If you’re a Sony photographer who’s in the market for a fast telephoto zoom, but don’t want to pay ‘trinity’ G Master prices then the newly announced LK Samyang AF 60-180mm f/2.8 FE (distributed under the Rokinon brand in the USA) will surely tickle your fancy. This affordable alternative to the more traditional 70-200mm f/2.8 has been co-engineered with historic German optical company Schneider Kreuznach.

It’s priced at just $TBA / £899 / AU$TBA making it significantly cheaper than the Sony FE 70-200mm f/2.8 GM OSS II, while also being much lighter. The Samyang AF 60-180mm f/2.8 FE weighs just 730g, which isn’t far off the weight of the Sony FE 24-70mm f/2.8 GM II.

Short telephoto zooms are a great alternative to a macro lens if you don’t require true 1:1 macro. The Samyang AF 60-180mm f/2.8 FE boasts an impressive minimum-focus distance of 0.35m at the wide end and a maximum magnification of 0.26x. Close-up photography should also benefit from Samyang’s Floating Focus System, which is said to minimize optical degradation at varying focusing distances in a bid to deliver reliable results throughout the frame.

The lens features a nine-bladed aperture and comprises 17 elements in 14 groups, which includes one high refractive, seven extra-low dispersion and two aspherical elements, combining to reduce aberrations and deliver sharper, clearer imagery.

The lens features a linear stepper motor (STM) which is said to deliver autofocus that is fast, precise and quiet for both stills and video applications. As far as physical onboard controls, the barrel features an AF/MF switch, a focusing ring, a zoom lock and a USB-C port for firmware updates.

Filters are accommodated via a 77mm thread, while weather sealing is present at critical junctures to help protect the lens’s internals against water and dust penetration. Samyang specifically states “light rain”, as always, no lens is impregnable, but weather sealing is always a boon for peace of mind.

When it comes to the lens’s build, Samyang has rather cryptically referred to a high-strength, lightweight material that was newly developed in house and is said to provide a “solid yet lightweight structure for reliable use in various shooting conditions.” The Samyang AF 60-180mm f/2.8 FE joins the existing 14-24mm f/2.8 and 24-60mm f/2.8 to complete a budget ‘holy trinity’ for Sony photographers.

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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.

We wrote last week that we had a sense Samyang's first lens after joining the L-Mount Alliance would soon be announced, and that day has finally arrived. 

Samyang has officially unveiled the Samyang AF 35-150mm f/2-2.8 for L-Mount. Sold under the Rokinon label in North America, its a super-fast full-frame all-round zoom lens that provides a versatile and affordable zoom lens option for L-Mount users. 

The lens may already sound familiar to Sony users as it has been available for Sony FE mount since 2023, and during our review, it shone due to its versatility. 

The lens offers a maximum aperture of f/2 at the widest end of the focal range, and f/2.8 at the telephoto end. The focal range covers the most common prime lengths in 35mm, 50mm, 85mm, 135mm, and 150mm making the 35-150mm f/2-2.8 feel like you have 5 fast primes in one lens. 

Not surprisingly having this much of a wide focal range at a wide aperture, means there is a lot of engineering in design and construction. The lens includes 21 elements in 18 groups, with 2 Aspherical, 1 Hybrid-Asherical, 3 HR, and 6 ED elements which promise to 'deliver superior optical performance throughout the entire zoom range'. This does, however, increase the size and weight of the lens. 

Samyang / Rokinon has not been making AF for long but has impressed with recent lens releases. The 35-150mm f/2-2.8 features Samyang's popular STM (Linear Stepping Motor) providing fast and responsive AF performance and tracking for both photography and videography. 

Video use has been considered during development as the lens features a digital parfocal function that enables the user to maintain focus on a subject when zooming. Additionally, Samyang has also reduced the effects of focus breathing. 

Versatility is key in today's varied world of content creation, and having equipment we can rely on to fulfill several different jobs is a huge benefit. The L-Mount alliance has further enhanced this as this lens will be compatible with Leica, Panasonic, Sigma, Blackmagic Design, and DJI L-Mount users. 

The Samyang AF 35-150mm f/2-2.8 for L-Mount is available for pre-order now for $1,499 |£1,194 (Australian pricing to be confirmed), with shipping scheduled to start in late June/ early July. 

For an idea of what to expect from this lens be sure to check out our review of the Sony E mount version. 

You may also be interested in our guides to the best L-Mount lenses, and the best Panasonic lenses. 

Samyang's V-AF cine lens lineup is now complete with the introduction of the Samyang V-AF 20mm T1.9, a fast full-frame wide-angle lens and the widest of the series. 

Samyang historically specialized in budget third-party manual focus lenses, but in recent years it has expanded to offer users not only AF options but cine lens options. Pushing this even further Samyang combined these and created the world's first AF cine lenses with the Samyang V-AF, considered by many to be on par with the best cine lenses on the market - and the three that we have tested so far, all perform extremely well given their highly-affordable price. 

What is the Samyang V-AF range?

As mentioned, V-AF is the world's first AF cine lens lineup, focused on making video and cine lenses more accessible to 'single-person video creators to small productions as well as filmmakers'.  

These lenses make approaching video-making, with cine lenses, easier for users new to capturing motion and used to the AF functions of stills cameras or camera phones. The fast autofocus makes it easy to capture moving subjects with an added cinematic touch. 

The price point also separates the V-AF from the majority of lenses in the cine lens market. Despite having an AF system, they are significantly cheaper than other cine lens equivalents, lowering the entry point further. 

The lineup consists of the following full-frame cine prime lenses: V-AF 24mm T1.9, V-AF 35mm T1.9, V-AF 45mm T1.9, V-AF 75mm T1.9, V-AF 100mm T2.3, and the newly introduced 20mm T1.9, all of which are available on Sony E mount (FE). This even spread of focal lengths provides users with an AF cine lens that can cover most, if not all, shooting scenarios. The range of V-AF lenses are also sold under the Rokinon brand in North America.

As is the case with most higher-end cine lens ranges, uniformity among the V-AF line is paramount to its versatility and flexibility. Each lens has an identical size and weight meaning swapping lenses on stabilizers, gimbals, and drones is seamless and negates the need to recalibrate. Again, this is the case across the entire focal range as each measures just ∅72.2 x 72.1 and weighs only 280g.

Despite the small form factor, the V-AF series supports resolutions up to 8K and is color-matched for consistent image quality. Nine aperture blades provide a soft and natural-looking bokeh, adding to the cinematic quality. 

Other notable features across the lineup include a tally lamp to indicate the filming status, weather sealing, and a customizable switch and button. This last feature is often associated with photography lenses, and is typically reserved for higher-end cine lenses adding the feature 'focus-save function'. 

As a photographer looking to dip my toes into the pool of filmmaking, these lenses are certainly at the top of my list of lenses to try. Factoring in the smaller price than other cine lenses and the compatibility with the new Samyang anamorphic adapter ( the new 20mm is too wide to be compatible, mind), they become exciting lenses capable of creating a cinematic look. 

The Samyang V-AF 20mm T1.9 completes the V-AF lineup and will start shipping in May 2024 and will be available for just $700 | £568 | AU $1,077. 

You may also be interested in our guides to the best Sony video lenses, the best Sony cameras, and the best cinema cameras. 

The unique feature of Samsung's affordable V-AF cinema lens range is that it has a bayonet mount at the front. At the time of its original launch, we had little information as to what it would be used for. 

On view at the UK's The Photography & Video Show, the Samyang 1.7x Anamorphic MF Adapter is the first of the accessories that take use of this mount. It turns the Samyang V-AF 35mm T1.9, V-AF 45 T1.9, V-AF 75mm T1.9, and V-AF 100mm T1.9 into an anamorphic lens. So you no longer need a separate set of cinema lenses to create anamorphic effects – you can simply attach this one converter to your existing set of cine primes.

The adapter can also be used on the V-AF 24mm T.9, but here usage is restricted to shooting in Super 35 (APS-C) format.

Anamorphic lenses are very on trend in the movies – creating a unique oval bokeh, and giving a cinematic look through the way they create horizontal streaks of light across the frame.

 The attachment turns the lenses' operation to manual focus, but electronic communication from the lens to the camera body remains.

The range of V-AF lenses are also sold under the Rokinon brand in North America - and for the moment at least are only available in the Sony FE mirrorless camera mount. A V-AF 20mm will be the next model in the Samyang series, but this will not be compatible with the anamorphic adapter.

The anamorphic adapter is due to go on sale later this year, and we are told should be available for around £800 - so well under US$1,000.

The Photography & Video Show continues until Tuesday 19 March.

Samyang has expanded its popular V-AF lineup with a compact 100mm cine lens.

The new Samyang V-AF 100mm T2.3 FE, as the name suggests, is designed for the Sony FE mount and provides even further focal length choice to the existing V-AF range. With a host of great features, the new lens looks quickly to become one of the best Sony lenses for vlogging and filmmaking. It will be sold under the Rokinon brand name in North America, as is the convention for all Samyang lenses.

Building on the success of the existing cine lenses which currently consist of the Samyang V-AF 24mm, V-AF 35mm, 45mm, and V-AF 75mm T1.9 FE lenses, this lens provides more depth and increases the focal range. A V-AF 20mm T1.9 lens is due to be launched in March 2024.

(Mar 2024)The 100mm focal length coupled with the T2.3 aperture is ideal for capturing people, excelling at shooting portraiture and videos such as talking head interviews, but is also great for product and still life. 

The Samyang Cine autofocus series has been praised for its fast and efficient AF, which is vital for tracking and subject detection when recording video. The 100mm will boast the same AF system, ensuring tack-sharp video quality across the board. Another area where the V-AF lenses shine is through the color tones, and this lens further adds to this, enabling further consistency across the line.

The Samyang V-AF 100mm T2.3 FE will also include all of the cinematic features on the other V-AF  lenses such as 8K support. It also has a customizable dial on the side of the lens that can be set to use manual focus or allow aperture adjustment by turning the focus ring.

The lens does differ slightly in terms of length, measuring 13mm longer than the existing series. This is due to its construction of 9 elements in 8 groups, where 2 HR and 2 ED lenses have been incorporated for 'superior optical performance'. Despite being 13mm longer than the rest of the series, it shares the same weight, focus ring position, and size front meaning that there is no need to reconfigure a gimbal when switching between focal lengths.

Another feature that will excite existing, and intrigue potential, Samyang Cine lens users is the introduction of a new anamorphic adapter for the V-AF series! Scheduled for release in the first quarter of 2024, the adapter will add anamorphic features to the V-AF series, including the new 100mm.

The Samyang V-AF 100mm T2.3 FE will be available at the end of December 2023 but is available to pre-order now. Samyang has always delivered fantastic affordable options and this lens is no different available for just $540 / £540.

Samyang has been developing some exceptional lenses of late and since its foray into AF lenses, they haven't looked back!

See our helpful guides for more information on the best Sony lenses, the best camera for filmmaking, and the best Sony camera.

Samyang has issued highly unusual beta firmware updates for a number of its lenses, as they were unable to perform in AF-C mode with Sony's most recent cameras. 

Samyang is a third-party lens manufacturer that is well known for creating affordable manual focus lenses, but over recent years it has been creating AF optics for most of the major camera mounts. However, it has issued an incompatibility notice between its AF lenses and the Sony A7C II, A7C R, A6700 and FX6, where they were unable to work with continuous AF.  

In response, Samyang has issued a 'Beta Version firmware update notice'. It is not very often that camera or lens manufacturers release a beta version of a firmware update – I certainly haven't seen it before. In the official notice, Samyang states:

"Thank you to all of the Samyang lens customers.

We have been aware that there is a compatibility issue with some recently released Sony cameras and Samyang AF lenses. We are currently evaluating official firmware to resolve this issue, and releasing the Beta Version firmware files as follows, to minimize any inconvenience for customers may experience.

Compatibility Issue Camera Models

• A7C II (ILCE-7CM2)

• A7C R (ILCE-7CR)

• A 6700 (ILCE-6700)

• FX6 (ILME-FX6V)

Compatibility Issue Symptoms

•AF-C (Continuous AF) does not function properly"

Judging by the wording of the release, Samyang is unsure what has caused the incompatibility but is working on finding out – and is releasing a beta version to keep customers happy in the meantime.   

The firmware also looks to be a tad complicated to update as there are many lenses and, depending on the type of lens, you have to update it a different way. However, there is a step-by-step photo guide on how to do it on Samyang's website, , once you figure out which firmware update suits your lens. Hopefully, this is an issue that can be fixed quickly!

Take a look at the best Samyang lenses across all formats. For Alpha lovers, check out the best Sony lenses for the best Sony cameras!

Thanks to the design freedoms afforded by the mirrorless camera configuration, we are becoming accustomed to seeing more exotic lenses, especially zooms. The shorter flange back distance and, in many cases, wider throat of the mirrorless camera mounts provide more scope for optimizing lens performance without requiring complex and expensive optical constructions. And optical correction for distortion and optical aberrations can be assisted by in-camera corrections, so lens designers are generally becoming more adventurous. 

Samyang’s AF 35-150mm f/2.0-2.8 FE is both ‘everyday’ and exotic. Also available under the Rokinon range, the focal range initially looks to be quite conservative until you appreciate that it spans a whole bunch of classic focal lengths – 35mm, 50mm, 90mm (for photographers, 85mm for video-makers), 135mm and 150mm – with, of course, all points in between. It’s a lot more versatile that you might initially think, made more so by the fast maximum aperture range of f/2.0 to f/2.8 which is advantageous for low-light shooting as well for using selective focusing via the shallow depth-of-field, especially at the shorter focal lengths. The ‘FE’ designation in the model number indicates that the mount is for Sony’s full-frame Alpha series bodies, but now that Samyang has joined the L Mount Alliance, it’s not unreasonable to expect a version in this fitting will arrive at some point. 

If you think that this particular focal range and lens speed look familiar, you’re absolutely right because there’s a similar Tamron 35-150mm F/2-2.8 Di III VXD which is available for both the Sony FE and Nikon Z mirrorless mounts. The latter is the result of Tamron’s long relationship with Nikon which has given it access to the Z mount protocols and it’s although noting that Tamron earlier made a 35-150mm f/2.8-4 Di VC OSD zoom – albeit a little slower – for the Canon EF and Nikon F DSLR mounts. It’s proved to be very popular which is no doubt why the focal range is being reprised in the mirrorless mounts… and Sony FE users actually have a choice of two models. 

They’re also quite similar in size, weight and external design, but there are some key differences in the optical construction and, not surprisingly, the Samyang model is the more affordable. Significantly, as we’ve come to expect from Samyang, this saving doesn’t come at the cost of either performance or capabilities. In fact, Samyang continues to load up its newest AF mirrorless lenses with ever more features and functions. 

Having built its reputation with solidly performing manual focus primes, Samyang now seems equally adept at building autofocus zooms. 

Specifications

Mount: Sony E (FE)
Full frame: Yes
Image stabilization: No
Autofocus: Yes
Lens construction: 21 elements in 18 groups
Diaphragm blades: 9
Minimum aperture: f/16-22
Minimum focusing distance: 0.33m (W) 0.85m (T)
Maximum magnification ratio: 0.18x (W) 0.175x (T)
Filter size: 82mm
Dimensions: 92.8x157.4mm
Weight: 1,224g / 43.2oz

Handling

The fast maximum apertures make the 35-150mm a big lens and result in a screw thread filter diameter of 82 millimetres. It weighs in at a substantial 1.23 kilograms so even on the most compact of Sony Alpha bodies, it’s still quite a handful. A tripod mounting collar would probably be beneficial, but it’s comfortable to use handheld although shooting over longer periods – say at a sports event – would likely become more of a challenge. 

The zooming collar is quite wide, so it affords a firm grip, and the zooming mechanism is telescopic so the lenses increases in physical length as the focal length is increase. There’s a zoom lock to secure it at the 35mm setting, and prevent the barrel extended when you’re carrying the lens on-camera. However, in practice, we found that the zooming mechanism is stiff enough to prevent any creep. 

The manual focusing collar is also a decent size and has a nicely weighted feel despite being an electronic ‘fly-by-wire’ control. The 35-150mm has a number of other controls on the barrel and these comprise an MF/AF switch, a pair of focus hold/memory buttons – set at the 12 o’clock and three o’clock positions – and a ‘Custom’ switch which is becoming a common feature on Samyang’s most recent lenses, both zooms and primes. On the 35-150mm there’s three setting positions and a total of four mode settings straight out of the box. With the lens set for AF operation, the Mode 2 setting switches the MF control ring into a manual aperture collar, allowing for stepless adjustment from f/2.0-2.8 to f/16- 22. With the lens set for manual focusing, the ‘Custom’ switch settings then vary how the MF control collar works – non-linear, linear or what Samyang is calling the “Dolly Shot” function. With non-linear adjustment, the amount of focus shift is governed by the rotation speed of the focus collar… in other words, if you turn it quickly, you’ll make big adjustments, but turning it slowly allows for more precise control thanks to the smaller degrees of change. With the linear-type adjustment, the focus is shifted at a constant speed according to the rotational angle of the focus ring. The latter allows for more uniformity of adjustment – i.e., more linear – which is something video-makers often require when using focusing creatively. There’s also a long focus ‘throw’ of 300 degrees which is also something that video makers like for more precise focusing control. With the Mode 3 “Dolly Shot” function, the focusing collar and zooming control are linked so, once you’ve established the size of your subject, you can zoom out while moving in and it will be maintained, but obviously the perspective of the background will change. It doesn’t quite replace the versatility of a proper dolly, but if you only need to use this effect occasionally and only over short distances, then doing it via the Samyang’s zooming ring is a lot cheaper and, in practice, just as effective. And, of course, you can achieve it single-handedly. The other main stipulation is that you need to be relatively close to your subject (Samyang recommends no further out than a couple of metres). 

Being a fully supported Sony FE mount lens, the focus hold buttons can be programmed for different functions from the camera body such as ‘Hybrid AF’ and ‘Eye AF’. With manual focusing, the hold buttons can be used to store a distance setting that you can then immediately return to. You can also reprogram the Custom mode settings, but for this you’ll the need the optional Samyang ‘Lens Station’ docking module. 

The main barrels are made from metal alloy with extensive sealing to prevent the intrusion of dust or moisture. This includes a rubber gasket around the lens mount which is even more important on a mirrorless camera where the sensor is more exposed than with a DSLR. The lens looks – and feels – exceptionally well-made and has Samyang’s “hidden red ring” – so named because it can only be seen from the front of the lens – which is a cosmetic feature of its premium models. 

Design

There are no fewer than 21 elements at work inside the Samyang 35-150mm zoom and they’re arranged in 18 groups. A total of 12 elements are special types which indicates that Samyang has gone to considerable lengths to provide a high degree of optical correction. The specials include one hybrid aspherical element (‘H-ASP’), two aspherical (‘ASP’) types, six with extra-low dispersion (ED) characteristics, and three made from glass with a high refractive index (HR). Together, these correct for distortion, chromatic aberrations (both lateral and longitudinal) and spherical aberrations, as well as minimizing the fall-off of both sharpness and brightness towards the corners of the frame. Samyang’s ‘Ultra Multi-Coating’ (UMC) prevents internal reflections thereby reducing both flare and ghosting. By the way, a hybrid aspherical element is one made by shaping optical-standard resin over a glass spherical which allows for more powerful corrective capabilities. 

Autofocusing is via a stepping-type motor (STM) which delivers a faster response – due to its low inertia – and then faster operation. This speed is particularly important when tracking fast-moving subjects. STMs are also very quiet which is a plus for video shooters. The minimum focusing distance is 33 centimetres at 35mm and 85 centimetres at 150mm which gives a maximum reproduction ratio of 1:5.5. Importantly for video-makers, the optical design is parfocal which means that a manually-set focusing distance won’t shift when zooming. Interestingly, Samyang describes it as “Digital Parfocal” which suggests the lens is automatically re-adjusting the focus during zooming to maintain the set distance. Makes sense given just how expensive an optically parfocal design can be. Also, good news for video-makers is that there’s no evidence of focus ‘breathing’ so the image size remains unchanged across the lens’s distance range. 

The aperture diaphragm employs nine blades to give smoother, more rounded out-of-focus effects. There’s no optical image stabilization so dealing with camera shake relies entirely on the in-body systems in the full-frame Sony Alpha cameras. 

Performance

As noted previously, Samyang has worked hard to optically correct the 35-150mm zoom as effectively as it can, and it shows in the optical performance. The center sharpness is exceptional across the focal range and while there is some fall-off towards the corners at 35mm and f/2.0, it’s not as much as might be expected. By f/4.0, the centre-to-corner sharpness is impressively uniform as is the brightness. Again, there’s slight vignetting when shooting at the widest focal length and wide open, but it’s not excessive and may not even be enough to warrant any post-camera correction (depending on your personal preferences). 

Distortion is very well-controlled with a tiny amount of barrel-type bending at the wide-angle end which then becomes pincushion-type bending from around 50mm. This progressively increases towards the telephoto end, but only slightly and so, overall, distortion just won’t be noticeable in a great many real-world subjects and scenes. Lateral chromatic aberration isn’t evident at all so crisp definition is maintained along all the high contrast edges. Longitudinal chromatic aberration, if it occurs, is only very slight when shooting wide-open and is effectively countered by stopping down. 

Given the large expanse of front element, using the supplied lens hood is a must with strong side lighting, but some flare is unavoidable when the sun is the frame. However, closing down to f/16-f/22 converts the flare into nicely defined sun stars. 

This zoom is nicely contrasty and delivers a convincing impression of depth with the very smooth roll-off from the in-focus to the out-of-focus. For portraiture, backgrounds can be rendered softly blurred thanks to the fast maximum aperture that’s maintained across the zooming range. On the other hand, if you want sharpness and definition, the Samyang 35-150mm can resolve the tiniest of details and the most intricate of patterns… so it’s easily a match optically for Sony’s growing line-up high-res 61 megapixels Alpha bodies, such as the Sony A7R V. 

Verdict

There’s no shying away from the size and weight of Samyang’s AF 35-150mm zoom, but there’s plenty of reward for effort here too. The zooming range covers all those focal lengths that we now consider ‘classical’ because they have proven universally useful. Importantly, the f/2.0-2.8 maximum aperture range means that you aren’t sacrificing a whole lot of speed compared to using primes, especially at the telephoto end. And, of course, carrying a set of fast primes would be a much heavier load… with a lot of time-wasting involved when changing focal lengths compared to the convenience of simply zooming. Samyang backs up this practicality with a solid optical performance all round and excellent affordability which makes the value-for-money proposition hard to ignore too. 

This may be a bit controversial, but it seems that when a camera maker opens its lens protocols to third-party manufacturers, its system benefits in a number of ways. Sony, of course, is the prime example, and making licenses freely available right from the start has undoubtedly put it where it is today. The staggering choice of FE mount lenses is great for the system’s users, and often the third-party offerings fill in the ‘gaps’ in a camera brand’s own line-up. What an open system also says is that the camera maker is confident in the quality of its own lenses – which is very much the case with Sony – and the independents can either compete on performance or price (or sometimes both). Either way, these lenses need a camera body so, really, everybody wins one way or another. 

Since Fujifilm opened up its lens protocols for the X mount, there’s been a steady flow of new autofocus lenses for the system from Sigma, Tamron, Tokina and others. Samyang and sister-brand Rokinon – now very much a mainstream players in third-party lenses rather than niche brands – joined in with the AF 12mm f/2.0 ultra-wide prime (equivalent to 18mm) and now there’s the AF 75mm f/1 .8 X (equivalent to 112.5mm). The quality of Fujifilm’s own Fujinon XF lenses is well recognized – and a key reason for many photographers adopting the system – so the bar is set high for anybody else wanting a piece of the action. Samyang already offers a number of its manual focus primes in the X mount, but the new AF lenses obviously tap into more capabilities beyond just autofocusing, including the automatic in-camera corrections 

Importantly too, both the 12mm and 75mm don’t have direct competitors in the current Fujifilm XF system – there’s an XF18mm f/2 R and an XF80mm f/2.8 R LM OIS WR Macro – so you can already see where Samyang is offering something a bit different. 

Specifications

Mount: Fujfilm X
Full frame: No
Image stabilization: No
Autofocus: Yes
Lens construction: 10 elements in 9 groups
Angle of view: 21.9 degrees
Diaphragm blades: 9
Minimum aperture: f/22
Minimum focusing distance: 0.69m
Maximum magnification ratio: 0.14x
Filter size: 62mm
Dimensions: 70x69.3mm
Weight: 257g

Handling

The Samyang AF 75mm f/1.8 X is actually a reworking of the full-frame Sony E-mount Samyang AF 75mm f/1.8 FE model with a new, sleeker exterior design and the addition of weather sealing. The weather protection is an essential feature given how much emphasis Fujifilm puts on this with most of its X-mount camera bodies (with the exception of the X-S models). 

The matte finish looks smart and Samyang’s “hidden red ring” – so named because it can only be seen from the front of the lens – adds a nice cosmetic touch. 

Despite the fast maximum aperture of f/1.8, the 75mm is a very compact lens, and it weighs in at just 257 grams thanks mainly to the high-grade polycarbonate barrel tubes. It actually feels pretty solid in the hand, but the small size makes for a very comfortable balance on the more compact X-T series and X-S series bodies. 

The lens mount is stainless steel and surrounded by a rubber gasket as part of the weather protection measures (there are a total of five seals). Importantly, there’s the full complement of 12 contacts needed to provide the full interface with the Fujifilm X mount camera bodies. The manual focusing collar features the finely-textured ‘micro pattern’ grip Samyang has used on a number of recent lenses and, of course, it’s an electronic ‘fly-by-wire’ control so there are no end stops. Unlike many electronic focusing rings, the 75mm’s feels more mechanical in its resistance so its possible to adjust it quite precisely. 

There’s no aperture control ring so manual adjustment is from the camera body. This is also the case with Fujifilm’s XC lenses, but the XF lenses have manual aperture collars so some users may have to change the way they work when shooting with the aperture-priority auto or manual exposure modes. 

There’s only one other control on the lens barrel and that’s the two-position ‘Custom Switch’. The settings are labeled ‘M1’ and ‘M2’ and, on the 75mm f/1.8, the latter engages a new feature called ‘Preset Aperture Control’. Essentially, it’s a click-less – or stepless – aperture control that is primarily designed for video shooting, but obviously be used for photography too. 

If you like being in charge of your apertures in order to vary the depth-of-field, ‘Preset Aperture Control’ is an option, but obviously it means that you can’t have manual focusing as well. It works pretty well in practice, but with one anomaly which is that the aperture settings displayed by the camera don’t change (but obviously you can see the depth-of-field changing in the EVF or the monitor screen). This happens because, as is explained in Samyang’s own description of the feature, “… the AF 75mm f/1.8 X intentionally disconnects the communication with the camera body and the lens itself on the Preset Aperture Control function, so it is possible to smoothly adjust the exposure without flickering”. 

Design

The optical construction employs ten elements in nine groups with five special elements, namely three with extra-low dispersion (ED) characteristics and two which have high-refractive (HR) index glass. Collectively, these special elements correct for chromatic aberrations. 

Samyang’s ‘Ultra Multi-Coating II’ (UMC) reduces minimizes internal reflections to reduce both ghosting and flare. A bayonet-fit lens hood is supplied. The 75mm’s nine-blade diaphragm has curved blades to give more rounded and smoother out-of-focus effects (aka the bokeh). 

Focusing is performed internally and the AF drive employs a linear-type stepping motor (STM) to give more precise control while also being both smooth and quiet for shooting video. The minimum focusing distance is 69 centimeters which delivers a modest magnification ratio of 1:7.7. Being primarily a portrait lens – although, of course, there are other applications – close-up capabilities aren’t its strong suite. 

Performance

Having been primarily designed as a full frame lens is very advantageous for the ‘APS-C’ version of the 75mm f/1.8 as it’s only using the central area of the imaging circle. This greatly benefits both the corner sharpness and the brightness, with very little fall-off in either case even at f/1.8. The overall sharpness is exceptional and the lens performs extremely well up to f/11 when diffraction starts to soften the finer details. For JPEG capture, the Fujifilm camera’s ‘Lens Modulation Optimiser’ (LMO) corrects for diffraction and the metadata will also be appended to a RAW file. LMO dates back to the X-T2 (it first appeared on the fixed-lens X100S) and actually reconstructs some of the lost edge data. LMO also corrects for any sharpness fall-off in the corners of the frame, but is the only lens correction that is switchable on an X mount camera. With JPEG capture, the in-camera corrections for distortion, vignetting and chromatic aberrations are performed automatically. 

With no aspherical elements in the optical mix, there’s some spherical aberrations which result in a slight softening of detail in low-contrast areas while preserving it in the high-contrast areas. This creates more of a real-world ‘naturalness’ which is really what you want in a portrait lens when too much sharpness doesn’t always look very flattering. If, however, you do really want some more punch, using the Clarity control’s plus adjustments – on X-mount bodies such as the Fujifilm X-T5 – works very effectively. The AF 75mm f/1.8 is certainly able to complement Fujifilm’s 40.2 megapixel’s ‘X-Trans CMOS 5 HR’ sensor (as also used in the X-H2) for resolution and tonality. 

Distortion is minimal with just a hint of pincushion-type bending (which is completely corrected in the JPEGs), and there’s virtually no lateral chromatic aberration to speak of either. The color fringing in high-contrast areas caused by longitudinal (or axial) chromatic aberration is a little more evident when shooting wide-open (when, inevitably, more of the frame is out-of-focus due to the shallow depth-of-field), but still minimal and certainly not enough to compromise edge definition. There’s a pleasing smoothness in the tonality and the transition from in-focus to out-of-focus is nicely linear which are both welcome characteristics in a portrait lens. 

Some flare is created with strong contra-jour lighting and can cause a loss of contrast, but fitting the supplied lens hood – which is quite deep – effectively fixes the issue. However, when the sun is actually in the frame, you’ll have to live with some ghosting effects. 

In terms of autofocusing performance, the AF 75mm f/1.8 and the X-T5 played together very nicely. This camera’s AF is very slick in terms of its responsiveness and speed, and the Samyang lens certainly maintains these attributes, snapping into focus in an instant. The face/eye detection works as well as with any in-house XF lens, as does the subject recognition. Subsequent tracking looks to be very reliable, but there wasn’t the opportunity to really challenge the lens with some really fast-moving such as a racing car. 

Verdict

Once again, Samyang has come up with an appealing combination of performance and price which, this time, Fujifilm X mount shooters can also take advantage of. The AF 75mm f/1.8 X is nicely compact so it feels right at home on the likes of the X-T series bodies on which it handles very comfortably indeed. The optical performance is excellent with a high degree of optical correction for chromatic aberrations and distortion if you’re shooting RAW, with Fujifilm’s in-camera correction playing back-up for JPEGs. The overall look – particularly in terms of the pleasingly smooth tonality – very much suits portraiture, but compliments many other subjects too. 

Consequently, this lens is a great alternative to the short telephoto primes on offer in Fujifilm’s XF system, but with comparable optical quality and functional capabilities. The absence of a manual aperture collar is the only negative if you particular like the classic operation of the X-T series cameras and so regularly use this control to switch exposure modes as well as set the aperture. However, it’s arguable easily outweighed – no pun intended – the Samyang lens’s superb compactness and lightness, not to mention affordability (especially with the various discounted prices for the AF 75mm f/1.8 X currently available). As with many things in life, when it comes to lens systems, having more choices is A Very Good Thing. 

See also best Fujifilm lenses, best lenses for Fujifiilm X-T4, and the best Fujifilm cameras

The Samyang V-AF 75mm T1.9 is one of five lenses advertised as the world’s first autofocus cine lenses for Sony E-mount cameras. All have the same size and weight, with a unified form-factor, and all have the same T1.9 light transmittance rating. The V-AF 24mm T1.9 and 35mm T.9 are already available and Samyang plans to launch additional 20mm and 45mm lenses later in 2023, to complete the set. These Samyang lenses are being sold under the Rokinon label in the US. All are full-frame compatible and also work on Sony’s APS-C format E-mount cameras, where the 75mm lens has a boosted ‘effective’ focal length of 112.5mm.

Read more:

Samyang V-AF 24mm T1.9 review
Samyang V-AF 35mm T1.9 review

Specifications

Mount: Sony E (FE)
Full-frame: Yes
Autofocus: Yes
Stabilization: No
Lens construction: 10 elements in 9 groups
Angle of view (FF / APS-C): 32.9 / 21.9 degrees
Diaphragm blades: 9
Maximum aperture: T1.9
Minimum focusing distance: 0.69m
Maximum magnification ratio: 0.13x
Filter size: 58mm
Dimensions: 72x72mm
Weight: 280g

Key features

Designed for cinema-quality tight shots, the lens packs a short telephoto focal length of 75mm with a fast T1.9 light transmittance rating into a surprisingly small, lightweight build. Indeed, a key feature of Samyang’s V-AF lenses is that they have the same size, weight and center of gravity. This makes short work of swapping between different lenses to gain your preferred focal length, without needing to make any adjustments to a gimbal. At 280g each, the lenses are also sufficiently lightweight and convenient for aerial videography with a drone.

For a readily accessible status display, the lenses all feature dual tally lamps, one on the side of the barrel and another built into the front. This makes it easy to see when recording is live, whether you’re an operator or the subject in front of the lens.

Build and handling

Build quality is solid and the lens features six weather-seals around all the joints, mode switch and function button, which we’ll come to later. As well as featuring a metal mounting plate for attaching the lens to the camera, there’s a secondary mounting plate at the front, complete with electronic connections. This enables attachment of a range of smart Samyang accessories, the only catch being that there aren’t any just yet. Samyang plans to start launching them later in 2023.

Handling is enhanced by the provision of a dual mode switch and an AF hold button. The action of these can be customized, using the Samyang Lens Station which is sold separately. The same goes for the geared focus ring which, by default, has 300 degrees of rotational travel and operates in a linear fashion. Just as with the AF hold and mode switch, the nature of manual focusing can be customized with the optional Lens Station. Autofocus is courtesy of a linear stepping motor which, as usual for the breed, is fast and virtually silent in operation, as well as enabling smooth transitions during video capture.

Performance

You don’t need exemplary levels of optical sharpness for video capture but the Samyang delivers nonetheless, making it highly suitable for ‘hybrid photographers’ shooting stills as well as video. And while sharpness is utterly excellent, the quality of bokeh is soft, dreamy and remains of high quality when stopping down a little, helped along by a well-rounded 9-blade diaphragm.

Both lateral and axial chromatic aberrations are negligible at wide apertures, although LCA can become slightly noticeable towards the edges and corners of the frame at medium to narrow apertures. It’s not quite a zero-distortion lens but there’s only very little pincushion that will generally go unnoticed. Further attractions include minimal vignetting and good resistance to ghosting and flare.

Another performance asset is that color rendition is very uniform across all of the Samyang V-AF lenses that we’ve seen so far, which saves any headaches when swapping between lenses during a shoot. Samsung assures that the two forthcoming 20mm and 45mm lenses in the range will follow suit.

Sample images

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).

As our Sony a7R III test body reports apertures in f/stop values rather than t/stops, this is how they are recorded in our lab graphs.

Sharpness:

Levels of sharpness across almost the whole image frame are excellent, even wide-open. The extreme edges and corners are very good from wide-open to f/2.8, becoming excellent at f/4 right through to f/16, then dropping off a bit at the narrowest aperture of f/22 due to diffraction. Ultimately, there’s easily enough sharpness to make the most of stills shooting with Sony’s highest megapixel-count cameras.

Fringing:

Axial chromatic aberration or ‘bokeh fringing’ is very negligible even when shooting wide-open. Lateral chromatic aberration can be slightly noticeable at narrower apertures, when uncorrected, towards the edges and corners of the image frame.

Distortion: 0.4

There’s very little pincushion distortion, which will generally go unnoticed even when uncorrected.

Verdict

Aimed primarily at filmmakers using Sony E-mount cameras, this 75mm lens has a fast T1.9 light transmittance rating, ideal for close-ups and head shots with dreamy bokeh. It excels at the task, with outstanding sharpness and beautiful blurriness, along with excellent color rendition and contrast. Handling is refined and the lens works equally well for high-resolution stills as well as for video up to and including 8K. And it’s a bargain at the price.

Read more:

• Best camera lenses to get
• Best Canon lenses
• Best Nikon lenses
• Best Sony lenses

The Samyang V-AF 24mm T1.9 is one of a trio, advertised as the world’s first autofocus cine lenses for Sony E-mount cameras. The other two are 35mm and 75mm primes and all three have a virtually identical size and weight, as well as sharing the same bright T1.9 light transmission rating and overall feature set. Samyang plans to extend the series with similar 45mm and 20mm lenses by mid and late 2023 respectively. The lenses are sold under the Rokinon name in North America.

Read more:

Samyang V-AF 35mm T1.9 review
Samyang V-AF 75mm T1.9 review

Specifications

Mount: Sony E (FE)
Autofocus: Yes
Full-frame: Yes
Stabilization: No
Lens construction: 11 elements in 8 groups
Angle of view (FF / APS-C): 83.7 / 60.9 degrees
Diaphragm blades: 9
Maximum aperture: T1.9
Minimum focusing distance: 0.19m
Maximum magnification ratio: 0.21x
Filter size: 58mm
Dimensions: 72x72mm
Weight: 280g

Key features

A key feature of all lenses in the Samyang/Rokinon V-AF line-up is that they have a unified compact and lightweight design, measuring 72x72mm and weighing just 280g. That’s no mean feat considering the spread of focal lengths and the fast T1.9 light transmittance rating. The dual advantage for filmmakers is that the lightweight design makes them ideal for shooting with a drone, while the uniformity enables lenses to be interchanged without any adjustments when using a gimbal. This also applies to the geared manual focus ring.

Another bonus for video capture is dual tally lights, one forward facing at the front of the lens, and one at the side. This makes it easy for videographers and their subjects to see when recording is in progress. There’s also a focus hold button and dual-mode switch, the actions of which can be customized with Samyang’s optional Lens Station.

There’s further trickery at the front of the lens, with a mechanical and electronic linkage that enables V-AF accessories to be fitted. The only catch here is that Samyang doesn’t currently offer any accessories, although there are some in the pipeline for launch later in 2023.

Build and handling

Despite the lightweight design, build quality feels very robust and the lens features six weather-seals around all the main joints, custom mode switch and AF hold button. Both the rear mounting plate and front-end accessory mount are made from metal and feel very durable.

Autofocus is based on a linear stepping motor. It’s quick and virtually silent in operation, while also enabling smooth autofocus transitions during video capture. Manual focusing is very refined, with a linear action for the focus ring that’s based on 300-degrees of rotational travel. Again, this can be customized with Samyang’s Lens Station.

Performance

The 24mm focal length gives a generous viewing angle of 83.7 degrees on a full-frame camera, shrinking to 60.9 degrees with an APS-C format body, at least when using the whole area of the image sensor. Indeed, levels of sharpness are excellent right out to the corners of the whole frame, making the lens eminently suitable for shooting high-resolution stills with a regular aspect ratio, as well as for capturing 8K video footage.

Sharpness remains highly impressive when shooting wide-open at T1.9, while bokeh is pleasantly soft and remains very good when stopping down a little, helped by a well-rounded nine-blade diaphragm. Naturally, the depth of field tends to be greater than when using the companion 35mm and more especially the 75mm lenses in the series but with a minimum focus distance of 0.19m, bokeh looks very attractive when shooting close-ups.

Another performance benefit is that color rendition is not only very pleasing, but standardized throughout the range of Samyang’s V-AF lenses. Vignetting is fairly minimal even when shooting wide-open at T1.9 and resistance to ghosting and flare is very good. Color fringing is minimal but barrel distortion can be a little noticeable. All in all, performance is excellent.

Sample images

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).

As our Sony a7R III test body reports apertures in f/stop values rather than t/stops, this is how they are recorded in our lab graphs.

Sharpness:

Levels of sharpness are excellent, not only across the whole of the image frame but also throughout the entire aperture range.

Fringing:

Chromatic aberrations are negligible from the center of the image frame right out to the extreme edges and corners.

Distortion: -1.71

Barrel distortion can be a little noticeable when uncorrected, and is a little worse than from the companion V-AF 35mm lens.

Verdict

Currently the most wide-angle lens in Samyang’s new unified range of cine primes for Sony E-mount cameras, it’s compact and lightweight yet strongly built and delivers very convincing performance in every respect. Tally lights built into the front and side of the lens add to the attraction, along with an electronic connection for forthcoming accessories. It’s also plenty sharp enough for high-resolution full-frame stills as well as 8K video. All in all, it’s a great cine lens at a very attractive price.

Read more:

• Best camera lenses to get
• Best Canon lenses
• Best Nikon lenses
• Best Sony lenses

Wait for an autofocus cine lens for Sony E-mount cameras, and then three come along at once. The Samyang V-AF 35mm T1.9 currently offers the most natural viewing angle of the trio, at 63.6 degrees on full-frame cameras and 43.8 degrees on APS-C bodies, at least when using the whole image sensor in 3:2 aspect ratio. The other two lenses currently available in the V-AF cine line-up are 24mm and 75mm primes, with the same fast T1.9 light transmission rating. All three are sold, as is usual for Samyang, under the Rokinon label in North America.

Read more:

Samyang V-AF 24mm T1.9 review
Samyang V-AF 75mm T1.9 review

Specifications

Mount: Sony E (FE)
Full-frame: Yes
Autofocus: Yes
Stabilization: No
Lens construction: 10 elements in 8 groups
Angle of view (FF / APS-C): 63.6 / 43.8 degrees
Diaphragm blades: 9
Maximum aperture: T1.9
Minimum focusing distance: 0.29m
Maximum magnification ratio: 0.17x
Filter size: 58mm
Dimensions: 72x72mm
Weight: 280g

Key features

The weight of the lens, or rather lack of it, is a key feature if you plan on filming with a drone. It tips the scales at just 280g and, just as importantly, the size, weight and center of gravity is the same for the 24mm and 75mm lenses in the line-up. As well as being drone-friendly, this means that you can swap lenses on the camera without the need to make any gimbal adjustments. The position of the geared manual focus ring is also identical in all three lenses, and Samyang says the same uniformity will apply to the 20mm and 45mm V-AF lenses, due for release later in 2023.

Another common thread is that that the lenses all feature an AF hold button and dual mode switch, the action of both being customizable with Samyang’s optional Lens Station. Likewise, all of the lenses sport two tally lights, one on the side of the barrel and one built into the front. This makes it easy to see when filming is ‘live’, whether you’re shooting or on-camera at the time.

Build and handling

Although it’s a relatively lightweight lens, build quality feels very good and the construction features a full set of weather-seals around the various joints, AF hold button and mode switch. As well as a metal mounting plate at the rear, there’s an additional metal mounting plate with electronic connectors at the front. This will further enhance the handling of the lens by ensuring compatibility with Samyang’s forthcoming smart accessories, although none were yet available at the time of writing this review.

As a ‘V-AF’ lens, the Samyang has a linear stepping motor autofocus system which is typically quick and virtually silent in operation. It’s compatible with Sony’s tricked-up autofocus modes where featured in-camera, as well as ensuring smooth autofocus transitions during movie capture. For good old manual focusing, the geared manual focus ring has a linear action and 300 degrees of rotation by default.

Performance

Well suited to ‘hybrid photographers’ who shoot both stills and movies, the lens delivers excellent sharpness that goes above and beyond what you’d need for video, and makes the most of high-resolution stills capture with Sony’s megapixel-rich cameras. It’s not as super-sharp as the Samyang V-AF 24mm lens at the extreme edges and corners of the frame but still very good.

In a case of swings and roundabouts, the 35mm has slightly more lateral and axial chromatic aberrations than the 24mm but the amounts are still minimal, while barrel distortion is rather lower when uncorrected in-camera. Vignetting is minimal even when shooting wide-open and resistance to ghosting and flare is very good. An important facet of the excellent all-round performance is that color rendition is standardized in all of the three Samyang V-AF lenses available thus far.

Sample images

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).

As our Sony a7R III test body reports apertures in f/stop values rather than t/stops, this is how they are recorded in our lab graphs.

Sharpness:

Center-sharpness is even better than with the excellent Samyang V-AF 24mm lens between f/2.8 and f/11 but it’s not quite so outstanding at the edges and corners, throughout the whole aperture range.

Fringing:

Lateral chromatic aberration is of a very low order but axial chromatic aberration (bokeh fringing) can be slightly apparent around high-contrast edges just in front of or behind the plane of focus. Even so, it’s pretty minimal.

Distortion: -1.17

There’s a touch of barrel distortion but it’s generally unnoticeable even when uncorrected, and of a lower order than with the lens’s 24mm sibling.

Verdict

Designed for movie-makers, this 35mm lens for Sony E-mount cameras is also plenty sharp enough for high-resolution stills, along with 8K video capture. It’s well-built, boasts some neat features, handles nicely and delivers excellent performance across the board, making it a bargain at the price. There are also 24mm and 75mm T1.9 lenses with identical form-factors already available, plus 20mm and 45mm primes in the pipeline.

Read more:

• Best camera lenses to get
• Best Canon lenses
• Best Nikon lenses
• Best Sony lenses

The Samyang/Rokinon 24mm f/1.4 ED AS IF UMC isn’t overly big or heavy for its focal length and fast aperture combination. However, there’s quite a spread of physical lengths and weights, depending on mount option, the range being many and varied. The full list includes Canon EF/EF-M, Fuji X, MFT, Nikon F, Pentax K, Samsung NX, Sony A/E, catering to both full-frame and crop-sensor cameras.

Specifications

Mount: Canon EF/EF-M, Fuji X, MFT, Nikon F, Pentax K, Samsung NX, Sony A/E
Full-frame: Yes (mount dependent)
Autofocus: No
Stabilization: No
Lens construction: 13 elements in 12 groups
Angle of view: 84 degrees (full-frame)
Diaphragm blades: 8
Minimum aperture: f/22
Minimum focusing distance: 0.25m
Maximum magnification ratio: Unspecified
Filter size: 77mm
Dimensions: 83x98-124mm (mount dependent)
Weight: 565-630g (mount dependent)

Key features

Although available in many different mount options, only the Nikon F-mount has a built-in processor and electronic communication to the host camera. This allows you to shoot in the whole range of PASM modes without any restriction, as the aperture can be adjusted and controlled from the camera body. It also allows for lens-based EXIF data to be stored in images. For other mount options, the Samyang is basically a ‘dumb lens’ and you can only control the aperture from the onboard control ring. This rules out Program AE and Shutter-priority shooting modes, as well as giving a dark viewfinder image at narrow apertures when using a DSLR.

One thing common to all mount options of the lens is that there’s no autofocus. As with most manual-focus lenses, however, the focus control ring operates smoothly and with a long throw, enabling very fine and precise adjustments. Another plus point for the Nikon F-mount version is that the electronics enable focus assist and confirmation lamps in the viewfinder of DSLRs.

The high-grade optical path includes two aspherical elements and four ED (Extra-low Dispersion) elements. Ultra Multi Coating is applied to minimize ghosting and flare, along with a bayonet-fit petal shaped hood. The lens has a 77mm filter attachment thread and the front element doesn’t rotate during focusing, ensuring easy use of circular polarizer and ND grad filters.

Performance

Accurate viewfinder-based manual focusing can be difficulty on DSLRs, which lack a focus peaking aid. The lens gives a helping hand in the shape of a focus distance scale with depth of field markers for apertures of f/4, f/8, f/16 and f/22. Outright sharpness is a bit disappointing when shooting wide-open but soon gets into its stride when stopping down a little.

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 sharpness are excellent at apertures of between f/2.8 and f/16, but drop off noticeably when shooting wide-open at f/1.4.

Fringing:

There’s only fairly minimal color fringing towards the edges and corners of the image frame, throughout the entire aperture range.

Distortion: -2.21

The lens produces noticeable barrel distortion but it’s of a uniform nature and easy to correct when editing, if necessary.

Verdict

Badged Samyang and Rokinon in different world regions, this manual-focus lens gives the classic wide viewing angle of a 24mm lens on full-frame camera, while being similar to using a 35mm or 50mm lens on APS-C format and Micro Four Thirds bodies respectively. In all cases, the fast f/1.4 aperture is welcome. Handling and image quality are very good but only the Nikon F-mount version of the lens has built-in electronics, enabling the full range of PASM shooting modes.

Read more:

• Best camera lenses to get
• Best Canon lenses
• Best Nikon lenses
• Best Sony lenses

The Samyang/Rokinon 20mm f/1.8 ED AS UMC is a full-frame compatible, ultra-wide-angle prime lens that’s available in a wide range of mounting options for both full-frame and crop-sensor cameras. As such, it gives a generous 94.8-degree angle of view on full-frame bodies (measured on the diagonal of the frame), 66.9 to 70.3 degrees with APS-C format cameras and a more restrictive 56.1 degrees for Micro Four Thirds. In most mount options, it’s a fully manual or ‘dumb’ lens, with no electronic communication with the camera body.

Specifications

Mount: Canon EF/EF-M, Fuji X, MFT, Nikon F, Pentax K, Samsung NX, Sony A/E
Full-frame: Yes (mount-dependent)
Autofocus: No
Stabilization: No
Lens construction: 13 elements in 12 groups
Angle of view: 94.8 degrees FF, 66.9 to 70.3 degrees APS-C, 56.1 degrees MFT
Diaphragm blades: 7
Minimum aperture: f/22
Minimum focusing distance: 0.2m
Maximum magnification ratio: Unspecified
Filter size: 77mm
Dimensions: 83x86-114mm (mount dependent)
Weight: 488-565g (mount dependent)

Key features

This lens is at its best mounted on a full-frame camera, enabling you to take full advantage of its generous viewing angle. The f/1.8 aperture rating is also a bonus, allowing for manageably fast shutter speeds under very low lighting conditions or when shooting indoors, and for astrophotography.

As a manual-focus lens, the focus ring has a typically long travel and smooth feel. A focus distance scale is printed on the focus ring but there are no depth of field markers for zone focusing. The optical path includes two aspherical elements and three ED (Extra-low Dispersion) elements, and features Ultra Multi-Coating to reduce ghosting and flare.

The Nikon F and Pentax K mount editions of the lens have a built-in processor and electronic communication with the host camera body. This enables you to control the aperture from the camera body and shoot in the whole range of PASM modes, as well as allowing lens-based EXIF data to be stored in images. Another bonus is that the focus assist and confirmation lamps are enabled in the viewfinder. For other mount options, the Samyang is basically a ‘dumb lens’ and you can only control the aperture from the onboard control ring. This results in a dark viewfinder image at narrow aperture settings when using a DSLR.

Unlike some ultra-wide-angle lenses, the Samyang comes with a separate petal shaped hood rather than an integral hood. This allows for the inclusion of a filter attachment thread, which has a 77mm diameter.

Performance

Manual focusing is arguably something of a lost art but it’s fairly easy with this lens, thanks to the relatively large depth of field afforded by the short focal length. Center-sharpness is exceptional, even when shooting wide-open at f/1.8, although you need to stop down to around f/4 before corner-sharpness becomes impressive. Color fringing is negligible at the center of the frame and reasonably minimal towards the corners. Resistance to ghosting and flare is good and barrel distortion is low for such a wide-angle lens.

Lab results

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

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

Sharpness:

Center-sharpness is highly impressive even at f/1.8, and remains so all the way through to f/16, only really dropping off at f/22 due to diffraction. For best corner-sharpness, it’s best to stick to apertures between f/4 and f/11.

Fringing:

Color fringing can be a little noticeable around high-contrast edges within a scene, especially away from the central region of the image frame.

Distortion: -1.28

Barrel distortion is well controlled, given the ultra-wide viewing angle on full-frame cameras, and it’s even less noticeable when using a crop-sensor camera.

Verdict

The combination of a 20mm focal length and fast f/1.8 aperture make this lens well suited to shooting everything from cramped interiors to rolling landscapes and the night sky. It’s a manual focus lens that’s available in a wide range of mount options, although only the Nikon F and Pentax K options feature built-in electronics, which can be a problem for other makes of camera. Handling and image quality are impressive in all respects, making the lens good value at the price.

Read more:

• Best camera lenses to get
• Best Canon lenses
• Best Nikon lenses
• Best Sony lenses

Very similar to the Samyang/Rokinon 24mm from the same stable, the 35mm f/1.4 AS UMC offers a classic field of view that’s often the top choice for street photography. Moreover, manual focusing with a depth of field scale that enables zone focusing is also often preferred, as it enables you to set up the focus distance in advance and shoot from the hip, instantly reacting to situations as they unfold. However, the Canon EF and Nikon F mount versions with an ‘AE’ suffix have more to offer than the editions for other cameras.

Specifications

Mount: Canon EF/EF-M, Fuji X, MFT, Nikon F, Pentax K, Samsung NX, Sony A/E
Full-frame: Yes
Autofocus: No
Stabilization: No
Lens construction: 12 elements in 10 groups
Angle of view: 63.1 degrees (full-frame)
Diaphragm blades: 8
Minimum aperture: f/22
Minimum focusing distance: 0.3m
Maximum magnification ratio: Unspecified
Filter size: 77mm
Dimensions: 83x109-138mm (mount dependent)
Weight: 690-780g (mount dependent)

Key features

Although it might sound counter-intuitive, one of the key features of this lens is that it’s a manual-focus optic. This is often favored for street photography, and the Samyang’s manual focusing facility is well implemented. There’s a long rotational travel in the focus rings, and a pleasant fluid feel to the movement, enabling smooth and precise focusing. There’s also a focus distance scale with depth of field markings for apertures of f/2.8, f/5.6, f/11, f/16 and f/22, which are great for zone focusing, so you can set the nearest and furthest parts in a scene which will be rendered sharply.

Enabling enhanced focusing accuracy, the Canon EF and Nikon F mount version of the lens features built-in electronics that activate the focus assist and confirmation lamps in the viewfinder. But that’s not all. The other mount options of the lens require you to set the aperture manually, using the aperture ring on the lens body. With no communication to the camera, the aperture can’t be displayed in the camera’s viewfinder or LCD, and you can’t set the aperture from the camera. The ‘AE’ (Auto Exposure) edition of the lens for Canon and Nikon enables camera-based aperture control, as well as use of the lens in all PASM shooting modes. Lens-based EXIF data is also saved in images.

The optical path includes one aspherical element and two HR (High Refractive index) elements to boost sharpness and reduce distortion and color aberration. Samyang’s Ultra Multi Coating is also applied to enhance contrast and color accuracy, as well as to minimize ghosting and flare.

Performance

Sharpness and contrast are disappointing at very wide apertures but are much improved from f/2.8 all the way through to f/22. Color fringing is fairly minimal, even at the extreme corners of the frame but, while barrel distortion is quite well controlled, it’s technically a little worse than from many 35mm lenses.

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 sharpness are very impressive at apertures from f/2.8 all the way through to f/16, and remain very good at the narrowest aperture of f/22. However, the lens is lacking in sharpness when shooting wide-open at f/1.4.

Fringing:

Color fringing is quite negligible throughout the whole aperture range, right out to the extreme edges and corners of the image frame.

Distortion: -1.91

Barrel distortion is a little more noticeable than with many 35mm lenses on full-frame cameras but still quite minimal and further reduced when using the lens on a crop-sensor camera.

Verdict

With a solid construction and refined handling, this full-frame compatible manual-focus lens combines a classic 35mm focal length with a fast f/1.4 aperture. Overall performance and image quality are impressive, although sharpness drops off noticeably at the widest aperture. It’s available in a typically wide variety of mount options for a Samyang manual-focus lens, although the Canon EF and Nikon F mount editions are the only ones to feature any electronics for communication with the camera body.

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Samyang doesn’t just make low cost prime lenses for photography. It also makes XEEN cine lenses for professional photographers and filmmakers,  now covering a focal range from 16mm up to 135mm. These are sold under the Rokinon brand in the US.

The new XEEN CF 135mm T2.2 is available in PL, Canon EF and Sony FE mounts, covering the three most popular options for filmmakers. It features carbon fiber construction, X-Coating to control flare and ghosting within the lens, and is designed for 8K video and a ‘cinematic’ look. Interestingly, Samyang says of its X-coating system that it ‘creates a distinctive look, properly utilising flares and ghosting to create dramatic effects’.

It’s claimed the new lens also offers ‘outstanding usability’, with ‘unified’ 95mm aperture and focus gear positions for the easy attachment and removable of filmmaking accessories like matte boxes and follow-focus controls.

These gears are one of the distinguishing features of cine lenses compared to regular lenses. They allow for manual control of the iris (aperture) and focus setting during filming, either via a knob on the follow-focus unit or remotely.

Cine lenses also use a ’T’ rating rather than an aperture rating. The ’T’ stands for the light transmission, and is a more accurate indication of exposure than f-stops.

The XEEN CF 135mm T2.2 cine lens joins five others in the Samyang XEEN range. These include the  XEEN16mm T2.6, 24mm T1.5, 35mm T1.5, 50mm T1.5 and 85mm T1.5.

The XEEN CF 135mm T2.2 will cost $1,795/£1,716 (about AU$2,594).

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Typical of diagonal fisheye lenses, the Samyang 8mm f/3.5 UMC Fish-Eye CS II gives an ultra-wide viewing angle, typically of around 180 degrees on most crop-sensor cameras. Its image circle covers the entire surface of the image sensor, so you get full-sized rectangular images but with the exaggerated barrel distortion of a curvilinear rather than regular rectilinear wide-angle lens.

Specifications

Mount: Canon EF, Nikon F (DX), Pentax K, Sony A, Canon M, Fujifilm X, Samsung NX, Sony E, MFT
Full frame: No
Autofocus: No
Stabilization: No
Lens construction: 10 elements in 7 groups
Angle of view: 167-180 degrees (mount dependent)
Diaphragm blades: Unspecified
Minimum aperture: f/22
Minimum focusing distance: 0.3m
Maximum magnification ratio: Unspecified
Filter size: None
Dimensions: 78x74-101mm (mount dependent)
Weight: 410-515g (mount dependent)

Key features

There’s no shortage in the mount options available for this lens, which include Canon EF, Nikon F, Pentax K, Sony A, Canon M, Fujifilm X, Samsung NX, Sony E, MFT. It’s designed for crop-sensor cameras and the angle of view, measured on the diagonal of the frame, varies with different versions. For example, you get a full 180 degrees for most APS-C cameras, shrinking to 167 degrees for Canon EF and M mount editions, and just 139 degrees for Micro Four Thirds.

There’s also a variation in the physical length of the lens depending on mount option, from 73mm for the Nikon F version to 101mm for the Canon M, Fujifilm X and Sony E editions. The weight also varies from 410g to 465g.

It’s generally what’s often referred to as a ‘dumb lens’, in that there’s no communication between the lens and camera. You therefore need to adjust the focus and aperture setting by using the lens’s onboard control ring. A downside for shooting with a DSLR is that you get a dark viewfinder image when using narrow apertures, and you can’t shoot in the full range of PASM modes. The only exception is the Nikon F mount edition, which enables camera-driven aperture control.

The optical patch includes a hybrid aspherical element and an anti-reflective multi-coating, the latter aiming to minimize ghosting and flare. The petal shape hood is an integral part of the lens and protects the protruding front element but a DH (Detachable Hood) version is also available.

Performance

The lack of autofocus generally isn’t an issue, thanks to the huge depth of field. In our tests, we found that by setting the focus just shy of its infinity setting when shooting at f/8, everything from as little as half a meter away to the far horizon retained sharpness. Sharpness itself is pretty good across the entire image frame, and color fringing is fairly minimal. Our only reservation is that when bright light enters the lens from an oblique angle, ghosting is a more prevalent problem than usual for a fisheye lens.

Example shots

Lab results

We usually 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.

However, due to the relatively small size of test charts and the enormous 180-degree viewing angle of fisheye lenses, it’s impossible for us to generate meaningful lab-test data for them.

Verdict

Available in a whole heap of different mount options, this diagonal fisheye lens is designed for crop-sensor cameras of pretty much any and every variety. It can also be used on full-frame cameras, although the image circle won’t cover the whole frame. It’s generally a fully manual lens so you need to adjust both the focus distance and aperture using the lens’s control rings, only the Nikon F mount version enabling camera-based aperture control. Image quality is very pleasing on the whole, although the lens is quite susceptible to ghosting.

Read more:

• Best camera lenses to get
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• Best Nikon lenses
• Best Sony lenses

South Korean manufacturer Samyang (also badged Rokinon) manufactures several autofocus lenses for Sony E-mount cameras, plus a couple for Canon and Nikon DSLRs. However, it’s most widely known for its extensive collection of manual-focus lenses, available in a diverse range of mount options. This 12mm diagonal fisheye lens is full-frame compatible but comes in a range of both full-frame and crop-sensor mount options, including Canon EF, Nikon F, Pentax K, Sony A, Canon M, Fujifilm X, Samsung NX, Sony E and Micro Four Thirds.

Specifications

Mount: Canon EF, Nikon F, Pentax K, Sony A, Canon M, Fujifilm X, Samsung NX, Sony E, MFT
Full frame: Yes
Autofocus: No
Stabilization: No
Lens construction: 12 elements in 8 groups
Angle of view: 180 degrees (full-frame)
Diaphragm blades: 7
Minimum aperture: f/22
Minimum focusing distance: 0.2m
Maximum magnification ratio: Unspecified
Filter size: None
Dimensions: 77x70-99mm (mount dependent)
Weight: 500-565g (mount dependent)

Key features

As with most other Samyang manual-focus lenses, only the Nikon-mount edition has built-in electronics to enable camera-driven aperture control and the illumination of focus assist/confirmation lamps. Program AE and shutter-priority shooting modes are therefore only possible with Nikon cameras. With other makes of camera, you need not only to focus manually, but also to adjust the aperture manually via the rear-mounted aperture control ring. A drawback for DSLRs is that the viewfinder image becomes relatively dark when using narrow apertures.

The 12 optical elements include two aspherical and three ED (Extra-low Dispersion) elements. Nano-structure coatings are applied to keep ghosting and flare to a minimum. Given the huge depth of field when shooting with a fisheye lens, the lack of autofocus isn’t a major drawback. An upside is that the focus ring has a relatively long rotational travel, plus depth of field markers for f/2.8, f/4, f/5.6 and f/8. This enables ‘zone focusing’, so you can set the ‘in-focus’ range using the focus distance scale and DOF markers.

Performance

Sharpness is impressive across the whole image frame and the lens does well to keep color fringing to very low levels. The application of Samyang’s NCS (Nano Coating System) is effective in reducing ghosting and flare, the lens performing much better than its sibling 8mm f/3.5 UMC Fish-Eye CS II in this respect.

Example shots

Lab results

We usually 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.

However, due to the relatively small size of test charts and the enormous 180-degree viewing angle of fisheye lenses, it’s impossible for us to generate meaningful lab-test data for them.

Verdict

A full-frame diagonal fisheye lens that’s available in a wide variety of mount options, the Samyang delivers very good image quality with impressive sharpness, minimal color fringing and impressive resistance to ghosting and flare. It’s a fully manual lens in most cases, only the Nikon F mount version enabling aperture control from the camera body, and thus the full range of PASM shooting modes. The lack of autofocus isn’t a big deal, due to the typically enormous depth of field of fisheye lenses.

Read more:

• Best camera lenses to get
• Best Canon lenses
• Best Nikon lenses
• Best Sony lenses

Rokinon is the US brand name for Samyang lenses, which have a worldwide reputation for value and performance. The company makes both manual focus and autofocus prime lenses, and these are two are old-school manual focus ultra-wide lenses for everything from architecture to landscapes, travel and interiors.

The Rokinon 14mm f/2.8 IF ED UMC is an ultra-wide-angle lens available in mounts for Canon and Nikon DSLRs (make sure you order the correct mount) with a manual aperture ring and a minimum focus distance of just 10.8 inches. It's a great way to get into ultra-wide photography at a fraction of the cost of a full frame wide-angle zoom.

The Rokinon 12mm F2.0 NCS CS is an APS-C ultra-wide lens which comes in three versions for Fujifilm X-mount cameras, Sony E and Canon EF-M. It gives an effective focal length of 18mm and the f/2.0 maximum aperture is exceptionally fast for a lens this wide.

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The new Samyang AF 12mm F2 E (or Rokinon 12mm F2.0 AF in the US) is a fast ultra-wideangle prime lens for Sony APS-C cameras, and while the company has made AF lenses for Sony full frame cameras, this is its first for the APS-C Sony 6000-series cameras.

Samyang already makes a manual focus 12mm f/2 which has been popular amongst astrophotography fans for years, but this new lens brings a new stepping motor (STM) autofocus system to make it much more useful for general purpose photography too.

This lens also follows on from the full frame Samyang 24mm f/1.8 FE lens announced two weeks ago, which the company claimed is a “masterpiece for astrophotography”!

What’s special about ‘astro’ lenses?

Astrophotography can mean using telescopes to show magnified views of planets, star clusters or distant galaxies, but it’s becoming increasingly popular to photograph much wider star fields and constellations with wide-angle lenses.

The primary features needed for this are a wide angle of view and a fast maximum aperture to keep exposure times and ISO settings low. 

With an equivalent focal length of 18mm (in full frame camera terms) and a maximum aperture of f/2, the Samyang AF 12mm F2 E ticks both boxes – but it should also be ideal for general photography too.

Samyang AF 12mm F2 E in detail

The Samyang/Rokinon AF 12mm F2 E has a sophisticated optical construction, with 12 elements arranged in 10 groups, and including one hybrid aspherical element, one regular aspherical element and three ED (extra low dispersion elements) in order to minimize chromatic aberration and distortion and product maximum sharpness.

This is a new design compared to the original manual focus 12mm F2.0 lens. A stepping motor AF mechanism is used to provide smooth, quiet AF with a larger internal focus group, and the new lens has a minimum focus distance of just 19cm – probably not useful for astrophotography, but perfect for wild perspective effects with close-ups.

The Samyang AF 12mm F2 E also has improved UMC Ultra Multi Coating to reduce lens flare and ghosting and increase contrast, and it has an all-metal housing.

Samyang says this is the smallest and lightest AF 12mm lens currently on the market, with a length of 59.2mm and a weight of just 213g.

Sample images

Samyang AF 12mm F2 E price and availability

The Samyang AF 12mm F2 E will go on sale from early May 2021 at a price of £359.99 in the UK, with the Rokinon 12mm F2.0 AF going on sale in early June for $499.

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Independent lens maker Samyang (branded Rokinon in the US) is continuing to expand its range of reliable low-cost lenses – offering primes for practically every camera mount made. The new Samyang AF 35mm F1.8 FE is an extremely affordable general purpose lens for cameras like the Sony A7 III and A7R IV. But it can also be used in Sony A6000 series cameras too, offering a useful equivalent focal length of 52.5mm

The latest in Samyang's Tiny Series, the lens is not just small, it’s light too weighing just 210g, and is more affordable than Sony’s own prime lenses, especially the G Master series – some of the best Sony lenses are also some of the biggest!

Samyang says it’s particularly well suited to street photography when used on full-frame Sony cameras – but becomes a 'nifty fifty' type standard lens when used on A6000 series models.

The optical construction includes two aspherical elements to correct aberration and deliver high-resolution throughout the entire image frame. The 9-blade circular aperture brings the promise of beautiful bokeh and smooth out-of-focus backgrounds. The lens is weather sealed against rain and dust, and utilizes a linear stepping motor for autofocus.

Samyang already makes a 35mm f/1.4 and a 35mm f/2.8 it its range of autofocus primes - and the new 35mm f/1.8 will become the tenth available for the Sony E mount.

Samyang AF 35mm F1.8 FE specs

Also known as: Rokinon AF 35/1.8 for Sony E
Focal Length: 35mm
Mounts: Sony E
Full frame: Yes
Autofocus: Yes
Image stabilization: No
Aperture: f/1.8-22
Lens structure: 10 elements in 8 groups
Diaphragm blades: 9
Min. focusing distance: 0.29m / 0.95ft
Max. magnification: 0.17x
Filter thread: 58mm
Dimensions: 63.5x65mm
Weight: 210g (7.4oz)

Samyang AF 35mm F1.8 FE sample images

The lens has a Custom Switch which is designed to allow you to quickly select various functions, such as Aperture Control Mode, and access the shooting mode that suits you. More functions will be added through firmware updates in the future, we are told. 

The Samyang lens is due to go on sale in October at a suggested retail price of £359.99. The Rokinon version is scheduled for November and will cost $399.

The lens will gets its first public showing at the free The Photography Show & The Video Show Virtual Festival taking place on 20-21 September. 

Pre-order the Rokinon AF 35mm F1.8 FE at B&H

Pre-order the Samyang AF 35mm F1.8 FE at Wex Photo Video

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Samyang is continuing its commitment to producing exciting new lenses for full-frame Sony E-mount cameras. This latest rectilinear ultra-wide 18mm offering is particularly special, not least because Sony itself doesn't offer a wide-angle FE-mount prime wider than 24mm, but also because Samyang has managed to go this wide while also making the lens exceptionally portable.

At just 145g (without hood and lens cap), the Samyang AF 18mm F2.8 FE is a fraction of the weight of a typical Sony FE-mount ultra-wide. It's also considerably smaller, measuring a mere 60.5mm long and 63.5mm in diameter. 

There's no shortage of lenses being released for full-frame mirrorless cameras that are optically superb, but compactness often takes a back seat, negating the size advantage of shooting with a mirrorless camera rather than a DSLR. Kudos to Samyang for bucking this trend. Mount the AF 18mm F2.8 FE to an A7-series body and you've got a formidably compact, go-anywhere pairing.

Despite the crash diet, Samyang has still managed to squeeze in a linear STM autofocus motor, claiming it provides fast, quiet and accurate focusing.

The lens's optical path is comprised of 9 elements in 8 groups, including 3 Aspherical, 2 High Refractive and 3 Extra Low Dispersion elements. These are employed to maximize sharpness and minimizing chromatic aberrations and distortion.

Samyang is positioning this as part of an amusingly titled 'Tiny Series' of ultra-compact lenses, which will include an AF 35mm F2.8 FE, AF 24mm F2.8 FE and AF 45mm F1.8 FE.

The Samyang AF 18mm F2.8 FE will be available in September with an RRP of £349.99.

Rokinon 18mm F2.8 AF

In the US the lens is marketed under the Rokinon brand and will be available in early October with a MSRP of $499. It will include a removable petal-shaped hood, lens caps, and a custom fitted case.

Specifications

• Mount: Sony E
• Coverage: full-frame
• Aperture range: f/2.8-22
• Minimum focus distance: 0.25m
• Magnification ratio: 0.09x
• Angle of view: 100.1 degrees (76.2 degrees on APS-C cameras)
• Filter size: 58mm
• Length x diameter: 60.5mm x 63.5mm
• Weight: 145g (without lens cap and hood)

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Independent lens maker Samyang (branded Rokinon in the US) is carving a solid reputation for reliable low-cost lenses, and the new Samyang AF 45mm F1.8 FE is an extremely affordable general purpose lens for cameras like the Sony A7 III and A7R III. 

Not only that, it’s light too (just 162g), compact and much more affordable than Sony’s own prime lenses, especially the G Master series – some of the best Sony lenses are also some of the biggest!

With a focal length of 45mm, the Samyang AF 45mm F1.8 FE is close to the classic all-purpose 50mm focal length, which is reckoned to offer the closest thing to the human eye’s natural angle of view. Samyang says it’s particularly well suited to travel, thanks to its small size and weight, and it has a minimum focus distance of 0.45m, so it should be good for moderate close-up shots too.

Beautiful background blur

The f/1.8 maximum aperture is this lens’s other big selling point. This allows faster shutter speeds in low light and attractive background blur at wide apertures. Samyang has used a rounded 9-blade diaphragm mechanism to produce attractive bokeh in blurred areas.

The company also paid special attention to the optical performance, claiming a new design optimised for high resolution mirrorless cameras, which consists of 7 elements in 6 groups – these include two aspherical lenses and one extra-low dispersion element. Samyang claims this design means vignetting (corner shading), distortion and chromatic aberration (colour fringing) are kept well under control.

One of the key features for Sony owners will be that this is an autofocus lens. Many third-party prime lenses are manual focus only, but Samyang has steadily been stepping up its autofocus lens range to compete head-on with Sony’s own lenses.

The Rokinon / Samyang AF 45mm F1.8 FE is on sale from the end of May 2019 and will cost $399 / £349.99.

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Samyang has unveiled a new wide-angled and wide-apertured prime lens is its XP series. The new 35mm f/1.2 lens will be available for full frame Canon EF mount – for use for DSLRs such as the Canon EOS 5DS or the EOS 6D Mark II.

The lens claims to be aimed to provide the quality needs by 50 MP or higher cameras, and future 8K filming.

The metal lens incorporates 12 glass elements in 10 groups - including two aspherical elements, three HR high-refractive elements and one ED extra-low-dispersion element. It has a nine-blade diaphragm and a minimum aperture of f/16. It has a front filter thread of 86mm, and comes with a petal-shaped lens hood. 

Minimum focus is 0.34m, which provides a maximum magnification of 0.17x. The lens is 117.4mm long, and weighs a hefty 1,106g – that's over a kilogram!

The XP 35mm f/1.2 joins the XP 14mm f/2.4, XP 50mm f/1.2 and XP 85mm f/1.2 in the growing  Samyang 'XPert' family of high-quality manual-focus-only lenses.

Rokinon SP 35mm f/1.2

As is usual with Samyang, the new lens will be sold under the Rokinon brand in the USA - where it will be called the Rokinon SP 35mm f/1.2

The lens is due to go on sale in January for $999.

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