phone's screen showcases them to perfection, with the only limitation being heat management. The X80 Pro 5G gets hot after about 15 minutes of playing Genshin Impact or other demanding games. That said, for day-to-day tasks, it stays cool, is responsive and is a treat to use.

Vivo's FunTouch UI, which runs on top of Android 12, has been criticized for being bloated and heavy, and while it still is on the X80 Pro 5G, it's going in the right direction with a clean look and feel. There are nevertheless plenty of customizations to the UI, from the multitasking screen to the way you can deploy widgets. This level of customization invites performance issues, and while we didn't experience too many – the only one being a slight delay on receiving notifications versus an iPhone, for example, experiences online have been inconsistent. 

What has been unanimously well-received is the in-display fingerprint scanner, which covers a larger area than any other smartphone scanner we've tried. It reliably and quickly unlocks the phone, even with a damp finger and a clumsy press.

With 12GB RAM, the Vivo X80 Pro 5G is also bolstered by an additional 4GB of system storage that's used as Extended RAM. Storage shouldn’t be a concern for most with 256GB on board.

As for battery life, the Vivo X80 Pro 5G gets a slightly smaller battery than we're used to in flagships. It's 4700mAh, and Android flagships from OPPO, Samsung, and Xiaomi all sport 5000mAh batteries. Nevertheless, in our tests, the Vivo X80 Pro 5G actually outperformed the Galaxy S22 Ultra and Xiaomi 12 Pro when it came to screen on time.

Depending on screen brightness, we were able to make it through a full day with the phone when using it for photo-taking, music playback, and lots of messaging. What wiped the phone out quickly was prolonged gaming and outdoor use in bright scenes, during which brightness was ramped right up.

The phone charges quickly with 80W wired and 50W wireless charging. Powering up in as little as 40 minutes, even if you do struggle to get a full day out of it with heavy use, the fast charging, and the fact the phone ships with an 80W charger should help you get by with a short top-up.

Verdict

The Vivo X80 Pro 5G is one of the best camera phones of 2022, and now it's been officially announced for Europe, with UK availability from July 7, it should be a serious consideration if available in your region.

The X80 Pro 5G isn't affordable and it isn't perfect, but it's a very good camera phone that's stylish, premium, and feature-rich. Its camera system is one of the most complete solutions available thanks to no real weak links. The main camera is strong, the telephoto comes in a close second, and the periscope and autofocusing ultra-wide camera both bolster the system with fair to good performance for the most part. 

The rest of the phone doesn't disappoint either. Sure, there's a heavy-handed interface, but if you can get used to that, and we did, the X80 Pro's powerful, has a brilliant screen, good enough battery life, and very fast charging – both wired and wireless.

Alternatives

If the Vivo X80 Pro is too pricey, consider the Realme GT 2 Pro, which at least offers up a decent primary camera experience and an interesting mix of lenses without compromising on power. Alternatively, for anyone who wants more zoom range, the Samsung Galaxy S22 Ultra is bulkier alternative with more range and pen input. 

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The Vivo X80 Series, consisting of the X80 and X80 Pro, has been launched globally today, after launching in Vivo’s home market of China last month. The high spec phones benefit from a partnership with Zeiss and feature a massive camera block to the rear, highlighting the multiple cameras which offer various enticing options for both photography and video. 

“X80 series demonstrates vivo’s constant pursuit of user-oriented innovation and premium mobile imaging technology. In successive collaboration with ZEISS, a global leader in optics and opto-electronics, we are once again delivering excellent experiences to users who can capture memories and create quality photographs and videos with more dynamics and perspectives,” said Spark Ni, Senior Vice President and CMO of Vivo.

Vivo X80 Pro

The new flagship Vivo X80 Pro has an excellent spec list – it’s powered by the Snapdragon 8 Gen 1 chip with 12GB RAM and a huge vapour chamber, to keep the phone cool when using its high-performance features. It’s 4700mAh battery supports 80W charging and more impressively, 50W wireless charging. 

Display wise, the Vivo X80 Pro has a 6.78-inch display with curved edges. It features QHD+ resolution and is LTPO AMOLED, meaning it offers adaptive refresh rates of up to 120Hz. Other notable features are an ultrasonic fingerprint sensor in the display and dual stereo speakers. 

Flagship camera system 

On to the main event – Vivo are shouting mainly about the camera system, supported by the Vivo V+ imaging chip, on the new flagship and it does indeed sound very promising. The rear four-camera system with Zeiss lenses consists of a 50MP ultra-sensing camera with GNV sensor and OIS, a 48MP wide-angle camera, a 12MP gimbal portrait camera, and an 8MP periscope camera. Finally, up front there’s a 32MP selfie camera. 

The gimbal portrait camera is the core upgrade that allows for video enhancement and stability, while X80 Pro’s main camera also includes an exclusively customized ultra-sensing GNV sensor, which Vivo say will optimize reflectivity and reduce stray light paired with a High Transmittance Glass Lens for low dispersion and temperature drift to reduce glaring. 

One of the most exciting features offered – there really are tonnes of camera features -  is the new Zeiss cinematic video bokeh, which creates oval bokeh in film-standard 2.39:1 aspect ratio, creating a widescreen cinematic lens for video. Users can also choose regular lens video bokeh, creating portrait videos with bokeh in one tap. Impressively, the bokeh effect varies to match the focal length, aperture, and shooting distance, and the bokeh balls are round, in a 16:9 regular frame. 

Another feature we are looking forward to testing is the ZEISS night camera which has upgraded features such as Pure Night View, enabling the X80 series to capture city night scenes while retaining the original look and feel of the scene. Additionally, the X80 Pro supports XDR Photo that can improve clarity for backlit images and improve tones that better reflect what the human eyes can see. 

Vivo X80

The Vivo X80, which is the non-Pro model comes with the MediaTek Dimensity 9000 chip, a 4500mAh battery without wireless charging and there’s no adaptive refresh in this model, rather a choice between 120Hz or 60Hz. Camera wise it misses out on the 8MP periscope camera. 

Both models will launch on Andriod 12 with FunTouch OS 12. The X80 Pro model comes in Cosmic Black only, while the X80 comes in Cosmic Black and Urban Blue. Vivo has yet to announce pricing or availability. 

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The Vivo X60 Pro’s camera has been co-engineered with Zeiss – the latest in a series of partnerships between smartphone and camera makers, co-branding products to add credibility (and a point of differentiation) to their mobile cameras. 

With the OnePlus 9 series recently launching with Hasselblad tuning, and Huawei successfully co-branding its camera phones with Leica for years, there’s a great case for the partnership – the OnePlus 9 Pro is widely regarded as one of the best value flagship cameras around. Additionally, Huawei is a camera phone champion – that’s become undisputed since shortly after the partnership with Leica came into effect in 2016. But it hasn’t always been such a clear-cut success with Zeiss. 

While in the Nokia heyday, Zeiss optics led the mobile photography charge with phones like the Nokia 808 PureView, with its 1/1.2-inch sensor and Xenon flash, in recent times, Nokia’s Zeiss-branded smartphones – the Nokia 9, for example, haven’t wowed.

So while Vivo and Zeiss announced the partnership in December 2020, and the X60 series, which consists of the X60, X60 Pro, and X60 Pro 5G is the first line to benefit from the collaboration, how fruitful it will be is anyone’s guess. What we do know, however, is that Vivo and Zeiss created a joint R&D platform – the Vivo Zeiss Imaging Lab, have worked on realizing specific portrait styles for smartphones – Biotar, for example, and the X60 Pro features Zeiss optics. 

Vivo X60 Pro 5G: Design and screen

The Vivo X60 Pro is a beautiful phone. It’s slender at 7.6mm thin, feels rich thanks to its glass and metal design, and is also lightweight for a premium phone, coming in at 10g less than the iPhone 12 Pro.

With its 6.56-inch AMOLED screen and minimal bezels, the X60 Pro also commands attention from the front, with ample screen size and an impressive screen-to-body ratio of 90.1 percent. That’s by comparison to around 86 percent on iPhones.

The screen is also specced out, supporting HDR10+ content, and featuring a 120Hz refresh rate. That means whether you’re watching Netflix at 60Hz, or scrolling through Twitter at 120Hz, visuals will look smooth, and the phone’s tonal range is broad.

Thanks to a resolution of 1080 x 2376 pixels, the Vivo X60 Pro’s pixel density of 398 pixels-per-inch (PPI) keeps clarity on-point, though it can’t best top-of-the-line QHD+ alternatives like the Samsung Galaxy S21 Ultra. Given most 2021 QHD+ phones cost a fair bit more than the X60 Pro though, we’re perfectly happy with the phone’s Full HD display.

Available in two colors, Midnight Black and Shimmer Blue, the Vivo X60 Pro gets a thumbs up whichever option you go for, with a matte finish that repels fingerprints nicely. Proving to be another looker for the line – even if it doesn’t break the mold when compared to its predecessor, it’s still a great looking package.

Vivo X60 Pro 5G: cameras

The Vivo X60 Pro’s main camera module features a 48MP Sony IMX598 sensor, the same found in the X60’s predecessor, the Vivo X51. Matched with a slightly wider f/1.5 aperture, and a 26mm focal length, the camera also features the gimbal stabilization introduced on the X50 series. The half-inch sensor is also matched with PDAF, and features 0.8µm pixels.

Also a chip of the X51’s block is the X60 Pro’s portrait camera. With its 13MP resolution, f/2.5 aperture, 50mm focal length, and 1/2.8-inch sensor size (with 0.8µm pixels). It delivers a roughly two-times optical zoom, though we wouldn’t really use it as a zoom camera unless lighting conditions are great – you’d be better off cropping into shots taken on the main camera.

With the 13MP, f/2.2 ultra-wide camera, Vivo ups the ultra-wide’s pixel count versus the X51’s 8MP camera. The field of view (FOV), however, remains the same at 120 degrees, which equates to a 16mm equivalent focal length.

Unlike last year’s X51, the X60 Pro doesn’t bundle in a periscope camera. For that, you’ll need to hang tight for the X60 Pro Plus, which has yet to be announced in Europe.

With a front camera resolution of 32MP, selfies are high-resolution and enjoy a wide f/2.5 aperture, matched with a standard 26mm angle of view.

As for shooting modes, Vivo crams in loads, including Night, Portrait, Photo, Video, 48MP capture, Panorama, Live photo, Slo-mo, Time-laps, Pro, AR stickers, Supermoon, Document, Astro, Pro sports, and Long exposure. In Pro mode, the camera’s ISO can climb up to 3200, while the shutter can be kept open for up to 32 seconds. Additionally, RAW shooting is supported across all three rear cameras, which isn’t always the case.

Vivo X60 Pro 5G: camera performance

While the X60 Pro’s imaging specs are very similar to those of the X51, it’s clear the camera’s photo tuning has enjoyed a glow-up. Could this be the Zeiss-factor, or is it the impact of a second-generation gimbal? Who’s to say, but everything feels more polished this time around.

For starters, detail in photos is strong. Despite the fact images are captured at 12MP, the Vivo X60 Pro’s photos can comfortably be cropped into five or six times without any noticeable pixel crumbling on-screen.

The phone benefits from improved dynamic range versus the X51, though this produces lower contrast images and video. It makes them better for anyone keen to edit their photos, however, can result in images that look a bit flat. In turn, folks who like to shoot and share, without thinking of editing might be better off with a OnePlus 9-series phone whose photos are punchier.

Color balance is generally accurate, even in challenging scenes with difficult-to-handle contrast levels. A lot of information can also be salvaged from shadows, and the X60 Pro’s ability to turn out a good looking shot – or a shot that can be boosted with a quick edit a boon for the phone.

Noise handling from the main camera is good in both automatic mode and night mode, with long exposures firing up automatically and keeping the shutter open for enough time to get ample detail. Night shots can’t be cropped into with the same trigger-happy enthusiasm as day shots, but it’s good to see night mode work across all three of the X60 Pro’s cameras. Having said that, with no OIS, let alone gimbal stablization, the portrait/telephoto camera is not set up for success when the lights drop. You would be (much) better off simply cropping into the main camera’s photo.

Another interesting factor is the beautifully shallow depth the X60 Pro captures. It could come down to the slightly more open aperture versus last year’s model, but whatever it is, the result is noticeable and it looks impressive when capturing close-up objects.

Ultimately, the X60 Pro is a great camera phone – specifically, the main camera. We only took one shot on it that it really struggled with – a punchy, almost coral red flower – with over-exposed reds being a common hurdle that catches digital sensors out.

With a highresolution 32MP selfie camera, selfies are sharp enough, though there’s a subtle beauty mode fired up out of the box. You probably won’t complain, given the fact it’s more flattering than that of some other smartphones, like the fantastically affordable powerhouse, the Realme GT. What’s also smart is that Vivo takes that beauty filter and applies it to video calls, so we were WhatsApp video calling friends and family while being low on visible pores and high on false confidence.

As for video, which is likely a key focus for a phone with a gimbal camera, it’s good, but fails to completely wipe the floor with the competition, and can’t stack up to an actual gimbal, like the DJI OM4 when walking. For handheld video capped at 4K 30fps, or 1080p 60fps, it shoots very competitive quality, even in dimly lit scenes. At 4K 60fps, the EIS and gimbal deactivate, though some stabilization is clearly still at play.

Vivo X60 Pro 5G: Additional specs

Powered by a Snapdragon 870 5G paired with 12GB RAM, while the camera system is reminiscent of the Vivo X51, the innards have seen a major boost. Not quite the latest, greatest Snapdragon 888 power as found in the US version of the Galaxy S21, or Qualcomm’s new Snapdragon 888 Plus, announced at MWC 2021, the 870 5G gives you 2020-grade flagship power, which is more than enough for most.

Running a very stock-looking take on Android 11, Vivo’s UI feels hygienic – no bumf in the way of transition flourishes or custom icons; it’s very simple, and we like it. Thanks to all the power inside, it also handles 3D games well, and performs the part day-to-day.

Also worth noting, the phone’s 256GB storage is more than you get on most flagships today, and means the 4K video it captures will have plenty of space to live before you need to offload it.

Rounding off, the phone’s 4200 mAh battery, which charges at up to 33W is far from class-leading in spec, but managed to last much longer than some phones we’ve tested witha 5000mAh battery – the Xiaomi Mi 11 Ultra, for example. In fact, if you’re sparing with use, you could probably eke out two days out of the Vivo X60 Pro, which isn’t something we often say for phones with such slender frames and modest battery capacities.

Vivo X60 Pro 5G: Verdict

We had a great time reviewing the Vivo X60 Pro. It doesn’t pack everything we wanted it to – wireless charging and far-reaching telephoto capabilities are probably the most notable missing links that held it back from end to end excellent. That said, Vivo delivers a great user experience in the X60 Pro, and the main camera is very reliable.

We had high hopes given the Vivo X51’s track record, and while the X60 Pro doesn’t feel like a revolutionary step up, and it isn’t clear just how much of a difference the Zeiss partnership has made, the phone takes great photos and shoots impressive video. More to the point, with better internals and stacks of storage, it also feels like a flagship day-to-day, while lasting a long time.

If you’re wondering where the X60 Pro is positioned, we think it sits very well between the OnePlus 9 and OnePlus 9 Pro, or between the Galaxy S21 and S21 Ultra (despite being cheaper than the S21). If you can’t quite stump up the cash for the premium options, but love a curved OLED screen and fancy a more premium-feeling handset than the plastic-backed OnePlus 9 or Samsung Galaxy S21, Vivo’s plucky X60 Pro could be one of the best camera phone options for the price, and with some Zeiss branding thrown in for good measure no less.

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The Zeiss Conquest Gavia 85 could be ideal if you’re looking for high quality and reliability in spades and have the budget to match your ambitions. Zeiss is a brand instantly recognisable for photography enthusiasts for its optical excellence, so has got to be a top choice. The only negative is that premium options like this inevitably don’t come cheap. But on the plus side if you have got the cash to spare, you’ll be rewarded with years of highly detailed observation.

So what do we get for the sizeable outlay here? Not only a rapid focus mechanism literally at our fingertips when our eye is pressed up against the eyepiece, but also a relatively close near focus setting of 3.3 metres, so that not only observing skittish wildlife but also the viewing of smaller subjects – wild rabbits in our local park for example – is easier to achieve. 

The sharp eyed will have noticed that ‘85’ in the model name, which here makes reference to the whopping 85mm lens diameter that forms the key part of this scope’s construction, suggesting, among other things, better than average visibility in low light. Add to this a zoom magnification range up to 60x and a nitrogen-filled fog-proofed build to literally ‘weather’ the great outdoors, and you’ve really got something. 

Specifications

Magnification: 30-60x
Objective diameter: 85mm
Field of view at 1000m: 33 to 23 metres 
Closest focusing distance: 3.3 metres
Eye relief: Not given
Weight: 1.7Kg
Dimensions: 398x101x161mm

Key features

Resembling a super-sized rifle sight to the uninitiated, this angle bodied scope is all about a large and bright objective lens married to zoom power that lets us, even on its basic 30x setting, examine the feather detailing on a Mandarin duck from 20 metres away without ruffling those proverbial feathers. 

Thanks to the magnification range on offer here, focal length provided is up to the equivalent of a whopping 493mm, with, as mentioned in our intro, a close focusing distance of 3.3 metres. 

The angled eyepiece ensures additional comfort, meaning that you don’t have to crane your neck, crouch, or raise your tripod up to eye level to achieve comfortable viewing. The large 85mm lens highlighted in our preamble also provides better detail in a broader range of conditions than smaller alternatives. In short, a detailed view and versatile, flexible performance is what we’re expecting of the Zeiss Conquest Gavia 85.

Build and handling

The manageable weight and ergonomics of the Zeiss Conquest Gavia 85 scope mean that it can be held in the palm. However its size, shape and construction necessitates it to be mounted on a tripod for any practical use, so you’ll need to budget for a tripod too if you don’t already own one. Naturally then the base of this roof prism construction scope has a universal tripod mount with a variety of screw threads for attaching the device to our tripod of choice.

Once you’ve got an eye up against the eyepiece – a part of the device which can be adjusted with a quick twist for those of us who wear spectacles – you’ll need to adjust focus, which is achieve by the thick, ridged rubberised wheel situated conveniently behind the scope’s tripod mount. Here the scope responds smoothly and steadily to the user’s touch and adjustment, without the focus wheel feeling at all ‘loose’. It would be difficult to accidentally nudge the focus in the excitement of tracking your visual quarry, if you didn’t actually intend said adjustment.

Performance

The view through this scope with its HD lens system and class-leading Zeiss T* lens coating, is, at times, so sharp it can sometimes feel a little overwhelming – like the equivalent of flicking from a Full HD channel to one offering 4K resolution. 

Images also offer plenty of contrast and clear definition. We were able to observe nesting geese and skittish waterfowl from afar, as well as a swan taking her baby cygnets for a walk without disturbing them. 

The more you zoom in – for which a zoom ring is provided an inch lower than the eyecup – or the further away from the subject you are to begin with, the potentially less steady the view however, as any vibration due to hand movement on the device itself – as you reach across to adjust the central focus wheel, for example – is amplified. So once zoomed in to the max, it’s best to stay put.

Verdict

The Zeiss Conquest Gavia 85 scope looks, feels and handles every inch like the premium tool we expected it to be, which, given the price being asked, is reassuring. Considering the price tag and the chunkiness of its construction, it’s probably not the tool of choice for the casual nature and wildlife observer however; this is one for the true enthusiast who won’t mind the setting up of a tripod required each time it needs to be used. Your patience will however be rewarded with observational views you won’t be able to achieve without it.

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The Zeiss Victory SF 10x42 binoculars Zeiss come from a company renowned throughout the industry for its top-notch optics, which are used in a wide variety of products, including digital cameras, camera lenses and even spectacles. 

Here Zeiss has brought its reputation to a pair of luxury prism binoculars in the Zeiss Victory SF 10x42 – where the 10x refers to the magnification factor and the 42 to the size of the objective lens in use (42mm).

What we’re paying for with this black liveried product, however, is the clarity provided by its world beating glass – helping to resolve sufficient detail to be able to let the observer get closer to their visual quarry than the animal in question would otherwise allow.

Specifications

Magnification: 10x
Objective diameter: 42mm
Field of view at 1000m: 120m
Field of view at 1000yds: 360ft
Closest focusing distance: 1.5m / 5ft
Eye relief: 18mm
Weight: 790g / 27.8oz
Dimensions: 174x127mm

Key features

Primarily aimed at those who want to get close to wildlife without scaring it away, the Victory SF from Zeiss provides a wide field of view of between 120 and 150 metres, in practice giving sufficient overview for us to accurately track birds flitting between trees, to give one example, without actually losing them from view. Added versatility is offered via a close focus range of 1.5 metres, so if wanted (or you were particularly strange), you could zoom into the back of the head of the person walking in front of you. 

The binoculars come supplied with a shoulder strap, attractive pouch style hard carry case – also provided with its own strap – plus a lens cleaning cloth, as well as rubber caps for both the eyepieces and the lenses. So that we didn’t accidentally mislay these fittings when out and about, we threaded the shoulder strap through these too, with eyelets handily provided to allow us to do so.

Build and handling

Of a size and weight that will fit in a roomy winter jacket pocket without too much discomfort, the Zeiss Victory SF 10x42 binos feel good in the hand thanks to a rubberised exterior that prevents slippage. Build quality is excellent and we immediately get the impression that, if looked after by the user, years of service will be the result.

The binoculars are adjustable to match the spacing of the user’s eyes – achievable by gently bending the two lens barrels downwards, or upwards as the case may be. Optimum eye spacing is achieved when a circular image is seen when viewing through the binoculars with both eyes.

The length of the eye relief is manually adjustable – the eyecups fully extendable if viewing without spectacles, or left in the retracted position if you are wearing glasses – while a dioptric adjustment wheel is provided between the eyepieces as an additional aid to focus for spectacle wearers. Though we were blessed with fair weather when trying these out, the fact that the binoculars are water resistant and nitrogen filled to prevent fogging provides extra reassurance and faith in what is a not inconsiderable investment.

Performance

We took the binoculars to nearby Richmond Park and climbed to the highest point, giving views towards Central London in one direction and towards Heathrow in the other. Even when viewing objects on the horizon, the view delivered through the Zeiss Victory SF 10x42 is crystal clear and relatively judder free, thanks to a fairly balanced design and high quality optics.

Focusing is intuitive and simplicity itself, via a large and obvious ridged focus wheel located between the eyepieces, just forward of the dioptric adjustment wheel. The fact that the focus wheel is ridged means that we could easily and intuitively find it without having to take our attention away from the eyepieces – which enabled ultra fast adjustment. The lens barrels are also broad enough to comfortably curl fingers and thumb around for a firm grip.

This particular Zeiss option weighs 790g, so we found that, for comfort, attaching the provided strap was better than carrying them around loose in a jacket pocket, and avoided them feeling like a dead weight when transporting.

Verdict

Zeiss is world renowned for the quality of its optics so it’s no surprise we’re going to be paying top dollar here for the privilege. Build quality is equally excellent and while the Zeiss Victory SF 10x42 binoculars feel sturdy when held, the weight isn’t such that you’ll think too hard about taking them out and about with you.

On top of this, an ergonomic rubberized surface makes for hand comfort when holding the binos for a prolonged period and seeking out wildlife. Razor sharp viewing quality even at distance is such that, when you also factor in weather resistant, anti fogging features, it becomes clear that this pair of binoculars will repay their sizable investment in being probably the one and only most of us will ever need.

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UPDATE: The long-awaited Zeiss ZX1 camera is now, finally, available – albeit only in the United States and Germany. The unusual fixed lens camera, which features a built-in Lightroom app, carries a price tag of $6,000 (£4,636 / AU$8,526) or €6,000.

The 37.4MP full-frame camera features a Distagon T* 35mm f/2 with leaf shutter, designed specifically for this system. The integrated Lightroom app (which comes with a one-year Lightroom subscription and 1TB of cloud storage) makes use of the 512GB internal memory to reshape photographers' ability to shoot and share shots. 

• Sample images shot with Zeiss ZX1

“The concept of the Zeiss ZX1 opens up new ways in digital and connected photography,” said Zeiss' Jörg Schmitz on the launch of the camera. “The Zeiss ZX1 combines the potential and superior image quality of a full-frame camera with the mobile experience and intuitive use of smartphones for photography.” 

On the infamously long wait for the ZX1, originally revealed over two years ago during Photokina 2018, he added, "We have once again worked intensively on the overall workflow and the smooth integration of hardware and software and are convinced that it was worth the wait."

Whether or not it's worth the weight, the question is whether it's worth the price. After all, a Leica Q2 is just $4,995 and a Creative Cloud subscription costs much less than a grand. When a Leica is the cheaper option, the battle is an uphill one…

• See also: Why I dumped Lightroom CC and went back to Lightroom Classic

ORIGINAL STORY: First announced at Photokina 2018, it's fair to say that consumers have been waiting for the Zeiss ZX1 for quite a long time. With a $6,000 price tag and some interesting design decisions, some have questioned how viable this product even is. However, after over two years of waiting, it seems that the Zeiss ZX1 is finally ready to enter the global stage. 

One of the Zeiss ZX1's main selling points is that Zeiss has partnered with Adobe to ensure that Lightroom CC would run directly on the camera's 4.3" screen. Combined with an Android OS, The ZX1 is apparently designed to enable users to shoot, edit and share images without having to rely on a traditional smartphone.

On the camera side of the equation, the Zeiss ZX1 has a full frame 37.4MP sensor and a fixed 35mm Distagon f/2 lens. You can see more information on the specs and key features below, but we do have to wonder how excited consumers will be about a two year old camera design that costs $6,000 and has a fixed 35mm focal length – especially when the camera's biggest draw (its ability to natively edit and share photos) can be easily replicated with a decent Wi-Fi connection and your own smartphone.

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Zeiss ZX1 specifications

Sensor: 37.4MP full frame CMOS (36 x 24mm)
Lens: Zeiss Distagon T* 35mm f/2
Autofocus: Contrast AF, single point, multiple areas, object detection
ISO range: 80-51,200
Max image size: 7,488 x 4,992px
Metering modes: Multi-pattern, center-weighted, spot
Video: 4K UHD 30p, 1080p at 60p
Viewfinder: 0.7-inch OLED, 1920 x 1080px, 0.74x magnification
Rear screen: 4.3-inch TFT, 1280 x 720px touchscreen
Memory: 512GB built in, external storage via USB-C
Max burst: 3fps
Connectivity: Wi-Fi, Bluetooth
Size: 142 x 93 x 94mm
Weight: 813g

Zeiss ZX1 key features

We got very excited about the ZX1’s 37MP full frame sensor when the camera was first announced, but that was back in 2018, and a lot has happened since then. 37MP now fees a bit ordinary in a world where 42-61MP sensors are where it’s at.

The fixed Zeiss Distagon 35mm f/2 Zeiss lens might tempt prestige camera buffs, but what we don’t know is how much this differs from to the Zeiss Sonnar T* 35mm f/2 fitted to the Sony RX1R Mark II ('Distagon' vs 'Sonnar'... hmm). The Sony has 42 million pixels and was launched four years ago (yes, FOUR YEARS) in 2015, so apart from its avant-garde styling the ZX1 will need some pretty special features just to catch up with a camera that’s already out there, let alone improve on it.

But the Zeiss ZX1’s secret weapons become visible round the back. First, there’s a comparatively huge 4.3-inch touchscreen display; second, it comes with Lightroom CC built in, so you have powerful editing tools right there in the camera – this suggests the ZX1 is running some version of Android.

Elsewhere, though, the specs look unadventurous. The Zeiss ZX1 will shoot 4K UHD video, but it will have a pretty pedestrian burst speed of just 3fps. And with an old-school contrast AF autofocus system, we’re not expecting particularly snappy responses – it might come with the ideal ‘street photography’ focal length, but will it be fast enough?

Full frame compact cameras: the alternatives

Right now, there are just two full frame compact cameras on the market: the 2015 Sony RX1R Mark II which we’ve already mentioned, and the lovely but hard-to-find Leica Q2. You can find out more in our best full frame compact camera buying guide, though with just two candidates on the market, it’s more of a head to head. The choice of best APS-C compact cameras isn’t much better, at just four candidates, but they are a lot cheaper. And you can actually buy them.

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UPDATE 07/09: A new three minute marketing video featuring the Sony Xperia 5 II has been leaked by @evleaks, showcasing the new and exciting specs that consumers can expect from this upcoming smartphone. The video spends quite a bit of time on the Sony Xperia 5 II's camera capabilities, informing us that the 5 II will be capable of Real–time Eye AF for both humans and animals, will have a choice of 24mm, 16mm, 70mm focal lengths and will have up to 20fps AF/AE continuous burst shooting.

For video enthusiasts, the Sony Xperia 5 II will have 4K HDR 120fps slow motion movie recording. It will also have a 3.5mm audio jack port – which is admittedly starting to become a rarity these days. See more information in the video below.

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ORIGINAL STORY: The Sony Xperia 5 II is rumored to be lurking on the horizon – and now we've finally seen our first image of the phone. Notorious leakster Evan Blass has posted the photo, giving us our first glimpse at what we can expect from the second iteration of the Sony Xperia 5. Apparently, this upcoming smartphone will have a 6.1" FHD+ OLED display with a 21:9 aspect ratio, a 120Hz refresh rate and a 240Hz touch sampling rate (which how often the phone's screen senses where you're currently touching the screen – 240Hz would mean 240 times per second).

Plus, according to a report by Android Headlines, the Xperia 5 II will reportedly have the Snapdragon 865 chipset, 8GB of RAM and 128GB of expandable storage. It'll also feature 120fps video recording in 4K HDR and will have a 4,000 mAh battery that charges through a USB-C port with PD support.

The ZEISS T* logo still sits on the rear camera unit, which would signify that the Xperia 5 II will continue to use ZEISS T* lenses. However, unlike the Sony Xperia 1 II, there doesn't seem to be a 3D time-of-flight camera. The rear camera unit will include a wide angle, an ultra wide angle and a telephoto lens. All three cameras have sensors of 12MP, with the main camera having an equivalent focal length of 24mm and an aperture of f/1.7, the telephoto giving the user 3x optical zoom and the ultra wide offering a 16mm equivalent focal length with a 124º field of view. 

Despite the lack of a 3D time-of-flight sensor, phone rumor website GSMArena has speculated that the Sony Xperia 5 II camera should be just as capable as that of the Sony Xperia 1 II. Apparently, this is partly due to the fact that there seems to be a shutter key on the right side of the phone. "Sony is the only company that still gives you a hardware button for that."

Apparently, the second generation of the Sony Xperia 5 will have a 3.5mm headphone input, which the original Xperia 5 didn't have. There aren't many other specs to examine, but there is a rumor that the Sony Xperia 5 II will have a 5.6–5.8" display. This would be a smaller display than the original Xperia 5's 6.1" display and would apparently make the Sony Xperia 5 II the smallest 5G phone yet.

In addition, a recent rumor has indicated that both the Sony Xperia 5 II and the Sony Xperia 1 II will have three Android OS updates. This follows Samsung's recent announcement that it will give three Android OS updates to its flagship devices, beginning with the Galaxy S10 series from last year.

If Sony follows suit, this means that both the Sony Xperia 5 II and the Sony Xperia 1 II could finish up with Android 13 at the end of their supported lifetimes. This is quite the significant move from Samsung (and potentially Sony as well). It's possible that this could be an attempt to prove competitive against Apple.

While the iPhones certainly have their own foibles, one of the best aspects of them is that they're supported with software updates for an almost extraordinarily long time. The iOS 14 update scheduled for September will continue to support the iPhone 6s, a phone that's five years old. Admittedly, this will be the last software update that will support the 6s, but this is still pretty impressive.

In contrast, many Android phones will often only support one or two software updates, leaving users with the choice of updating their expensive phone or leaving their old (and often still perfectly working) handset more vulnerable to malware.

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If you've had your eye on some Sony kit and you've been waiting for a good deal, then you might be in luck. Wex Photo Video are currently running a fantastic £50 discount on every Sony camera and lens that costs over £600 until 8 May. That means you can pick up the Sony FE 35mm f/2.8 ZA Carl Zeiss Sonnar T* lens for just £579 using our exclusive code SONY50. 

The Sony FE 35mm f/2.8 ZA Carl Zeiss Sonnar T* lens is a wide angle prime lens with T* coating technology that achieves higher light transmission as well as minimal flare and ghosting. Its wide f/2.8 maximum aperture means you can capture a beautiful shallow depth-of-field, while the flexible 35mm focal length is perfect for shooting anything from portraiture to landscapes. 

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If this 35mm f/2.8 isn't quite enough to catch your attention, you might be interested in picking up the Sony A7 II for just £849 instead. Alternatively, if you're looking for a standard zoom lens, the Sony FE 24-70mm f/4 ZA OSS Vario-Tessar Carl Zeiss T* lens is now just £629, down from its original price of £679. 

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Don't expect the Zeiss ZX1 camera any time soon…

The Zeiss Batis 85mm f/1.8 is one of our favorite lenses for the Sony E system, with great image quality and wide aperture that makes it brilliant for portraiture. And today only it is available with a $320 discount!

Until midnight tonight (EST) you can buy the Zeiss Batis 85mm f/1.8 for just $879 – a significant saving on its usual $1,199 price tag! 

The Zeiss Batis 85mm f/1.8 is great short telephoto lens that combines a classic portrait focal length with a fast, wide aperture. It's compact and lightweight, but features great build quality and weather sealing – along with a sleek OLED panel that displays distance and aperture. 

The lens also boasts optical image stabilization and great image quality. The Sony FE 85mm f/1.8 is cheaper, and faster to focus, but for this price and this performance the Zeiss Batis 85mm f/1.8 is irresistible for portrait photographers. 

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The best lens for portraits in 2020: our pick of the best 85mm lenses right now
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The World Photography Organization has recently announced the winner and shortlist of the fifth annual ZESS Photography Award. KyeongJun Yang from South Korea grabbed the top spot with his series Metamorphosis, which explores the immigrant experience through both still life and portrait photography. 

This year's brief asked photographers to submit a series of works focused on the theme of discoveries that transform our everyday lives. These could range from personal revelations to scientific and technological breakthroughs or ideas that lead to social change.

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Winner KyeongJun Yang shot a series of black & white photos that followed Julie Chen, a young woman who emigrated to the USA from Mainland China at the age of 12 following her parents' separation. Each image is also paired with quotes from Chen related to her experiences as an immigrant, feelings of loneliness and conflicted sense of identity. 

Yang commented on his win, saying: "Winning this award still feels like a dream. I am glad not only because I've won, but also because now I know I'm not the only person who likes my images. I'm happy my photographs have been enjoyed by others, somehow they don't seem as lonely anymore." 

KyeongJun Yang will receive €12,000 worth of ZEISS lenses of his choice and €3,000 to cover costs for a photography project. 

Judge Max Ferguson commented on the still life and portrait photography that Yang submitted, "The use of subtle, personal images of the subject lets us get a glimpse into the life of a young Chinese American woman… For me, this work stood out from the other submissions we judged as it was clear that although these were documentary photographs, there was a conceptual underpinning to them that opened up more questions than answers…"

Even though KyeongJun Yang's portrait photography scooped him the top prize, there were plenty of other exciting images that made the shortlist as well. Find out more at the World Photo website, or see more of the shortlisted photos below.

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Tokina have long been a provider of pro-quality third party lenses to the photography industry, garnering a loyal following for their superior optics and high-end handling. Favorites include the AT-X 116 PRO DX II wide angle lens and AT-X 24-70 F2.8 PRO FX standard zoom, although the range covers a wide spectrum of focal lengths and functions for both APS-C and Full Frame camera models. 

Shown at IBC 2019, this new announcement is aimed squarely at videographers however and is sure to get the market excited. Introducing the Tokina Cinema Vista 135mm T1.5 which becomes the seventh model in Tokina's Vista cine lens range - and the seventh in the range with a wide T1.5 maximum iris setting (which is particularly impressive on a 135mm lens).

The 135mm T1.5 will be available in Canon EF, Sony E, Micro Four Thirds, and Arri PL mounts

The lens, which projects an image circle covering an area larger than a standard 36x24mm Full Frame sensor, combines an exciting 135mm focal length with a bright T1.5 aperture. This should enable standard to short-telephoto shots with reduced depth-of-field, for that professional cinematic look many videographers crave, while allowing clips to be made in lower ambient light, without having to increase sensitivity.

Sstandout features from the specification are 8K compatibility, for sharp images at ultra-high resolutions and 9 blade aperture, for silkier bokeh effects and pleasant spectral highlights. The lens construction also incorporates aspherical elements for reduced distortion and special coatings for minimal chromatic aberration. At the front there is a 112mm filter ring.

Geared focus and aperture control rings allow for more precise adjustments. A feature which sets the Tokina Cinema Vista 135mm T1.5 apart as a true professional video lens, is a design which minimizes focus breathing - an effect where a slight change in composition occurs as focus is pulled from infinity towards the minimum focus distance. 

The lens employs an MFT mount, imperial focus markings, a support foot for extra stabilization and weighs in at 3.12 kg. Probably the most notable aspect of the new optic is the price which, while not insignificant, is considerably lower than for competing models such as the $21,750 ZEISS Supreme Prime 135mm T1.5.

The Tokina lens is already available for pre-order for $8,999.

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When the Zeiss ZX1 full frame concept camera was first announced at Photokina 2018, the industry was intrigued. However, with almost a full year having passed since this announcement, we're still waiting for the ZX1 to materialize. In February, a pre-production camera appeared at CP+2019, but there was still nary a whisper as to when it would actually be available to purchase.

However, in the first update in months, Zeiss' official Twitter account has responded to a question from user @TimCastleman asking how the Zeiss ZX1 was coming along (as reported by Photo Rumors).

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"The Zeiss ZX1 is a camera concept that enables a creative photography workflow." The Zeiss Twitter account says, "We are delighted to have received such positive feedback. We are currently working on advancing this novel concept and are testing the first cameras."

The account went on to say, "We are looking at the feedback we've received to make further adjustments and improvements."

Considering that the Zeiss ZX1 was initially meant to be ready to ship in early 2019, it's slightly concerning that it's seemingly only just entered the testing stage. However, at least those looking forward to getting their hands on this premium compact can rest assured that the camera is still being worked on - and hasn't just been quietly scrapped.

With a fixed 35mm f/2 lens, a 37.4MP sensor and Lightroom CC software housed within the camera itself, the ZX1 is set to be a fun oddity in the world of cameras. However, with an expected price range of between around £3,450 ($4,259) - £4,250 ($5,245), we can't feel too frustrated that Zeiss is clearly trying to iron out all of the kinks before they release the ZX1.

If you're waiting with baited breath, you can sign up for the latest updates on a website built specifically for the ZX1. Alternatively, you can join us in crossing fingers for at the very least a 2020 release…

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Autofocus cameras have been around since 1977, so why would a manufacturer still be making manual-focus lenses? Indeed, without the split-screen and microprism aids of yesteryear’s viewfinders, it can be tricky to nail manual focusing in modern DSLRs. But when it comes down to it, the Zeiss Milvus range of prime lenses does give a hands-on, feel-good-factor to photography, and the Zeiss Milvus 50mm f/1.4 ZE is no exception.

There are 11 lenses in the Milvus line-up, from an ultra-wide-angle 15mm f/2.8 to a 100mm f/2 macro lens. The 50mm f/1.4 lies at the centre of the range and is typical in that it has a well engineered metal barrel and a full set of weather-seals. It’s a fabulously crafted lens that should last a lifetime. The real delight is in the optical quality, based on Zeiss’s legendary Distagon design principles, premium glass and T* anti-reflective coatings.

The long rotational travel of the focus ring enables ace focusing precision, and the super-smooth fluidity of its movement makes manual focusing a genuine joy. For reassurance, built-in electronics enable the viewfinder’s focus confirmation lamp to be activated, and manual focusing also works a treat in magnified live view mode. 

Performance

Living up to its reputation and price tag, the Milvus delivers gorgeous image quality. When shooting wide-open, it combines superb sharpness and contrast with beautiful bokeh, and maintains a lovely smoothness to defocused areas when stopping down a little. It’s a top performer, if you can live without autofocus and with the rather large price tag.

A comfy rubber grip on the focus ring makes the barrel of the lens a pleasure to handle, while on the inside, pitch-black lacquer is applied to the edges of all lens elements to avoid stray reflections. The Distagon principles on which the design is based date back to 1952 – this is a lens with real history, reflected in the quality of images it produces.

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The Zeiss Milvus 35mm f/2 is a manual-focus lens with no autofocus facility. It’s beautifully styled, immaculately engineered with a metal barrel, and feels very robust. Although it’s only slightly bigger than the competing Canon 35mm f/2 lens, it’s more than twice the weight at 702g. Similar to other competitors like the Tamron SP 35mm f/1.8 Di VC USD and Canon’s up-market 35mm f/1.4, it features weather-seals that include a rubber gasket around the mounting plate. 

Zone focusing is made simple thanks to a long-travel, silky-smooth focus ring that comes complete with a distance scale and depth of field markings for f/4, f/8, f/16 and f/22. Even so, without microprism or split-screen focusing aids in DSLRs, accurate manual focusing can be tricky. The Milvus has built-in electronics to light up the focus confirmation lamp in the camera’s viewfinder. Full aperture control is also available from the camera body.

The front element and 58mm filter attachment thread don’t rotate during focusing, so there are no problems when using filters like circular polarisers and ND grads.

Performance

Overall sharpness is pretty acceptable, as opposed to amazing. In our lab tests, the Zeiss lost out slightly to the much less expensive Canon 35mm f/2 lens at most apertures, right across the image frame. Contrast and colour quality are excellent in lab and real world tests. Unfortunately it just about lags behind some competitors for control over colour fringing and barrel distortion.

There is a lot to like here – Zeiss’s acclaimed T* coatings are used to minimise ghosting, and the extent to which the outer barrel rotates provides real manual focusing comfort. It’s a high-quality lens, there’s no doubt about that, but you could be forgiven for expecting it to be a little further ahead of its rivals than it is.

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The Zeiss Otus 1.4/100 is a premium quality wide aperture short telephoto lens for full frame Canon and Nikon DSLRs. We first reported on the rumored specs for this lens two weeks ago, but Zeiss has now made it official.

Zeiss Otus lenses are designed for optical quality and engineering above all else – including price. The Zeiss Otus 1.4/100 will cost an eye-watering $4,500, and joins the three other Otus premium DSLR lenses launched since the series began back in 2013 (the Zeiss Otus 1.5/55, 1.4/85 and 1.4/28.) 

They're aimed at the best professional cameras, specifically high-resolution full frame DSLRs including the Nikon D850 and Canon EOS 5DS, where Zeiss says the results are on a par with some of the best medium format cameras – though you'll still get the characteristic bokeh 'pop' on lower-resolution models.

The Zeiss Otus 1.4/100 is designed for studio photography, portraits and commercial product photography. It’s a focal length that’s well suited to producing flattering portrait shots and flattening perspective in product shots for more natural-looking proportions.

It’s built for high edge-to-edge resolution right across the aperture range, with ‘harmonic’ bokeh to ensure ‘3D pop effect’ that makes sharply focused objects stand out against blurred backgrounds. It uses aspheric lenses and special glass to control distortion and chromatic aberration, and its Zeiss T* anti-reflective coating is designed to minimise stray light and maximise contrast, even shooting into the light.

Zeiss Otus 1.4/100 specifications

Focal length: 100mm
Maximum aperture: f/1.4
Type: Prime
Optical construction: 14 elements in 11 groups
Focusing: Manual
Mounts: Nikon F, Canon EF
Filter size: 86mm
Dimensions: 126.5 x 90mm
Weight: 1,336g (2.95lb)

Build quality and design

The Zeiss Otus 1.4/100 is a manual focus lens with what Zeiss describes as an ‘extended rotation angle’ and smooth operation for precise focusing. The lens has a full metal housing and an internal focus mechanism so that the lens does not extend during focusing and the centre of gravity doesn’t change. The lens is designed for professional use in rough conditions and for long-term durability.

It’s not designed for light weight and portability. With a weight of over 1.3kg (2.95lb) and a length of 126.5mm, this is a bit of a monster – but typical for very wide aperture telephoto primes.

Focusing is manual, but the extended focus rotation means there’s a precise distance scale, and you also get depth of field index markers for the near and far depth of field limits at different apertures – something that’s unique to premium manual focus prime lenses.

Availability and price

The Zeiss Otus 1.4/100 is available now and will cost $4,500 / £3,999.99.

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It's been a packed week for superfast lens releases, with Samyang's Spring Collection promising some of the best Nikon lenses and Canon's Sumiere Prime line offering the best Canon lenses for cinematographers. 

Now we have specs and images for the Zeiss' latest Otus cinema lens, courtesy of a leak by ever-reliable Japanese site Nokishita (by way of Canon Watch).  

Update: Zeiss has now announced the Otus 1.4/100 officially, with full specifications and price information. It's a little cheaper than we expected – but not much! 

The Zeiss Otus 1.4/100 lens will be available for Canon and Nikon DSLRs in two models, ZE (for Canon EF-mount mount cameras) and ZF.2 (for Nikon F mounts).  As you might expect for a lens with "Zeiss" and "Otus" in its name, it will carry a substantial price tag: a cool $4,990. 

Zeiss originally conceived its manual-focus Otus optics for high performance stills photography, to provide the best performance even when shooting at wide-open apertures. Increasingly in the world of 4K and now 8K video, however, Otus lenses have been adopted by cinematographers thanks to their high contrast and minimal color fringing or distortion.

This new 100mm f/1.4 iteration joins its 28mm, 55mm and 85mm siblings (all with matching f/1.4 apertures), giving filmmakers a nice set of primes if they have the thick end of $20,000 in their pocket. And for that you don't get autofocus or image stablization.

The Canon version of the lens measures 128.8mm and weighs 1,405g, while the Nikon model is slightly shorter at 126.5mm and weighs in at a leaner 1,336g.

Both models feature the same construction, with 14 elements and 11 groups, with a maximum diameter of 100.7mm, focus ring diameter of 90mm and a filter diameter of 86mm. The minimum shooting distance is 1m, with a maximum shooting magnification of 1:8.6.

Cinema lenses are becoming an increasingly relevant part of the general photographic conversation, as more and more photographers start shooting video. While Otus price tags may have one too many zeroes for many vloggers and up-and-coming filmmakers, for those looking for premium performance the Zeiss range is definitely hard to beat. 

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First announced at Photokina 2018, the Zeiss ZX1 – an Android-powered full-frame compact camera with a 37.4MP sensor, fixed 35mm f/2 lens and Lightroom CC baked into the system – has remained shrouded in mystery. While exact pricing is yet to be revealed, however, we do at least know what kind of ballpark we're looking at.

In an interview with DP Review, Zeiss' Senior Product Manager, Elliot Shih, confirmed that the ZX1 would be priced in line with luxury compacts such as the newly launched Leica Q2. 

"Pricing is not yet decided but I think given the performance of the lens and the sensor, plus the solid build of the body and the built-in 500GB SSD, I think it will occupy a more premium price band," said Shih. 

"It will be in the same range as [the Leica Q, Sony RX1R II]," he added, confirming that we are looking somewhere in the region of £3,450 / $3,299 (Sony RX1R II) to £4,250 /  $4,995 (Leica Q) for the Zeiss ZX1. 

That might be a difficult pill for consumers to swallow, as three grand – let alone four – buys you a serious piece of cutting-edge camera these days. Will people really be as apt to spend that kind of money on an Android camera with a fixed lens? 

"As you can see, the ZX1 is a different kind of product," said Shih. "We’re focused on addressing the target group, and offering something different to today’s digital photographers. So we’re aiming at photographers that need a fast workflow but at the same time superb image quality, which our sensor and lens can deliver."

Interestingly, for a device that was initially seen (thanks to its Android innards) as a bit like a grown-up smartphone camera, Zeiss is targeting "serious" photographers. Hence the stripping away of controls such as exposure compensation. 

"One thing we learned is that photographers are more and more conscious of stripping away features that they don’t need. So we wanted to keep the purity of the design, while still making sure this is a serious photography tool."

Interestingly, Shih noted photojournalists specifically among those serious photographers. "A photographer might still carry a more capable DSLR for an assignment, but when they are going out for a weekend trip, this is one camera that you can do everything with.

"… We’ve spoken to a lot of photojournalists and they told us that sometimes they just have to rely on what they have. Sometimes they only have a phone, and with this camera they can bring everything they need."

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Don't expect the Zeiss ZX1 camera any time soon…

The appearance of the Zeiss ZX concept camera first announced at Photokina 2018 seems to have taken a step closer following hands-on demonstrations of a pre-production camera at CP+ 2019. The unit appeared to be a working prototype, but Zeiss has still not given any details about when it will be available and how much it will cost.

Zeiss will need to get a move on, or it risks being upstaged and outgunned by the rumored new Leica Q2.

The ZX1 does at least have its own website, where you can sign up to be notified as soon as this baffling but beautiful prestige compact camera becomes available.

Zeiss has used its optical expertise to make the Distagon 35mm f/2 lens for this new camera. It’s also developed the ZX1’s 37.4 megapixel sensor in house, which is is quite a departure for a company best know for its lenses.

Zeiss is calling the ZX1 a mirrorless camera, though its 35mm f/2 lens is non-removable, so you wouldn’t expect a mirror anyway.

Its themes are ‘Shoot’, ‘Edit’, ‘Share’. On the shooting side, Zeiss is aiming for the “familiar, intuitive image editing and connectivity of a smartphone” and “a seamless creative process”. 

The lens and sensor look interesting, but it’s the editing phase inside the ZX1 that’s really caught our attention – Zeiss says it has Lightroom CC “fully integrated”, which we take to mean the Lightroom CC Mobile version, which in turn suggests the ZX1 might be running some version of the Android operating system.

Touch control and connectivity

Camera (and Lightroom) control is carried out via a 4.3-inch multi-touch display considerably larger than those fitted to regular cameras and closer in size to a smartphone screen.

Zeiss says the ZX1 will be able to upload images directly to the Internet in the third ’sharing’ phase, without the need to use memory cards or external devices.

You’re probably not going to need any memory cards at any point, in fact, because the ZX1 has 512GB memory built in. That’s more than the average laptop’s SSD.

So far journalists have only been able to inspect a non-working mockup fixed to a table, but Zeiss is planning to introduce the ZX1 in early 2019 at a price yet to be disclosed.

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The camera phone market is a game of one-upmanship at the moment. In short: the more lenses you have, the more publicity you get. 

Nokia is hoping this continues with the launch of the Nokia PureView 9. As this leaked video shows, it could well be the camera phone to beat all camera phones with five lenses on its back, a flash and some sort of other sensor making up the hexagonal alignment.

Just look at that camera array. There was us thinking that the Huawei Mate 20 Pro, with its 'three camera plus flash' square array, was teetering on overkill. But in comes a leaked video of the Nokia 9 and its back resembles a spider's eye. 

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The optics on show should be impressive, though. Made in collaboration with Zeiss, this is another finger jab at Huawei's partnership with Leica. 

As this is a leak, by Onleaks and 91Mobiles, there is very little information to go on, so we don't actually know what those lenses will do. 

A good guess would be that there will be a telephoto, ultra-wide zoom and an all-powerful megapixel count. 

Although Nokia is now owned by HMD, the brand has got legacy in making great camera phones. The Nokia 809 PureView was a camera launched in 2012 that boasted a 41MP sensor, f/2.4 Zeiss lens and 4x lossless zoom. These are specs that still look impressive today. 

If it can offer improvements on these specs and wrap in some of the current camera phone tech, such as bokeh and HDR then we could be in for something very special.

We probably won't officially find out until Mobile World Congress 2019, however, which happens in early next year.

Via Tom's Guide

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Announced hot on the heels of Zeiss’s ZX1 full-frame ‘concept’ camera, the legendary German lens-makers have also announced a new member of their Batis lens family for the Sony E-mount.

The new optic is the Zeiss Batis 2/40 CF, a 40mm optic with a maximum aperture of f/2. This focal length bridges a gap between two lenses in the Batis series – the Zeiss Batis 2/25 and the Zeiss Batis 1.8/85 – providing a useful and versatile standard focal length for street photography and portraiture, as well as a slightly wider perspective that makes it also useful for architecture and landscape photography.

It boasts high micro contrast, a floating internal lens design that promises to provide top-notch optical quality across the entirety of the frame, and Zeiss’s T* coating that is designed to minimise reflections.

Thanks to its weather- and dust-sealed build, the Zeiss Batis 2/40 CF is also hardy enough to be taken on shoots with the more rugged Sony Alpha cameras. It has a minimum focus distance of 24cm (the ‘CF’ in the name stands for ‘Close Focus’), and a magnification ratio of 1:3:3. There are three focusing ranges to choose from 24cm to 50cm, 40cm to infinity, or the full focusing range.

The barrel of the lens carries an OLED display that shows shooting information like focal distance and depth of field, allowing for quick checking of settings mid-shoot.

With the introduction of this new model, the Zeiss Batis family of lenses for Sony E-mount now covers a total of five focal lengths, ranging from 18mm to 135mm.

Pricing and availability

The Zeiss Batis 2/40 CF is expected to start shipping in November 2018, and will be priced at £1,129.99 / $1,299.

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