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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Back in September Nikon joined forced with the toy company Bandai Namco to produce micro-scale toy models of four Nikon cameras. At the time, the cameras featured in the “Nikon Miniature Collection” were only available in Japan, dispensed from specialist toy vending machines called Gashapon. However, as of March this year, the Nikon Miniature Collection has also been available in North America.

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

The four toy cameras in the Nikon Miniature Collection include the Nikon Z9 fitted with a Z 24-70mm f/2.8 S lens, and the Nikon Z fc with Z DX 16-50mm f/3.5-6.3 VR lens. There are also two 35mm film cameras: the iconic Nikon F from 1959 with a Nikkor-s 55mm f/1.2 lens, and the Nikon SP from 1957 equipped with a W-Nikkor 3.5cm f/1.8.

The lens is detachable from each camera, and the toys feature extra details like removable lens and body caps, plus a set of small stickers that add additional fine detail to the models. This attention to detail is particularly impressive when you consider how tiny these models are - the Nikon F model is only around 2cm in height.

If you want to get your hands on one or more of these micro Nikon recreations, there are 28 official Gashapon shops dotted across the US and Canada, plus an additional 138 locations with licenced Gashapon vending machines. Expect to pay $8 for each turn of the Gahsapon machine's dispensing handle, which will vend one of the Nikon cameras at random. This is considerably more than the 500 Yen ($3.50) that the same toys cost in Japan, but that's likely to be of little concern to keen collectors of these iconic Japanese toys.

Even if you've never manually adjusted the f-stop on your lens or camera, you've likely come across this setting before. While it's possible to let the camera handle it automatically, mastering the f-stop is crucial if you want to conquer the exposure triangle and fully control your photography.

Scroll down for your cheat sheet

Definition: What are f-stops?

Also known as aperture size, the f-stop controls the amount of light that passes through the lens at a given shutter speed. All else being equal, a smaller aperture (like f/16) allows in less light than a larger one (like f/4), meaning it takes longer for the same amount of light to reach the sensor. It's similar to how an hourglass works: the size of the opening between the chambers determines how long it takes for the sand to flow from top to bottom.

So, the smaller the aperture, the longer the shutter speed you'll need in a given situation. You can observe this by setting your camera to Aperture Priority mode and adjusting the aperture; the shutter speed will change with each adjustment.

One thing that often confuses beginners is that small physical apertures have high f-stop numbers like f/16 and f/22, while large (or "wide") apertures have low f-stop numbers like f/1.4 and f/2. The reason is that f/16 represents one-sixteenth, not sixteen, and f/4 represents a quarter, not four.

• Why do small apertures have large f-numbers?

F Stop cheatsheet

The f-stop number actually refers to the size of the aperture opening, calculated by dividing the lens's focal length by the f-number. For example, with a 200mm lens, an f/4 aperture would have a diameter of 50mm (one-quarter of 200mm).

So, how does the f-stop, or aperture, impact your image? Primarily, it influences exposure, though the effect depends on the exposure mode you’re using. In Manual mode, if you change the aperture without adjusting the shutter speed, your image will either become darker or lighter depending on your adjustment. In Aperture Priority mode, however, your camera automatically adjusts the shutter speed as you change the aperture, maintaining a consistent exposure.

No matter which mode you choose, adjusting the aperture will impact the depth of field. Depth of field refers to the range within a scene that appears in focus, and photographers often use medium to small apertures to achieve greater sharpness throughout the image. However, depth of field also depends on factors like where you focus within the scene.

Read more: Cheat Sheet: How to Affect Depth of Field

Both very small and very wide apertures have their challenges, so it's important to evaluate each scene to determine the most appropriate setting. Wide apertures are excellent for isolating subjects from their backgrounds, but they can lead to softer images due to an effect known as spherical aberration.

Extremely wide apertures can also be difficult to manage in bright conditions, as your camera may not be able to use a fast enough shutter speed to prevent overexposure unless you use an ND filter.

On the other hand, small apertures can make diffraction more noticeable, which can also soften images. These apertures are also more challenging when hand-holding the camera, as the smaller the aperture, the longer the shutter speed required—eventually making it difficult to hold the camera steady enough for sharp images. In such cases, a tripod or a good image stabilization system can be helpful.

• More photography cheat sheets

• More photography tips

• Dictionary of photography terms

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

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

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

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.

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

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

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

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

Sample Images

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

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

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

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

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

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

The winning images of the Bird Photographer of the Year 2024 competition have been selected, and this year the grand prize winner is an impactful and thought-provoking image that shows over 4,000 birds that were killed after colliding with windows in Toronto, Canada.

More than 23,000 images were entered into the competition, which is open to photographers worldwide, vying for the $4,675/£3,500/AU$8,600 grand prize. 

The overall winner was captured by Canadian photographer Patricia Homonylo on her Sony A7R IV with a Sony FE 16-35mm f/2.8 GM II lens. Her shocking image, titled ‘When Worlds Collide’, shows birds killed in collisions with windows and other reflective surfaces in and around Toronto.

“Each year more than one billion birds die in North America alone due to collisions with windows,” says Homonylo. “I am a conservation photojournalist and have been working with the Fatal Light Awareness Program (FLAP), where we save window-collision survivors in Toronto. Sadly, most of the birds we find are already dead. They are collected and, at the end of the year, we create this impactful display to honor the lives lost and increase public awareness. I hope people are shocked by what they see and are moved to act by using bird-safe glass and supporting organizations like FLAP.”

According to FLAP, reflective surfaces like windows can appear to birds to be a continuation of the landscape behind them, and consequently they may fly into windows at full speed. The organization encourages the use of bird-safe films on windows, bird screens or window grills.

• Check the best lenses for bird photography

The adult competition had a total of eight categories, from which the overall winner was chosen: Best Portrait, Birds in the Environment, Bird Behaviour, Birds in Flight, Black and White, Urban Birds, Conservation (Single Image), and Comedy Bird Photo. There was also a Conservation Award, Portfolio Award, and Video Award.

The winner of the Bird Behavior category was Nathaniel Peck, who said: "In early March 2023, the remains of an American Black Bear were discovered by hikers along a rushing mountain stream in West Virginia. It was very clear from the large patches of missing fur that the bear had died after a battle with mange. After being informed of the carcass and securing permission, I set up a DSLR camera trap that took images of all the animals that came in to investigate and scavenge off the bear. The set-up remained in place for six months. As the weather warmed in spring, this Turkey Vulture became a frequent visitor, sometimes spending hours at the carcass."

Best Portrait winner Alan Murphy commented: "During my stay in Alaska, Grey-crowned Rosy-finches would gather in large flocks next to my hotel. Fortunately for photographers, they are a very tame species and they allowed me to set up my tripod and camera to grab a few frames before they all took off. The colours in the background are distant boats in a marina."

The Birds in Flight top spot was taken by Hermis Haridas, who explains how he managed his shot: "A Eurasian Hoopoe took flight with its wings spread in a smooth motion across the canvas of the early-morning sky illuminated by the sunrise’s bright hues. I saw that this bird would occasionally grab its prey in the air and other times on the ground. Additionally, I noticed that each time it caught prey, it flew in the same direction to a nearby tree. That was when I had the idea to photograph the bird against a background divided into dark and light, representing the contrasting sides of existence. The following morning, I returned to the same spot well before sunrise, eager to witness nature’s spectacle unfold once again. Anticipation heightened as the first rays of light bathed the landscape, and, true to my expectations, the hoopoe appeared in the distance, gliding gracefully towards the perch that was familiar from the previous day. With my camera poised and settings adjusted, I commenced capturing the unfolding scene. Among the flurry of clicks, I chanced upon a frame that resonated deeply with me – a moment frozen in time, brimming with unique charm. It was as if nature had bestowed upon me a gift, a singular composition that encapsulates the essence of the hoopoe’s beauty and grace. Indeed, many have remarked that this frame is a marvel that cannot be replicated – a testament to the serendipitous wonders that await those who seek them amid the natural world."

Kat Zhou took the top prize for the Birds in the Environment category, commenting: "Here we see a trio of Northern Gannets diving into the ocean on a sunny day in Shetland. The species is Scotland’s largest seabird, and they are remarkably adept in the water, with the ability to dive to depths as far as 22 metres. I took this photo while scuba diving from a boat near Noss, which is home to the UK’s seventh largest colony of Northern Gannets. In the past the population has been estimated at around 25,000 birds, though their numbers were unfortunately severely reduced by the avian flu outbreak. It is unclear when, or if, their population will be able to recover. Dead herring from a local herring fishery were used to attract the birds to the boat."

David Stowe's 'Hippo Impression' scooped the Black and White Gold Award. He said: "This photograph shows a Hoary-headed Grebe as it disappears below the surface of the water to feed, pushing into the depths with its huge paddle-like feet. I took the image from a raised platform high above the wetland. With a little bit of imagination, the combination of bird and ripples look like the head of a hippo."

Nadia Haq's image of a penguin loosing its footing snagged the Comedy Bird Photo prize. She remarked: "I was sitting on a Zodiac next to my husband and 10-year-old son near Brown Bluff, Antarctica, when we spotted a group of Adélie Penguins on some sea ice. As we slowly approached them, they started to toboggan on the ice, and I captured one of them sliding as if performing a modern dance move."

'Treacherous Journey', the Urban Birds category winner, was snapped by Grzegorz Długosz, who explained: "Goosanders breed in the park about 1 kilometre from Poland’s life-giving River Vistula. Each mother has to move her brood to the river as quickly as possible due to lack of food and safety in the park. They make the journey through a series of underground passages and over a six-lane highway. Each year a group of volunteers help them cross this deadly road by stopping the traffic. After crossing they arrive at the River Vistula where they can feed and grow. This image shows a mother Goosander crossing a smaller road because she decided not to use the scary and dark underground passage below it."

For younger photographers, there were three age-based categories – 11 and under, 12-14, and 15-17 – and this year 14-year-old Spanish photographer Andrés Luis Domínguez Blanco was crowned overall Young Bird Photographer of the Year winner for for his creative angle on a nuthatch scrambling down an oak tree.

Young Bird Photographer of the Year Andrés Luis Domínguez Blanco proudly explained: "I photographed this Eurasian Nuthatch at Grazalema in southern Spain using a wide-angle lens. An oak tree next to a river provides cover for species such as woodpeckers and nuthatches coming down to drink. I was using a remote-control set-up, and I just had to wait. Since these species like to climb trunks, I thought about what their vision and perspective would be like."

Emil Wagner won the 15-17 Years award "I took this photo on a beautiful beach on the Baltic Sea. There are a number of waders and other birds here, but also many visitors who enjoy the beautiful landscape. In this case there was also a dog who initially did not notice the Grey Plover. The Grey Plover, however, did notice the dog and flew away shortly after I took the photo. While I do not believe this incident greatly stressed the bird, it is crucial to acknowledge the potential impact of human activity and tourism on protected species and their habitats. In my opinion, the scene represents this potential conflict between humans and nature."

And finally, the 11 and Under winning shot was created by Julian Mendla: "Lake Federsee is a famous wintering area for numerous migratory birds. From November to March, Eurasian Bitterns are frequent visitors to this lake. As soon as the lake freezes over, these rare birds retreat to trenches through the reeds. Surprisingly, this individual was very close to the boardwalk that leads through the nature reserve. From there, I could easily watch its fishing campaign and take numerous photos."

This year, the competition donated £5,000 to partner charity Birds on the Brink, which provides funding to bird conservation projects around the world. Commenting on the winning image, Birds on the Brink trustee Paul Sterry stated: “The mark of a good photograph is one that either demonstrates artistry or tells a story. The mark of an exceptional one is that it does both. This is just such a photograph, portraying a tragic and often-overlooked aspect of man’s impact on the environment and an unintended consequence of our species’ high rise aspirations, which turns out to be yet another devastating threat to wild birds.”

The 2025 competition is now open for entries at birdpoty.com, and an accompanying hardback coffee-table book, Bird Photographer of the Year Collection 9, is also now available to buy.

You might be interested in our guide to the best bird feeder cameras and the best cameras for wildlife photography. 

Also, don't miss our piece about using a full frame or cropped sensor for bird photography!

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

The Brenizer method is the brainchild of renowned US wedding photographer Ryan Brenizer. It's sometimes referred to as the 'bokeh panorama' or 'bokeh-rama', owing to the panoramic stitching technique used to achieve it and the super-shallow depth of field that's produced. 

'Bokeh panoramas' boast shallower depths of field than are otherwise achievable with a wide-angle lens and give APS-C and full-frame users the ability to produce portraits with a large-format aesthetic. 

The key to this striking technique is to use a telephoto lens, ideally a fast one such as the best lens for portraits. You then shoot your portrait in small sections - in a tile-like grid that you will then stitch together in Photoshop. For each shot you use constant camera settings that won't change between frames, so you can create a seamless blend.

Once you've settled on a white balance preset, and locked your exposure in Manual, you used AF to focus on your subject and then switch to manual focus so as not to change your point of focus as you begin to shoot your panoramic sequence. Exactly how many photos you take is down to personal preference, but we strongly recommend overlaying each image by around 30% to ensure you don't leave any gaps.

Adobe Photoshop CC makes it easy to blend your sequence by automatically merging your images. You then simply need to check the blend for any inconsistencies and crop it as desired. If you like the idea of creating a wide portrait with a super-shallow depth of field, here's how to shoot and edit your own 'bokeh panorama'.

The Brenizer method

1. Select a fast lens 

A fast medium telephoto is handy for maximizing the shallow depth of field. However, if you don't have a pro porttrait lens any telephoto zoom will do. The great thing about this trick is you end up with a wide-angle view with much less depth of field than your existing lenses will allow.

In this instance, we used the Nikon AF-S 85mm f/1.4G, but the classic 50mm f/1.8 could also work well, especially when providing an equivalent focal length of 75mm on an APS-C camera. 

Depending on your system, the Canon RF 85mm F1.2L USM, Sony FE 85mm F1.4 G Master, and Fujifilm XF 56mm F1.2 R WR would work well, too. Thankfully, you're not limited to just prime lenses though. A fast telephoto zoom, like a 70-200mm f/2.8, will still produce a suitably blurry background for this effect.

2. Set a consistent white balance  

As you'll be merging photos, each image needs to be as consistent as possible. To prevent the white balance from changing mid-sequence, head to menu and set the color temperature manually. We'd suggest shooting in Raw so you can tweak the color temperature of you batch of images later.

3. Frame your image 

You'll have plenty of room to crop your large panorama in post, but you should still consider your composition. Visualize your final image and position yourself accordingly before you start shooting. Still leave enough space to crop, though, as your blended image will be an irregular shape.

4. Camera settings 

Select Aperture Priority mode and choose a wide aperture. We'd recommend f/2.8 or wider. Adjust the ISO value until you get a shutter speed of 1/200 sec (or higher). Select Manual mode and input the same settings to lock your exposure. Just like the white balance, consistent exposure is vital.

5. Switch to manual focus 

Your focus needs to be consistent throughout your sequence. If you're using back-button focus you can simply release the back button after you've focused on your subject. If not, focus on your subject using AF and then switch to manual focus. Your focus will then remain locked as you proceed to capture your bokeh panorama.

6. Capture a 'bokeh panorama'

We framed and captured our subject, and then shot three frames to the left and three frames to the right. This process was repeated just above the model's head and below her feet. There's no hard and fast rule for how many or how few images you should capture. Just make sure you overlay each image by around 30% to prevent any gaps between frames.

Blend a 'bokeh panorama'

7. Open your sequence in Camera Raw 

Highlight your sequence in Adobe Bridge (select the first image, hold Shift and select the last image). Right-click and select Open in Camera Raw. Hold Shift and select the last image in the left panel to highlight the sequence. Edits will now affect all of the images.

8. Set the color temperature

Once you've selected Remove Chromatic Aberration and Enable Profile Corrections in the Lens Corrections tab, check the exposure and color temperature of each image. Ensure you fix any inconsistencies before blending your panorama and select Done.

9. Import your sequence into Adobe Photoshop

With the images still selected, click Tools>Photoshop>Photomerge. Make sure Auto and Blend Images Together are selected when the Photomerge window opens and click Browse to select the images from your sequence. Hit OK to start the merging process.

10. Blend your 'bokeh panorama'

You'll now have a large medium-format style image that's spliced into multiple layers. Photoshop generally does a good job of blending images together, but it's worth looking for any obvious inconsistencies, which you can rectify with the Clone or Patch tools.

11. Crop your blended image 

Your image is likely a rather irregular shape; fix this using the Crop tool. It's worth remembering that your photograph is a blend of multiple pictures, so you have plenty of room to play with if you opt for a tighter composition.

6. Flatten and finish 

Make a flattened copy of your image by selecting the topmost layer and pressing  Ctrl+Alt+Shift+E (Cmd+Alt+Shift+E on a Mac). You can then proceed with your normal tonal editing regime to finish it off.

You may also be interested in how to use Photoshop's High Pass Filter to selectively sharpen your photos, or to learn other great Photoshop tips

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.

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

Leica is a brand that champions women photographers and, through the Leica Women Foto Project, it provides a platform to showcase powerful visual narratives through photography projects.

In addition to manufacturing some of the greatest mirrorless cameras and film cameras of all time, Leica continues to encourage and provide a platform for the underrepresented. Since its inception, the initiative has been a hotbed for incredible contemporary photography talent. Now, in its sixth year, it is open to new submissions.

This year's theme is titled 'Unity Through Diversity', calling for photographers to submit images that best represent the human condition and our shared experiences.

"The Leica Women Foto Project serves to empower the female perspective and its impact on today’s visual stories. We believe the shape of a story is reactive to the storyteller’s perspective, developing a narrative that too often is reflective of individual truths," says Leica.

"The Leica Women Foto Project encourages diversity and inclusion in visual storytelling to amplify voices typically underrepresented in photography, discovering the breadth of shapes formed by a single story".​

Leica continues to encourage photographers to push the boundaries of visual storytelling while fostering diversity and underrepresented voices. For the third successive year, entries will be accepted from four regions of the US, UK, Mexico and Canada, with a winner being chosen from each.

The winners will each receive a Leica SL3 camera, a Vario-Elmarit-SL 24-70mm f/2.8 ASPH lens, and a $10,000 (approximately $7,500 / AU$14,500) cash prize to help them further their submitted project and mission.

Submissions will be judged by a jury comprised of some of the most celebrated and influential women in photography, including actress Nikki Reed, filmmaker and entrepreneur Kathryn Boyd Brolin, photographer Mary McCartney, and Director of Leica Galleries worldwide, Karin Kauffman.

In addition, winners will have their work presented to esteemed directors from publications such as Aperture, The Times and The Washington Post who will evaluate submissions based on "quality of photography, the depth of the project, and a demonstrated commitment to the art of photography".

The call for entries for the 2025 Leica Women Foto Project Award is now open and closes on November 15 2024. Submissions are only accepted from residents from the US, UK, Mexico and Canada, and awardees will be announced on International Women's Day – March 08 2025.

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

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

I am fascinated by the power of volcanic eruptions, and capturing them in a photograph is a dream come true. That’s why I frequently hike around volcanoes in Guatemala. In fact, my fascination with volcanic eruptions inspired me to start running photography workshops and private tours to see them. I want more people to experience the Earth in all its fierce glory, and helping them to capture that perfect shot motivates me to do my best. I want them to return home with incredible photos and memories from a real adventure.

“In this shot, my goal was to capture the aftermath of a volcanic explosion, with the cone of the volcano covered in the molten rocks that have just come out of the crater. To avoid a trial on the rocks rolling down the mountain, I wanted to freeze them in the photo so I used a short exposure of three seconds.

It’s always a challenge to stay awake throughout the night while being exposed to the elements. For this capture, I was shooting from another volcano at a distance of 2km away from the Volcan de Fuego – the most active volcano in Latin America. The altitude and the cold weather are always a challenge, but the excitement of seeing the volcano erupting in the distance is a great reason to get out of the cabin.

I didn’t have to do too much editing to this image in post-processing. I only added some contrast, increased the colors slightly, and decreased the highlights close to the crater.

Tech details

Camera: Nikon Z 6
Lens: Nikkor Z 70-200mm f/2.8 VR S 
Aperture: f/3.2
Shutter speed:  3 sec
ISO: 800

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Canon has unveiled its latest addition to the Cinema EOS lineup – the EOS C80, a compact RF mount cinema camera designed for filmmakers and live production. Building on the success of previous models such as the EOS R5 C and EOS C70, the EOS C80 introduces a full-frame sensor in a form factor that balances portability with professional features.

At the heart of the EOS C80 is a full-frame stacked backside-illuminated (BSI) sensor. This sensor, first seen in the EOS C400, enables 6K recording with 16 stops of dynamic range, which Canon claims offers improved low-light sensitivity and minimal noise. The camera's triple base ISO settings (800, 3200, 12,800) provide flexibility for varying lighting conditions, and an auto-switching mode allows for smooth transitions between these ISO levels in changing environments.

Canon has equipped the EOS C80 with its Dual Pixel CMOS AF II system, which delivers some of the most advanced autofocus capabilities yet in a Canon cinema camera, with face, eye, and head tracking, as well as body and animal detection.

In terms of design, the EOS C80 maintains a compact form similar to the EOS C70, with ergonomic refinements for handheld shooting and gimbal use. A redesigned removable top handle and a brighter LCD panel improve usability in outdoor environments, while the new joystick design offers better control.

The camera also supports Canon's PL to RF mount adapter, expanding compatibility with industry-standard Arri PL mount cinema lenses. Connectivity features include built-in Wi-Fi and Ethernet for file transfer, remote control, and IP streaming, enhancing workflow efficiency. Additionally, real-time lens metadata capture and VR capabilities, in conjunction with Canon’s RF 5.2mm f/2.8L Dual Fisheye lens, open up new creative possibilities for virtual production.

The EOS C80 supports various recording formats, including 12-bit Cinema RAW Light and new MP4 formats such as XF-AVC S and XF-HEVC S, which provide high-quality 4K footage with manageable file sizes. These options aim to streamline the post-production process, making the camera suitable for a wide range of professional applications.

The Canon C80 will go on sale for $5,499/£5,339/AU$8,899, and should be available from the end of September in some major markets but in November in Australia. For anyone who can’t wait until then – Canon will showcase the EOS C80 at the IBC show in Amsterdam from September 13-16.

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. 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Leica lenses have earned a global reputation for their exceptional quality, and for good reason. With over 150 years of experience in crafting top-notch optical instruments, Leica's legacy is truly unmatched. This expertise shines through in the company's latest offering, the brand-new Leica Vario-Elmarit-SL 70–200 f/2.8 ASPH - Finally, the 'Pro Workhorse' lens has arrived at the Leica SL-System and I'm excited about it!

This L-mount lens is the newest addition completing a powerful trio of SL zoom lenses with a consistent f/2.8 aperture. Alongside the Super-Vario-Elmarit-SL 14–24 f/2.8 ASPH. and the Vario-Elmarit-SL 24–70 f/2.8 ASPH., it opens up a world of possibilities for both photographers and filmmakers, covering focal lengths from an ultra-wide 14mm to a striking 200mm telephoto. And if you're looking to go even further, Leica has also introduced the new Extender L 2.0x teleconverter which pushes the reach of the new 70-200mm lens to an impressive 400mm at its longest reach.

Perfectly suited for capturing portraits, the classic telephoto zoom range of the Vario-Elmarit-SL 70–200 f/2.8 ASPH. is designed to excel in various scenarios—from events to sports to nature photography. Its high aperture ratio – constant across the entire zoom range – combined with superb image stabilization ensures that you're always ready to tackle any photographic challenge.

Inside the lens, you'll find 20 elements in 15 groups, including three with aspherical surfaces. This design is said to guarantee razor-sharp images, even at the edges, no matter the focal length. Plus, with internal focusing, the lens maintains its compact form, making it comfortable and easy to handle at any distance.

The Leica Vario-Elmarit-SL 70–200 f/2.8 ASPH. is available now, priced at $3,295 /  £2,780. The Leica Extender L 2.0x is also available, priced at $995 / £800. 

Check out our guide to the best Leica SL lenses

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Sony FE 85mm F1.4 GM II full review

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

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

Image sharpness

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

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

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

Chromatic aberration

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

Distortion

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

Verdict

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

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

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

Photographers, like any other artists, are influenced by a range of different factors and creativity is an important aspect of photography just as it is in any other form of art. 

“Music has played an integral part in my work and within my social media presence; to heighten the emotional narrative and connection of my work,” Josh says. “Therefore, it seemed appropriate to capture an image ahead of the world-famous Glastonbury Festival.

“This frame captures the iconic Pyramid Stage against the backdrop of the Orion constellation, bringing together photography, astronomy and music. This self-portrait image mimics the stars that have been before – the likes of David Bowie, Dolly Parton and Sir Elton John.” In this narrative, Josh captures the king of the stars; Orion taking center stage.

The image has been featured on the BBC and various news channels ahead of this year’s Glastonbury festival. Josh dedicates the shot to two of his music idols, Kate Bush and Grace Jones.

Josh’s main gear

Sony A7s III 

Sony has set a high standard for low-light capabilities among mirrorless cameras, enabling the capture of real-time footage and improved signal-to-noise ratio capabilities. “This range of cameras, combined with fast-shooting, wide-angle lenses, is ideal for a power-house setup,” says Josh. “A greater aperture and low-light sensitivity make it possible to reduce the SNR within low-level environments, providing excellent clarity for landscape astrophotography.”

Sigma 15mm f/1.4 Diagonal Fisheye 

In his astrophotography, Josh is fortunate to be testing out the latest lenses on the market, including the Diagonal Fisheye lens from Sigma. “Sigma lenses are revolutionizing the astrophotography market,” he says. “They are the first lenses of their kind to capture wide-angle images with an impressive aperture capability of f/1.4.”

Canon EOS R5 and Canon 200-800mm f/6.3-9 IS USM

Canon’s latest cameras and telephoto lenses are changing the game for astrophotography, especially for solar and lunar targets, as they are perfect for alignment photography. “The R Series from Canon provides a greater megapixel count alongside greater focal lengths, making a superb combination for capturing celestial events,” Josh says. “This could include transits, eclipses and comets, among others.”

Benro Tortoise 24CLV P

Benro leads the market for versatile, affordable, yet durable tripod designs. “I’ve tested a number of different tripods but my preference is Benro’s Tortoise 24CLV,” Josh says. “It is constructed from carbon fiber, but not only is it immensely lightweight, it is durable and more suitable for use in colder environments.”

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

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

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

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

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

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

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

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

Fujifilm’s camera history has been kind of like a game of two halves. It made its name with compact retro-styled X-T, X-E, and X-Pro cameras with compact bodies and external exposure controls. These came with a range of compact f/2 prime lenses designed for compactness and affordability, including an 18mm f/2, 23mm f/2, 35mm f/2, and 50mm f/2. This XF16mm F2.8 came along a little later to provide a 24mm equivalent prime no larger than the rest, and yet with a physical aperture ring and weather sealing.

These are among the best Fujifilm lenses, certainly for travel photography and fans of old-school external exposure controls.

Since then, though, Fujifilm has shifted gears, aiming for a more mainstream enthusiast/hybrid market with the X-S10 and X-S20, and higher-end professional users, with the Fujifilm X-H2 and X-H2s. These are among the best Fujifilm cameras to buy today but have lost some of the uniqueness of earlier models.

The X-T series carries on with the Fujifilm X-T5 and X-T50, but the X-E and X-Pro range appear to have gone. Along with this has been a shift towards larger, professional zooms and fast f1/4 primes which appeal to a wider market but don’t sit so well on the smaller cameras.

The XF16mm F2.8, however, will still have strong appeal for owners of smaller or more modest Fujifilm bodies. Its maximum aperture may be modest, but it’s compact, inexpensive, and practical – and it could fill a gap in many users’ prime lens line-up.

Fujinon XF 16mm F2.8: Specifications

Fujinon XF 16mm F2.8: Price and availability

The Fujinon XF16mm F2.8 is widely available and costs around $399 / £339. Fujifilm also makes an XF16mm F1.4 R WR which is quite tempting, because it has a maximum aperture 2 stops faster – though it does cost almost three times as much. The other alternative is the much newer Fujinon XF18mm F1.4 R LM WR, but that has a slightly longer equivalent focal length of 27mm, and as well as being a lot more expensive, it’s physically larger and longer too. If you’re happy with an f/2.8 maximum aperture, the little XF16mm F2.8 is terrific value for money.

Fujinon XF16mm F2.8: Design and handling

The XF16mm F2.8 is pretty cheap by prime lens standards, especially for one that has a physical aperture ring and weather-sealed construction. It feels very well made indeed, with a metal mounting plate (of course) and a petal-shaped lens hood included.

Everything about this lens feels well-designed. The aperture ring is clearly marked and is beautifully weighted with 1/3-stop clicks between the major aperture markings and an A (auto) setting past f/22, where the lens aperture is controlled by the camera body.

The manual focus ring feels really smooth and is mounted ahead of the aperture ring where the lens barrel tapers in slightly. This means there’s no danger of mistaking one ring for the other and you can find both easily by touch.

However, there’s no focus distance scale on this lens, and hence no depth of field markings for zone or hyperfocal distances. These can be displayed on the camera, though, so it’s still perfectly doable.

Beyond that, there’s not much more to say. This is a simple, solid-feeling little lens that gets on with the job without any fuss or distractions. It also looks good and balances well on any Fujifilm bodies.

Fujinon XF16mm F2.8: Performance

Optically, the XF16mm F2.8 is good but not stellar. Fujifilm’s in-body corrections and embedded profiles effectively remove chromatic aberration, vignetting, and distortion, but while the edge-to-edge performance is good on older Fujifilm bodies, the 40MP sensor in my X-T5 does make the fall-off in resolution towards the edges of the frame more apparent.

This is the curse of high-resolution sensors. All those megapixels can turn anyone into a pixel-peeper, and it’s only human nature to zoom right in to see how much detail you’ve captured. Provided you don’t zoom in too far – say 100% on a 4K monitor – the images from this lens look great. Zoom in further to 200%, say, and you’ll see that while the center resolution is excellent, it does fall away somewhat toward the edges.

Will this bother you? On a 26MP, 24MP, or older 16MP Fujifilm camera, I doubt it. It’s only with the latest 40MP sensors it starts to become apparent. That’s a bit of a shame because the little XF16mm 2.8 is such a wonderful match for an X-T5 body, and especially the new X-T50.

The autofocus performance is excellent. Fujifilm’s smaller lenses don’t get the company’s high-speed Linear Motor actuators but it doesn’t seem to matter here. The XF16mm F2.8 is whisper quiet and focuses in an instant.

Fujinon XF16mm F2.8: Sample images

Here’s a selection of shots taken with the XF16mm F2.8. It’s an ideal walkaround lens for city streets and architecture, and landscapes too. The modest F2.8 maximum aperture only becomes a limitation in dimly-lit interiors, but if you’re using a later Fujifilm body with IBIS, you can get around that with slower shutter speeds.

Fujinon XF16mm F2.8: Verdict

The Fujinon 16mm F2.8 is a super little lens that’s really well made and nice to handle. The controls and finish are so good that it feels as if it ought to cost a lot more than it actually does. What keeps the cost and the size down is that maximum aperture of f/2.8, which isn’t much in a world where 24mm equivalent primes are typically f/1.8 or f/1.4. But if that’s the price of compactness and affordability then I’m happy to pay for it. (I actually did pay for it – I own this lens.)

Ideally I would like it to be a little sharper at the edges than it is when I use it on my X-T5, but that’s an issue raised by this camera’s unprecedented resolution. It is proving quite difficult to find affordable X-mount lenses that can live up to this sensor’s potential.

I don’t want to overstate this, though. You have to be a bit of a pixel peeper to notice in the first place, and if you’re using a 26MP body or lower, then it’s pretty much a no-issue.

I say that because it would be a real shame if this lens was overlooked because it’s not perfect. It’s small, affordable, practical and beautifully made.

Fujinon XF16mm F2.8: Alternatives

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

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

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

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

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

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

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

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

Fine art wildlife photographer Harry Skeggs’ images of exotic animals hang in galleries the world over, with price tags of his limited-edition prints running into the thousands. In this issue’s lead feature, he shares his tips and technique that elevate his images from mere photographs to works of art. 

Our apprentice heads to the moors and tors of Dartmoor National Park where landscape photographer Neil Burnell schools him in shooting scenic shots with a difference – in the infrared spectrum with a modified Nikon and specialist filters. 

We put eight prime lenses through their paces in our Big Test – ranging from wide angle to standard and short-telephoto focal lengths, the main factor that binds them together is that they’re all absolute bargains, costing under £250/$300. We also give the review treatment to Nikon’s new Z 35mm f/1.4 – that’s both faster and cheaper than its existing S-line Z 35mm f/1.8 S prime. 

Award-winning landscape and astrophotography expert Ian Asprey is in the hotseat for this issue’s N-Photo interview, while Light & Land photographer Charlotte Bellamy combines intentional camera movement with multiple exposures for intriguing images of woodlands near her home.

Plus we have a fun selection of projects to try your hand at, including going on a photowalk, dramatic toy scenes with a smoke machine, surreptitious street photography, and motion-blurred plant portraits. 

N-Photo: The Nikon Magazine is a monthly magazine that's written by Nikon enthusiasts for Nikon enthusiasts, you can be sure that all the content is 100% relevant to you! So for the best Nikon-focused news, reviews, projects, and a whole lot more, subscribe to N-Photo today – with our unmissable subs deal!

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Subscription deals: Our guide to the best photo magazines

The original Sony FE 85mm f/1.4 GM is unquestionably a Sony lens classic, originally launched in 2016 as one of the first of three G-Master lenses, it proved that Sony could make lenses for its new mirrorless cameras that rivaled the best DSLR lenses for optical quality. 

Over the years as lens technology has evolved the original 85mm G-Master is starting to show its age, with slow autofocus, prominent chromatic aberrations, and a large size that doesn’t perfectly balance with smaller bodies. So, Sony has gone back to the drawing board to design a more compact and lightweight 85mm lens that solves the previous version’s optical flaws – and has come back with the Sony FE 85mm f/1.4 GM II.

With 14 elements in 11 groups, including x2 XA and x2 ED elements, as well as a Nanon AR II coating on the front of the lens, Sony is promising this second-generation’s refined optics will produce significantly less color fringing and improved chromatic aberrations. Sony demonstrated some images taken with both generations of the lens, and this definitely looks to be improved, as well as the lens being clearly sharper than the Mark I version. However, we will have to test this ourselves in our review. 

The 11-blade aperture should make for a nice rounded bokeh, with the classic 85mm portrait focal length being a favorite of many for creamy background falloff. Sony has brought all its lens technology to bear here, claiming its XA elements are manufactured to a 0.01-micron surface precision to remove any onion ring effects in the bokeh.

According to Sony’s calculations, the lens should be three times faster during autofocus (AF-S) than the previous version, with two XD linear motors driving the internal autofocus. This should allegedly make for a seven-fold improvement in subject tracking speed, with 120fps tracking supported. The lens has also been engineered to suppress focus breathing and will work alongside the focus breathing compensation in Sony’s latest cameras.

The Mark II version of the lens has shrunk down, measuring 84.7x107cm, versus the 89.5 x 107.5 mm of the original lens, and is also much lighter, weighing in at 642g versus 820g for the Mark I. The lens features two focus hold buttons, a manual focus ring, a de-clickable aperture/iris ring, and an iris lock switch.

The Sony FE 85mm f/1.4 GM II will be available at the beginning of September 2024 for a launch price of $1,799 / £1,850, with AU pricing to be confirmed. This is a jump from the $1,699 / £1,499 price of the original, although 8 years is a long time, so this price hike isn’t completely unexpected.

For more on all things Sony – check out our guides to the best Sony camera and the best Sony lenses.

Ever since the Leica Q was released in back in 2015, the pitch-perfect Q series has ranked among the very best Leica cameras. Since then we've seen the Leica Q2 and most recently the Leica Q3 hit the shelves – but one thing that some have always dreamed of is a longer lens than the wonderful f/1.7 28mm Summilux.

Well, the rumor mills are churning – and according to Leica Rumors, we might just see a longer focal length version of the Leica Q3 coming soon!

According to this report, there could be a Leica Q3 announced with a fixed 43mm f/2 Apo, which might sound surprising to some hoping that it would be a 50mm. 

However, 40mm is quite an admired focal length among photographers and anything close to it could be a great idea from Leica. The sought-after Contax G2, for example, shipped with a 45mm lens – and that was loved by all!

However, this 43mm focal length is not 100% confirmed, so has to be taken with a pinch of salt. I'd personally like to see a true 50mm if Leica were to launch a longer focal length Q3, but I will certainly take a 43mm.

What this camera might look like is a mystery at the moment, as is its release date – which is wide open, as it is expected to be announced sometime towards the end of this year.

There have been many rumors about a 'more affordable' Leica Q on the horizon, which we named the Leica Q-E, in line with Leica's M-E version of the more affordable M-system.

However, there is no suggestion that an 'affordable' Q-series will also be one with a different lens. More likely, that would mean a slower-aperture lens attached – say, a f/2.8 – but where there is smoke there is fire, and perhaps we could be talking about the same thing? Only time will tell!

If you're interested in the Q series, you might be interested in the best compact cameras. And if the idea of an affordable Q appeals to you, you might want to check out the best Leica camera alternatives. 

Looking for bokeh camera settings, on a film or digital camera? Getting a delicious, bokehlicious, blurry background requires the same set of parameters whether your camera is analog, DSLR or mirrorless.

If you're asking what is bokeh, in technicaly terms, it doesn't actually mean the blurry background itself; rather, it's the quality of that blur, and the out of focus areas in the fore and background of an image. Though some people still use "bokeh" and "blur" interchangeably. 

Regardless, these bokeh camera settings on film or digital will produce images with shallow depth of field – which means only a narrow plane of your photo will be in focus, with the background reduced to a buttery blur. This is how to achieve it…

Film bokeh camera settings

There's a notion that film cameras produce more blur than digital cameras, and this is kindasorta true. Most film cameras take 35mm film, which is equivalent to a "full frame" image sensor on a digital camera and produces a natively shallow depth of field (all things being equal, which I'll come onto in a minute). 

You also have medium format and large format film cameras, which take even larger sheets of film and have an even shallower depth of field. 

Digital cameras and camera phones, on the other hand, have image sensors of all different sizes, including things like 1/1.9-inch sensors in an iPhone, Micro Four Thirds sensors on OM System cameras, and APS-C sensors on Fujifilm X cameras… all of which are smaller than 35mm / full frame sensors, and cannot produce as shallow a depth of field. 

TLDR: there are many digital cameras and phones that cannot, all things being equal, render the same amount of background blur as a film camera. But bokeh camera settings are about much more than the size of your film or sensor!

All about the aperture…

At the end of the day, regardless of what camera you've got, you're going to need the right lens to unlock that beautiful blur! 

Look for a lens with a fast aperture, which is a low f-number such as f/1.8. In crude terms, the faster the aperture / lower the f-number the more background blur you can render.

This is where the bokeh camera settings come in: essentially, you'll need to "open" your aperture to its widest possible setting – which means setting the aperture all the way to the lowest f-number, whether that's f/1.8, f/1.4, f/1.2 or even f/0.95. 

This will mean that the maximum amount of light hits your film or image sensor, so you'll need to balance the exposure triangle to get the image you want!

… Well, and the lens

In addition to a lens with the fastest aperture, you also need a lens with a long focal length – like a 50mm, an 85mm or a 135mm. The longer your lens, the more defocus can be created behind your subject to create more background blur. 

When you see a portrait with that "cinematic" bokeh, it's as much to do with having the right focal length as it is about shooting with a wide open aperture. Shooting with telephoto lenses when photographing wildlife, for example, tends to produce inherently more blur. 

Distance matters, too

You will never blur out your background, no matter what settings you use, if your subject is leaning directly against it! 

The easiest way to blur the background is to move the subject as far away from it as possible; the greater the distance between subject and backdrop, the greater the degree of defocus that can be achieved. 

Conversely, you can also increase the amount of background blur by moving your lens closer to your subject. This can work to great effect for macro photography, as bringing the camera closer will start to reduce light sources to beautiful "bokeh balls".

Bokeh camera settings… the cheat code!

While I said that bokeh camera settings are about much more than the size of your film or sensor, I wasn't lying… but having the biggest sensor or film format really is a cheat code to getting deliciously defocused background blur.

Using a medium format camera, for instance, will simply melt the backdrop into a puddle of blur. Pair it with a long lens and a fast aperture and you can achieve some supernaturally shallow depth of field.

But you don't have to break the bank with medium format – check out the best lenses for bokeh regardless of what camera you're using, and if you use these settings and techniques you'll get that creamy, dreamy look in no time.

Wondering where to start? Take a look at the best cameras for portraits and the best lenses for portraits.

Want to talk workhorses? The Canon EF 400mm f/2.8L IS II USM was launched in 2010 – and it's still an absolute telephoto monster in 2024. 

And that's no small feat – not just because the Canon EF 400mm f/2.8L IS II USM is almost a decade and a half old, but also because it's been replaced by two newer versions of the lens. 

Let's be clear: there's no doubt that 2018's Canon EF 400mm f/2.8L IS III USM, and especially 2021's Canon RF 400mm f/2.8L IS USM mirrorless evolution, are astounding optics. However, they also came with astounding price tags; the RF version, for instance, carries a $11,999 / £12,449 / AU$21,999 asking price.  

But here's the thing with Canon's top-class glass: it ages like fine wine. And that L-series red ring doesn't disappear just because a few years have passed. 

The Canon EF 400mm f/2.8L IS II USM remains a ferocious performer. It packs four stops of image stabilization, with three different modes, which is rock solid when paired with a modern body like the EOS R5 Mark II or even the EOS R7 – where the 1.6x crop factor turns this into an enviable 640mm lens. 

The premium Subwavelength coating suppresses the internal reflections that cause ghosting and flare, the autofocus speed is still as quick as a hiccup, and most importantly the image quality is still pin sharp and utterly superb.

Perhaps most importantly, though, is the price. While fine wine tends to get more expensive as it matures, the introduction of newer lenses means that great glass only becomes more affordable.

The Canon EF 400mm f/2.8L IS II USM is frequently available at about $5,500 in the USA – making it a very appealing alternative to its replacements, even the cutting-edge RF version. 

So if you're in the market for a top tier telephoto lens, yes, don't overlook this golden oldie. It's every bit as good now as it ever was… and much friendlier on your bank balance! 

You might be interested in the best Canon telephoto lenses – which covers some of the best Canon lenses for DSLRs and the best Canon RF lenses for mirrorless cameras. 

I think most photographers start out with either buying something new, that's also cheap and growing their kit or buying something slightly better but secondhand to see if they actually like photography and then expanding upon that camera/lens combo.

I started out like that myself and slowly bought better second-hand cameras until I was in a position to buy new, and while I knew that buying new would also have a depreciation over time the lenses would more than make their money back during my professional career - which they all did, but when it came time for them to move one, the only lens I bought brand-spanking-new was the one I lost the most money on... and it will surprise you. 

The lens in question was quite a rare item in terms of photography telephotos, while most dream of owning a 300mm f/2.8 or at a push the lavish 400mm f/2.8 - I had to go one better and buy at the time the brand new Nikon AF-S 600mm f/4G ED VR lens for an eye-watering £8,000 / $9,500 - and I enjoyed all 11.2 Ib / 5.1kg of it for many man-years and traveled the world with it covering international events.

But when it came to letting this beautiful lens go I was hit with a sting that even today sends a shiver down my spine, due to the up-turn Nikon releasing some of the best Nikon Z lenses around the same time, including the new Nikkor Z 600mm f/4 TC VR S my 'slightly-used' but pristine optics 600mm took a nosedive on the secondhand market and my investment look like a poor choice in the grand scheme of things.

So how much did I sell one of the best lenses I've ever owned you ask? I initially bought it for $9,500 / £8,000 in 2012, and 12 years later I sold this massive lens for a mere $2,619 / £2,000... a massive loss of $6,881 / £6,000!

Yes, I had enjoyed using this lens and I know it made its money back ten-fold over those 12 years of ownership, but man... what a hit, and lesson learned!

In fact, it is the only lens I have ever bought brand-new, and as a special order. Heck, it even came directly from Nikon Japan in a wooden transport box - something straight out of an Indiana Jones movie!

But what this story does teach you all reading this is these exotic lenses in the Nikon F-mount are now a steal of what they once used to cost, and if equipped with the Nikon FTZ-adaptor you can still use these wonderful F-mount lenses your Nikon Z9 or any of the best Nikon mirrorless cameras. Take a look on eBay and secondhand specialists – there are bargains to be had!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Since its launch late last year, the Thypoch Simera series has quickly become a favorite among street photographers – offering great optics with a vintage touch. And Thypoch has just announced a new addition to the series.

The Thypoch Simera 50mm f/1.4 lens, is the latest to be added to its lineup, offering perhaps the most famous and recognizable focal length for street photography, favored by the father of street himself: Henri Cartier-Bresson, one of the best photographers ever.

The Simera series already consists of the Thypoch Simera 35mm f/1.4 and the Simera 28mm f/1.4, so adding the 50mm completes a trifecta of lenses perfect for street photography. Of course, the 50mm focal length makes for a fantastic all-rounder – so this can quite easily stay on your camera for all occasions.

Much like all current Thypoch lenses, it is targeted to fit the retro and analog style of the Leica M cameras – therefore, the Simera 50mm is manual focus. It features a helpful crescent-shaped focus tab and a modification from the standard infinity lock, each added in response to user feedback.

The Simera 50mm lens is constructed of an 8-element, 6-group optical design, including an aspherical element, an extra-low dispersion (ED) element, and a trio of high-refractive index (HRI) elements. This enables clear and sharp image quality from edge to edge, even when shooting wide open.

The lens has a fast aperture of f/1.4, which makes shooting in difficult low light situations that much easier, and the 14-aperture blade aperture delivers spherical bokeh and smooth focus falloff. The lens also has a minimum focusing distance of just 0.45m, incredibly useful for spontaneous street shooting and offering closer shooting than similar lenses on the market.

The demand for content creation and video is constantly increasing and has been considered in the design of the 50mm, featuring clicked and de-clicked aperture modes to suit the needs for smooth video work.

"The high refractive index multi-layer coatings and high refractive index elements deliver an abundant light transmission of up to T1.5, resulting in bright and vibrant images," says Thypoch.

By referring to the aperture in T stops, in addition to stating that the 14-bladed aperture is "cine-standard", the manufacturer is clearly catering to video usage.

ABOVE: Sample images taken with the Thypoch Simera 50mm f/1.4

The Thypoch Simera 50mm f/1.4 is available to preorder now in black and silver, with shipping scheduled for late September. The lens will cost just $749 (approximately £575 / AU $1,120).

The price of this lens is substantially lower than a Leica with the same focal length and aperture, and promises a great alternative without sacrificing optical quality. If the 50mm follows the same trend as the 28mm and 35mm, we may see additional mount options released soon.

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

If you're after a serious, high-end smart telescope but don't want to pay the high prices for Unistellar's 'Expert' range—chiefly the eVscope 2 and the eVscope eQuinox 2—the Odyssey is an attractive option in the company’s drop-down 'Discovery' range.

An entry-level smart telescope, Odyssey is essentially an all-in-one astrophotography rig. It captures light from the night sky and lets it fall only onto a camera sensor, taking long exposures of faint objects. It automatically stacks them as it observes, applying post-processing algorithms to build a clean and colorful image that appears in a smartphone app.

This is deep-sky astrophotography made easy. However, its feature set ranks it a notch below the company's Odyssey Pro. Compared to its pricier sister, the Odyssey lacks a Nikon-made electronic eyepiece, so it can't be used in any way as a traditional telescope. That makes it the same as much more affordable smart telescopes like the ZWO Seestar S50 and Vaonis Vespera II. However, here you get bigger, better optics, and superior build quality. It's also a Newtonian reflector-type of telescope (rival brands of smart telescopes are all lens-based refractors).

With a lower price, can the Odyssey compete for the title of the best smart telescope in 2024? Here’s everything you need to know about the Odyssey Pro. 

Unistellar Odyssey: Specifications

Unistellar Odyssey: Price

The Odyssey sells for $2,099 / £1,849, with frequent discounts available. That compares to the Odyssey Pro, which sells for $3,599 / £3,149. Both smart telescopes are in Unistellar’s 'Discovery' range.

The Odyssey and Odyssey Pro are essentially smaller and more affordable versions of the eVscope eQuinox II and eVscope II smart telescopes in Unistellar's 'Expert' range, which sell for $2,499 / £2,199 and $4,899 / £3,999, respectively.

For those after a Unistellar smart telescope for the lowest price possible, the choice is mostly between the Odyssey and the eVscope eQuinox 2. Neither has an electronic eyepiece, but where they differ is in their mirrors and megapixels. While the Odyssey has an 85mm mirror and 3.4 megapixels, the eVscope eQuinox 2 boasts a 114mm mirror and 6.2 megapixels.

Optional accessories for the Odyssey comprise a custom-fit backpack for $299 / £269 and a smart solar filter for $199 / £179. The latter is essential for capturing sunspots.

Unistellar Odyssey: Design & Handling

It’s not the smallest smart telescope around, but on the Odyssey, that’s a good thing. At its core, it’s a 3.35-inch/85mm reflector telescope. Its Nikon-made optics have a focal length of 320mm and a field of view of 34 x 45 arcminutes. Thanks to its lack of an eyepiece, it’s a shade lighter than the Odyssey Pro, so even easier to maneuver and store. Perhaps that’s its best design trick; whereas Unistellar’s eVscope telescopes are big and bulky (and brilliant), the Odyssey is significantly smaller and easier to live with. One issue with reflector telescopes is the need for occasional repositioning of their mirrors (a maintenance task called collimating). Happily, that’s not the case for the Odyssey, a closed unit with mirrors that won’t ever need tinkering with. 

Odyssey’s small size does mean it has a short battery life. At five hours, it has the same problem as its rivals, the Vanois Vespera 2 and Seestar S50. It’s also a shame that although it recharges via a USB-C slot, it can’t be used with just any USB-C cable—it has to be the wall adaptor cable supplied in the box. 

Its proprietary tripod is also initially irritating, considering how many tripods photographers tend to have lying around. At least it’s of excellent quality. Strong, sturdy, and able to extend to four sections, it’s super-steady and has a built-in bubble level. It also folds up nicely to fit in a camera bag. 

Setting up this telescope is so simple. Switch it on and pair it with a smartphone, and within minutes, its ‘smart star finder’ system has it imaging the sky, cross-referencing the stars it can see with images in its database (with a little help from the GPS in your phone). You then choose an object from a list, and the Odyssey will slew to it and autofocus upon it. 

There’s a search function if you want to find something specific, though it would also be nice to have the option to move around a virtual representation of the night sky and geographically choose objects for Odyssey to slew to. After all, if you know the night sky, you’ll also know when an object is behind a tree, so having a sky map to navigate makes more sense than a list. It would also be an excellent way for beginners to learn how to navigate the night sky. 

Once an object is slewed to, a press of the ‘Enhanced Vision’ button sets Odyssey on its imaging journey, taking multiple short exposures to stack atop one another, creating an ever-improving merged image in the app. At any time, it’s possible to save the entire 16:9 image to a smartphone or share a square image to social media, the latter complete with framing and a caption that includes basic image parameters. Toggle on an option in the app’s settings and lossless PNG, TIFF, and FITS  files can be saved to Odyssey’s 64GB hard disk for post-processing. 

Unistellar Odyssey: Performance

When it comes to pure imaging quality, the Odyssey is superior to its more affordable rivals, yet inferior to the pricer Odyssey Pro. That’s no surprise, but we did notice that some bright objects caused problems. 

All the images we created were sharp, but some lacked ultimate detail. For example, it overexposed the Andromeda Galaxy—albeit while also skillfully revealing subtle dust lanes in its outskirts. Albireo, a famously contrasty double star in Cygnus, proved impossible to resolve as two stars in Odyssey’s image. 

Other images, including those of globular clusters, open clusters, and galaxies, impressed. What all Unistellar’s images have in common is peerless contrast. Its ‘Deep dark technology’ clearly works, with lusciously black backgrounds to star fields and celestial objects that rival brands cannot match. 

Also unlike other smart telescopes, Unistellar’s range has multi-depth tech, allowing them to image planets and the moon and deep-sky objects. Essentially, that means swapping from its usual long exposures to high-frame-rate imaging. 

We tried it on Saturn, the only planet visible after sunset during the review. Saturn’s rings are seen only side-on for the next few years, so the view isn’t as good as it could be, but we were able to make them out in a reasonably fuzzy image. 

For the moon, Odyssey excels, producing sharp, contrasty images of our nearest celestial neighbor.

Unistellar Odyssey: Verdict

The most affordable Unistellar smart telescope is a joy to use. Setup takes minutes and imaging celestial objects of all kinds is easy. There’s a noticeable drop in imaging quality compared to the Odyssey Pro, and there’s no eyepiece for traditional astronomy, but this easy-to-store smart telescope is a great way to beat light pollution and try your hand at deep-sky astrophotography for a fraction of the fuss. 

Alternatives

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

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

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

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

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

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

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

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

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

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