The best Sony wide-angle lenses enable you to fit a sweeping vista into a single frame. Wide-angle lenses are among my personal favorites – all but essential for landscapes and cityscapes, helpful for architectural interiors, and great for emphasizing perspective to creative effect.

These are the best ones I’ve tested for the Sony E-mount ecosystem. All of these are lenses I’ve taken out into the field and tested in the lab to assess their resolving power, focusing capabilities, and ease of use. I’ve included zooms and primes, and options for both full-frame cameras (the A1, A7, and A9 ranges), and for APS-C Sony models (the A6000 and ZV-E ranges).

Let’s take a closer look at the best Sony wide-angle lenses for a range of different needs, budgets, and camera types. For more options in different focal lengths, see my general guide to the best Sony lenses, which includes standard and telephoto lenses as well as wide-angle glass.

Best Sony wide-angle lenses

Best wide-angle zoom for pros

I love the wow-factor that this lens delivers, as soon as I put my eye to the viewfinder. Most ‘trinity’ f/2.8 wide-angle zooms serve up a 14-24mm zoom range, but this one goes even wider. An additional 2mm in focal length might not sound like a lot, but the more expansive field of view is immediately obvious through the viewfinder. When this lens was launched, Sony already had a smaller FE 12-24mm F4 lens on the market, but I like the faster aperture of the newer model for freezing movement under dull lighting. It also gives more potential for blurring the background in close-up shots, especially towards the longer end of the zoom range. Bokeh is soft and dreamy, typical of G Master lenses.

I’m impressed that the lens is packed full of top-quality glass, including three XA (eXtreme Aspherical) elements that are manufactured to a tolerance of just one hundredth of a micron. The pay-off is superb sharpness for an ultra-wide-angle lens that extends right out to the edges and corners of the image frame. I also find that autofocus is very fast for a lens with such wide-diameter elements. That’s thanks to four high-speed XD (eXtreme Dynamic) Linear Motors, two for each of the pair of groups that move during focusing.

As with many ultra-wide-angle lenses, this one has an integral hood. As such, there’s no filter attachment thread, but at least there’s a slot in the mounting plate for inserting gel filters.

Read more: Sony FE 12-24mm F2.8 G Master review

• Back to the top ⤴

Best affordable pro wide-angle zoom

I was a big fan of Sigma’s 14-24mm F2.8 lens for DSLRs, and this E-mount version is even better. It’s redesigned from the ground up to make the most of Sony mirrorless cameras. Optical highlights include three aspherical elements, including a high-precision, large-diameter one at the front, an FLD (‘Fluorite’ Low Dispersion) element, and no less than five SLD (Special Low Dispersion) elements. A significant addition is the use of NPC (Nano Porous Coating) as well as Sigma’s more conventional Multi-Layer Coating.

In practical terms, I’ve found that the lens delivers superb sharpness and clarity, even when shooting wide-open at f/2.8, throughout the zoom range. Color fringing is entirely negligible, and there’s excellent resistance to ghosting and flare. Barrel distortion can be noticeable in the shorter half of the zoom range, but there’s less reliance on automatic in-camera correction than with many recent lenses designed for mirrorless cameras.

Like most other recent Sigma Art and Sports lenses, this one has really solid build quality and is extensively weather-sealed. I like that the AF-L (Autofocus Lock) button is featured and that I can customize it for other uses via in-camera menus. All in all, this Sigma looks, feels, and performs like a fully pro-grade ‘trinity’ zoom, but for about half the usual price. Bargain!

Read our full Sigma 14-24mm F2.8 DG DN Art review

• Back to the top ⤴

Best affordable full-frame wide-angle zoom

I think this Tamron lens has a lot going for it. There’s no shortage of similar own-brand lenses, including the Sony Vario-Tessar T* FE 16-35mm F4 ZA OSS, which is ‘slower’ but features Optical SteadyShot, and the Sony FE 16-35mm F2.8 G Master. A ‘trinity’ f/2.8 lens with a difference, the Tamron has a slightly more restrictive zoom range and marginally less maximum field of view, but it’s relatively compact, lightweight, and sells for a much more affordable price. That ticks a lot of boxes on my wish list.

Although small and light, I like that the Tamron feels solid and well-built, and includes weather seals. I also like its nippy RXD (Rapid eXtra silent stepping Drive) autofocus system, which I’ve found to be fast, virtually silent, and consistently accurate. What matters most to me is image quality, and the Tamron scored highly again in this respect. Corner-to-corner sharpness is excellent, and there’s virtually no color fringing. Unusually for a wide-angle lens, there’s a little pincushion distortion in the longer half of the zoom range, but automatic in-camera correction is available.

Especially for landscape photography, I feel that the inclusion of a front filter thread is a bonus. It means I can use the likes of neutral density and ND grad filters easily, and the 67mm thread is refreshing modest for a wide-angle lens.

Read more: Tamron 17-28mm F2.8 Di III RXD review

• Back to the top ⤴

Best APS-C wide-angle zoom

Sony’s APS-C format cameras tend to be small and lightweight, and I like that this E-mount lens follows suit. Weighing in at just 335g, it feels beautifully balanced on slimline Sony bodies, and I like that the 11-20mm zoom range delivers good wide-angle coverage, equivalent to 16.5-30mm in full-frame terms. Another bonus for me is the relatively fast and constant f/2.8 aperture, which I find extends the versatility of the lens.

I feel that the build quality and handling are very good. The Tamron features weather seals and comes with a bayonet-fit petal-shaped hood. I find it useful that, unlike with many wide-angle lenses, I can easily attach filters via the 67mm attachment thread. Autofocus is fast and virtually silent, as I’d expect from a stepping motor-based system. However, there’s no optical image stabilizer, which can be a concern as so many APS-C format Sony mirrorless cameras don’t have in-body stabilization.

Another thing I like about this lens is its short minimum focus distance of just 0.25m at the wide-angle end of the zoom range, although it stretches to 0.24m at the long end. Either way, I can get in really close to subjects and exaggerate perspective at wide-angle zoom settings. As with many wide-angle lenses, lab test results don’t flatter the Tamron, but in real-world shooting conditions, I found sharpness very impressive across the whole image frame, right into the corners. There’s some reliance on automatic in-camera distortion correction, but unlike many recent wide-angle lenses for mirrorless cameras, it’s not wholly dependent on it.

Read more: Tamron 11-20mm F2.8 Di III-A RXD review

• Back to the top ⤴

Widest full-frame prime

I think this lens is quite astonishing. At first glance, I assumed it was an APS-C format lens, due to its super-short focal length and small size. But no, it’s a full-frame compatible lens. Digging a little deeper, I’ve found that it’s a conveniently compact and lightweight lens that bears some heavyweight credentials. Despite its 9mm focal length, it’s a rectilinear rather than curvilinear (or fisheye) lens, shoehorning an epic 132-degree viewing angle into its small build. When I put my eye to the viewfinder, it really feels like taking the blinkers off my photography.

I like the solid metal construction, which extends to a metal integral hood and slip-on metal cap. Naturally, though, the built-in hood precludes the use of filters. Not just a manual-focus lens, it’s fully manual and includes no electronics whatsoever. As such, you need to adjust the aperture via the onboard control ring rather than from the camera body, and no lens-based EXIF information is saved in image files.

On the plus side, I find that focusing is quick and easy. The focus ring works with smooth precision, and the enormous depth of field means I don’t have to be painstakingly accurate, even at the lens’s widest aperture of f/5.6. At the price, it’s a nicely crafted and very useful kit bag addition for capturing sweeping vistas in landscape photography, architectural interiors when space is tight, vlogging when you want to set yourself in an expansive scene, and a lot more besides. I really like it.

Read more: 7Artisans 9mm F5.6 review

• Back to the top ⤴

Best professional wide-angle prime lens

I love that this Sony lens is so compact and lightweight for an ultra-wide-angle, full-frame compatible lens with such a fast f/1.8 aperture rating. Even so, there’s a lot packed in when it comes to handling exotica and all-around performance. I’ve found that the electronically-coupled manual focus ring has a smooth and precise action with a linear response that’s well suited to both stills and video shooting. A further bonus for video is that the manual aperture ring can be de-clicked via a switch on the right-hand side of the barrel. On the left, there’s an AF-MF focus mode switch and a function button, which is nominally for AF Hold, but you can customize its action via in-camera menus.

Build quality feels very solid for such a lightweight lens, and extensive weather seals are fitted to all the joints, mounting plate, switches, and buttons. Florine coatings are applied to the front and rear elements. Although small, the lens packs 14 optical elements. Specialist glass includes two ED (Extra-low Dispersion) elements, one Super ED element, and two high-precision XA (eXtreme Aspherical) elements, plus a regular aspherical element. The mix intends to maximize sharpness, contrast, and clarity while keeping aberrations to a minimum. Nano AR Coating II is also applied to minimize ghosting and flare.

I found that sharpness is superb, right out to the extreme corners of the frame, even when shooting wide-open at f/1.8. There’s also remarkably little coma and astigmatism. That’s great news for astrophotography and shooting nighttime cityscapes, as it ensures that stars and pinprick lights don’t take on irregular shapes towards the edges and corners of the frame, especially when shooting at the widest aperture.

Read more: Sony FE 14mm F1.8 G Master review

• Back to the top ⤴

Best affordable full-frame wide-angle prime

The Sigma 20mm F2 DG DN | C joins a growing range of fairly fast primes for Sony E-mount cameras, in Sigma’s ‘I-series’ range. I like that the look and feel of the lenses is so consistent across the range, which includes 24mm, 35mm, and 65mm F2 DG DN | C options, as well as a slower 45mm F2.8 lens. For me, the ‘Contemporary’ design ethos works well in delivering excellent performance with a compact and lightweight build.

I’m impressed that there’s some impressive glass shoehorned into the diminutive construction, with 13 elements in total that include three high-precision glass-molded aspherical elements, one SLD (Special Low Dispersion) element, and one top-spec FLD (‘Fluorite’ Low Dispersion) element. Sigma’s conventional Super Multi-Layer Coating and more high-tech Nano Porous Coating are both employed to fend off ghosting and flare.

As with other lenses in Sigma’s I-series Contemporary line-up, I like the build quality, which is based on a coated brass mounting plate, a metal barrel, and even a metal lens hood and lens cap, the latter of which is magnetic. A more regular plastic lens cap is also supplied in the box. The construction features multiple weather-seals and is dust- and moisture-resistant. Handling is enhanced by an aperture control ring which operates in one-third f/stop increments, but there’s no ‘de-click’ option. Sharpness is very good, but automatic in-camera correction comes in useful to reduce distortion and wide-aperture vignetting.

Read more: Sigma 20mm F2 DG DN | C review

• Back to the top ⤴

Best APS-C wide-angle prime

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 slimline Sony A6000-series camera bodies. 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

• Back to the top ⤴

• Back to the top ⤴

Widest APS-C prime

When I think of ultra-wide-angle lenses with a relatively fast f/2.8 aperture, two things spring to mind – size and weight. They tend to be big and heavy, which is the last thing I want if I’m trekking off across tricky terrain, in search of great landscape photo opportunities. The same thing goes for pounding city streets, looking for great architectural shots. This lens fits the bill perfectly, and really redresses the balance, so to speak. It’s so small and light for an ultra-wide-angle lens that it almost seems to defy the laws of physics. Indeed, it weighs in at a mere 175g or 6.2oz.

Typical of Viltrox's ‘Air’ series lenses, it has a very streamlined build that doesn’t include an AF/MF focus mode switch, nor an aperture control ring. The upside is that it really couldn’t be any simpler to use and feels like a perfect fit for Sony’s slimline APS-C format mirrorless cameras. I also like that it has a separate rather than integral hood, enabling the easy fitment of landscape-friendly filters.

It’s only natural to think that if a lens is this small, there’s going to be a compromise in terms of image quality and all-around performance. I was pleasantly surprised that the Viltrox autofocuses with speed and consistent accuracy, and that in real-world shooting, it maintains impressive levels of sharpness right out to the edges and corners of the image frame. Even the asking price is super-small, making it standout value for money.

Read more: Viltrox AF 9mm f/2.8 E Air review

• Back to the top ⤴

Best wide-angle lens for video

The first thing that hit me about this wide-angle zoom lens for Sony’s APS-C format mirrorless cameras is just how small it is. To me, it feels much more like the size and weight of an ultra-compact standard kit zoom lens with a variable (and slow) aperture rating. The fact that Sony has managed to shoehorn such an expansive range of viewing angles with a constant f/4 aperture into such a small lens, complete with motorized zoom, really is quite something. Especially as image quality and overall performance are so excellent.

I find that the silent power zoom facility makes the lens ideal for vlogging and general video shooting, but it’s equally adept at capturing stills of anything and everything from architectural interiors to sweeping landscapes, or just for exaggerating perspective effects. The electronically coupled zoom ring feels wonderfully responsive, seamlessly converting the speed and amount of rotation to the resulting focal length. I also like the additional zoom lever that enables constant-speed adjustments right down to super-slow movements, ideal for avoiding jerky zoom transitions when shooting movies. I’m also pleased that there’s an optional grip and remote controller, plus a free app for controlling everything from my mobile phone.

Although really small, the lens feels very solid and well-built, and includes multiple weather seals around all the joints, buttons, and switches. Handling refinements include an AF/MF focus mode switch and a customizable focus hold button. I’m a bit disappointed that the lens lacks an aperture control ring, for which a de-clicked option would have been nice when shooting movies, but there’s only so much you can squeeze into such a small lens.

Read more: Sony E PZ 10-20mm F4 G review

• Back to the top ⤴

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 mighty Sony FE 12-24mm G Master lens is outstanding for sharpness, and I’d expect nothing less. However, the relatively humble Sigma 20mm ‘Contemporary’ lens is quite the overachiever. Lab tests at extremely close range don’t do justice to the incredibly ultra-wide 7Artisans full-frame lens in terms of sharpness, which performs better in real-world shooting. The distortion figures flatter some of the zoom lenses, as the scores are averaged out across the entire zoom range.

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.

• Back to the top ⤴

How to choose

Prime or zoom?
Sometimes it’s hard to decide whether a zoom lens or a prime lens will be a better buy. Zoom lenses tend to be more versatile, as they cover a broad spread of focal lengths. However, there’s a lot to be said for prime lenses, which generally have a wider or ‘faster’ aperture rating and are often relatively small and lightweight. Some photographers find that they only tend to use wide-angle zooms at or near their shortest focal length anyway, which is another reason for considering a prime lens.

Do I need speed?
If you’re mainly using a wide-angle lens for landscape photography, you won’t need one with a really fast aperture rating, and an f/5.6 lens should suffice. That said, most of the lenses in this buying guide have aperture ratings of f/2.8 or faster. That’s a real bonus for astrophotography, for which wide-angle lenses are particularly well suited, as well as for shooting architectural interiors under low indoor lighting, and for night-time cityscapes.

How do I tell if a lens is full-frame compatible?
It can be tricky for the uninitiated to recognize the difference between Sony lenses that are made for full-frame or APS-C format cameras. The clue is in the title. APS-C format lenses have an ‘E’ prefix, whereas full-frame compatible lenses have an ‘FE’ prefix. Sigma designates its lenses as ‘DC’ for crop-sensor cameras and ‘DG’ for full-frame. Bear in mind though, that you can shoot with E lenses on full-frame cameras in crop mode, and with FE lenses on APS-C cameras with no limitations.

What’s the APS-C crop factor?
Sony’s APS-C cameras have an image sensor that’s the same size as a frame of ‘Advanced Photographic System type C’ film. That’s quite a bit smaller than a frame of 35m film, on which full-frame digital cameras are based. The outcome is that the ‘crop factor’ gives a 1.5x magnification in the focal length of lenses. For example, a 10mm wide-angle lens will give the same field of view as using a 15mm lens on a full-frame camera.

Do I need OSS?
Optical SteadyShot can be really useful if your Sony camera doesn’t feature IBIS (In-Body Image Stabilization). It’ll help counteract the effects of camera-shake and ensure you get sharp handheld shots more consistently with slow shutter speeds. However, OSS is generally not featured on wide-angle lenses, as camera-shake is less of a problem in handheld shooting compared with standard and telephoto lenses.

How we test

We test lenses using both real-world sample images and lab tests. Our lab tests are carried out scientifically in controlled conditions using the Imatest testing suite, which consists of custom charts and analysis software that measures resolution in line widths/picture height, a measurement widely used in lens and camera testing. Our lab tests also reveal the extent of color fringing and distortion. We find the combination of lab and real-world testing works best, as each reveals different qualities and characteristics.

You can find out more about how we test and review on Digital Camera World.

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 

• Back to the top ⤴

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

• Back to the top ⤴

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

• Back to the top ⤴

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

• Back to the top ⤴

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

• Back to the top ⤴

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

• Back to the top ⤴

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

• Back to the top ⤴

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

• Back to the top ⤴

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

• Back to the top ⤴

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.

• Back to the top ⤴

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

• Back to the top ⤴

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

• Back to the top ⤴

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

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

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

Best lenses for the Sony ZV-E1

• Back to the top ⤴

Best standard zoom for the ZV-E1

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

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

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

• Back to the top ⤴

Best wide-angle zoom for the ZV-E1

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

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

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

• Back to the top ⤴

Best wide-angle prime for the ZV-E1

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

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

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

• Back to the top ⤴

Best street prime for the ZV-E1

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

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

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

• Back to the top ⤴

Best portrait lens for the ZV-E1

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

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

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

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

• Back to the top ⤴

Best telephoto lens for the ZV-E1

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

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

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

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

• Back to the top ⤴

Lab data and comparisons

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

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

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

• Back to the top ⤴

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

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

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

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

• Back to the top ⤴

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

• Back to the top ⤴

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

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

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

Best Sony video lenses

• Back to the top ⤴

Best versatile zoom

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

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

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

• Back to the top ⤴

Best wide-angle zoom

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

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

• Back to the top ⤴

Best wide prime

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

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

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

• Back to the top ⤴

Best for vlogging

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

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

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

• Back to the top ⤴

Best power zoom

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

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

• Back to the top ⤴

Best for close-ups

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

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

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

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

• Back to the top ⤴

Best tele zoom

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

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

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

• Back to the top ⤴

Best standard zoom

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

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

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

• Back to the top ⤴

Best for bokeh

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

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

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

• Back to the top ⤴

Lab data and comparisons

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

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

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

• Back to the top ⤴

How to choose the best Sony video lenses

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

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

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

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

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

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

• Back to the top ⤴

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

• Back to the top ⤴

While I'm a Sony shooter myself, I don't shoot on an APS-C sensor – but this lens still caught my attention – a true workhorse optic, sharp across the frame, fast to focus, and giving you serious reach.

Right now, the Sony E 70-350mm f/4.5-6.3 G OSS lens is just £653.65 at Wex – a £80 saving on its £829 RRP.

The Sony E 70-350mm f/4.5-6.3 G OSS lens is built for APS-C format E-mount cameras and is a powerful tool when paired with Sony's A6000-series cameras or the Sony Z-E10 II.

It offers a massive 5x super-telephoto zoom range (giving you a 105-525mm full-frame equivalent). It outclasses options like the E 55-210mm f/4.5-6.3 OSS, giving you more reach, better sharpness, and faster handling.

At just 625g, the Sony E 70-350mm f/4.5-6.3 G OSS is a breath of fresh air in a world where super telephotos are often back-breaking (and bank-breaking). And thanks to its built-in optical stabilization, you've got a lens that's ideal for handheld shooting.

Sure, the aperture range of f/4.5-6.3 might not be the widest – but that wouldn't be a dealbreaker for me.

Sony's APS-C cameras handle high ISO settings well, and if you need to bump up the ISO to compensate for the smaller aperture, you can do it without sacrificing much in terms of noise or detail.

So, if you shoot on a Sony APS-C body and want serious telephoto reach for wildlife, action, aviation, or distant landscapes – this is the lens.

Check out best Sony lenses and the best Sony telephoto lenses.

The world's fastest ultra-wide zoom lens would need to dip below the familiar f/2.8 barrier – but which brand will leap first? Will it be Canon, pushing its RF lineup further, or Nikon, expanding its Z-mount options? Or Sony, continuing to build on its E-mount f/2 zooms?

Photographers across all systems have been waiting for a bright, professional, ultra-wide that combines speed, versatility, and high-quality optics – and it looks like Sony may be the first to deliver.

Sony is in the headlines – not just with its latest camera release of the A7 V – but also with whispers of a truly exciting lens: the 16-28mm f/2 GM ultra-wide-angle zoom. This would be the world's fastest ultra-wide zoom for Sony E-mount and the missing piece in the brand's growing f/2 zoom lineup.

Rumors about this type of lens have circulated for a while, often alongside talks of Sony's two new super-telephoto zooms. Now, new information has appeared from Sony Alpha Rumors, K&F Concept, DCLife, and others, supported by an update from How2Fly via X.

The constant f/2 aperture would put this optic in the same class as the 28-70mm f/2 GM and 50-150mm f/2 GM, effectively completing a trio of professional-grade f/2 zooms. Let's break it down.

The 16-28mm f/2 GM

While we can expect a high-quality G Master optic, ED/Super-ED elements, nano coatings, and robust weather sealing, nothing about size, weight, or price has leaked. A 16-28mm f/2 GM would give Sony shooters an ultra-wide zoom that matches the speed of its f/2 siblings, something the competition hasn't offered yet.

But will it be compact enough to compete with Canon's and Nikon's lighter ultra-wides? Will it justify a likely premium price tag? Those questions will remain unanswered until Sony makes an official announcement.

How it compares to Canon and Nikon

Canon's RF 15-35mm f/2.8L IS USM and Nikon's Z 14-24mm f/2.8 S are excellent lenses, but they are not a match for a zoon that's a full-stop faster aperture across this range. Sony shooters also currently lack an ultra-wide zoom with a true f/2 aperture (just having the Sony FE 12-24mm f/2.8 G Master, and, say, the Sigma 14-24mm f/2.8 DG DN Art or Tamron 17-28mm F2.8 Di III RXD).

If Sony delivers the 16-28mm f/2, it could finally put the E-mount on top in the ultra-wide zoom segment, offering, for example, better low-light performance and more creative flexibility than the competition.

This bright ultra-wide zoom would round out Sony's high-end lens roadmap, giving photographers professional f/2 options from ultra-wide to telephoto. It would also strengthen Sony's position against Canon and Nikon, especially for landscape, architecture, and astrophotography.

How realistic is the rumor?

Very. Sony has a clear history of expanding its high-end zoom lineup. Rumors suggest that this lens will be announced in December or early 2026, fitting Sony's clear pattern of updating its G Master lineup and the company's product cycle.

Stay tuned for the official announcement, and as always, we'll bring full details on specifications, pricing, and availability as soon as Sony confirms them.

You might like...

Browse the best wide-angle lenses, the best Sony wide-angle lenses, the best Canon wide-angle zooms, and the best Nikon wide-angle zoom lenses.

Viltrox has announced a new 2x teleconverter for Sony E-mount systems. According to Sony Alpha Rumors, the teleconverter is comprised of 9 elements in 5 groups, including 3 high refractive index elements. What's more, thanks to a full compliment of electronic contacts, it supports EXIF ​​data transmission, along with lens-based image stabilization. It's also claimed to be dust and splash resistant and is said to weigh 229g.

This is actually a world-first: it's the first aftermarket teleconverter we've seen for E-mount cameras. Until now, Sony shooters have been restricted to Sony's own 1.4x and 2x teleconverters. And as you might hope, the new Viltrox teleconverter is very well priced: at USD $280, it's less than half the cost of a Sony SEL14TC or SEL20TC teleconverter.

- See the best Sony Black Friday camera deals

Even more remarkable is that Viltrox is claiming its teleconverter supports the blistering 120fps continuous shooting mode offered by cameras like the Sony A9 III. This is particularly noteworthy as Sony has always restricted this headline-grabbing performance mode for use exclusively with its own lenses. There have been exceptions, such as the Tamron 50-400mm F4.5-6.3 Di III VXD, which does support 120fps burst shooting, but only when the focus mode is set to AF-S, DMF, or MF. Crucially, AF-C autofocus - the very setting you'll most likely want when shooting fast action - can still only be used at 120fps with Sony lenses.

It's not clear whether the Viltrox E-mount teleconverter will permit 120fps shooting in any focus mode with Sony-brand lenses, or even if it might act as a cheat adapter to fool a camera like the a9 III into enabling AF-C autofocus at 120fps with third-party lenses. If the latter turns out to be possible, we'd expect Sony execs to be rather annoyed.

Pre-order from B&H

Story credit: Sony Alpha Rumors

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

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

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

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

Sony has released a new firmware update for its flagship mirrorless cameras: the Sony A1 II, A1, and A9 III. Here are all the details and download links, so that you have everything to hand to update your Sony camera.

Earlier this year, in January, Sony launched its first major firmware update for these Alpha cameras, introducing new features and enhancements across its flagship models. The last update focused on improvements to still photography, video capabilities, and overall camera operability, expanding Sony's Camera Authenticity Solutions.

The latest firmware update addresses specific issues. Notably, for all three Alpha models, it fixes a problem where the camera would restart during image capture when the Recording Media was set to Sort Recording.

Sony A1 II

ILCE-1M2 System Software (Firmware) Update Ver. 2.01

Benefits and Improvements:
- Fixes an issue where setting Recording Media to Sort Recording may cause a restart during still image capture
- Fixes an issue where the effectiveness of the Soft Skin Effect when recording movies in S-Log3 was not properly adjusted

Sony A9 III

ILCE-9M3 System Software (Firmware) Update Ver. 3.01

Benefits and Improvements:
- Fixes an issue where setting Recording Media to Sort Recording may cause a restart during still image capture
- Fixes an issue where the effectiveness of the Soft Skin Effect when recording movies in S-Log3 was not properly adjusted

Sony A1

ILCE-1M2 System Software (Firmware) Update Ver. 2.01

Benefits and Improvements:
- Fixes an issue where setting Recording Media to Sort Recording may cause a restart during still image capture
- Fixes an issue where the button registered with Recall Custom Hold may not be accepted

How to update your Sony

If this is your first time updating your camera's firmware, Sony added helpful information on the download sites, along with a video guide to assist you through the process.

You might also like...

Stay up to date with Sony technology with our guide to the best Sony cameras. If you are on the hunt for a new optic for your Sony, be sure to check our discussion about the best Sony lenses, wide-angle optics, and telephotos. If you are into videography, we also summarized Sony's best video lenses.

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

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

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

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

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

Story credit: Sony Alpha Rumors

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Sharpness:

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

Fringing:

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

Distortion: 2.52

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

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

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

Alternatives

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

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

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

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

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

It seems a day barely goes by without affordable lens manufacturers such as TTArtisan, Viltrox or 7Artisans releasing a cut-price lens for mirrorless systems. Just this week, I wrote stories about the new 7Artisans AF 85mm f/1.8 for Nikon Z mount and the TTArtisan AF 75mm f/2 for Nikon Z and Sony E. 

These aren't just cheap manual focus primes for smaller sensors. They are relatively fast, full-frame-compatible autofocus lenses, designed to compete directly with the optical behemoths of the world. And there's no sign of the affordable arms race slowing down, either. It's been reported that Chinese lens manufacturers are developing autofocus zoom lenses, which would really put the proverbial cat among the pigeons.

We all know that some manufacturers have taken steps to limit third-party lens production. And on the face of it, it isn't hard to see why. More people buying cheap third-party lenses must mean fewer people buying premium glass, right? But how much market share are affordable manufacturers siphoning, really? 

I don't have the figures, but I'm pretty sure that a photographer who's always bought Nikon, Sigma or Canon glass will continue to do so. And if you're saving up for that dream Nikon Z 85mm f/1.2 S, say, the 7Artisans 85mm f/1.8 isn't going to compete with that Holy Grail purchase. But, it might provide an affordable stopgap in the meantime.

And this is the beauty of affordable lenses. They enable photographers on a budget to fill up their kitbags quicker and enjoy their photography. I fail to see how this differs from the Nikon FTZ II Adapter and Canon Mount Adapter EF-EOS R enabling users to mount cheaper DSLR glass.

An entry-level gateway

I think a large proportion of the mirrorless market – especially full-frame equipment – has become rather elitist. I've been writing about photography for so long, that I find myself calling the new Tamron 90mm f/2.8 Di III VXD Macro affordable. Compared to other macro lenses out there it's a very competitive price, but it's still $699 in the US!

As a self-confessed Nikon fanboy, I think the Big N has done a decent job of offering affordable, full-frame mirrorless lenses, what with its budget Holy Trinity of f/2.8 lenses maxing out at roughly $1,300. Expensive, but considerably cheaper than S-Line counterparts. Then you have the likes of the Z 40mm f/2 and Z 28mm f/2.8 at $309.95, and more recently the Z 50mm f/1.4 at $499.95 – a good price for such a fast aperture. 

Tamron is also producing Z-mount lenses and, having recently picked up the Tamron 28-75mm F/2.8 Di III VXD G2, I've been very impressed with its middle ground between price and quality. And yet, you simply cannot sniff at a 7Artisans 85mm f/1.8 for $299. (Caveat: We’ve not yet reviewed it.) 

I've spoken to an awful lot of hobbyist photographers during the mirrorless revolution who had all but discounted the move from their DSLR, based purely on the expense. But in 2024, cheap lenses have become a gateway to mirrorless systems. Now that mirrorless has come of age, you can pick up a decent camera for a decent price on the second-hand market, buy an affordable 50mm f/1.8 and you're ready to rock and roll. 

For some, that cheap camera and lens combination will be the genesis of a lifelong mirrorless camera obsession – and a long-term customer for the system in question. So, far from yanking customers and coffers away from the big camera companies, I'm certain that cheap lenses are encouraging latecomers to buy into mirrorless systems. 

If I'm right, blocking third-party manufacturing could prove very costly in the long run. There are still plenty of potential consumers who haven't yet made the move to mirrorless out there. 

Affordable gear might be the only way to get them through the door. 

You might be interested in the best Nikon lenses, including the best Nikon Z lenses for its mirrorless system. 

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

Canon RF 35mm F1.4L VCM: Specifications

Canon RF 35mm F1.4L VCM: Price

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

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

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

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

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

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

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

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

Canon RF 35mm F1.4L VCM: Performance

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

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

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

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

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

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

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

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

Sharpness:

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

Fringing:

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

Distortion: -4.97

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

Canon RF 35mm F1.4L VCM: Verdict

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

Alternatives

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

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

Viltrox AF 28mm F4.5: Specifications

Viltrox AF 28mm F4.5: Price

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

Viltrox AF 28mm F4.5: Design & Handling

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

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

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

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

Viltrox AF 28mm F4.5: Performance

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

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

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

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

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

Viltrox AF 28mm F4.5: Sample Images

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

Viltrox AF 28mm F4.5: Lab Results

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

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

Sharpness:

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

Fringing:

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

Distortion: -0.5

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

Viltrox AF 28mm F4.5: Verdict

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

Alternatives

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

AstrHori 120mm F2.8 Macro 2x: Specifications

AstrHori 120mm F2.8 Macro 2x: Price

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

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

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

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

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

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

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

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

AstrHori 120mm F2.8 Macro 2x: Performance

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

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

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

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

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

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

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

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

Sharpness:

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

Fringing:

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

Distortion: 0.92

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

AstrHori 120mm F2.8 Macro 2x: Verdict

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

Alternatives

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

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

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

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

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

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

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

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

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

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

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

Sample Images

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Sharpness:

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

Fringing:

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

Distortion:

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

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

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

Alternatives

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

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

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

Story credit: Fujirumors

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

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

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

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

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

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

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

Check out our guide to the best macro lenses

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Sharpness:

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

Fringing:

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

Distortion:

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

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

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

Alternatives

At IBC 2024 in Amsterdam, Blazar Lens unveiled what they are heralding as the world’s first autofocus anamorphic lenses.

The innovative 1.33x APEX series, currently in its prototype phase, drew considerable attention at the event. Blazar showcased two focal lengths, a 35mm T1.6 and a 50mm T1.8, both designed to cover the Super 35 (S35) sensor. 

These lenses are slated to be available in several mirrorless mounts, including Sony E, Nikon Z, Leica L, and Fuji X, with discussions ongoing about a Canon RF mount option in the future.

Blazar's choice of a 1.33x squeeze ratio for its anamorphic lenses is driven by practical considerations. Autofocus systems, the company found, struggle with wider anamorphic squeeze ratios, making the 1.33x a more feasible option. 

This ratio not only improves autofocus performance but is also compatible with 16:9 sensor cameras that lack anamorphic recording modes. While the 1.33x squeeze may not deliver the pronounced anamorphic look of 1.5x or 2x ratios, Blazar claims its Apex lenses achieve a similar aesthetic to 1.5x options.

The 1.33x anamorphic format presents a compelling choice, particularly for affordable anamorphic lenses. Compared to 1.8x or 2x lenses, the 1.33x design is more versatile and easier to produce, with fewer optical compromises. It allows users to capture a wider aspect ratio without cropping, thereby maximizing image resolution. This adaptability makes the Apex series a practical option for a range of cameras with S35 sensors.

Currently, the market for 1.33x anamorphic lenses is limited when compared to other lenses on the market, but notable examples include the Viltrox Epic series, Sirui 1.33x, Slr Magic 1.33x Anamorphot-CINE, and the Hawk 1.3x. However, many of these options do not fully cover full-frame sensors, although the SLR Magic 50mm and 75mm do.

Samyang recently introduced an anamorphic front-mounted adaptor for its V-AF range of full-frame autofocus cine lenses, but this offers a 1.7x squeeze.

The Blazar Apex lenses' ability to cover full-frame and S35 sensors positions them as a versatile solution for many 16:9 sensor cameras.

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

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

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

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

Story credit: L-rumors.com

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

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

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

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

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

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

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

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

Read more: the best Sony lenses

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Viltrox is working on new super-slim lens to add its fast-growing range of autofocus primes. The new Viltrox AF 28mm f/4.5 VCM ASPH ED pancake lens will be set to launch as a crowdfunded project - with a new name that the Chinese company has yet to decide upon.

As is the beauty of the best pancake lenses, the key attraction of the 28mm f/4.5 will be its diminutive size. It will weight just 60g - that's a mere 2.1 ounces - and will be only 15.3mm deep (0.6 inches).

The lens is being produced to fit Sony full-frame mirrorless cameras - but can also be used on E-mount APS-C models too, where the effective focal length becomes 42mm.

The f/4.5 maximum aperture is particularly slow for a wide-angle prime - but the lens will appeal for those who want a lightweight option for street photography.

The lens is constructed from six non-grouped elements including two ED lenses, two aspherical lenses, with HD nano multilayer coating and a front lens waterproof anti-fouling coating.

The minimum focus of the lens is 0.32m (12.6in) - and the autofocus system uses a VCM voice-coil motor.

Unusually, the lens boasts a built-in lens cover and doesn't have a front filter ring.

The price and the launch date for the new 28mm f/4.5 lens have yet to be announced.

See our reviews of current Viltrox lenses

• Viltrox AF 13mm F1.4 review
• Viltrox AF 16mm F1.8 review
• Viltrox AF 20mm F2.8 review
• Viltrox AF 23mm F1.4 Z review
• Viltrox AF 27mm F1.2 Pro review
• Viltrox AF 33mm F1.4 review
• Viltrox AF 40mm F2.5 review
• Viltrox AF 56mm F1.4 review
• Viltrox AF 56mm F1.7 review

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

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

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

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

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

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

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

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

Viltrox has just told us that a Sony E-mount version of its Viltrox AF 40mm f/2.5 lens is now available. The budget-priced autofocus prime was first launched in the Nikon Z mirrorless mount earlier in the year.

Weighing just 180g (6.3oz), the lens is suitable for both full-frame Sony cameras - with the effective focal length becoming 60mm when used on an APS-C model.

The big appeal of this new lens (as with the Nikon version) is the budget price - with the Sony version now on sale for $168 / £165.

With an f/2.5 maximum aperture, it is not quite as fast as some rival primes with this 'standard' focal length - but the affordability makes it a useful addition to a camera bag full of slower zooms.

The lens is constructed from 10 elements in six groups, including one ED lens, three high refractive (HR) index lenses, and one aspherical lens. The front element has a nano multi-layered coating designed repel water, grease, and grime. The new Viltox has seven aperture blades, a 52mm filter thread, and a minimum focus distance of 0.34cm (1.1ft).

See our reviews of current Viltrox lenses

• Viltrox AF 13mm F1.4 review
• Viltrox AF 16mm F1.8 review
• Viltrox AF 20mm F2.8 review
• Viltrox AF 23mm F1.4 Z review
• Viltrox AF 27mm F1.2 Pro review
• Viltrox AF 33mm F1.4 review
• Viltrox AF 40mm F2.5 review
• Viltrox AF 56mm F1.4 review
• Viltrox AF 56mm F1.7 review

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

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

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

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

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

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

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

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

The original Sony FE 85mm F1.4 GM was one of the first three G Master lenses that Sony ever produced for its Alpha full-frame mirrorless cameras. It was very well received and I actually gave it a 100% review rating – I was that impressed. It’s a terrific lens that’s ideally suited to portraiture and still-life photography. 

However, things have moved on in eight years, and Mark II aims to answer a couple of criticisms that have arisen over time. Some photographers felt that the lens was a bit on the weighty side and that autofocus could be quicker. Sony has taken the feedback onboard and used it in the design of the Mark II edition of the lens, which aims to be one of the best lenses for Sony cameras.

Sony FE 85mm F1.4 GM II: Specifications

Sony FE 85mm F1.4 GM II: Price

The original edition of the lens costs around $1,699 / £1,499 / AU$1,799 and it’s no surprise that the revamped costs more, launching at $1,799 / £1,849. Naturally, it’s considerably more expensive than the slower and more basic Sony FE 85mm F1.8, which costs $549 / £499 / AU$749, but it’s also about twice the price of the directly competing and thoroughly excellent Sigma 85mm F1.4 DG DN Art for Sony mirrorless cameras, which retails at around $1,099 / £979 / AU$1,399.

Sony FE 85mm F1.4 GM II: Design & Handling

The Sony FE 85mm F1.4 GM II has more glass than the original lens, based on 14 elements in 11 groups, compared with the older lens’s 11 elements in 8 groups. With that in mind, I’m surprised that the new lens answers the ‘heavy’ criticism of the older version by reducing the overall weight from 820g to 642g – saving of about 22%. 

The original lens boasted an XA (extreme aspherical) element, but that’s doubled in the new version. That’s quite a big deal, as these elements are very expensive to manufacture, with a surface precision that has a tolerance of just 0.01 microns. The aim is to boost sharpness and the quality of bokeh. Two ED (Extra-low Dispersion) elements are also featured, to enhance clarity and minimize chromatic aberrations, whereas the earlier lens had three.

To minimize ghosting and flare, and to further boost clarity and contrast, the coatings of the new lens are upgraded to Nano AR II, compared with the older Nano AR coatings of the original. The new lens features the same aperture diaphragm count of 11 blades, ensuring that the aperture remains very well-rounded when stopping down, again enhancing the quality of bokeh.

Another upgrade in the Mark II lens answers the criticism that autofocus speed in the original version was a bit pedestrian. The Linear Super Sonic Wave AF Motor of the previous lens has been swapped out to not just one, but two XD (extreme dynamic) linear motors. These aim for super-fast autofocus, which Sony claims is three times faster than in the original lens in AF-S mode. The speed increase also supports tracking at 120fps capture rate, with a seven-fold improvement for tracking moving subjects.

Catering to videographers as well as stills photographers, the Mark II inherits the click/de-click switch of the original lens, the latter mode enabling smooth, step-free aperture transitions when shooting movies. I also like that an Iris lock switch has been added, helping to avoid accidental changes when setting the aperture direct from the camera body in the lens’s ‘Auto’ setting.

Sony FE 85mm F1.4 GM II: Performance

The original Sony FE 85mm F1.4 GM was super-sharp at most aperture settings but sharpness dropped off noticeably at very wide apertures. That’s been addressed in the redesigned optical layout of the Mark II, which remains almost unbelievably super-sharp even wide-open at f/1.4. It’s perhaps not an overwhelming advantage for portraiture, where you don’t want to draw full attention to every tiny blemish, but it’s naturally easier to apply a little softening if needed, rather than trying to inject sharpness that isn’t there.

Axial chromatic aberration or ‘bokeh fringing’ can be problematic with fast lenses, causing color fringing around high-contrast edges just in front of or behind the plane of focus. The Mark II does well to minimize this and gives a really nice, natural-looking roll-off between focused and defocused areas. Bokeh itself is dreamy-soft and, pictorially, looks a little smoother than in the original lens.

Autofocus speed lives up to its billing, and is noticeably quicker than in the original lens. That can be a help when you’re trying to nail definitive moments and capture fleeting expressions in portraiture. Resistance to ghosting and flare is also enhanced by the new second-generation Nano AR coatings.

Sony FE 85mm F1.4 GM II: Sample Images

This gallery of images was taken with a Sony A7 II in and around Wells Cathedral and the adjacent Bishop’s Palace Garden, in the UK city of Wells.

Sony FE 85mm F1.4 GM II: 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 the whole image frame from edge-to-edge and corner-to-corner are simply spectacular when shooting wide-open at f/1.4, and streets ahead of from the original lens. And they get even better when you stop down a little to f/2. Suffice it to say that this Sony is one of the sharpest lenses I’ve ever seen.

Fringing:

There’s very little difference in color fringing between this Mark II lens and the original Sony FE 85mm G Master. They both perform very well in this respect, keeping fringing to a minimum.

Distortion: 0.56

There’s the slightest touch of pincushion distortion with automatic in-camera correction disabled but it’ll generally go unnoticed in real-world shooting, rather than taking photos of lab test charts.

Sony FE 85mm F1.4 GM II: Verdict

It’s hard to improve on a lens that’s already so good but I feel that Sony has done a great job in making the FE 85mm F1.4 GM II even more ‘perfect’. It’s sharper wide-open at f/1.4, the quality of bokeh is even better, and autofocus speed is much faster. For handling, I’m pleased that the new lens gains an additional function button, much easier to get at in portrait orientation shooting, plus an Iris lock switch to avoid any accidents with aperture settings. I didn’t feel that the original lens was exactly heavy, but the reduced weight does make the Mark II lens even easier to live with. All in all, it’s a stellar lens for portraiture, still life and any other time when a fast short telephoto prime fits the shooting criteria.

Alternatives

It's no secret that the retro look of film photography is back – and not just the celebrated film you might find on a Salgado or Adams print, but the nostalgic Nineties film look seen in family albums that were captured with film cameras. PolarPro has just made achieving this look in-camera easier with the release of its LightLeak lenses.

The PolarPro LightLeak range enables you to capture the nostalgic analog feel on the latest mirrorless cameras, by intentionally add light leaks to images. The unique lenses are designed for APS-C sensors and are available in three focal lengths, 16mm 28mm and 50mm (which translates to 24mm, 42mm and 75mm in equivalent terms, or 26mm, 49mm and 80mm on Canon cameras), offering wide to light telephoto range.

Light leaks used to be a byproduct of light accidentally leaking into the camera and exposing a streak on the film. Today it is a stylistic choice chosen by many to emulate the quirks of film, made famous by filters used on social media.

You might be asking yourself why you might use these lenses on cameras that are capable of shooting clean, crisp images, but these lenses are less about clinical precision and more about capturing the mood and moment. They seek to bring back some personality to modern cameras, which can often be too clinical. 

Above: A sample gallery of images taken with the PolarPro LightLeaks

The LightLeak lenses promise to provide "rich colors, natural grain, and light leaks" as you would get with an analog camera and film. Much like a disposable camera the lenses are fixed focus from 3.3ft / 1m to infinity, meaning once you set the focus in the camera it's locked.

The lens also has a fixed aperture of f/11, providing sufficient depth of field to make sure everything is in focus.

The shape and direction of the light leak are determined by rotating a ring on the lens. Alternatively, you can choose to have no light leaks and simply enjoy the ability to capture grain and retro colors.

The design of the lens is as you'd expect from PolarPro, with a sleek aluminum housing and protective lens caps that also look sleek and stylish.

The PolarPro LensLeak lenses are available now for Fujifilm X, Sony E, Canon RF and Nikon Z mounts. Individually they cost $129 / £100, but they are also available as a full set for $349 / £270 (Australian pricing to be determined).

You may also be interested in our guides to the best film cameras, the best film stocks, and the best retro cameras.

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

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

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

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

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

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

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

Several rumor sites are swirling with excitement over the idea that DJI is preparing to announce a new mirrorless system camera in September – that's next month – with the goal of competing directly with Canon, Nikon and Sony.

The source of this rumor seems to be an enthusiastic YouTube post by Andrea Pizzini – with some AI-generated images of a DJI mirrorless camera. While it is probably important to note he offers no concrete evidence, and Pizzini to be attempting to launch a DJI rumor site on the back of this video, there is still something to be said for the idea.

In response to the rumor, a DJI spokesperson said: "The interest in DJI is appreciated, however, we don’t comment on new product rumors. Please keep an eye on our official channels for information relating to the release of any new products."

As I said, Pizzini hasn't got much of a track record when it comes to this kind of information, and it is likely from other DJI rumors about drones that DJI will have a launch in September in any case, DJI would actually be very well-placed to produce a mirrorless camera, so – for fun – let's delve a little further.

For one thing, DJI knows camera tech inside out, admittedly – arguably – with a video bias. Even if we set aside drones, DJI already produced a number of cameras without mirrors – including the best action camera and other interesting products like the Osmo Pocket 3.

At the higher end, where it is more logical to think of competing, DJI have its Ronin 4D cameras which have caught the attention of many cineamatographers. Shooting in 8K and with a built-in gimbal, it's a sophisticated device – and much pricier than a typical mirrorless camera – but it shows the company has all the technical competence. The design also shows an approach to design with none of the baggage that established brands bring.

If you're asking "What about lenses?" then it's worth remembering that DJI is a member of the Micro Four-Thirds (MFT) alliance, and already has a number of lenses which fit that system. It has used them for the Inspire 3 and other drones in that series, as well as other higher-end drones.

DJI also makes its own, albeit limited, range of full-frame lenses with its own DL-mount for use with the Ronin 4K and the Zenmuse X9 drone camera. Some choose to see the Ronin Cinema Cameras as versions of the Inspire that don't fly, but however you see it it is capable not only of accepting DL-mount lenses but M-Mount, E-Mount and L-Mount (DJI have a compatibility guide) suggesting a good amount of homework has already been done.

In terms of customer base, Pizzini makes a very good point in his video about the blurring of the high-end consumer market, which DJI would be well-placed to address. The company is also very experienced at using apps and remote connectivity thanks to its numerous drones, and both of these technologies could be revolutionary for anyone looking for a video-focused or streaming-friendly device.

None of the established brands have been especially quick to embrace apps in the way that DJI's drones do as a matter of course. If there is any truth in this rumor (and, again, we've got nothing concrete) then it has to be said that camera lines like Sony's vlogger-focused ZV-E10 might be the kind of territory it would make sense for DJI to go for.

Built-in support for DJI's wireless microphones (like the DJI Mic 2) would also be a great selling point – personally I see these in a lot of YouTube videos these days.

There are of course a lot of reasons why this might not be true – not least the political issues DJI faces in the USA. It's also worth pointing out the huge difference in price point betwen the vlogger cameras and even mainstream mirrorless market and DJI's Ronin cinema cameras.

Nonetheless, the company has quickly expanded into new markets and price points, especially since moving to its Sky City HQ. These include power stations and video transmission tech. Why not the best mirrorless camera, next?

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

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

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

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

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

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

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

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

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

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

The retro aesthetic is in, and with retro cameras come retro lenses – and the new Silver edition of the TTArtisan AF 27mm f/2.8 could be the missing piece to unlocking your full retro setup. 

The popularity of the vintage aesthetic has been increasing, so much that mirrorless camera manufacturers are taking influence from the past – pretty much all the best Fujifilm cameras are prime examples.

The new silver TTArtisan lens would pair nicely with silver cameras such as the Fujifilm X-T50 and Nikon Z fc, as the APS-C lens is available for Fujifilm X mount, Nikon Z mount and Sony E mount.

It must be noted that this is a new colorway and not a new lens, as the TTArtisan AF 27mm f/2.8 was initially released last year. That being said, I do believe it is a lens that has been slept on a little bit.

Right off the bat, it costs under $150 / £170 / AU$240! As good a reason as any to pick up this nifty little pancake, as cheap AF lenses like this are becoming a rare occurrence. However, despite the small price tag, it also has some great features that can make it fantastic for capturing everyday life.

The 27mm is equivalent to just over 40mm on a full-frame camera, an ideal all-rounder and one of my favorite focal lengths for street photography. The wide f/2.8 aperture is also generous, and in our review of the lens we noted great sharpness and contrast, although a slight vignette when used wide open.

The compact pancake size facilitates easy carrying and storing in bags, and even pockets if your camera is small enough. Inside the small form factor is an STM stepping motor which provides quick and efficient autofocus, enabling the user to react quickly without missing the shot.

Other notable features include a USB-C interface for firmware updates, a clicked aperture ring, and anti-shake enabling smooth video capture.

The TTArtisan AF 27mm f/2.8 lens is available now in the new silver and black colorways for an absolute steal at $149 / £169 / AU $239.

You may also be interested in our guides to the best pancake lens, the best lens for street photography and the best cheap lenses.

Yongnuo is a Chinese camera and lens manufacturer that focuses on delivering premium optics with an entry-level price tag. Over recent years its standard of development has risen, but Yongnuo has kept its attractive prices – and now it has announced a new autofocus lens packed with tech for just over $400!

The Yongnuo YN23mm f/1.4 DA DSM WL Pro has officially been announced and although packed with great features, it will fit comfortably in our guide to the best cheap lenses.

The lens is designed for APS-C sensors, meaning the 23mm focal length is the equivalent of 35mm on full-frame bodies – a common focal length for street photography and reportage, and a great all-arounder for photography and video.

Initially available for Nikon Z mount, both Fujifilm X and Sony E mount versions are scheduled for a future date.

Much like the Yongnuo YN33mm f/1.4 DA DSM WL Pro, released earlier this year, it comes complete with a wireless remote that enables the user to control aspects of the lens from a distance. 

The small controller facilitates changes to aperture and focus via a 2.4GHz radio frequency wireless link, meaning it's a great option for video.

The lens also promises great photography capabilities. Constructed of 11 elements in 9 groups, with 9 aperture blades, and a wide max aperture of just f/1.4, the lens offers great bokeh and falloff in the out-of-focus areas.

Other notable features include a quick and accurate AF stepping motor, a minimum shooting distance of just 0.3m, a control ring, customizable buttons and switches, a USB-C interface for firmware updates, and multi-layer lens coating.

The Yongnuo YN23mm f/1.4 DA DSM WL Pro is available now for Nikon Z mount for just $420 (converted from the US$276 price tag).

You may also be interested in our guides to the best cheap lenses, the best Nikon lenses, and the best wide-angle lenses.

Yongnuo is a Chinese camera and lens manufacturer that focuses on delivering premium optics with an entry-level price tag. Over recent years its standard of development has risen, but Yongnuo has kept its attractive prices – and now it has announced a new autofocus lens packed with tech for well under $300!

The Yongnuo YN23mm f/1.4 DA DSM WL Pro has officially been announced and although packed with great features, it will fit comfortably in our guide to the best cheap lenses.

The lens is designed for APS-C sensors, meaning the 23mm focal length is the equivalent of 35mm on full-frame bodies – a common focal length for street photography and reportage, and a great all-arounder for photography and video.

Initially available for Nikon Z mount, both Fujifilm X and Sony E mount versions are scheduled for a future date.

Much like the Yongnuo YN33mm f/1.4 DA DSM WL Pro, released earlier this year, it comes complete with a wireless remote that enables the user to control aspects of the lens from a distance. 

The small controller facilitates changes to aperture and focus via a 2.4GHz radio frequency wireless link, meaning it's a great option for video.

The lens also promises great photography capabilities. Constructed of 11 elements in 9 groups, with 9 aperture blades, and a wide max aperture of just f/1.4, the lens offers great bokeh and falloff in the out-of-focus areas.

Other notable features include a quick and accurate AF stepping motor, a minimum shooting distance of just 0.3m, a control ring, customizable buttons and switches, a USB-C interface for firmware updates, and multi-layer lens coating.

The Yongnuo YN23mm f/1.4 DA DSM WL Pro is available now for Nikon Z mount for just $276 (approximately £220 / AU $420).

You may also be interested in our guides to the best cheap lenses, the best Nikon lenses, and the best wide-angle lenses.

Thypoch is a relatively new player in the photography world, but it has quickly made a name for itself with a focus on producing high-quality, manual-focus lenses. While its first lenses were designed for Leica’s M series of cameras, Thypoch is now expanding these lenses to other mounts, quickly adding the Canon RF, Nikon Z, and Sony E mounts, as well as the version I am testing here – for Fujifilm X-Series cameras. 

So far the company’s lineup includes just a couple of focal lengths, catering mostly to street, landscape, and travel styles of photography with a Simera 28mm f/1.4 and Simera 35mm f/1.4 being the first, and currently only, two lenses in the Simera range. Thypoch also has a curious collapsible 50mm f/2 lens in a separate Eureka range that I also really enjoyed playing with.

A counter to the growing number of cheap lenses flooding the market from Chinese lens manufacturers, Thypoch has become recognizable for its robust metal construction and intricate designs and can be mentioned in the same breath as companies like Vogitlander. Thypoch lenses have become pretty instantly popular among Leica photographers who value precision and durability, but also optical quality.

But, while Leica cameras are made for lenses exactly like this, how well is the Thypoch Simera 28mm f/1.4 going to transition to Fujifilm and other more modern autofocus-first cameras?

Thypoch Simera 28mm f/1.4: Specifications

Thypoch Simera 28mm f/1.4: Price

At around $649 / £660 / AU$1,058, the Thypoch Simera 28mm f/1.4 lens offers great value for its price, with high optical quality, a wide aperture, and outstanding build quality. It is around $150 cheaper than the closest Fujifilm XF 23mm f/1.4 R LM WR lens, although you of course miss out on the autofocus of that lens, as well as weather sealing. But while it is a bit cheaper, it isn’t quite as drastic of a contrast as the price between the Leica mount version of the Simera and Leica's own brand lenses, which is more like a $7000 difference.

Thypoch Simera 28mm f/1.4: Design & Handling

The Simera 28mm features an all-metal body, lending a premium feel and durability. The lens really is exquisitely designed, with lots of little touches that make it a real pleasure to use. The lens is available in black and silver finishes, and both come with matching square lens hoods. The black version has a silver ring on the front though, which is one design choice I could have done without.

The lens's compact size is well-suited for most Fujifilm cameras, and using it on my Fujifilm X-T5 the lens looked well-proportioned. Despite the metal construction, the lens was relatively balanced as well and didn't feel front-heavy, although it does weigh a reasonably heavy 347g for its compact size. For comparison, the Fuji 23mm does weigh 28g more, but it's a much larger lens with more glass and includes autofocus motors, and the wonderful, but aging, Fujifilm XF 35mm f/1.4 R lens is only around half the weight (187g). 

The aperture ring clicks decisively into place between stops, providing tactile and audible feedback and making it easy to adjust settings on the fly without taking your eye off the viewfinder. There is also a switch on the bottom to de-click the ring if you want to use the lens for video (or just hate the clicking) which is a nice feature. Thypoch’s really well-designed focus scale is also so enjoyable to use, with little red dots appearing on the lens to guide which areas of the shot will be in focus at different apertures.

The manual focus ring is smooth and well-damped and facilitates some precise focusing. I am happy that for this version Thypoch decided to ditch the focus lock switch from the Leica version of the Simera, as I didn’t find it that useful. The focus ring's textured surface also enhances grip but the larger thumb rest on the focus ring is quicker and more comfortable to use. 

However, just one drawback to an otherwise very well-designed lens is the lack of weather sealing, which could be a consideration for photographers frequently shooting in wet, dusty, or sandy conditions. 

Thypoch Simera 28mm f/1.4: Performance

The optical performance of the Simera 28mm f/1.4 is exceptional. It produces sharp images with impressive clarity from the center to the edges of the frame. Even wide open at f/1.4, the lens manages to maintain a good degree of sharpness, with only minimal softness at the edges that diminishes pretty quickly when stopped down. 

However, there was a fair amount of vignetting wide open, although from f/2.8 onwards this was a lot better, and it was gone by f/4. Otherwise, distortion is well-controlled, as was flaring. There was the occasional bit of purple color fringing around harsh backlit scenes but this can easily be nixed in editing software. 

The lens excels in low-light situations thanks to the wide f/1.4 aperture, which is a bonus for Fujifilm cameras and their APS-C sensors having less light-gathering ability than full-frame rivals. The wide aperture allows for faster shutter speeds and lower ISO settings, so cleaner images – if you don’t add any Fujifilm grain of your own that is.

The bokeh produced by the Simera 28mm is smooth and pleasing, with a 14-blade diaphragm contributing to the creamy background blur that makes subjects stand out. The lens also has its own distinct look to it, which I think might be a holdover from the original design being for Leica cameras, but there is a certain style to out-of-focus areas of images that the Fujifilm lenses don’t produce.

The lens's close focusing distance of 0.4 meters isn’t going to produce any stunning macro detail, but it's close enough to enable some creative reasonably close-up shots.

Thypoch Simera 28mm f/1.4: Sample Images

Thypoch Simera 28mm f/1.4: Verdict

The Thypoch Simera 28mm offers excellent build quality, optical performance, and a distinctive look that rivals more expensive lenses. The lens is manual focus only, however, it can be used with Fujifilm’s focus peaking and other focus guides and manual focus is smooth and precise. Image quality is great, with sharpness across the frame, although a little vignetting wide open. Background falloff is smooth and creamy, and the Simera has really pleasing characteristics not exhibited by Fuji's own lenses.

The build quality is the biggest draw to this lens, with an exceptional all-metal construction that looks very premium and feels really nice in the hand. A joy to use – and the aperture ring offers either precise clicked stops or smooth cycling through apertures at the flick of a switch. The depth of field indicator also is a quirky design flourish that I really enjoy.

The Thypoch Simera 28mm f/1.4 lens is a fantastic option for Fujifilm users looking for a high-quality prime lens at a reasonable price, however while the Simera was drastically cheaper than the Leica’s it was first introduced against – the savings are not that substantial versus the Fujifilm XF 23mm f/1.4 R LM WR lens with its autofocus and weather sealing, so it depends on how much you value a manual focus experience and the unique characteristics of the Simera range.

Alternatives

Sigma has announced a firmware update that enables several of its E-mount lenses to be compatible with the maximum 120fps burst shooting rate of the Sony a9 III. Three lenses have been given the update:

• 50mm F1.4 DG DN | Art Ver.02 (Sony E-mount)
• 105mm F2.8 DG DN MACRO | Art Ver.04 (Sony E-mount)
• 14-24mm F2.8 DG DN | Art Ver.04 (Sony E-mount)

Read more: Sony a9 III full review

We were stunned by the a9 III and its incredible global shutter that enables 120fps full-resolution RAW continuous shooting, with no strings attached. Except that last bit was only true providing you were using the camera with a supported Sony lens - third-party lenses from the likes of Sigma were not compatible with the maximum 120fps burst shooting rate. Whether or not that was because of legitimate technical reasons, or just because Sony was intentionally restricting this stand-out feature for use with its own lenses, is up for debate. But now it is available with select Sigma optics, albeit still with a rather large caveat!

While these Sigma lenses are now compatible with the a9 III's 120fps mode, this is only when used in AF-S, DMF or MF focussing modes. You can't use AF-C; the very focussing mode you're most likely to want when shooting a continuous burst of stills. Granted, you'll still be able to track subjects moving across the image frame at a consistent distance from the camera, but you won't be able to maintain focus of a subject like a cyclist or racing car that's approaching you.

Of course it is plausible that only Sony lenses have the necessary processing ability to facilitate AF-C autofocus at 120fps. But on the other hand, Sigma is more than capable of producing world-beating optics with top quality AF, so we can't help but wonder if this is just Sony artificially reserving uncompromised 120fps a9 III burst shooting for use with its own lenses.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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