According to Mark Gurman from Bloomberg, the upcoming iPhone 18 Pro could get “the biggest leap in camera hardware” in some time. We're unable to see if there's any detail behind that claim as the article is paywalled, but at this stage the iPhone 18's exact hardware details will still be closely guarded anyway. The most widely rumored upgrade has been the addition of a variable aperture lens for the primary camera. While potentially useful in a few scenarios - being able to increase depth of field in macro shots, for instance - it's hard to argue that this would constitute a "big leap" in camera hardware. I've gone into much more detail about why a variable aperture lens really isn't a big deal in camera phones here. A physically larger, higher resolution sensor for the primary camera would be much more noteworthy, but I wonder whether Apple would want to move away from using 48MP sensors across all three modules just yet.

It's also been speculated that the iPhone 18 Pro's telephoto camera could receive a larger aperture lens. The 48MP 1/2.55" sensor was new for the iPhone 17 Pro, so that may well be carried over for the '18 Pro, but replacing the current f/2.8 lens with something faster would result in quicker shutter speeds, which is always a good thing when shooting at long focal lengths. However, what will likely be a small increase in aperture is also nothing like a leap in camera hardware. A more impressive hardware change for the telephoto camera would be to increase its zoom. Due to switching to the larger 48MP sensor for the iPhone 17 Pro's telephoto module, zoom was reduced to 4x (down from 5x in the '16 Pro). For context, the Oppo Find X9 Ultra (which is almost the same price as an equivalent iPhone 17 Pro Max) sports a 10x telephoto camera, with a sensor only marginally smaller than that in the iPhone's 4x telephoto module.

Other rumors point to the iPhone 18 Pro potentially having exclusive, pro-focussed camera software features. Quite what these could be is unknown - Apple already reserves its ProRAW image capture for iPhone Pro models. The speculation suggests that Apple "is looking to give the built-in camera app on its smartphone an upgrade...the existing iPhone camera app contains mostly basic controls."

A big leap in camera hardware for the iPhone 18 Pro would be very welcome though. Recent iPhone generations have offered incremental improvements where rival Android flagships, most notably those from Xiaomi, Vivo and Oppo, have pushed camera hardware forward at a far more rapid pace. It's about time the iPhone started being revolutionary again, not merely evolutionary.

Story credit: 9 to 5 Mac

The launch of the new iPhone 18 is likely only a 3-4 months away, and the rumor mill is spinning up with chatter about what camera hardware it may ship with. The latest tip reiterates previous speculation that the iPhone 18 could feature a variable aperture lens for its primary camera module. The rumor comes from respected industry analyst Ming-Chi Kuo, though it has also been reported by a separate source in Apple's supply chain.

In the current climate where phone manufacturers often prefer AI image processing improvements over camera hardware upgrades, the news that Apple could be developing a new lens for its next iPhone seems welcome. However, I remain to be convinced that such a feature will have a noticeable improvement to camera usability or image quality.

A variable lens aperture is essential in a lens designed for a conventional, large-sensor camera like a full-frame DSLR or mirrorless body. This is because the larger the sensor, the shallower the depth of field at a given aperture. With a full-frame camera, if you want a subject close to the camera and a more distant background to both be in focus, you'll need to significantly reduce the lens aperture. But shrink the sensor down to 1/1.28" - the size of the sensor in the iPhone 17 Pro's primary camera - and, even at the module's native f/1.8 aperture, there'll still be a huge depth of field.

As background detail is almost always clearly visible behind a subject snapped by a camera phone, we've seen the implementation of portrait modes which use software processing to artificially blur background. The aim here is to emulate the shallow depth of field effect you 'naturally' get from a large-sensor camera/wide-aperture lens combination.

So if a camera phone is inherently good at producing a deep depth of field, there's little reason for having a lens with a variable lens aperture. You may as well fix the aperture to be as large as possible to get the maximum amount of light through to the sensor, thereby keeping shutter speeds high and ISO sensitivity low - the ideal recipe for sharp, low-noise shots. Having a variable aperture lens sounds impressive, but the benefits are few and far between when it comes to real world use in a camera phone.

What's more, a variable aperture lens could actually be a bad thing for iPhone 18 buyers. Kuo's tip also states that a variable aperture lens could costs as much as 50% more than the current fixed aperture glass used in current iPhones. At a time when flagship phones are likely to increase in price on account of continual rises in the cost of flash memory, paying even more for an iPhone in order to get a new camera lens with limited practical benefit is a bitter pill to swallow.

Story credit: 9 to 5 Mac

Sometimes a great camera kit can be more than the sum of its parts. I think it’s true that particular lenses are a better fit for individual camera bodies rather than others, even when there are similar models in the line-up. When I’m choosing lenses for the slim and budget-friendly Sony A6400, I feel that the size, weight and price are strong contributing factors. For my money, the A6400 is one of the best Sony cameras because I think it delivers such a great combination of features and versatility, at a keen price. It’s a compact and affordable camera, so its lenses should be as well.

I’ve regularly used the Sony A6400 and I’ve tested all the lenses featured in this guide. If I was spending my own money, these are the options I would consider first. You can also check out my list of the best lenses for Sony A6000 cameras generally if you like, and many of the best Sony lenses will also be a good match for the A6400.

As photographers, we all have our special areas of interest, so I’ve tried to cover plenty of genres, from travel photography to portraiture, sports and wildlife. As you’ll see, I’ve also taken A6400 video shooters into account, with the inclusion of a couple of affordable prime lenses which are great for video as well as for stills. Above all, I’ve aimed to give full consideration to each lens’s suitability for the A6400’s size, its performance in relation to the camera’s 24MP sensor, and the kind of value for money that reflects the price of the A6400 itself.

Best lenses for the Sony A6400 

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Best everyday lens for the A6400

The Sony A6400 is usually sold with Sony's 16-50mm power zoom kit lens, which is very compact and convenient but a bit lacking in optic prowess. If you want a step up in quality, one option is Sony's rather massive and expensive 16-55mm f/2.8 G, but I would pick this Sigma instead.

The Sigma 18-50mm f/2.8 DC DN offers a constant f/2.8 aperture, just like the Sony lens, with a classic 3x zoom range for a standard zoom. The Sigma is smaller than you’d expect given its constant maximum aperture (my shot shows it fitted to a Sony A7R III, but you'll get the idea), yet the build quality is very good – and it’s weather-resistant as well. The autofocus system is super-fast and virtually silent, and I'm impressed by the image quality.

Read more: Sigma 18-50mm f/2.8 DC DN | C review

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Most versatile lens for the A6400

Frustrated by the short focal range of the standard Sony 16-50mm kit lens? Get this! With an equivalent focal range of 27-202mm in full frame terms, the Sony E 18-135mm f/3.5-5.6 OSS is practically a superzoom, but remains compact, neat, and affordable, and – unlike almost every other long-zoom lens – it holds its performance all the way through to its longest zoom setting.

What I like about this lens is its neat, simple design, its fuss-free exterior, easy operation, and built-in optical image stabilizer. Like a lot of modern mirrorless lenses, it does rely on digital as well as optical corrections, but the result is a long-range lens with far better image quality across the range than I would normally expect from a lens of this type.

Read more: Sony E 18-135mm f/3.5-5.6 OSS review

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Best wide-angle lens for the A6400

Sony also makes an older E 10-18mm f/4 OSS lens, which is a little cheaper than this one and is also worth considering. The 10-18mm has optical stabilization, which is good for stills photography, but this newer E PZ 10-20mm f/4 G has a power zoom, which is ideal for video, so take your pick.

The Sony E PZ 10-20mm f/4 G is especially good for vloggers who need to film themselves in the context of their background, because it gives a wider angle of view than a regular zoom. It's also a great travel lens, ideal for narrow city streets, tall landmarks, and spectacular interiors. None of the ultra-wide lens options for the Sony A6400 is cheap, but this is such a useful lens to have that I recommend it without hesitation.

Read more: Sony E PZ 10-20mm f/4 G review

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Best telephoto lens for the A6400

I love using this lens on both A7-series full-frame cameras and APS-C format Sony bodies. It’s much more compact and lightweight than conventional 70-200mm f/2.8 ‘trinity’ telephoto zooms, which I feel is always a good thing when shooting with slimline mirrorless bodies. Sure, it doesn’t quite stretch to 200mm at the long end, but it comes pretty close, while retaining that all-important constant f/2.8 aperture throughout the entire zoom range. Pop it on an APS-C format body, and you get an ‘effective’ zoom range of 105-270mm. It works a treat for weddings and events and even for sports and wildlife photography, while keeping the weight off.

And there’s more. While the original Tamron 70-180mm was a great lens, I love that the G2 adds optical image stabilization, uprated handling, and revamped optics. And it delivers all this at a more inexpensive launch purchase price than the original lens. I find that in-body image stabilization tends to be less effective in telephoto shooting, so the addition of optical stabilization is particularly welcome.

Autofocus is super-fast, based on a VXD (Voice-coil eXtreme-torque Drive) system, and well able to do justice to the Fast Hybrid AF, Eye AF, and advanced tracking options in Sony’s recent mirrorless cameras. The proof of the pudding is in the image quality, and I like that the optical layout has been redesigned to include an XLD (eXtra Low Dispersion) element, a hybrid aspherical lens element, three LD (Low Dispersion) elements, and two GM (Glass Molded aspherical) lens elements. Tamron’s BBAR-G2 (Broad-Band Anti-Reflection Generation 2) coating is also applied to minimize ghosting and flare. All in all, it’s a terrific lens and a bargain at the price.

Read more: Tamron 70-180mm F2.8 Di III VC VXD G2 review

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Best super-telephoto lens for the A6400

For longer-range subjects, you need a lens with big telephoto reach, but also with sufficient optical quality for sharp results. So while there is a cheaper and smaller Sony E 55-210mm lens, this is the one I would recommend for action, sports, and wildlife, as well as for bird photography.

The Sony E 70-350mm f/4.5-6.3 G OSS is a relatively big and expensive lens, but its 5x zoom range is equivalent to 105-525mm on a full-frame body, stretching into super-telephoto territory. It might not have an ultra-fast maximum aperture, but the modest f/4.5-6.3 aperture rating enables a more compact, lightweight build, and it does have Sony's OSS optical image stabilization system. It's a manageable lens that offers huge reach at an affordable price.

Read more: Sony E 70-350mm f/4.5-6.3 G OSS review

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Best street photography lens for the A6400

I said in the introduction that I wanted to include a couple of prime lenses, and this is the first. The Tamron 20mm f/2.8 Di III OSD M 1:2 is actually a full-frame lens, so if you decide to upgrade to a full-frame Sony camera in the future, you can keep this lens for the journey.

On a full-frame camera, it's an ultra-wide-angle prime. Fit it to your Sony A6400, and it has an 'effective' 30mm focal length – perfect as a semi-wide-angle 'street photography' lens. Not only that, its 1:2 close-up capability means it's halfway (literally) towards a full macro lens, so it does two jobs, not just one. Best of all, it's not too big and not too expensive, despite first-rate optical performance, so it's a great buy for Sony A6400 owners.

Read more: Tamron 20mm f/2.8 Di III OSD M 1:2 review

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Best portrait photography lens for the A6400

Compared with full-frame cameras, APS-C models like the A6400 can struggle to deliver a tight depth of field. That’s because DOF is more dependent on the ‘actual’ focal length rather than the ‘effective’ focal length after the 1.5x crop factor is applied. To compensate, I love that this lens has an ultra-fast f/1.2 aperture, which is capable of delivering a really tight depth of field at typical shooting distances for portraiture.

Making the most of the tight depth of field, the Viltrox combines superb sharpness with beautifully smooth bokeh in defocused areas, with a natural-looking roll-off between the two. It’s a great portrait lens that enables you to really isolate the main subject within a scene by blurring fussy-looking backgrounds.

Handling is excellent, and although the lens is necessarily a bit chunky due to the super-fast aperture rating, it’s well stocked in features. These include an aperture control ring with a click/de-click switch, a handy AF/MF focus switch, and a customizable function button.

Read more: Viltrox AF 56mm f/1.2 E Pro review

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Best ultra-wide prime lens for the A6400

A small lens with a big heart and a big viewing angle, I love how this Sony 11mm shoehorns so much into the image frame. I find it ideal for everything from cramped architectural interiors to sweeping landscape vistas and cityscapes, while its fast f/1.8 aperture makes it equally adept for astrophotography. Buy one, and it won’t be long before you wonder how you ever managed without it.

I really like that the lens is designed to be equally adept at shooting stills and movies, boasting two linear stepping motors that deliver super-fast autofocus for stills and smooth, virtually silent focus transitions for movies. The minimum focus distance of 0.15m shrinks to just 0.12m in manual focus mode, delivering a tight depth of field at f/1.8 for close-ups or using the lens for vlogging. Handling benefits from an AF/MF switch and a customizable autofocus-hold button.

I also like that the lens is neatly compact and lightweight, ideally suited to the slimline Sony A6400. Even so, it packs quality glass including three aspherical elements and three ED (Extra-low Dispersion) elements to optimize image quality, while build quality is convincingly robust, featuring multiple weather-seals.

Read more: Sony E 11mm f/1.8 review

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Lab data and comparisons

The graphs below show the comparative performance of the lenses in this guide, based on our in-house lab tests. You’ll see that the Tamron 70-180mm has standout performance for sharpness, especially for a zoom rather than prime lens. By contrast, the Sony 11mm and Tamron 20mm show extreme barrel distortion but as with many lenses designed for mirrorless cameras, they rely heavily on automatic in-camera correction to put things right.

Scores for sharpness and color fringing are averaged from data taken across the entire image frame, from the center to the edges and corners, throughout the aperture range. For zoom lenses, the scores are also averaged from data measured at all marked focal lengths, and the same applies to distortion.

Bear in mind that these average values don't fully reflect specific areas of performance. For example, a zoom lens might have noticeable barrel distortion at its shortest focal length, which is less obvious when everything is averaged out. For more detailed graphs of each lens's performance, take a look at the graphs published in our full standalone reviews.

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How to choose the best lens for the Sony A6400

The A6400, like all A6000-series cameras, uses the Sony E lens mount. Sony’s own E-mount lenses have either FE (full-frame) or E (APS-C format) in their model names: all work on the A6400. Very broadly speaking, an FE lens will be heavier and more expensive than an equivalent E lens, but deliver better image quality. E lenses (again, very broadly) will tend to be smaller and lighter.

For shooting at shorter focal lengths and wider angles of view – specifically kit lenses or ultra-wide zooms – you are probably better off with an E lens. The APS-C crop factor of the A6400 means that FE lenses offer a reduced angle of view, curtailing their wide-angle capability with the smaller sensor.

If you are buying a third-party E-mount lens, check whether the lens is designed for use with APS-C Sony cameras, such as the A6400, or with full-frame Sony bodies.

Check out our guide to the best Sony lenses if you want to know more

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How we test lenses

The lens experts in our testing lab run a range of 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 centre of the image frame, corners, and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths.

There's more to it than just the technical side, though! Beyond the lab, our reviewers test lenses in real-world environments – and sometimes on professional shoots! We work with lenses both indoors and outdoors, in studio conditions and in natural light, with as many different subjects as possible (or appropriate – there's no point testing a landscape lens' ability to shoot a portrait!).

We take into account everything from handling and ease of use to speed of autofocus and the overall quality of the images produced.

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

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Choosing the best lenses for the Sony A7C or Sony A7C II means taking into account their compact, rangefinder-style design, orientation towards content creators and videographers, and relatively low price point among full-frame Sony Alpha mirrorless cameras. They're also among the best cameras for vlogging and best filmmaking cameras. At the price, I'd also say they're among the best Sony cameras, at least for beginners or new Sony adopters.

But this isn't simply going to be a repeat of my main guide to the best Sony lenses. I like to match the lenses with the camera. There are lots of high-end, constant-aperture Sony G Master lenses that would be fine on a Sony A7R IV or Sony A1, but would be overkill on this model – both financially and physically. They're small and are not blessed with chunky grips, so it makes sense to choose lenses that are going to feel as nicely balanced as possible.

I'm also keeping an eye on the price because one of the reasons for buying the A7C or A7C II is their relatively low cost. Owners are likely to be looking for cost-effective lenses that are a suitable match. So with all that in mind, these are what I think are the best lenses for these cameras right now.

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Best everyday lens for the A7C

Sony fans are spoilt for choice when choosing a standard zoom. But while the Sony FE 24-70mm f/2.8 G Master is the professionals' choice, it costs a fortune and weighs a ton. The Sigma 24-70mm f/2.8 DG DN Art is half the price but still huge, and while there are also worthy rivals from Samyang and Tamron, it's the modest Sony FE 28-60mm f/4-5.6 kit lens that I'd recommend as the perfect everyday companion for the Sony A7C.

It uses a retracting mechanism, so it’s very compact for stowing away. It remains pretty small when extended for use, so it’s a good physical match for the A7C. It doesn't have such a big zoom range as the other standard zooms that I’ve mentioned, but its performance is better than I’d expect from a retracting kit lens, with good sharpness right out to the edges of the frame.

Read more: Sony FE 28-60mm f/4-5.6 review

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Best wide-angle lens for the A7C

Every photographer needs an ultra-wide zoom, whether they realize it straight away or not. And given the special suitability of these Sony cameras for travel, the Tamron 17-28mm f/2.8 Di III RXD fits the bill perfectly. No full-frame ultra-wide zoom will be small, but the Tamron is neater and certainly easier to carry than Sony's own wide-angle monsters – and a lot easier to afford, too.

Despite the Tamron's price, it features high-end, weather-sealed build quality, a fast and constant f/2.8 aperture rating, a quick and virtually silent RXD (Rapid eXtra silent stepping drive) autofocus system, and, best of all, terrific image quality. Corner-to-corner sharpness is particularly impressive for an ultra-wide-angle lens, even when shooting at the widest aperture. It doesn’t quite match Sony’s 16-35mm lenses for maximum viewing angle, but it comes very close, and it’s great value.

Read more: Tamron 17-28mm f/2.8 Di III RXD review

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Best travel lens for the A7C

One of Sony’s more recent lenses could completely change the standard zoom lens of the future. In a world first, the lens covers an extremely versatile focal range, making it perfect for traveling (admittedly, luxury traveling, given the price). It's light and portable, which is another big tick, and the fact it's ‘only’ f/4 isn't much of a compromise - had it been f/2.8, it would be considerably heavier and a lot more expensive.

It's got fast autofocus and delivers impressive levels of sharpness. It doesn’t have optical image stabilization – but the A7C and A7C II have in-body stabilization, so that doesn’t matter. If you're after just a little bit more on the wide end than you'd get from the Sony FE 24-70mm f/2.8 GM II, the 20-70mm is a very good contender.

Read more: Sony FE 20-70mm f/4 G hands-on review

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Best 50mm lens for the A7C

This ‘Evo’ lens from Viltrox takes a winning formula in terms of image quality and all-around performance, and packs it into a next-gen design that adds a dedicated aperture control ring with a click/de-click switch, AF/MF focus mode switch, and customizable function button. Handling is further enhanced by a lightweight build that is nevertheless robust, with a high-quality feel based on an all-metal construction complete with weather seals.

The high-grade optical path is based on 13 elements arranged in 9 groups, including an aspherical element, two ED (Extra-low Dispersion) elements, and two HR (High Refractive index) elements. It’s a few millimeters longer than a ‘standard’ 50mm lens but is an absolute joy to use, on both full-frame and APS-C format cameras, having a portrait-friendly ‘effective’ 82.5mm focal length on the latter.

Read more: Viltrox AF 55mm f/1.8 FE Evo review

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Best portrait lens for the A7C

Viltrox lenses have impressed me over the last few years, and recently they’ve been going from strength to strength. That said, most recent offerings have been either from the ‘Air’ line-up and are very compact and lightweight but also fairly basic, or from the ‘Pro’ and ‘Lab’ series, which are relatively chunky but packed full of features and handling exotica.

This lens is the first in a new ‘Evo’ range, and I love it. It’s like having the best of both worlds. It’s compact, lightweight, and easy to live with, yet it also boasts plenty of handling finery, including an aperture control ring with a click/de-click switch, an AF/MF focus mode switch, and a customizable function button.

The lens feels solid and robust, with a metal barrel and weather-sealed mounting plate, complete with a USB-C port for applying firmware updates if and when needed. Best of all, image quality is superb and, although the f/2 aperture might not seem overly fast, the lens is perfectly capable of combining excellent sharpness with soft and dreamy bokeh. It’s also incredible value for money.

Read more: Viltrox AF 85mm f/2 FE Evo review

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Best telephoto lens for the A7C

I love that this lens is much more compact, lightweight, and affordable than conventional 70-200mm f/2.8 ‘trinity’ telephoto zooms. Sure, it doesn’t quite stretch to 200mm at the long end, but it comes pretty close, while retaining that all-important constant f/2.8 aperture throughout the entire zoom range. It works a treat for weddings and events and even for sports and wildlife photography, while keeping the weight off for long periods of handheld shooting.

The original Tamron 70-180mm was a great lens, but I love that the G2 adds optical image stabilization, uprated handling, and revamped optics. And it delivers all this at a more inexpensive launch purchase price than the original lens. I find that any camera's in-body image stabilization is second-best with telephoto lenses, so the addition of optical stabilization is particularly welcome.

Autofocus is super-fast, based on a VXD (Voice-coil eXtreme-torque Drive) system, and well able to do justice to the Fast Hybrid AF, Eye AF, and advanced tracking options in Sony’s recent mirrorless cameras. The proof of the pudding is in the image quality, and I'm very impressed that the lens's many optical upgrades translate into fabulous pictorial excellence. It’s simply a terrific lens at a bargain price.

Read more: Tamron 70-180mm F2.8 Di III VC VXD G2 review

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Lab data and comparisons

The graphs below show the comparative performance of the lenses in this guide, based on our in-house lab tests. The cut-price Viltrox 55mm prime leads the way for sharpness, but the Tamron 70-180mm f/2.8 Di III VC VXD G2 does particularly well for a zoom lens. The latter is the least impressive for control over distortion, but automatic in-camera correction is available.

Scores for sharpness and color fringing are averaged from data taken across the entire image frame, from the center to the edges and corners, throughout the aperture range. For zoom lenses, the scores are also averaged from data measured at all marked focal lengths, and the same applies to distortion. Bear in mind that these average values don't fully reflect specific areas of performance. For example, a zoom lens might have noticeable barrel and pincushion distortion at its shortest and longest focal lengths, respectively, which tends to average out when looking at the data overall. For more detailed graphs of each lens's performance, which give the full picture, check out the graphs in our full standalone lens reviews.

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How to choose the best lens for the Sony A7C

The A7C, like all Alpha 7 cameras, uses the Sony E lens mount. Sony’s own E-mount lenses have either FE or E in their model names: all work on the A7C. FE lenses are designed for use with full-frame Sony cameras, including the A7C, so these should be your first choice. If you are buying a third-party E-mount lens, check that the lens is designed for use with full-frame Sonys.

Sony lenses with an E (rather than FE) prefix are designed for APS-C format cameras such as the A6000 series. On the A7C, they produce a cropped image, so they’re not an ideal choice.

Check out our guide to the best Sony lenses if you want to know more

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How we test lenses

The lens experts in our testing lab run a range of 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 centre of the image frame, corners, and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths.

There's more to it than just the technical side, though! Beyond the lab, our reviewers test lenses in real-world environments – and sometimes on professional shoots! We work with lenses both indoors and outdoors, in studio conditions and in natural light, with as many different subjects as possible (or appropriate – there's no point testing a landscape lens' ability to shoot a portrait!).

We take into account everything from handling and ease of use to speed of autofocus and the overall quality of the images produced.

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

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When putting together my list of the best lenses for the Sony ZV-E1, I kept its intended purposes firmly in mind. This camera may be used on a tripod, but is more likely to be used handheld, on a gimbal, or on a grip.

The Sony ZV-E1 is one of the best 4K cameras for filmmaking, as well as one of the best vlogging cameras, but it’s not as simple as reeling off a list of the best Sony lenses all around. Many Sony lenses are big, heavy, and designed for stills performance and reach, rather than for video. The ZV-E1, however, is incredibly compact and designed for portability and speed of operation in the field.

Despite its small size, the ZV-E1 follows suit with Sony’s other full-frame Alpha models by incorporating in-body stabilization. There’s therefore no need to seek out Sony’s OSS-stabilized lenses – these are mainly of interest for sports and wildlife photography, or Sony’s unstabilized APS-C E-mount cameras, and first-generation A7 full-frame cameras.

Best lenses for the Sony ZV-E1

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Best standard zoom for the ZV-E1

The Sony FE 20-70mm f/4 G is a standard zoom with a difference. It follows a new-ish trend in standard zoom design, with a wider-than-usual minimum focal length so that it can also do much of the work of an ultra-wide zoom, which means less lens swapping and more versatility.

20-70mm is a terrific zoom range for all-around filming, and the constant f/4 maximum aperture will help in low-light interiors. The 20mm minimum focal length would make this a great lens for selfie vlogging on a grip or a gimbal, too – although, at 488g, this lens is no lightweight. Rounding all this off are a declickable aperture ring and dual Linear XD AF motors for fast and silent autofocus. If the bulk doesn’t bother you, this is a terrific and versatile standard zoom for the Sony ZV-E1.

Read more: Sony FE 20-70mm f/4 G hands-on review

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Best wide-angle zoom for the ZV-E1

Sony’s G Master lenses have a reputation for optical quality, so it’s no surprise that this second-generation version of Sony’s 16-35mm f/2.8 zoom comes with a hefty price tag. If this is your favored focal range for stills and video, this lens will be your dream buy; otherwise, take a look at the Sony FE PZ 16-35mm f/4 G, which is less than half the price.

You might also want to check out third-party alternatives. The Sony FE 16-35mm f/2.8 G Master II justifies its cost, however, with no fewer than four Linear XD focus motors and suppressed focus breathing. It really is quite a lens with stunning pictorial quality and all-around performance, and a lens that you'll probably want to keep for a lifetime.

Read more: Sony FE 16-35mm f/2.8 GM II review

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Best wide-angle prime for the ZV-E1

If you want to film a wider angle of view and don’t want the bulk of the Sony FE 20-70mm f/4 G or the cost (especially the cost!) of the Sony FE 16-35mm f/2.8 GM II, the Sony FE 20mm f/1.8 G is a compelling alternative. It offers a wide enough angle of view for self-filming, and it’s fast enough for filming in low-light interiors. It’s not one of Sony’s G Master lenses, but the optical quality is sensational, with serious edge-to-edge sharpness, especially when you stop down slightly.

Sure, it's not the most compact and lightweight lens you can buy, nor is it the cheapest. But the image quality and overall performance make it well worth the investment. It's also a great next step in wide-angle coverage when switching from a standard zoom lens.

Read more: Sony FE 20mm f/1.8 G review

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Best street prime for the ZV-E1

I’ve come to expect a lot from Viltrox lenses, and for comparatively little outlay compared with equivalent own-brand Sony lenses. Even so, the Viltrox AF 35mm f/1.8 Evo II really comes up trumps with excellent all-metal build quality despite its compact and lightweight construction, along with advanced handling characteristics that include a click/de-click aperture ring and a customizable function button.

More importantly, as far as I’m concerned, the autofocus mechanism is fast, near-silent, and consistently accurate, while image quality is superb in terms of sharpness and clarity, smooth bokeh, and a minimum of unwanted aberrations. Everything’s packed into a compact and lightweight package that helps with remaining inconspicuous when you’re out and about, shooting on the streets.

Read more: Viltrox AF 35mm f/1.8 Evo II review

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Best portrait lens for the ZV-E1

Viltrox lenses have impressed me over the last few years and recently they’ve been going from strength to strength. That said, most recent offerings have been either from the ‘Air’ line-up and are very compact and lightweight but also fairly basic, or from the ‘Pro’ and ‘Lab’ series, which are relatively chunky but packed full of features and handling exotica.

This lens is the first in a new ‘Evo’ range, and I love it. It’s like having the best of both worlds. It’s compact, lightweight, and easy to live with, yet it also boasts plenty of handling finery, including an aperture control ring with a click/de-click switch, an AF/MF focus mode switch, and a customizable function button.

The lens feels solid and robust, with a metal barrel and weather-sealed mounting plate, complete with a USB-C port for applying firmware updates if and when needed. Best of all, image quality is superb and, although the f/2 aperture might not seem overly fast, the lens is perfectly capable of combining excellent sharpness with soft and dreamy bokeh. It’s also incredible value for money.

Read more: Viltrox AF 85mm f/2 FE Evo review

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Best telephoto lens for the ZV-E1

I love that this lens is much more compact, lightweight, and affordable than conventional 70-200mm f/2.8 ‘trinity’ telephoto zooms. Sure, it doesn’t quite stretch to 200mm at the long end, but it comes pretty close, while retaining that all-important constant f/2.8 aperture throughout the entire zoom range. It works a treat for weddings and events and even for sports and wildlife photography, while keeping the weight off for long periods of handheld shooting.

The original Tamron 70-180mm was a great lens, but I love that the G2 adds optical image stabilization, uprated handling, and revamped optics. And it delivers all this at a more inexpensive launch purchase price than the original lens. I find that any camera's in-body image stabilization is second-best with telephoto lenses, so the addition of optical stabilization is particularly welcome.

Autofocus is super-fast, based on a VXD (Voice-coil eXtreme-torque Drive) system, and well able to do justice to the Fast Hybrid AF, Eye AF, and advanced tracking options in Sony’s recent mirrorless cameras. The proof of the pudding is in the image quality, and I'm very impressed that the lens's many optical upgrades translate into fabulous pictorial excellence. It’s simply a terrific lens at a bargain price.

Read more: Tamron 70-180mm F2.8 Di III VC VXD G2 review

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Lab data and comparisons

The graphs below show the comparative performance of the lenses in this guide, based on our in-house lab tests. The cut-price Viltrox 35mm prime leads the way for sharpness, but the Tamron 70-180mm f/2.8 Di III VC VXD G2 does particularly well for a zoom lens. The latter is the least impressive for control over distortion, but automatic in-camera correction is available.

Scores for sharpness and color fringing are averaged from data taken across the entire image frame, from the center to the edges and corners, throughout the aperture range. For zoom lenses, the scores are also averaged from data measured at all marked focal lengths, and the same applies to distortion.

Bear in mind that these average values don't fully reflect specific areas of performance. For example, a zoom lens might have noticeable barrel and pincushion distortion at its shortest and longest focal lengths, respectively, which tends to average out when looking at the data overall. For more detailed graphs of each lens's performance, which give the full picture, check out the graphs in our full standalone lens reviews.

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How to choose the best lens for the Sony ZV-E1

The ZV-E1 uses the Sony E lens mount. Sony’s own E-mount lenses have either FE or E in their model names: all work on the ZV-E1, but the image from an E lens will be cropped, so FE lenses are by far the better option. If you are buying a third-party E-mount lens, check whether the lens is designed for use with full-frame Sony cameras like the ZV-E1, or only with APS-C Sony cameras like the ZV-E10.

The ZV-E1 can also use Sony A-mount lenses with the aid of a mount adapter, but you should check that the A lens is suitable for full-frame cameras.

Check out our guide to the best Sony lenses if you want to know more

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How we test lenses

The lens experts in our testing lab run a range of 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 centre of the image frame, corners, and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths.

There's more to it than just the technical side, though! Beyond the lab, our reviewers test lenses in real-world environments – and sometimes on professional shoots! We work with lenses both indoors and outdoors, in studio conditions and in natural light, with as many different subjects as possible (or appropriate – there's no point testing a landscape lens' ability to shoot a portrait!).

We take into account everything from handling and ease of use to speed of autofocus and the overall quality of the images produced.

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

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Picking the best Sony video lenses is no easy task, with the main challenge being whittling your options down! With E-mount having been going strong for more than a decade, the catalogue includes a host of superb lenses for the system, not only made by Sony, but also by third-party manufacturers like Sigma and Samyang.

Many of the lenses in my list are already among the best Sony lenses all-around, but here I’ve paid special attention to lenses designed for vloggers and filmmakers. After all, the best Sony cameras are renowned for their video capabilities and are amongst the best hybrid cameras to buy right now.

I've made my picks based on the lenses that have most impressed my team in testing and reviewing – see the 'how to choose' section at the bottom of this piece for a detailed breakdown of our inclusion criteria. I've included options for both full-frame and APS-C Sony mirrorless cameras, and have made sure to incorporate a range of price points.

Best Sony video lenses

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Best versatile zoom

While not designed specifically for video, the Sony FE 20-70mm f/4 G covers a really useful focal range that's wide enough for selfies and vlogging, even taking into account the extra crop factor of digital stabilization. It also delivers on optical quality, handling, and portability, although like many modern lenses, it does rely on optical in-camera corrections.

The widest aperture of f/4 should prove fast enough and isn't much of a compromise for the extended zoom range and lightweight build. The only real drawback is the price, at least in some territories – it’s a lot to pay for an f/4 standard zoom, no matter how good or useful it happens to be.

See our full Sony FE 20-70mm f/4 G review

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Best wide-angle zoom

Sony brought this lens to market as "the world’s lightest compact constant f/4 wide-angle Power Zoom G Lens", which it definitely was, as it was also the only one! Key features include the use of Sony's XD (extreme dynamic) Linear Motors not just for the AF actuator but for the zoom control too, which also has variable zoom speed.

The overall barrel length remains the same when focusing or zooming, which makes the lens very manageable on a gimbal – as does its surprisingly modest weight of just 353g. The lens is dust and moisture-resistant. It's also one-quarter the price of Sony's massive 16-35mm T3.1 cine lens. The equivalent 24-54mm focal length on APS-C Sonys or Super35 mode on full-frame models is a useful range in itself.

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Best wide prime

If you're filming with a gimbal, it's a lot easier to balance the camera and handle the rig with smaller, lighter lenses, especially primes. The Sony FE 24mm f/2.8 G is hard to fault as a design. It’s small and light, it has an aperture ring which can be de-clicked for video, its AF is fast, smooth, and effectively silent, and it feels really well made.

However, it does have huge barrel distortion when uncorrected, and like many newer lenses, it doesn’t just benefit from digital corrections; it relies on them as part of its design. On the plus side, this will be corrected automatically by the camera, so it's something you will probably never even be aware of.

See our full Sony FE 24mm f/2.8 G review

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Best for vlogging

This Sony APS-C ultra-wide zoom joins the existing 10-18mm f/4 lens in the range, but is specifically optimized for video with a power zoom mechanism. The first thing that hits you about this ultra-wide-angle zoom lens for Sony’s APS-C format mirrorless cameras is just how small it is. The size and weight are more akin to an ultra-compact standard kit zoom with a variable (and slow) aperture rating.

The fact that Sony has managed to shoehorn such an expansive zoom range with a constant f/4 aperture into such a small lens, complete with motorized zoom, really is quite something. That's especially true considering that image quality and overall performance are so excellent. It’s pricey for an APS-C format zoom, but well worth the money.

See our full Sony E PZ 10-20mm f/4 G review

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Best power zoom

The best Sony cameras for video offer full-width oversampled 4K video, but some full-frame models rely on a cropped Super35 mode for some resolutions and frame rates, so APS-C E-mount lenses like this one can prove useful on larger cameras too.

The 18-105mm focal range offers the equivalent of 27-158mm in full-frame terms, which is expansive for a lens with a constant f/4 aperture. The built-in optical stabilizer is another advantage, as is the power zoom lever, although, as with other Sony E APS-C lenses, there's no aperture ring. This could be the ideal all-purpose standard zoom for filming, but it is pretty big and heavy, especially so when fitted to a skinny Sony A6000-series body or the ZV-E10.

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Best for close-ups

There are lots of third-party lenses available for Sony cameras, but for videographers, the Samyang V-AF series is particularly appealing. These have been designed to give the features of a cine lens, such as compatibility with a professional follow-focus attachment. However, they offer autofocus – unlike most cine lenses – and are much more affordable.

The 75mm focal length is particularly useful for tight close-ups – when shooting interviews, say. And thanks to its wide T1.9 maximum aperture (equivalent to f/1.8 on a photo lens), it can give beautifully defocused backgrounds.

A neat feature you don't get in many other lenses is a pair of tally lights on the front, so the presenter can see when the camera is transmitting and when it is live. Another innovative feature is a front-mounted bayonet that allows you to attach optical accessories, such as Samyang's anamorphic adapter.

See our full Samyang V-AF 75mm T1.9 review

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Best tele zoom

While this lens is definitely a bit on the heavy side, the Sigma 28-105mm F2.8 DG DN | Art gives any video shooter an impressive level of versatility that’s worth a little extra weight. The refined handling makes the lens a pleasure to use, with a de-clickable aperture ring that’s suited to video.

Autofocus performance is excellent – fast and accurate – and image quality is, of course, tremendous. Sigma’s Art range of lenses is known for their exceptional sharpness, and in our lab tests, this lens excelled. Some video users may find they miss the wide 24mm option, but if you don’t mind working with a slightly narrower field of view, there’s a lot to recommend here.

See our full Sigma 28-105mm F2.8 DG DN | Art review

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Best standard zoom

This second-generation 24-70mm f/2.8 G Master II is a lot smaller and lighter than the original and a more manageable proposition for shooting video. It also has an aperture ring, which the first version did not. There was absolutely nothing wrong with the original edition of Sony’s G Master trinity standard zoom for photography, but the second incarnation is even better in every way.

It packs a host of new features, improved handling characteristics, and a completely redesigned optical path into a smaller, more lightweight build. It’s more comprehensively weather-sealed as well. The GM II is undeniably pricey, but you get what you pay for and more besides.

See our full Sony FE 24-70mm f/2.8 GM II review

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Best for bokeh

The big appeal of the Sigma 28-45mm is its incredibly wide maximum aperture – something you just don't see in other zooms. This allows you more control to defocus the background when shooting, or to increase the light transmitted through to the image sensor when shooting in low-light conditions.

The design means the lens is big, but Sigma has tried to ensure the lens is still usable by restricting the range of the zoom. Ultimately, this Art series zoom could replace two or three prime lenses from your kit bag. Even so, this lens is best suited to Sony's full-frame Alpha cameras.

See our full Sigma 28-45mm F1.8 DG DN Art review

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Lab data and comparisons

The graphs below show the comparative performance of the lenses in this guide, based on our in-house lab tests. The Sigma 28-45mm f/1.8 zoom is amazingly sharp, living up to its claims of replicating the performance of multiple fast prime lenses. Meanwhile, the Sony FE 24mm relies very heavily on automatic in-camera correction for distortion. Color fringing is well controlled across the board.

Scores for sharpness and color fringing are averaged from data taken across the entire image frame, from the center to the edges and corners, throughout the aperture range. For zoom lenses, the scores are also averaged from data measured at all marked focal lengths, and the same applies to distortion.

Bear in mind that these average values don't fully reflect specific areas of performance. For example, a zoom lens might have noticeable barrel and pincushion distortion at its shortest and longest focal lengths, respectively, which tends to average out when looking at the data overall. For more detailed graphs of each lens's performance, which give the full picture, check out the graphs in our full standalone lens reviews.

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How to choose the best Sony video lenses

For a good video lens to mount on Sony cameras, we are looking for a handful of specific qualities:

• Constant maximum aperture:
Obviously this is one attraction of prime lenses, but when shooting with a zoom for more scope and convenience, you want to be able to zoom in and out without having to work around changing iris values.

• Aperture ring:
Being able to see and set the iris value externally is very useful, especially if the aperture ring is ‘de-clickable’. This enables you to make smooth and silent iris adjustments while filming.

• Wide angles of view:
This is useful for filmmaking or vlogging in small interiors, but practically essential for ‘selfie vlogging’, where you often want to get the background in the shot as well as yourself. Don’t forget that some video modes bring a digital crop, as does Sony’s digital image stabilization.

• Power zoom:
An electrically powered zoom mechanism is not essential, and many filmmakers won’t zoom while filming anyway. But if zooming and zoom effects are your style, it’s a lot easier and smoother with a power zoom than trying to do it manually. Some Sony cameras, like the ZV-E10, even have a zoom lever on the body.

You can’t always get all of these features in any single lens, but they are things you might want to look out for nonetheless.

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How we test lenses

The lens experts in our testing lab run a range of 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 centre of the image frame, corners, and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths.

There's more to it than just the technical side, though! Beyond the lab, our reviewers test lenses in real-world environments – and sometimes on professional shoots! We work with lenses both indoors and outdoors, in studio conditions and in natural light, with as many different subjects as possible (or appropriate – there's no point testing a landscape lens' ability to shoot a portrait!).

We take into account everything from handling and ease of use to speed of autofocus and the overall quality of the images produced.

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

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What's more festive than transforming a room in your house into a dreamy, fairy-lit world, perfect for a spot of creative portrait photography?

The concept is simple – by sticking a fast prime lens onto the front of your DSLR or mirrorless camera and taking advantage of its super-wide aperture, we'll be able to create a nicely blurred background to transform those tiny, twinkling points of light into beautiful bokeh balls.

This project really is as quick, easy, and fun to do as it sounds.

Essentially, all you need is your camera, a fast lens (be that a prime or a zoom with a wide max. aperture between f/1.4 and f/2.8), a few strings of fairy lights, and a willing volunteer to pose for you.

Professional photographer and videographer Tom Calton shows how to bag the shot and demonstrates a simple but effective colour treatment in Photoshop to make it really stand out.

The setup

Warm lights
We've opted to use warm fairy lights to give the shot a cosy, wintry feel. However, you could experiment by using white or multicoloured lights (or a mixture of the two). Just ensure the lights that are used are bright.

Twinkling backdrop
Our background is a simple net of fairy lights hung against a blank wall that is free from hanging ornaments and picture frames.

More lights
A few additional strings of lights are needed for the model to hold to illuminate their face. You can also try draping lights across the bed and elsewhere in the room to increase the effect.

Blackout
To capture the full effect of the fairy lights, it’s important that they are the only light source in the room. Turn off all the room lights and block out the windows.

Shooting steps

1. Block out the light

To get started with this photograph, make sure that the fairy lights will be the only source of light in the room. Block out any window light and close all of the blinds and curtains. Switch off any room lights and lamps as well.

2. Set up the background

The next step is to hang the net of fairy lights in the background to create a nice, twinkly backdrop for our shot. Hang the lights from a shelf above the bed, or alternatively, try and drape them over a backdrop stand or hang them between two light stands.

3. Use a fast lens

In order to turn the fairy lights into twinkling orbs in the shot, use a lens with a wide aperture. Prime lenses are the best choice, as they generally offer a wider maximum aperture than zooms. Here we used a FE 50mm f/1.4 GM lens on a Sony A7 III, which is a great option for portraits in general.

4. Add more fairy lights

Ask the model to sit in position. Drape one set of fairy lights around where they are sat and then carefully ball-up a second set of lights and place them in the model's hand – these will be used to illuminate the model's face.

5. Camera settings

Switch the camera to Aperture Priority mode, and then set the widest aperture possible. Frame up the shot and adjust the ISO until the shutter speed is reading a value of 1/250sec or faster. This will help to ensure a sharp shot while shooting handheld. Finally, set the camera so that it shoots in RAW.

6. Take the shot

Frame up the shot and make sure that the active AF point is positioned over one of the model’s eyes. Then focus and take the shot. Check the results to make sure that the model is sharp and in focus, and repeat the shot if necessary.

Pro Tip

Keep your distance

Although using a wide aperture will give you the best chance of transforming all of those small points of light in the background into big, beautiful orbs, distance is also another factor you'll need to keep in mind.

In short, the greater the distance between the lights and your point of focus (the model's face), the more blurred the background will become and the bigger the orbs of light will be. So bear this in mind while setting up your shot.

Editing steps

1. Contrast and color

Open the RAW photo in Photoshop, and the Camera Raw Interface will appear. Crank the Contrast slider to +100 and the Clarity to +50. Then, set the Vibrance to +30 to bolster the colors.

2. Lift the shadows

Don't worry if the photo has too much contrast as this can easily be fixed by increasing the Shadows +50 and the Blacks to +60. This will brighten the shadow detail for a more balanced result.

3. Split toning

Click the Split Toning tab at the top right of the screen (beneath the histogram). Under the Shadows section, set the Hue to a value of 230, then increase the Saturation to 80 to turn the shadows blue.

4. Curves

Click the Curves tab at the top, then underneath the Curves diagram, find the Output box and set it to a value of 16. This will crush the blacks within the image to give it a much softer appearance.

5. Blue curves

Staying in the Curves tab for the moment, locate the Channel option above the Curves diagram and change it from RGB to Blue. Then, set the Output to 10 in order to add more blue to the shadows within the image.

6. Brighten the model

Finally, grab the Adjustment Brush from the toolbar at the top of the screen and brush over the model’s face. Pull the Exposure slider to the right to brighten their face – a value of +0.85 worked for our image here.

Before/After

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It seems like only yesterday that the iPhone 17 dropped, but we're already getting rumors about the camera set-up in next year's iPhone 18. The latest tip suggests that Apple's next flagship iPhone could feature a variable aperture lens for its primary camera module. This speculation isn't actually new - it was previously suggested by the prevalent industry analyst Ming-Chi Kuo - but the rumor has been given more credibility by a recent confirmatory report originating from Apple's supply chain.

In the current climate where phone manufacturers often prefer AI image processing improvements over camera hardware upgrades, the news that Apple could be developing a new lens for its next iPhone seems welcome. However, I remain to be convinced that such a feature will have a noticeable improvement to camera usability or image quality.

A variable lens aperture is essential in a lens designed for a conventional, large-sensor camera like a full-frame DSLR or mirrorless body. This is because the larger the sensor, the shallower the depth of field at a given aperture. With a full-frame camera, if you want a subject close to the camera and a more distant background to both be in focus, you'll need to significantly reduce the lens aperture. But shrink the sensor down to 1/1.28" - the size of the sensor in the iPhone 17 Pro's primary camera - and, even at the module's native f/1.8 aperture, there'll still be a huge depth of field.

As background detail is almost always clearly visible behind a subject snapped by a camera phone, we've seen the implementation of portrait modes which use software processing to artificially blur background. The aim here is to emulate the shallow depth of field effect you 'naturally' get from a large-sensor camera/wide-aperture lens combination.

So if a camera phone is inherently good at producing a deep depth of field, there's little reason for having a lens with a variable lens aperture. You may as well fix the aperture to be as large as possible to get the maximum amount of light through to the sensor, thereby keeping shutter speeds high and ISO sensitivity low - the ideal recipe for sharp, low-noise shots. Having a variable aperture lens sounds impressive, but the benefits are few and far between when it comes to real world use in a camera phone.

Story credit: Electronic Times

To  photograph a full moon (or any moon) successfully, you first have to understand it. Although astrophotographers specializing in the moon usually photograph it through a powerful telescope, a telephoto lens of almost any focal length is good enough to get a good shot. Making the moon the sole focus of a shot, however, is only one way to approach lunar photography; another is for it to enhance a landscape photo, where it can provide a powerful addition to a wide-angle image.

While it can help, the fact that you don’t need any specialist equipment to photograph the moon makes it one of the most accessible celestial subjects out there. It’s a great starting point for those interested in astrophotography, whether you’ve only got a kit lens or even just a camera phone.

All full moons are given names, which often differ depending on the region or culture. Tonight’s is called a Blue Moon, as it is the second full moon in May.
Check out my guide to astrophotography in May.

Equipment for shooting the Moon

The equipment you’ll need is the same as for wildlife or sports photography: a DSLR, mirrorless or bridge camera on a sturdy tripod, and either a wide-angle or any regular telephoto lens, such as one with a 70-300mm focal range. A remote shutter-release cable will also be useful so you don't introduce vibrations, although you can also use the timer in your camera.

Check out this article, if you want to know how to photograph the moon with a monster Nikon P1000 bridge camera. And if you're interested in picking up essentially the same camera with a few modern appointments, the Nikon P1100 has recently been launched.

The Moon is a moving target; the combination of the Moon's 2,288 miles-per-hour orbit and Earth's 1,000 miles-per-hour rotation makes our satellite a fast-moving target. However, it's usually bright enough for a relatively fast shutter speed to yield good results.

How to focus on the Moon

Although you can autofocus on the Moon as it rises, or as it becomes visible just before sunset, it's a good idea to focus manually. With your lens set to manual focus, set the the focusing ring to infinity. It takes some practice since most cameras can focus beyond infinity, and finding the exact point that works for your lens takes trial and error.

Take some test shots and zoom in on the result on your camera's LCD screen to see which one works best. Don't skip this step; only once you've done it correctly will your Moon photos be reliably sharp.

How to expose for the Moon

It's a common mistake to overexpose the moon but it's actually much brighter than you think. However, if you want to photograph the foreground and not just the moon by itself you will need to make sure your exposure works for both or use bracketing to take multiple shots with different exposures.

To get a great Moon shot and little else, set your camera to ISO 100 or ISO 200 and the aperture to between f/5.6 and f/11, and adjust your shutter speed to between 1/125sec and 1/250sec. The exact settings will vary depending on your camera and the brightness of the Moon, which depends on its exact phase, but these base settings will get you started.

Taking a landscape photograph that includes the Moon is more difficult because during that 'blue hour' after sunset the Moon is already too bright. So, if you take a longer exposure for the landscape, you'll overexpose the Moon, and if you expose for the Moon, the landscape with be under-exposed. So what do you do?

The answer is either to photograph the Moon just before sunset when the light levels are higher (they drop-off so quickly at the point of sunset), or to take two exposures and combine them in photo-editing software. The latter approach, however, often looks fake. Another way is to expose for the Moon, and use a flash to light the foreground.

When to photograph the Moon

The full moon is probably the lunar event that most beginner astrophotographers will want to photograph first - but it is actually one of the most difficult due to the glare that this creates. Some of the most impressive shots of the full moon are those where it is seen behind a building or a natural structure – which makes the moon look much larger than it does to the naked eye.

If you want less of a cliche, go for other phases of the Moon when you can see a line between the light and dark sides. This is called the terminator line, which is when the craters on the Moon throw shadows, particularly near its South Pole. You can see this most nights, but perhaps the most precious kind of Moon is visible only on the few days on either side of New Moon. At this time, you'll also see a waxing or waning Crescent Moon close to the horizon, and it comes with the bonus of Earthshine.

How to capture Earthshine on the Moon

Although 50% of the Moon is constantly being illuminated by the Sun, there are a few days each month when the Earth gets involved – and it's a beautiful event to capture.

Earthshine is a dull glow to the unlit area of the Moon that's the result of sunlight reflecting off Earth's surface and onto the lunar surface. Its subtle and mesmerizing, and easy to capture if you time it right.

Set up for the first (or, more likely, the second) sunset after a New Moon. Using a lens with as long a focal length as possible, and with your camera on a tripod, dial in a sensitivity of ISO400, an aperture of f/2.8 (or as wide as your lens aperture will go), and open the shutter for between one and four seconds.

See our guide to photographing earthshine

In fact, Earthshine is always being reflected onto the Moon to some extent, but it's only around the New Moon that the crescent of sunlight is small enough for the camera to expose for both the lit and unlit areas.

This is also a good time to combine Moon photography with night-sky photography because the Moon will set soon after you've photographed it. You can then go looking for stars and the Milky Way.

How to capture a moonrise or moonset

There are two exceptions to the advice to avoid photographing the Full Moon.

The first is when there's a total lunar eclipse, and the second is when a Full Moon rises or sets, as it's a great alternative to a sunset. The sight of a Full Moon peeking above the horizon and turning from deep orange to pale yellow to bright white during twilight is a spectacular sight. It also presents an opportunity to get the Moon in the context of a beautiful landscape.

The colourful spectacle lasts mere minutes and is easy to miss, but, like everything else in the night sky, a rising Full Moon is predictable down to the second. Simply find out exactly on what day the next Full Moon is going to be where you are, and exactly what time sunset is on that date, then look to the east for the moonrise. Start-off with your camera set to ISO100, f/10 and 1/125 sec.

If you've ever seen photos of someone or something silhouetted against a seemingly giant Moon, perhaps while standing on top of a hill, they were taken during a moonrise. They were also ruthlessly planned; The Photographer's Ephemeris and PhotoPills apps are ideal for this kind of project.

To make the Moon look so large in the background, photographers need to use superzoom telephoto lenses of at least 1,000mm while being positioned a mile or so away from the all-important foreground subject that introduces that sense of scale.

Composites, moon-stacks and super moons

It's possible to shoot the Moon and add it to another landscape shot using Photoshop. However, almost everyone who attempts this either makes the Moon look way too big, or they place it somewhere in the night sky that it doesn't occur (such as in the norther hemisphere's northern sky).

To anyone with a trained eye, most composites look like what they are: fakes. There is one exception; moonstacks, a lunar time-lapse, in which you take several photos of the moon as it moves through the sky, and then use Photoshop to composite them into a single image.

Read more: How to create a moonstack

Although it often grabs the attention of photographers and media alike, pay little attention to the term 'supermoon'. A recent term that merely means that the Moon is slightly closer to Earth than normal, it has little practical meaning or use. However, while a Super Full Moon does look larger as it rises above the horizon, it's only by about 10%-15%, so it's barely noticeable to eye or camera.

The very finest way of getting a close-up shot of the Moon – and the only way to get enough magnification for it to fill the entire frame – is to mount the body of a camera on a telescope using a cheap T-adaptor; it's like having a very large telephoto lens. Try to find a telescope with a focal length of over 1,000mm, but under 2,000mm to capture the whole of the moon.

Whatever kind of Moon-shot you try for, photographing our satellite provides a good lesson in the role of precision timing in composing unique landscape and nature images.

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If you enjoy photographing the full moon and want to take your astrophotography to the next level, take a look at the best camera for astrophotography. You may also wish to upgrade your optics via the best lenses for astrophotography. And if you want to take your astrophotography even further (literally!) for some deep-space imaging, then head over to the best telescopes for astrophotography.

Earlier this year, myself and Digital Camera World's Editor in Chief, James Artaius, were invited to Japan by Sigma to see three brand new products: the Sigma BF full-frame camera, and the Sigma 300-600mm f/4 DG OS | S and Sigma 16-300mm f/3.5-7.1 | C zoom lenses.

As part of the trip, we were also invited to Sigma’s one and only factory in the mountainous region of Aizu, where we were treated to a brilliant tour of the factory to see how the company manufactures all its lenses and cameras in-house from start to finish.

The grand tour begins!

Before we could begin, it was important to put on shoe coverings and lab suits to avoid any contamination. One of the main mottos of the assembly division is to not bring dust into the environment, so some workers have to pass through air showers before entering clean rooms within the factory.

First up was the Production Engineering & Development Divisions, where Sigma's production and development engineers can work and communicate freely and easily.

Next up a quick walk past the Prototype Jigs & Tools Processing Division, where parts for prototypes are machined for the engineers to work through any teething problems, and identify any defects before the molds and dies are finalized for mass production in the Mold & Die Manufacturing Division.

Each mold can take between six to eight weeks to finish and the division creates roughly thirteen resin molds and eight press dies on average per month. Sigma’s smallest mold weighs a hefty 100kg, while many weigh over a ton!

Metal Processing

Onto the Metal Processing Division, where around 15,000 parts are processed per day by 200 machining tools using aluminum, brass and stainless steel. The parts produced in this division are for camera bodies, lens barrels and even small electrical contact pins, and have super strict tolerances from +/-0.003 to 0.005mm (which is 10 times thinner than a human hair!).

Also in the Metal Processing Division, Sigma was eager to show off its latest addition – several five-axis CNC machines installed specifically for the new Sigma BF camera, which is machined out of a single block of aluminum.

This is loaded and unloaded by automated robots and then taken to the next machine for further processing. The total process takes seven hours for each camera!

Plastic Fantastic

Next up, the Plasticity Division! Plasticity doesn’t just relate to plastic, though; this division encompasses everything from injection molding to metal pressing and stamping, painting, electroplating and even printing.

We caught a glimpse of Sigma’s impressive machines that create the plastic injection molding, with the company storing 1,500 molds ready to use in the process to create plastic components, and we saw them live in action creating the brand’s iconic lens caps.

No less than 38 machines are used to produce the plastic components using materials such as engineering plastic (EP) and thermally stable composite (TSC).

Resin granules are dried in a hopper at high temperatures, then melted down at around 572°F / 300°C and injected into the mold, where they re-solidify into the designed shape. Excess plastic is removed and ground up to be recycled.

Onto Metal Pressing & Stamping, and here dies are used by high-powered machinery to stamp or press out metal parts such as diaphragm blades, washers, clips, pins, metal guides and more. The materials used in the division include stainless steel, iron, aluminum, copper and brass.

There are two types of die: Progressive Die, which uses multiple pressing processes in sequence to create the final part from the metal material. Not only cuts, but also bends, and “punches”. Then there’s the Single-Shot Die, which creates the part in a single shot.

A lick of paint

The Painting Division is responsible for improving the surface properties of materials, mainly to enhance hardness, wear resistance, lubrication, corrosion resistance, oxidation resistance, heat resistance, insulation, and decorative and aesthetic qualities.

The division uses five different types of machines to carry out various types of painting, including an advanced twelve-axis machine that can closely mimic human-like movements.

We also took a pit stop at the Printing Division, where we saw machines printing the lens information found on the exterior of the lens, such as logo, focal length and f-values. This is mainly done by Pad or Silk Screen printing. Some Sigma lenses and cameras also require color inlay, which is a delicate process and needs to be done by hand.

A Sigma representative told us, “Since almost all printing here is visible from the exterior of the lens, the attention to detail is of utmost importance to create high-quality products”.

Next it was onto the Electroplating Division, where we saw components being electroplated and anodized. In the electroplating process, brass, iron, steel, phosphor bronze and zinc materials are treated with nickel and nickel-chrome plating to improve abrasion resistance, corrosion resistance, and lubricity improving durability and appearance. The anodizing process is similar, but creates an alumite coating on aluminum materials.

We witnessed first-hand Sigma lens bayonets being electroplated, with Sigma’s chief of customer service, Jonathan Ryan, telling us, “We believe that a beautifully coated and unadulterated bayonet helps to make a strong first impression when users first open up the lens box and take out their new lens”.

Glass Molding

Now onto the Glass Molding Division – the area that creates the magical glass that goes inside a Sigma lens.

This division molds special aspherical lenses from glass gob (a measured amount of molten glass cut from a stream of glass and fed into a molding machine) or blows it into a pre-form, with the melted glass taking on the desired shape and setting once cooled.

Sigma produces spherical lenses as well, with grinding and polishing processes which we will see later, but these aspherical lenses can suppress aberrations and improve optical performance and they are an essential key factor in increasing design freedom.

One of Sigma's major strengths is its ability to produce large-diameter aspherical lenses with diameters in excess of 80mm, which are used in ultra-wide-angle lenses. Sigma told us that 70 machines are used to produce 10,000 pieces per day.

The molding machines perform three processes: preheating, pressing, and cooling, reaching temperatures of up to 1,292°F / 700°C with pressures of 500-1000kg being applied to mold the lenses. It takes a minimum of 20 minutes to mold a single lens, with the longest taking about 2.5 hours.

Onto the Ultra-Precision Machining (GM Molds) division now, and this is where the molds for the GM division are manufactured. The Glass Molds use three main processes: rough machining, finishing machining and hand polishing.

Each mold is made of tungsten carbide and is much heavier than it looks; a 4cm cube weighs around 1kg! These molds are used to make aspherical lenses, so their precision is highly important for creating ultra-refined aspherical lens elements.

Processing and fitting the lenses

As you might imagine, the division known for processing the lenses and mounting them inside the barrel is vast for the world’s largest independent lens manufacturer. The Optical Elements Processing division is separated into Lens Coating, Lens Centering, Optical Element QC and Washing, Fine Polishing, Edge Painting, Lens Bonding and Lens Caulking.

First up, the lens is centered (to find its optical center) and then the outer diameter is ground away to reach the final lens design. There are between 10-28 lens elements inside a Sigma lens, so it’s crucial for them all to reach a consistent center for high-resolution image quality.

Polishing is critical to achieving a sharp and bright lens, so it’s divided into three stages: Curve Generation, Rough Polishing and Fine Polishing.

As seen earlier, Sigma molds its aspherical optical elements from glass gobs. In this division, the spherical optical elements are ground and polished from pre-formed glass “blanks”. Sigma is able to achieve incredibly high precision in this process, where only 0.05 - 0.1mm of material can be polished away at a time.

Lenses must be washed after final processing and sometimes even between processes. The washing process is a 12-step process that uses fresh water from the Bandai area in Japan, as well as isopropyl alcohol, and ultrasonic pulses to clean away the polishing residue. Some optical elements include glass so soft that it could be scratched by the washing process, so they are also washed by hand.

Now onto lens coatings, and here we saw the workers ensuring that each element is free of dust, residue and blemishes before loading them into “domes” to be carried off to the coating machines.

Sigma uses its proprietary “Super Multi-layer Coating”, which is an anti-reflectance coating applied using a vacuum deposition process. Since, naturally, 4-5% of light is reflected per side of the lens element, and there are 10-28 optical elements per lens, you can see how the loss of light will add up.

The Super Multi-layer coating achieves higher light transmittance per lens element, which enables Sigma to make products with faster apertures. The number of layers of coating range from 1-15, with each layer being only 300-500 nanometers (0.0003-0.0005mm) thick.

Sometimes a group of lens elements needs to be bonded together to correct image defects ("aberrations") that naturally occur in spherically-shaped lenses. The elements are joined using a UV-cured resin, with some of them using a balsam-based resin.

One aspect of lens manufacturing I hadn’t thought about was minimizing reflectance inside the lens barrel. Sigma does this by keeping the inside as dark as possible, and hand-painting the rim of its glass edges with black ink or paint in a process called ‘Sumi-nuri’.

Ryan revealed that the company is working on automated machines for use in this section, though it’s currently such a delicate process that it has to be done by hand. I also had the chance to quiz his brains on Vantablack – the world's blackest material, which uses carbon nanotubes to absorb practically all light, and he told me it was something the company is interested in.

With the lens elements centered, polished, washed and the edges hand-painted, it’s time for assembly in the Lens Caulking area. Here, the optics are press-fitted into lens chambers using high heat and pressure to secure them in place, whil other lenses are screwed into the chamber.

Finally, one of Sigma’s own-made circuit boards is added to the lens.

The finishing touches

The tour concluded with a walk through Sigma’s Assembly Division. All the parts we’d seen thus far are gathered and assembled into the final products. This area is a strict clean room environment, to keep as much dust out of our lenses as possible.

We got to see the Sigma 24-70mm f/2.8 DG DN II Art lens, which is the company's latest big seller, being assembled in front of our eyes with the individual parts assembled into units, which are then adjusted and the resolution tested.

From the window we could see two automated machines: one applying the right amount of grease along the cam barrel grooves, and the other inserting rollers. Both require precision for the best outcome.

All assembled lenses are adjusted and inspected by Sigma's A-1 MTF (Modular Transfer Function) measurement machines, which were developed in-house and are equipped with ultra-high-resolution sensors.

Next up it’s the Quality Assurance division, which uses Sigma's MTF measurement machines from Trioptics to thoroughly evaluate the performance of new lens designs as well as the performance of competitors’ lenses.

The lenses can be evaluated from minimum focus distance all the way to infinity, to get super-accurate performance data across the full focus spectrum.

One of the machines has been in use for around five years and is quite rare, with there only being a few of them in Japan, while another machine was custom-ordered from Trioptics and is the only one of its type in the world.

These machines are used to inspect each lens to ensure it meets Sigma's strict resolution standards, and provide the benchmark scores used by the A-1.

Finally, the Quality Assurance division is responsible for the overall quality control of Sigma products. Since brand image is strongly connected to quality, this division carries out uncompromising and rigorous quality checks; not only on assembled products, but also on individual units as well as pre-production firmware bug checking and camera compatibility checking.

Taking a guided tour through every step of Sigma's manufacturing process was fascinating, educational and a real privilege – and gave us a new appreciation for the true craftsmanship that goes into creating these incredible cameras and lenses. Thank you to Sigma for the great honor of visiting the Aizu facility!

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Over the years Canon has produced a number of lenses with built-in teleconverters, but so far the RF mount has been left out of Canon's plans. This looks set to change with the first credible rumors of a new Canon RF 200-500mm f/4 lens with a built-in 1.4x converter potentially in the pipeline.

Canon already has two optional RF mount teleconverters, the Extender RF 2x and Extender RF 1.4x, which can be used with the majority of Canon's pro zoom and prime lenses – at the sacrifice of 1 to 2 f-stops. But for professional sports and wildlife photographers, the ease of a built-in converter is hard to beat.

Of course, with an f/4 aperture (likely to be f/5.6 when the 1.4x teleconverter is engaged), the lens is likely to be a lot bigger than Canon's current lineup of telephoto zooms.

And, if the EF version of the Canon EF 100-400mm f/4L IS USM 1.4x Extender was any precedent, it's likely to be a lot more expensive as well. That EF lens cost a cool $11,099, which likely puts a new RF 200-500mm f/4 firmly out of reach for most photographers.

However, Canon already has a couple of great options for wildlife shooters without such deep pockets. The Canon RF 100-500mm f/4.5-7.1L IS USM has a lower aperture, especially when paired with the 1.4x Extender, but at $2,899 is a much more viable option.

If you want to forget all about teleconverters for a second then there is Canon's newest superzoom, the Canon RF 200-800mm f/6.3-9 IS USM for $1,899, which I tested this year and was taken by surprise at just how good the photos were from a lens of this price and zoom range.

Sources place the lens coming out around November 2024, which would also perfectly coincide with the launch of the Canon EOS R1, which despite being announced a few months ago is taking its time getting into stores – and these two would make perfect companions.

Find out more about the best lens for sports or the best lenses for bird photography and wildlife in our guides. Or if you need a camera, check out the best camera for sports photography.

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

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

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

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

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

Story credit: Sony Alpha Rumors

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

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

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

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

We've seen no shortage of inexpensive manual focus primes being launched out of China in the last couple of years – but TTartisan's 75mm f/1.5 promises something different. Yes, that 75mm is a nice focal length for portraits, and yes, that f/1.5 aperture is pretty fast for bright images in low light, but what really sets this lens apart is its 'swirly' bokeh, when shooting at wider apertures.

Bokeh is the term for out-of-focus highlights and usually forms rounded circular blobs that mirror the shape of the lens aperture. But the 13-bladed aperture design of the TTartisan 75mm f/1.5 renders bokeh with an attractive swirl shape, which lends a creative twist to portraits.

This soft, swirly bokeh effect adds a unique artistic look and feel to images that helps the subject really stand out, giving the impression of the background rotating around it. It comes into its own in backlit scenes, with softly diffused light and smoothly blended shadows creating a layering of light and shadow that evokes the classic charm of vintage lenses. In fact, the lens design and Petzval bokeh both look eerily similar to the old Russian Helios 42 lens that filmmakers used to artistically film scenes in the movie Dune 2.

Ideal for portraiture, the f/1.5 large aperture captures clear images even in low light while achieving a shallow depth of field, making subjects stand out even further and creating a unique visual effect.

It's a full-frame lens, and TTartisan says there's no sign of vignetting on cameras that use a full-frame or smaller sensor, such as the APS-C format. On medium format cameras, there's a darkening of the image towards the edges, but this could be said to add to the artistic quality.

Combining classic design with modern optical technology, the lens retains the charm of traditional manual lenses while offering superb image quality. It has an all-metal construction, and inside there are six elements arranged in four groups. The closest focus distance is 0.75m, and the lens offers a 32º angle of view. It has a 58mm thread for the fitment of filters, and it weighs in "at around 562-669g" – TTartisan wasn't specific on this!

As you'd expect with a completely manual lens, there's no communication with the host camera. As such, the aperture is set via a ring towards the front of the lens barrel, which is clicked to minimize the danger of accidentally nudging it away from your intended choice.

The lens has a universal M42 screw-mount design, offering wide compatibility with the vast majority of camera bodies; you simply need to get the correct adaptor for your camera. TTartisan lists a wide number of compatible camera models that the lens works with via an adaptor, that use Sony E-mount, Nikon Z-mount, Canon RF-, EOS M- and EF-mounts, Fuji GFX- and X-mounts, Hasselblad XCD-mount, and the L-mount used by Panasonic, Leica and Sigma.

One notable exception, however, is that the lens is not compatible with the Nikon F-mount, even when an adaptor is used, so it will not work with any of Nikon's DSLRs or traditional film SLRs.

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Founded in 2015 by a group of Chinese camera enthusiasts, 7Artisans has become best known for its range of fully manual lenses which are available in several mount options to suit different makes of camera. More recently, the company launched its first autofocus lens – the 7Artisans AF 50mm F1.8 for Sony Alpha mirrorless cameras. This macro lens is more traditional fare from the company. As such, it has neither autofocus nor any built-in electronics. That means that you have to set both the aperture and focus using the lens’s control rings, and that no lens-based EXIF data is stored in images. Even so, many would argue that manual focusing is a better option when shooting with even the best macro lenses.

7Artisans 60mm F2.8 Macro 2x: Specifications

7Artisans 60mm F2.8 Macro 2x: Price

Launching in late 2024, the 7Artisans 60mm F2.8 Macro 2x has a recommended retail price of $335. As I’d expect, that’s only half the price of, for example, the Nikon Z MC 50mm f/2.8, which sells for around $647/£679. The Nikon has a similar focal length but naturally features autofocus and a full set of electronics, although it only delivers a maximum of 1.0x macro magnification. The Canon RF 100mm F2.8L Macro IS USM gives up to 1.4x magnification but is considerably more expensive again, at around $1099/£1369.

7Artisans 60mm F2.8 Macro 2x: Design & Handling

The vast majority of autofocus macro lenses top out at 1.0x magnification, when set to their shortest focus distance. A notable exception is the Canon RF 100mm F2.8L Macro IS USM, which stretches to 1.4x. Mostly though, greater magnifications are the preserve of manual macro lenses, which include specialist items like the AstrHori 25mm F2.8 Macro 2.0x-5.0x and AstrHori 18mm F8 2x Periscope Probe Macro. Sure enough, the fully manual 7Artisans 60mm F2.8 Macro 2x is designed to deliver 2.0x maximum macro magnification, enabling you to capture small objects at twice life size on the image sensor. That might not sound like much of a big deal but when you take into consideration the enlargement factor of viewing images on screen or in print, it’s actually pretty enormous.

Build quality feels sturdy and solid, the barrel as well as the mounting plate being engineered from metal rather than plastic. Let’s start at the back end and work our way forwards. First up, there’s an aperture control ring, which is essential as you can’t control the aperture from the camera body, which precludes shooting in Shutter-priority exposure mode. The aperture ring has click steps with no de-click option. The steps themselves go in half f/stops from wide-open at f/2.8 down to f/5.6, then in full f/stop clicks from f/5.6 to the narrowest aperture of f/22.

Just in front of the aperture control ring is a depth of field scale, which works in conjunction with the focus control ring. It’s packed with DOF markers for apertures of f/2.8, 3.2, 4, 8, 16 and 22. However, if you line up any of the actual focus distance markers of the focus control ring with the central position on the DOF scale, all of the other distance markings fall outside even the widest DOF markers corresponding to an aperture of f/22.

Next up is the focus control ring itself. This has a particularly long throw of 180 degrees and operates with silky smoothness and good tactile feedback. It’s exactly what I’d want in a manual-focus macro lens, enabling very fine and precise adjustments.

The lens features 14 elements arranged in 12 groups. These include two ED (Extra-low Dispersion) elements and two HRI (High Refractive Index) elements, aiming to enhance clarity and reduce chromatic aberrations. Apart from the front element and rear group, most groups are deeply recessed within the barrel at the infinity focus distance setting, but travel forward so that they’re very close to the front element at the shortest focus setting.

No lens hood is supplied with the lens, which I’m not surprised about, due to the short working distance for macro shooting. I’ll come back to that later but meanwhile, the lens has a 67mm filter attachment thread. Despite this, the lens has a metal slip-on front cap instead of the more usual clip-on variety.

7Artisans 60mm F2.8 Macro 2x: Performance

As I’ve mentioned, manual focusing is often preferred for macro photography so the lack of autofocus isn’t a deal-breaker. Focus peaking can be reasonably helpful but with such a razor-thin depth of field in macro shooting, it can lack the precision I need to nail accurate focusing. A magnified preview is the way to go, which you can assign to one of the custom function buttons on the Sony A7 II that I used during testing. Other makes and models of mirrorless camera tend to offer the same option. I often use a macro focusing rail for extremely close-range macro shooting, like the NiSi NM-200s Macro Focusing Rail. However, I found that the long throw of this 7Artisans macro lens enabled extremely fine and precise adjustments, without needing to resort to using a focusing rail.

What I found more of a problem was the short working distance between the front of the lens and the subject I was shooting. The minimum focus distance is 0.17m / 0.56', to enable full 2.0x macro magnification. As always however, this is measured from the image sensor in the host camera to the subject. The actual distance between the front of the lens and the subject is only about 5cm / 2”. With a light source over my shoulder, it’s all too easy to cast a shadow over what I’m shooting and the same goes for using flash or LED lighting.

With focusing and lighting sorted, the lens is capable of delivering very pleasing images. Sharpness in the central region of the frame is mostly good, especially between apertures of f/4 and f/11, dropping off a bit at really narrow apertures due to the usual problem of diffraction. Chromatic aberrations are fairly minimal but pincushion distortion is much more noticeable than I’d expect from a macro prime lens. And because it’s a ‘dumb lens’, automatic in-camera correction for distortion isn’t available. All in all, performance is good rather than great.

7Artisans 60mm F2.8 Macro 2x: Sample Images

There are plenty of autofocus macro lenses that I’d consider using for portraiture and any other scenario for which I wanted a fairly fast, short telephoto lens. This is a more specialist lens that I’d only really use for extreme close-ups. With that in mind, the sample images in the following gallery are all macro shots taken at or near the minimum focus distance, using bounced flash as a light source. The subject matter includes the face of a wristwatch, the inner workings of a fob watch, colored pencils, the shutter speed control dial of a Nikon Z fc camera, a garden flower (Japanese Anemone), standard sized text from an inkjet printer on plain paper and models of a motorcycle and medieval knight on horseback.

7Artisans 60mm F2.8 Macro 2x: Lab Results

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

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

Sharpness:

Center sharpness is good at f/2.8 and very good at apertures of between f/4 and f/11. It reverts to good again at f/16 due to diffraction, dropping off more at f/22. For good corner-sharpness, it pays to stop down to apertures of f/11 or narrower.

Fringing:

Color fringing can be a little noticeable wide-open from the mid-to-edge region of the image frame, and remains of a similar order in the area between the center and edge of the frame at other apertures. Even so, it’s hard to spot in most real-world images.

Distortion: 2.52

Macro lenses are often used for technical photography so the noticeable amount of pincushion distortion is disappointing. With no electronic communication between the lens and camera, automatic correction is impossible, so you have to resort to fixing distortion manually at the editing stage.

7Artisans 60mm F2.8 Macro 2x: Verdict

There’s a lot I like about the 7Artisans 60mm F2.8 Macro 2x. The generous 2.0x macro magnification is its key feature, backed up by solid build quality and nice handling. The 180-degree throw of the focus ring enables very fine adjustments but autofocus is off the menu and, as a dumb lens, there’s no electronic communication with the camera body. Sharpness is pretty good across most of the frame but distortion is on the high side for a macro lens and the working distance for 2.0x macro is very tight, at just 5cm / 2” between the front of the lens and the subject.

Alternatives

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

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

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

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

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

Let’s jump back in time to 2015. Canon launched the EF 35mm f/1.4L II USM for DSLRs and it became a firm favorite with pro photographers all over the world. There are doubtless many who still use this lens via a mount adapter, after swapping to an EOS R system camera, simply because it’s still so superb. But now there’s a good reason to trade it in, and that reason is the new RF 35mm F1.4L VCM. It brings a feast of new features and handling exotica while, somewhat remarkably in this day and age, being less expensive to buy in the current market. The new RF lens is also designed for hybrid shooters, so with the current vogue for pro photographers to be able to turn their hand to video as well as stills, it’s got a lot going for it and is destined to be one of the best Canon EOS RF lenses. Let’s take a closer look.

Canon RF 35mm F1.4L VCM: Specifications

Canon RF 35mm F1.4L VCM: Price

The Canon RF 35mm F1.4L VCM has a launch price of $1,499/£1,819/AU$2,699 and there’s no getting away from the fact that it costs a big chunk of money. Even so, the Canon EF 35mm f/1.4L II USM, created for DSLRs back in 2015, currently lists for around $1,999/£2,199/AU3,200, making the older lens considerably more expensive. On the face of it, that makes the RF prime look a bit of a bargain. However, look elsewhere and the excellent Sigma 35mm f/1.4 DG DN | Art for Sony E and Leica L-mount cameras only costs around half the price, at $769/£769/AU$,1387. That’s a bit of a moot point, as the Sigma lens isn’t available in Canon RF mount (maybe one day, we can only hope). In Canon’s own-brand stable, there’s the Canon RF 35mm F1.8 IS Macro STM at $499/£529/AU4839. While it’s an excellent lens (I own it and love it) that adds optical image stabilization and a 0.5x macro facility, it’s certainly not in the same class as the f/1.4 primes.

Canon RF 35mm F1.4L VCM: Design & Handling

The Canon RF 35mm F1.4L VCM is designed as a true hybrid lens for both stills and videography. The most obvious giveaway is that it has a stepless aperture control ring towards the rear, in addition to the often featured click-step customizable control ring of Canon RF lenses, positioned at the front. Click-step aperture control is an obvious choice for the front control ring but that’s certainly not the only option. It would seem only natural that you could use the dedicated aperture control ring for both video and stills, but it only works for video with most EOS R system bodies. It did work for stills as well as video when I tested the lens on an EOS R5 Mark II, and presumably this is the case for the equally new EOS R1. For older cameras, I’d hope that Canon makes the dual functionality available via firmware updates.

Either way, there’s an iris lock switch on the barrel of the lens, which I always feel is a welcome addition for any lens that features an aperture control ring. Naturally, you don’t want to be adjusting the aperture by accident, only when you really want to.

Then there’s the ‘VCM’ in the lens’s title, which stands for Voice Coil Motor. This is featured for autofocus, but the lens actually also includes Canon’s Nano USM autofocus drive as well. The upshot is that it aims for super-fast autofocus performance for stills as well as virtually silent, ultra-smooth autofocus for shooting video. Unlike in the older EF lens which had ring-type ultrasonic autofocus (certainly not ideal for video with its snappy action), there’s no focus distance scale in the new RF lens, as fully expected.

Further switches on the barrel include an AF/MF focus mode switch, so you can quickly and easily make the change without resorting to in-camera menus. A customizable function button is also on hand, which I’d usually use for AF-hold. A noticeable absence in the feature list is optical image stabilization. You’ll only miss it if you’re shooting with one of the few Canon full-frame EOS R system cameras that lack IBIS, including the veteran EOS R and EOS RP, and the newer EOS R8, or in the unlikely event that you’re using this expensive lens as a ‘nifty fifty’ on an APS-C format Canon EOS R system body apart from the EOS R7. When mounted on an EOS R system camera that features IBIS (In-Body Image Stabilization), Canon claims that the lens enables 7-stop stabilization performance.

The optical line-up is based on 14 elements in 11 groups, exactly the same count as in the old EF 35mm f/1.4L II USM lens. The new lens boasts two GMo (Glass Molded) aspherical elements and two UD (Ultra-low Dispersion) elements. Canon’s high-tech ASC (Air-Sphere Coating) is applied to minimize ghosting and flare, as well as the more conventional Super Spectra Coating. A water/oil-repellant fluorine coating is applied to the front element. Build quality feels resoundingly good and features multiple weather-seals, as with most Canon L-series lenses. 

Similarly, the petal-shaped hood isn’t sold separately as an ‘optional’ extra, as is usually the case with Canon’s non L-series lenses. The front filter thread is a modest 67mm in size, down from 72mm in the EF lens, and this time around there’s also a gel filter carrier that fits into the rear of the lens.

Canon RF 35mm F1.4L VCM: Performance

The dual-motor Nano USM and VCM autofocus system works a treat for both stills and video, as advertised. Coupled with a Canon EOS R5 Mark II that I used for testing, autofocus proved to be wonderfully accurate all the time, every time. Helped along by IBIS, I got pretty much a 100 per cent hit rate for super-sharp images, even when shooting at very slow shutter speeds under dim and indoor lighting.

Sharpness itself is simply stunning. Don’t get me wrong, there was absolutely nothing wrong with the sharpness and clarity of the old EF lens but the new RF edition really is something special. Even wide-open at f/1.4, sharpness is spectacular, and comfortably eases ahead of the EF lens towards the edges and corners of the image frame. The flipside is that the f/1.4 aperture enables a tight depth of field when shooting close-ups, and bokeh is beautifully soft and dreamy. The new lens has a more well-rounded aperture diaphragm than its EF forebear, based on 11 rather than 9 iris blades, which pays dividends for the quality of bokeh when stopping down a little.

Color fringing is minimal, even at the edges and corners of the frame, and that’s with automatic in-camera correction switched off. The same can’t be said for distortion. Whereas the EF lens exhibited only slight barrel distortion, it’s much more major in the new RF lens, to the extent that automatic in-camera correction is forced on and can’t be disabled in the camera menu. That’s something I’ve seen time and time again with lenses designed for mirrorless cameras, so it’s nothing out of the ordinary. All things considered, the lens is a top performer.

Canon RF 35mm F1.4L VCM: Sample Images

England and its West Country is notorious for rainy days. For the limited time that I had the RF 35mm lens, it actually rained pretty much all day, every day. No worries, the following gallery of example shots demonstrate the clarity and all-round image quality that the lens can deliver, even under very gloomy skies and indoors, shot in the historic city of Bath and its indoor Guildhall Market.

Canon RF 35mm F1.4L VCM: Lab Results

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

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

Sharpness:

Sharpness at wide apertures is spectacular, easing ahead of the older EF lens. Levels of sharpness are also highly impressive from the center of the image frame right out to the extreme edges and corners. It remains excellent through almost the entire aperture range, only dropping off at the narrowest apertures due to diffraction.

Fringing:

Both axial and lateral chromatic aberrations are very minimal. It’s another facet of image quality where the lens does really well.

Distortion: -4.97

Barrel distortion is very much worse than with the older EF lens. Like many other lenses designed for mirrorless cameras, this one relies on automatic in-camera correction, which can’t be switched off in the camera body’s menu.

Canon RF 35mm F1.4L VCM: Verdict

I think that the Canon RF 35mm F1.4L VCM is destined to become an instant classic. It’s equally perfect for both stills and video, taking full advantage of Canon’s top-flight range of EOS R system cameras. Handling is sublime with a customizable control ring and function button. It’s a shame that the dedicated stepless aperture ring doesn’t work for stills photography when using all but the newest cameras, but hopefully firmware updates will take care of that. The autofocus system is superb and image quality is stunning. It’s a real winner.

Alternatives

Viltrox is a Chinese manufacturer that has really impressed me with many of its autofocus lenses for full-frame and crop-sensor mirrorless cameras, over the last three years. Indeed, I’ve enjoyed reviewing some of them so much that I’ve bought several of them for my permanent collection. They tend to be really nicely made, excellent performers and standout value for money. My current Viltrox stash includes the fast, metal-bodied Viltrox AF 23mm F1.4 Z, Viltrox AF 33mm F1.4 Z, and Viltrox AF 56mm F1.4 Z primes, plus the slightly larger Viltrox AF 13mm F1.4 Z which I use on my Nikon Z fc camera.

The 28mm pancake ‘FE’ lens that I’m reviewing here is a different kind of lens, with the emphasis on being incredibly small and lightweight. Even so, it’s full-frame compatible and the original version aimed to be one of the most affordable lenses for Sony E-mount cameras (and still does). It’s equally viable for use on Sony APS-C format mirrorless cameras, where it gives an ‘effective’ focal length of 42mm, and thus a very natural perspective rather than a wide viewing angle. Since originally being launched, the lens has also become available in Fujifilm X and Nikon Z versions, those two subsequently being followed by an L-mount edition, as the second non-cine Viltrox lens to be launched in L-mount, following the comparatively large and high-tech Viltrox AF 16mm f/1.8.

Viltrox AF 28mm F4.5: Specifications

Viltrox AF 28mm F4.5: Price

I tested the Viltrox AF 28mm F4.5 in September 2024, before it actually went on sale. Since then, the original Sony E-mount version of the lens has been adapted, with alternative Fujifilm X, Nikon Z and finally L-mount editions becoming available. The lens is full-frame compatible, although that’s a moot point for APS-C format Fujifilm X-mount cameras, and APS-C format L-mount cameras are few and far between. The list price is $99 / £90 / AU$169 but it’s worth keeping an eye open for discounts that come around from time to time.

Viltrox AF 28mm F4.5: Design & Handling

The key factors in the design of the Viltrox AF 28mm F4.5 are compactness and lightweight construction. Measuring just 15mm / 0.59” thick and weighing a mere 60g / 2.1oz, I can’t readily think of many other full-frame compatible pancake lenses that are so small and light. Even so, there’s a fair bit packed into this diminutive lens. For starters, it has six optical elements arranged in six groups, featuring two aspherical elements and two ED (Extra-low Dispersion) elements. More remarkably, it features a quick and virtually silent autofocus system, based on a voice coil motor.

Another surprise, given the featherweight design, is that the lens has a mostly metal construction. It includes a metal mounting plate with gold-plated electronic contacts and even a USB-C port for applying firmware updates if and when needed.

Up front, there’s a built-in sliding cap to shield the front element, which is operated by a lever on the front of the lens. That’s another space-saver, although there’s no hood. I’d consider buying a screw-in hood separately but there’s no filter attachment thread either. Back on the plus side, the lens features HD Nano multi-layer coating and a fluorine moisture-repellant coating on the front element. Around the back of the lens itself, there’s a conventional bayonet-fit rear cap.

When designing a lens this small, something has to give. Sure enough, the Viltrox lacks an adjustable aperture diaphragm, which saves both size and weight as well as cost. Instead, it has a fixed aperture of f/4.5. The aperture itself isn’t circular but has an 8-sided shape.

Viltrox AF 28mm F4.5: Performance

When I think of really small, lightweight lenses, street photography springs to mind. It’s a genre where I often want to be as inconspicuous as possible, not drawing attention to myself with a big camera outfit. A lightweight camera and lens combo is also great for walkabout and travel photography. A focal length of 35mm is often preferred but I actually like the wider viewing angle of a 28mm lens for general shooting with a prime lens. I tested the Viltrox with a Sony A7C II. It’s a very compact camera body and the lens definitely follows suit. It’s so thin that, when it’s mounted on the camera, the front edge only protrudes as far as the camera’s hand grip. That’s really quite something.

I found autofocus to be typically nimble and virtually silent, for a voice coil motor system. One frustration for traditional street photography is that there’s no provision for manual focusing, as there’s no manual focus ring. It’s autofocus or nothing. Even so, I found that autofocus was not only rapid but consistently reliable.

Not being able to adjust the aperture can also be a frustration but f/4.5 generally works pretty well. It enables fairly fast shutter speeds in bright lighting conditions, which you can maintain in dull scenarios by hiking up your camera’s ISO a bit. The combination of focal length and aperture give a pretty good depth of field for general shooting, while also enabling you to blur the background to some extent when shooting close-ups.

Sharpness is very good in the central region of the image frame, pretty average in the outlying area and quite mediocre at the edges and corners. Color fringing can also be very noticeable towards the edges and corners of the frame, if you don’t take advantage of automatic in-camera correction or fix it at the editing stage. Better news is that there’s only a hint of barrel distortion, even when uncorrected.

My only real gripe about the lens’s performance is that I found it was prone to flare when shooting against the light, or with the sun high in the sky but not behind me. A lens hood would certainly be a bonus but there simply isn’t one for this lens.

Viltrox AF 28mm F4.5: Sample Images

The gallery of sample images below was shot in bright sunny weather at the floating harbor in Bristol, UK.

Viltrox AF 28mm F4.5: Lab Results

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

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

Sharpness:

Sharpness is excellent in the central region of the image frame but drops off to average levels between the center and the edge. At the extreme edges of the frame, sharpness is merely mediocre.

Fringing:

There’s only fairly minimal color fringing across most of the image frame but it can become very noticeable towards the edges and corners if automatic correction is switched off in camera, or you don’t take care of it when editing images.

Distortion: -0.5

There’s just a hint of barrel distortion which will generally go unnoticed, even without applying any correction during RAW image processing or when editing JPEG images.

Viltrox AF 28mm F4.5: Verdict

I feel that the Viltrox AF 28mm F4.5 is the last word in convenience and portability, thanks to it’s incredibly small and lightweight build. I really like using it for street photography and for walkabout/travel shooting, as it keeps size and weight to an absolute minimum. I’m not overly fussed about the lack of a manual focus ring and, in most respects, I was very pleased with the lens’s image quality. Being unable to adjust the aperture can be a problem and I found the lens was quite susceptible to flare, so it’s a shame there’s no hood for it. Ultimately though, it’s a fun lens that keeps things simple.

Alternatives

Canon may not be the first camera manufacturer you think of when you think of photography in space, with Hasselblad and recently Nikon being space agencies' first choices. However, since 2017 Canon has been transmitting incredible images back to Earth from its own small but powerful micro-satellites.

The company entered the space industry 15 years ago by launching its first satellite, the CE-SAT-1. Measuring just 500mm x 500mm x 850mm it houses a powerful image processing system and two classic Canon cameras: the EOS 5D Mark III attached to a 400mm diameter Catadioptric Cassegrain telescope, and a Powershot compact camera.

Since its first takeoff, Canon Electronic has launched two further imaging satellites using updated equipment for clearer and more accurate image capture.

In 2020 the CE-SAT-IIB was launched (after the original IB satellite crashed during takeoff), housing an EOS M100 and a PowerShot G9 X Mark II. And earlier this year, the latest satellite joined the ranks – the CE-SAT-IE.

The IE differs slightly from the existing satellites in orbit, designed to capture both stills and video through its Canon EOS R5 (attached to a 400mm aperture telescope) and Canon PowerShot S110.

The use of the Canon EOS R5 is understandable, due to it being one of the best mirrorless cameras to this day, but the inclusion of the Powershot S110, a camera launched over a decade ago, is a quizzical one as there have been modern equivalents released since.

Despite the S110 being released in 2012, the camera is being used for 'wide-area photography' and has captured some very impressive photographs of the Earth from orbit.

The combination of satellites transmits incredible images of Earth and details of space back to Canon's Remote Sensing Technology Centre in Japan, where they process the image data. This data is then used to monitor the effects of climate change, as well as for mapping and commercial use in the agricultural and traffic management industries.

Although the images are being used as evidence for data, they are also incredible standalone photographs that show the magic of the solar system and our place in it. Surprisingly the decade-old compact camera captures exceptional photographs of our blue planet.

In addition to developing the consumer cameras we're all familiar with, Canon is constantly working on extremely interesting projects in the background, using its imaging and printing equipment to provide life-changing insights into the world of science.

More images can be seen on the Canon website.

For more information on Canon cameras and astrophotography, you may be interested in our guides to the best Canon cameras, the best cameras for astrophotography, and the best Canon lenses.

Lomography has released a new edition of its Lomomatic 110, a pocket-sized analog camera that uses the retro 110 film format. The Zebra Crossing edition has zebra-print detailing to distinguish it from the previously released plastic Golden Gate and metal-bodied Flash Metal variations.

Aside from this cosmetic tweak, the camera offers the same functionality and specifications as the other Lomomatic 110 models. It's fronted by a 23mm Minitar CX multi-coated glass lens, has automatic exposure control, a zone-focusing slider, adjustable ISO, and the choice of f/2.8 or f/5.6 apertures.

Buillt-in tricks include multiple and long-exposure shooting modes, and it comes complete with a stylish metal wrist strap and tin canister for holding your 110 negatives.

Also in the box with the Lomomatic 110 Zebra Crossing is a detachable Lomomatic Flash with a selection of colored filters; these can be slid in front of the flash head for multicolored lighting effects.

In our review of the Flash Metal model, we surmised that the camera "looks great with fantastic retro styling but is awkward to use, has fiddly settings and it isn’t the cheapest way to get on the vintage 110 bandwagon".

It is undeniably fun, however, particularly the cool film advance mechanism, which winds on to the next frame by simply sliding the camera body closed and open again.

Sample images

Film photography and cameras have seen a huge resurgence in recent years, and it's great to see more 110 options like this to go along with popular 35mm cameras like the Pentax 17 and Rollei 35AF.

The Lomography Lomomatic 110 Zebra Crossing comes with a flash for $119 / £109 (Australian pricing TBC). Lomography also offers a range of 110mm film stocks.

See our guides to the best film stocks, the best film cameras, and the best film scanners.

AstrHori has made a name for itself as a Chinese manufacturer of budget-friendly lenses and a few accessories including mount adapters, filters and macro focusing rails. Some of the company’s lenses are pretty extreme, like the AstrHori 25mm F2.8 Macro 2.0x-5.0x and AstrHori 18mm F8 2x Periscope Probe Macro, both of which go beyond the usual 1.0x magnification of typical macro lenses. Indeed, nearly all autofocus macro lenses top out 1.0x maximum magnification, although the Canon RF 100mm F2.8L Macro IS USM is a notable exception, stretching to 1.4x magnification. Like the other two AstrHori lenses I’ve just mentioned, the 120mm F2.8 Macro 2x is a fully manual lens. You therefore get no autofocus and there are no built-in electronics for enabling aperture control from the host camera body. It therefore offers a very hands-on shooting experience but, for macro photography, that’s no bad thing and the lens aims to take on some of the best macro lenses on the market, but at a cutdown price.

AstrHori 120mm F2.8 Macro 2x: Specifications

AstrHori 120mm F2.8 Macro 2x: Price

Launched in the summer of 2024, the full-frame compatible AstrHori 120mm F2.8 Macro 2x is available in a wide range of mount options, including Canon EF & RF, L-mount, Nikon Z and Sony E (FE). Naturally, creating a variety of mount options is a lot easier when you’re making a ‘dumb lens’ with no autofocus nor built-in electronics. It never hurts to spread the net with a few options. The lens sells for around $369/£369. Again, the fully manual nature of the lens helps to keep the price down, and it’s very much less expensive than most autofocus macro lenses.

AstrHori 120mm F2.8 Macro 2x: Design & Handling

Most dedicated macro prime lenses have a focal length of around 90mm to 105mm, so the AstrHori 120mm F2.8 Macro 2x is longer than most. It’s physically quite long as well, measuring 77x165mm and weighing in at a hefty 930g, but the physical length of the lens doesn’t extend as you focus down from infinity to the shortest object distance of 30cm, or about a foot. The net result is that you get a comfortable working distance between the front of the lens and the subject you’re shooting, equating to about 12cm / 4.7” for full 2x macro shots.

Although the physical length of the lens remains the same at all focus distances, most of the internal groups of elements kick off near the back and move towards the front as you decrease the focus distance. The effect is more exaggerated than I’ve seen in many ‘internal focus’ macro lenses. The optical path itself comprises 14 elements in 9 groups, and includes four LD (Low Dispersion) elements and three HRI (High Refractive Index) elements, the combination intending to boost clarity and minimize chromatic aberrations.

To keep your left hand busy, there are two control rings, the rearward one being the aperture ring. This operates in full f/stop steps, with no de-click option. However, the click steps are spaced quite far apart and the aperture is continuously variable, so you can choose interim values if you feel the need. Naturally, with no electronics, the aperture value can’t be communicated to the camera body, nor stored in the EXIF data of image files. The aperture diaphragm itself is particularly well-rounded, based on 13 curved blades.

Just to the rear of the focus ring is a rank of depth of field markers for apertures of f/4, 8, 11 and 22. They can come in useful for general shooting but are of little benefit for macro photography, where pinpoint accuracy for focusing is the order of the day.

Up next is the focus control ring itself, which has markings for focus distance in feet and meters, as well as for magnification factor. It’s neat for providing a ready reference, for example showing that 1.0x macro magnification is attained at a focus distances of 0.35m / 1.15ft and that full 2.0x magnification is at 0.3m / 0.98ft. The focus ring works fairly smoothly and with good tactile feedback but the sliding mechanism for the internal groups of elements was clearly audible in my review sample. A bigger problem is that while the overall rotation of the focus ring is reasonably generous at 120 degrees, only a very small portion of this is given to longer focus distances of between 0.5m and infinity. The upshot is that manual focusing for macro shooting is reasonably easy but it can be difficult to adjust focus accurately for medium to long range shooting.

The lens has a 72mm filter attachment thread and is supplied with a regular clip-on front cap, but no hood is supplied with the lens. What it does feature is six screw holes around the front of the barrel, which you can use for attaching macro lights for effectively illuminating close-up subjects.

AstrHori 120mm F2.8 Macro 2x: Performance

I often find that autofocus macro lenses are more than just one-trick ponies. They can also work very well for portraiture and for any other scenario in which I need a short telephoto lens with a reasonably fast aperture rating. The difficulty in focusing for anything other than extreme close-ups makes the AstrHori 120mm F2.8 Macro 2x perform much more like a specialist macro lens, suited to just one purpose. Maybe that’s the reason it’s not supplied with a hood.

Image quality between 1.0x and 2.0x has a lot to do with your focusing accuracy and macro shooting technique, rather than just being about the quality of the lens. Testing it on a Sony A7 II, I found that the focus peaking aid was of little use for macro shots, where the degree of precision required is too great. I had more success with the magnified preview option, which is available by default or via custom settings in the Live View mode of most cameras.

You can generally get IBIS (In-Body Image Stabilization) to work for this and other ‘dumb lenses’ by dialing their focal length and sometimes their aperture into the camera. Either way, image stabilization can be of very limited effectiveness at 1.0x macro magnification, even less so at 2.0x. I got the best hit rate by using the time-honored combination of a tripod and remote controller, while the very short duration of the pulse of light from a flashgun or studio flash head can help effectively freeze any motion. For medium to long-distance shooting, I found the sharpness of this lens to be merely adequate at most apertures, and disappointing at f/4 and f/5.6. That’s borne out by out lab-test results but, for really close-range shooting, sharpness seemed rather better.

AstrHori 120mm F2.8 Macro 2x: Sample Images

The sample images in the following gallery are macro shots taken at or near the minimum focus distance, using bounced flash as a light source. The subject matter includes the face of a wristwatch, the inner workings of a fob watch, colored pencils, the shutter speed control dial of a Nikon Z fc camera, a garden flower (Japanese Anemone), standard sized text from an inkjet printer on plain paper and models of a motorcycle and medieval knight on horseback.

AstrHori 120mm F2.8 Macro 2x: 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:

At the regular object distances required for shooting test charts, our lab results reveal mediocre sharpness at most aperture settings, and poor performance at f/4 and f/5.6. In real-world shooting at really close focus distances for macro photography, I found sharpness to be rather better.

Fringing:

The lens does well to keep color fringing to a minimum, right across the image frame and throughout the aperture range.

Distortion: 0.92

There’s a little pincushion distortion which can’t be taken care of by automatic in-camera correction, due to the lack of electronic communication, but it’s generally not enough to be noticeable.

AstrHori 120mm F2.8 Macro 2x: Verdict

I like that the AstrHori 120mm F2.8 Macro 2x gives such immense 2x magnification and can genuinely reveal tiny levels of detail that are invisible to the naked eye. Care and patience are required to get the best results, particularly in relation to accurate focusing, but that can pay off in terms of very pleasing image quality. I feel that the lens is rather less useful as a short telephoto prime for general shooting but that’s only to be expected from what is a somewhat specialist macro lens, and at a very reasonable price.

Alternatives

Let’s kick off with a disclaimer – Nikon recommends that if your camera’s image sensor has any specks of dust that can’t be cleaned away with an unobtrusive waft of air, you should send it off to an authorized service agent for cleaning. Image sensors are very sensitive, after all, and you don’t want to cause any damage. But dust can be the curse of digital photography, and nobody wants to be without their camera on a regular basis. 

In contrast to using film, if specks of dust settle on your image sensor, they can be sat there for good. The unfortunate result comes in the shape of dark spots on your images, especially those taken at narrow apertures. How does dust creep in to spoil the digital party? The biggest culprit is motes of dust in the air being ingested by the camera every time you swap between different lenses on the camera body. 

The dust dilemma

But that’s not the only reason. If you use a zoom lens that physically extends and contracts when zooming in and out, dust can be sucked into the lens during each extension, and then blasted towards the image sensor during each successive contraction. It’s a messy business.

So what’s the answer? Most Nikon cameras have the option of an automatic cleaning cycle, which can go a long way towards keeping the image sensor neat and tidy. That’s true of recent DSLRs but, surprisingly, not so for DX format Z system mirrorless cameras. 

In the Nikon Z30, Z50 and Zfc, where the image sensor isn’t shielded behind a reflex mirror and shutter assembly, there’s no auto cleaning option, despite the sensor being fully exposed to the elements every time you swap lenses. So from making the most of automatic options, where available, to crafty tricks and manual cleaning with the likes of air blowers and wet swabs, let’s take a closer look at how you can keep the important things clean.

Clean now

In most recent DSLRs and all full-frame Z system mirrorless cameras, there’s an option in the Setup menu named ‘Clean image sensor’. The upper sub-menu item is ‘Clean now’. Press the OK button and the camera will vibrate the image sensor to shake off any loose dust. Hold the camera sensor facing down while cleaning is in progress, and don’t turn off the camera until cleaning is finished.

Automatic options

Some DSLRs give you the option to automatically clean the sensor at startup or shutdown, or both. In full-frame mirrorless cameras, there’s typically only an automatic option to clean the sensor at shutdown. A little confusingly, the icon is labelled as ‘Off’ when automatic cleaning is enabled, but this means that cleaning will occur when switching the camera off.

A reference point

If you’ve got specs of dust that won’t budge, one option is to use the ‘Image Dust Off ref photo’, also in the Setup menu. This is available in many cameras including DX format Z system bodies that don’t have a sensor cleaning menu option. A photo of a blank white wall or other surface is used as a reference to remove spots in full-sized Raw files, when processing them in NX Studio.

Clean and start

For cameras with sensor cleaning, you can preform a cleaning routine before taking a reference photo. Hold the camera with the lens about 10 centimetres from a blank white surface, autofocus will be at infinity. If the surface is too bright or too dark, you’ll get an error message, so change the lighting. You can’t use the reference data if you subsequently perform image sensor cleaning.

Blow it away

An easy way to clear most loose dust from the image sensor is by using an air blower, but don’t use a pressurised air can or other high-pressure source. With a DSLR rather than mirrorless camera, you’ll need to ‘Lock mirror up for cleaning’ in the setup menu. Use an air blower, taking care not to let it touch the sensor, and hold the camera facing downwards to help dust fall out.

Swab for success

If all else fails, the last resort is to use a specially-made image sensor cleaning kit that comprises swabs and cleaning fluid. Add a few drops of liquid to the swap and, with a very light pressure, drag the swab from one side of the image sensor to the other, then angle it the other way and drag back again. To be clear, Nikon recommends that you don’t do this yourself, to avoid risk of damage! However, if you wan to do it yourself, watch our video tutorial.

Find out more about the best camera sensor cleaning kits

Last year, Phase One introduced the XC, a 150MP medium-format camera featuring a built-in Rodenstock 23mm f/5.6 lens. Now the Danish camera company has launched a new version of the camera, the XC 40, that comes equipped with a longer lens to offer a more versatile option for photographers.

The original Phase One XC received critiques regarding the ultra-wide 23mm lens, which provides a 14mm full-frame equivalent focal length. While this wide-angle view was useful, it isn't the ideal choice for many landscape or travel photographers as it can be too wide for most standard compositions. 

The new Phase One XC 40 features a more conventional wide-angle 40mm lens, delivering a 24mm equivalent focal length, aligning more closely with what photographers typically look for in wide-angles.

ABOVE: Watch the Phase One XC 40 launch video

The XC 40 retains the manual focus lens design of its predecessor and can be paired with Phase One's IQ4 150MP digital back. This new 40mm Rodenstock HR Digaron-S lens also boasts a faster f/4 aperture, compared to the f/5.6 lens on the original XC 23. 

The IQ4 150MP image sensor offers significant cropping options – bearing in mind that this is a true medium format sensor, at 53.4 x 40mm, compared to the cropped medium format 43.8 x 32.9mm sensors used b y Fujifilm and Hasselblad – along with 15 stops of dynamic range, an ISO range of 50-25,600, and image resolution of 14,204 x 10,652 pixels. The system is operated through a touchscreen interface, and captures 16-bit RAW images.

Beyond its lens and sensor, the XC 40 also includes numerous advanced features designed to aid photographers. These include automated frame averaging, automatic metering (unusual for field cameras), built-in WiFi, mobile integration, and customizable "IQ Styles" for dialing in specific looks. These features are designed to make the camera more versatile in the field, simplifying shooting without compromising on quality.

The biggest question that potential buyers face is why they might choose the XC 40 over Phase One's other options, such as the XF or XT bodies that offer interchangeable lenses. 

The XC cameras' main advantage lies in their compact, travel-friendly design – a rarity in the true medium format space. However, for those seeking flexibility in lens choice or the tilt-and-shift functionality offered by the XT, the XC 40 may not be the ideal option despite its strong set of features.

I will also point out that "body-only" (the lens is attached to the body) will see you invest US$20,029 (about $29,057 Australian) of your hard-earned cash; if you want the 150MP back as well, then the total package is a massive US$62,490 ($90,649)! 

If you don't want to spend 20 grand on one, you might be interested in the best medium format cameras from other manufacturers. And you don't need medium format to get high resolution; check out the highest resolution cameras across all formats!

Last year, Phase One introduced the XC, a 150MP medium-format camera featuring a built-in Rodenstock 23mm f/5.6 lens. Now the Danish camera company has launched a new version of the camera, the XC 40, that comes equipped with a longer 40mm lens to offer a more versatile option for photographers.

The original Phase One XC received critiques regarding the ultra-wide 23mm lens, which provides a 14mm full-frame equivalent focal length. While this wide-angle view was useful, it isn't the ideal choice for many landscape or travel photographers as it can be too wide for most standard compositions. 

The new Phase One XC 40 features a more conventional wide-angle 40mm lens, delivering a 24mm equivalent focal length, aligning more closely with what photographers typically look for in a wide-angle.

ABOVE: Watch the Phase One XC 40 launch video

The XC 40 retains the manual focus lens design of its predecessor and can be paired with Phase One's IQ4 150MP digital back. This new 40mm Rodenstock HR Digaron-S lens also boasts a faster f/4 aperture, compared to the f/5.6 lens on the original XC 23. 

The IQ4 150MP image sensor offers significant cropping options – bearing in mind that this is a true medium format sensor, at 53.4 x 40mm, compared to the cropped medium format 43.8 x 32.9mm sensors used b y Fujifilm and Hasselblad – along with 15 stops of dynamic range, an ISO range of 50-25,600, and image resolution of 14,204 x 10,652 pixels. The system is operated through a touchscreen interface, and captures 16-bit RAW images.

Beyond its lens and sensor, the XC 40 also includes numerous advanced features designed to aid photographers. These include automated frame averaging, automatic metering (unusual for field cameras), built-in WiFi, mobile integration, and customizable "IQ Styles" for dialing in specific looks. These features are designed to make the camera more versatile in the field, simplifying shooting without compromising on quality.

The biggest question that potential buyers face is why they might choose the XC 40 over Phase One's other options, such as the XF or XT bodies that offer interchangeable lenses. 

The XC cameras' main advantage lies in their compact, travel-friendly design – a rarity in the true medium format space. However, for those seeking flexibility in lens choice or the tilt-and-shift functionality offered by the XT, the XC 40 may not be the ideal option despite its strong set of features.

I will also point out that "body-only" (the lens is attached to the body) will see you invest $20,029 (about £14,931) of your hard-earned cash; if you want the 150MP back as well, then the total package is a massive $62,490 ($46,585)! 

If you don't want to spend 20 grand on one, you might be interested in the best medium format cameras from other manufacturers. And you don't need medium format to get high resolution; check out the highest resolution cameras across all formats!

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

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

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

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

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

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

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

Xiaomi has announced two new Leica-co-branded phones, the Xiaomi 14T and 14T Pro, and it’s bringing its Xiaomi Mix Flip to global markets, including Europe and the UK. 

Starting with the new 14T Series, the phones are direct follow-ups to the powerful Xiaomi 13T and 13T Pro. Both phones were the first to bring Xiaomi's Leica partnership to a sub-flagship price point, and the 14T series builds on the same formula. The Xiaomi 14T Pro, in particular, looks especially impressive, with its large primary camera sensor, metal and glass styling, IP68 dust and water resistance and the inclusion of wireless charging, a first for the line. 

Both the Xiaomi 14T and 14T Pro enjoy Leica tuning, but unlike their predecessors, the 14T's camera hardware is slightly different from that of the Pro, as are the styling, power spec, and other elements.

As for the Xiaomi Mix Flip, which was announced for China earlier in the year, its specs remain unchanged for its global debut, with the camera setup combining a telephoto and primary camera mix that bests that of the Motorola Razr 50 Ultra on paper.

What's the difference between the Xiaomi 14T and 14T Pro Cameras?

The Xiaomi 14T and 14T Pro look set to have the same ultra-wide and selfie cameras but different primary and telephoto cameras, with the 14T Pro getting a larger primary sensor and a further-reaching optical zoom.

Starting with the primary cameras, both the 14T and 14T Pro sport 50MP resolutions and lenses with OIS, but the Xiaomi 14T Pro's main camera has a LYT 900 sensor made by OmniVision. With a near-iPhone 16 Pro 1/1.31-inch size combined with an f/1.6 lens and a dual-native ISO, Xiaomi claims it offers up to 13.57 stops of dynamic range.

Meanwhile, the Xiaomi 14T uses a Sony IMX 906 primary sensor measuring 1/1.56-inch matched with a slightly slower f/1.7 aperture lens.

As for the telephoto cameras, the Xiaomi 14T and 14T Pro both have 50MP sensors and neither camera's lens has optical image stabilization, a highlight that seems to be reserved for flagship tele cameras. Getting into specifics and the 14T Pro's further-reaching optical lens is 60mm with an f/2.0 aperture, while the 14T's 50mm lens is f/1.9.

As for the ultra-wide camera, the 14T and 14T Pro both drop the pixel count to 12MP while also missing out on autofocus for a much more midrange offering.

Both phones benefit from faster night photography capturing 1.58x faster than the 13T series. Specifically, this aims to bring down the waiting time when your phone's long-exposure auto night mode fires up.

When it comes to Xiaomi's Leica-branded cameras, hardware is only half the story, with the software enhancements and classical photography style being an overriding part of the camera phone experience. When reviewing past Xiaomi phones, this has been both a blessing and a curse, holding back more midrange devices like the 13T and 13T Pro by applying too much contrast and limiting dynamic range. On the other hand, it also produces results that look sumptuous and rich across all cameras on the flagship Xiaomi 14 Ultra.

Xiaomi Leica camera features

Fire up the 14T or 14T Pro and you're presented with two shooting options, Leica Authentic and Leica Vibrant, with both styles loaded up with contrast and a more traditional photographic look than pictures taken on Pixels and iPhones.

By combining optical reach with in-sensor cropping, Xiaomi's Leica Portrait mode also adds new digital lenses to the experience, with each tuned to emulate a Leica Lens background blur look.

Leica's watermark is also a superficial, but handy feature that's characterised Xiaomi's higher-end phones, displaying shooting parameters as well as a Leica logo in a non-destructive, white bar below your photo.

We've also been fans of Xiaomi's Pro mode for a couple of generations, with support for 50MP RAW photos, an on-screen histogram, focus-peaking and zebra line exposure verification all available on the 14T Pro.

It's also worth touching on video capture, with Xiaomi's primary camera's supporting LOG capture at up to 4K resolution, 24 or 30fps, and on-device LUTs, with Rec.709 pre-loaded, and CUBE files supported for installing new LUTs. Considering these aren't flagship camera phones, it's hard not to be impressed by the 14T and 14T Pro off the bat.

Xiaomi 14T & 14T Pro additional features

The Xiaomi 14T and 14T Pro are more than just Leica-tuned camera phones, with both packing capable MediaTek chipsets, IP68 dust and water resistance, plenty of memory and nippy charging. The displays also showcase 1.5K resolution for a crisp picture, and a silky smooth 144Hz panel and zingy OLED screen technology. The phones are also loaded with a raft of AI features like transcription and translation tools, object removal and more.

Xiaomi's 14T Pro is the mightier of the two, with a premium MediaTek 9300+ chipset for superior gaming performance. Its metal frame and curved glass back that rounds into all four sides also creates a softer and more premium in-hand feel. The 14T Pro also gets faster wired charging at 120W for a full charge in around 20 minutes. More notably, it also has super-fast 50W wireless charging, seldom seen at the phone's price.

The Xiaomi 14T, by contrast, pares things back with a MediaTek 8300 Ultra chipset. Its plastic frame and flat glass back feels a bit boxier and the 14T Pro's charging caps out at 67W, missing out on wired charging.

As for pricing and availability, the Xiaomi 14T is available to buy now and costs £549 (roughly $735) in the UK with 256GB storage. If you're eying up the Xiaomi 14T Pro, it costs £649 (roughly $870) – a seriously competitive price considering its spec – while the Xiaomi Mix Flip is significantly pricier at £1,099, putting it in the premium category alongside the best flip phones currently available.

Sigma's CEO Kazuto Yamaki has spoken in depth about the development of a pair of new lenses in a Youtube interview with cinematography specialists LensVid at the IBC 2024 trade show. IBC – or International Broadcasting Convention – is an annual show held every September in Amsterdam, the Netherlands. The lenses in question are the Sigma 28-45mm T2 Cine and Sigma 28-105mm f/2.8 DG DN Art. 

First up, the Sigma 28-45mm T2 Cine lens is a prototype, or 'concept' lens as Sigma prefers it, which was shown mainly to garner feedback from customers. It is based on the full-frame Sigma 28-45mm f/1.8  wide-to-standard zoom lens aimed at stills photographers, essentially shoehorning the same optics into a cine-style housing, with full autofocus but also with the oversized mechanical geared focus rings favored by videographers. 

The Sigma 28-105mm f/2.8 DG DN Art is a more traditional stills lens that can, of course, also be used for videography. Mr Yamaki explained that the lens was originally envisaged to offer the benefits of a 24-105mm standard zoom with a faster f/2.8 aperture than the more commonplace f/4, but that the prototypes proved to be a little on the bulky side in the R&D stage, so the decision was made to start the focal length at 28mm, resulting in a more manageable package. The lens isn't optically stabilized, again to save weight, while taking advantage of the IBIS systems found in many full-frame mirrorless bodies. Check out the full video below! 

In the unusually forthright interview, Mr Yakami also goes on to reveal his thoughts on the future of the Sigma fp line of camera bodies – confessing that he feels duty-bound to continue his father's dream to make cameras, so will continue to develop new bodies. 

He also talks about the tricky technical challenges of designing its own full-frame Foveon sensor that has resulted in the technicians having to go back to the drawing board on the latest incarnation of the device. He says that he does have a timeline for the new generation of sensor, but doesn't feel he is ready to go public with that quite yet, as it is still too early to be sure they can get it into production.

Read more: The best cine lens

Intrepid Camera is a specialist manufacturer of large-format film photography equipment, and it has almost single-handedly resurrected the medium, developing retro analog cameras with modern features.

Surfing the wave of the film photography resurgence, Intrepid is among the few manufacturers that offer new large format cameras with 4x5, 5x7, and 8x10 options. Users would ordinarily need to source an existing vintage lens to use with the camera, but a new Kickstarter has just launched for the first Intrepid Camera lens and electronic shutter.

Intrepid's fifth Kickstarter launches today, marking the company's tenth anniversary – and its most ambitious product development yet, with two new product lines: the Intrepid I-0 Shutter and the Intrepid 150mm f/6.3 Lens.

The Intrepid 150mm f/6.3 Lens is a compact and portable optic that has a Cooke triplet design. Its focal length and maximum aperture may not sound that wide, but in full-frame terms that equates to 35mm at f/1.8.

The Cooke triplet design is vital in correcting for the main optical aberrations. Shooting above f/11 provides excellent sharpness throughout the image, and when used wide open at f/6.3 it creates a smooth bokeh that is accentuated by the nature of the larger format camera.

"We went through so many design variations and so much research before settling on this lens," says Intrepid. "We are so happy with the results. It really is a beautiful little lens with a classic character we know you are going to love".

In addition to the lens, and 18 months in the making, the Intrepid I-0 Shutter is an electronic shutter that enables the user to dial in settings via the controller instead of manually, and is described by Intrepid as "a super smart cable release with a screen".

Compatible with all Copal 0 size lenses, shutter speeds from as long as you want to 1/125th, and a self-timer it provides live EV readings so you don't ever have to waste another sheet of film again.

When it comes to large-format film photography, one of the main concerns is getting the settings wrong and throwing away film – especially if you're new to the format. The new shutter provides enhanced security so that what you see after development is the same as when you tripped the shutter.

The shutter is also compatible with flash via the 3.5mm jack, and it can be controlled by PC / Mac.

I have been a huge fan of Intrepid Camera's approach to creating new and accessible film cameras, and launching these products is a stroke of genius. Now users, most importantly new users, can purchase every aspect of the large format shooting experience from Intrepid without having to source and take a risk with an expensive, older, second-hand lens.

The Kickstarter campaign is live now, and you can head over to show your support and get an earlybird discount of 10% off RRP. The lens and shutter combo is priced at $575 / £429, just the lens at $215 / £159, and just the shutter at $385 / £289 (US pricing has been converted from the UK price, Australian pricing to be confirmed).

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

You may also be interested in our guides to the best film cameras and the best medium format cameras.

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

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

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

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

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

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

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

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

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

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

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

Insta360 has just released two new webcams – both with AI subject tracking as their central feature. 

The Link 2 is an updated version of the 4K AI camera which can literally follow you around the room using its tracking tech and gimbal, while the Link 2C does more or less the same thing without moving parts to make it even more portable.

The AI also powers noise cancelling features and a 'Smart Whiteboard Mode' which auto-detects a real whiteboard and makes adjustments to square it off and keep it in focus. 

Both devices sport a 1/2-inch image sensor capable of delivering 4K at up to 30fps (and 1080P at 60fps) and an HDR pipeline. To cater to the ongoing needs of the social media market, they also offer landscape and portrait modes – meaning live-streaming and social content generation for phone consumption should be smoother.

The larger image sensor than that in most laptops and phones should offer a potential boon to people working in lower light, though I'll confirm that when I've finished my reviews (we have the devices in hand at DCW). Other key features are Smartphone remote control, background replacement (though, to be fair, a lot of apps have this covered for you already), DeskView mode for overhead presentations, "One Click Makeup" and Privacy Mode.

“Link 2 and Link 2C represent our ongoing commitment to making virtual connections more engaging and seamless. We've listened to user feedback and pushed the boundaries of what's possible in a webcam, combining premium 4K imaging, crystal-clear audio, and intuitive AI-powered features. Link 2 and Link 2C empower you to present your best self online, no matter where you are,” shared JK Liu, Founder of Insta360.

Specs list ±3 EV exposure compensation, ISO 100-3200, a shutter speed of up to 1/8000 and an aperture of f/1.8. The EFL is 26mm and digital zoom up to 4x.

Only the Link 2 – not the 2C – bosts a 2-axis gimbal, but both work entirely from power drawn from their USB-C connection. They can be mounted on a monitor (with a stand included) or a tripod.

The Link 2 is priced at $199 and the Link 2C $149 and both are available from today from Amazon:

🇺🇸 Link 2 - Amazon.com
🇺🇸 Link 2C - Amazon.com 

While you're waiting for reviews of these to come live, you can read about some of the other best 4K webcams we've seen.

Everybody loves a trinity standard zoom, right? With a typical zoom range of 24-70mm, coupled with a relatively fast and constant f/2.8 aperture, they’re great for anything and everything from urban and landscape photography to portraiture and even astrophotography, up to a point. The maximum focal length of 70mm can feel a bit short for portraiture, especially for head-and-shoulders compositions and tight head shots. Tamron stretched things a bit with its Tamron 28-75mm F2.8 Di III RXD, which was also repurposed as the Nikon Z 28-75mm F2.8, before Tamron upped the ante with its subsequent Tamron 28-75mm F2.8 Di III RXD G2 (Generation 2) lens. All three are conveniently compact and lightweight, tipping the scales at a shade over half a kilogram. This Sigma lens goes more properly into telephoto territory, stretching to 105mm instead of 75mm, but is almost twice as heavy. It aims to be among the best lenses for Sony cameras and the best lenses for L-mount cameras.

Sigma 28-105mm F2.8 DG DN Art: Specifications

Sigma 28-105mm F2.8 DG DN Art: Price

The Sigma 28-105mm F2.8 DG DN Art launched in the late summer of 2024, at a price of around $1499/£1399. For the sake of comparison, the Tamron 28-75mm F2.8 Di III RXD G2 sells for around $899/£849 for the Sony E-mount version and $999/£849 for the Nikon Z-mount edition. The Nikon Z 28-75mm F2.8 costs around $997/£849. The Sigma is therefore a fair bit pricier to buy and gives you a tough choice if you shoot with a Sony Alpha mirrorless camera. However, the Sigma lens isn’t available in Nikon Z mount, whereas the Tamron (and more obviously the Nikon lens) isn’t available in L-mount.

Sigma 28-105mm F2.8 DG DN Art: Design & Handling

There’s no getting away from the fact that, for a ‘standard zoom’, the Sigma is relatively big and heavy. There’s a lot of glass involved, with 18 elements arranged in 13 groups. These include no less than five aspherical elements, which help to keep the size and weight to reasonable levels, along with one SLD (Special Low Dispersion) element and two top-grade FLD (‘Fluorite’ Low Dispersion) elements, aiming to maximize clarity while minimizing color fringing. Vital statistics of the lens are 88x158mm and 995g, and it has an 82mm filter attachment thread.

Typical of recent Sigma Art-line lenses, build quality feels very good, based on metal and TSC (Thermally Stable Composite) components, the latter being a high-grade plastic that has the same temperature expansion coefficient as aluminum. The mounting plate is made from brass and the lens features multiple weather seals as well as a fluorine coating on the front element.

Handling feels exotic. For straightforward shooting, the zoom ring works smoothly and the HLA (High-response Linear Actuator) autofocus system is super-quick and consistently accurate. It’s in the finer points that the Sigma comes into its own. There’s a physical aperture ring that works in one-third click-steps for stills and comes complete with a de-click switch, more ideal for shooting video. I like that there’s also an iris lock switch to avoid the danger of turning the control ring accidentally.

The lens also features an AF/MF focus mode switch, which I always like to see as it saves the need for messing around in camera menus to make the change. The Sigma also has two customizable function buttons, which I’d normally use for AF-hold, but can be assigned to other options where available in camera body menus. Placed with a 90-degree spacing between them, they fall naturally under the thumb in both landscape and portrait orientation shooting.

Typically for Sigma Art and Sports series lenses, this one comes complete with a padded soft case and a petal-shaped hood that has a locking release button on the side.

Sigma 28-105mm F2.8 DG DN Art: Performance

I found that the generous 28-105mm zoom range, coupled with a relatively fast and constant f/2.8 aperture, made the lens very versatile for walkaround shooting. It certainly reduced the number of times that I felt the need to swap between standard and telephoto lenses, although I did sometimes miss the wider maximum viewing angle of a 24-70mm ‘trinity’ standard zoom.

For shooting indoors in venues like museums and cathedrals, where tripods are prohibited, one omission is that the lens doesn’t feature optical image stabilization. However, I found that it worked very well with the IBIS (In-Body Image Stabilization) of the Sony A7C II camera that I used for testing the lens. Indeed, you have to go a long way to find an E-mount or L-mount camera that doesn’t feature IBIS nowadays, although it’s a sore point for early adopters of Sony’s Alpha mirrorless cameras like the original A7.

I was very much impressed with the speed and accuracy of the autofocus system, which gave entirely consistent results throughout my testing. Sharpness and clarity of the lens are superb, throughout the entire (oversized) zoom range. Especially at longer focal lengths, I found it easy to get a tight depth of field at f/2.8, to isolate subjects by blurring the background. The quality of bokeh is nice and smooth. Bokeh remains impressive when stopping down a little, helped by a very well-rounded 12-blade aperture diaphragm.

Color fringing can be a little noticeable towards the edges and corners of the image frame at the shortest focal length of 28mm, but die away at longer zoom settings. Automatic in-camera correction is generally available for this anyway. Barrel distortion at the short end and pincushion at the long end are quite severe when uncorrected in-camera, but that’s becoming par for the course with many recently designed lenses for mirrorless cameras. I’ve seen many lenses that rely very much more heavily on in-camera correction for distortion than this Sigma. All in all, performance is excellent.

Sigma 28-105mm F2.8 DG DN Art: Sample Images

The following gallery of example shots were taken indoors at Wells Cathedral in Somerset, UK, and outdoors in sunny conditions at the cathedral and adjacent Bishop’s Palace gardens.

Sigma 28-105mm F2.8 DG DN Art: 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:

Even when shooting wide-open at f/2.8, sharpness is outstanding across most of the image frame, and the extreme edges and corners come on strong at f/4 at all but the very longest zoom setting, where sharpness is still very good.

Fringing:

Color fringing can be a little noticeable towards the edges and corners of the image frame when shooting at the shortest zoom setting, when automatic in-camera correction is disabled, but fringing becomes less as you extend through the zoom range.

Distortion:

There’s heavy barrel distortion at 28mm, while pincushion distortion gets steadily worse as you extend through the 50-105mm sector of the zoom range. Even so, distortions are less heavily reliant on automatic in-camera correction than with many recent lenses designed for mirrorless cameras.

Sigma 28-105mm F2.8 DG DN Art: Verdict

The Sigma 28-105mm F2.8 DG DN Art certainly isn’t a compact, lightweight lens but that’s no surprise given the oversized zoom range, coupled with a relatively fast and constant f/2.8 aperture. The physical length of the lens extends at longer zoom settings, with a sliding inner barrel, but handling is very refined, while autofocus is fast and accurate, and image quality is excellent. Overall, it’s a very versatile and deeply satisfying lens for wide-ranging shooting scenarios and, while it’s pretty pricey to buy, it’s well worth the outlay.

Alternatives

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

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

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

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

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

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

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

Check out our guide to the best macro lenses

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

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

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

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

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

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

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

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

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

At the time of testing this new Sigma lens, Canon is currently offering four APS-C format mirrorless EOS R system cameras, but only four dedicated APS-C format lenses to go with them. Naturally, you can use full-frame compatible ‘RF’ lenses on these cameras but, even so, all four of Canon’s ‘RF-S’ lenses are zooms with fairly slow aperture ratings, shrinking to f/6.3 or f/7.1 at the long end. With Canon keeping such tight control over its EOS R tech since the system was launched back in 2018, only ‘dumb lenses’ with no autofocus or electronic communication with the camera body were available until recently. But that’s changed with the launch of a new brace of Sigma lenses.

Sigma now offers 10-18mm and 18-50mm AP-S zooms in Canon RF-S mount, both with a relatively fast and constant f/2.8 aperture, from its ‘Contemporary’ line-up. Both lenses are repurposed from original designs that have been available for a while in Fujifilm X, L-mount and Sony E-mount options. Indeed, we’ve already reviewed the Sigma 10-18mm f/2.8 DC DN C in Fuji X mount, and the Sigma 18-50mm F2.8 DC DN C in Canon RF-S mount. More pertinently for this review of the Sigma 10-18mm for Canon users, this ultra-wide-angle zoom goes into direct competition with the own-brand Canon RF-S 10-18mm f/4.5-6.3 IS STM. It therefore aims to be one of the best lenses for the Canon EOS R50 and other APS-C format EOS R system cameras. Canon RF-S mount versions of Sigma’s fast 16mm, 23mm, 30mm and 56mm f/1.4 prime lenses are also in the pipeline – coming soon.

Sigma 10-18mm F2.8 DC DN C: Specifications

Sigma 10-18mm F2.8 DC DN C: Price

The Sigma 10-18mm in Canon RF-S mount launched in September 2024 with a retail price of $659/£649. That makes it considerably pricier than the own-brand Canon RF-S 10-18mm, which sells for around $329/£379, although you have to buy Canon’s hood separately, whereas it’s included with the Sigma. Even so, the Sigma’s higher price is entirely understandable given its faster, constant aperture rating of f/2.8 compared with the Canon’s variable f/4.5-6.3. It's more like a ‘trinity zoom’ wide-angle lens for APS-C cameras. The companion Sigma 18-50mm F2.8 DC DN C standard zoom costs around $589/£479 but Sigma is offering a money-saving ‘Capture Plus twin-lens kit’, if you want both lenses, which sells for around £999 in the UK. I’d expect other world regions to follow suit.

Sigma 10-18mm F2.8 DC DN C: Design & Handling

Before I jump into the Sigma’s design and handling, I’ll start off with what I like about the competing Canon RF-S 10-18mm f/4.5-6.3 IS STM lens. The Canon is remarkably compact and lightweight. Thanks to its retractable design, it shrinks to just 69x45mm for stowage. It’s also remarkably featherweight, at a mere 150g, shedding a few grams with a plastic rather than metal mounting plate. The Canon also features 4-stop optical image stabilization, which I feel is a bonus considering that the Canon EOS R7 is so far the only APS-C format EOS R system to have IBIS (In-Body Image Stabilization). It’s sadly lacking in the EOS R100, EOS R50 and EOS R10 cameras. You could argue that optical stabilization isn’t a ‘must-have’ on such a wide-angle lens but I find it very useful for the likes of handheld shooting of architectural interiors in venues like museums and cathedrals, where tripods are prohibited.

Another Canon upside is that you can switch to manual focusing and get in really close, with up to 0.5x macro magnification, but I can live without that. What I don’t like about the Canon lens is its relatively slow f/4.5-6.3 variable aperture rating, that its plastic mounting plate feels less solid and robust than a metal one, and that it lacks any weather-seals. 

It also annoys me that, apart from up-market L-series lenses, Canon generally sells its lens hoods separately rather than including them with lenses. In this case, the ‘optional’ EW-53B hood (I’d call it essential for an ultra-wide lens) costs an additional $29/£19. All of those minus points are addressed in the Sigma lens.

While the constant f/2.8 aperture rating is a key advantage over the Canon lens, the Sigma is similarly strong when it comes to the overall design. The optical path includes four aspherical elements, three top-grade FLD (‘Fluorite’ Low Dispersion) elements and one SLD (Special Low Dispersion) element. All in all, there are 13 elements arranged in 10 groups. Autofocus is driven by a fast and near-silent stepping motor, and focusing is fully internal, so the front element neither extends nor rotates. The avoidance of rotation is an important factor when using filters like ND grads for shooting landscapes. Speaking of which, the lens has a medium-sized 67mm filter attachment thread.

The physical length of the lens extends slightly as you zoom from the 18mm setting down to 10mm, but it’s pretty minimal and any change in the center of gravity is imperceptible. The size and weight of the lens are 72x62mm and 260g, so it’s bigger than the Canon lens (when the latter isn’t retracted) and heavier as well. Even so, it’s very compact and lightweight for such an ultra-wide-angle lens. Build quality feels more solid than in the Canon lens, particularly as it has a plated brass mounting plate rather than a plastic one, and the mount features a weather-seal that’s lacking in the Canon lens. There’s also a fluorine coating on the front element, along with Sigma’s usual Super Multi-layer Coatings to reduce ghosting and flare.

Handling feels refined. The zoom ring operates very smoothly and the electronically coupled manual focus ring enables precise adjustments. I initially found the petal-shaped hood a bit fiddly to attach and remove, compared with most lenses that have a bayonet-fit hood, but I got the hang of it pretty quickly.

Sigma 10-18mm F2.8 DC DN C: Performance

Ultra-wide viewing angles coupled with a wide aperture can make sharpness a real challenge. Sure-enough, sharpness across the whole frame at f/2.8 is good rather than entirely great, at all zoom settings. Narrow the aperture by a single f/stop to f/4 and center-sharpness comes on strong. At 10mm, the Sigma is much sharper than the Canon lens across almost the whole image frame, and about equal at the extreme edges and corners. At mid-zoom settings, both lenses return similar levels of sharpness, but the Sigma hangs onto sharpness better at the long end.

The pair of shots above and below demonstrate the overall zoom range, taken at the shortest and longest focal lengths of 10mm and 18mm. However, with the lack of optical image stabilization, I had to boost the ISO setting of the non-stabilized Canon EOS R100 camera body to avoid camera-shake, especially at the long end of the zoom range, being prohibited from using a tripod in the cathedral. That wouldn’t have been a problem with the optically stabilized Canon lens.

Both lenses do well to keep color fringing to fairly low levels, although the Canon wins out in this respect at the long end of the zoom range. It’s a bit of a moot point, as automatic in-camera correction is available for both lenses. The same goes for distortion. The Sigma lens gives very noticeable barrel distortion at 10mm, rather less so at 12mm, almost none at 14mm and a touch of pincushion at 18mm. By contrast, the Canon lens delivers so much distortion that it’s basically unusable without in-camera correction, on which it relies completely. Switch it off when processing RAW files and the Canon lens gives an almost fisheye look to images. I suspect the effect of in-camera correction is why the effective maximum angle of view is quoted as 107.5 degrees for the Canon lens, and a larger 109.7 degrees for the Sigma, despite them both having the same minimum focal length.

Sigma 10-18mm F2.8 DC DN C: Sample Images

The following gallery of example shots were taken at the Cathedral and Bishop’s Palace gardens in Wells, the smallest city in England, UK.

Sigma 10-18mm F2.8 DC DN C: Lab Results

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

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

Sharpness:

Levels of center-sharpness are mostly excellent although, as I’d expect from an ultra-wide-angle zoom lens with a relatively fast aperture of f/2.8, they drop off when shooting wide-open, throughout the zoom range. Edge/corner-sharpness also drops off at the longest zoom setting of 18mm.

Fringing:

Control over color fringing is pretty good, even when uncorrected in-camera, getting marginally worse at longer zoom settings.

Distortion:

There’s very noticeable barrel distortion at the shortest zoom setting of 10mm but it’s better controlled in the 12-14mm sector, and there’s a touch of pincushion distortion at 18mm. Even so, native distortion is rather less than I’ve seen in many recent lenses designed for mirrorless cameras, which rely almost entirely on automatic in-camera correction.

Sigma 10-18mm F2.8 DC DN C: Verdict

I feel that the choice isn’t altogether straightforward between this Sigma lens and the competing own-brand Canon RF-S 10-18mm. I like the optical image stabilization of the Canon lens but, when it comes right down to it, I prefer the Sigma’s faster, constant f/2.8 aperture and its better build quality with a brass rather than plastic mounting plate. Overall image quality is better from the Sigma lens too and, while it’s significantly more expensive to buy, it’s still a bargain at the price. Long story short, I’m sold on the Sigma!

Alternatives

It’s not often I get to use an ultra-rare, limited edition $14,000 camera. But not only have I been shooting with the new Hasselblad X2D 100C Earth Explorer Limited Edition recently, I’ve been shooting with number 0001. 

That’s right, only 1000 of these cameras will ever be made, and in my hands is number 0001 – the very first model in the batch. 

Here's a very quick video intro to the camera and what it's all about – you'll have to forgive me for getting the name of the color wrong!

In case you missed the announcement, the Earth Explorer set bundles together an exclusive version of the Hasselblad XCD 100C in a unique Brown Tundra finish, along with an XCD 55V lens and a slew of accessories – the idea being that this camera is all about exploration, adventure and creating a sense of discovery and inspiration. 

While it's a kit more geared towards exploring nature (the Tundra Brown finish is inspired by the outdoor hues of Sweden, where Hasselblad is based), I've been using it more for urban exploration – and it's a brilliant kit for that purpose.

The XCD 55V is an inspired choice to bundle with the camera. It's a 43mm equivalent, in full-frame terms, so it's perfect as an all-purpose wanderlust lens that can capture everything from sweeping scenes to intimate close-ups. 

The f/2.5 aperture gives you that dreamy medium format depth of field if you want it, or you can stop down to take advantage of all the detail that can be captured by the 100MP sensor. And since the sensor is loaded with ridiculous resolution, you can crop into your files if you want to zone in on a bit of finer detail.

I've talked before about how the X2D is a formidable street photography and reportage camera, so I'm really on board with the Explorer Edition's ethos of going out and capturing moments. 

It's truly a celebration of what Hasselblad cameras are in the modern day: freed from the constraints of tripods and studios, and blessed with in-body image stabilization and great ergonomics, these are powerful handheld cameras that liberate your creativity. 

The idea of taking a Hasselblad out to shoot on the street or up a mountain really is a bit of a revelation – and it's great to see the company focus on this aspect of its cameras with the new bundle. 

Obviously a camera with these specs – and a bundle with this pricetag – isn't for everybody. But as someone who adores the colors that only Hasselblad can deliver, and for anyone who wants to be truly inspired by a camera every time they turn it on, the Earth Explorer Limited Edition really is a slice of heaven. 

I'm a Hasselblad user already, but I've really been motivated by this special edition to get out and shoot. Even the bespoke startup screen, with the funky "Earth Explorer" logo that pops up when you turn the camera on – it's like this machine is begging you to go outside and take pictures. 

I've been visiting family and stuck in the city for the past couple of weeks, but I'm genuinely excited to take this kit out and shoot some fun rural shots on my next hike. Until then, I'll leave you with a few photos taken on my walk around the city earlier this week. 

Take a closer look at the camera in my full Hasseblad X2D 100C review. You might also be interested in the best Hasselblad cameras and the best medium format cameras.

If you've ever tried afocal astrophotography, the BeaverLAB Finder TW2 may be for you. Holding a smartphone camera up to the lens of a telescope is tricky, and while it is possible to create spectacular images of the moon, it's trial and error. Step forward the BeaverLAB Finder TW2, a refractor telescope that eschews smartphone telescope adapters and goes instead for something that makes it unique: its own digital camera.

Does that make the Finder TW2 a smart telescope? No, it does not. This is a dashcam-style camera piggybacking on a manual telescope. The concept may be novel, but it lacks the niceties of a smart telescope – chiefly its inability to self-align or a motorized mount to automatically slew to objects and keep them in the field of view.

However, by promising to take images of everything from the moon and sun to deep-sky objects and be usable during the day, can the Beaverlab Finder TW2 get anywhere near the best telescopes for astrophotography?

BeaverLAB Finder TW2: Specifications

BeaverLAB Finder TW2: Price

The Finder TW2 is currently being promoted on Indiegogo and is due to go on sale in September 2024, costing $499/£378. That compares to the company's Finder TW1, which sells for $299 / £227 / AU$549.

Accessories in the box include the Starlight Camera DS1 (manufactured by dash cam-maker Novatek), a remote control, a 0.5x focal reducer, a solar filter, a data cable, a handy planisphere, a portable bag, a tripod and a finderscope.

Be cautious when backing products on crowdfunding sites like IndieGogo, as there are no refunds if you change your mind, and no guarantees that you will receive the product should development be canceled. BeaverLAB is an established name, and we had hands-on with the BeaverLAB Finder TW2 and can verify it is a legitimate product, but we don't endorse crowdfunding sites. If you have any doubts, we would suggest waiting until it hits store shelves.

BeaverLAB Finder TW2: Design & Handling

Despite looking like an oversized webcam from the last century, the 367g/12.96ozlbs Starlight DS1 camera has a sizeable five-inch touchscreen (1280x0720 pixel resolution) that conveniently folds out. Attached to the telescope in place of a 1.25-inch eyepiece — but also including one to focus light on its 1/1.8-inch CMOS sensor — the DS1 can record 3840×2160 resolution still images (JPEGS) and 4K video at 60/30/25/24fps (MP4). It's an upgrade on the Finder TW1, which has a 1/2.8-inch device, a shorter focal length, and no touchscreen camera. The DS1 can be used with any telescope that takes 1.25-inch eyepieces. That's most of them.

The Finder TW2 is far from a smart telescope; it can't align with the night sky and lock on to targets autonomously, nor does it have built-in planetarium software. Everything you see and capture using the Finder TW2 must be navigated manually. In short, you have to know the night sky well – and have bags of patience with the Finder TW2's shortcomings.

Even if you can navigate the cosmos, manually locking on targets proves difficult on the Finder TW2. It's necessary to loosen a few knobs on its mount to move its optics, but tightening them once in position is difficult. Sure, it locks the optics, but the entire telescope suffers from droop, so the object is immediately lost. It's therefore necessary to learn the hardware's defects and compensate for them, for example, moving beyond the object so, once tightened, the telescope comes to rest while pointing at your intended target. It's not difficult to point it at the moon, but without a motor or an equatorial mount, constant tweaking is required to account for Earth’s rotation. That’s difficult because no fine-tuning controls are onboard to help nudge the optics back on target. Once you've got a target in the telescope's crosshairs, focusing the image introduces such a significant movement that it takes a while to get the image — as seen either on the back of the camera, or on a phone using the Beaverlab app — dead-on sharp.

BeaverLAB Finder TW2: Performance

The Finder TW2 can take some interesting images of the moon and sun but little else. Once locked onto the moon, with the optics focused as best we could on this fast-moving target, the Finder TW2 does well. Images and video are impressively contrasty, though rather soft, and we did notice some chromatic aberration on the finished images. It's tricky to tweak image parameters when pressing the touchscreen itself, which introduces a shake that never really goes away. The touchscreen is of below-average quality and lacks sensitivity. Sadly, the Beaverlab app allows only remote viewing and digital zooming.

Pointing the Finder TW2 at the sun proved difficult; sure, there's a solar filter, but trying to locate a one-degree-wide object in the daytime sky using a telescope that blocks out all light except 1% of sunlight is not easy. Once we could observe our star, the images Finder TW2 took were enjoyable, highlighting the myriad sunspots on the sun in this “solar maximum" year.

The final straw came when we tried to transfer images to a computer, a process that continually crashed the camera's OS, necessitating a reset. The app suffered a similar issue when downloading images and video to a smartphone’s camera roll.

BeaverLAB Finder TW2: Verdict

The Finder TW2 is best thought of as a budget innovation. It can impress with its images and videos, as long as you don't expect too much. The entire rig is hamstrung by droop, a lack of fine-tuning controls to zero in on an astronomical target, and rather soft images. How long can taking basic images of the moon and sun stay interesting?

Alternatives

Astrophotographers will be treated to a celestial smorgasbord this evening, when a partially eclipsed harvest supermoon will appear over various territories including North and South America, Europe, Africa and large parts of Asia. It's the headline event for astrophotography in September, so it's worth staying up late with your camera to watch the four-hour spectacle.

When is the lunar eclipse happening?

The event will take place over Tuesday, September 17 and 18. In North America it will be visible today at dusk, with a clearer view from Europe during the early hours of tomorrow morning. You can use this map to gather information on your exact location. For example, New York will witness the partial lunar eclipse from 20:41 tonight until 00:47 tomorrow morning, with London’s celestial showing starting early tomorrow at 01:41 until 05:47.

What's a partially eclipsed harvest supermoon?

If you're new to celestial events, tonight you'll get to see many moons rolled into one. The Harvest Moon – aside from being the title of an excellent Neil Young track/album – is the name given to the full moon that occurs closest to the autumnal equinox. This coincides with a supermoon, as the natural satellite's orbit strafes the Earth near to its closest point. And of course, while all this is happening, you’ll be treated to a partial lunar eclipse as the sun casts the Earth's shadow over a small portion of the moon's surface. 

How to photograph a lunar eclipse

Astrophotography is arguably the most complicated and technical genre of photography, but capturing a lunar eclipse is surprisingly simple. Firstly, you need to think about your composition. You could capture a frame-filling shot of the moon, a wider field of view with some kind of foreground interest or capture multiple images to form a jazzy lunar eclipse multiplicity.

The former will require you to get as close to the moon as possible. So, grab your longest lens and make use of a compatible crop-sensor camera or teleconverter to get even closer, if you have one. And if you happen to own the mighty Nikon Coolpix P1000 and its jaw-dropping 125x optical zoom – or any of the best bridge cameras for that matter – now would be the time to use it. 

A wider composition will of course require a wider focal length, as will a multiplicity, since you’ll be capturing the moon as it moves across the sky, while maintaining a constant frame.

Your camera settings will depend on the light conditions in which you're shooting. However, even with a low ISO and middling aperture, you may find yourself yielding a shutter speed above 1/100 sec. If you’re using a telephoto or super-telephoto lens, even in these favorable lighting conditions, the reciprocal rule dictates you'll need to use a tripod to avoid camera shake. 

I'd recommend using the best tripod you can afford regardless, since you'll be able to set up your composition, sit back and wait for the lunar eclipse to reach its photogenic peak. Additional camera shake prevention methods involve setting a self-timer, using your camera's exposure delay mode (if available) or attaching a remote shutter release. And if your long lens has a tripod collar and foot, ensure you attach this to the tripod and not the camera body for additional stability.

If you're shooting with a longer lens you won't be able to use the super wide apertures many astrophotographers are accustomed to. But this shouldn't be a problem. If you're forced to push your ISO, the best cameras for astrophotography boast great low-light capabilities, and noise-reduction software has gotten so good nowadays, even noise-ridden images can be saved in post-production. 

Finally, using your camera's intervalometer or a dedicated intervalometer may prove useful if you're capturing a multiplicity. And don't forget to bring a spare battery – and a warm hat – if you're operating out in the cold.

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

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

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

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

Story credit: L-rumors.com

"I love capturing action shots of wildlife subjects, especially birds, with end-to-end details in the frame. I believe this is the most difficult kind of photography, given that to produce such frames, you need to be in supreme control over your gear, its capabilities, and the settings. But I love the challenge," explains Anoop Raghavan Manikkoth. 

I had the pleasure of interviewing him about his work and analyzing his image 'Toss in the meadows'.  We discussed the techniques he used to capture the photo and why it works.. 

1. Detailed insights

"Blue-cheeked bee-eaters are migratory to this part of the world (Bhigwan, Maharashtra, India). Flying quickly in indefinite patterns, they swoop down and snatch their prey, then the bird comes back to the perch and tosses the prey before gulping it down," Anoop says. Recording parts of this process offered exhilarating challenges. "It was difficult to focus on the bird since it was perched among the flowers," he says. "Also, I had to increase the shutter speed to 1/3200sec to make sure I froze the action properly."

2. Shallow depth of field

Anoop captured the scene with a wide aperture of f/4, creating a shallow depth of field where the focus area is minimized. Consequently, both the background and foreground elements aren’t in sharp focus. "While I made sure to get crisp details on the subjects, the rest of the elements are blurred," Anoop says. "This way, the attention on the subjects remains intact but the feast of colours adds elements without being distracting within the composition."

3. Foreground interest

Moving away from the usual eye-level perspective is popular in various genres – not just wildlife, but also landscape, architecture, and action photography. "In my opinion, shooting from a lower perspective brings out the best in many frames. This perspective conveys the scene directly to the viewers," Anoop says. By going low, Anoop has created a strong relationship between the subject and the viewer. However, this angle also naturally adds a foreground element to the composition, creating further depth and interest. "The vibrant colors of the flowers are enhanced while the viewer gets the feeling of being in the meadow themselves," he adds.

4. Harmonious colors

"These flowers blossom for a month after the monsoon in this part of the world," Anoop says. "It’s mesmerizing to see the blooming Bhigwan grassland." The patches of tiny purple flowers not only add interest to the composition but also bring in a patch of color without overloading the frame. "I captured the bird tossing the insect while it was perched on a branch in the meadow. That meant I could include these vibrant colors with lots of contrast," he adds. To achieve this, he increased
the saturation levels in post-processing.

Tech details

Camera: Sony A1

Lens: Sony FE 600mm f/4 GM OSS

Aperture: f/4

Shutter speed: 1/3200 sec 

ISO: 800

Others photos in the Why Shots Work series

• Urban street photographer reveals his candid capture secrets
• Photographer tells story of getting up close and personal with a python
• Discover four key elements that make this stunning photo a success
• The 4 photographic decisions that take this motorsport shot to the next level
• Photographer tells story of his amazing shot of wallabies fighting on the beach

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

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

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

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

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

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

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

Leitz has introduced three new lenses to its HUGO II series, adding to the 10 existing focal lengths in the popular HUGO line. The new additions include the 66mm, 75mm, and 90mm T2.1 lenses, which are distinguished by their slower aperture and more compact size. These lenses bring unique visual characteristics, with the 75mm and 90mm offering size advantages and the 66mm lens filling the gap between the 50mm and 75mm focal lengths.

The 66mm T2.1 lens has an intriguing history, inspired by the legendary "spy lens" developed by Leica lens designer Walter Mandler for the US Navy during the Cold War. Known for its ultra-high resolution and originally never intended for public use, fewer than 200 of these lenses were produced. Leitz has slightly updated Mandler's design, blending its vintage pedigree with modern-day capabilities, resulting in a lens that delivers sharp, character-rich images, consistent with the rest of the HUGO family.

The new 75mm and 90mm T2.1 lenses are derived from Leica's well-known Summicron-M lenses. Although one stop slower than the T1.5 versions, their smaller size and lighter weight make them nearly identical in dimensions to other HUGO lenses wider than 50mm. This design update allows Leitz to offer complete conversions of Leitz M 0.8 lenses to the HUGO series, maintaining the longer focal lengths without sacrificing performance.

With the addition of the HUGO II series, Leitz now boasts a total of 13 focal lengths in the HUGO family, ranging from 18mm to 135mm. Available in both LPL and L mounts, these lenses provide filmmakers with versatile tools that combine historical design elements with modern optics for high-quality cinematic imaging.

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

Read more: the best Sony lenses

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

One of my favorite things about owning an interchangeable lens system is that I can simply swap over lenses when I need to shoot wider, more zoomed-in, or macro and close-up depending on the specific subject matter I’m shooting and what I’m trying to achieve creatively. While superzoom lenses such as 18-300mm exist and bring many focal length options into a single lens, they simply don’t cut it for professionals who need both razor-sharp glass and super-fast apertures too. 

When taking photos of fast-paced events, sports, or weddings however you rarely have the time to switch your lenses and that’s where a double camera harness can be a game-changer. Important aspects to look for in a good dual camera harness are first and foremost security - you want to be able to trust that your pride and joy aren’t suddenly going to go crashing into the ground. Secondly, there's comfort: if you’re shooting for a whole day with two heavy cameras loaded up, you’ll need decent padding to save your shoulders.

I recently got hold of both BlackRapid’s Double Breathe and Blackline II dual camera harnesses to test them out. On face value they look very similar - they’re both dual camera harnesses that allow you to carry two systems with different lenses attached, making them a good fit for weddings and events. The Blackline II however is a third more expensive, so I was keen to put it through its paces and find out if it’s really 33% better!

Specifications

Price: $199 / £199
Size: One size fits all
Colours: Black
Features: 2x Locking Swivel Carabiner ConnectR CR-3
Includes: 1 x CoupleR II; 2 x Nylon-Coated FastenR FR-5 (1⁄4-20”); 2 x Lockstar II; 2 x Camera Safety Tether II
Shoulder Pad material: Highly breathable Polyester Mesh, TPE (Thermoplastic Elastomer) Foam and Polyester Air Mesh
Shoulder Pad Size: Length: 16ʺ (40.5 cm); Width: 2.2ʺ – 3.7ʺ (5.5 cm – 9.5 cm); Thickness: 5mm
Webbing: 100% Nylon; Webbing Width: 1ʺ (2.5 cm)
Adjustable Strap, Maximum Length: 63ʺ (160 cm)
Weight: 11.6 oz / 45.3g

Features

I’ve recently reviewed BlackRapid’s Sport Breathe, Blackline I and Double Breathe camera straps, and following suit the Blackline II harness uses the exact same mounting system that I’ve raved about in those other reviews. 

It uses a ConnectR and FastenR system to secure your camera to a metal carabiner, this is then secured with a spring-loaded metal piece on the carabiner, and the LockStar Gate is clipped shut to stop it from being accidentally opened - the LockStar Gate can also only be closed in place with the carabiner fully secured and locked down for added security, you do this for both cameras on either side of you. Many of these security features are patented too, so you'll only find them on BlackRapid products.

For even more peace of mind, the Blackline II comes with two safety tethers which can be lashed to each carabiner and then to the strap lug on your camera for another point of camera and a failsafe should the main connection fail, though in our testing everything felt totally rock-solid and we never felt like it would be needed, though it’s nice to have nonetheless.

The camera straps on your left and right are both height adjustable so you can get them hanging precisely where you need them to be within easy grasp which you need to quickly grab one and start shooting. Unlike the Double Breathe harness however, there’s no Slim model, though it has to be said the shoulder pads are already a little slimmer than the Double Breathe and its padding is softer, so perhaps this isn’t needed as much here.

As with the Sport Breathe, Blackline I, and Double Breathe that I’ve previously reviewed, the Blackline II has front and rear bumpers on both left and right straps. These can be adjusted with just one hand to limit or expand the area of travel the carabiner with your attached camera can travel along. 

The rear bumper acts as a good backstop to stop it moving too far back out of reach, while the front bumper is great for those times you need to lean forward to adjust a lightstand or bend over to pick something up, as the front bumper can be slid down to prevent your camera from coming hurtling forward.

Performance

The Blackline II put in a solid performance by being constructed from high-quality materials and parts patented by BlackRapid. The FR-5 FastenR is metal but nylon coated for a premium feel and has a 3mm thick rubber disc to help you add just the right amount of tension when screwing it into your camera’s tripod mount port or lens foot. The metal carabiner feels high quality too and screws down to secure it in place, with the LockStar II gate then shutting to keep it from opening accidentally and keeping your kit safe.

One big difference between the Blackline II and the Double Breathe is that, as the name suggests, it has an all-black design. The Double Breathe has a bright white logo on the front right shoulder pad and a shiny metal buckle on the back too, whereas the Blackline II is dressed more like a ninja with all-black plastic buckles and a blacked-out rubber logo on the front too. This makes it much more nondescript and makes it easier to blend in, whether you’re wearing a tuxedo at a wedding, or just want to keep a low profile while shooting street photography.

Another noticeable upgrade from the Double Breathe is the Blackline II has slightly smaller yet more comfortable padding and larger ventilation holes too for ‘ultra’ breathability. I found this to be notably more comfortable as it molded to the contours of my shoulders a little better.

Both the back and chest straps have an elasticated piece of material in them so they move with your body a little and there’s some give which increases comfort. When using mirrorless camera bodies loaded up with lightweight primes or small zoom lenses you hardly notice you’re wearing it as the strain is on your shoulders rather than your neck. However, load them up with heavier DSLRs and big telephoto lenses and you’ll inevitably start to feel the strain a bit sooner.

We had full faith that the Blackline II could handle the weight of whatever we could throw at it. It’s a solid bit of kit with sturdy metal carabiners and attachment points that give you plenty of peace of mind. The carabiners also glide like butter over the nylon straps so you can effortlessly raise your camera up to eye level to take a shot and never get in the way.

Verdict

Alongside this harness, I’ve recently reviewed BlackRapid’s Sport Breathe and Blackline I slings as well as the Double Breathe Harness, and while I’ve been thoroughly impressed with all four products, in my opinion, this is the best camera harness to go for. It has a fully blacked-out design which makes it more nondescript and better padding too.

The padded shoulders are softer and also a little smaller than the Double Breathe, so this will potentially be a better fit for women and people of smaller stature without the need for a slim model (like the Double Breathe). Plus, it shares many of the great features of the other straps I’ve mentioned, such as the FastenR and LockStar Gate to keep your camera secured to each strap, in addition to an extra safety strap and bumpers to limit the travel of your camera.

Okay, it might not have the bougie style of a leather (or faux leather) strap, but it prioritizes substance over style with this reliable and solid harness, and for what it’s worth I think the all-black design looks pretty good! The shoulder pads can also be separated and you can use just one as a cross-body sling for those times when you just want to shoot with one camera which adds to its value too.

Following the launch of the iPhone 16 Pro earlier this week, makers of smartphone accessories have been falling over themselves to tell us about their new products. And so we've already published guides to both the best iPhone 16 Pro cases and the best iPhone 16 Pro Max cases, not to mention the best camera lens protectors for the iPhone 16 Pro & Max.

But on the whole, these have largely been tweaked versions of existing products. And that's fine, of course… but here's something completely new.

Moment has just unveiled an evolution from their snap-on filters called the QuickLock Filter System. Compatible with iPhone 15 Pro, 15 Pro Max, iPhone 16 Pro and 16 Pro Max models, this new line claims to offer a new way for photographers interact with their smartphones. 

Traditional screw-on filters can be fiddly to apply, while magnetic ones can feel less than secure. Moment says its proprietary QuickLock filters, which attach to a Moment phone case, offer the best of both worlds. In that they're easy to attach and remove, while secure enough that they won't detach during use, and robust enough to withstand the demands of professional use – and they cover all three of the lenses on the four iPhone models.

Certainly, the ability to quickly swap filters without worrying about them falling off could be a game-changer for anyone involved in run-and-gun shooting. We haven't got our hands on these filters yet to test their claims. But Moment is a reputable company – and produces some of the best add-on lenses for smartphones around.

Four to choose from

The QuickLock system covers all three lenses on the four iPhone 15 Pro and 16 Pro models. They aren't cheap, but Moment believes their combination of high-end optics and practical usability makes the cost well worth it.

There are four distinct filter types, each designed to address specific iPhone photography needs.

1. Mobile VND (2-7 Stop) QuickLock Filter: Offering a range of 2 to 7 stops, this filter allows you to control exposure in bright conditions. 

Moment says they're "like sunglasses for your camera lens [that] lets you adjust the strength of the filter by rotating the filter ring. This way, instead of carrying multiple filters for different lighting conditions, you can carry just one and adjust for your specific shot." Variable neutral density filters are particularly useful for video, allowing you to adjust brightness to get the shutter and aperture you want to use.

Made with premium Schott B270 Pro Cinema Glass, these filters are crisp edge to edge without color fringing or cross polarization, while the filter rings are precision machined from aerospace-grade metal.

2. Mobile CineBloom QuickLock Filter: Available in 5%, 10% and 20% densities, these diffusion filters add a dreamy, film-like quality to images, softening hard edges and smoothing skin tones. Moment says they: not only catch and bloom light but soften hard edges and provide a smoothing effect on skin tones, making wrinkles less noticeable." The glass is made by fusing a microlayer of NanoBlack particulates between two layers of top-grade Japanese filter glass.

3. Mobile AntiGlare CPL QuickLock Filter: This circular polarizer (CPL) filter is designed to reduce glare and enhance color saturation, which could be especially useful for landscape and architectural photography. It works by rotating a piece of polarized glass in front of your lens to cut out unwanted glare.

Moment says this filter: "makes the skies bluer, trees greener, waters deeper, and allows you to shoot through glass without that hazy look. It does this by changing the light angle bouncing off of bright surfaces, scattering the light rays you don’t want directly in your shot."

4. Mobile CineClear UV Protection QuickLock Filter: This clear filter safeguards the phone's lens from scratches and debris while maintaining image quality. Resistant to dust, fingerprints, and reflections, it's made from premium Schott B270 glass with 98.5% transmission rate and 16 layers of optical coating. Moment says it: "won’t degrade your image quality and maintains full functionality of the iPhone camera system [...] allowing you to protect your expensive camera phone and make it much easier to clean, without the hassle of removing your phone from the case."

The VND filter is priced at $75 and the other three options costing $50 each. Pre-orders are currently open, with shipping expected to begin by the end of September.

Note that the QuickLock Filters are designed to work exclusively with Moment's phone cases, which need to be bought separately. 

Moment has also released a range of other accessories for the iPhone 16 Pro and Pro Max, including cases, universal grips, cages, and a new shotgun mic.

Canon has launched what is, on paper, a trinity lens without the red ring or the price tag. The new Canon RF 28-70mm f/2.8 IS STM doesn't pack the same elite optical performance, but it's a far more affordable alternative to both the RF 28-70mm f/2L and the RF 24-70mm f/2.8L. 

It’s set to be a great accompaniment to Canon’s full-frame mirrorless cameras such as the EOS R6, R6 Mark II and R8, and will be a substantial upgrade over kit lenses such as the RF 24-50mm f/4.5-6.3 or RF 24-105mm f/4-7.1.

While it is a full-frame lens it can of course be used on any of Canon’s mirrorless APS-C cameras, where its 1.6x crop factor will give a full frame focal length equivalent of 44.8-112mm – where you’ll also enjoy the sharpest, center-most portion of the optics.

Canon doesn’t currently plan for the RF 28-70mm f/2.8 to be bundled with such cameras, though this could change in the future. It makes for a substantial upgrade over the current kit bundle options with its wide f/2.8 maximum aperture. And it gives upgraders a nice option to the RF 24-105mm f/4L IS USM – the original L-series zoom for the R system, widely considered one of the best Canon RF lenses.

While the new lens has a slightly more limited focal range, with a 2.5x optical zoom compared to the 4.3x zoom of the 24-105mm, it's about 14% smaller in length when fully retracted – and 30% lighter, too, weighing just 490g. 

Canon’s non L-series lenses aren’t usually weather-sealed, but the new 28-70mm f/2.8 bucks this trend with protective seals around the focus and zoom rings, sealing around the RF mount, and the lens switches have been redesigned for dust- and water-proofing.

The ace up its sleeve is the constant f/2.8 maximum aperture available throughout the zoom range. In terms of kit lenses this makes it a full stop (twice as bright) as the 24-105mm f/4L, and both 1.3 stops brighter than the 24-50mm at its widest setting and 2.3 stops (over four times as bright) at its 50mm setting – so it’s much better suited to low light situations as it can suck in notably more light.

Speaking of low light, the new RF 28-70mm f/2.8 claims to deliver shutter speeds 5.5 stops slower than would normally be required using its Optical Image Stabilization – or up to a whopping 7.5 stops when paired with one of Canon’s cameras featuring In-body image stabilization.

As this lens doesn’t get the red ring signifying that it’s an elite L-series optic, Canon acknowledges that its image quality won’t quite match that of L glass like the 24-105mm f/4L. 

I tested the two lenses side-by-side while writing my Canon RF 28-70mm f/2.8 IS STM review, and found that the new lens more than held its ground – though it makes use of in-camera correction to compensate for a non-L optical formula.

"What can be said for the image quality of the Canon RF 28-70mm f/2.8 is that it is nice and sharp across the frame, and this gets even better when closing the aperture to a middle value like f/5.6," I said in the review.

"In summary, the image quality doesn't really concern me. It follows Canon’s growing trend of sacrificing the optical quality by fixing it in post-production and therefore enabling the lens to be made smaller and lighter."

It’s constructed from 15 elements in 12 groups, with two UD (ultra-low distortion) and two GMo (glass-molded) aspherical elements as well as Canon’s Super Spectra coating (which Canon says will "ensure incredible sharpness"). It also boasts a 9-blade aperture, for circular bokeh, with a 67mm front filter thread and closest focusing distance of 27cm at its widest 28mm focal length.

Canon claims its users will experience a big step-up in video performance, too, with "gorgeous smooth focus transitions and quick adjustments" thanks to an STM (stepping) motor for fast, accurate and quiet autofocus. It also boasts focus breathing compensation that can work in conjunction with the breathing compensation system present in some EOS R cameras.

There’s also a new three-way switch to change the front ring from a control ring to a manual focus ring, or to flick it to AF for uninterrupted autofocusing if you prefer.

The Canon RF 28-70mm f/2.8 IS STM is due to go on sale on September 27, with a retail price of $1,099 / £1,249.99 / AU$1,919.

You might be interested in the best Canon RF lenses – and don't forget that you can also adapt the best Canon lenses for DSLR to use on EOS R cameras. 

The Canon RF 28-70mm f/2.8 IS STM is a hugely welcome addition to the RF lineup. Full-frame R system users have been treated to some fantastic kit lenses in recent years, such as the highly compact and portable RF 24-50mm f/4.5-6.3 IS STM and the RF 24-105mm f/4-7.1 IS STM. 

While these are relatively cheap and cheerful (all things considered), costing around $500 in the US, up until now if you wanted an upgrade to your kit lens the best option might have been the RF 24-105mm f/4L IS USM that costs considerably more at $1,299. Or, if you have the money for it, you could splash out on the Canon RF 24-70mm f/2.8 IS USM trinity lens at $2,399.

This is where the new Canon RF 28-70mm f/2.8 IS STM comes in. This compact zoom lens is about the size of a soda can, packs in a flexible zoom range of 28-70mm, a wide and constant maximum aperture of f/2.8, and borrows L-series features like weather sealing, too! I recently got hold of one to see just how far above its weight Canon’s souped-up kit lens can punch.

Canon RF 28-70mm f/2.8 IS STM: Specifications

Canon RF 28-70mm f/2.8 IS STM: Design & Handling

With dimensions of just 76.5 x 92.2mm, the Canon RF 28-70mm f/2.8 IS STM is impressively small with a similar footprint to a 330ml drinks can – as you can see in the image below. 

It’s also very light, tipping the scales at just under half a kilogram. Compared to the RF 24-105mm f/4L it's about 14% smaller in length when fully retracted, and it's about 30% lighter as well – impressive!

Packing so much into such a small lens there has to be a compromise or two. And in the case of the Canon RF 28-70mm f/2.8 IS STM the usual three lens rings – one for zoom, one for focus and one for control functions – have been consolidated down to two: a zoom ring and a multi-function ring, which can be toggled between AF / MF / Control via a switch on the lens barrel.

Another concession is that the zoom ring has to be twisted to the 28mm mark before you can start using the lens, as doing so 'pops' the front barrel out by about an inch to enter shooting mode. 

This means it's really compact when stowed away, but extends when the lens is in use. In fact, when fully extended to 70mm, it has a length of 138mm, which is very similar to the length of the 24-105mm f/4L at 70mm.

Also, as a non L-series lens, its image quality inevitably won't be up to par with optics  that do wear Canon’s coveted red ring – though I’ll assess image quality more thoroughly in a moment.

One great feature that it does borrow from L-series glass is weather sealing – which isn’t something you usually see on Canon lenses without a red ring, though it’s a very welcome addition to see seals around the focus and zoom rings, the mount and the lens switches to keep dust and water out. 

Unfortunately, unlike L-series lenses that come with a lens hood in the box, the EW-73D hood for the 28-70mm f/2.8 is sold separately at a pricey $35 / £48!

Other noteworthy features include a 67mm front filter thread and closest focusing distance of 27cm at its widest focal length of 28mm.

Canon RF 28-70mm f/2.8 IS STM: Performance

I had a brief couple of hours to test a production sample of the Canon RF 28-70mm f/2.8 IS STM at Canon HQ in the UK, so stay tuned for the full review with more detailed analysis and full lab tests coming soon. 

However, my preliminary findings were very positive. I found the autofocus to be very snappy and quiet, as you’d expect from an STM (stepping) motor, which makes this lens a good choice for photographers and videographers, or hybrid shooters that like to mix it up.

Having to twist the zoom ring to the 28mm mark before you can start shooting can be a bit frustrating – but at least there’s no lock button you have to press before twisting, which would get in the way and slow things down. 

We’ve seen this design in other optics for many years now, notably on smaller lenses for APS-C and Micro Four Thirds cameras, but it’s a bit of a headturner to see this design used for a full-frame Canon lens. Though for portability reasons, it totally makes sense.

The Canon RF 28-70mm f/2.8 IS STM promises lens stabilization of up to 5.5 stops, or up to 7.5 stops (7 in the corners, per new CIPA ratings) when mounted to an EOS R body with image stabilization.

I didn’t get a chance to thoroughly test the IS during my short hands-on period with the lens, but images I took handheld all looked nice and sharp – though I’d have liked to have slowed my shutter speed more to really put it through its paces.

I shot RAW with my EOS R6 Mark II and EOS R5 cameras and was overall impressed with the image quality. There was some vignetting when shooting wide open at f/2.8, though it was easy to fix in the post production. I imagine this would be fixed for in-camera JPEGs, which is what I found when shooting with the Canon 10-20mm f/4L IS STM.

Comparing the RAW files between the 28-70mm f/2.8 and the 24-105mm f/4L showed that the new lens had much more barrel distortion at its wide end and pincushioning at the long end, whereas there was virtually none in the L lens – its horizontal and vertical lines remained practically straight.

I also saw vignetting in the 28-70mm when shooting wide open, and this didn’t clear up until the aperture was closed down to about f/5.6. Is it optically perfect? No, but then I wouldn’t expect it to be – and with in-camera adjustments and lens correction presets in RAW editing, it’s not a huge deal.

What can be said for the image quality of the Canon RF 28-70mm f/2.8 is that it is nice and sharp across the frame, and this gets even better when closing the aperture to a middle value like f/5.6. I also saw virtually no signs of chromatic aberration (fringing).

In summary, the image quality doesn't really concern me. It follows Canon’s growing trend of sacrificing the optical quality by fixing it in post-production and therefore enabling the lens to be made smaller and lighter. We saw the same thing with Canon’s RF 10-20mm f/4L IS STM, which also relied on post-production to polish up its images, and that is regarded as one of the best wide-angle L lenses you can buy.

Canon RF 28-70mm f/2.8 IS STM: Verdict

With the ongoing cost of living crisis, people are still struggling financially. So the Canon RF 28-70mm f/2.8 IS STM is a very welcome addition to the RF family, expanding the range to 52 lenses (including teleconverters) and giving users another more affordable option for kit lens upgrades.

The Canon RF 28-70mm f/2.8 IS STM costs $1,099 / £1,249.99 / AU$1,919, and while it shares the same aperture and a similar focal length to the RF 24-70mm f2.8L, the standard trinity costs twice as much at £2,519. 

Its closest comparison is actually from the RF 24-105mm f/4L, which costs £1,389. So users will have to weight up whether they want the extra portability and wider aperture of this new lens, or go for a bigger and heavier optic with a slower aperture – but one that comes with a red ring, and delivers sharper images with less distortion. 

There's no right or wrong answers here, it will just be down to which suits you best – though if you're on a super strict budget, the 10% difference in price might sway you.

Alternatives

The Hasselblad XCD 20-35E is a crucial new lens in the X System lineup. First of all, it's the brand's first ultra-wide lens, offering an equivalent 16-27mm focal range – which also makes it the widest XCD lens, taking the crown from the XCD 21mm prime.

Secondly, this is the first 'Exclusive' lens in the range – hence the "E" in Hasselblad XCD 20-35E. This new flagship series promises to deliver the same optical excellence as the outstanding XCD primes. 

Designed with the new generation of 100MP cameras in mind, it marries ultra-wide shooting with the ultra resolving power of the Hasselblad X2D and Hasselblad 907X & CFV 100C – though it's also compatible with the 50MP era of X System bodies.

So just how good is Hasselblad's freshman flagship? Let's find out.

Hasselblad XCD 20-35E: Specifications

Hasselblad XCD 20-35E: Price & Availability

The Hasselblad XCD 20-35E is priced $5,929 in the US and £5,699 in the UK (Australian pricing to be confirmed) and is shipping now. This makes it the most expensive X System lens, coming in about a grand more than the other zoom in the lineup – the Hasselblad XCD 35-75. 

Given that its focal range encompasses (and surpasses) that of four current XCD optics – including the recent XCD 25V, which costs US$3,699 / £3,599 alone – the pricetag does feel warranted. 

Hasselblad XCD 20-35E: Design & handling

While it's the first member of the new E (Exclusive) range, the design of the Hasselblad XCD 20-35E is very much in-keeping with the V (Versatile) line of lenses like the XCD 90V and XCD 25V.

The biggest difference is the lack of a manual focus clutch, and the accompanying focus scale, which lends the lens a cleaner appearance. And, of course, it's a larger and heavier lens than the primes – though I certainly wouldn't call it a "big" lens, and in the hand it balances exceptionally well with my X2D. 

While the lens has a variable f/3.2-4.5 maximum aperture, it remains at f/3.2 from 20-24mm – making it both wider and faster than the XCD 21mm f/4 lens. 

In terms of manual focus, since the lens doesn't have a clutch or switch to toggle in and out of autofocus, it's just a matter of a couple of taps on the frictionless Hasselblad menu system to jump into manual. 

The focus ring is as smooth and precise as you'll find on other XCD lenses, and the zoom ring is exceedingly well gauged. While it's easy to glide through the range, there's a pleasing amount of resistance to ensure that you're at the exact focal length you want to be. 

Crucially, since it features an internal zoom mechanism, the length and balance of the lens doesn't change as you push in and out. 

Elsewhere in its internals, the lens features an impressive optical formula, boasting 16 elements in 12 groups, including 3 aspherical elements and 4 extra-low dispersion elements. 

While I didn't shoot any images with supplemental light, the leaf shutter employed by the X System (with the mechanism present in the lens, rather than the camera body) enables flash sync at up to 1/2000 sec. 

Hasselblad XCD 20-35E: Performance

Hasselblad never ceases to impress me with its XCD glass, and I was absolutely delighted with the results I got from the 20-35E. 

One of the first things I shot was a meteor shower during the Northern Lights (above) – something I was a little bit wary of, since I spontaneously decided to run out and chase the aurora and forgot my tripod in the process.

Could I really shoot astro using a medium format camera, handheld, with an f/3.2 aperture? Yes, I really could, thanks in no small part to the incredible in-body image stabilization of my X2D. The XCD 20-35E passed what was probably the hardest test I could give it with flying colors – and it continued to deliver for me time and again.

If you're not a regular shooter of extreme focal lengths, it can be hard to visualize the difference between 16mm and 27mm, so I've included a few comparison images to illustrate just how drastic the change is – and to demonstrate how radically this lens opens up your compositional choices.

Above, for example, you can see how remarkably different the results are at the widest and longest focal lengths from the same position. 

Having used all the X System glass that this zoom now covers – the XCD 21, the recent XCD 25V, and the XCD 30 and XCD 28P – not only is it a huge a win to have this entire range available in a single optic, but for this one lens to offer a faster aperture than any of them bar the 25V is a cherry on the parfait.

Without having to switch out your lenses, you can go from a near-reportage field of view to an extreme wide-angle with creative distortion. Or, of course, just fit more of a magnificent scene in your frame. Just be aware of firing frames towards the sun with a lens this wide, as you're probably going to experience flare if you don't mount the hood.

Speaking of distortion, as you may expect from an ultra-wide, there is some barreling and pincushioning as you move through the range, though nothing too nasty – and nothing that a couple of clicks can't easily fix in post. 

Focusing on this lens is snappy and silent, thanks to the stepping motor and smaller focusing lens group, and I continue to be grateful for the phase detect autofocus in Hasselblad's 100MP cameras. You'll notice some focus breathing when focusing manually, more prominently at the 20mm end, but obviously this isn't an issue for shooting stills.

I have to say that I was blown away by the center sharpness of this lens, which is on par with the performance of the XCD primes – something that's borne out in our lab tests below – though things are certainly a little softer towards the edges until you start to stop down, hitting peak sharpness at around f/11. 

Still, this isn't a portrait lens designed to be used wide open for everything; it's an f/8 and f/11 kind of lens for taking crystal clear landscapes, cityscapes and architectural shots. So in practical terms I don't think anyone who uses this lens is going to be unhappy with the results.

Hasselblad XCD 20-35E: 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:

We've come to expect stellar center sharpness from Hasselblad's XCD prime lenses, but incredibly this zoom optic manages to match the primes – it's sensationally sharp in the center of frame. Sadly corner sharpness is much more average, especially at larger apertures, but stop down to f/8 and you shouldn't notice too much softness in the extreme corners.

Fringing:

Fringing is noticeable at short and mid focal lengths, but it's not severe.

Distortion:

There's noticeable barrel distortion at 20mm, transitioning to slight pincushion distortion by 28mm and beyond. The sweet spot is 24mm where the lens is distortion-free.

Hasselblad XCD 20-35E: Sample images

Hasselblad XCD 20-35E: Verdict

Hasselblad's first ever ultra-wide is another home run for the XCD lineup. Whether you're looking for the fastest and widest lens possible, you're trying to replace a few wide-angle primes, or you simply want a fantastic tool for all-purpose wide-angle shooting, the XCD 20-35E is what you're looking for. 

I truly can't get over the prime-level performance of this lens when it comes to center sharpness – and remember that the XCD 90V is literally the sharpest lens we've ever tested. 

This is a lens that the X System community has long been dreaming about, and it's always a pleasure when dreams come true. 

Hasselblad XCD 20-35E: Alternatives

If you love prime lenses and the 50mm focal length is your lens of choice in any situation then you are going to love this latest news from Nikon as the camera giant has expanded its Z series full-frame lens lineup with the addition of the new  Nikon Nikkor Z 50mm f/1.4.

This new prime lens offers photographers a versatile tool for capturing natural perspectives with remarkable precision. With its fast f/1.4 aperture, advanced optical performance, and quick autofocus, it allows for creative expression in any lighting condition.  Whether shooting portraits, landscapes, or everyday scenes, the NIKKOR Z 50mm f/1.4 promises stunning depth, clarity, and sharpness.

This new 50mm f/1.4 from Nikon neatly sits between the flagship Nikon Nikkor Z 50mm f/1.2 S and the Nikon Z 50mm f/1.8 S - this new f/1.4 offers both portability and pro-grade optics in an affordable package that will offer both photographer and videographers a useful 50mm prime that can offer great compression, good light gathering, and at a price point that is very reasonable for a f/1.4 from the Nikon lineup.

Designed for flexibility in available light, this new 50mm lens is ideal for various photography styles, including travel and street photography. Its wide f/1.4 aperture not only enhances low-light performance but also creates smooth, soft bokeh for beautifully isolated subjects. 

Zurab Kiknadze, Product Manager, Nikon Europe says: “We’re extremely happy to add this 50mm standard lens to our budding range of accessible f/1.4 prime lenses. Offering boundless creativity and portability, it partners perfectly with our recently launched Nikon 35mm f/1.4 lens. Keep these compact Z series primes side by side in your camera bag and you can maintain a consistent aesthetic as you shift perspectives from wide to normal.”

The new Nikon Z 50mm f/1.4 is available to order now for a retail price of $496.95 / £499 / AU$929.

Pre-order at B&H (US) for $496.95

Pre-order at WEX (UK) for £499

This week saw a whole bunch of camera rumors come to fruition in the form of drones, action cameras and lenses, while Canon got seriously busy on a bunch of different fronts.

First it knocked Sony off the top spots in terms of sales, then it set its sights on DJI with a new take on gimbal cameras. For its part, DJI has its sights set on the HoverAir X1 with its new product. 

Sigma has its sights on Canon, with a new RF lens and a trinity busting pro lens that rivals Canon's groundbreaking 24-105mm f/2.8. 

And GoPro, meanwhile, is hoping that its two new Heroes will save the day. These are the top five stories of the week…

Canon resurrects its DJI-beating gimbal camera

Canon is revisiting its plans to challenge DJI with a handheld gimbal camera, designing a new product that looks eerily reminiscent of the DJI Osmo Pocket 3. 

This is not, however, Canon's first attempt to design such a product. Canon's aspirations to produce a handheld gimbal camera date back to at least 2021, which is when the first patents and designs were spotted. 

Back then, the company was working on a camera that differed in one key way to the Osmo line: rather than having a fixed lens, Canon's initial designs featured an interchangeable lens mount…

Full story:
Canon vs DJI: Canon designs ANOTHER challenger to the Osmo Pocket

DJI's new drone takes on the HoverAir

DJI has just announced the DJI Neo, which might not be much of a surprise to those closely following the rumors but still marks a significant change in style for DJI, the world leader in consumer drones.

I've had access to an early model, and have already completed my first full review of the DJI Neo (though some features aren't quite there).

For many product generations, the company has focused on delivering compact drones that folded up small and – after regulators set a 250g weight limit for unregulated consumer drones – has delivered drones at 249g. Those include some of the best beginner drones and the best camera drones without qualification. Sure, there have been some specialist FPV drones, but these have seemed like outliers…

Full story:
DJI Neo marks a generational change for world's leading drone company

Sigma drops a pair of killer f/2.8 zooms

It's been a big week for professional zoom lenses. Not only did Leica launch a new 70-200mm f/2.8 with 2x teleconverter, Sigma dropped a pair of eagerly anticipated optics – both of which promise to be world-beaters.

First is the full-frame Sigma 28-105mm f/2.8 DG DN | Art lens for E and L-Mount cameras. Yes, a 28-105mm lens with a constant f/2.8 aperture – a direct challenger to the "trinity buster" Canon RF 24-105mm f/2.8L lens. 

Speaking of Canon, Sigma also launched its second lens for the RF mount: the Sigma 10-18mm f/2.8 DC DN | Contemporary for APS-C bodies. This is "the world's smallest and lightest ultra-wide-angle zoom lens for APS-C cameras", offering an equivalent focal range of 16-28.8mm in full frame terms…

Full stories:
Canon RF shooters get a wiiiiiiiiiide angle zoom from Sigma
Sigma 28-105mm F2.8 sets what could be a new standard for standard zoom lenses

Two new Heroes come to GoPro's rescue

If, like me, you have been hoping to save money on an older GoPro model, but are sick of prices stubbornly refusing to come down, then the announcement of a new $199 / £199 GoPro will be music to your ears.

The new model, which is simply named GoPro Hero 13 (currently with no suffix or numeration) takes the classic GoPro formula of a rugged waterproof action camera and makes it more affordable – and even smaller.

Launching alongside the newly-announced GoPro Hero13 Black, will be the fourth model to be called the GoPro Hero. The first-ever GoPro model, launched in 2008 was simply called the Hero. This was followed by similarly named updates in 2010 and 2014. Inevitably, this new version will likely become known as the GoPro Hero (2024), so as to avoid confusion…

Full stories:
GoPro's new budget Hero is its smallest-ever action camera
The new GoPro Hero13 Black puts lenses front and center

Canon topples Sony from the sales charts

In a dramatic turn of events, the Sony ZV-E10 has been usurped by two Canon bodies as Japan's best-selling camera in August. 

In July the ZV-E10 took the top three spots in varying color and lens configurations, and accounted for five of the top twenty best-sellers, according to BCN Retail (which aggregates sales from approximately 50% of Japan’s retailers, which crucially includes major electronics retailers and camera dealers). 

In August however, the tables have very much turned, with the Canon EOS R10 and RF-S 18-150mm lens taking the top spot, up from number four the previous month. The EOS R50 double zoom kit secured the second and third places, in black and white colorways respectively…

Full story:
Move over Sony! Canon is back on top in Japan, with a dramatic sales recovery

You might be interested in the best camera drones, the best zoom lenses, the best GoPro cameras and the best action cameras. 

I spent nearly two decades being a professional sports photographer, traveling the world for my job and shooting at many different shutter speeds to capture the action in full swing.

Now, as I've changed gears and tried to capture the beauty in the mundane through street/documentary photography 1/500sec seems to be my limit, well not even my limit more an "always-on" approach, and while that might sound odd this exposure triangle hack really works in any setting!

Now I know that 1/500th shutter speed isn't going to suit everyone, and there will be times when you need something much slower to let in more light, or faster to freeze every millimetre of motion, but for some reason I have all my cameras set to 1/500th and it always just seems to work out really well.

The type of things I'm shooting for street requires that I either move quickly to get the shot or things out in the open that are stationary and don't need anything faster to stop motion.

All my cameras, film or digital, have these two settings fixed: Shutter speed and ISO; Shutter speed being 1/500sec and ISO set to 400. The only thing I ever change is my aperture, and you know what? It just works so well for me that I'd highly recommend trying it yourself.

I guess you could say I'm manually adjusting with a "Shutter priority" mindset when I go out shooting, by just adjusting the aperture to my environment, but knowing that I have 1/500th set on my camera means I'm confident that any situation that comes my way I can capture it and my images will be motion free. Personally I see no need for shutter speeds of 1/4,000 and above because, honestly, 1/500th just works so well, it's like my own 'gold standard', and the setting I first change on any camera.

While this might be a very 'primitive' way of capturing images, it is also the way many photographers shot in the film days when nothing had a light meter built-in, and people might not have one to hand. The technique is called the 'Sunny 16 rule' and focuses on changing your aperture to the available light around you, but keeping your shutter speed the same as your ASA film speed or ISO.

Most common films in the day were rated at ASA 400 and ASA 800, so according to the Sunny 16 rule, you'd set your shutter speed at 1/500 or 1/1000, respectively. The rule is that the number under the fraction is the nearest to the ASA/ISO – since shutter speed steps tend to be 1/500sec rather than 1/400sec the numbers aren't quite perfect reciprocals.)

While we now live in the digital age, and I still shoot analog and digital, this rule still applies, and it is the best technique I learned in my photography. Would it be nice to change shutter speeds once in a while? Yes. But do I really need to? Not in the slightest!

1/500th is my 'go-to' shutter speed for everything. Knowing that my camera is set to that speed, I can capture any shot I want and know what I am going to get, be that on film or shooting digital.

It frees my mind to think about other things in the image, composition for example, how the light is hitting a scene, etc. Having one less thing to think about when taking images is such a feeling experience that I recommend giving it a try, it will certainly work for most things and you might be surprised!