In an age of increasingly complicated cameras, one minimalist full-frame mirrorless is going in the opposite direction – and it has now won another major award for doing so. It is unlike almost anything else currently on the market and arguably teaches lessons no other mirrorless can – at least not in such a minimalist way.

The Sigma BF has no viewfinder, minimal physical controls and a design that strips photography back to its essentials: light, position and the act of taking a picture. That philosophy has now earned it a 'Best of the Best' award at the 2026 Red Dot Design Awards.

It's the second major accolade that the BF has picked up this year. The camera previously received the Editor's Choice R&D Award at the Camera Grand Prix 2026, where it was praised for its radical simplicity and design philosophy.

What Red Dot says the Sigma BF

"In an era where images are produced almost without thinking, it creates a deliberate counterpoint – focusing on photographing with intent and for pure enjoyment.

"The body of the camera is made from a solid block of aluminum and has an almost monolithic appearance. The controls are kept to the absolute minimum; transitions are meticulously crafted and the connection between the lens and the body looks seamless and streamlined.

"The camera reveals itself in a clearly defined form – a self-contained object that owes its character to its materiality and proportions and whose sculptural quality fascinated the jury.

"The same minimalist approach has also been applied to the user interface. A separate status display shows all relevant information, keeping the main screen clear of superimposed data. The center of attention is the image. The only element on the top of the camera is the shutter button.

The jury paid tribute in particular to the rigor of the design and manufacture: “From a production perspective, the Sigma BF is an embodiment of perfectionism, made as it is from a single aluminum block, characterised by radical simplicity and the seamless transition from body to lens.

"The camera’s materiality has been deliberately rendered visible. It is an exceptionally minimalist product whose quality and merit are immediately noticeable.

"This camera reduces technological complexity to a simple principle: light, space and purposeful focus – it is a contemporary interpretation of what began with the camera obscura."

Why the Sigma BF teaches photographers lessons no other mirrorless really can

The BF's minimalism isn't simply about having fewer buttons. Its entire design is built around keeping your attention on photography.

The controls, display and physical layout have all been deliberately stripped back to keep your attention on light, composition, subject and timing.

Of course, plenty of compact cameras and point-and-shoots have always been simple. What's different about the BF is that Sigma has taken that idea and built a modern full-frame mirrorless camera around it, making simplicity and the act of taking a photo central to its design.

That's what makes the BF so interesting. It's not trying to give you more ways to take a picture; it's trying to make you think more about the picture itself.

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Check out our full Sigma BF review and the best L-Mount lenses to use with it.

Sigma has released free firmware updates for 13 Sony E-mount lenses, bringing compatibility improvements for photographers using the new Sony A7 V.

The rollout covers a range of Contemporary and Art primes, including six of the company's premium I Series lenses.

While the firmware versions vary between Version 3 and Version 7 depending on the lens, they all deliver the same fix: resolving a rare issue that could cause the camera's monitor to black out and freeze during shooting when paired with the Sony A7 V.

Firmware

Updates: 17mm, 20mm and 24mm

1. Sigma 17mm F4 DG DN | Contemporary Sony E-mount – Ver.03
Download link for Windows and Mac OS

2. Sigma 17mm F4 DG | Contemporary Sony E-mount – Ver.03
Download link for Windows and Mac OS

3. Sigma 20mm F2 DG DN | Contemporary Sony E-mount – Ver.04
Download link for Windows and Mac OS

4. Sigma 20mm F2 DG | Contemporary Sony E-mount – Ver.04
Download link for Windows and Mac OS

5. Sigma 24mm F2 DG DN | Contemporary Sony E-mount – Ver.04
Download link for Windows and Mac OS

6. Sigma 24mm F2 DG | Contemporary Sony E-mount – Ver.04
Download link for Windows and Mac OS

Updates: 35mm, 45mm, 65 and 90mm

7. Sigma 35mm F1.4 DG DN | Art Sony E-mount – Ver.05
Download link for Windows and Mac OS

8. Sigma 45mm F2.8 DG DN | Contemporary Sony E-mount – Ver.07
Download link for Windows and Mac OS

9. Sigma 45mm F2.8 DG | Contemporary Sony E-mount – Ver.07
Download link for Windows and Mac OS

10. Sigma 65mm F2 DG DN | Contemporary Sony E-mount – Ver.04
Download link for Windows and Mac OS

11. Sigma 65mm F2 DG | Contemporary Sony E-mount – Ver.04
Download link for Windows and Mac OS

12. Sigma 90mm F2.8 DG DN | Contemporary Sony E-mount – Ver.04
Download link for Windows and Mac OS

13. Sigma 90mm F2.8 DG | Contemporary Sony E-mount – Ver.04
Download link for Windows and Mac OS

Pro Advice

If you caught Episode 4 of Bokeh Face: Digital Camera World podcast, above, we discussed the best time to install firmware updates, why they matter, and what issues they can cause. It's a helpful listen if you're unsure when – or whenever – you should update.

It's smart to wait a week or two after release to see if any users hit snags. In the past, brands have had a few hiccups with major updates – for instance, introducing memory-setting bugs or minor interface glitches before being reissued.

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Browse the best lenses for the Sony A7 V

With camera manufacturers now focused on mirrorless systems, it would be easy to assume DSLR lenses have faded into history. Japan's latest sales figures suggest otherwise. According to Japanese retailer Kitamura, a 11-year-old Canon DSLR lens climbed to No.2 in its best-selling lens chart for June 2026 – outperforming almost every modern mirrorless lens on the list.

The lens in question is the Canon EF 50mm f/1.8 STM. The only optic ahead of it is the Sigma 18-50mm f/2.8 DC DN Contemporary for Canon RF mount – the company's first RF lens. The zoom is also available for Sony E, L-mount and Fujifilm X-mount.

Kitamura's June Top 10 reflects today's mixed lens market, with two lenses each from Sigma, Canon, Sony and Nikon, while Tamron and Fujifilm each claim one spot. Yet among all those zooms, there's just a single prime lens in the ranking – and it's the budget-friendly DSLR fifty first released more than a decade ago.

Kitamura's 10 best-selling lenses, June 2026

1. Sigma 18-50mm f/2.8 DC DN | C (RF-mount)
2. Canon EF 50mm f/1.8 STM
3. Sigma 28-70mm f/2.8 DG DN | C ( E-mount)
4. Canon RF 100-400mm f/5.6-8 IS USM
5. Nikon Z 24-120mm f/4 S
6. Sony E 70-350mm f/4.5-6.3 G OSS
7. Fujifilm XF 16-55mm f/2.8 R LM WR II
8. Tamron 25-200mm f/2.8-5.6 Di III VXD G2 (E-mount)
9. Nikon Z 180-600mm f/5.6-6.3 VR
10. Sony FE 24-70mm f/2.8 GM II

Why the Canon EF 50mm f/1.8 STM is so popular

Launched in 2015, Canon's EF f/1.8 STM is still available for $169 / £129, making it one of the most affordable first-party prime lenses on the market.

In our review, we described the classic nifty fifty as an "affordable marvel that any Canon photographer should own."

Our reviewer, Matthew Richards, praised its combination of sharp optics, smooth bokeh, fast and reliable AF (autofocus) and exceptional value for many, arguing that it outperforms Canon's EF 50mm f/1.4 USM in almost every meaningful area apart from its wider maximum aperture.

Its lightweight 160g (5.6 oz) design only adds to its appeal, making it an easy everyday lens for DSLR photographers.

Perhaps most impressively, our testing found that the budget-friendly prime delivered more accurate AF than the pricier EF 50mm f/1.4 USM, and produced sharper images across much of the f/1.8-2.8 aperture range.

It also offered better edge sharpness on APS-C cameras, along with lower levels of color fringing and distortion.

Taken together, those qualities help explain why a decade-old DSLR lens continues to attract buyers, even as the camera industry shifted almost entirely to mirrorless systems.

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Browse the best standard zoom lenses, the best telephoto lenses, and the best Canon lenses for DSLRs.

Before digital tools revolutionized visual arts, creators harnessed hands-on techniques, working with chemicals and physical layers to concoct graphic designs and process images. Trevor Key was a foremost British creator in this space and his innovative techniques transformed the darkroom into a graphic design studio.

Now, The Sigma Foundation, a philanthropic initiative set up by the Japanese lens manufacturer to promote photography, is set to release an eponymous book on the late photographer, delving into his creative process and his work.

Trevor Key is the first book to document the artist's work, covering two decades of his career (1972–1995). At the core of the book is the collaboration between Key and Peter Saville, the influential British art director and graphic designer.

This creative partnership spanned the 1970s and 80s, with the duo's work blending bold typography with pioneering analog photography techniques, notably bringing to life the visual identities of artists like New Order, Mike Oldfield, Phil Collins, Orchestral Manoeuvres in the Dark and Peter Gabriel.

The Dichromat Technique, where they selectively re-colored black-and-white negatives using layered filters and varying exposures to produce striking images, came to define their approach.

This technique was further innovated later in the partnership to infuse color, producing album covers and wider works reminiscent of Andy Warhol's silkscreens, which the pair achieved by taking hundreds of exposures to refine the exact color intensities.

Trevor Key will be presented by Peter Saville at Arles, France during the Les Rencontres d'Arles photography festival, tomorrow, July 07, and is set for a 1,500-edition release in August.

The 244-page monograph also includes an essay from photography curator and writer Charlotte Webb, as well as commentary from Saville. Prices for the book are yet to be confirmed – keep an eye on the Sigma Foundation webpage for updates.

You might also like…

Take a look at our pick of the best cameras for black-and-white photography as well as our review of the best photo editing softwares.

When I think about third-party lenses, I think about optics that sit at a more affordable price range – but the latest trends list coming out of Japan suggests that third-party lenses aren’t only about snagging a bargain.

According to Minna Camera, an online “flea market” of sorts for selling new and used camera gear, the trendiest third-party lenses in Japan over the last seven months are almost exclusively zooms. But, some of the most popular third-party optics are those that cover a range that’s hard to find from the first-party brands – and many of the lenses aren’t budget picks either.

The top ten third-party lenses in Japan are a near even split between Sigma and Tamron, with Sigma at 54.7 percent and Tamron at 45.3 percent. While a Carl Zeiss lens made the top 20, only those two popular optics brands make up the top ten list, which includes:

• Sigma 28-70mm f/2.8 DG DN (Sony E)
• Tamron 17-70mm f/2.8 Di III-A VC RXD (Fujifilm X)
• Sigma 150-600mm f/5-6.3 DG OS HSM (Canon EF)
• Sigma 18-50mm f/2.8 DC DN (Fujifilm X)
• Sigma 24-70mm f/2.8 DG DN II (Sony E)
• Tamron 90mm f/2.8 Di III Macro VXD (Sony E)
• Tamron 18-300mm f/3.5-6.3 Di III-A VC VXD (Sony E)
• Tamron 150-500mm f/5-6.7 Di III VC VXD (Nikon Z)
• Tamron 50-300mm f/4.5-6.3 Di III VC VXD (Sony E)
• Sigma 24-70mm f/2.8 DG DN (Sony E)

While there are a number of standard focal length options on the list, including multiple 24-70mm f/2.8 workhorse lenses, several of the top lenses are options that don’t quite have an exact match in the brand native to the mount.

The Tamron 17-70mm f/2.8, for example, covers an equivalent of a 25.5 to 105mm, all-in-one lens that still maintains that bright f/2.8 throughout the range. That’s an unusual combination that doesn’t have an exact match from Fujifilm – and the crop sensor lens is also available in the Sony E, and now Canon RF and Nikon Z.

Similarly, Tamron’s 18-300mm and 50-300mm cover an all-in-one approach that makes the lenses more unusual.

Even the top lens, the Sigma 28-70mm f/2.8 DG DN doesn’t have an exact match, though Sony does offer the same focal length range in an even brighter f/2 lens.

The number of lenses on the list that don’t have an exact match from a first-party brand, combined with the number of lenses selling for more than ¥100,000 ($618 / £468 / AU$839 / CA$877), leaves Minna Camera drawing one key conclusion: Buying a third-party lens isn’t necessarily about getting a better price.

The other thing that surprised me about the list of top third-party lenses is that only one prime makes the list, a Tamron 90mm that has macro capabilities. While I’m not surprised that there are more zooms than primes, I would have expected at least one of Sigma’s popular Art series primes to be a trending option.

Another surprise? While I fully expected Sigma and Tamron to dominate the list, the growing number of third-party Chinese lens brands hasn’t become popular enough to break into the top 20, though expanding the list to 20 options does bring in a Carl Zeiss lens.

The top trending third-party lenses in Japan – and from an app that has both new and used lenses – may not match up exactly with the trends in other regions. But, the data offers an interesting insight into the popularity of some third-party lenses – and it seems it’s not just about price.

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take a deep dive into the best zoom lenses or the best telephoto zoom lenses.

A US$4,599 medium-format lens isn't the kind of model you'd expect to see competing with mainstream full-frame best-sellers. Yet the Hasselblad XCD 35-100E has been doing exactly that in Japan, consistently ranking among the country's most popular lenses and now claiming the No.1 spot in Yodobashi's latest sales chart for the second half of May.

The world's fastest medium-format zoom is Hasselblad's second "trinity" lens for the X-System and is versatile enough to replace up to seven premium prime lenses worth over US$20,000.

That winning formula has helped it outperform some of photography's biggest pro workhorse lenses, including Sony's flagship Sony FE 70-200mm f/2.8 GM OSS II and Nikon's new Nikon Z 70-200mm f/2.8 VR S II.

Yodobashi's 10 best-selling lenses (2nd half May)

1. Hasselblad XCD 35-100E
2. Sony FE 70-200mm f/2.8 GM OSS II
3. Canon RF 100-400mm f/5.6-8 IS USM
4. Sony FE 24-70mm f/2.8 GM II
5. Tamron 25-200mm f/2.8-5.6 Di III VXD G2 (E-mount)
6. Nikon Z 70-200mm f/2.8 VR S II
7. Fujifilm XF 16-55mmf /2.8 R LM WR II
8. Sigma 28-70mm f/2.8 DG DN | Contemporary (E-mount)
9. Nikon Z 24-70mm f/2.8 S II
10. Canon RF 100-500mm f/4.5-7.1 L IS USM

Why is the XCD 35-100E so popular?

In real-world use, the XCD 35-100E can handle a wide range of genres.

From street photography and architecture to portrait, it replaces multiple prime lenses while maintaining the image quality expected from Hasselblad's high-resolution system.

That versatility is one of the reasons it has become such a strong seller in Japan.

The fastest (and best) zoom lens for medium format cameras

With the Hasselblad XCD 35-100E, the brand has delivered one of its most capable lenses to date.

And the competition is strong: Sony's 70-200mmm is a key lens in the company's pro lineup, while Nikon's latest Z 70-200mm successor arrived to huge acclaim after the original was described as "probably the best 70-200mm zoom in the world," in our review.

While the XCD 35-100E is not a constant f/2.8 throughout its entire range, its ability to reach f/2.8 at the wide end still makes it the fastest autofocus (AF) medium-format zoom currently available.

Combined with Hasselblad's latest AF system in the X2D II 100C, it delivers a level of responsiveness that brings medium-format shooting closer to the speed and flexibility traditionally associated with full-frame systems.

Lower demand for 70-200mm in Japan

The second half of May shows a modest shift in the ranking. Canon's RF 70-200mm f/2.8 L IS USM Z is absent from the top 10 this time, with the popular 70-200mm category represented by one fewer lens overall.

At the same time, the rankings continue to favour versatile zoom ranges. Standard 24-70mm lenses remain a staple, while extended-range options such as 24-105mm, 28-200mm, and 100-400mm optics continue to appear regularly across the top 10.

The next best-seller chart could see further changes following the arrival of Sony's FE 100-400mm f/4.5 GM OSS.

High-profile launches have historically performed strongly in Japan's rankings, with Nikon's Z 70-200mm f/2.8 VR S II, for example, quickly climbing to the No.1 spot after release before settling into the chart.

You might like...

Browse the best standard zoom lenses, the best telephoto lenses, and the best 70-200mm lenses.

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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Just about every photographer has a bucket list lens – a dream camera lens that they would love to see before they die. But only a handful of photographers run a company that manufactures lenses – and thus, can make that bucket list lens a reality.

One such photographer is Kazuto Yamaki, CEO of Sigma. And there was a lens on his bucket list for years – and he wanted to make it, even though it's a pretty niche lens that may not sell many units.

In fact, it's because it's a niche lens that may not sell many units that made him want to bring it to market.

"I’m always thinking, what is the raison d'être of Sigma? In other words, what is the reason why Sigma does business in this industry?" Yamaki told me, when I spoke to him in Japan earlier this year.

"If we only make similar products to major companies and just release them at a lower price, I don’t think it’s worth existing in this industry.

"We really want to contribute to the development of the industry and to the culture of photography. So we want the challenge to deliver something innovative, something new.

"And also, we believe it’s one of our missions to deliver niche lenses. Even though such products don’t have a huge demand, there is demand from a certain kind of photographer. So it’s our mission to satisfy those photographers.

And so, the Sigma 200mm f/2 DG OS Sports lens was born. "That lens has been on my bucket list for many years. And I always – I'm not a smart person. So I always try to listen to opinions from others.

"For example, in the [Sigma] office, I don’t have my own office; I only have my one desk on the engineering floor, because I can hear opinions from the engineers. So from the conversation with the engineers, I can learn.

"At the same time, I always try to listen to the opinions from photographers. And many photographers asked me to make a 200mm f/2. Although they said this lens would be very niche, and Sigma won’t be able to sell a lot, but they really need it. And so it’s been in my bucket list, and then I believe it’s the right time to do it.

ABOVE: Watch us discuss the lens on our podcast

"Every year, every one or two months, we have a product planning meeting including me, the engineers and the product planning team. And we make a road map for the, let’s say, next three to four years.

Because we know every time we discuss – especially because probably the road map for the next year, and then two years later, it’s probably fixed, but three years later we can change [the roadmap].

And every year we take the balance between the lenses that can sell a lot and support our business – like the 24-70 f/2.8, that kind of lens – but also we try to include one or two very niche lenses, although we understand that we cannot sell a lot.

But again, in order to contribute to the development of the industry, we try to makes such lenses. So the 200mm f/2 is one of those."

My hat is absolutely off to Yamaki. In a world where camera brands increasingly play things safe, only launching products that are guaranteed to please the masses, seeing Sigma cater to photography's niches is a welcome tonic indeed.

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Check out our Sigma 200mm f/2 DG OS | Sports review (spoiler alert: it's a five-star lens) and see how it compares to the Laowa 200mm f/2 AF FF.

In a world of increasingly complex cameras, one minimalist full-frame mirrorless camera is standing out – and is winning awards for it.

The Sigma BF is a camera that strips things back to the essentials. Its design philosophy focuses on simplicity, encouraging photographers to concentrate on the act of taking a picture rather than navigating menus or features.

This approach has now been recognized at the Camera Grand Prix 2026, where the Sigma BF received the Editor's Choice R&D Award.

Editor's Choice R&D Award: Sigma BF

The Camera Grand Prix 2026 is one of Japan's most prestigious photography awards. The Sigma BF was praised for its radical simplicity and design-led philosophy.

"The Sigma BF is based on a design philosophy that returns to the essence of the act of 'taking a picture,' simplifying the control and display systems to the extreme. This creates a unique user interface that allows for deep concentration on the act of shooting itself. We highly valued this aspect.

"Furthermore, the unibody structure, machined from aluminum, combines high rigidity with craftsmanship, boldly expressing the material appeal of a camera as a product.

"Its innovativeness, which re-examines the raison d'être of the camera from an approach different from the conventional trend of increasing multi-functionality, and presents new value and direction, is particularly noteworthy."

Why simplicity matters in photography

Sigma CEO Kazuto Yamaki calls the BF "beautiful foolishness" – a phrase inspired by The Book of Tea, which celebrates the beauty of simplicity over excess.

It's less a product slogan than a philosophy: that stripping things back makes photography more intentional, not less powerful. That idea runs deep in Sigma's identity, a company founded in 1961 by Kazuto Yamaki's father and long known for its unique, design-led approach to camera making.

You can read more about this in our interview with Yamaki (where he says, among other things, that he thinks he can make Sigma "a nicer brand" than Canon and Nikon, even if he can't make it a bigger company).

By stripping the camera down to its essentials, the BF encourages a more considered way of shooting. It offers something no feature-heavy camera can offer in the same way: it teaches how to see.

Without distractions from menus or layered functions, attention naturally shifts to the fundamentals of photography – subject, light, composition, and timing.

In that sense, the camera is less about what it does for the photographer and more about how it gets out of the way. The Sigma BF is built for focus and intention, helping photographers concentrate on the essence of photography.

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If the camera sparked your interest, you can read our Sigma BF review. And see why Sigma's CEO says "I don’t believe I can make Sigma a bigger company than Sony or Canon, but I think I can make it a nicer brand”.

Sigma is a brand that has gone through a pretty profound transformation – something that is incredibly difficult for any brand to accomplish, but especially a camera and optics company.

Only a few years ago, Sigma was just one of many third-party lens manufacturers – well regarded, but mainly known as being the maker of more affordable lenses that first-party products from the big camera brands.

Last year, however, it completely changed its visual identity and brand presentation. From its new logo and typeface to the product imagery and focus on "Made in Aizu", Sigma masterfully repositioned itself as an aspirational artisan brand.

I asked Sigma CEO Kazuto Yamaki, whose father started the company 65 years ago, why the company went to such great lengths to change its brand identity – especially at the same time as launching a brand-new camera, the enigmatic Sigma BF.

"Sigma is my life, but still I don’t believe I can make Sigma a bigger company than Sony or Canon – but I think I can make the Sigma brand a nicer brand than such big companies," said Yamaki.

"So this kind of rebranding, I think, contributes to making Sigma a better brand."

"Sigma was founded by my father in 1961, and then he passed away 14 years ago and I took over the business – although I had already been working for Sigma for over 33 years.

"Then in 2012 we introduced our first Art lens. That’s my passion; I want to make the best of the best products. And the Sigma 35mm f/1.4 DG HSM was really well received, and I was very happy. Since then, our engineers and staff have been working hard to provide the best of the best products.

"And I’m really proud of that. But I had been under the impression that our marketing team or myself are failing to communicate to customers how our product is good, how our products made by our engineering team are good.

"So I realized that we had to do something different, because we’ve been working so hard for 12 or 13 years to make the best products. We found that we needed to change the logo, the brand perception; how the brand is being looked at by others."

Shortly before my meeting with Mr Yamaki, I'd been talking about the company to my colleague Mike Harris – who described rebranding as, "Sigma is the Leica of Japan".

I shared this with Mr Yamaki, and also how I felt that visiting the Sigma factory in Aizu reminded me of visiting the Leica factory in Wetzlar – there was the same sense of family and craftsmanship.

"Oh, thank you! In this industry, only Leica and Sigma are family-owned private companies. All of the other players are big companies. So it’s a great pleasure for me if you see the similarity between the two!"

For an imaging brand not only to change the way it's perceived, but to reposition itself almost as a luxury brand, is nothing short of remarkable – especially in a world where even legendary names like Kodak and Agfa are little more than novelties.

Somewhere, I'm sure that Michihiro Yamazki is smiling at what his son has achieved.

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As a founding member of the L-Mount Alliance, Sigma makes some of the best L-Mount lenses. But it makes great cameras, too – check out my Sigma BF review along with our Sigma fp and Sigma fp L reviews.

At the China P&E trade show, which wrapped up May 18, Sigma displayed a prototype of its forthcoming 85mm f/1.2 full-frame autofocus (AF) prime lens.

We’ve known about this lens for a few months now, as Sigma unveiled it back in February at the CP+ Show in Japan, with the lens completing the company’s trio of pro-level DG Art f/1.2 primes for Sony E-mount and L-mount cameras, alongside existing 35mm DG Art II and 50mm DG Art models.

However, what we didn’t see at the show was a prototype of the forthcoming Viltrox LAB 85mm f/1.2 prime (full-frame Sony E-mount / Nikon Z-mount), which the company actually announced months before Sigma revealed its own version.

Viltrox first teased the lens back in December, and considering how aggressively the company has been developing its LAB lineup, and how quickly Sigma has responded by unveiling the 85mm f/1.2 prototype so soon after the announcement, I think it’s a sign that Sigma is starting to feel the pressure.

Of all the up-and-coming Chinese third-party lens manufacturers that have set up shop in the last few years, I think Viltrox stands the best chance of challenging established brands like Sigma and Tamron. The build quality of Viltrox gear is nothing to scoff at, and neither is the image quality.

Then there’s the pricing. Viltrox’s premium LAB-series lenses tend to come in around $500 (approximately £380 / AU$750) cheaper than Sigma’s equivalent DG Art lenses, which gives photographers some serious incentive to consider the disruptive Chinese competition over more established Japanese brands.

So, what do we actually know about these forthcoming Sigma 85mm f/1.2 DG Art and Viltrox LAB 85mm f/1.2 lenses? Honestly, aside from the focal length and aperture, not a huge amount.

We know Sigma’s autofocus system will use a High-response Linear Actuator (HLA), Sigma’s proprietary motor technology that the company touts as whisper-quiet and highly accurate.

As for Viltrox, the company has mostly described the lens as having a “vintage vibe,” while remaining quiet on technical specs.

Still, we can look at existing lenses in both lineups for clues. The Sigma 35mm f/1.2 DG DN Art II, released last year, features 17 elements in 13 groups, including one special low dispersion element and four aspherical elements. Impressively, Sigma managed to reduce the weight by roughly 30% compared to the first version of the lens, with the newer model weighing around 26oz (745g).

Meanwhile, the Viltrox 35mm f/1.2 LAB features 15 elements in 10 groups, including 5 extra-low dispersion elements, 3 high-refractive-index elements, and 2 precision aspherical lenses.

While the optical design is slightly simpler than Sigma’s and the minimum focusing distance of 13 inches (34cm) inferior, the Viltrox does feature a premium all-metal aluminum-alloy construction, whereas Sigma uses a combination of metal and engineered plastics.

If the forthcoming Sigma and Viltrox 85mm lenses follow the same design philosophies as their sibling lenses, there may be very little separating them in real-world performance. That’s where I think Viltrox’s combination of solid build quality and aggressive pricing could really start squeezing Sigma.

Adding to the pressure is the likelihood that Viltrox will eventually release a rival 50mm f/1.2 LAB lens once the 85mm hits the market.

If that happens, competition at the premium end of third-party prime lenses for Sony, Nikon and L-mount shooters could really heat up, potentially leaving Sigma to dominate the more affordable high-quality zoom market while Viltrox carves out a strong niche in fast primes.

I may be getting slightly ahead of myself, but I genuinely believe that whenever Viltrox finally launches its 85mm f/1.2 LAB — no release date has been confirmed yet — it could mark a significant shift in the premium third-party lens market.

As for Sigma, the company has already announced that the DG Art 85mm f/1.2 is coming in September, so I’d imagine Viltrox will want its rival lens ready around the same time to keep the heat on.

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Lots of brands unveiled a host of new lenses at P&E China, which you can read about next.

A 24-70mm zoom lens is a staple in almost every photographer's kit bag, whether shooting on DSLR or mirrorless systems. Now, a popular budget DSLR version is disappearing from the market, leaving mirror-based photographers with fewer affordable options.

The Sigma 24-70mm f/2.8 DG OS HSM Art has been listed as discontinued by major Japanese retailers such as Map Camera and Yodobashi, signalling that one of the market's most accessible DSLR standard zoom lenses is reaching the end of its production cycle.

Built for three different camera mounts – Canon EF, Nikon F, and Sigma SA – the lens is also compatible with Sony E mount systems via the Sigma Mount Converter MC-11 (EF-E Mount) adapter. At a price point of only $1,429 / £1,149, it positioned itself as a lower-cost yet high-quality option within Sigma's generation of pro DSLR zooms.

The high-end DSLR zoom

The Sigma 24-70mm f/2.8 DG OS HSM Art was launched in 2017 and quickly became a popular choice among Canon and Nikon DSLR photographers.

What made it so widely used was its combination of strong optical performance and relatively low price tag, offering a high-quality alternative to more expensive flagship zoom lenses.

For context, an alternative zoom for Canon EF mount, for example, is the EF 24-70mm f/2.8L II USM, available for $2,199 / £.1,999 A Nikon DSLR counterpart is the AF-S 24-70mm f/2.8E ED VR, available for $2,246.95 / £.2,099.

With early signs of a product being discontinued, we often see discounts. But across US and UK retailers, there has been little to no movement from the already budget-friendly price tag.

While US photographers have the chance to save $30 on different variations of the Sigma 24-70mm f/2.8 DG OS HSM Art, the UK price has seen no movement yet. However, this may be one of the last chances to pick up this lens brand-new.

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The Sigma BF has barely had time to settle into the market, yet it’s already seeing its first meaningful price drop, and it’s a good one.

Over at B&H, the strikingly minimalist full-frame camera is now available for $1,999, shaving $200 off its original asking price. For a camera that’s as much about design philosophy as it is about performance, that early discount makes it all the more tempting.

The Sigma BF is not your typical mirrorless release. It’s a camera that leans heavily into simplicity, stripping things back to the essentials in a way that feels refreshingly different in today’s feature-heavy landscape. With its clean lines, uncluttered interface, and focus on pure photographic experience, the BF feels like a deliberate move away from spec-sheet wars and toward something more tactile and intentional.

Underneath that minimalist exterior, however, sits a very capable full-frame sensor, delivering the kind of image quality you’d expect from Sigma’s recent output. Color rendition is rich and nuanced, while detail is crisp without feeling overly processed. It’s a camera that rewards thoughtful shooting, appealing to photographers who value composition and timing over endless menu diving.

The $200 discount might not sound huge in isolation, but in the world of premium camera launches, early price drops like this are relatively rare, and often signal a sweet spot for buyers who were sitting on the fence. At $1,999, the BF starts to feel far more competitive, especially when you consider its unique positioning in the market.

What makes this deal particularly appealing is that the BF isn’t trying to be everything to everyone. Instead, it’s carving out its own lane, targeting photographers who want a more deliberate, almost analog-inspired shooting experience in a digital body. That alone gives it a certain allure, especially for those who may already be drawn to brands like Leica but are looking for something a little different.

If you’ve been intrigued by the Sigma BF since its announcement, this first price drop could be the moment to act. It’s a rare chance to pick up one of the most distinctive cameras of the year at a discount so soon after launch, and for many, that combination of design, performance, and now value might just be too good to ignore.

Portrait photographers wax poetically on nifty fifties, but I love to go a bit longer for even creamier bokeh – which is why I took note when Sigma announced that it’s working on a new 85mm portrait prime.

The Sigma 85mm f/1.2 DG Art doesn’t exist yet – unless you’re lucky enough to happen to be at the CP+ Show in Japan, where a prototype is on display – but it’s officially slated for arrival in September 2026.

For now, the development announcement is just a tease of what’s to come, but the few details already available are intriguing. First, Sigma says that the full-frame 85mm will complete the brand’s line-up of f/1.2 primes – so the Sigma 35mm f/1.2 DG II Art, 50mm f/1.2 DG DN Art, and this upcoming 85mm will be it for bright f/1.2 primes in the Art series.

Sigma drops several more phrases to hint at what’s to come, including “latest optical design” and “exceptional resolution.” The company also says the lens will have a dual High-response Linear Actuator autofocus motor.

The single photo that Sigma shared doesn’t make the lens look very small, but Sigma describes the lens as “compact” and “lightweight.” From the photo, we know that the lens will have a dedicated aperture ring, a focus switch, and will take 82mm, though, of course, the teaser comes with the usual disclaimer that the specs and appearance could change between now and the launch.

The longer 85mm focal length tends to create more flattering portraits and creamier backgrounds – and I suspect this will be a welcome addition to the popular Art Series. That will be especially true if it’s anything like the Sigma 50mm f/1.2 DG DN Art. Reviewer Matthew Richards gave the lens five stars for its images and competitive price, the biggest complaint being that it’s a bit heavy. I wouldn’t be surprised at all if the upcoming 85mm f/1.2 follows that same theme.

The Sigma 85mm f/1.2 DG Art is expected to launch in September 2026 in the L-Mount as well as the Sony E-Mount.

The upcoming 85mm isn’t the only lens the brand announced the week of CP+ either – it follows the news of the Sigma 35mm f/1.4 DG II Art and the crop-sensor 15mm f/1.4 DC Contemporary.

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Browse more news from CP+ in Japan where a Digital Camera World editor is on site exploring all the new trends on the show floor, including a new Canon with a waist-level finder and a new lens from Nikon.

Excuse me while I hit the rewind button for a moment… It’s October 2019 and I’m enjoying some very happy days reviewing the Sigma 16mm f/1.4 DC DN | C with a Canon EOS M50 camera. A variety of other APS-C format versions of this lens were available at the time, as well a Micro Four Thirds option. Further down the line, the supporting cast grew, spreading the joy to a grand range of L-mount, Sony E, Canon EF-M and RF-S, Fujifilm X, Nikon Z DX and Micro Four Thirds mount options. That covers most of the mirrorless crop-sensor bases and then some.

I was so impressed with the Sigma 16mm at the time that I gave it a 5-star rating and one of our coveted gold awards. Even so, it wasn’t entirely perfect, as it lacked any weather-seals and it wasn’t particularly compact or lightweight, which was only to be expected from a fast f/1.4 prime at the time. Enter the new replacement.

The Sigma 15mm that I’m reviewing here shaves a millimeter off the focal length to give a slightly wider perspective, while shedding 50% of the weight and 30% of the physical length, compared with the previous lens. It also features a more weather-resistant construction. In short, it’s wider (in the best possible way), smaller, more manageable and tougher. What’s not to love? Well, the mount options are comparatively restricted, at least at launch in early 2026, but it aims to be one of the best wide-angle lenses for Canon RF-S, Fujifilm X and Sony E mount mirrorless cameras.

Sigma 15mm f/1.4 DC | C: Specifications

Sigma 15mm f/1.4 DC | C: Price

The price tag on this new Sigma lens weighs in at $579 / £449 (cost TBA in other regions). That compares fairly favorably with the lower asking price of $539/£389/AU$629 for the older Sigma 16mm f/1.4 DC DN | C, which has the same aperture rating, is bigger and lacks an aperture control ring, feeling a bit more basic in its handling characteristics.

I’d expect Chinese lenses to be more competitively priced than Japanese contenders and sure enough, the APS-C format Viltrox AF 15mm f/1.7 Air that’s half an f/stop slower than the Sigma comes in at a particularly budget-friendly $239/£229/AU$370. Suffice it to say that the Sigma isn’t a ‘cheap lens’ but it’s attractively priced nonetheless.

Sigma 15mm f/1.4 DC | C: Design & Handling

The last Sigma 15mm f/1.4 lens that I tested was the Sigma 15mm F1.4 DG DN Diagonal Fisheye | Art, which is a different kettle of fish entirely. The fisheye is comparatively huge and very expensive, especially by fisheye standards, and caters to full-frame cameras. Then again, f/1.4 fisheyes are a real rarity. This 15mm ‘Contemporary’ downsized delight matches its bigger sibling for aperture rating, but is a regular rectilinear wide-angle lens, rather than a curvilinear fisheye.

It bears repeating that the lens is very much more compact and lightweight than Sigma’s previous 16mm f/1.4 APS-C format prime, more befitting slimline mirrorless cameras. I’m very much put in mind of Viltrox Air lenses, including the Viltrox AF 15mm f/1.7 Air APS-C format lens which has the same focal length but a slightly slower aperture and more basic handling characteristics, with no aperture control ring. Even so, it seems that Sigma is fighting back against inexpensive Chinese lenses, while still basing its design and manufacture in Japan (Aizu, to be precise). There are very few ‘Japanese’ camera companies that can still say that nowadays. Indeed, the Nikon Z 180-600mm lens that I reviewed a while ago was made in China.

In keeping with the downsized design, the lens has a modest 58mm filter thread at the front, which is pretty small for a wide-angle lens with a fast f/1.4 aperture rating. Getting further into the innards of the lens, three double-sided aspherical help to reduce the size and weight to a minimum, while also boosting image quality. They’re supplemented by three SLD (Special Low Dispersion) elements to enhance clarity while minimizing color fringing, along with one top-grade FLD (Fluorite Low Dispersion) element.

Along with optical quality, consistent sharpness in practical terms for most of us depends on the accuracy of the autofocus system. The Sigma features a now-common linear stepping motor to drive autofocus, which is both agile for stills and smooth for videography, operating in near-silence. To suit the burgeoning ranks of ‘content creators’, the lens is designed with more than a passing not to videography, featuring fast and effective autofocus tracking, as well as minimal focus breathing so that the angle of view remains constant during changes in focus distance.

Further good news for shooting video as well as stills is that the lens features a dedicated aperture control ring. This has an Auto position at the narrow end, while the full range between f/1.4 and f/16 is catered to in one-third f/stop click steps. That’s all well and good as far as it goes, but there’s no locking switch to avoid unwanted nudging when in the Auto position, and there’s no de-click option for smooth and silent aperture adjustment when shooting video. To be fair, the compact nature of the lens limits the space for any switches anyway.

To guard against ghosting and flare, the lens is designed with input from Sigma’s ‘advanced simulation technology’ to optimize clarity and contrast when shooting against the light. This is further enhanced by an effective petal-shaped hood that’s supplied with the lens (rather than being sold as an optional extra).

As is almost always the case, the hood has a bayonet-fit design and can be reversed to save space when stowing the lens. With the hood in its forward-facing mode, ready for action, you can still easily fit and remove the lens cap, thanks to its spring-loaded pinch-style mechanism.

Many lightweight lenses from the likes of Canon, Nikon and others have plastic rather than metal mounting plates. They should be sufficiently sturdy and robust but don’t exactly inspire confidence. Typical of Sigma lenses, this one has a ‘proper’ metal mounting plate and it also features a rubber weather-seal that runs around its circumference. Sigma doesn’t claim that the lens is comprehensively weather-sealed, but does say that it has a ‘dust- and splash-resistant structure’. Suffice it to say you should be safe enough shooting in the drizzle but Sigma says you shouldn’t allow large amounts of water to splash on the lens, as this may cause a major malfunction and render the lens unrepairable. There, you have been warned!

Sigma 15mm f/1.4 DC | C: Performance

I always think there’s little point in buying a fast lens if its performance is lackluster at its widest aperture setting. I’m happy in this instance that the Sigma delivers impressive clarity and very good sharpness even wide-open at f/1.4, at least across most of the image frame. As I’d expect, you need to stop down a little to enhance sharpness towards the edges and corners of the image frame, ideally to between f/4 and f/11. At f/16, there’s a drop-off in sharpness due to the usual phenomenon of diffraction at narrow apertures.

A main upside of an f/1.4 lens is that enables a tight depth of field for isolating subjects within a scene by blurring the background. Despite the wide-angle nature of this particular little beast, the Sigma does enable a tight depth of field for close-ups, and the quality of bokeh is pleasantly smooth. The need for consistently accurate autofocus also comes to the fore when shooting close-ups at wide apertures and the Sigma does very well in this respect as well. Naturally, another bonus of the fast aperture is that you can maintain quick shutter speeds for freezing motion, under dim lighting conditions, without needing to bump up your camera’s ISO too much.

Another plus point is that both axial and lateral chromatic aberrations are kept on a tight leash. Indeed, there’s negligible color fringing even with automatic in-camera correction disabled. I can’t say the same about barrel distortion, which relies heavily on in-camera correction. That’s entirely usual for modern wide-angle lenses for mirrorless cameras, especially those that are designed to be compact and lightweight. In a nutshell, I found that I could get away without using automatic correction for distortion with the older Sigma 16mm f/1.4 DC DN | C lens, but correction is essential with this 15mm lens.

Sigma 15mm f/1.4 DC | C: Sample Images

The following gallery of example images was shot in and around the floating harbor at Bristol Docks in the south west of England. Weather conditions were mixed, with intermittent sunshine and clouds. I used a variety of wide and medium apertures to show the relative qualities of the lens for bokeh and for edge-to-edge sharpness.

Sigma 15mm f/1.4 DC | 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 sharpness across most of the image frame are very good, straight out of the traps at the widest aperture of f/1.4. As I’d expect, it pays to narrow the aperture by at least a couple of f/stops to f/2.8 for edge/corner-sharpness to come on song, and it’s better still in the aperture range between f/4 and f/11.

Fringing:

Both lateral and axial (or longitudinal) chromatic aberrations are very negligible. The latter is often referred to as ‘bokeh fringing’, as it’s mostly a problem with fast lenses at or near their widest aperture settings. The Sigma does very well to keep these aberrations to a minimum.

Distortion: -6.18

There’s heavy barrel distortion, much more so than with Sigma’s older 16mm f/1.4 APS-C format lens. That’s more the norm than the exception nowadays, with compact wide-angle lenses designed for mirrorless cameras. Either way, it’s easily taken care of with automatic in-camera correction.

Sigma 15mm f/1.4 DC | C: Verdict

I need a reason to splash out on a prime lens for my APS-C format mirrorless cameras, rather than using the kit zoom lenses that came with them for pretty much anything and everything. The Sigma 15mm f/1.4 DC | C actually gives me two viable reasons. First up, it gives a much more noticeably wide-angle perspective than a typical kit zoom that only shrinks to a minimum 18mm focal length. Secondly, it has a much faster aperture rating, ideal for gaining a tight depth of field for close-ups and maintaining quick shutter speeds under dim lighting.

What I don’t really want is a supplemental lens that’s big and heavy to carry around. The Sigma wins out on all fronts, being compact, lightweight and having a fast f/1.4 aperture. Handling is excellent, although the aperture control ring doesn’t have a de-click option, and the lens’s image quality and all-round performance are highly impressive. It’s a keeper.

Alternatives

When Sigma launched the DSLR-mount 35mm f/1.4 DG HSM Art, the move sparked the beginning of the brand’s popular Art line. Now, Sigma has re-imagined the lens that sparked the Art series revolution – again. The Sigma 35mm f/1.4 DG II Art refreshes the popular prime with redesigned optics in a lighter, smaller package.

Sigma says the new lens is “the best optical performance ever in Sigma’s 35mm f/1.4 Art line,” which is the company’s way of saying that the new lens is better than the 35mm f/1.4 Art mirrorless and DSLR variants that came before it. At launch, the lens is available in both L-Mount and Sony E-Mount.

While the lens carries a “II” in its name, Sigma says that the lens has been “completely redesigned,” a change that makes the lens about 20 percent lighter and around 14 percent shorter than the previous mirrorless lens.

The Sigma 35mm f/1.4 DG II Art uses a 15-element design in 12 groups (the predecessor used the same number of elements but in 12 groups). Sigma says that the new design focuses on bringing enhanced resolution across the entire frame to match today’s higher resolution mirrorless bodies.

The updated lens, Sigma says, corrects for chromatic aberration. The surface accuracy of the lens’ aspherical elements has also been improved, which works along with the lens’ 11-count rounded aperture blades for smoother bokeh.

The lens also uses a new flare-prevention coating called Advanced Amorphous Coating or AAC. Sigma explains that this coating uses a low-refractive index, which is tech speak for helping to suppress the reflections that cause lens flare and ghosting.

The lens’ lighter and smaller design, however, is largely attributed to a new floating focus system, which also uses Sigma’s dual motor design dubbed the High-response Linear Actuator or HLA. Sigma says the lens also keeps focus breathing to a minimum, making the lens geared towards both stills and video.

The lens comes in at 530g / 18.7 ounces for the L-Mount variant, a noticeable drop from the 22.8 oz / 645 g of the predecessor. (The E-Mount is slightly lighter.)

On the exterior, the lens is made with aluminum, a thermally stable composite, and other materials. Seals also make the lens dust and splash-resistant, while coatings to repel water and fingerprints help protect the front of the lens.

Sigma unveiled the lens alongside the new crop-sensor 15mm f/1.4 DC Contemporary, just days ahead of CP+, a major photography trade show in Japan that often brings a number of new gear announcements.

The Sigma 35mm f/1.4 DG II Art is expected to begin shipping on April 16 for $1,059 / £849. This sits significantly less than the Sigma 35mm f/1.2 DG II lens, which retails for $1,549 / £1,299 / AU$3,099 / CA$2,099.

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Sigma’s new bright ultra-wide prime for crop sensor cameras is drastically lighter than its predecessor – and it even comes in three different mounts. Unveiled on Tuesday, February 24, the Sigma 15mm f/1.4 DC Contemporary is a lighter upgrade to the brand’s earlier 16mm f/1.4 lens for APS-C cameras.

The Sigma 15mm f/1.4 DC Contemporary will be available in three different mounts for APS-C cameras – a list that even includes the Canon RF mount, which has been notoriously more closed off but is now steadily gaining more third-party autofocus lenses, at least for crop sensor bodies.

The lens will also be available in Fujifilm X and Sony E mounts. Curiously, that list doesn’t include the Nikon Z Mount, L Mount, or Micro Four Thirds, all mounts that the predecessor, the Sigma 16mm f/1.4 DC DN Contemporary, has available. Of course, it’s not unusual for Sigma to launch an existing lens in a new mount – so it’s possible those other mounts could arrive later on. After all, the earlier 16mm initially only launched in Sony E and Micro Four Thirds.

One of the key changes is that the new 15mm is 50 percent lighter than the earlier 16mm – which now makes the 15mm f/1.4 DC the lightest lens in Sigma’s Contemporary series. The lens weighs 7.8 oz / 220g. It measures 2.6 inches / 64.8mm long for the E-Mount version, which also makes it 30 percent shorter than the older 16mm version.

Despite the smaller, lighter design, Sigma says that the optics on the new lens outperform those of the 16mm. One focus in particular was on improving edge-to-edge performance and suppressing sagittal coma daltre, a type of flare that is particularly noticeable in astrophotography. The company says that the design also works to eliminate lens flare and ghosting.

Sigma also says that the lens is designed to shoot both stills and video, including the lens’ stepping motor for autofocus and efforts to reduce focus breathing.

The lens is designed with dust and moisture seals, while a control ring on Canon RF and an aperture ring on Fujifilm X and Sony E offer users quick access to settings.

The new Sigma 15mm f/1.4 joins the Contemporary series, a line that focuses on bright, portable primes for APS-C cameras that spans from 12mm to 56mm.

Announced ahead of the CP+ photography show in Japan, the 15mm was announced alongside Sigma’s new 35mm f/1.4 full-frame lens. The Sigma 15mm f/1.4 DC DN begins shipping on March 12, costing $579 / £449.

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Browse the best Canon RF lenses, the best Sony E lenses, or the best Fujifilm X lenses.

When Sigma said that it was developing 28-45mm and 28-105mm cinema lenses, the announcement marked what’s likely a world first: cinema zooms with autofocus. But the Sigma 28-45mm T2 FF launched in November without the promised 28-105mm. Now, cinematographers finally have a launch date for the Sigma AF Cine 28-105mm T3 FF: April 16, 2026.

Originally teased alongside the 28-45mm FF, the Sigma AF Cine 28-105mm T3 FF doesn’t just bring autofocus to a zoom – it marks the arrival of a Sigma favorite for photography, the Sigma 28-105mm f/2.8 DG DN Art, in a format re-imagined for high-end video.

The lens, which will be available in L-Mount and Sony E-Mount, brings that unusual wide to telephoto zoom range and bright aperture to a cinema design. The lens uses cinema-style mechanics and operability, Sigma says. That list includes a limited-rotation focus ring, 0.8m pitch gears, and a clickless aperture ring.

Cinema lenses are traditionally manual focus, but recent developments have brought a number of different types of autofocus cinema firsts, including prime and anamorphic and Sigma’s first-ever cinema autofocus zoom, the Cine 28-45mm T2 FF, which was originally teased alongside the 28-105mm in June but launched on its own in November.

That autofocus capability is powered by a High-response Linear Actuator motor. Sigma says that the autofocus capability is particularly useful for scenarios, like action scenes and unpredictable movements.

The Sigma AF Cine 28-105mm T3 FF will sell for $3,399 / £2,799 from mid-April.

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Browse the best Sony E Mount lenses or the best L-Mount lenses.

Sigma lenses are some of the best on the market. While the Sigma 50mm f/1.2 DG DN Art offers a standard angle of view – similar to that of the human eye – there's nothing standard about its image quality.

Indeed, the words "dream lens" were used in my colleague Matthew Richards' review. "I’ve seen some outstanding Sigma lenses over the years and this is definitely one of the very best. It ticks all the right boxes for sharpness, clarity and dreamy bokeh, along with excellent suppression of unwanted aberrations.

"The superb image quality is backed up by excellent handling characteristics and fast, reliable autofocus performance, all wrapped up in a tough, weather-resistant construction. It’s a dream lens."

And this is your chance to make your dream of owning one come true!

Available for cameras that use the L-Mount and Sony E-mount, Sigma says this fast prime is the world's lightest 50mm f/1.2 lens for full-frame mirrorless cameras, weighing just 745g (in L-Mount guise).

Its complex optical design corrects various optical flaws while producing the best-possible blur – aided by a 13-blade diaphragm.

And Dual HLA (High-response Linear Actuator) autofocus motors deliver fast and silent performance for stills and video.

Take a look at some stunning sample images taken on the lens to see exactly what the Sigma 50mm f/1.2 DG DN Art is capable of:

Enter now!

We've teamed up with Sigma UK and one of these terrific lenses – worth £1,299 – is up for grabs for a lucky Digital Camera World user!

All you have to do is answer a multiple-choice question correctly, so click here to enter. Please note that this competition is open to UK readers only, aged 18+, and full terms and conditions can be found at the bottom of the competition entry page.

You can find out more about the Sigma 50mm f/1.2 DG DN Art on the Sigma website.

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Love nifty fifties? Take a look at more of the best 50mm lenses. Love Sigma? Check out some of its one-of-a-kind cameras, in our Sigma BF review and Sigma fp L review.

I’ve always had an interest in photography, and from an early age I became the designated photographer at family events and holidays, often handed a cheap disposable camera and set loose photographing friends and family. Of course, waiting for the film to come back had a certain magic to it, but predictably this became replaced by a digital compact camera in my teens as they became affordable.

My first ‘proper’ camera, however, was a Sigma SD14 – at the time I thought this was a perfectly normal choice, though looking back on it now I now know it was a rather quirky camera. Sigma carved a name for itself as a manufacturer of reliable and solid third-party options over the years, though in recent times has stepped into a higher gear with more premium optics, seen in its Art and Sports lenses. When it came to cameras however, Sigma has a tendency to be the outlier, and straying far from the norm. This was seen most recently seen with the company’s full-frame mirrorless Sigma BF.

I was a photography student when I bought my Sigma SD14. I had owned a Sigma DP1 compact camera previously, and the lenses available in Sigma mount were at the time cheaper than the same optics for Canon and Nikon – as a student every little helped! Some of my bargain buys included a Sigma 50mm f/1.4 EX DG HSM and 70-300mm f/4-5.6 DG Macro.

Rather naively, at the time I don’t think I fully understood its unique digital sensor technology. Though of course being a camera journalist I now know all about them. Sigma cameras, like my SD14, use a Foveon chip. Modern digital sensors typically use the ‘Bayer’ array filter pattern (though there are exceptions such as Fujifilm’s X-Trans pattern).

With CMOS sensors that use the Bayer array there is a grid of red, green and blue filters placed over individual pixels, with half of this being dedicated to green as the human eye is more sensitive to this colour. The camera also uses a process called demosaicing to interpolate – effectively this is where your camera takes its best guess as to what the missing colours should be.

Foveon sensors are special because they use three layers of stacked photodiodes, each sensitive to its own blue, red or green color channel. One of the greatest injustices with Sigma’s Foveon technology (in my humble opinion) was perhaps a lack of marketing… Foveon cameras were usually billed as having a very high number of megapixels. While this is technically true, with each red, green and blue layer containing its own set of pixels, this usually got mixed up with total image resolution and often came across a bit misleading. My Sigma SD14 for example, had 14MP of color data split over three color layers, but the actual resolution of each of these was 4.7MP so the total resolution for how large you could blow up the image or crop in was limited to quite a meager amount.

I love many of the images I took with my Foveon cameras over the years and the colours always looked particularly vivid. The black and white photos also really popped as the internal IR filter could simply be popped off the camera allowing infrared photos to be taken with ease. However, I think it was a bit too ahead of its time as the processors evidently struggled to handle the vast amounts of data from three colour layers – I remember all too well regularly waiting up to 30 seconds for the memory buffer to clear. It also had no live view or video function, and it really struggled to produce clean images at higher ISO values meaning the CMOS camera I upgraded to after owning my SD14, was a much better all-rounder.

I am, however, more optimistic than ever for the future of Foveon. We now have powerful processors capable of recording vast amounts of data such as Canon’s EOS R5 Mark II with its 45MP RAW files, pre-capture and 8K video and suitably fast CFexpress cards now, too.

I’m still holding out hope for the long-awaited full-frame Foveon from Sigma, and with some clearer marketing that leans more into color quality than a misleading large number of megapixels, would give it every chance of success.

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Take a look at the best DSLR cameras as well as our Sigma BF review. For more info on Sigma's ground-breaking sensor tech be sure to read our article: Will Foveon sensors will ever return?

Japan's camera market has spoken once again – and while familiar heavyweight names dominate the top spots of Yodobashi's latest best-seller chart, it's the lens sitting quietly at number three that tells the most interesting story.

According to Yodobashi Camera's sales data from the second half of December – traditionally one of the most competitive sales periods of the year – the lens ranking reflects a classic year-end buying pattern.

While a trusted pro workhorse lens sits at the top, one optic is punching well above its weight. Making it into the top three for the first time in three months is a world-first travel 'superzoom' – the Sigma 20-200mm f/3.5-6.3 DG | Contemporary – climbing up from eighth place by offering something no other full-frame zoom currently does.

Yodobashi's 10 best-selling lenses (2nd half of December)

1. Sony FE 24-70mm F2.8 GM II
2. Canon RF 100-500mm f/4.5-7.1 L IS USM
3. Sigma 20-200mm f/3.5-6.3 DG | Contemporary (E-mount)
4. Nikon Z 24-120mm f/4 S
5. Tamron 25-200mm f/2.8-5.6 Di III VXD G2 (E-mount)
6. Sony FE 70-200mm f/2.8 GM OSS II
7. Hasselblad XCD 2.8-4/35-100E
8. Canon RF 45mm f/1.2 STM
9. Nikon Z 24-70mm f/2.8 S II
10. Leica Apo-Summicron-M f2/35mm ASPH

Sales data collected between December 16-31 2025, from Yodobashi.com and 24 Yodobashi Camera stores nationwide.

Number 1: predictably dominant

The Sony FE 24-70mm f/2.8 GM II reclaiming the top spot will surprise few. It is, quite simply, one of the most universally useful professional zoom lenses ever made. Fast, sharp and relatively compact for its class, it's a default choice for wedding, event, commercial and hybrid shooters.

The 24-70mm GM II is the definition of a safe, system-anchoring purchase. Its year-end sales surge makes perfect sense: professionals refreshing their core kit before the new year with special retail offers. Its chart-topping position is logical, but not especially interesting.

Why Sigma's 20-200mm Contemporary stands out

The real headline here is Sigma's 20-200mm f/3.5-6.3 DG | Contemporary landing in the third spot. This lens is a world-first: the only full-frame 10x zoom to start at an ultra-wide 20mm, extending all the way to 200mm while remaining compact, lightweight (550g / 1.2lb) and travel-ready.

That 20mm wide end fundamentally changes what a single-lens travel setup can do. Competing full-frame superzooms typically start at 24mm or 28mm – a fine choice, but less (well, more!) than what Sigma offers.

Add in 0.5x macro capability, fast and accurate AF (autofocus), strong optical performance for a long-range zoom, plus compatibility with Sony, Leica, Panasonic and Sigma cameras, and it becomes clear why this lens resonates so strongly with Japanese buyers.

System-loyal market celebrates third-party lens

The rest of the chart paints a familiar picture: Canon's RF 100-500mm continues its steady climb, Nikon reinforces the appeal of flexible mid-range zooms, and high-end optics from Hasselblad and Leica highlight that there's still appetite for premium glass.

But the standout takeaway is that innovation cuts through, even if it takes several months to reach the top ten – even in a conservative, system-loyal market like Japan.

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If you're interested in Sigma's 20-200mm f/3.5-6.3 DG | Contemporary, also take a look at the Tamron 28-200mm f/2.8-5.6 Di III RXD or the Nikon Z 24-200mm f/4-6.3 VR (as that Sigma isn't available for Nikon Z mount).

Zoom lenses continue to dominate Japan's photography market. That's no big surprise, given that most photographers prioritize flexibility and workhorse lenses. Map Camera's top ten best-selling lenses of 2025 once again show this strong preference, as the list is dominated by standard-zooms, telephotos, and super-zooms.

And – for the second year in a row, one versatile zoom has topped the charts: the Nikon Z 24-120mm f/4 S. Despite competition from newer releases, it continues to outsell rival optics thanks to its balance of range, reliability, and consistent real-world performance.

2025's lens ranking features a familiar mix of proven favorites and newer arrivals. Professional standard zooms such as the Sony FE 24-70mm f/2.8 GM II remain highly popular, while affordable primes and high-magnification super-zooms, including the Canon RF 45mm f/1.2 STM and Sigma 20-200mm, are also included.

MapCamera 2025 best-selling lenses

1. Nikon Z 24-120mm f/4 S
2. Nikon Z 24-70mm f/2.8 S II
3. Canon RF 45mm f/1.2 STM
4. Sony FE 24-70mm f/2.8 GM II
5. Sony FE 70-200mm f/2.8 GM OSS II
6. Canon RF 100-400mm f/5.6-8 IS USM
7. Sigma 20-200mm f/3.5-6.3 DG | Contemporary (Sony E-mount)
8. Nikon Z 50mm f/1.8 S
9. Tamron 25-200mm f/2.8-5.6 Di III VXD G2 (Model A075S, Sony E-mount)
10. Nikon Z 26mm f/2.8

Single lenses that can handle "it all" remain in high demand. The list also highlights a growing appetite for super-zooms that let photographers move from wide-angle landscapes to telephoto action and close-up detail without the need to swap lenses.

The unbeatable all-rounder

The Nikon Z 24-120mm f/4 features a remarkable 5x zoom range that makes it a perfect all-around companion for travel, street, and everyday photography.

It strikes a sweet balance. It's more versatile than the 24-70mm f/2.8 S II, lighter than professional telephoto lenses, and more accessible than high-end optics. Its combination of reliability and all-around performance is exactly why it continues to top sales charts year after year.

The lens builds on the popularity of Nikon's classic AF-S 24-120mm f/4G ED VR for full-frame DSLRs, but now in a mirrorless design. The Z-mount version takes full advantage of a larger mount diameter and closer proximity to the sensor, resulting in enhanced sharpness and image quality across the entire zoom range.

While the lack of vibration reduction (VR) makes it less suitable for DX-format cameras (like the Z 50 and Z fc), the in-body stabilization (IBIS) found in full-frame Z-series cameras easily compensated for this.

In the end, the Nikon Z 24-120mm f/4 S proves that the best lens isn't always the fastest or the most exotic. Often, it's the one that can handle everything you need, from landscapes to portraits, street photography to travel, with consistent quality and effortless convenience...

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Browse the best 70-200mm lenses, the best standard zooms, and the best telephoto lenses.

Bright zooms, versatile all-in-ones, and unusually affordable optics are among the most popular lenses of the year. US retailer B&H has shared a list of the top lenses for 2025 overall, and it’s a list that crosses several different brands and multiple formats – and highlights the trendiest lenses that photographers are looking for.

The list is dotted with both oldies like a longstanding nifty fifty to new arrivals. Surprisingly, there’s even a lens there that has only been available for a few weeks, but has already managed a spot near the top: the Canon RF 45mm f/1.2 STM. And, Nikon’s 24-120mm even managed to make the list twice!

The most popular lenses of 2025 at B&H are:

• Sigma 18-50mm f/2.8 DC DN Contemporary (Sony E)
• Nikon Z 180-600mm f/5.6-6.3 VR
• Canon RF 45mm f/1.2 STM
• Nikon Z 24-120mm f/4 S UV filter kit
• Nikon Z 28-400mm f/4 S
• Sony FE 16mm f/1.8 G
• Canon RF 50mm f/1.8 STM
• Nikon Z 24-120mm S Lens (no filter)
• Nikon Z 24-70mm f/2.8 S II
• Fujifilm XF 16-55mm f/2.8 R LM WR II

Let’s break it down and see what’s unique about each of the most popular lenses of 2025.

An affordable, bright zoom: Sigma 18-50mm f/2.8 DC DN Contemporary for Sony E

The Sigma 18-50mm f/2.8 DC DN Contemporary is a crop-sensor lens meant for Sony’s four-digit Alpha cameras like the Sony A6400 and A6700.

This lens has been around since 2021, but it’s not hard to take a guess as to why it’s still popular. The Sigma 18-50mm is a bright f/2.8 zoom, yet it’s also rather compact and affordable.

A massive zoom without a massive price: Nikon Z 180-600mm f/5.6-6.3 VR

The Nikon Z 180-600mm f/5.6-6.3 VR certainly isn’t an impulse buy – but the price is still far more palatable than the likes of Nikon’s 100-400mm f/4.5-5.6 VR S, the Nikon Z 400mm f/4.5 VR S, and in an entirely different price category the brand’s high-end telephoto primes.

Despite sitting at less than comparable zooms, this lens packs in a rather versatile 180-600mm reach, ousting more popular zoom ranges like the 100-400mm.

An exceptionally affordable f/1.2 prime: Canon RF 45mm f/1.2 STM

I find the Canon RF 45mm f/1.2 STM one of the biggest surprises on the list – because it has only been available for a few weeks, yet it’s already sold enough to rank among the top lenses of the entire year. This 45mm was only announced in November 2025 and just began shipping earlier this month – and it seems it’s popular enough that Canon is having a hard time keeping up with demand.

The reason behind the lens’s popularity? It’s a bright f/1.2, yet it sells for $469 / £479.99 / AU$699.95.

An all-in-one zoom for under US$1K: Nikon Z 24-120mm f/4 S

The Nikon Nikkor Z 24-120mm f/4 S is actually on the list twice – once in a bundle with a UV filter and once on its own. That’s impressive for a lens introduced in October 2021.

But, there’s a lot that a lens with a 24-120mm zoom range can do, and, unlike many all-in-one zooms, the aperture doesn’t narrow down at the telephoto end with an f/4 throughout.

A wide to super-telephoto all-in-one: Nikon Z 28-400mm f/4-8 VR

The Nikon Z 28-400mm f/4-8 VR is even more versatile than the 24-120mm, offering a wide and super telephoto all packed into a single lens. While the aperture drops down to f/8 at the long end, the zoom range is versatile, and the image quality is quite good for a lens that packs in such a wide range.

An ultra-wide without an ultra price: Sony FE 16mm f/1.8 G

Introduced in February 2025, the Sony FE 16mm f/1.8 G likely rose to the top ranks because it mixes a wide view with a wide aperture but without the price of lenses like the Sony FE 14mm f/1.8 GM. The lens is also surprisingly compact for such a bright ultra-wide.

An affordable nifty fifty: Canon RF 50mm f/1.8 STM

The nifty fifty is such a popular lens choice that I would have been surprised if one didn’t make the top list. The Canon RF 50mm f/1.8 STM gives beginners access to a wider aperture than a kit lens, but without the high price of Canon’s pro-level primes.

A new take on a classic: The Nikon Z 24-70mm f/2.8 S II

Another new lens introduced in 2025, the Nikon Z 24-70mm f/2.8 II updates a classic workhorse. The second-generation lens is a bit lighter, but delivers fast autofocus and fantastic sharpness. Reviewer Matthew Richards gave the lens five stars for that mix of build and image quality, calling it a “pretty spectacular upgrade.”

A bright pro zoom with an unusually compact design: Fujifilm XF 16-55mm f/2.8 R LM WR II

I’m not entirely surprised that the one Fujifilm lens to make the top lenses overall is the XF 16-55mm f/2.8 R LM WR II. This lens is quite small for an f/2.8 zoom, but despite that is built for the high-resolution 40MP cameras in Fujifilm’s lineup. That earned this lens a spot on the best Fujifilm lenses.

Stick around – we’ll be breaking down the most popular lenses of the year by mount later this week.

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What are the best camera lenses to buy? Or, take a look the best mirrorless cameras.

I shoot with a camera on each hip – because as a photographer who favors prime lenses, I wanted a bright aperture without sacrificing versatility. But while photographers have long been faced with the choice of a bright aperture or a versatile zoom, a growing number of lenses find a happy medium. Zooms with apertures that go beyond the typical pro f/2.8 standard are becoming more common – and it may be one of the most notable tech advancements for photographers.

Putting an aperture wider than f/2.8 on a zoom has long been a challenge because wider apertures are heavy. Zoom optics are heavy too, and mixing both in the same lens has long been difficult due to the weight, among other challenges.

But as mirrorless tech has advanced, lens technology has advanced with it. Beyond the smaller size of mirrorless bodies, the more modern interchangeable lens format tends to have wider diameters for lenses and less distance between the sensor and the lens – and those features make the dream of zooms with prime-level apertures much less far-fetched.

Photographers now have an increasing number of options for zooms that are brighter than the longtime standard f/2.8. For full-frame lenses, for example, there’s the Sigma 28-45mm f/1.8 DG DN Art, the Canon RF 28-70mm f/2 L USM, the Sony FE 28-70mm f/2 GM, and the Sony FE 50-150mm f/2 G Master.

These brighter than f/2.8 zooms tend to have slightly less versatile zoom ranges. That's not always the case. The Tamron 35-150mm f/2-2.8 Di III VXD can't use f/2 through the whole zoom range, but uses a versatile all-in-one zoom range.

Full-frame is not the only format seeing brighter zoom lenses. Crop-sensor cameras have a growing number of zooms brighter than f/2.8 as well, including the Sigma 17-40mm f/1.8 DC Art and, for Micro Four Thirds, the Panasonic Leica 10-25mm f/1.7 ASPH.

Zoom lenses haven’t reached the f/1.2 (and even f/0.98) of bright pro primes, but the growing number of brighter zoom lenses brings a fantastic mix of zoom versatility with more light-gathering capabilities.

There are downsides to f/1.8 and f/2 zooms. They tend to be on the heavy side and are often expensive. The zoom range is often shorter.

But photographers waffling between the bright aperture of a prime and the versatility of a zoom now have an increasing number of happy medium choices – and the ultra-bright zoom is one of my favorite tech trends in photography right now.

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Browse the best Sony lenses, the best Canon lenses, the best Nikon lenses, the best Fujifilm lenses, or the best travel lenses.

A very interesting Sigma patent has been made public, which seemingly refers to the existing Sigma 200mm f/2 DG OS Sports and a yet-to-be announced 300mm f/2.8.

The news comes from Japanese photography news outlet Asobinet. This patent was filed back in April 2024, and it’s very important to note that imaging companies regularly file patents – and while some do come to pass, others do not.

Still, a 300mm f/2.8 lens would certainly make sense given that Sigma has turned out a pair of exceedingly well-received telephoto releases of late. I am, of course, talking about the aforementioned 200mm f/2 and the much-talked-about Sigma 300-600mm f/4 DG OS Sports.

Both lenses received a perfect score on test, and are helping to redefine optical speed and value.

We’ve seen 300mm f/2.8 primes (and zooms) before, but they’ve typically been very expensive, so my hope – should Sigma ever release such a lens – would be that it’d be smaller and cheaper, much like how the 300-600mm f/4 redefined 600mm f/4 pricings.

And yes, while $6,599 / £5,899 / AU$12,995 is still a huge sum of money for a lens, it’s more than half the price of a top-tier 600mm f/4 – and that’s for a less-versatile prime.

In an imaging world where it feels like camera tech has, in many places, reached a bit of a saturation point, I find myself more and more excited by optical advancements.

Cheap lens manufacturers such as Viltrox are busy raising the bar at the lower end of the market, and I think Sigma’s been doing much the same at the more premium end. Whether or not a 300mm f/2.8 is ever released by Sigma, I'm certainly looking forward to what the camera and optics giant releases next.

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Check out the best L-mount lenses. Did you know that Sigma is struggling to meet consumer appetites for its amazing 300-600mm f/4 zoom? And finally, check out the latest camera news.

DCW Editor-in-Chief James Artaius and I recently got hands-on with the Sigma 300–600mm f/4 DG OS Sports on Bokeh Face: The Digital Camera World Podcast, where we delivered plenty of positive thoughts on the incredible value super-telephoto zoom. And now, Sigma France managing director, Foucauld Prové, has discussed the difficulties the Japan-based manufacturer has faced in meeting demand during an interview with French outlet Phototrend.

Prové told Phototrend (Google Gemini was used to translate the source), regarding the Sigma 300–600mm f/4 DG OS Sports: “For 6 months, we have been facing a worldwide shortage”. He continued to explain why simply increasing production isn't currently an option: “The factory's production capacity is not expandable at will, with only about a hundred units produced each month to be shared globally.” And it’s a similar story with the Sigma BF. Many customers are still waiting for the camera dubbed ‘Beautiful Foolishness’ to arrive at their door.

But this situation isn’t exactly unique. Imaging titan Fujifilm has famously struggled to meet demand for the Fujifilm X100VI, which is still hard to come by, despite the fact that it’s fast approaching its second birthday. And in a world, post-COVID, blighted by market uncertainty due to economic reticence and Trump tariffs, it seems clear to me that failing to meet demand is much more preferable than having hundreds (or thousands) of units gathering dust in a warehouse.

Market instability means that buying habits are far from a certainty, and let’s not forget, the Sigma BF in particular, was a bit of a curveball. After all, Sigma’s lenses have always appealed to the masses, but the company’s cameras have traditionally courted more of a cult following. The Sigma BF, then, has flipped the script. My mind, at least, doesn't go straight to lenses when I think of the brand. And on a more personal note, I'd go so far as to call the BF my favorite camera release of the year. But this left-field hit that’s captured the industry’s imagination was never a certainty.

It also seems clear to me that both the Sigma 300–600mm f/4 DG OS Sports and Sigma BF are premium products that fit perfectly with the company’s rebrand and its more premium narrative. It feels like there’s an exclusivity around these products, and the fact that they’re on backorder makes them all the more desirable. Still, I’m sure if Sigma could make more, it would, but for now, at least, it doesn’t seem like that’s an option. Then again, good things come to those who wait.

To hear James and I talk about the Sigma 300–600mm f/4 DG OS Sports in more detail, make sure you watch the Bokeh Face podcast (above) or listen to it on Apple Podcasts, Spotify, and Acast.

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Check out the best L-mount lenses. Plus, I've been using the new Sigma BF – and it's truly the "concept car" of cameras. And if you want to check out a full-frame camera with a similar form factor to the Sigma BF, take a look at the Panasonic Lumix S9.

For tight head shots and head-and-shoulders portraiture, there are lenses that are all too ready to stand up and be counted. Best of breed 135mm primes include the Canon RF 135mm f/1.8L IS USM, Nikon Z 135mm f/1.8 S, and Sony FE 135mm f/1.8 G Master. I gave 5-star ratings and Gold awards to the latter two of these, and only knocked half a star off the rating for the sophisticated yet comparatively cut-price Viltrox AF 135mm f/1.8 LAB. All of these lenses are absolutely fabulous, but they all have two things in common – a focal length of 135mm and an aperture rating of f/1.8. There’s nothing wrong with that, but could things be even better?

Sigma has a long history of pushing the boat out and creating some really off-the-wall lenses, and the company shows no signs of slowing down. Recent world-firsts include the Sigma 300-600mm f/4 DG OS Sports and the Sigma 200mm f/2 DG OS Sports (at least for mirrorless cameras), to name but a couple.

The offering that I’m reviewing here takes the typical 135mm focal length but gives it a speed boost of two-thirds of an f/stop. The tighter depth of field gives the potential of even better bokeh, if the optical design and engineering are up to the task, along with faster shutter speeds for freezing motion under dull lighting conditions, without bumping up your camera’s sensitivity setting. Naturally, you can use this lens for action, sports, wildlife, landscape and still life photography, as well as a variety of other genres and even for astrophotography. However, portraiture is its best fit and the lens goes all out to be one of the best portrait lenses and one of the best L-mount lenses on the market.

Sigma 135mm f/1.4 DG Art: Specifications

Sigma 135mm f/1.4 DG Art: Price

What price bokeh perfection? Slower 135mm f/1.8 lenses can cost a pretty penny and for a ready reckoning, the Canon RF 135mm f/1.8L IS USM lists at $2,399 / £2,399 / AU$3,969, the Nikon Z 135mm f/1.8 S costs $2,597 / £2,649 / AU$4,299, and the Sony FE 135mm f/1.8 G Master sells for $2,248 / £1,599 / AU$2,799. A bit of a curved ball and typical of its breed, the Viltrox AF 135mm f/1.8 LAB is extremely competitively priced at just $899 / £829 / AU$1,539. The Viltrox aside, the Sigma beats the Canon, Nikon and Sony f/1.8 lenses on price most of the way around the world, despite being two-thirds of an f/stop faster and choc-full of fancy features. Ultimately, it looks potentially very good value at $1,899 / £1,649 / AU$3,999.

Sigma 135mm f/1.4 DG Art: Design & Handling

Something of a speed demon, this Sigma lens sets out to prove that faster is better. It’s not just a matter of featuring a faster aperture rating that transmits more light to the camera, gives an even tighter depth of field and enables quicker shutter speeds under dull lighting. It’s more about designing and engineering a lens that does all of these things in a way that actually improves image quality and all-round performance. That’s easier said than done.

If you want a telephoto lens that can pull in enough light to enable an f/1.4 aperture rating, you’re going to need big glass. Wide diameters are the order of the day and the design of this lens draws on no less than four large, top-grade FLD (‘Fluorite’ Low Dispersion) elements to boost sharpness and clarity while minimizing both axial and lateral chromatic aberrations. Indeed, the whole design is centered on blending standout sharpness with the most beautiful bokeh.

Naturally, there’s more to getting the ultimate in image quality than just great optical performance. The potentially razor-thin depth of field delivered by the combination a 135mm focal length and f/1.4 aperture puts huge demands on focusing accuracy. And you really don’t want autofocus to take ages taking aim, or you stand to miss fleeting expressions and other critical shots where timing is of the essence. Going for speed, accuracy and consistency, the Sigma features a dual HLA (High-response Linear Actuator) autofocus system, which move two groups of elements. Another upside of two separate groups being moved independently is that Sigma claims it enables consistently high resolution across the entire focus range.

If you want to try your hand at manual focusing, there’s a control ring that’s electronically coupled to the focusing motors, and enables very fine and precise adjustments. You also get an AF/MF focus mode switch, to save the time and trouble of resorting to camera menus. Of more use (at least to my mind) is a pair of AF-Lock buttons that fall naturally under the thumb in both landscape and portrait orientation shooting modes. You can generally assign the buttons to alternative functions, depending on the camera body’s customization options.

It seems that a high-end lens isn’t complete these days unless it has an aperture control ring. The Sigma obliges with a dedicated ring that’s numbered in full f/stops and has line markers for intermediate one-third f/stop increments.

As I’d also expect for the mirrorless age, the aperture ring is tailored to suit both stills and video shooting, thanks to a click-de-click switch on the lens barrel. This makes precise and easily repeatable click steps available when shooting stills, as well as smooth and silent aperture transitions when shooting video.

One of my bugbears with aperture rings on many modern lenses is that it’s all too easy to nudge them from their ‘A’ (Auto) position accidentally. The upshot is that if you’re controlling the aperture from your camera body, for example in Program or Shutter priority shooting mode, or just for the sake of it, it’s all too easy to nudge the aperture ring and find yourself shooting at really narrow apertures by mistake. The Sigma solves the problem by featuring an aperture lock switch that locks the ring at its ‘A’ position.

Weighing in at 1,430g / 3.15lb, the lens is sufficiently lightweight for prolonged periods of handheld shooting, but too heavy for tripod mounting via the camera body’s threaded socket. As such, it comes complete with a tripod mounting ring which enables a much better balance, especially in portrait orientation mode, as well as making it relatively quick and easy to swap between landscape and portrait orientations.

As is usually the case nowadays, the foot of the tripod collar has an Arca-Swiss profile. I like that you can therefore attach it to a like-minded tripod head without needing to use an additional quick-release plate. And there’s still a regular mounting socket in case your tripod head doesn’t have Arca-Swiss compatibility.

The lens comes with a large, circular profile hood. Like the lens itself, it’s a quality item that has a ridged matte black inner surface to cut down unwanted reflections, and a lock/release button for security. Joining the battle against ghosting and flare, the lens features Sigma’s trusty Super Multi-Layer coatings. The front element also has a fluorine coating to repel moisture and grease.

Sigma 135mm f/1.4 DG Art: Performance

Autofocus lived up to its billing in my tests, being very agile and delivering excellent accuracy and consistency in equal measure. I’m very grateful for that, as the super-tight depth of field of which this lens is capable makes manual focusing tricky, to say the least. Fast lenses, especially of the telephoto variety, often suffer from axial/longitudinal chromatic aberration (LoCA), also known as bokeh fringing. This gives rise to color fringing at wide apertures around high-contrast transitions just in front of or behind the plane of focus, anywhere and everywhere across the image frame. The Sigma is designed to make this aberration as negligible as possible and I’d say the hard work has paid off, based on the results of my tests.

The following gallery of images comprises shots of a phrenology head taken against a backdrop of garden plants and flowers. I took the sequence at all full f/stop increments from wide-open at f/1.4 down to an aperture of f/11. It’ll give you and idea of the qualities of sharpness and bokeh, as well as the resistance to color fringing.

Sharpness, clarity, contrast and color rendition are all superb, even when shooting wide-open at f/1.4. That’s all well and good but the headline attraction is the quality of bokeh. Sure enough, bokeh looks wonderfully smooth and dreamy, and there’s a really natural looking roll-off between focused and defocused areas. It’s a testament to Sigma’s prowess and the knowledge that the company has gained through its history of making fast primes that the quality of bokeh is so gorgeous.

Bokeh disks produced by defocused lights and bright spots look smooth and soft-edged, and remain that way with circular profiles when stopping down, thanks to a particularly well-rounded 13-blade aperture diaphragm.

Naturally, you don’t always want to shoot at really wide apertures. You might prefer to stop down and increase your depth of field to ensure sharpness throughout a greater area of three-dimensional subjects. The picture of a restored railway wagon below demonstrates excellent sharpness right out to the edges and corners of the frame.

Sigma 135mm f/1.4 DG Art: Sample Images

The following gallery of example images was taken in and around Bristol Docks, in the south west of England. An upside of the dull lighting on an overcast day was that no neutral density filter was required for shooting at the widest aperture of f/1.4. The gallery also demonstrates the excellent performance of the lens in terms of sharpness, contrast, clarity, color rendition and bokeh, making the best of challenging lighting conditions.

Sigma 135mm f/1.4 DG 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 wide-open at f/1.4, the Sigma is sharper at the extreme edges and corners of the image frame than many prime lenses are at the center. All in all, sharpness is both superb and impressively uniform across the whole image frame, especially when stopping down to apertures between f/2 and f/8.

Fringing:

Both lateral and axial/longitudinal chromatic aberrations are entirely minimal. Even uncorrected, lateral chromatic aberration is negligible out at the extreme edges and corners of the frame, while LoCA is of a similarly low order across the whole frame at the widest aperture of f/1.4.

Distortion: -0.11

This Sigma is virtually a zero-distortion lens. With no in-camera correction applied, you’ll be hard-pressed to see the extremely small amount of barrel distortion during real-world shooting, that’s only really revealed as a small mathematical number in lab tests.

Sigma 135mm f/1.4 DG Art: Verdict

It’s a kind of magic. I’ve been entranced by the pictorial quality of some 135mm f/1.8 lenses in the past, from a variety of manufacturers. This f/1.4 prime takes everything to a higher plane. Scintillating sharpness and clarity combines with lavishly soft bokeh to give a truly artistic look to images. And the Sigma’s outstanding image quality is reinforced in practical terms by rapid and unerringly accurate autofocus, delivering an excellent hit rate even in challenging conditions. In my opinion, it’s simply one of the best lenses of all time, and an absolute dream for portraiture and still life photography.

Alternatives

Sigma has been churning out a number of iconic, unusual lens designs from a 300-600mm f/4 to a 135mm f/1.4 to a 17-40mm f/1.8 zoom. But behind the scenes, Sigma’s engineers are working on another unusual project – a sensor with separate color layers called a Foveon.

When Sigma first entered the digital camera market in 2002, it did so with an unusual sensor called the Foveon, a three-layer sensor that separated each color into its own layer. This design is said to retain better color accuracy and improve dynamic range over traditional CMOS sensors with a Bayer color array.

Sigma acquired the California-based Foveon in 2008, then announced the development of a full-frame Foveon sensor a decade later.

But despite the company sharing its plans for a full-frame Foveon back in 2018, such a sensor hasn’t materialized. The company’s latest camera, the Sigma Bf, uses a BSI CMOS sensor. A recent interview with Sigma CEO Kazuto Yamaki by photographer and YouTuber Matt Granger is shedding light on why, after seven years, no full-frame Foveon has materialized.

“The project has been a bit delayed as previously scheduled because every time we learn the wafer and get the prototype sensor, we found some technical issues because we have never designed a sensor before by ourselves,” Yamaki said.

The CEO’s discussion reveals some interesting insight because, when Sigma acquired Foveon, it remained a separate subsidiary. Sigma closed Foveon’s separate Santa Clara offices in 2020, however, and moved the research and development to its headquarters in Japan, starting from scratch on the sensor development.

Yamaki told Granger that Sigma had the Foveon team working on the sensor, but now Sigma’s engineering team in Japan is working on the sensor development. That could be a key part of the delay in getting the previously promised sensor to market, because while Sigma has used Foveon sensors before, Sigma engineers have never designed one by themselves.

Yamaki says that Sigma is still working in the technology development stage, working on the pixel architecture, and has not yet moved on to designing the actual sensor itself.

While the promise of a full-frame Foveon has been delayed by several years, the interview indicates, first, that development is still continuing, and, second, that as technical hurdles are solved, the technology inches closer to potentially being part of Sigma’s cameras once again.

“I think the technical problems have been narrowing down, and if we become confident that the technology is ready for production, we will start the design of the sensor and then start the production,” Yamaki said.

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Alejandro Cegarra's powerful black-and-white series, The Two Walls, recently won the Leica Oskar Barnack Award 2025, earning the Venezuelan photojournalist €40,000 and €10,000 worth of Leica equipment.

Recognized as one of the industry's most prestigious competitions, LOBA honors powerful visual storytelling that engages with humanity and the environment in profound, socially relevant ways. If you'd like to learn more about the story behind the images, read our full LOBA 2025 coverage here.

But what gear did Cegarra use to master the fast-changing environments along the U.S.-Mexico border photographically?

Cegarra did not use the newest and flashiest gear – He used tools that deliver under pressure, in harsh light, and across challenging terrains. Cegarra's kit blended classic DSLR reliability with mirrorless versatility.

His setup: a Canon 5D Mark IV with a fast prime, the Canon EF 35mm f/1.4L II USM, and a Sony A7 III with two versatile zoom lenses: the Sony FE 70-200mm f/4 G OSS, and Sigma 24-70mm f/2.8 DG DN Art.

Canon EOS 5D Mark IV – the DSLR workhorse

The Canon EOS 5D Mark IV is a rugged full-frame DSLR that continues to hold its ground among pros despite launching in 2016. Known for its 30.4MP sensor, superb color accuracy, and impressive dynamic range, the 5D Mark IV is built for high-pressure environments – and proved the perfect tool for capturing emotionally charged moments in difficult terrain.

Paired with the Canon EF 35mm f/1.4L II USM, this setup was tailor-made for storytelling. The fast prime lens is razor-sharp, fast in low light, and designed for up-close intimacy – making it a favorite among photogrounalists worldwide.

Sony A7 III – mirrorless versatility on the move

Cegarra also packed the Sony A7 III, a full-frame mirrorless camera praised for its compact body, advanced autofocus, and in-body stabilization – ideal for shooting handheld in unpredictable conditions. The A7 III's 24MP BSI sensor delivers rich details and excellent dynamic range, while its quiet shutter and fast autofocus make it well-suited to fast-paced, high-tension moments without drawing attention.

He paired it with the Sony FE 70-200mm f/4 G OSS – offering discreet telephoto reach, perfect for shooting from a respectful distance – and the Sigma 24-70mm f/2.8 DG DN Art – a versatile pro zoom for switching between wide angles and mid-range storytelling.

This mirrorless combo gave Cegarra both mobility and flexibility, enabling him to switch perspectives without compromising image quality – crucial in a story where access, speed, and subtlety are everything.

Where to see the winning series

Alejandro Cegarra's The Two Walls will be on display as part of the Leica Oskar Barnack Award exhibition, traveling to several Leica galleries worldwide in the coming months. To further explore Cegarra's series, visit the LOBA website.

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As dominant as mirrorless camera systems are these days, DSLRs are far from dead – and most of us can relate to why. That familiar mirror slap, the weight in hand, the intuitive controls – there's something undeniably tactile and satisfying about shooting with a DSLR that mirrorless, even with all its compactness and tech-forward features, doesn't quite replicate.

Despite industry momentum shifting toward mirrorless, DSLRs still shipped close to 1 million units in 2024, led almost entirely by Canon. And at the 2025 Salon de la Photo trade show last week, two major lens manufacturers weighed in on where DSLR lens demand really stands today – and their opinions and strategies couldn't be more different.

In a separate interview with Phototrend, Foucauld Prové, Managing Director at Sigma France, and Jean-Christophe Thiry, president of Tamron France, offered opposing takes on the future of DSLR lenses – and in doing so, revealed a broader strategic divide within the lens manufacturing world.

DSLR lives on vs all-in on mirrorless

Sigma confirms: DSLR lens demand remains strong. Its classic 150-600mm f/5-6.3 DG OS HSM Contemporary, launched over a decade ago, reportedly sold more units in the first half of 2025 than the same period in 2024. What's more, the only thing slowing production isn't a lack of interest – it's component shortages.

Beyond that, Sigma points out that many photographers are still using their DSLR lenses – even on mirrorless bodies – with lens adapters. This dual use has extended the lifespan of popular DSLR glass. Sigma sees real value in catering to the loyal base of DSLR users, as well as those bridging the gap between systems.

Tamron, by contrast, has taken the opposite route: it stopped producing DSLR lenses altogether. While some residual stock – like the SP 24-70mm f/2.8 G2 – remains available, Tamron has shifted its entire focus to mirrorless systems, particularly Sony E-mount, Nikon Z, and the increasingly important Canon RF-S.

Tamron's message: demand for DSLR lenses has dropped too low to continue production. Instead, it is investing in the mirrorless market, which it sees as more innovative, flexible, and catering to a new generation of photographers.

In short, Sigma believes in the continued relevance of DSLR lenses, thanks to consistent demand and adaptable use cases. Tamron sees mirrorless as the only path forward and has exited the DSLR space entirely.

What does this mean for the industry – and us photographers?

The divergence between Sigma and Tamron reflects a broader tension in the photo industry: a significant portion of photographers still love and rely on DSLR systems, but manufacturers are increasingly pulling away from that support.

For DSLR users, Sigma's comments may be reassuring: some third-party support still exists. But Tamron's exit is a reality check – the era of regular DSLR lens development is clearly winding down. Meanwhile, brands like Pentax continue to treat DSLRs as an artistic niche, focusing on unique analog-style offerings.

The market may be moving on – but not everyone's following. And maybe that's the point.

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A lot of photographers, myself among them, spend a lot of time and money chasing bokeh – and the new Sigma 135mm f/1.4 DG Art lens is, according to one of the internet's biggest bokeh fans, the new king of the hill.

In fact, the bokeh is so good that it makes this lens single-handedly worth choosing Sony or Panasonic cameras over Canon or Nikon bodies.

"This is the lens you want, if you want the ultimate bokeh," says photographer and YouTuber, Tony Northrup. "It's literally so good that it's a reason to invest in the L or the E mount, compared to the Nikon and Canon mounts".

There are obviously a lot of caveats in those statements, but Northrup is specifically talking about portraiture. And while there's no doubt that this is one of the very best lenses for portraits, he does point out that it's not going to be a good choice for sports photographers (given the way Sony throttles third-party lenses to a maximum of 15fps).

Still, for people pictures, there's never been a 135mm autofocus lens with this wide an aperture.

"[It's] The fastest 135mm AF lens that's ever been made – literally nothing can match this. And if you think you could get shots in focus with manual focus, wide open on a lens like this, you really can't. So this is the lens you want if you want the ultimate bokeh."

How incomparable is this lens? Its combination of speed and focal length delivers completely unique bokeh (the character of the out-of-focus areas of an image) can't be achieved even with a medium format camera.

"It creates results that I can't get with any other lens – I can't get this at all with my big expensive Hasselblad."

Northrup previously sought out 200mm lenses for portraiture, for the extra magnification (creating results that are often called compression) and background blur. And he admits that, previously, he might have been wowed by the recently announced Sigma 200mm f/2.

However, he believes that the bokeh and blur on the 135mm f/1.4 lens is actually identical to that of the 200mm f/2.

"Everyone's been calling the 200mm f/2 from Sigma the 'bokeh king', that no other lens can create bokeh like that. This lens has exactly the same bokeh, if you were to crop it to 200mm. But at 135mm it's relatively wider angle. You get the option of working closer and then cropping later if you want that extra perspective."

He also compared the Sigma 135mm f/1.4 to the fantastic Sony 135mm f/1.8 G Master, and found the results at f/1.8 to be virtually identical – though obviously Sigma's lens goes above and beyond with its faster aperture.

You should watch the full video (embedded above) for Northrup's full thoughts, which include AF performance (including a 25% hit rate thanks to the shallow depth of field) and handling, but he concludes thusly:

"I think I'm going to get one for myself. It's literally so good that it's a good reason to invest in either the L or the E mount, compared to the Nikon and Canon mounts which don't currently get this lens, or nearly as many third-party lenses.

"Sigma in particular is making really game-changing lenses to allow photographers and videographers to create looks that they could not with any other lens. And as we all are fighting AI and the smartphone takeover, those distinguishing factors become more and more important."

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The f/1.8 aperture is a light-loving, bokeh-building favorite among many photographers, but it’s a specification that’s typically only available by sacrificing zoom and picking up a prime lens. That’s not the case with the Sigma 28-45mm f/1.8 DG DN Art, however, which is the first f/1.8 zoom to come to full-frame mirrorless cameras.

The Sigma 28-45mm f/1.8 DG DN Art arrived last year to well-deserved fanfare, earning a five-star review for the mix of the wide aperture, versatile zoom, and excellent image quality.

At nearly $1,500 at list price, however, the flexibility of zoom with a bright f/1.8 aperture comes at a price. Sigma’s beloved ultra-bright zoom lens, however, has just dropped to its lowest price ever. With $340 off, the lens has dropped to $1,149, a deal that’s available at several retailers and doesn’t require a Prime subscription.

According to Amazon price tracker camelcamelcamel.com, that puts the lens back down to its lowest ever price, despite Sigma’s recent tariff price hike. Sadly, the deal is only for the Sony E-Mount version of the lens, with the L-Mount variant remaining at list price.

The Sigma 28-45mm f/1.8 doesn’t go as wide or zoom in as close as the more traditional 24-70mm f/2.8 workhorse zoom. But what the lens lacks in flexibility, it makes up for in the aperture. The f/1.8 zoom will let in two-thirds of a stop more light, which can make a noticeable difference in low light, such as shooting indoors or at night.

That brighter aperture will also help create softer backgrounds. Bokeh is harder to create on a wide-angle lens than with a telephoto, but that f/1.8 helps make the subject pop from a soft background.

Prime lenses are notorious for being sharper than zoom lenses, but in DCW’s tests, the sharpness on the Sigma 28-45mm f/1.8 rivaled that of a prime lens, even keeping subjects sharp at the edges.

The biggest downside to the 28-45mm – besides not having quite the same flexibility as a 24-70mm – is that the lens is about as heavy as a standard 24-70mm f/2.8. Mixing such a bright aperture with zoom creates a larger lens, and while this Sigma isn’t unwieldy, there’s a noticeable weight savings when using a prime instead.

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When Sigma launched three new lenses earlier this month, the optical giant did so with two world-first surprises. Now, Sigma Japan is apologizing for a delay caused by the unexpected number of pre-orders on the new Sigma 135mm f/1.4 and 20-200mm f/3.5-6.3.

Sigma Japan issued an apology to fans, saying that it had received more orders than anticipated for the Sigma 135mm f/1.4 DG Art and 20-200mm f/3.5-6.3 DG Contemporary. The notice indicates that some customers may experience delays.

The notice, however, was posted on Sigma Japan and not on the brand’s English global website; at present the shortage applies only to Japan and not to other markets. US retailer B&H, for example, still lists September 25 as the estimated ship date on both the 20-200mm and 135mm, which is the date originally announced before the shortage.

The shortage announcement also doesn’t apply to every mount – the delay is for the L-Mount variant of the 135mm and the E-Mount variant for the 20-200mm.

For both of those lenses, Sigma claimed “world first” status. The company said that the Sigma 20-200mm is the world’s first 20-200mm for full frame cameras, while the company said the 135mm f/1.4 is the only autofocus lens to combine that focal length with an f/1.4 aperture.

The Sigma 20-200mm may be the only full-frame lens with that exact focal length range, but it joins the likes of the Sigma 28-105mm f/2.8 DN Art, Tamron 28-200mm f/2.8-5.6 Di III RXD, Nikon Z 28-400mm f/4-8 VR, Canon RF 24-240mm f/4-6.3 IS USM and others on a growing list of all-in-one superzooms for full-frame cameras.

These optics aim to pack wide and telephoto focal lengths into one lens for photographers who want to carry fewer lenses.

Sigma’s new 135mm Art, meanwhile, takes the mid-telephoto prime popular for portraits and eeks out a bit wider aperture than the more common f/1.8, while still keeping autofocus intact.

If the lens’ popularity in Japan is any indication, a number of photographers are eager to try out the versatility of that all-in-one zoom and the bright aperture on the 135mm.

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Sigma has announced its first-ever autofocus cine lens. The new AF Cine Line 28-45mm T2 FF is set to launch on November 6 and features an "AF system with excellent tracking capability and near-silent operation".

The lens is said to be based on the optics of Sigma's premium Art-line lenses, likely the excellent Sigma 28-45mm f/1.8 DG DN Art. Converting this to a cine lens has resulted in the barrel sporting three geared rings for zoom and aperture adjustment, while the focus ring boasts 200 degrees of rotation. Geared rings allow the lens to be used in a rig, or with a follow focus system.

The lens gears use an industry-standard 0.8M tooth pitch and feature a damper that eliminates metallic sounds when you reach the end of the rotational travel. The aperture ring is de-clicked for seamless iris control and the diaphragm is comprised of 11 blades, which should result in smoother defocussed areas.

The lens incorporates a linear autofocus motor with an HLA (High-response Linear Actuator), which is said to enable the lens to capture "intense movements in action scenes, rapid focus shifts in gimbal or handheld shooting, and unpredictable moments in documentaries without missing a split second."

Up front is an 82mm filter thread, while the 95mm external barrel diameter provides easy compatibility with matte boxes. On the base is a removable support foot with a 1/4"-20 thread to allow fitment of optional lens mounts.

The AF Cine Line 28-45mm T2 FF will be available in L-mount and Sony E-mount options. The Sony-fit version measures 153.3mm long and weighs in at 1.2kg. Both versions can be pre-ordered now from B&H, priced at $3,399, or from Wex Photo Video for £2,599.

There are gear drops... and there are moments like this. Today, Sigma announced not one, not two, but three new full-frame mirrorless lenses. Two of which are the first of their kind anywhere in the world, all built for L-mount and Sony E-mount systems.

First up is the Sigma 35mm f/1.2 DG II | Art – a refined take on the beloved Sigma 35mm F1.2 DG DN | Art original. Sigma has re-engineered it for better optical and autofocus performance, lighter weight, and improved balance, especially on compact full-frame bodies, and it will be available for $1,549 / £1,299.

Then there's the new Sigma 135mm f/1.4 DG | Art – marking a global first. It's the only AF lens of its kind at this focal length and aperture, and it's clearly built with portrait photographers in mind. Priced at $1,899 / £1,649, you can expect beautiful falloff, crisp detail, and bokeh that melts away distractions.

And finally – maybe the biggest surprise of the morning – the world's first high-power 20-200mm zoom lens for full-frame mirrorless. The Sigma 20-200mm f/3.5-6.3 DG | Contemporary is an absolute powerhouse: versatile, robust, and with a price of $999 / £799, it is shockingly affordable. For cross-genre creatives, this could easily become your go-to glass.

If you're in London, you can get hands-on experience with all three lenses at Sigma's pop-up store, which will be open from September 13 to 22 . The lenses go on sale from September 25.

Specs and features

Sigma 35mm F1.2 DG II | Art

Specifications (Figures are for L-Mount)

Lens construction: 17 elements in 13 groups (1 SLD, 4 aspherical elements)
Angle of View: 63.4°
Number of diaphragm blades: 11 (rounded diaphragm)
Min. aperture: F16
Min. focusing distance: 28cm / 11.1in.
Max. magnification ratio: 1:5.3
Filter size: φ72mm
Max. diameter x length: φ81.0mm x 111.4mm / φ3.2in. x 4.4in.
Weight: 755g / 26.6oz.

Features
HLA (High-response Linear Actuator), Water- and oil-repellent coating, Aperture ring, Aperture ring click switch, Aperture ring lock switch, AFL button (1 location)*1, Focus Mode switch, Dust- and splash-resistant structure, Mount Conversion Service available, Support for switching between linear and non-linear focus ring settings (for L-Mount only*2), Compatible with Sigma USB Dock UD-11 (sold separately / for L-Mount only)

*1 Assignment of functions is limited
*2 Only cameras that are compatible with the system are allowed to use the system

Sigma 135mm F1.4 DG | Art

Specifications (Figures are for L-Mount)

Lens construction: 17 elements in 13 groups (4 FLD, 2 aspherical elements)
Angle of view: 18.2°
Number of diaphragm blades: 13 (rounded diaphragm)
Min. aperture: F16
Min. focusing distance: 110cm / 43.4in.
Max. magnification ratio: 1:6.9
Filter size: φ105mm
Max. diameter x length: φ111.7mm x 135.5mm / φ4.4in. x 5.3in.
Weight: 1,430g / 50.4oz.

Features
HLA (High-response Linear Actuator), Water- and oil-repellent coating, Aperture ring , Aperture ring click switch, Aperture ring lock switch, AFL button (2 locations) *1, Focus mode switch, Dust- and splash-resistant structure, Mount Conversion Service available , Support for switching between linear and non-linear focus ring settings (for L-Mount only*2), Compatible with USB Dock UD-11 (sold separately / for L-Mount only)

*1 Assignment of functions is limited to supported cameras and assignable functions vary depending on the camera
*2 Only on supported cameras

Sigma 20-200mm F3.5-6.3 DG | Contemporary

Specifications (Figures are for L-Mount)

Lens construction: 18 elements in 14 groups (1 FLD, 3 SLD, 4 aspherical elements)
Angle of view: 94.5-12.3°
Number of diaphragm blades: 9 (rounded diaphragm)
Min. aperture: F22-40
Min. focusing distance: 16.5cm / 6.5in. at f=28mm; 25cm(W) - 65cm(T) / 9.9in.(W) - 25.6in.(T)
Max. magnification ratio: 1:2 at f=28-85mm
Filter size: φ72mm
Max. diameter x Length: φ77.2mm x 115.5mm / φ3.0in. x 4.5in.
Weight: 550g / 19.4oz.

Features
HLA (High-response Linear Actuator), Water- and oil-repellent coating, Focus mode switch, Zoom lock switch, Dust- and splash-resistant structure, Mount Conversion Service available, Support for switching between linear and non-linear focus ring settings (for L-Mount only*1), Compatible with Sigma USB Dock UD-11 (sold separately / for L-Mount only), Every single lens undergoes Sigma’s proprietary MTF measuring system

*1 Only on supported cameras

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The Sigma BF is finally here, now sitting proudly in stock after months of anticipation and whispers. On first glance, it’s hard not to call it one of the most beautiful cameras ever made. The craftsmanship is exquisite, the lines refined, the materials premium.

It looks like the kind of camera that belongs in both a glass display case and a professional’s kit bag. But as I stood holding it at The Photography & Video Show this year, I found myself asking the one question that lingers longer than any spec sheet: Who is actually going to buy this?

There’s no denying that Sigma has created a piece of engineering art. The build is every bit as solid as you’d expect from the brand, while the interface feels refreshingly intuitive, even in a market full of menu-heavy machines.

It’s a joy to hold, the kind of camera that makes you want to pick it up and use it even when you’ve nothing to shoot. But beautiful design doesn’t always equate to mass appeal, and I wonder if Sigma has built a camera more for admiration than adoption.

The professional market is already saturated with the likes of Sony, Canon, and Nikon, who dominate with systems backed by extensive lens ecosystems and long-standing reputations. Leica, too, has its premium audience cornered, with buyers who don’t just purchase a camera, but a lifestyle. Where does that leave Sigma’s BF? It’s not cheap, but it also doesn’t have the heritage name that convinces collectors. Nor does it have the mainstream dominance that makes professionals switch.

Perhaps Sigma is aiming at the dreamer - the enthusiast who wants to stand apart from the crowd, who values design purity and isn’t afraid to step off the beaten track. There is a certain appeal to that, of course.

The BF could find a niche as the thinking photographer’s statement piece, a camera that says as much about its owner’s taste as their images. But how many of those buyers exist in a market that’s already shrinking under the weight of smartphone dominance?

It’s easy to be seduced by its beauty and charm, and I was no different when I handled it at the show. It had the aura of something special, something almost too refined for the real world of dust, rain, and long shooting days. And maybe that’s where the challenge lies: the Sigma BF feels aspirational, but not entirely practical. It’s a head-turner, but is it truly the workhorse professionals or enthusiasts need?

Of course, Sigma has always had a reputation for doing things differently, and I admire that. They don’t just follow the pack; they forge their own path. The BF might not outsell a Sony A1 or a Canon R5, but perhaps that was never the intention. Maybe it’s meant to inspire, to push design and ergonomics into a new space, to remind us that cameras can be objects of beauty as well as tools.

Still, as I walked away from the stand, I couldn’t shake the feeling that the Sigma BF is a camera caught between worlds. Too refined to be mainstream, too new to be collectible, and too niche to be truly practical. But maybe that’s the point. Maybe the BF isn’t about who buys it, but about showing what’s possible when a company dares to build a camera as much for the heart as for the hands.

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Just over a week after announcing what we called "perhaps the most exciting lens of the year," Sigma Japan has issued an official apology regarding the availability of its upcoming 200mm f/2 DG OS | Sports lens.

The lens, billed as the world’s first mirrorless 200mm f/2 prime, generated huge buzz when revealed, with portrait and sports photographers alike eager to see what it can do in the field. Its announcement quickly spread across social media, forums, and YouTube channels, with many users already calling it a "dream lens."

But Sigma has now admitted that demand has far exceeded expectations and that initial production cannot keep up with demand.

In its official statement, the company stated, "We have received more orders than we anticipated for the Sigma 200mm F2 DG OS | Sports lens, scheduled for release on Thursday, September 4, 2025, and production is unable to keep up with demand. As a result, some customers may experience delays in receiving their products. We apologize for any inconvenience this may cause to our customers and other parties who have been waiting for the product."

At present, the company has only confirmed delays in Japan, where orders have already surpassed production capacity. However, Sigma has not yet clarified whether this situation will affect global shipments, which are due to begin in September.

Sigma added, "We are currently working hard to ensure production is completed, so please be patient and wait a little longer."

This isn’t the first time a Sigma release has been hampered by production bottlenecks – we say similar apologies with the recent releases of the Sigma BF and Sigma 17-40mm f/1.8.

Popular lenses in the Art and Sports lines have occasionally seen stock shortages during their first months, but the company usually catches up within a quarter. The difference this time is that the 200mm f/2 occupies a unique space in the market, with no equivalent offered by Canon, Nikon, or Sony. That uniqueness appears to have created unexpected demand for this Sony- and L-mount lens.

The lens’s appeal lies in its blend of focal length and aperture, promising extreme subject isolation for portrait photographers, while also offering sports and wildlife shooters the ability to work in challenging light without sacrificing sharpness.

Many early commentators have suggested it could become a modern classic, sitting alongside iconic fast DSLR primes like the 200mm f/2 lenses once offered by Canon and Nikon.

For now, the supply issues appear localized, but photographers outside Japan are watching closely for updates. With pre-orders already stacking up worldwide, any hint of global delays could leave customers waiting months. As ever, if you really want the lens, our advice would be to get yourself on a pre-order list – rather than simply waiting for it to be in stock somewhere.

Sigma ended its statement by thanking customers for their understanding: "We appreciate your continued patronage of our company and our products."

• Why photographers like me obsess over the 200mm f/2

There are few focal lengths in photography that carry the kind of mystique and magic that the 200mm f/2 does. It is a lens that lives in a world of its own, defying convention and offering something so distinct that once you’ve shot with it, nothing else quite compares.

For many photographers, 200mm is just the far end of a trusty 70-200mm f/2.8 zoom – a workhorse, reliable and versatile. But a fixed 200mm f/2 prime is a different animal entirely, producing images with such separation and character that they almost feel otherworldly. It’s not just another telephoto lens; it’s a statement piece of glass.

Throughout my two decades as a professional sports photographer, the Nikon 200mm f/2 was my constant companion, and frankly, my secret weapon. I leaned on it event after event, because it offered something that no other lens could. That wide-open aperture pulled subjects forward in a way that made subjects leap from the frame while melting the background into buttery smoothness. Even in chaotic arenas, with flashing lights and crowded backdrops, that lens could isolate a subject so cleanly it was as though I was carving them out with a scalpel.

It’s a lens I adored so much that at one point, I owned not one but three Nikon 200mm f/2 lenses. That might sound excessive, but when a piece of gear becomes an extension of how you see the world, it’s hard to imagine being without it. While some photographers dream of fast super-telephotos like the 400mm or 600mm, my obsession was always with the 200mm f/2. It wasn’t just sharp; it had a personality, a look that gave my images a signature style. When you’re covering sports, where so many shots can start to feel similar, that kind of tool can set your work apart.

But sports were only one chapter of the 200mm f/2’s story. Many photographers treat it as a long portrait lens, and in that role, it becomes something truly poetic. Wide open, it delivers a shallow depth of field and a dreamy roll-off that’s often compared to medium format. Faces are rendered with a creamy smoothness, and the transition from in-focus to out-of-focus has a unique quality that no other lens can quite match. Stop it down, however, and the 200mm f/2 transforms into a razor-sharp instrument capable of resolving astonishing detail. It’s a chameleon, offering both artistry and technical perfection depending on how you use it.

This is why the arrival of the new Sigma 200mm f/2 DG OS Sports lens feels so important. For years, Nikon and Canon shooters guarded their 200mm f/2 primes like crown jewels, but now Sigma is democratizing that magic. In their Sports lineup, known for durability and cutting-edge optics, the 200mm f/2 stands as a bold statement that such specialty lenses still have a place in today’s market. It means that more photographers can experience this iconic focal length without having to scour the second-hand market for aging glass.

Even more intriguing is the rumor that Laowa is preparing a 200mm f/2 of its own. Laowa has built its reputation on daring, unusual optics, and if such a lens materializes, it could bring this special focal length to an even broader array of systems, including mirrorless mounts where native 200mm f/2 primes have never existed. The thought of more photographers discovering the lens that defined so much of my career is, quite frankly, thrilling.

In an age where zooms dominate and f/1.2 primes steal the headlines, the 200mm f/2 remains something quietly, defiantly special. It is not a lens for everyone, nor should it be. It is for those who want to create images with a look that cannot be replicated by stacking features or megapixels.

To me, it will always be the lens that gave me my voice as a photographer, and I am glad to see its legacy live on through Sigma, and perhaps even Laowa. Some tools transcend trends, and the 200mm f/2 is one of them.

We are truly living in a golden age of camera lenses, with new options being released on an almost weekly basis. What is rare, however, is lenses that are genuinely exciting – and Sigma has certainly provided that spark with a new 'world first'.

Announced today is the Sigma 200mm f/2 DG OS | Sports, a full-frame mirrorless telephoto prime lens that features the widest aperture for a lens of its kind. At first glance, a 200mm f/2 seems like it will be the perfect portrait lens – and while that's true, a closer look at the extensive specs reveals this lens is highly versatile.

The 200mm f/2 will fall into Sigma's Sports line, a series of lenses that prioritize optical performance while keeping up with the challenging conditions of professional photographers and filmmakers. And the newest member has certainly been injected with this same DNA.

Sigma's lenses always deliver on visual performance. By adopting an optical design of 19 elements in 14 groups, including 2 FLD and 2 SLD glass elements, aberrations are corrected and controlled. This delivers a finely detailed rendering that maintains excellent resolution and contrast from the center to the edges of the frame, even at maximum aperture.

That aperture is what makes this new release a world's first, as up until now, there has been no other mirrorless 200mm lens with as 'bright an f-number', boasting twice the amount of light as the typical telephoto max of f/2.8. When coupled with the 200mm focal length, subject separation becomes easy, compressing the background into a soft, dreamy blur.

This effect will make the 200mm f/2 a portrait lens to be rivaled and, in my early opinion, I can see this gaining as much popularity for portraits as the Nikon Nikkor Z 135mm f/1.8 S Plena and the Canon RF 85mm f/1.2L USM. A big statement, admittedly, but the sample photos and the idea of combining 200mm with f/2 scream "portraits".

As I alluded to earlier, the spec list makes this lens highly versatile. The wide f/2 aperture is ideal for almost any low-light situation and Sigma has highlighted indoor sports photography as an ideal scenario.

"The f/2 brightness allows for a faster shutter speed even in low-light environments, making it a powerful tool for indoor sports photography," says Sigma.

"The large bokeh enhances the movements and expressions of the athletes, creating dynamic images, and with the high-speed AF made possible by the HLA (High-response Linear Actuator) motor and Optical Stabilization (OS), that decisive moment is not missed, even in fast-moving sports scenes".

Where this lens might surprise people is with landscape photography. It's not always the wide-angle lenses that capture great vistas; sometimes, having a longer focal length enables the photographer to focus in on a particular part of the landscape.

From personal experience, I love capturing landscapes at 200mm, and the wide aperture enables shooting well into blue hour and beyond. Just take a look at the sample photos as evidence.

The Optical stabilization makes use of Sigma's OS2 algorithm to provide outstanding compensation of 6.5 stops. There are two OS modes on the lens, changeable via an on-body switch. Mode 1 is suitable for general shooting and Mode 2 uses Sigma’s Intelligent OS, specially designed for panning shots. Mode 2 would be particularly ideal for motorsports photography or tracking wildlife / birds.

Build quality has always set Sigma Sports lenses apart in the market, and this time is no different. The lens body exterior is finished with a coat of thermal insulation paint that suppresses heat absorption from working in direct sunlight; much like Sigma's recent 300-600mm f/4 Sports telephoto zoom lens.

In addition to the robust construction, the mount joints, manual focus ring, zoom ring, custom switches, and exterior joints are all protected from dust and splashes by a dust and splash-resistant structure. The lens is also coated with a water- and oil-repellent coating, so no dust and water adhere to the lens.

Other notable features include a newly designed tripod socket with Arca-Swiss type foot, AFL buttons in three different locations, a focus mode switch, a focus limiter switch, an OS switch (Mode 1/2), a custom mode switch and an aperture ring. This list doesn't even cover half of the specs, and I highly recommend checking them out on the official Sigma website.

Now here comes the sad news, for some: the Sigma 200mm f/2 DG OS | Sports will be released for Sony E and L-Mount only. Priced at $3,299 / £2,999, it is scheduled for release on September 04.

What is interesting to note is that I recently wrote about a leak that showed images of a new Laowa 200mm f/2 lens in production. It will be interesting to see the differences in performance and price, and if Loawa pips Sigma to the 'world's first' title.

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Crop sensor cameras may make it easier to get telephoto reach – but the opposite is also true, and finding an ultra-wide lens can be a challenge for crop sensor cameras. Sigma, however, has just released what it is calling the widest yet lens with a bright f/1.4 aperture. The Sigma f/1.4 DC Contemporary is a new ultra-wide, ultra-bright lens designed for crop sensor cameras.

The Sigma 12mm f/1.4 Contemporary, which is slated for a September arrival for Sony E, Fujifilm X, and Canon RF mounts, is designed for APS-C cameras. That makes the lens the equivalent of roughly an 18mm on a full-frame camera. Sigma says the lens is the first to mix a 12mm focal length with a bright f/1.4 aperture.

The mix between the wide view and wide aperture brings astrophotography to mind – and Sigma says the lens uses optics to help correct sagittal coma flare to help keep fine details like stars sharp. Sigma says the lens is also ideal for night street photography, group selfies, and vlogging.

The lens is constructed in 14 elements in 12 groups, including three double-sided aspherical elements, which work with two SLD glass elements to achieve that ultra-wide while enhancing detail and sharpness. That f/1.4 aperture uses a nine-blade design for rounded bokeh.

The lens uses a stepping motor for autofocus, which the company says offers fast, precise autofocus. For filmmakers, the motor also helps keep focusing noise to a minimum, along with reducing focus breathing.

For the lens’s exterior design, the 12mm uses an aperture ring on the Sony E and Fujifilm X mounts, with a control ring on the Canon RF mount variant. The lens is also sealed against dust and splashes, with a water and oil-repellent coating on the front glass.

Ultra-wide, bright lenses tend to be heavy, but the new Sigma lens comes in at 225g / 7.9 oz. Sigma says the 69.4mm / 2.7-inch length also makes the lens highly packable for travel.

Sales for the Sigma 12mm f/1.4 DC Contemporary are expected to begin on September 4. The lens carries a $629 / £519 list price (about AU$1,080). That’s more than Sigma’s own 16mm f/1.4 Contemporary, but less than competitors like the Fujifilm XF 16mm f/1.4 and the full-frame Sony FE 14mm f/1.8 G.

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The Sigma 300-600mm f/4 DG OS Sports was referred to by the company's CEO, Kazuto Yamaski, as a "dream lens" – and it's easy to see why.

When it comes to telephoto reach, you often need a lens that really goes the distance for sports and wildlife photography. Depending on the mindset of the latter, you’ll either scare it away or get eaten alive if you get too close.

Both outcomes will seriously impact the results. And for freezing the action without sending your camera’s ISO into the stratosphere, as well as gaining a tight depth of field for isolating the main subject within a scene, a fast aperture is to die for.

Traditionally, lenses like the Canon RF 400mm f/2.8L IS USM and RF 600mm f/4 are the pro choice, but these cost around $13,000 and $14,000, respectively. And of course, they’re limited to one focal length.

The Sigma 300-600mm gives you powerful zooming versatility at less than half the price, along with the bonus of a constant f/4 aperture. In a nutshell, it aims to be one of the best telephoto lenses on the market, and more specifically, one of the best telephoto lenses for Sony cameras and among the best L-mount lenses. Bring it on!

Sigma 300-600mm f/4 DG OS Sports: Specifications

Sigma 300-600mm f/4 DG OS Sports: Price

Let’s address the elephant in the room. The Sigma 300-600mm costs $6,599 / £5,899 / AU$12,995. On the face of it, that’s a very big wadge of cash.

Let’s not forget that the likes of the E-mount and L-mount Sigma 150-600mm f/5-6.3 DG DN OS Sports and the Nikon Z 180-600mm f/5.6-6.3 VR only cost a fraction of the price. There’s also the Sigma 500mm f/5.6 DG DN OS Sports in E-mount and L-mount for about half the price of Sigma’s new zoom.

But if you feel the need for speed, a fast telephoto lens will generally cost you the big bucks. As I’ve alluded to already, some ‘prime’ examples cost about as much as a decent family car, which makes the Sigma look a downright bargain.

Sigma 300-600mm f/4 DG OS Sports: Design & Handling

The key design element of this lens is that it combines a long-reaching 300-600mm zoom range with a relatively fast and constant f/4 aperture. As such, it arguably takes the place of two or three prime lenses on one convenient and versatile package.

Sigma has something of a history in this field. I’ve recently reviewed the full-frame Sigma 28-45mm f/1.8 DG DN Art and the APS-C format Sigma 17-40mm f/1.8 DC Art. In the telephoto arena, I was impressed by the now-discontinued Sigma 120-300mm f/2.8 DG OS HSM Sports. The 300-600mm breaks new ground with its super-telephoto capabilities.

There’s no denying this is a big, hefty lens. It measures 167 x 468mm / 6.6 x 18.4in and weighs in at 3,985g / 8.79lb. But you know what? It could be worse. Fully pro-grade build quality is based on a weather-sealed magnesium alloy barrel, which helps to shed a bit of weight.

Both the zoom and focus mechanisms are fully internal, so the overall length of the lens remains fixed at all settings. That can be an important consideration if you’re using the lens with one of the best gimbal heads to support the load while enabling a free range of movement for tracking the action.

Another bonus is that the center of gravity is towards the rear of the lens, so it’s definitely not front-heavy, which improves handling. Another concession to this is that the hood is made from lightweight carbon fiber.

Autofocus is courtesy of a ‘high-thrust’ HLA (High-response Linear Actuator) motor, which drives a comparatively lightweight group of optical elements. The design, therefore, aims for the fastest possible autofocus speeds.

That can be a vital feature for this type of lens, in the context of action, sports, and wildlife photography, making all the difference between nailing a defining moment or just getting a mushy, out-of-focus image that’s only fit for the bin.

As I’d expect in this class of telephoto lens, there’s a row of four function buttons placed at 90-degree intervals around the lens. I’d typically use these for autofocus-lock, and it’s good that they fall neatly under the thumb in any shooting orientation.

A more surprising addition to the lens’ focusing prowess is that it features a new ‘function ring’. Situated just behind the AF-L buttons, this works in two optional modes. First up, you can use it in Focus Preset mode, enabling you to return instantly to a preset focus distance by turning the ring in either direction.

More excitingly, especially for videography, there’s also a ‘Power Focus Mode’ option. In this case, focus pulling is motorized, complete with dual speed options. Neatly, the limits of the motorized focus range can also be governed by the autofocus range limiter switch.

The autofocus range limiter switch itself is a 3-position affair, so you can lock out the short or long end of the range, either side of 10m, or enable the full range of travel.

Other control switches include AF/MF auto/manual focusing modes, and the facility to engage two different custom modes. I’ve seen these before on a number of Sigma lenses, enabling you to set up the likes of how visible the stabilization effect is in the viewfinder of the camera.

Optical stabilization is worth 5.5 stops right out at the long end of the zoom range. It’s a bit of a ‘must-have’ feature as far as I’m concerned, as IBIS (In-Body Image Stabilization) tends to be less effective than optical stabilization when using long telephoto lenses.

The stabilizer in this lens is based on Sigma’s latest OS2 algorithm, which was introduced a few years ago and is much more effective than the previous edition.

As is often the case, you get switchable static and panning modes. In the latter, stabilization works when panning with the lens in portrait as well as landscape orientation, and even when you’re panning on the diagonal.

When it comes to quality glass, the lens features multiple low-dispersion and high-refractive-index elements. These aim to boost sharpness, clarity, and color rendition while minimizing unwanted aberrations.

Sigma’s trusty Super Multi-layer Coating as well as high-tech Nano Porous Coating are applied to minimize ghosting and flare, and there’s a water/oil-repellant coating on the front element.

The front element is too large for the practical attachment of forward-mounted filters, so, as with many top-class, big telephoto lenses, this one has a drop-in filter holder near the rear, which accommodates 40.5mm filters.

Sigma has actually released optional 7-stop VND (Variable Neutral Density) and Circular Polarizer drop-in filters, which you can buy separately for the lens.

It's highly likely that you’ll shoot with a monopod or tripod to help take the load, so it’s a no-brainer that the lens includes a tripod mounting collar. It’s actually a particularly nice one that comes complete with 90-degree click steps and a de-click option. It also has a removable Arca-Type foot.

Other handling niceties include a lightweight carbon fiber hood that I mentioned earlier. The lens also comes with a slip-over front cover, a carrying strap that attaches to sturdy lugs on the lens barrel, and a backpack-style carrying bag. As usual with quality Sigma lenses, the mounting plate is made from hard-wearing, coated brass.

Sigma 300-600mm f/4 DG OS Sports: Performance

The performance of multiple ‘fast’ prime lenses in a single, convenient and versatile zoom seems to have become something of a catchphrase for Sigma.

Off the top of my head, the first one I remember was the now-discontinued Sigma 24-35mm f/2 DG HSM Art for Canon and Nikon DSLRs, which claimed to replace fast 24mm, 28mm and 35mm fast primes in one package, about 10 years previous to the 300-600mm lens. And sure enough, the aperture of f/4 really is fast for a telephoto zoom that stretches all the way to 600mm.

Let’s kick off with tracking the action. Throughout my testing, I found that autofocus was super-fast and well able to keep pace with briskly moving subjects. It was also consistently accurate, giving me a great hit rate of keepers. Another major boost for the hit rate is the optical image stabilizer, which is highly effective in both static and panning modes.

Sharpness itself is excellent, even when shooting wide-open at f/4. Especially towards the long end of the zoom range, the widest aperture delivers a tight depth of field, further accentuating the need for consistently accurate focusing. And while sharpness is deeply satisfying, the quality of bokeh is also nice and smooth.

Stopping down to f/5.6 improves sharpness right out to the edges and corners of the image frame. Depth of field is also slightly increased, more so if you zoom out to shorter focal lengths, as shown in the image below.

Sigma 300-600mm f/4 DG OS Sports: Sample Images

The following gallery of example shots was taken mostly at the Bristol Floating Harbour in the UK, and features images of static and moving subjects. There are also a few example shots of birds and scenery at the Chew Valley Lake in the English county of Somerset.

Sigma 300-600mm f/4 DG OS Sports: 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:

There’s a slight drop in center-sharpness when shooting wide-open at f/4, at most zoom settings. Edge/corner sharpness also drops off a little at focal lengths of 400mm and 600mm. Even so, levels of sharpness remain very impressive right across the whole image frame, throughout the entire zoom range.

Fringing:

Color fringing is negligible at all combinations of focal length and aperture setting, from the center of the image frame right out to the extreme edges and corners. Performance is excellent in this respect.

Distortion:

There’s a slight touch of pincushion distortion at all focal lengths, from 300mm right up to the maximum of 600mm. However, it’s of a very low order and generally hard to spot, even with automatic in-camera correction disabled.

Sigma 300-600mm f/4 DG OS Sports: Verdict

People sometimes get a bit scriptural and say ‘there’s nothing new under the sun’. There’s certainly no denying that new breeds of lenses are very few and far between, while there are ‘me too’ optics aplenty. Sigma has a bit of a habit of breaking the mold and coming up with fresh glass that offers something genuinely innovative – even unique.

The Sigma 300-600mm f/4 DG OS Sports is a good case in point. It really is like two or three telephoto and super-telephoto prime lenses rolled into one magnesium alloy casing. And for ‘under the sun’, it even features thermally insulating paint. It’s simply a terrific lens for shooting action, sports, wildlife, air shows, and more besides.

Sure, it’s big, heavy, and expensive, but that’s the nature of the beast. And if this Sigma lens had a Canon or Nikon badge on it, I wouldn’t be surprised to see it costing twice the price, which makes it quite the bargain. Top marks!

Alternatives

Sigma, the Japanese manufacturer renowned for its precision-engineered cameras and lenses, is opening its first-ever UK pop-up store in the heart of Bloomsbury, London.

Running from 13 to 22 September 2025, the store arrives at a perfect moment. Overlapping with London Fashion Week and London Design Festival, it aims to showcase Sigma’s blend of technical innovation and design-led craftsmanship.

Just a short walk from the British Museum, the pop-up will offer visitors the chance to get hands-on with Sigma’s full range of high-performance stills and cine lenses, as well as the award-winning Sigma BF camera.

Since its debut, the BF has been celebrated for its minimalist design, powerful full-frame sensor and intuitive handling. It has already claimed Best Camera at the Monocle Design Awards 2025 and Best Full Frame Professional Camera at the TIPA World Awards 2025, praised for its "austere beauty, technical prowess and ease of use."

Every BF camera is built entirely at Sigma’s sole factory in Aizu, Japan, with a unibody chassis milled from a single block of aluminum; a meticulous process that takes more than seven hours. Only a limited number are made each day, underscoring the brand’s obsession with quality.

To celebrate the store opening, Sigma is also hosting six free photo walks during the week led by professional photographers. Open to all skill levels, these two-hour sessions explore how to create more meaningful images in London’s bustling urban environment. Attendees are welcome to bring their own cameras or borrow Sigma equipment, including the BF and I-series lenses, subject to availability.

As someone who has followed Sigma’s evolution closely, I find this pop-up particularly exciting. In recent years Sigma has undergone a profound transformation, refining its brand into something that feels as much about storytelling and design sensibility as it is about optics.

Its product catalog now feels more like an artist’s zine than a technical brochure, pairing aesthetic minimalism with proof of real-world creative potential.

Recent releases like the Sigma Sports 300-600mm f/4 lens, the BF camera and the Aizu cine lenses have been among my personal highlights of the year – and with this pop-up, London’s creative community will have the rare chance to see, touch, and shoot with some of the most talked-about gear of recent years.

Further details can be found on the official Sigma pop-up webpage.

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SmallRig is no stranger to creating beautiful camera peripherals, but the new L-Shaped Mount Plate with Handle for the Sigma BF might just take the cake.

Designing an attachment to seamlessly integrate with the Sigma BF camera body is no mean feat. The newest Sigma camera model has won its fair share of awards for its all-in-one metal design, changing our perspectives on what camera design can be.

The SmallRig L-Shaped Mount Plate with Handle matches the same elegance, while also providing practical benefits to enhance the user experience. It’s as much an aesthetic choice as it is a functional one; an accessory that looks like it could have been part of the original camera design all along.

Integrated into the plate is a comfortable thumb rest and beveled handle, offering a full palm fit for better grip control during long shoots. The finish comes in classic silver or black to match the colorways of the Sigma BF, CNC-machined from metal for precision that feels as refined as the camera it’s paired with.

The robust aluminum alloy not only enhances the ergonomics of the camera but also offers a band of protection from drops and scrapes, especially on the bottom, which is often caused by constant use or placing the camera down on surfaces.

Built-in strap holes make attaching a shoulder strap simple, while the Arca-Swiss quick-release plate on the base enables you to mount the camera to a tripod or monopod in seconds.

The plate is built entirely around the Sigma BF, so access to all of the camera's buttons and USB port remains free. The result is a minimalist, practical tool that improves handling, enhances portability and maintains the Sigma BF’s design integrity.

The SmallRig L-Shaped Mount Plate with Handle for Sigma BF is available now, priced at $46.99 / £42.29 / AU$76.90. In the US, there’s also a limited-time launch offer at $39.94.

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