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

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

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

Best lenses for the Sony ZV-E1

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Best standard zoom for the ZV-E1

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

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

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

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Best wide-angle zoom for the ZV-E1

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

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

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

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Best wide-angle prime for the ZV-E1

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

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

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

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Best street prime for the ZV-E1

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

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

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

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Best portrait lens for the ZV-E1

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

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

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

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

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Best telephoto lens for the ZV-E1

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

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

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

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

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Lab data and comparisons

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

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

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

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

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

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

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

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How we test lenses

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

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the centre of the image frame, corners, and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths.

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

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

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

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

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

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

Best Sony video lenses

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Best versatile zoom

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

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

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

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Best wide-angle zoom

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

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

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Best wide prime

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

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

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

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Best for vlogging

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

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

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

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Best power zoom

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

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

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Best for close-ups

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

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

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

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

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Best tele zoom

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

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

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

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Best standard zoom

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

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

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

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Best for bokeh

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

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

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

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Lab data and comparisons

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

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

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

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How to choose the best Sony video lenses

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

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

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

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

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

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

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How we test lenses

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

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the centre of the image frame, corners, and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths.

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

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

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

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Cosina, the company behind the Voigtlander brand, has announced the Septon 40mm F2 Aspherical full-frame lens for Sony E and Nikon Z cameras.

The Septon name was originally given to the standard lens created for Voigtlander's Bessamatic and Ultramatic SLRs of the late 1950s and 1960s and is considered one of the brand's signature lenses.

The new Septon 40mm F2 Aspherical reimagines its classic namesake in a compact body tailored for modern mirrorless cameras. Its optical stack features a six‑element Ortho‑Metar design that includes an additional aspherical element. This enables a fast f/2 aperture, along with reduced distortion, without increasing the physical size of the lens barrel. The result is an overall length of just 30mm for the E-mount version, and 32mm for the Z-mount lens. Despite an all-metal barrel construction, the E-mount lens weighs just 165g (Z-mount is 205g).

The 40mm focal length is slightly wider than a typical 50mm standard prime, making it a better option for tight street photography. A 0.3m minimum focus distance also makes the lens suitable for close-ups, even if it doesn't have the required 1:1 reproduction ratio to qualify it as a full-on macro lens. Though manual focus only, the Septon 40mm F2 Aspherical is equipped with electronic contacts, enabling EXIF data recording, focus peaking, and 3‑axis in‑body image stabilization support.

Included with the lens is a dome‑shaped metal screw‑on hood designed to maintain the lens’s compact profile. It features a 52mm front thread, allowing the front lens cap to be used whether or not the hood is attached.

The E-mount Septon 40mm F2 Aspherical is expected to go on sale in March, and the Z-mount version should follow in April. Both will be priced at 93,500 Yen (approx. $612 / £449).

Cosina, the company behind the Voigtländer brand, has announced a new portrait prime for Canon RF and Nikon Z cameras. The PORTRAIT HELIAR 75mm F1.8 is a large-aperture, manual-focus, medium-telephoto lens that we've already seen in Sony E-mount guise, but which will now be made available to Canon and Nikon mirrorless shooters. The standout feature of the PORTRAIT HELIAR 75mm F1.8 is its spherical aberration control ring, which enables you to control bokeh quality in out-of-focus areas.

To quote the (translated) press release:

"Changes in spherical aberration occur when the aperture is opened or closed, but by operating the control ring with a new mechanism, you can enjoy bokeh depictions with an unprecedented range. In an image with insufficient correction, the center of focus becomes unclear (soft focus) and flare occurs in the highlights. Background bokeh is depicted with a gentle curve. In contrast, in an image with overcorrection, the center of focus remains and background bokeh is hard (bubble bokeh)."

Varying spherical aberration like this can cause unwanted focus movement, but Voigtlander has addressed this by incorporating a mechanism that offsets any focus deviation by changing the spacing between lens groups in conjunction with the control ring.

Though manual focus, the PORTRAIT HELIAR 75mm F1.8 does have electronic contacts to enable EXIF data recording, and it supports in-body image stabilization and focus assist functions.

The 70.0 x 86.0mm lens barrel is of an all-metal design that weighs 570-580g, depending on the mount. The focus ring is said to have a "silky, greased feel": on the RF mount version of the lens this and mechanical aperture ring both feature a knurled texture, whereas the Z mount lens has control rings finished with straight grooves.

The Voigtlander PORTRAIT HELIAR 75mm F1.8 will go on sale in February, priced at ¥150,000. An official US RRP has yet to be announced, but the existing E-mount version of the lens has a list price of $999, so we'd expect the new Canon and Nikon variants to be priced similarly.

Laowa appears to be working on a new macro lens. This in itself isn't particularly noteworthy, as according to the official Venus Optics website (the parent company of the Laowa brand), there are currently 17 Laowa macro lenses. However, this latest lens is rather special thanks to it offering up to 10x magnification.

For context, a typical macro lens usually offers a 1:1 reproduction ratio (1x). 1x magnification means the object you're photographing is reproduced at exactly the same size on the image sensor of your camera as it appears in real life.

Laowa already produces a macro lens with 5x magnification - the 25mm f/2.8 2.5-5X Ultra Macro - yet this new lens promises double that, which is no mean feat.

The 10x Ultra Macro optic is said to have a working distance of 40.35mm in the 1-5x magnification range, and 22.5mm if you want 5-10x magnification. Further details and specifications are currently limited, but it's said that this is a full-frame lens compatible with multiple mounts. Judging by the early product shots, it seems the lens could ship with a native PL mount, with separate adapters sold to convert this to RF, Z, E, or L mounts. This system is used by the even more specialist Laowa Aurogon FF 10-50X NA0.5 Supermicro APO macro 'lens' (it's actually a kit containing an objective lens which can be fitted with one of four extension tubes, each offering a different level of magnification, up to a whopping 50x!).

We're also told that the lens will be light and compact and its exterior length will not change when adjusting magnification. The full-range parfocal focusing design also means focus shouldn't shift when changing magnification. As with many other Laowa macro lenses, this latest offering should keep aberrations to a minimum thanks to its APO (apochromatic) optical construction which is designed to supress both lateral and longitudinal fringing. This is crucial for high magnification close-ups where even minor fringing could otherwise be very distracting.

We don't yet have details on pricing, availability, or even an official lens name. But considering the existing Laowa 25mm f/2.8 2.5-5X Ultra Macro lens retails for $399, while the highly specialized Laowa Aurogon FF 10-50X NA0.5 Supermicro APO will set you back $1500, it's likely the new 10x lens will be priced somewhere in between.

Story credit: Weibo, Camera Beta

7Artisans has launched a new diagonal fisheye lens for APS-C cameras. The MF 6mm F2 is, as its name suggests, a manual focus lens, but with the generous depth of field available at such a short focal length, manual focussing needn't be difficult. Various mount options are available, including Sony E, Fujifilm X, Nikon Z, Canon R and Micro Four Thirds.

7 Artisans says this is its widest-ever lens. Once launched it'll also be one of the widest lenses you can buy for APS-C mirrorless cameras. Laowa produces a 4mm f/2.8, but that's a circular fisheye design, where the new 7Artisans optic is a diagonal fisheye. Consequently, though the Laowa has a shorter focal length, its angle of view is 210 degrees, whereas the 6mm 7Artisans lens has a claimed 220-degree field of view.

With the ability to 'see' behind itself, such a lens opens up new creative possibilities, helped by the extremely short 3.9" / 0.1m minimum focus distance. Such a lens is especially useful in tight interiors, but the fairly fast f/2 maximum aperture also makes the MF 6mm F2 a viable choice for astrophotography.

The lens comprises 10 elements in 8 groups, including two extra-low dispersion elements and two high-refractive elements, which should help minimize chromatic aberration and improve overall sharpness. A 9-blade diaphragm is said to contribute to smooth, rounded bokeh.

The 7Artisans 6mm f/2 fisheye lens is available to buy now from B&H, priced at $179.

Cosina, the company behind Voigtländer lenses, has announced a new wide-angle prime for Sony E and Nikon Z cameras. The Voigtländer APO-LANTHAR 28mm F2 Aspherical is said to be a high-performance lens, with the APO designation signifying that it's derived from the Apochromat design. This manufacturing process was developed to reduce chromatic aberration in film photography, but the technology is claimed to still be effective for supressing fringing in digital photography today.

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

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

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

Viltrox has launched a new 85mm autofocus lens for full-frame Sony cameras. The AF 85mm f/2.0 Evo is the first of a new series of ‘Evo’ lenses that aim to deliver up-market handling in a relatively compact, lightweight and easily manageable build. 'Evo' lenses are designed to fill the gap between Viltrox's featherweight 'Air' lenses and its chunky 'Pro'- and 'Lab'-series optics. Consequently, the 85mm f/2.0 Evo measures a compact 69x76mm (2.7x3.0") and weighs just 340g - that's under half the weight of Viltrox's existing AF 85mm f/1.4 Pro lens.

Despite the crash diet, the 85mm f/2.0 Evo still features a robust build, along with weather-seals and a fluorine coating on the front element. There's an AF/MF focus mode switch, plus a function button which can be customised to operate as an AF-hold, or to perform other duties depending on the camera body. A physical aperture control ring is also present, and there's a de-click switch to enable stepless adjustment of the 9-blade diaphragm when shooting video. Autofocussing is achieved by a linear stepping motor - a step down on the exotic VCM (Voice Coil Motor) system found in higher-spec Viltrox models - but it should still be fast and quiet. The features are rounded out by a USB-C port located in the metal lens mount which is used for applying firmware updates.

The optical stack consists of 10 elements arranged in 8 groups, including two ED (Extra-low Dispersion) elements and two HR (High Refractive index) elements. These are used to increase sharpness and clarity while reducing chromatic aberrations. Up front is a 58mm filter thread, and the lens is supplied with a circular profile hood.

The Viltrox AF 85mm f/2.0 Evo is available now, priced at $275 / £265 / AU$TBA. For context, that's around half the price of the Viltrox AF 85mm f/1.4 Pro, which is already good value, though of course the Evo is an f/stop slower.

Read our full review of the Viltrox AF 85mm f/2.0 Evo

Viltrox has released a fresh entry in its Pro line-up of upmarket autofocus lenses. The new Viltrox AF 50mm f/1.4 Pro has been designed for full-frame Nikon and Sony mirrorless cameras and follows in the footsteps of the AF 85mm f/1.4 Pro, released earlier in 2025, but which was only available for Sony cameras. The new lens is the same size and weight as its 85mm sibling, measuring 85x111mm / 3.4x4.4" and weighing in at 800g / 1.76lb. The advantage of this close family resemblance is you can swap between 85mm and 50mm lenses with no break in your creative workflow, as both lenses will feel and operate just the same.

The 15-element, 11-group optical path includes 1 UA (Ultra Aspherical) element with a relatively large diameter and ultra-high precision build, 3 ED (Extra-low Dispersion) elements, and 8 HR (High Refractive index) elements. An 11-blade aperture diaphragm should provide super-smooth bokeh, while the aperture itself can be controlled by a dedicated aperture ring on the lens barrel. This can also be 'de-clicked' to provide seamless aperture adjustment when shooting video. Viltrox has employed a HyperVCM (Voice Coil Motor) autofocus system which is designed to be quick for shooting stills, while also delivering ultra-smooth focus transitions when shooting video, and in virtually complete silence. Manual focussing is also available, via an electronically coupled focus ring.

The AF 50mm f/1.4 Pro is intended to be an all-weather lens. Its metal lens mount includes a rubber gasket, and the rest of the barrel is also weather-sealed. A fluorine coating on the front element helps resist fingerprints and rain droplets, while HD Nano multi-layer coatings are applied to minimize ghosting and flare. There's even a USB-C port at the base of the lens for applying firmware updates.

The Viltrox AF 50mm f/1.4 Pro is priced at $549 / £525 / AU$TBA, which makes it quite a bargain when compared to its direct rivals from Nikon and Sony. The Sony FE 50mm f/1.4 G Master will set you back $1,398 / £1,499 / AU$2,099, while the more budget-friendly Nikon Z 50mm f/1.4 costs $597 / £499 / AU$899, though it has lower aspirations and lacks Nikon’s high-grade ‘S-line’ credentials.

Read our full review of the Viltrox AF 50mm f/1.4 Pro

7Artisans has launched two new full-frame prime lenses for Sony E, Nikon Z, Canon RF and L mount cameras:

14mm f/2.8

This ultra-wide prime boasts a 116-degree field of view, without resorting to a fisheye perspective. It should therefore be ideal for photographing interiors, city streets, and also for astrophotography thanks to its fast f/2.8 aperture. The lens's optical path is comprised of 13 elements in 11 groups, including two aspherical elements, plus high-refractive index glass and extra-low dispersion elements to reduce chromatic aberrations.

A 10-blade aperture diaphragm will generate 10-point starbursts around points of intense light, and the aperture adjustment can be performed in clicked or de-clicked modes. Despite its fairly large f/2.8 maximum aperture, the lens measures a reasonably compact 87mm in length, with a diameter of 79mm, while weighing 504g for the E-mount version. Although the front lens element is typically bulbous for an ultra-wide lens, a detachable lens hood incorporating a filter thread means conventional 77mm front filters can still be used. Focussing is manual only, and there are no electronic contacts to enable lens-body communication, but the payoff for this simplicity is a low $299 retail price.

75mm f/1.4

Designed with portrait photography in mind, this lens's large f/1.4 maximum aperture and 13-blade diaphragm are an ideal combination for isolating your sitter from a softly blurred background. A minimum focus distance of 0.88m allows for tighter head & shoulders shots, or still life photography.

Just six elements make up the optical stack, but three of these are high-refractive index glass. The 75mm f/1.4 is impressively light for such a fast lens, weighing only 408g, and at 77mm long and 62mm in diameter it's also easily portable. Like the new 14mm f/2.8 above, this is a fully-manual lens, so a more considered shooting style will be required. However, this could be a compromise well worth making, given that the 7Artisans 75mm f/1.4 costs just $189.

Both lenses are available to buy now.

Camera lenses can be very pricey, but help is at hand, courtesy of filmmaker and innovator Tim Irwin. Irwin (Instagram: @functionalfilms) has produced a new low-cost prime lens called the Simple 90. This 90mm prime is made in-house by Irwin himself, who 3D prints the barrel and self-assembles each and every lens. Only the two glass elements and assembly screws are outsourced. The lens elements are arranged in a cemented achromatic doublet, which results in image quality characterized by a sharp central region which transitions into soft, ethereal bokeh towards the edges and corners of frame.

True to its name, the lens uses a very simple means of changing aperture: Waterhouse stops. These are just flat plates containing a hole of a specific diameter corresponding to the desired aperture. One plate is slotted into the lens barrel, thereby restricting its internal diameter down the hole/aperture size of the Waterhouse stop. Three plates are included with the Simple 90: f/2.8, f/5.6 and f/11. Irwin has also thoughtfully made available the 3D printable files for the Waterhouse stop plates, enabling users to print other f/stops or even custom-shaped apertures for unique bokeh effects.

Cheap DIY lenses are nothing new of course. We recently reported on a more extreme budget self-built optic constructed from a section of drain pipe and optical lenses from magnifying glasses - that build cost its maker less than $10. Furthermore, the Waterhouse stop system of aperture adjustment has been used recently in more commercial lenses such as Lomography's Petzval and Daguerreotype Achromat art lenses - lenses which, like the Simple 90, prioritise simplicity and artistic, dreamy image quality over outright sharpness.

The Simple 90 lens can be purchased direct from The Irwin Workshop, priced at $99/£73.53. The lens is fitted as standard with an M42 screw mount, which can easily be adapted to pretty much any standard manufacturer mount, including Canon EF, Canon RF, Sony E, Nikon F, Nikon Z, Fuji X, L Mount and Micro Four Thirds. Obviously there are no electronics inside, so focussing is manual only, but that's all part of the fun.

AstrHori, makers of such optical oddities as the 18mm f/8 2x Periscope Probe Macro lens, has announced a new circular fisheye lens for APS-C cameras.

The AstrHori 6.5mm f/2 fisheye is a fully manual lens for APS-C Sony E, Fuji X, Nikon Z, Canon RF and Micro Four Thirds cameras. Its 6-element, 5-group optical stack incorporates an extra-low dispersion (ED) element, as well as a high refractive index element to reduce aberrations.

The 6.5mm focal length equates to 10mm in full-frame terms and enables a huge 192-degree field of view, albeit with a circular image projection, while the 0.2m minimum focussing distance makes it easy to capture distinctive fisheye close-ups. The lens itself is very compact, measuring only 64mm in diameter and 52mm long, with the E-mount version tipping the scales at 268g (although this will vary slightly for other mount variations).

Being a fully-manual lens, there are no electrical contacts to facilitate lens-body communication, but you do get an aperture ring and a printed depth of field scale. And with fewer frills comes lower pricing, as the AstrHori 6.5mm f/2 fisheye will retail for just $129, for all mount options.

Order the AstrHori 6.5mm f/2 fisheye from B&H

Viltrox is rumored to be announcing another new addition to its compact and lightweight Air series of prime lenses. The lens in question is the AF 50mm F2 Air, which would join the existing AF 23mm F1.7, AF 20mm F2.8 Air, AF 35mm F1.7 Air, AF 40mm F2.5 Air and AF 56mm F1.7 Air.

Read more: Viltrox AF 35mm F1.7 Air full review

As yet few details are known about the new lens. Photo Rumors reports that it could have a minimum focus distance of 0.51m, take 58mm filters, weight 190g and be priced at $140. The latter is in-keeping with the accessible pricing of other lenses in the Air range which are all under $200.

Several photos of the AF 50mm F2 Air have emerged. These indicate that the lens has full-frame coverage, along with stepping motor autofocus and internal focussing. The optical path seems to include one or more aspherical and extra-low dispersion elements for reducing aberrations.

The Viltrox AF 50mm F2 Air will reportedly be available in Sony E and Nikon Z mounts, and is rumored to go on sale in April.

Samyang's first lens for the Canon RF-S mount is now available to pre-order, with a retail price of $449/£348. Sold under Rokinon branding in North America, the AF 12mm f/2 RF-S is the widest prime lens available for Canon's APS-C RF-S mount cameras like the EOS R10, R7 and R100. You can of course go even wider with Canon's own RF-S 10-18mm F4.5-6.3 IS STM lens, but you'd have to settle for a much narrower maximum aperture.

The lens features three extra-low dispersion elements and two aspherical lenses, which Samyang says will deliver sharp, distortion-free images with minimal chromatic aberration and sagittal coma. The lens's focal length is equivalent to 18mm on a full-frame camera, which combined with the large f/2 aperture gives the lens excellent versatility. It's suitable for everything from landscapes to architecture, and even astrophotography.

Unusually for RF-S lenses, the AF 12mm f/2 RF-S is also weather sealed, protecting it from light rain, snow and dust. At 213g (7.51oz) and measuring 2.25in (57.2mm), the lens is easily portable for photographers on the go. Unlike some third-party lenses which are manual only, the Samyang includes a full set of electronic contacts to enable lens-body communication, and inside is a Linear STM (stepping motor) autofocus system that Samyang claims is both silent and precise, while also being compatible with Canon's tracking modes for following fast-moving subjects.

The Samyang/Rokinon AF 12mm f/2 RF-S can be pre-ordered now from B&H and Wex.

Back in September Viltrox gave us an unbelievably short pancake lens for full-frame Sony cameras: the AF 28mm F4.5 FE. Now it's announced there'll also be a version for Fujifilm X-mount bodies, called the AF 28mm F4.5 XF. Viltrox's nickname for the AF 28mm F4.5 is the 'chip' - as in potato chip - because that's how thin Viltrox reckons the lens is (some artistic/marketing licence required there!). The food comparison also lends itself neatly to Viltrox calling the Fujifilm version a new 'flavor'. More tasty marketing.

We already reviewed the Viltrox AF 28mm F4.5 FE and found it to be a very capable little prime, with decent center-frame sharpness, minimal distortion, and surprisingly effective autofocus given how little room there is in the lens barrel. Of course there have to be some compromises to create such a slim lens, and the main one here is the lens's fixed F4.5 aperture, plus it's lack of a manual focus ring. Converting the lens for APS-C X-mount cameras means the Sony-fit's 28mm full-frame focal length will become an effective 45mm on a Fujifilm body, turning the lens from a wide into a standard prime.

The Viltrox AF 28mm F4.5 XF went on salve on February 6 for the same price as the existing version – just $99 / £90.

🇺🇸 Order the Viltrox AF 28mm F4.5 XF at Amazon USA

🇬🇧 Order the Viltrox AF 28mm F4.5 XF at Amazon UK

Viltrox has officially announced a new lens in its compact and lightweight Air series of prime lenses for APS-C cameras. The new AF 23mm F1.7 joins the existing AF 20mm F2.8 Air, AF 35mm F1.7 Air, AF 40mm F2.5 Air and AF 56mm F1.7 Air.

Read more: Viltrox AF 35mm F1.7 Air full review

Despite featuring stepping motor autofocus and a full compliment of electronic contacts for lens-body communication, Viltrox has managed to keep the weight of the AF 23mm down to just 170g, and the lens is also impressively small, measuring 64mm in diameter and 54.4mm long.

[Note: the image we have of the AF 23mm F1.7 seems to show the lens labelled as a 25mm, not 23mm. As the lens doesn't yet appear on Viltrox's website or at any of the usual retailers, we can't be sure whether it is in fact a 23mm, or rather a 25mm]

Inside are 12 elements arranged in 10 groups, including two aspherical elements for controlling distortion, two high refractive index elements to improve image quality while keeping overall weight low, and one extra-low dispersion element to minimize chromatic aberration. The lens also benefits from a multi-layer coating to supress flare and ghosting. 9 blades make up the aperture diaphragm, and the minimum focus distance is listed as 0.3m.

The Viltrox AF 23mm F1.7 Air should go on sale soon for APS-C Sony E, Nikon Z and Fujifilm X cameras. Initial sources suggest it'll be priced at $899, but this is nowhere near consistent with other lenses in the Air range which are all under $200, so we suspect the new AF 23mm Air will actually be priced in line with those.

TTArtisan has launched a new 23mm APS-C lens for Fujifilm X-mount cameras. The AF 23mm F1.8 features stepping motor autofocus and a full set of electrical contacts to facilitate lens-body communication. TTArtisan claims the AF system is "silent", which bodes well for using the lens to record video. Inside is an 11-element optical stack arranged in 9 groups, containing two extra-low dispersion elements and a one high-refractive index element. A 9-blade aperture diaphragm, combined with the relatively large f/1.8 maximum aperture, should result in pleasingly smooth bokeh.

The AF 23mm F1.8 weighs just 210g, despite its all-metal lens barrel constructed from 5052 aviation-grade aluminium. It measures 74mm long and 67mm in diameter, with a 52mm filter thread. The 23mm focal length equates to a 62-degree angle of view, which is roughly equivalent to shooting with a 35mm lens on a full-frame body. TTArtisan also incorporates a USB-C socket into the rear lens cap, and this can be used for applying firmware updates.

The TTArtisan AF 23mm f/1.8 is available to buy now for Fuji X-mount, and it's aggressively priced, costing just $127. Versions for APS-C Sony-E and Nikon-Z cameras are coming soon.

Yongnuo has launched a new autofocus prime lens for APS-C Sony, Nikon and Fujifilm cameras. The YN23mm F1.4 DA DSM WL Pro has a 34.5mm full-frame equivalent focal length and features a large f/1.4 maximum aperture making it useful for portraiture and when shooting in low light. 

Inside is an 11-element optical stack arranged in 9 groups, including three ultra-low dispersion elements and four high refractive elements for improving image quality. 

A minimum focusing distance of 0.3m enhances the lens' versatility, as does the dust- and water-resistant lens mount, which, combined with the keep-clean fluorine coating on the front element, makes the lens usable in damp conditions.

And this is no stripped-back manual lens, either. There's a stepping motor AF system, with a full set of electrical contacts for enabling lens-body communication, including compatibility with in-camera image enhancements like vignetting and distortion compensation. The lens also has a USB-C port on the barrel for applying firmware updates, and inside is even a 2.4GHz wireless transmitter that can enable remote focussing and other functions when used with Yongnuo's BR-L1 remote controller. At 85mm long with a 69mm diameter, the YN23mm F1.4 DA DSM WL Pro is also quite compact for an f/1.4 prime, and it's also relatively light, weighing just 360g.

The Z-mount Yongnuo YN23mm F1.4 DA DSM WL Pro is available to buy now from Amazon, priced at $276. We await details on pricing and availability of the E-mount and X-mount variants.

A few weeks ago we published a story about a creative photographer who constructed a real camera lens from scratch, with material costs totalling less than $10. There were, however, some drawbacks. You'd need a fairly obscure medium format film camera in order to use the lens, and obviously the build would take a lot of time and effort to complete.

Read more: The best creative effect lenses

But now it seems you can have a lens that's almost as cheap, ready-made, and even compatible with multiple common camera mounts. For the princely sum of just $22 (converted from the original 159 Yuan), Chinese lens manufacturer Caye will sell you a 200mm f/3.5 full-frame telephoto lens, compatible with Sony E, Canon RF, Canon EF, Canon EF-M, Nikon Z, Nikon F, Fuji X, and M43 mounts. The lens measures 32cm long with a 14cm maximum diameter, it tips the scales at 550g, and it has a minimum focus distance of 1.8m - nothing too unusual there.

Of course, a lens this cheap is bound to have some pretty huge compromises: focussing is manual only, it's highly unlikely there are any electrical contents for lens-body communication, and the aperture is fixed at f/3.5. That's actually quite large for such a long lens, but we'd wager this could have a profound negative impact on corner sharpness. The limited information we have on the lens also says it uses only "a set of two optical structures". With such a basic optical path, sharpness is likely to be low, and distortion and fringing high.

But to dwell on conventional lens quality metrics is missing the point here. This isn't meant to be a serious optic that'd ace our lab tests, rather it's just a fun, creative and cheap tool for experimentation; something that's backed up by the lens's manufacturer apparently being known for producing fun lenses.

We don't yet have any details of where you can actually buy the Caye 200mm f/3.5 outside of China, but it doesn't usually take long for products like this to pop up on the likes of AliExpress and Temu.

Story credit: SonyAlphaRumors

Brightin Star has launched a new 50mm f/0.95 lens, and incredibly, that super-large maximum aperture isn't the lens's headline feature. No, the main talking point with the new lens is its fluorescent, glow-in-the-dark focus and aperture scale markings. Assuming these have been energized with enough sunlight during the day, it should make the lens usable at night, in minimal ambient light.

This isn't the first time we've seen a lens with fluorescent scale markings. One such example is the Irix 15mm f/2.4 Blackstone lens which features engraved focus distance markings filled with UV-reactive paint so they too should glow in the dark at night.

Read more:
The best 50mm lenses
The best lenses for astrophotography

The new Brightin Star 50mm f/0.95 is an APS-C, manual focus lens, said to be available for cropped-sensor Sony E, Nikon Z, Canon RF & EF-M, Fujifilm X, and Micro Four Thirds cameras. Confusingly, Brightin Star already produces a 50mm f/0.95 manual focus lens, but crucially that lens is for full-frame cameras, and it uses conventionally printed distance and aperture scale markings.

We currently have no specification information, pricing, or an availability timeframe for the new APS-C lens. But given the existing 50mm f/0.95 full-frame lens currently costs around $350/£360, we'd hope the APS-C version might hit an even lower price point.

Story credit: Photo Rumors

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.

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

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

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

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

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

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

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

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

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

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

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

Understanding crop factor

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

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

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

• Photography cheat sheet: Focal lengths explained

1. Ultra wide angle  

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

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

2. Wide angle 

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

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

3. Standard 

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

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

4. Short telephoto 

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

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

5. Telephoto

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

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

6. Super telephoto 

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

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

You may also be interested in the best Nikon lenses, the best Canon lenses and the best Sony lenses.

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

AstrHori 120mm F2.8 Macro 2x: Specifications

AstrHori 120mm F2.8 Macro 2x: Price

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

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

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

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

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

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

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

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

AstrHori 120mm F2.8 Macro 2x: Performance

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

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

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

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

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

AstrHori 120mm F2.8 Macro 2x: Lab Results

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

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

Sharpness:

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

Fringing:

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

Distortion: 0.92

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

AstrHori 120mm F2.8 Macro 2x: Verdict

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

Alternatives

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

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

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

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

Story credit: Fujirumors

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

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

You shouldn’t crop in software.
Always choose the focal length to get the right shot at the time of capture.
Only use prime lenses, a zoom lens dilutes your image quality.
Nail your exposure. If you underexpose or overexpose you’ve missed the shot.
Set your sharpening correctly for a pinsharp image.
Make sure your shutter speed is enough to prevent camera movement.
Always use a tripod. 
Real photographers shoot black and white only as it’s the most direct link to historical photography.
And those primes? They should be vintage lenses.
You should never stage a photo, you should always capture the scene as you find it. 

Honestly folks, can you imagine how boring and suppressed photography would be if you had to stick to rules like that? We’re blessed in a world where 40+ Megapixel cameras allow us to crop in to get photos within our capture, allowing you to tailor the crop to both the subject and the destination. Be that for print (and you should print), Instagram stories, posts, or going into videos like reels, shorts, or longer form. 

Use the lens that gets the shot. Many a shot has been lost swapping to the right prime. Put the zoom lens on. Sure, using one fixed length is great practice – I recently shot a festival with the fixed 23mm (35mm full frame equivalent) on a Fujifilm X100VI, but being able to choose a length leads to a far greater variety of images from a location. Get the best one you can afford. Modern zooms are easily as good are older primes for sharpness. 

If you shoot Raw, you have an amazing amount of leeway in exposure. You can easily bring back around two stops of lost highlights, or open up dark shadows with underexposure. These are just tools to enhance your photo. You may have been shooting against overcast skies and nailed your subject’s exposure at the sake of the sky. So you bring it back in raw processing. Good for you. That’s a choice based on experience. 

You don’t need a tripod all the time. Sure, if you’re looking at back-to-front depth of field, which can require long exposures, but handheld photos can work well in other situations. You could even use a tripod with motion. There’s a whole brigade of amazing Intentional Camera Movement photographers using motion during exposure to create unique pieces of art. 

Black and white photography is beautiful. That classic, pristine, look of form and tone. Often breathtaking. But that doesn’t take from the jaw-dropping shot of an amazing sunset. Or the creative use of color. Understanding how colors interact allows you to take photos that have an immediate and lasting impact, often more than with black and white. 

Sharpness is overrated.  As Ansel Adams said "There’s nothing worse than a sharp image of a fuzzy concept". Film photography was often not perfectly sharp and the grain of the film prevented really sharp edges. Digital sharpness can be a bane for portraits where the depth of pore detail means a lot of retouching to create a more flattering image. Can you ignore it altogether? No, of course not. Shallow focus photos need the subject to be sharp enough for the subject to be obvious. Better to capture a great photo and fix sharpness later than miss it. 

Ignore the purists and use your creativity and gear to the fullest to create photos that represent you, your views, values and likes. 

More opinion pieces by Sean McCormack:

• This is why I hate being a photographer
• I switched camera systems, and this is the lens that really surprised me
• I can't believe I actually bought this camera
• These two lenses could do 90% of your photographic work
• You don't always have to shoot Raw as a photographer, but you probably should
• No, you don't need to get on a plane to take great travel photos

Hasselblad has dropped a new lens that marks two big firsts. The Hasselblad XCD 20-35E is both the company's first ever ultra-wide zoom lens, as well as the first in its flagship series of 'Exclusive' lenses (the "E" in the product name). 

Its 20-35mm f/3.2-4.5 focal range truly lives up to the ultra-wide billing, delivering an effective 16-27mm range in full frame terms. As the widest and fastest lens in the lineup, the XCD 20-35E is an ideal option for genres like landscapes and architecture that the medium format X System is so adept at. 

The lens is beautifully designed, as you would expect of an XCD optic, and features an internal focus mechanism so that the 117mm length stays fixed and the 805g weight remains perfectly balanced whether you're using a Hasselblad X2D or the 907X & CFV 100C (or one of the 50MP bodies of the previous generation). 

The optical formula comprises 16 elements in 12 groups, including 3 aspherical elements and 4 extra-low dispersion elements. It is able to focus as close as 0.32m, and features a 77mm filter thread. As with all XCD lenses, the 20-35E features a leaf shutter that offers flash sync speeds of up to 1/2000 sec.

Hasselblad's goal for this new Exclusive flagship class of optics is to deliver the same degree of optical performance as its outstanding prime lenses. Remarkably, it actually delivers center sharpness on par with a Hasselblad prime – and given that the XCD 90V is literally the sharpest lens we've ever tested, that's saying something! 

You can check out the lab tests along with my full thoughts in my Hasselblad XCD 20-35E review. I've been using the lens for a while now and I've been absolutely staggered by the shots I get from it. 

From the review:

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

The Hasselblad XCD 20-35E is available now, priced $5,929 / £5,699 (Australian pricing to be confirmed).

You might also be interested in the best Hasselblad cameras, including my Hasselblad X2D vs 907X CFV 100C comparison, along with the best Hasselblad 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

If you have been a Nikon photographer at any time since 1959 and have owned any Nikon DSLR 2018 you would have heard of the Nikon F-mount – the company's sole lens mount for a total of 59 years!

Well now might be your last chance to get your hands on a new stock of these fantastic lenses, which you can still use on some of the best Nikon mirrorless cameras with the Nikon FTZ II adapter. 

Most can save you on average a cool $440, but if you have your eyes on some of the more exotic super telephoto prime lenses from Nikon you can save a MASSIVE $4,800!

Now I understand not everyone has $11,496.95 spare to be able to save that $4,800 - but as Ecommerce Editor for Digital Camera World I have searched and looked at every deal and I've listed the one that caught my eye below for all budgets:

While this is a rather wild pick of the crop it shows that you're in the market for one of the best Nikon lenses for your best DSLR, or best mirrorless camera with the Nikon FTZ adapter.

While the 'affordable' options in this list are a significant investment, they will last you the test of time and are well worth the initial expenditure.

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

Watch video (above): Kaleidoscopic colour

There’s no shortage of photographic gear and gadgets on the market. Although while we often justify a new lens with an ability to open up new creative possibilities, we don’t always give accessories the same time of day. This month I’ve been experimenting with the Fractals Filters Classic 3-Pack, which at £170 / $129 may sound a tad steep, but like a new lens, they open up brilliant artistic opportunities and allow you to take unique pictures.

These prism filters can be held in front of the lens to refract and reflect light in interesting ways. Some create a glitchy pattern while others create a kaleidoscope of colour, making them perfect for portraits – giving your shots an edge that will stand out from the crowd. Of course, cheap prisms can be bought online for £10/$10 and are a great place to start, but if you want better quality and versatility, these Fractals Filters are certainly worth it. 

1. Use a 50mm prime lens

Start by attaching your lens to your Canon EOS camera; 50mm on a full-frame Canon, or 35mm on an APS-C, seems to be the sweet spot but you can, of course, experiment. Make sure your lens is fitted with a UV filter so that you don’t scratch the front element.

2. Starting settings

To begin, go into your Canon’s Aperture Priority (Av) mode and dial in an aperture of f/2 and ISO1600. You’ll want to aim for a shutter speed of at least 1/200 sec to eliminate camera-shake, so you may need to tweak your ISO value depending on daylight levels.

3. Move the filter around

First compose your scene and have your model pose as desired, and check the exposure is good. Then, compose again but bring your prism into view this time. Try moving it closer or further away from the lens and tilting it towards or away from your model.

4. Face Detection

Autofocus can be a challenge when shooting through a prism. On newer Canons like the EOS R5, Subject  Detection (above) makes this much easier. But for older Canons you’ll need to place your active AF point over the model’s eyes to make sure they are sharp.

5. A helping hand

Holding your camera in one hand and a filter in the other can be tricky, so we suggest it’s easiest to hold the Fractals Filter by its grip and then use your thumb to rest against the lens barrel to steady yourself, and help you line up the shot perfectly. It’s also worth enabling any lens or body-based Image Stabilization on your Canon EOS to help reduce camera shake too. A tripod can be a better option if you don’t need the flexibility of moving and shooting quickly, although it’s a good option for shooting video footage with prisms.

6. Not all 50mm lenses are created equal

A 50mm lens offers the perfect focal length for prism portraits, but one thing to look out for is the front element. This Canon RF 50mm F1.8 STM front element is just 43mm, so we needed to move the filter away from the lens to see more of its effects.

The diameter for the front element of this Sigma 50mm f/1.4 lens is much larger at 77mm.  This means we can hold the Fractals Filter closer to the lens to squeeze in the effect of the prism. As we can hold it closer to the lens it’s much easier to blur using a wide aperture and shallow depth of field.

7. Fractals Filters: Pascal

The Pascal is the heaviest of the three prism filters in the Fractals Filters Classic 3-Pack. Tipping the scales at 255g it’s a bit more unwieldy to use than the others. Master it though, and it will allow you to take ‘impossible’ images, as its chunky glass element has been cut in such a way that allows it to reflect objects from outside your normal field of view. When you’re shooting outside, this could be a tree directly behind you! Our model wore a sparkly dress in front of a blue glittery background for extra sparkles that has reflected in the glass. 

8. Fractals Filters: Julia

The Julia filter is perfectly circular with the Fractals Filters signature knuckle-duster style metal grip so you can hold it comfortably in your left hand, while holding your camera in your right hand. It has an orange segment style pattern cut into it with a clear circular sweet spot in the centre. This used to be an actual hole but is now one complete piece of glass for cleaner results. This central zone gives you an ideal ‘sweet spot’ in which to position your model’s face, with the surrounding frame then being filled with a mesmerizing kaleidoscopic view. 

9. Fractals Filters: Penrose

The Penrose filter is the lightest of the trio in the classic 3-Pack with its thin proportions and a section of glass cut out from it. This makes it a joy to use as it can be held and repositioned with ease. The glass has a checkerboard pattern on its front face, breaking the surrounding scenery into a wonderful diffused, glitchy pattern. The cutaway section of glass is ideal for placing your focal point as it leaves this area perfectly sharp. Due to its two pointy ‘horns’, make sure a UV filter is fitted to your lens to avoid scratches to the front element.

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

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

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

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

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

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

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

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

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

There doesn't seem to be a week that goes by without a major manufacturer issuing firmware updates for its cameras but in rarer instances, lenses also get updated. This is the case this week, as Fujifilm updates the firmware on three of its XF zoom lenses.

Zoom lenses are among the most popular as they cover multiple focal lengths in one lens. It used to be that zoom lenses would have to sacrifice some quality in return for the variable focal length and prime lenses were king, however, with the advancement in today's technology the gap has been reduced.

This is certainly the case for the Fujifilm lenses getting a new upgrade, as they rank among the best Fujifilm lenses on the market. The lenses are the Fujinon XF 16-55mm F2.8 R LM WR, the Fujinon XF 16-80mm F4 R OIS WR, and the Fujinon XF 18-120mm F4 LM PZ WR.

Unfortunately, it isn't one of those firmware updates that add features or improve AF tracking, but it is just as important as it fixes noted issues with the lens performance.

The notes read as follows:

" Fujinon XF 16-55mm F2.8 R LM WR Ver.1.33

• A minor bug is fixed.

Fujinon XF 16-80mm F4 R OIS WR Ver.1.21

• A firmware bug is fixed that the noise occurs during zoom operation in the rare cases.

• A minor bug is fixed.

Fujinon XF 18-120mm F4 LM PZ WR Ver.1.11

• A minor bug is fixed. "

Not groundbreaking updates but necessary ones to get the lenses working at maximum potential, and regarding the XF 16-80mm, fixing a noisy motor will be very welcomed by users.

If you have never updated your lens firmware or perhaps need a refresher, a step-by-step guide on how to update your lens firmware can be found on each download page.

You may also be interested in our guides to the best Fujifilm lenses, the best Fujifilm cameras, and the best standard zoom lenses.

Call me old-fashioned but I’m of an age where enthusiast photographers with deep pockets bought f/1.4 prime lenses and those on a tighter budget settled for cheaper f/1.8 alternatives. That was certainly the case with Nikon’s F-mount lenses for its DSLRs but, in its Z-system line-up for mirrorless cameras, we’ve so far seen f/1.8 premium S-line lenses, jumping straight to the likes of the super-fast Nikon Z 50mm f/1.2 S and Nikon Z 85mm f/1.2 S, taking time-honored f/1.4 lenses completely out of the equation. Stranger still, while the Nikon Z 35mm f/1.8 S was one of the very first Z-mount lenses to be released, the new f/1.4 option following about six years down the line is not only faster but cheaper to buy, lacking S-line credentials. 

Nikon is billing it as a perfect choice for ‘street photography,’ but I’ve always found that the 35mm focal length works great for all sorts of photo opportunities, from landscapes and architectural photography through environmental portraiture to general shooting. 

Naturally, on a DX (APS-C format) Z-system body, the lens has an ‘effective’ focal length of 52.5mm, thus delivering a very standard perspective and giving it the potential to work well as a ‘nifty fifty’. All in all, the new lens looks like it should be on track to become one of the best lenses for Nikon Z full-frame cameras, as well as one of the best lenses for the Nikon Z 50 and other Z DX bodies.

Nikon Z 35mm f/1.4: Specifications

Nikon Z 35mm f/1.4: Price

I wouldn’t call the Nikon Z 35mm f/1.4 a cheap lens but it’s certainly not expensive for an own-brand Nikon f/1.4 prime. Listed at $597/£649, it undercuts the Nikon Z 35mm f/1.8 S for price, the latter retailing at $847/£789. For comparison either side of the 35mm focal length it’s more than twice the price of the Nikon Z 28mm f/2.8 ($277/£259) and Nikon Z 40mm f/2 ($277/£259) lenses, which have an all-plastic build, right down to their mounting plates, and rather slower aperture ratings. For a few dollars more, the 28mm and 40mm lenses are available in SE (Special Edition) guise, to match the retro styling of the Nikon Z f and Nikon Z fc cameras. That’s not the case with this lens, at least not so far.

Nikon Z 35mm f/1.4: Design & Handling

Cameras like the Nikon Z 6III are designed to suit content creators, being equally adept at shooting video as well as stills. The Z 35mm f/1.4 follows the same ethos. A notable addition compared with the Nikon Z 35mm f/1.8 S is that the new f/1.4 lens has a secondary stepless control ring, as well as a main, full-sized manual focus ring. As I’d expect nowadays, both of the control rings are customizable via in-camera menus, but their obvious applications are to use the main control ring for manual focus and manual override of autofocus, and the smaller secondary ring for stepless aperture control, ideal when shooting video.

What Nikon gives with one hand, it takes away with the other. While you gain an extra control ring, you lose the A/M autofocus/manual focus switch that’s featured on the Z 35mm f/1.8 and many other Z system lenses. I’m not a fan of the omission, as it means I have to resort to using camera menus whenever I want to make a quick change between auto and manual focus modes.

To continue the comparison between these two Z 35mm lenses, they both have an optical path that’s based on 11 elements arranged in 9 groups, a well-rounded 9-blade aperture diaphragm and a 62mm filter attachment thread. However, while the f/1.8 lens features 3 aspherical elements and 2 ED (Extra-low Dispersion) elements, this f/1.4 lens only has 2 aspherical elements and no ED elements at all. It’ll be interesting to see how that affects factors like clarity and color fringing, when we come to looking at performance a bit further on. Another difference is that the f/1.8 prime boasts Nikon’s high-tech Nano Crystal Coat for minimizing ghosting and flare, which is absent in this f/1.4 lens.

At least the lens is supplied with an effective petal-shaped hood, whereas no hood is supplied with the more budget-oriented Nikon Z 28mm f/2.8 and Nikon Z 40mm f/2 lenses. The build quality of the Z 35mm f/1.4 is rather better than in both of these other lenses. It has a more substantial metal rather than plastic mounting plate and feels a little more sturdy. All three lenses have a basic set of weather-seals to guard against dust and a light sprinkling of rain.

Nikon Z 35mm f/1.4: Performance

Autofocus is typically rapid and virtually silent, as well as enabling smooth transitions when shooting movies, thanks to the now-common linear stepping motor arrangement. I found that autofocus performance was consistently accurate during my testing. The minimum focus distance is just 0.27m (10.6 inches), as measured from the camera body’s image sensor rather than from the front of the lens. That gives plenty of scope for close-ups, where the f/1.4 aperture enables a fairly tight depth of field, despite the lens’s moderately wide-angle focal length. The quality of bokeh is pretty smooth and remains of good quality when stopping down a little, thanks to the well-rounded 9-blade aperture diaphragm.

Vignetting is quite pronounced when shooting wide-open, even with automatic in-camera correction applied, but becomes much less noticeable at f/2.8 and narrower apertures. Like many lenses designed for mirrorless cameras nowadays, this one relies heavily on automatic in-camera correction for distortion, which can’t be disabled in the menu system of the body. Similarly, it can’t be switched off when processing RAW files in Nikon’s NX Studio app. With the correction applied, however, distortion is negligible. The small amount of color fringing is similarly eliminated after automatic correction is applied, either in-camera or when processing RAW files.

I’ve never had any problems with sharpness from any Nikon Z system lens, and this one’s no exception. Center-sharpness is thoroughly excellent even wide-open at f/1.4, although the edges don’t really get into their stride until you stop down to f/2.8 and narrower apertures. Even so, sharpness in general isn’t very far at all behind that of the Nikon Z 35mm f/1.8 S, which is one of the sharpest lenses I’ve ever tested.

Nikon Z 35mm f/1.4: Sample Images

This gallery of sample images was taken with a Nikon Z 7II, at Wells Cathedral and the adjacent Bishop’s Palace Garden, in the UK.

Nikon Z 35mm f/1.4: Lab Results

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

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

Sharpness:

Center-sharpness at f/1.4 is exceptional, although edge/corner-sharpness is merely average at this aperture. Stop down to apertures of between f/2.8 and f/11, and sharpness is excellent across the whole image frame.

Fringing:

Color fringing at all competing apertures is a little worse than from the Nikon Z 35mm f/1.8 S but it’s still of a pretty low order, and well within the remit of automatic in-camera correction, which works as a complete fix.

Distortion: 0.02

Like many recent lenses, this one relies on automatic in-camera correction for distortion, which can’t be disabled in the shooting menu. With the correction applied, however, it essentially works as a virtually zero-distortion lens.

Nikon Z 35mm f/1.4: Verdict

I like that Nikon has made a full-frame compatible Z system 35mm lens with a fast f/1.4 aperture rating, and for a pretty reasonable price. Sure, it lacks up-market S-line credentials and doesn’t feature any ED (Extra-low Dispersion) glass, nor any fancy high-tech coatings, but it boasts fast autofocus and very good image quality. The extra stepless, customizable control ring is ideal for aperture adjustments, making the lens well suited to videography as well as stills photography. All in all, it’s a good job well done by Nikon.

Alternatives

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

DZO Film has announced the release of the company's new Arles Prime lens series, drawing inspiration from the vibrant town of Arles in southern France, famously cherished by the painter Vincent van Gogh. Known for its abundant sunlight and rich seasonal colors, Arles played a crucial role in van Gogh's departure from conventional artistic styles.

These Arles prime lenses, with their T1.4 fast apertures, aim to encapsulate this dynamic interplay of light and shadow, opening up new avenues for artistic expression and cinematic creativity. The lenses come with interchangeable Arri PL and Canon EF lens mounts.

One of the standout features of the Arles prime lenses is the T1.4 ultra-wide aperture, which allows for substantial light intake, making them ideal for low-light and complex shooting conditions. 

This capability ensures a stunningly dreamy shallow depth of field, precisely highlighting every narrative detail. Even at wide-open aperture, the lenses maintain even brightness transitions and clear rendering of intricate light and shadow details, supporting high frame rate shooting without compromising image quality, and producing smooth, exquisite cinematic footage.

Additionally, the lenses are compatible with larger format sensors, offering coverage for medium format cameras with a sensor size of up to 43.8 × 32.9mm with focal lengths ranging from 25mm to 50mm, as well as large format cameras like the Arri Alexa 65 (54.12 × 25.59 mm) with focal lengths from 75mm to 180mm. This compatibility satisfies the diverse needs of independent filmmaking to large-scale film production.

The advanced multi-layer nano-coating technology utilized in the Arles series includes a specially calibrated blue coating to minimize reflections and effectively reduce stray light and ghosting. This results in stable and controllable flares, while the internal lens structure's sandblasting and anodizing techniques create a micro-level anti-reflective coating with ultra-low reflectivity. 

Consequently, even when shooting directly against the light, the lenses deliver clean and sharp images, ensuring consistent color temperatures around 5000K to faithfully reproduce vivid, true-to-life colors and present a natural, neutral visual style.

The Arles prime lenses also boast 16 aperture blades, delivering delightful circular bokeh and ensuring smooth transitions between in-focus and out-of-focus areas. At maximum aperture, the lenses provide a soft low-contrast look, with slight swirling bokeh adding a distinctive characteristic to the image. 

This feature enhances the emotional depth of each frame, while the built-in floating lens elements minimize aberrations during focusing transitions, improving optical performance. With minimal breathing, the lenses immerse viewers in each frame, amplifying the emotional impact of the scenes. 

Additionally, the lenses incorporate advanced optical materials and precision manufacturing techniques to correct spherical aberration and coma, reduce wide-angle distortion and astigmatism, and suppress chromatic aberration, ensuring exceptional optical performance. 

These new Arles lenses are priced individually at $2,149 (25mm, 35mm, 50mm, 75mm, and 100mm) or filmmakers can buy all the lenses as a 5-lens set for $9,699 through authorized retailers.

Purchase lenses separately at B&H for $2,149

Purchase the 5-lens set for $9,699 at B&H

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

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

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

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

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

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

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

The Zeiss Batis 18mm F2.8 is from a family of Zeiss lenses named after a sub-Saharan flycatching bird. They’re all made specifically for Sony E-mount mirrorless cameras and a full-frame compatible, although naturally can also be used on Sony’s APS-C format E-mount bodies. The 18mm is the most wide-angle lens in the line-up, while siblings include the 24mm f/2, 40mm f/2 CF (Close Focus), 85mm f/1.8 and 135mm f/2.8. That covers most bases.

Specifications

Key features

King of the feature list is that ultra-wide 99-degree viewing angle, as measured on the diagonal of the frame. It’s ideal for everything from sweeping landscape vistas and cityscapes to cramped architectural interiors. You can also get in really close to subjects and exaggerate the perspective between foreground and background objects for creative effect. In fact, with a minimum focus distance of just 0.25m (0.17m from the front of the lens), extreme close-ups are on the cards as well, where the f/2.8 aperture gives a fairly tight depth of field. Although it’s not particularly fast compared with some f/1.8 or even f/1.4 ultra-wide-angle lenses, the lens is nevertheless fast enough for astrophotography, adding another string to its bow.

Think Zeiss prime lenses and you’re probably thinking of manual-focus affairs. That’s certainly the case with popular Loxia, Milvus, Otus and other classic Zeiss lens families. However, like the Zeiss Touit series of APS-C format lenses for Fujifilm X-mount as well as Sony E-mount cameras, all Batis full-frame lenses are autofocus optics. As with most lenses for mirrorless cameras, autofocus is driven by a linear stepping motor. This enables fast performance for stills, along with smooth, virtually silent focus transitions when shooting video. As usual, the manual focus ring is electronically coupled to the stepping motor, requiring power from the camera to drive it.

A more unusual feature of this and other Batis lenses is that they have an OLED display built into the top of the lens barrel. I like that it gives a ready readout of focus distance, complete with an indication of the depth of field. That’s something that I often miss in ‘mirrorless’ lenses, which typically have no focus distance scale. Build quality feels very solid, even though it’s not one of Zeiss’s more usual metal-bodies lenses, and extensive weather-seals are incorporated.

Performance

Image quality is deeply satisfying. The lens is based on Zeiss’s ‘Distagon’ design principles, which first saw the light back in 1952. The optical path includes four aspherical elements and no less than seven anomalous partial dispersion elements, boosting clarity and sharpness while minimizing aberrations. Zeiss’s legendary T* anti-reflective coating is on hand to minimize ghosting and flare, while enhancing contrast. Levels of sharpness across almost the whole image frame are absolutely spectacular, although sharpness drops off at the extreme edges and corners of the image frame. Color fringing and distortion are minimal, although vignetting can be noticeable, especially at wide aperture settings.

Lab results

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

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

Sharpness:

Sharpness is absolutely stellar across almost the entire image frame, especially wide-open at f/2.8. At narrower settings, sharpness drops off towards the extreme edges and corners of the frame, but that’s by no means uncommon for such an ultra-wide-angle lens.

Fringing:

There’s a little lateral chromatic aberration towards the edges and corners of the image frame but it’s of a low order and well with the remit of automatic in-camera correction of Sony mirrorless cameras.

Distortion: -0.31

Many wide-angle lenses designed for mirrorless cameras rely entirely on automatic in-camera correction for distortion but the Batis 18mm delivers very minimal barrel distortion, even when uncorrected.

Verdict

I like that the Zeiss Batis 18mm F2.8 gives me an ultra-wide-angle perspective and that, while the f/2.8 aperture isn’t exactly ‘fast’, it enables a reasonably small and lightweight build. Unlike most Zeiss lenses, it has autofocus and even an OLED display. Image quality and performance are mostly fabulous and the lens is a joy to use, but it’s pricey to buy and sharpness at the extreme edges and corners of the frame could be better.

Sigma offers a diverse range of lenses in its ‘Global Vision’ Art, Sports, and Contemporary line-ups, aiming to offer ideal solutions to all sorts of photographers who are into every conceivable genre of photography. As an ‘Art’ lens, the 28-45mm F1.8 puts creative expression and excellence of image quality front and center of its design ethos. 

Indeed, Sigma claims it delivers comparable sharpness and clarity to that of a prime lens, throughout its entire zoom range. The outright zoom range might seem fairly limited but it covers popular prime focal lengths of 28mm, 35mm, and (very nearly) 50mm.

As such, this Sigma aims to be a zoom lens that effectively replaces three top-grade primes. That’s not exactly news to me, as I remember the same claims being made of the Sigma 24-35mm F2 DG HSM Art for DSLRs, which was launched back in the summer of 2015. Although it’s the first constant-aperture f/1.8 lens for full-frame cameras, there was also the Sigma 18-35mm F1.8 DC HSM Art for APS-C format DSLRs, dating back even further to 2013. 

Even so, the 28-45mm breaks new ground and I feel it’s a very tempting proposition for those of us who tend to shoot at modest wide-angle to standard focal lengths, without venturing into telephoto territory. The fast aperture rating enables a tight depth of field and quick shutter speeds for freezing motion, even under very gloomy lighting conditions.

All in all, the Sigma 28-45mm aims to take up residence as one of the best lenses for Sony and the best lenses for L-mount cameras.

Sigma 28-45mm F1.8 DG DN Art: Specifications

Sigma 28-45mm F1.8 DG DN Art: Price

The launch price of $1,349 / £1,299 seems pretty reasonable to me, considering the fast and constant f/1.8 aperture. The price tag is in the same ballpark as the Sigma 24-70mm F2.8 DG DN II Art, which costs $1,199/£1,179 and, although the 28-45mm has a less generous zoom range, it’s naturally 1.33 f/stops faster throughout. 

For a further price comparison, the Canon RF 28-70mm F2L USM zoom which is only a third of an f/stop slower (and again has a more generous zoom range) is very much more expensive at around $3,099 / £3,299 – getting on for three times the price. The Canon is also nearly 50 percent heavier, at 1,430g compared with the Sigma’s 960g. The Sigma’s modest zoom range pays dividends on both counts.

Sigma 28-45mm F1.8 DG DN Art: Design & Handling

At the heart of the Sigma 28-45mm is some impressive glass. There are 18 optical elements in total, including three aspherical elements and five SLD (Special Low Dispersion) elements, the combination aiming to maximize clarity and sharpness while minimizing aberrations like color fringing. The fast and constant f/1.8 aperture demands some wide-diameter elements towards the front but the HLA (High-response Linear Actuator) motor that drives autofocus moves relatively small inner elements with an impressive turn of speed.

As well as fast autofocus for stills, there’s smooth and virtually silent autofocus for shooting video. The latter benefits from negligible focus breathing. For the L-mount version of the lens, Sigma’s optional USB Dock (sold separately) also enables you to customize the rotational travel for manual focusing, between 90 degrees and 720 degrees, That’s a further bonus for focus-pulling when shooting video, and there’s more... The lens features an aperture control ring with one-third f/stop clicks, plus a locking switch for its Auto position and a de-click switch for step-less control during video capture.

Two function buttons are fitted, nominally for autofocus hold, so they fall neatly under the thumb in both landscape and portrait orientation compositions. Typically, Sony and L-mount cameras enable you to customize the action of these buttons for alternative functions, if there’s something on the menu that you find to be more useful.

I like that the lens features both internal zoom and internal focus mechanisms, so the overall length remains fixed in all conditions. Not only does it avoid air (and potentially dust and moisture) being sucked into the barrel, but the constant center of gravity is a bonus when using a tripod or gimbal. The lens also features extensive weather seals and a moisture/oil-repellant fluorine coating on its front element.

Sigma 28-45mm F1.8 DG DN Art: Performance

The goal of any fast lens is the combination of good sharpness and clarity with smooth bokeh. The Sigma 28-45mm performs excellently on both counts. Sharpness is highly impressive across the entire image frame, even when shooting wide-open at f/1.8, throughout the whole zoom range.

A common problem with fast lenses at their widest aperture is that they can be prone to axial color fringing, also known as ‘bokeh fringing’. This can show up around high-contrast transitions anywhere in the frame. The Sigma does brilliantly well to make this absolutely negligible. Bokeh itself is not only beautifully smooth but remains of excellent quality when stopping down a little, helped by a really well-rounded 11-blade aperture diaphragm.

Although the zoom range certainly isn’t extensive, the versatility of the lens is enhanced by a short minimum focus distance of 0.3m which, like the aperture rating, remains constant throughout the zoom range. This makes close-up photography a breeze and enables a useful maximum magnification ratio of 0.25x at the longest zoom setting.

Shooting against the light, ghosting, and flare is kept to a minimum but the combination of both Nano Porous Coating and Super Multi-Layer Coating, as well as a highly efficient petal-shaped hood.

Sigma 28-45mm F1.8 DG DN Art: Sample Images

The following gallery of images was taken with a Sony A7 II body at a range of apertures, including several shots at f/1.8 to demonstrate sharpness and bokeh when shooting wide-open. All of the interior and exterior shots were taken at the Bishop’s Palace & Garden in the Somerset city of Wells in the UK. For lab tests, we used the lens with a Sony A7R III camera body.

Sigma 28-45mm F1.8 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 shooting wide-open at f/1.8, levels of sharpness are excellent from the center of the frame right out to the extreme edges and corners. They genuinely match what we might expect from a set of prime lenses, throughout the entire zoom range. At some focal lengths, stopping down to medium apertures gives edge-sharpness that matches a number of top-quality lenses at the center of the image frame.

Fringing:

The lens exhibits superb control over both lateral and axial chromatic aberrations, the latter often being referred to as ‘bokeh fringing’. Color fringing is negligible at all combinations of zoom and aperture settings.

Distortion:

Barrel distortion can be a little noticeable at 28mm, while pincushion distortion gets progressively worse through the 35mm to 45mm sector of the zoom range. Even so, the amounts of distortion are much less than with many recent lenses designed for mirrorless cameras, which rely entirely on automatic in-camera correction.

Sigma 28-45mm F1.8 DG DN Art: Verdict

Like many photographers, I feel that f/2.8 isn’t really a ‘fast’ aperture. I love that this Sigma has a truly bright aperture of f/1.8, delivered at all zoom settings. Sure, the actual zoom range of 28-45mm can feel a little limiting compared with, say, a 24-70mm f/2.8 lens, but it’s a sacrifice I’m happy to make – even more so as the actual image quality produced by this lens is so absolutely fabulous. It really is like having three great-quality prime lenses in one zoom package and I love being able to switch between popular wide-angle and standard focal lengths in the blink of an eye, rather than having to continually change the lens on my camera. This Sigma is a real winner as far as I’m concerned, and great value at the price.

Alternatives

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

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

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

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

Thypoch Simera 35mm f/1.4: Specifications

Thypoch Simera 35mm f/1.4 ASPH: Price

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

Thypoch Simera 35mm f/1.4: Design & Handling

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

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

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

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

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

Thypoch Simera 35mm f/1.4: Performance

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

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

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

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

Thypoch Simera 35mm f/1.4: Sample Images

Thypoch Simera 35mm f/1.4: Verdict

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

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

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

Alternatives

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

So is f/1.2 worth it? 

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

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

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

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

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

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

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

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

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

TTArtisan has just announced a new 250mm manual focus full-frame prime lens, which already starts to sound farfetched but when you add the fact that it is a mirrored lens for the vintage M42 mount it passes farfetched and enters the realm of unbelievable! 

This week the TTArtisan 250mm f/5.6 Reflex lens was announced, available for M42 mount, a screw thread mount that harkens back to the days of retro cameras, in particular Praktica analog cameras of the 60s and 70s. However, TTArtisan states it is easily adapted for 'Sony, Fujifilm, Canon, Nikon, Hasselblad cameras'.

Nowadays, besides being a motorway in the UK that connects Birmingham to Leicester, the M42 is an affordable method for manufacturers to create a universal lens where all you need to change is the camera-specific adapter. This is particularly effective when used with manual focus lenses that do not rely on electronic components. 

This is the case with the new TTArtisan 250mm f/5.6 mirror lens, and in addition to its retro lens mount, it also has retro aesthetics and styling to match. Its diamond-shaped grip structure on the focusing ring looks straight out of the 1970s as it adds a vintage-styled grip for improved tactile usage. 

The lens is constructed of six lements in five groups, weighs 380g, and has a filter thread size of 67mm. Its all-metal aviation aluminum anodized body provides less weight than other lenses of similar specifications while remaining robust and durable for use in different environments. 

Like most mirrored lenses, the 250mm f/5.6 is more compact than typical lenses of similar focal lengths. The focal length enables the user to get close to the subject while creating a pleasing amount of compression in the out-of-focus areas. 

One of the defining features of mirrored reflex lenses is the spherical 'doughnut' bokeh produced when used with the lens' fixed f/5.6 aperture. The effect turns ordinary scenes into artistic painterly captures, and when used to capture rich colors, results in images that resemble abstract oil paintings.

Other notable features of the lens include a highly reflective metal mirror with a reflectivity of up to 98%, multi-layer ultra-low AR coatings, no vignetting on APS-C and full frame cameras, and a minimum focus distance of just 2m. 

Mirror lenses provide the user with a creative tool that captures everyday scenes in a new and innovative way turning the ordinary into the extraordinary. We haven't yet got our hands on the lens, TTArtisan has been making some great affordable lenses of late, so I imagine this will follow suit. 

The TTArtisan 250mm f/5.6 Reflex lens is available now directly from Pergear or from Amazon for $298 | £238 | AU $455. 

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

Sigma has just revealed a groundbreaking, world-first lens: the Sigma 28-45mm f/1.8 DG DN Art, which is the first full-frame zoom lens with a constant f/1.8 aperture, for E and L-Mount. 

This is exactly the kind of optic that the mirrorless revolution promised us: with larger throats and reduced distance between lens and sensor, lenses that were previously impossible are now achievable. 

Leave it to Sigma, the self-confessed "guinea pig of the lens industry", to deliver the 28-45mm f/1.8, which sets new standards for what we can expect of zoom lenses. Previously, the family of f/2.8 professional zooms (15-35mm, 24-70mm and 70-200mm) were considered the "holy Trinity" because of their speed and coverage. 

While the new lens obviously covers a much shorter range, if those are the Trinity lenses then dare I say this 24-45mm f/1.8 promises to be the New Testament of what we can expect of performance optics. 

In addition to the constant f/1.8 throughout the range, the lens also boasts a constant size throughout the range – thanks to an internal zoom mechanism. So, while this 151.4mm / 960g lens isn't exactly small, it's incredibly compact for what it accomplishes – and, crucially, the balance remains fixed, making it perfect for gimbal use.

"The Sigma 28-45mm f/1.8 DG DN Art delivers sharpness and clarity comparable to that of a prime lens throughout its entire zoom range," claims the manufacturer, promising that it "rivals prime lenses for clarity and definition."

This is thanks to an elaborate optical formula consisting of 18 elements (including 5 super-low dispersion and 3 aspherical) in 15 groups, with Nano Porous Coating and Super Multi-Layer Coating meaning that flare and ghosting are "largely eliminated". 

In addition to its fixed size being a boon for videography, the lens also suppresses focus breathing and the dedicated aperture ring can be declicked – making it a powerful tool for filmmaking. 

The Sigma 28-45mm f/1.8 DG DN Art goes on sale June 20, for L-Mount and Sony E mount, priced £1,349 / £1,299 / AU$1,599. 

You might be interested in the best Sony lenses for E mount bodies along with the best L-Mount lenses for Leica, Panasonic and Sigma cameras.