There is something rather special about a Leica Reporter camera. That understated military-green finish, combined with Leica's unmistakable design, makes it one of the most attractive cameras around. However, finding a lens that complements that distinctive aesthetic without spending a small fortune isn't always easy. Well, TTArtisan might just have the answer, as the company has introduced a gorgeous new green version of its AF 50mm f/1.8 Neo lens, and at just $89, it could be the perfect companion for Leica SL Reporter owners.

The new colorway joins a titanium finish, expanding the company's affordable Neo lineup beyond the original black version. While the green edition is particularly appealing for Leica's Reporter cameras, the lens is available in Leica L-mount, Sony E-mount, and Nikon Z-mount versions, making it an attractive option for photographers across several mirrorless systems. Personally, I think the green version is the standout here, especially when paired with Leica's rugged Reporter styling. It has that wonderfully understated, almost utilitarian appearance that I love, and for less than $100, it's hard not to be tempted.

Underneath its colorful exterior, the TTArtisan AF 50mm f/1.8 Neo remains the same compact, full-frame autofocus prime lens that launched earlier this year. It features a bright f/1.8 maximum aperture, making it a useful choice for portraits, street photography, and everyday shooting, while its STM stepping motor provides autofocus without the need to focus manually. The optical construction consists of 12 elements in eight groups, including two ED elements and four high-refractive-index elements, while a minimum focusing distance of 0.48m (1.57ft) allows photographers to get reasonably close to their subjects. Weighing approximately 156-167g, depending on the mount, it's also exceptionally lightweight, making it an appealing option for anyone who wants to travel light.

Of course, achieving that incredibly affordable price means making a few compromises. The Neo series takes a minimalist approach, with no physical aperture or manual focus ring, meaning photographers are reliant on their camera's controls and autofocus system. That might disappoint traditionalists, particularly Leica enthusiasts who enjoy the tactile experience of adjusting a lens manually. However, for photographers who simply want an inexpensive autofocus 50mm lens that looks fantastic on their camera, I can certainly see the appeal. After all, not every lens needs to be an expensive piece of optical engineering to make photography enjoyable.

The TTArtisan AF 50mm f/1.8 Neo in green and titanium is priced at just $89, with preorders available through B&H Photo at $89. A matching lens hood is included, completing the look. While I wouldn't expect this lens to challenge Leica's premium Summicron or Summilux optics, that really isn't the point.

What TTArtisan has created is a fun, affordable, and visually appealing alternative that gives photographers another reason to enjoy their cameras. And if I owned a green Leica SL Reporter, I'd certainly be tempted to add this little lens to my

Leica might be about to bring back another classic lens, and if the latest rumors are anything to go by, we could soon see a new Summaron-M 35mm f/2.8 joining the legendary M-mount lineup.

According to reports from Leica Rumors, subsequently picked up by Japanese photography website Digital Camera Life, Leica is reportedly preparing to revive the historic 35mm lens for around €2,000 ($2,240 / £1,685).

Now, as someone who has spent years shooting with Leica cameras and has always had a soft spot for the brand's older glass, this is exactly the sort of announcement that gets me excited. However, while I would absolutely love to see another classic Summaron return, there is one part of this rumor that I am finding particularly difficult to believe, and that is the price.

To put things into perspective, Leica already offers the beautiful Summaron-M 28mm f/5.6, a modern recreation of its classic 1950s design, which currently costs around $3,600 / £2,750. That is an extraordinary amount of money for a relatively slow, manual-focus lens, but then again, this is Leica we are talking about.

The company has never positioned itself as the affordable choice, and much of the appeal comes from its craftsmanship, heritage, and unmistakable approach to photography. So, while the idea of a newly manufactured Summaron-M 35mm f/2.8 arriving for just €2,000 sounds wonderful, I cannot help but think that figure is a little optimistic, especially given the pricing of Leica's existing 35mm lenses.

Interestingly, the secondhand market tells a rather different story. The original Summaron 35mm f/2.8, which was produced between 1958 and 1974, can still be picked up for around $1,500 / £900, depending on its condition and version. Meanwhile, its older and arguably more characterful sibling, the Summaron 35mm f/3.5, can often be found for as little as $550 / £400.

The latter was produced in much larger numbers, predominantly in the older Leica Thread Mount (LTM) screw fitting, although native M-mount versions were also produced in smaller quantities, and screw-mount examples can be adapted for use on modern Leica M cameras. For photographers who appreciate classic rendering rather than absolute optical perfection, it remains one of the most interesting and relatively affordable ways to experience vintage Leica glass.

And this is where my personal preference comes into play. While I can certainly understand the appeal of Leica bringing back the Summaron-M 35mm f/2.8, I would actually be far more excited to see a modern recreation of the earlier 35mm f/3.5. I have admired this lens for years, particularly for its wonderfully old-fashioned rendering, with that almost uncoated-looking character, gentle glow around highlights, and beautifully restrained contrast. There is something rather magical about the way these older lenses handle light, particularly when shooting black-and-white photography, where the flatter tonal profile can give images a timeless, almost cinematic quality. In a world where manufacturers are constantly chasing sharper corners, greater contrast, and clinical optical perfection, I find myself increasingly attracted to lenses that do precisely the opposite. In fact, I have often considered buying an original Summaron 35mm f/3.5 just to experience that character on my digital Leica cameras.

Which brings me back to that rumored €2,000 price tag. If Leica really is planning to introduce a more affordable classic Summaron, I would personally think a recreation of the slower 35mm f/3.5 makes considerably more sense. It would offer something genuinely different from the company's current 35mm lineup, appeal to photographers who love vintage rendering, and potentially sit at a more accessible price point without stepping too heavily on the toes of its modern Summicron and Summilux lenses. Better still, if Leica could preserve the original's wonderful optical personality while adding the convenience and build quality of a modern M-mount lens, I think it could be an absolute winner. At around €2,000, I would genuinely struggle not to be among the first to place an order.

Of course, if the rumors are correct and Leica really is preparing a Summaron-M 35mm f/2.8 instead, I would still welcome it with open arms. I simply cannot see Leica selling such a lens for €2,000 when its current 28mm f/5.6 costs considerably more. If I had to make an educated guess, based purely on my experience of the brand and its pricing over the years, I would expect something closer to €3,000 ($3,360 / £2,525) for a modern 35mm f/2.8 recreation. And if Leica somehow manages to surprise us all and bring it to market for less than that, I would consider it something of a bargain by Leica standards.

For now, though, we must take all of this with a generous pinch of salt. Leica has not officially confirmed that a new Summaron is coming, let alone which version it might revive or how much it would cost. The rumored specifications and pricing could change, or the lens might never materialize at all. Nevertheless, I love the idea of Leica continuing to celebrate its extraordinary optical heritage rather than simply chasing the next technical breakthrough.

Whether that means a new Summaron-M 35mm f/2.8 or, as I am secretly hoping, a recreation of the gorgeous little 35mm f/3.5, I would be delighted to see another classic return. I just wouldn't get too attached to that €2,000 price tag quite yet.

Check out our guide to the best Leica M lenses you can buy right now

The Canon RF 28-70mm f/2 L USM is a popular pro lens thanks to an unusually bright aperture – but a recent patent indicates that the optical engineers at Canon are exploring the possibility of an even longer f/2 zoom.

A recent patent published in Japan details a design for a compact, high-performance zoom lens that uses three or more focusing groups rather than the current RF series’ more typical two. Tucked in among the different patent drawings for potential lenses with such a design is a 70-200mm f/2 lens.

The patent, published in Japan on October 16 and first spotted by Canon Rumors , details a design that uses three focusing groups in order to create smaller zooms. While the patent isn’t specifically for one lens, the drawings reference a potential 70-200mm f/2 among even lenses like a 50-85mm f/1.4.

The challenge of making a bright zoom is making it small enough to carry at the same time. Reducing the size of a zoom means bringing optical groups closer to each other. The problem with that, the patent says, is that it leaves no room for the autofocus groups.

The patent hints that using “three or more” focus units could help shorten that distance, making it possible to create a bright zoom lens while avoiding a significant increase in size to get that brighter aperture.

The patent isn’t Canon’s first to reference using more than two focus groups. Another patent earlier this year from Canon explored using three focus groups to increase focusing performance.

Using more focus groups isn’t a completely new idea for Canon either – the company’s Dual Nano USM lenses use two autofocus motors. The newer VCM or Voice Coil lenses often pair the magnetic VCM system with a second smaller Nano USM autofocus motor, like with the Canon RF 35mm f/1.4L VCM.

The recent patent details several potential designs that could use three autofocus groups in order to create a brighter aperture without creating an overly heavy lens. But the possibility of a 70-200mm f/2 is drumming up a bit of excitement, considering how popular the 28-70mm f/2L USM lens is.

The Canon 28-70mm f/2L USM uses an ultrasonic autofocus motor and cuts some of the wide angle off of a more typical 24-70mm – but the lens is still notably heavier than the 24-70mm f/2.8L IS USM.

At 3.1 pounds / 1430g, Canon’s 28-70mm f/2L is actually heavier than the RF 70-200mm f/2.8L IS USM. That’s a perfect example of just how challenging making a reasonably sized 70-200mm with a bright f/2 would be.

Canon’s patents hint at what the company is working on behind the scenes – but the existence of a patent doesn’t guarantee that such a design will eventually become a real product. Canon often sets records for the number of patents filed in a year, which means many of them don’t become actual products. That leaves the concept of a 70-200mm f/2 zoom as wishful thinking and rumors, for now.

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Take a look at the best Canon RF lenses for more inspiration.

Until now if you wanted to go really wide with a Fujifilm GFX camera, your widest option would have been the Laowa 15mm f/4.5R Zero-D Shift Lens, while Fujifilm's widest GF offering would be the GF20-35mmF4 R WR. But now AstrHori has absolutely smashed the wide-angle record for GF-mount lenses with its new MF 8mm F2.4 Circular Fisheye Lens. For context, an 8mm medium format focal length equates to just 6.3mm in full-frame terms, and it results in a colossal 220-degree field of view. That's so wide that this lens can actually see behind itself, and it also means you've even got to be careful when hand-holding the camera, as your own fingers may start encroaching into the image frame!

Obviously being a circular rather than rectilinear fisheye lens, this field of view means each shot will contain a circular image projection within a black frame, and distortion will be integral to the circular rendering, but that's all part of the fun.

Despite the immense field of view, the lens itself is surprisingly compact for a medium format optic, measuring just 62mm long and weighing in at 517g. Focussing is manual only, but that's really no issue with a lens with such a short focal length, as depth of field will be huge, even at the maximum f/2.4 aperture. This is also fast enough to make the lens suitable for astrophotography, should you want to capture more of the night sky than ever before in a single frame.

Inside the metal barrel is a 10-element optical stack arranged in 8 groups, containing two extra-low dispersion elements and two high refractive index elements to help reduce chromatic aberrations - vital on a lens with such a wide field of view. The aperture diaphragm is comprised of 10 blades, which has the potential for creating smoother bokeh, but you'll have to fully exploit the 0.1m minimum focus distance to create anything close to a shallow depth of field with a lens this wide.

The AstrHori 8mm f/2.4 Circular Fisheye Lens is available to pre-order now, in either Fujifilm GF or Hasselblad X mounts, each priced at $398, which is makes this one of the least expensive new medium format lenses available.

Pre-order now from B&H

All listed lens models in the latest Top 10 chart published by major Japanese retailer Yodobashi are zoom lenses. This might not be a big surprise, as zoom optics are a popular choice among photographers of all levels and all genres. While one manufacturer dominates the ranking, a third-party model, described as a "high-flying all-in-one superzoom," is the real showstopper.

Yodobashi shares that in the second half of September, the No.1 spot goes to the Sony FE 24-70mm f/2.8 GM II, followed by the Sony FE 70-200mm f/2.8 GM OSS II and Sony FE 100-400mm f/5.6-8 OSS. The manufacturer dominates the chart with a total of four models, including the Sony FE 16-35mm f/2.8 GM II at No.10.

However, the third-party lens that stands out – which is the only third-party zoom in the chart – is the Tamron 25-200mm f/2.8-5.6 Di III VXD G2 for Sony E-mount in fifth place. Here's why the optic is a great all-in-one travel solution and its catch.

Yodobashi's 10 best-selling lenses (2nd half Sep 2026)

1. Sony FE 24-70mm f/2.8 GM II
2. Sony FE 70-200mm f/2.8 GM OSS II
3. Sony FE 100-400mm f/5.6-8 OSS
4. Canon RF 70-200mm f/2.8 L IS USM Z | White | Black
5. Tamron 25-200mm f/2.8-5.6 Di III VXD G2 (E-mount)
6. Canon RF 100-400mm f/5.6-8 IS USM
7. Nikon Z 70-200mm f/2.8 VR S II
8. Nikon Z 24-120mm f/4 S
9. Nikon Z 180-600mm f/5.6-6.3 VR
10. Sony FE 16-35mm f/2.8 GM II

The "high-flying all-in-one superzoom"

Available for $899 / £729 for Sony E-mount, the Tamron 25-200mm f/2.8-5.6 Di III VXD G2 is a lens that can "genuinely replace a pair of standard and telephoto zooms," as DCW reviewer Matthew Richards states. And with the V3 firmware, you can also shoot macro subjects.

The only catch with this super-all-in-one solution is that it's only available for Sony cameras. Photographers working with other systems are missing out.

For Nikon shooters, the own-brand Nikon Z 24-200mm f/4-6.3 VR would be a great choice. While this lens is not listed in the Top 10, it adds optical stabilization and has marginally more wide-angle coverage, available for $846.95 / £879.

The Canon RF 24-240mm f/4-6.3 IS USM is an option for RF-mount, available for $949 / £959. While it features a slower aperture, it provides a wider focal length at the short end and a longer focal length at the telephoto end.

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Browse the best Sony lenses, the best Nikon Z lenses, and the best Canon RF lenses. We also curated a guide to the best standard zoom lenses and telephoto lenses.

Voigtländer is celebrating 100 years of its legendary Skopar lens with a rather beautiful special edition of one of its most recognizable optics.

The new Color-Skopar 35mm f/2.5 Skopar 100th model takes the tried-and-tested formula of the long-running Color-Skopar 35mm f/2.5 P II and gives it an elegant silver makeover, complete with a matching metal lens hood and a specially designed aluminum rear cap.

It's a fitting tribute to a lens name that has been part of photographic history for an entire century, and one that should certainly catch the attention of Leica rangefinder enthusiasts.

One of the biggest attractions of the Color-Skopar has always been its remarkably compact design, and this anniversary edition is no different. Measuring just 23mm in length, it's an incredibly slim lens that looks perfectly at home on a Leica M camera.

Despite its small dimensions, Voigtländer hasn't compromised on the handling experience, with a carefully shaped focusing lever that sits naturally beneath your finger and a beautifully tactile aperture ring with precise clicks. It's the sort of mechanical simplicity that makes shooting with a manual-focus lens so enjoyable, particularly for street and documentary photographers who appreciate a more considered approach to photography.

The anniversary treatment extends beyond the silver finish, with Voigtländer including a specially designed metal bayonet-mount hood featuring distinctive slits. Not only does it complement the overall appearance of the lens, but its design also helps minimize viewfinder obstruction when shooting with a rangefinder camera.

There's also a rather unusual three-piece rear lens cap, precision-machined from aluminum to provide a premium metallic finish without adding unnecessary weight. These might seem like small details, but they're exactly the sort of touches that make a commemorative lens feel a little more special.

Sample images

Underneath that elegant exterior, the Color-Skopar retains the traditional manual-focus experience that has helped make Voigtländer lenses so popular among rangefinder photographers.

Its all-metal helicoid focusing mechanism is precision-machined and carefully adjusted, while specially selected grease provides the right amount of resistance for smooth, accurate focusing.

The lens also features a high-precision rangefinder coupling mechanism, allowing photographers to focus accurately through compatible rangefinder cameras, even when shooting at wider apertures.

The Color-Skopar 35mm f/2.5 Skopar 100th model features a VM mount compatible with Leica M-mount cameras, although it can also be adapted for use with modern mirrorless systems.

Its full-frame image circle makes it suitable for both 35mm film and full-frame digital photography, while the compact design is particularly appealing to photographers who want to keep their camera setup as small and unobtrusive as possible.

For those who appreciate the craftsmanship, simplicity, and character of traditional rangefinder photography, this anniversary edition is a lovely reminder that sometimes the most appealing lenses aren't necessarily the biggest, fastest, or most complicated.

Check out our guide to the best Leica M-mount lenses

Back in July we reported on the announcement of Voigtländer's new APO-Lanthar 90mm F4 Close Focus VM; a compact medium-telephoto prime lens designed for full-frame Leica M-mount rangefinder cameras.

It was originally scheduled to arrive in August 2026, but after a slight delay we can now confirm that the lens available to buy from B&H in the US and Wex in the UK, either in black or silver finishes, both priced at $749 / £599.

The APO-Lanthar name denotes that the lens is 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.

Inside the APO-Lanthar 90mm F4 Close Focus VM you'll find eight elements arranged in seven groups, with six elements made from anomalous partial dispersion glass which is said to deliver high resolution, strong contrast, and consistent performance across the frame.

Despite its advanced optical design, the lens measures just 54.8mm long and weighs only 235g. The compactness is helped by the relatively f/4 modest maximum aperture, which negates the need for the large elements which would be required for f/2.8 and faster optics. Another benefit of the smaller barrel size is it reduces viewfinder blockage when the lens is used with an optical rangefinder.

Image samples

Close-focusing performance is another major aspect of the lens’s appeal. The APO-Lanthar 90mm f/4 Close Focus VM can focus down to 0.5m, extending beyond the typical 0.7m limit for many rangefinder-coupled lenses.

At its closest setting, it offers a maximum magnification of 0.28x, while Voigtländer says the apochromatic correction helps maintain image quality even when photographing subjects up close.

The lens also includes a high-precision rangefinder coupling mechanism, an all-metal helicoid for smooth focusing, and a click that identifies the point where focusing moves beyond the coupled range.

A compact dedicated metal hood is included, extending by only around 9mm to reduce flare without significantly interfering with the camera’s framelines.

Can a lens ever be cute? Well, I think this Sigma is. It’s super-small, slender and lightweight, and looks a little beauty. And it looks pretty remarkable as well. I’ve known professional photographers who almost always shoot with prime lenses on their full-frame cameras. If they do have a zoom lens, it’s likely to be one of the best 70-200mm f/2.8 lenses. It’s a classic telephoto choice that combines a versatile zoom range with a fairly fast and constant f/2.8 aperture, making it one of the best choices of wedding and event photography lenses, and more besides.

Despite their huge popularity, I’m not totally sold on 70-200mm f/2.8 lenses, as I feel that they’re often big, heavy and very expensive to buy. As with wide-angle and standard zooms, we’re seeing more ‘alternative trinity’ telephoto zooms that retain the constant f/2.8 aperture but pack it into a much more conveniently compact, lightweight and affordable package. The Tamron 70-180mm f/2.8 Di III VC VXD G2 is a case in point, and one of my personal favorites.

The thing is, we don’t all shoot with full-frame cameras. There are particular advantages to crop-sensor cameras, and the APS-C format has long been a popular choice. Lenses tend to be smaller, lighter and less expensive, but that doesn’t mean we should have to compromise on quality or versatility. With that in mind, Sigma started making a set of alternative trinity f/2.8 zooms, kicking off with the wide-angle Sigma 10-18mm f/2.8 DC DN | C and standard Sigma 18-50mm f/2.8 DC DN | C lenses, in Canon RF-S, Fujifilm X, Sony E and L-mount options.

The eagerly awaited follow-up is the Sigma 50-120mm f/2.8 DC OS | C that I’m reviewing here. It follows suit in most of the same mount options, but not L-mount. I’m not surprised. Off the top of your head, can you think of any current APS-C format L-mount cameras? Anyway, the new Sigma tele zoom looks an absolute little gem. Let’s see if its beauty is more than just skin deep.

Sigma 50-120mm f/2.8 DC OS | C: Specifications

Sigma 50-120mm f/2.8 DC OS | C: Price

Splash out on a set of conventional, full-frame trinity zooms and you’ll need deep pockets to afford them and a deep bag to put them in. The APS-C format Sigma 50-120mm is comparatively small, light and affordable at $799 / £699 / AU$1,400. It completes the set, building on the previously launched Sigma 10-18mm f/2.8 DC DN | C at $729 / £649 / AU$1,178 and the Sigma 18-50mm f/2.8 DC DN | C at $659 / £479 / AU$807. If you want an even faster standard zoom, there’s also the Sigma 17-40mm f/1.8 DC Art at $919 / £799 / AU$1,650.

For further context, the full-frame compatible Sigma 70-200mm f/2.8 DG DN OS Sports costs $1,649 / £1,499 / AU$3,040, while the Tamron 70-180mm f/2.8 Di III VC VXD G2 sells for around $1,099 / £999 / AU$2,449. Equivalent APS-C format telephoto zooms with a constant f/2.8 aperture are very thin on the ground, but there’s the Fujifilm XF 50-140mm f/2.8 R LM OIS WR, which is about twice the price of the Sigma 50-120mm in most world regions, at $1,899 / £1,449 / AU$2,399.

Sigma 50-120mm f/2.8 DC OS | C: Design & Handling

The Sigma 50-120mm f/2.8 DC OS | C is so small that it comes in a pint-sized little cardboard box (with fully recyclable packing, no less). It’s so lightweight that when I picked up the box, I thought it was actually empty and they’d forgotten to put the lens in it. Talking specifics, or rather specifications, the Sigma measures 67x99mm / 2.6x3.9in and weighs 390g / 13.8oz. So it’s less than 4 inches long and weighs less than a pound. Over in the heavyweight corner of the ring, the Fujifilm XF 50-140mm f/2.8 R LM OIS WR is about 7 inches long and weighs 35oz (about 2.5x as much). Remarkably for a constant f/2.8 zoom, the Sigma also has a small 55mm filter attachment thread, compared with the Fujifilm’s 72mm thread.

The Sigma packs a complex optical path into its downsized design, comprising no less than 18 elements in 13 groups. Specialist glass includes 3 SLD (Special Low Dispersion) elements, one top-tier FLD (‘Fluorite’ Low Dispersion) element and 4 aspherical elements, the last of these enabling further physical shrinkage as well as enhancing image quality.

Before I get too carried away about just how small this lens is, I should point out that unlike most 70-200mm full-frame lenses, the Sigma physically extends at longer zoom settings. I say ‘most’, but not all full-frame lenses of the genre have an internal zoom mechanism, the Canon RF 70-200mm f/2.8L IS USM being a notable exception. But while the Sigma has an extending inner barrel, the total amount of physical extension is only about an inch, as you zoom from 50mm to the longest 120mm setting. You can see how that looks in real life by comparing the images above and below.

The zoom ring itself operates with smooth efficiency and has a nice tactile feel throughout its range. There are no stiff or jerky spots along the way and while only modest torque is required to rotate the ring, the lens doesn’t suffer at all from any zoom creep, even with the added weight of the hood being attached. Indeed, no zoom lock switch is featured in the design. There are also no switches for swapping between autofocus and manual focus modes, nor for switching the optical stabilizer on and off. In keeping with the compact design, these settings are deferred to menu options in the host camera body.

Further tech shoehorned into the lens includes an HLA (High-response Linear Actuator) autofocus motor, which is essentially a linear stepping motor by another name. It aims to deliver fast, snappy and consistently accurate autofocus for stills, along with smooth and virtually silent autofocus transitions when shooting video. As usual for this type of arrangement, the autofocus motor is also employed during manual focusing, being driven by the electronically coupled manual focus ring.

Although handling feels broadly similar to that of Sigma’s sibling 10-18mm and 18-50mm zooms, the 50-120mm lens gains a dedicated aperture control ring. It’s clearly labelled in full f/stop increments, with one-third f/stop interim marker lines. As usual, it has an A (Auto) setting just off the narrow end of the scale, next to the f/22 setting, which enables the aperture to be controlled from the host camera. This is essential for using the camera in Program and Shutter-priority shooting modes. As with AF/MF and optical stabilization, however, there are no companion switches for the aperture ring, so you don’t get a de-click option for shooting video, nor a locking switch for the Auto position.

The lens comes complete with a circular-profile hood. This has the usual bayonet fixing and can be reversed on the lens for compact stowage. It feels a high-quality item, perfectly matching the lens itself.

The hood is tailor-made and only adds about an inch to the physical length of the lens. Using the hood not only helps to fend off ghosting and flare when shooting into the light, but also offers physical protection for the front glass element against any knocks and scrapes.

Build quality feels very good throughout. The construction feels robust despite its lightweight design, and features multiple weather-seals including a rubber gasket around the metal mounting plate.

A nice finishing touch is that the lens is not only supplied with front and back caps and a hood, but also with a neat drawstring pouch. It’s rather a featherweight compared with the padded soft cases that Sigma often supplies, but more in keeping with the relatively small and lightweight nature of this lens.

Sigma 50-120mm f/2.8 DC OS | C: Performance

As advertised, the autofocus system proved rapid and consistently accurate in my tests. The lens is capable of a tight depth of field, especially when shooting wide-open at f/2.8 at short object distances or towards the long end of the zoom range. This makes consistently accurate autofocus all the more important. I also found that the autofocus system was well able to track fairly fast-moving objects.

An excellent hit rate is assured, not only by the autofocus system, but also by the optical stabilizer. I tested the lens with a Sony A6000 body that has no IBIS (In-Body Image Stabilizer) and that holds true for most APS-C format Canon EOS R system cameras, most back-catalog Sony Alpha cameras and some Fujifilm X system cameras. The Sigma’s optical stabilizer is definitely worth having, even if your camera does feature IBIS. Optical stabilizers tend to perform better than IBIS at telephoto focal lengths and this one’s worth from 6.5 stops to 4.5 stops as you stretch through the zoom range from 50mm to 120mm.

The ‘effective’ 75-180mm zoom range in full-frame terms isn’t quite a match for the 70-200mm of conventional ‘trinity’ telephoto zooms, but it’s not far off. The Canon RF-S mount actually comes a little closer at maximum telephoto reach, equating to 80-192mm in full-frame terms, thanks to Canon’s 1.6x rather than 1.5x APS-C crop factor. Using the Sony E-mount version, I didn’t notice any real difference at the short end of the zoom range, and if you desperately need that extra bit of reach at the long end, a little creative cropping can often suffice. Either way, the images above and below demonstrate the overall zoom range, taken of the same subject from the same position at focal lengths of 50mm and 120mm respectively.

I found that levels of sharpness and clarity to be excellent, both throughout the entire zoom range and across the whole image frame. Color rendition is also beautiful. I was less enamored that the aperture ring rotates with clearly audible click steps. That can be problematic when shooting video, as there’s no de-click option for the aperture ring. Naturally, due to the telephoto nature of the lens, you’ll need to stop down to medium apertures to gain sufficient depth of field, when shooting 3-dimensional objects that are fairly close by. At least, you will if you want most or all of them to look sharp, as demonstrated in the bicycle image below.

For this kind of lens, there’s another facet of performance comes to the fore, and that’s the quality of bokeh. It can be a struggle for APS-C format lenses to deliver a tight depth of field, as this is more dependent on the ‘actual’ rather than ‘effective’ focal length. Again though, the Sigma impresses with attractively soft and smooth bokeh in defocused areas, along with a natural looking roll-off between focused and defocused elements in a composition. The aperture diaphragm is particularly well-rounded, being based on 11 blades, which helps to maintain the quality of bokeh when stopping down.

Axial/longitudinal chromatic aberration (also referred to as ‘bokeh fringing’) is also well controlled around high-contrast transitions just in front of or behind the plane of focus. All of these facets are demonstrated in my test shot below, taken of a phrenology head at a focal length of 92mm, wide-open at f/2.8.

There’s fairly good control over distortion which is well within the boundaries of automatic in-camera correction, and there’s virtually no color fringing to be seen even with in-camera correction disabled. The lens also does well to maintain clarity and contrast while minimizing ghosting and flare, when shooting against the light. For the following image, I was shooting towards the sun, with lots of light coming in from the sky as well as bouncing off the sea. The lens maintains good contrast while keeping ghosting and flare very much at bay.

Sigma 50-120mm f/2.8 DC OS | C: Sample Images

The following gallery comprises images taken on a sunny morning at Weston-Super-Mare, a popular tourist destination on the boundary of the Severn Estuary and Bristol Channel in South West England. The first few shots in the gallery were taken in pairs, captured of the same scene from the same position, but at both extremities of the zoom range. This gives you an idea of the total zoom range on offer. I also shot a variety of other images, using various focal lengths and aperture settings, including the widest aperture of f/2.8 to show the quality of bokeh with the minimum depth of field.

Sigma 50-120mm f/2.8 DC OS | 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:

Center-sharpness is very good wide-open at f/2.8, becoming excellent with just a single f/stop reduction to f/4, throughout the entire zoom range. Extreme edge-sharpness doesn’t look too great based on short-range shooting of our lab charts, but at more typical focus distances, it proved impressive in our real-world tests, as you can see in my sample images.

Fringing:

Both lateral and axial chromatic aberrations are entirely negligible. You’d hard pressed to see any color fringing anywhere in the image frame, even with automatic in-camera correction disabled. That holds true throughout the entire zoom and aperture ranges.

Distortion:

There’s a little pincushion distortion at 50mm, a little more at 70mm, and it can become fairly noticeable towards the long end of the zoom range. However, the Sigma relies much less on automatic in-camera correction for distortion, compared with many modern lenses for mirrorless cameras, especially those designed with compactness in mind. With auto correction applied, distortion becomes a non-issue.

Sigma 50-120mm f/2.8 DC OS | C: Verdict

I have a bit of a love / hate relationship with ‘proper’ trinity telephoto zoom lenses. I love their versatility and usefulness for anything and everything from daily shooting to action, sports, wildlife and portraiture, and especially for weddings and events. But I hate that they’re typically big, heavy and very expensive to buy. The Sigma 50-120mm f/2.8 DC OS | C for APS-C format Canon, Fujifilm and Sony cameras gives me all of the good stuff, but miniaturized into an amazingly compact and lightweight package that’s also much more affordable to buy.

That ‘good stuff’ includes an effective 75-180mm zoom range (80-192mm for Canon), complete with fast, virtually silent and consistently accurate autofocus and effective optical image stabilization. Image quality is top-drawer, combining superb sharpness, clarity, contrast and color rendition with smooth and dreamy bokeh.

I like that the lens includes a dedicated aperture control ring, but I feel it’s a bit of a shame there’s no click/de-click switch, nor switches for auto/manual focusing modes and stabilization on/off. However, I’m happy to forego these in the pursuit of downsizing, and it also keeps the control layout relatively simple and straightforward. Ultimately, this Sigma makes a compelling case for using a crop-sensor camera instead of a full-frame body. It’s a proper pocket rocket!

Alternatives

The viral popularity of the compact camera has sparked a renewed interest in pancake lenses – and now budget lens maker TTArtisan has introduced an optic that fits an f/3.8 aperture and autofocus in a lens that weighs 57g / 2oz.

The TTArtisan AF 24mm f/3.8 Mini is a full-frame pancake lens coming to Sony E and Nikon Z mounts. Once mounted on the camera, the lens sticks out just 16mm / .6 inches. To put things in perspective, that’s about ten pennies stacked together or the measurement of one side of standard game dice.

Despite the compact size, TTArtisan has managed to fit a VCM, or voice-coil motor, autofocus inside. That autofocus can lock on to subjects as close as .3m / 11.8 inches from the front of the lens.

The lens fits in six optical elements in six groups, including two extra-low dispersion elements and two aspherical elements.

Even capping the front of the lens for storage doesn’t add to the lens’ size. The lens uses a built-in lens cover that’s deployed using a slider at the front. (A rear cap is also included in the box.)

TTArtisan also built a USB-C port into the metal mount for firmware updates.

The China-based TTArtisan is no stranger to building budget compact lenses, but the new 24mm Mini is smaller than the TTArtisan AF 27mm f/2.8 and AF 14mm f/3.5, which are both built for APS-C sensors.

The TTArtisan AF 24mm f/3.8 Mini is already available to order for the Sony E-mount, with the company saying that the Z Mount is coming soon. Orders are open through TTArtisan as well as retailers like B&H (US) and Clifton Cameras (UK). The pancake lens retails for $99 / £89 (about AU$142 / CA$136).

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The constant aperture f/2.8 zoom tends to be a lens category that’s both expensive and heavy, but there’s a growing number of options built specifically for APS-C that put that coveted f/2.8 into a zoom the size of a kit lens. The new Tamron 16-50mm f/2.8 A is one such lens.

Built for APS-C bodies across Sony E, Canon RF, Nikon Z, and Fujifilm X mounts, the lens comes in at a 10.8oz / 305g package. I twisted the lens on a compact Sony A6700 and took it on a fall color hike, and the price and aperture are going to make it a very tempting choice for everyday carry.

Tamron 16-50mm f/2.8 A review: Price and Availability

The Tamron 16-50mm f/2.8 A sits at a price point that feels excellent for APS-C shooters. It’s well under the price of first-party lenses like the Sony E 16-55mm f/2.8 G and the Fujifilm XF 16-55mm f/2.8 R LM WR II, but it also sits at a price that competes with other third-party optics like the Sigma 18-50mm f/2.8 DC DN Contemporary.

The lens price varies slightly by mount. The E-mount and X-Mount sit at $529 / £399 / CA$749, while the Z-Mount and RF-Mount sit at $549 / £429 / CA$749.

The E-Mount and RF-Mount ship first on October 29, with the Z-Mount following on November 19 and the X-Mount on December 17.

Tamron 16-50mm f/2.8 A review: Specs

Tamron 16-50mm f/2.8 A review: Build and Handling

The Tamron 16-50mm f/2.8 A is deceptively small. It looks small enough to be a kit lens, not a constant-aperture zoom. The 10.8oz / 305g weight and 3.2 inch / 79.6mm length make it an easy lens to take on long hikes.

The lens is an external zoom type, which means the lens does get slightly longer as it zooms in.

The lens itself carries a minimalist design – there’s no bank of control switches at all, just a focus ring, a zoom ring, and a USB-C port for firmware updates and Tamron Link support.

My only complaint about the design? I would have loved an aperture ring, but tiny lenses can’t pack everything, and that’s one of the sacrifices to get a lens this lightweight.

But Tamron didn’t sacrifice weather seals in order to bring down the weight and price. The lens has several weather seals throughout. I only had a sunny weekend with the lens, but I gave the lens a few squirts with a plant mister, and the lens (and camera) was unbothered.

The lens ships with a removable petal-shaped lens hood.

Tamron 16-50mm f/2.8 A review: Performance

I took the Tamron 16-50mm f/2.8 A on a weekend hike to photograph the fall colors. The lens squeezes an excellent range and bright aperture into a lightweight optic. Close focusing capabilities up to 6 inches / .15m on the wide end and 11.5 inches / .29m on the long end add to that versatility.

Images coming from the lens have decent sharpness, with subjects that are crisp but without being overly so.

Unaltered, the lens has some barrel distortion at 16mm and barrel distortion at 50mm, but using the lens profile inside Lightroom corrects this in a click for RAW files.

Some images have a light vignetting at the corners, more noticeable at 50mm than at 16mm. Again, the lens profile does a nice job of quickly cleaning up those corners.

Turning from leaf peeping to pixel peeping, I did spot some occasional purple fringing when shooting backlit, high-contrast scenes and viewing the photos at 100 percent. This chromatic aberration was stronger in the untouched RAW files than on the JPEGs, and wasn’t strong enough to notice without viewing at 100 percent.

That f/2.8 creates some lovely bokeh. Large points of light create round bokeh balls; through smaller, more distant bokeh does take on some onion ringing.

Shooting towards the sun, I was able to capture some lovely, hazy lens flare. Filtered through the leaves, this flare looked like added sparkle. On the flip side of that lovely flare, however, there are some occasional purple ghosting spots when shooting into the sun.

I had just a weekend with the lens to test it out ahead of launch – lab testing and more challenging autofocus tests are needed before I can give the lens an official rating. But my initial experience is that the lens delivers a solid balance of sharpness and bokeh. There’s some minor purple fringing, while the vignetting and barrel distortion correction rely heavily on the lens profile to correct.

Tamron 16-50mm f/2.8 A review:

The Tamron 16-50mm f/2.8 A is so small that it feels like a kit lens, yet it packs in a constant f/2.8 aperture. The lens is a fantastic option to replace a narrow-aperture kit lens, but the versatile zoom and close-focusing capabilities also make it a great everyday lens, as well as a tempting travel lens.

It’s a lens that's light enough to carry around for hours, while still offering weather-sealing. I missed the aperture ring a little, but that may be a worthwhile sacrifice for the weight savings.

The lens expertly balances image quality with portability and price. Images are sharp, and bokeh and flare are lovely. There’s some vignetting and barrel distortion corrected by the lens profile, and some occasional purple fringing to contend with, however.

The price is also highly competitive, coming in close to the Sigma 18-50mm f/2.8 DC DN Contemporary, with a steep price difference compared to first-party lenses.

Alternatives

The f/2.8 constant aperture zoom is considered the professional standard, but the category tends to sit at both a high price point and a heavier design. But Tamron has just built an f/2.8 zoom built for everyday carry – and for matching the compact size of APS-C shooters from Canon, Sony, Nikon and Fujifilm.

I took the Tamron 16-50mm f/2.8 A on a fall color hike. Weight-wise, shooting with the new lens felt like using a kit lens. The lens sits at just 10.8 oz / 305g and it’s only about 3.2 inches long (though the Nikon Z mount sits at 4.8 inches / 121.3mm and 11.2oz / 315g).

But while the weight felt like a kit lens, the bokeh from shooting at f/2.8 did not. Shooting at 50mm and the minimum focus distance of 11.5 inches / .29m on the long end created a lovely mix between sharpness and bokeh.

The 16-50mm doesn’t reach as far as competing 16-55mm lenses, but I thought the range was an ideal balance between versatility and keeping the lens lightweight. I was happy to fit some wide shots, longer shots, and close-ups – though not quite macro territory – all without swapping lenses.

Like a lot of modern lenses that prioritize size, using the lens profile is a must to avoid vignetting and barrel distortion. The one quirk that I couldn’t quite completely fix in one click was some occasional purple fringing when shooting backlit branches – minor enough not to spot when viewing the whole image, but detectable when pixel-peeping at 100 percent.

Another feature that didn’t feel like a kit lens? The Tamron 16-50mm f/2.8 A does have weather seals for shooting in rain and snow, as well as helping prevent dust buildup.

The new Tamron is built for budget as well as size, sitting between $529 / £399 / CA$729 and $549 / £429 / CA$749 depending on the mount - that converts to around AU$757-AU$786.

The Tamron 16-50mm f/2.8 A joins a growing list of lenses built for crop sensor shooters that mix a bright aperture with a compact design. Tamron’s biggest competitor here is probably the Sigma 18-50mm f/2.8 DC DN Contemporary, which is slightly lighter but also a bit less wide.

First-party competitors like the Sony 16-55mm f/2.8 G and the Fujifilm XF 16-55mm f/2.8 R LM WR II have a larger price gap, along with being heavier optics.

The Tamron 16-50mm is launching first to the Sony E-Mount and Canon RF Mount with an October 29 ship date. A Nikon Z mount is expected to follow on November 19th, and a Fujifilm X mount on December 17.

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Accordning to Leica Rumors, Light Lens Lab is preparing to expand its growing lineup of apochromatic lenses, with reports suggesting that a new 50mm f/2 APO lens for Leica M-mount cameras is currently in development.

According to Leica Rumors, the upcoming optic is expected to arrive sometime in 2027, giving Leica rangefinder photographers another potentially exciting alternative to the German manufacturer's own premium glass.

For anyone familiar with Leica's legendary APO-Summicron-M 50mm f/2 ASPH., the prospect of another apochromatic 50mm lens is certainly interesting. APO lenses are designed to minimize chromatic aberration, delivering exceptional sharpness, contrast, and color accuracy, particularly in challenging lighting conditions. Leica has long been regarded as a benchmark in this area, but its lenses command some extraordinary prices, which makes the arrival of another manufacturer developing high-performance APO optics particularly appealing.

Light Lens Lab has already demonstrated its ambitions with the introduction of its 35mm f/2 Apochromatic lens, which features an advanced optical formula incorporating four aspherical elements and a floating lens group. That lens marked the beginning of a much larger project for the Chinese manufacturer, which has been steadily building a reputation for producing beautifully constructed, traditionally styled lenses inspired by some of photography's most celebrated optical designs. Its new APO series represents an interesting departure from recreating classic lenses, concentrating instead on developing original, high-performance optics.

The rumored 50mm f/2 is also expected to be one of several new additions to the company's apochromatic lineup, with reports suggesting that 28mm f/2, 75mm f/2, 90mm f/2, and even 135mm f/2 lenses could follow. That's an ambitious selection of focal lengths, and if Light Lens Lab can deliver the optical quality it is promising, it could become a serious contender in the premium manual-focus lens market. As someone who has spent years shooting with Leica cameras, I find this particularly exciting. More choice in the M-mount system is always welcome, especially when manufacturers are prepared to push optical performance rather than simply reproduce the character of vintage glass.

There is still plenty we don't know about the upcoming 50mm f/2 APO, including its optical construction, dimensions, weight, and, perhaps most importantly, its price. The company's existing 35mm f/2 APO starts at $2,099, so this certainly isn't a manufacturer exclusively targeting the budget end of the market. However, with Leica's own APO-Summicron commanding a considerably higher price, the prospect of a new 50mm APO alternative is something worth watching closely. Whether Light Lens Lab can genuinely challenge Leica's optical excellence remains to be seen, but 2027 is already shaping up to be an interesting year for M-mount photographers.

Images of the yet-to-be-released Nikon Z 120-300mm f/2.8 TC VR S have surfaced online, giving a tantalizing glimpse of the much-anticipated optic in action. The imagery, shared by Nikon Rumors, was captured at the weekend’s F1 Singapore Grand Prix and appears to show the super-telephoto zoom lens being used by two different photographers. In both cases, the optic is attached to the flagship Nikon Z9.

According to the rumor website, we could see an official release at the end of the month. As to where we stand right now, Nikon acknowledged its existence back in May, via a development announcement, and has set up a product page. But official details are thin on the ground.

What we do know is that the professional-grade S-line optic will have a built-in 1.4x teleconverter, pushing the telephoto end to 420mm f/4. On paper, this should be a fine lens for wildlife and sports photographers who want to keep their shutter speed high and their ISO low, thanks to that fast aperture. Nikon already offers built-in 1.4x teleconverters on its Z 400mm f/2.8 and Z 600mm f/4 prime lenses.

The lens will be the spiritual successor to the Nikon AF-S 120-300mm f/2.8E FL ED SR VR, which was the very last DSLR lens Nikon announced, back in 2019 alongside the Nikon D6. That lens has since been discontinued, but it was priced at around $9,500 / £9,500 at launch, so I’d expect a similarly range-topping price point for the new Z lens.

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The f/2.8 zoom is often considered the standard for a high-quality lens – and that type of lens makes up half of Japan’s top ten lenses. But the number one lens? It’s actually a five-year-old telephoto that sacrifices aperture for a low price: The Canon RF 100-400mm f/5.6-8 IS USM.

The data comes from Kitamura Camera, a Japanese retailer in Japan that recently ranked its top-selling interchangeable lenses for September 2026. Half of that list is occupied by zooms that have an f/2.8 aperture, along with two f/1.8 primes and one teleconverter.

But two lenses buck that bright trend. The Canon RF 100-400mm in first place uses a narrower variable aperture in order to create a beginner optic that fits in more price points – and is also more compact. The result is a lens with big reach that more beginners can afford.

The other zoom that doesn’t shoot at f/2.8 trades a slightly narrower aperture for a lens with a massive zoom range. The Nikon Z 24-120mm f/4 S still has a constant aperture, but trades the f/2.8 for an f/4 in order to go beyond the usual 24-70mm and hit a telephoto 105mm on the long end.

But while an affordable zoom may take the top spot, the most dominant type of lens on the trends list is the f/2.8 zoom – a list that includes more affordable third-party choices as well as first-party optics. Those bright zooms also share another distinguishing feature: most of them are built to be compact and lightweight.

The most popular lenses in Japan, according to Kitamura Camera, are:

1. Canon RF 100-400mm f/5.6-8 IS USM
2. Sigma 18-50mm f/2.8 DC DN Contemporary (Sony E-Mount)
3. Fujifilm XF 16-55mm f/2.8 R LM WR II
4. Sigma 28-70mm F/2.8 DG DN Contemporary (Sony E-Mount)
5. Nikon Z 24-120mm f/4 S
6. Sony 2x Teleconverter
7. Sigma 20-60mm f/2.8-4 DG Contemporary
8. Canon RF 50mm f/1.8 STM
9. Canon RF 28-70mm f/2.8 IS STM
10. OM System M. Zuiko Digital 17mm f/1.8 II

Most of those f/2.8 zooms are built with size in mind. The Sigma 18-50mm f/2.8 DC DN Contemporary – which has made multiple appearances on Kitamura’s trends list – is built for APS-C sensors and weighs just 290g.

Fujifilm’s 16-55mm f/2.8 is the second-generation version, and the biggest change is that it cuts out quite a bit of weight compared to the earlier lens.

The Sigma 28-70mm f/2.8 on the list is a full-frame for Sony E as well as L-Mount that takes 4mm off the wide end compared to the more standard 24-70mm, but does so in order to reduce the size.

The Sigma 20-60mm f/2.8-4 is the only f/2.8 zoom that isn’t a constant aperture, instead hitting f/4 at 60mm. But it’s also built with size in mind, at just 3.5 inches / 88mm long.

Canon’s most popular f/2.8 zoom in Japan isn’t the more standard pro 24-70mm, but the 28-70mm that’s both lighter and more affordable than the more typical focal length.

Just two prime lenses sit on the list – a nifty fifty for Canon’s mirrorless system and a Micro Four Thirds 17mm. OM System hasn’t popped up on Kitamura’s top lenses list for the last two months, but the PEN F was the second best-selling camera there last month – the compact 17mm could be riding on the success of the new compact, retro camera body.

The inclusion of a teleconverter on the list feels a bit unusual, but recent reports suggest that the use of these lens extenders is on the rise.

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Canon’s gear graveyard is growing, with Canon Japan’s official repair services ending support for a handful of cameras and lenses before the end of the year. But while the cameras that Canon will stop repairing soon are all digital, the list of lenses looks quite different. The oldest one? It’s from 1996.

According to Canon Japan, these lenses will no longer be eligible for repair services soon:

• EF 70-200mm F/4L USM
• EF 135mm f/2L USM
• EF300mm F4L IS USM
• EF 85mm f/1.2L II USM
• EF-S 15-85mm F3.5-5.6 IS

The first three lenses reach the end of their support lifespan in November 2026, while the last two only have until the end of October 2026 to be eligible for repair. Canon has already stopped manufacturing these lenses, but the optics will soon no longer be able to be repaired by Canon’s technicians.

But while the cameras that Canon is ending service for were all introduced in 2016 and 2017, the lenses that Canon is killing off are much older, released in the 1990s and early 2000s.

The EF 135mm f/2L USM was introduced in 1996. Camera history buffs will be quick to recognize that was before Canon’s first digital SLR, the EOS D30, which didn’t arrive until 2000.

The fact that Canon’s repair team has been supporting a film lens for 30 years is rather remarkable. Canon has shifted from film, to DSLR, to mirrorless in that same time frame, and now offers the RF 135mm f/1.8 IS USM for mirrorless shooters.

But the age of the EF 135mm f/2L USM raises an interesting question: how long should photographers expect camera lenses to last, really? For digital cameras, Canon tends to continue offering support and repairs for about a decade, as seen with the list of cameras from 2016 and 2017 that will no longer be supported by the end of this year.

Lenses have traditionally outlasted camera bodies, even going back to analog. A camera’s shutter tends to have an expected lifespan much like the mileage on a car. Camera technology also seems to evolve at a much faster pace than glass elements.

As camera resolutions climb above 40MP and even above 60MP (and 100MP for medium format), those high-resolution bodies often need more advanced glass in order to create sharp images across that higher resolution.

Of course, the retro photo look is very on-trend at the moment, and one of the ways to get that look without switching to analog is to adapt older film lenses to a modern mirrorless camera. The result is often a softer image, often with iconic lens flare. But these older lenses often at least need a good cleaning, and Canon technicians have been supporting that for three decades for the 135mm.

Canon’s 135mm f/2 lens is legendary, and many photographers asked for an update for years during the DSLR era. But that’s not the only lens from the 1990s that Canon will no longer repair.

The Canon EF 70-200mm f/4L USM was introduced in 1999. Canon made two more variants before the RF era, adding IS in the second generation in 2006 and updating the lens a third time with the EF 70-200mm f/4L IS II USM in 2018.

Canon launched the EF 300mm F4L IS USM in 1997. Unlike the 70-200mm, it didn’t get a refresh over the years, and even among the RF lens family, Canon doesn’t currently have a 300mm prime.

The Canon EF 85mm f/1.2L II USM, a 2006 launch, is still a beloved focal length, now offered in the RF 85mm f/1.2 L USM.

Canon is also ending support for one crop sensor lens this year, the EF-S 15-85mm F3.5-5.6 IS USM. That lens remains a bit unique in its longer focal-length coverage, where modern kit lenses are typically either shorter, like the RF-S 18-45mm, or longer, like the RF-S 18-150mm.

While Canon is ending official support for those lenses, third-party technicians will likely still be able to clean and, if parts are available, repair those optics.

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The Sigma 16-300mm f/3.5-6.7 DC OS | Contemporary is finally coming to Nikon Z mount. Digital Camera World reviewer Matthew Richards said this APS-C all-in-one zoom lens ticked all the right boxes for a ‘superzoom’ when he reviewed the Canon RF version back in 2025. But, as is often the case, a Z-mount variant has taken a while to come into fruition.

That all changes today. APS-C Nikon photographers can take advantage of the world’s first mirrorless lens with an approximate zoom ratio of 18.8x, delivering a 35mm equivalent zoom range of 24-450mm. From wide-angle to super-telephoto, this ‘one-and-done’ lens will cover everything from landscapes to wildlife.

It also boasts a maximum magnification ratio of 1:2 at 70mm for frame-filling close-ups, while Sigma’s High-Response Linear Actuator motor is designed to produce “exceptionally fast, smooth and accurate autofocus”. A boon for a super-telephoto lens like this is optical image stabilization, providing up to 6 stops of stabilization at the wide end and 4.5 stops at the telephoto end.

There’s also a rubber gasket around the mount to provide some weather sealing, which Sigma rates as dust- and splash-resistant with a water-repellent coating. According to Sigma, communication speed optimization and the lens’s AF drive have been specifically designed for the Z mount.

The lens is also designed to minimize flare and ghosting, as well as focus breathing. It comprises 20 elements in 14 groups, including 1x 'F' Low Dispersion, 4x Special Low Dispersion, and 4x aspherical elements. The aperture is controlled via a 9-bladed diaphragm, with a max aperture of f/22-45, while the filter sports a 67mm thread.

This lens brings the total of Sigma lenses available for Nikon Z mount to four, with the Sigma 16mm f/1.4 DC DN | C, Sigma 30mm f/1.4 DC DN | C and Sigma 56mm f/1.4 DC DN | C also available. The Sigma 16-300mm f/3.5-6.7 DC OS | Contemporary will have an RRP of $769 / £599 and is set to launch on November 5.

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Bright telephotos tend to be heavy optics, but Sigma’s newest lens is a 50-120mm with an f/2.8 aperture that’s less than 10 cm / 4 inches long. The Sigma 50-120mm f/2.8 DC OS Contemporary is a bright, compact zoom built for APS-C cameras, debuting in Sony E, Fujifilm X, and Canon RF mounts.

The October 08 launch completes Sigma’s Contemporary “holy trinity” series alongside the 10-18mm f/2.8 and 18-50mm f/2.8. But Sigma says that even all three lenses in a camera bag together still weigh less than 1kg / 2.2 pounds.

The new 50-120mm acts as a 75-180mm lens in full-frame equivalent, trading the more standard 70-200mm range for a design that’s built to match the compact design of APS-C bodies. The lens weighs in at 390g / .85 lbs.

Sigma says that the new lens raises the standard for APS-C constant zooms. The lens uses a high-response Linear Actuator autofocus motor, alongside Sigma’s latest stabilization tech that brings 6.5 stops of stabilization at 50mm and 4.5 stops at 120mm.

The lens is an external-style zoom, which means the length of the lens changes based on focal length. But the company says that the lens was built to minimize focus breathing for video shooters.

Like the other two lenses in the trinity, the 50-120mm skips out on the focus mode switch and stabilization switch for a more minimalist design. The design still manages to fit in weather-sealing and an oil-repellent coating at the front.

Part of the allure of the APS-C format is the more compact body designs – but those smaller cameras tend to feel unbalanced with larger lenses mounted on the front. While there are plenty of first-party and third-party full-frame 70-200mm f/2.8 lenses built for full frame that will work on APS-C, there are relatively few made specifically for the more compact sensor format.

Fujifilm has the XF 50-140mm f/2.8 R LM OIS WR, but that lens is more than twice as heavy and nearly twice the cost. Sony has the 55-210mm f/4.5-6.3 OSS and the 70-350mm f/4.5-6.3 G OSS, but neither lens has a constant f/2.8 aperture. Canon’s closest APS-C lens is the RF 75-300mm f/4-5.6.

The new Sigma 50-120mm f/2.8 is notably missing a mount: the Nikon Z. While the new APS-C zoom doesn’t include Nikon’s mirrorless bodies, today Sigma also announced that the existing Sigma 16-300mm f/3.5-6.7 DC OS Contemporary will be arriving for the Z Mount in November.

Perhaps the most appealing part of the new Sigma 50-120mm f/2.8 could be the price. The 50-120mm lens is set to retail for $799 / £699 – which converts roughly to AU$1,326 / CA$1,317.

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The Tamron 20-40mm f/2.8 Di III VXD is a fantastic compact zoom lens – but the unusual lens was only available for the Sony E-Mount when it launched in the fall of 2022. That’s changing as Tamron brings the lightweight lens to the Nikon Z mount for the first time this month.

The Tamron 20-40mm f/2.8 Di III VXD lens earned a 4.5-star rating in tests for the Sony E-Mount variation, but the lightweight full-frame lens will be available for the Nikon Z mount beginning on October 22.

The 20-40mm lens has a narrower reach than the more standard 24-70mm, but the trade-off is a much lighter, more compact design. The Nikon Z version will come in at 380g / 13.4 oz, taking up an 88.7 mm / 3.5-inch slot inside a camera bag.

The unusual 20-40mm focal length makes the lens a bit harder to directly compare with Nikon’z existing lenses. But the Tamron 20-40mm f/2.8 does come in at a lighter weight than the Nikon Z 14-30mm f/4 S. It weighs nearly twice as much as Nikon’s tiny 24-50mm f/4-6.3, but comes in only slightly longer – and with a constant f/2.8 aperture.

At 20mm, the lens is wide enough for some landscape shots as well as vlogging and selfies, while the long end adds versatility for portraits and snapshots.

Like the earlier E-Mount version, the lens packs in a Voice-coil eXtreme-torque Drive or VXD autofocus motor that’s built for speed and precision. The lens can focus as close as 6.7 inches / 0.17m from the front of the lens for close-ups.

The lens is built with weather seals, protecting the 12 optical elements on the inside from dust and moisture. A USB-C port supports the Tamron Link accessory for controlling the lens using a mobile app.

The Z Mount variation of the Tamron 20-40mm f/2.8 Di III VXD will arrive on October 22, retailing for $729 / CA$999, which is about £551 / AU$1,046.

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It appears that Canon may be looking to expand its current lineup of non-L-series macro lenses for budget-conscious RF-mount shooters.

According to a new patent (publication number: 2026-155997) published by the Japan Patent Office on October 6, the company has at least devised a 90mm f/2.8, 100mm f/2.8, 130mm f/2.8, and 180mm f/4.0 prime lens featuring a distinct optical design from the company’s current L-series (Luxury) macro lenses, but that would still achieve life-size subject reproduction.

Currently, photographers navigating Canon’s full-frame mirrorless lineup face a divide in macro options. The accessible RF 85mm f/2 Macro IS STM offers everyday shooting but tops out at 1:2 (0.5x) magnification.

And the flagship RF 100mm f/2.8L Macro IS USM delivers sharp performance and 1.4x reproduction, but carries a steep price tag and is on the bulky side.

While there’s no saying which budget Canon could truly be gearing these patented designs toward, it would make sense if the lenses were affordable, lightweight, non-L primes capable of true 1:1 life-size reproduction without the weight or cost of L-series glass.

And according to the patent, Canon could be trying to solve this size and cost challenge with a nifty optical formula.

Instead of extending the front barrel during close focusing, the system contains a five-group structure with two counter-moving internal focus groups to achieve 1:1 magnification while suppressing focus breathing.

What’s more, a negative rear element group shortens the overall barrel length, while a simplified single-element front group comprising low-dispersion glass, in theory, would keep chromatic aberrations in check without adding unnecessary weight.

While patent filings never guarantee production, this latest publication does make it seem likely that Canon is actively developing 1:1 magnification lens offerings for its mid-range RF lineup.

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Here’s our macro expert’s take on the best macro lenses. You can also read our pick of the best lenses for Canon DSLRs

We rather like Voigtländer's Nokton 23mm f/1.2 lens for APS-C cameras - it's beautifully made, very sharp if you stop down to f/4, and can produce gorgeous bokeh wide open at f/1.2. The lens has been available for Nikon DX and Fujifilm X-series cameras for some time, but only in a black finish. But now Fujifilm X shooters have the option to pre-order a silver version of the lens, making it a perfect match for silver editions of cameras like the X-T5, X-M5 and X-E5. The pre-order price is currently $599, making it a handy $50 cheaper than the current black edition.

Both color options appear identical in every other way, meaning you get an all-metal barrel, and though there's no autofocus, there are electronical contacts enabling data communication with the camera body. Inside are ten optical elements, including a complex double-sided aspherical element and two ‘abnormal partial-dispersion’ glass elements that aim to minimize chromatic aberration. The 23mm focal length makes the lens ideal for street photography, equating to 35mm on a full-frame body. Despite the fast maximum aperture and solid build, Voigtländer has managed to keep weight down to 240g, so the lens feels right at home on a camera like the X-M5. Check out our full review for more details.

And that's not the only Nokton lens to get the silver treatment: the Nokton 35mm f/1.2 for Fujifilm X mount can also now be had in silver (the black version has been available since 2021). The lens features an almost symmetrical, Double-Gauss layout, which helps reduce optical aberrations over a large focal plane. It has 12 aperture blades for smooth, rounded bokeh, a minimum focus distance of 0.3 meters and a front filter size of 46mm. Expect to pay $649 for the silver version, which matches the price of its black counterpart.

Both the Nokton 23mm f/1.2 and Nokton 35mm f/1.2 can now be pre-ordered in silver from B&H.

Amazon Prime Big Deal Days has delivered a huge saving on one of Canon’s most desirable super-telephoto zooms, with the Canon RF 100-500mm F4.5-7.1L IS USM now down to just £2,379 from £3,159.99.

That is a massive £780.99 saving on a professional L-series lens that has become a firm favourite among wildlife, bird, sports and aviation photographers.

The RF 100-500mm is one of those lenses that manages to offer serious reach without becoming completely impractical to carry. Its 100-500mm zoom range gives you plenty of flexibility when subjects are moving or distances are constantly changing, while the relatively compact design makes it far easier to travel with than many traditional super-telephoto lenses.

Image quality is exactly what you would expect from Canon’s L-series glass, with excellent sharpness, strong contrast and impressive detail throughout the zoom range. Autofocus is fast and quiet, while Canon’s optical image stabilisation makes a significant difference when shooting handheld at the longer end of the lens, where even the smallest movement can become very noticeable.

For wildlife and bird photography in particular, that combination of reach, autofocus performance and portability makes the RF 100-500mm an incredibly versatile option. It is also a strong choice for motorsport, aviation and outdoor sports, where having the flexibility to move quickly between 100mm and 500mm can be far more useful than carrying a fixed super-telephoto prime.

At its usual price, this is undeniably a serious investment, but a £780.99 saving changes the equation considerably. At £2,379 in the Amazon Prime sale, the Canon RF 100-500mm F4.5-7.1L IS USM becomes one of the standout high-end lens deals I have seen so far, particularly for Canon RF shooters who have been waiting for the right moment to add a professional super-telephoto zoom to their kit.

LK Samyang, known as Rokinon in the US, has finally announced the release date of the long-awaited 28-135mm f/2.8 Sony FE full-frame standard zoom, which the company says will come to market in February 2027.

The Korean budget lens manufacturer made the announcement on its Instagram on September 30, with a second post finally giving us the technical specs we’ve also been dying for – following the zoom's earlier appearance at CP+ in February.

Honestly, I’m impressed, and I think we’ve got a real contender that could shake up the “do-it-all” focal-length segment of the lens market for the first time in a while.

Swipe to see the Samyang AF 28-135mm f/4 FE specs

The obvious eye-catcher is the versatile 28-135mm focal length combined with the fast f/2.8 aperture.

This is a seriously versatile setup — in fact, it’s the first-ever lens to combine this specific zoom range and maximum aperture — and, on paper, I’m inclined to believe Samyang when it says the forthcoming kit will work for “every moment.”

Although, the maximum wide angle of 28mm does cut you off at a slightly awkward point. My go-to lens is the Sony FE 24-105mm f/4 G Master, and I can tell you that those extra 4mm do make a difference.

These often save me having to change to my dedicated wide-angle and I can’t see the Samyang being quite as helpful at the wide-angle end, despite the claims.

The other big deal here is the voice coil motor (VCM), which is another first for Samyang, as none of its previous AF lenses have featured this kind of motor.

VCMs can handle large-aperture glass smoothly and pretty quietly, too. It’s good to see Samyang seemingly paying serious attention to AF performance in a lens that, in theory, could be used to shoot subjects like wildlife.

The weather-sealed zoom will weigh 854g and is constructed with 20 elements in 16 groups.

Going by the announcement, I have to say this lens looks promising, to say the least. Funnily enough, I recently scratched my Sony 24-105mm f/4 and am now getting mad lens flare.

If the build quality is there and Samyang prices the lens in line with how it normally does, maybe the forthcoming 28-135mm f/2.8 could be its replacement. Though, we’ll see if this is all too good to be true in a few months time.

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Brightin Star's latest MF 50mm F2.0 Tri-Sight lens seems fairly normal with its fixed 50mm focal length, but it stands out from the crowd by boasting user-selectable 'rendering modes' which alter the character of out-of-focus highlight points. Choose from Smooth bokeh (soft highlights), Prime (sharper, more defined highlights), or Foams (dreamy, bubble-like light flares)

The system works using a dedicated control ring positioned between the focus and aperture rings. This moves a floating group of lens elements back or forth within the barrel to vary the focus distance, altering the convergence characteristics of light rays passing through the lens. This then results in the change in bokeh style, depending upon where the light converges relative to the focal plane.

This feature alone would make the MF 50mm F2.0 Tri-Sight pretty special, but Brightin Star also includes four circular plate inserts with novelty aperture cut-outs. These turn what would otherwise be round out of focus highlights into a choice of butterfly, star, triangle, or four-leaf clover shapes. The effect is certainly eye catching, though not entirely unique, as Lomography implemented a similar feature in its Petzval and Daguerreotype Achromat lenses. Brightin Star's method of fitting the inserts is more unusual though, as rather than slotting them down into the barrel, you instead unscrew a locking ring at the lens mount, fit the plate, then re-attach the ring. There is also a slot in the barrel, but this is designed to take conventional drop-in 37.5mm filters.

The barrel itself is made entirely of metal and features a neat retractable hood. Weight ranges between 429g and 454g, and length between 70mm and 74mm, depending on mount option. The aperture diaphragm is comprised of a generous 11 blades and is de-clicked for smooth aperture transitions when shooting video. Videographers may also appreciate the included detachable focus lever that helps with fine focus adjustments - useful, as the MF 50mm F2.0 Tri-Sight does not have autofocus.

Inside is a 7-element optical stack arranged in 6 groups. Up front is a custom-made protective lens made from precision-ground, ultra-thin glass measuring just 0.7mm thick. This is necessary as the floating group of elements which adjust the bokeh appearance actually extend forward of the main barrel when in Foams mode, making the front element more vulnerable to damage. Consequently, Brightin Star recommends the lens is stored with the bokeh control set to Prime mode, where the barrel is retracted.

The Brightin Star MF 50mm F2.0 Tri-Sight lens is available now for full-frame and APS-C Sony E, Canon RF, Nikon Z, and L-mount cameras, priced at $349.99/£263.99

Laowa has just announced "the world's first full-frame AF 35mm lens with true 1:1 magnification", promising the unique life-size rendering of a macro lens with the environmental context of a wide-angle lens.

Unlike traditional macro optics, built around longer focal lengths that carve a subject out of the scene, the new Laowa Acris 35mm f/2.8 1x Macro Apo brings a 1:1 reproduction ratio to a much wider perspective – and combines it with a fast f/2.8 aperture and advanced autofocus.

Well, the autofocus part comes with a bit of an asterisk: the lens will be available with AF on Sony E, Nikon Z and Canon EF mounts, while on Canon RF and L-Mount it is manual focus only.

The AF versions offer what Laowa is calling a Dual-Mode Hybrid Focusing system designed to work across all distances.

The Standard Autofocus mode (from infinity to 0.5m) "delivers fast, responsive, and accurate subject acquisition for everyday shooting, street photography, and environmental portraits."

Then there is Macro Focus Assistance (from 0.5m to 1:1), which "takes over in the close-up range to provide tactile micro-step manual precision. This setup integrates seamlessly into focus-bracketing workflows, making handheld or tripod-based focus stacking simple, efficient, and exceptionally accurate for high-depth-of-field macro shots."

As the name suggests, the Laowa Acris 35mm f/2.8 1x Macro Apo boasts Laowa's apochromatic optical design, which the manufacturer says "virtually eliminates both longitudinal and lateral chromatic aberrations (CA) in both in-focus and out-of-focus areas."

The optical design features a total of 13 elements in 10 groups, with 9 aperture blades in the AF version and 13 in the manual. The minimum focus distance is 180mm, with a minimum working distance of 48.6mm.

Weight and dimensions vary across the various mounts. The Sony version is a good representation of the mirrorless versions at 79mm x 114mm and 560g, with a 72mm filter thread, while the Canon DSLR version measures 79mm x 87.4mm and weighs 530g, with a 67mm filter thread.

All versions of the lens are weather-sealed, which makes this a very capable option for shooting outdoor subjects or working in damp and dusty environments.

The Laowa Acris 35mm f/2.8 1x Macro Apo is on sale now, priced $449 (£339 / AU$645).

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Lomography has taken one of the most recognizable looks in experimental photography and pushed it into completely new territory, with the Joseph Petzval Métamorphose 35mm f/1.8 – a new focus-coupled, bokeh control art lens designed for both photographers and filmmakers.

Available for Sony E, Canon RF and Nikon Z mounts, the new optic moves beyond the classic Petzval swirl and introduces a far more aggressive, almost vortex-like rendering that can be adjusted in-camera directly.

The Petzval name is already synonymous with wonderfully strange backgrounds, swirling bokeh and portraits that look as though they have been dragged straight out of another century – but the Métamorphose takes that character considerably further.

At its strongest bokeh setting, Lomography says the lens creates a perception-bending optical warp around an incredibly sharp center, with points of light stretching into comet-like shapes and the background appearing to surge around the subject.

At closer focusing distances that effect becomes even more pronounced, combining stretching and swirling bokeh to make the subject appear almost as though it is jumping out of the frame. At the opposite end of the scale, the effect can be dialled back for a much calmer rendering, with softer edges and soap-bubble-style bokeh textures.

The strength of the effect is adjustable across seven levels, while further changes can be made through aperture and focus, giving photographers and filmmakers considerably more control over just how strange they want their final image to look.

Lomography sees the lens as a creative storytelling tool, capable of adding a sense of speed to static scenes, creating feelings of confusion or movement, and even recreating some of the visual language associated with classic horror films.

What makes the story particularly interesting is where the optical design comes from. Lomography says its inspiration stretches back more than 200 years to the work of German mathematician and physicist, Carl Friedrich Gauss.

His Single Gaussian lens design from 1817 suffered from significant coma and astigmatism – optical characteristics that saw it deemed unsuitable for photography and instead used for telescopes. Lomography has deliberately embraced those imperfections, rather than correcting them, using the historically rejected design as the starting point for a modern photographic and cinematographic lens.

The 35mm lens uses 6 elements arranged in 5 groups and offers a fast f/1.8 maximum aperture, closing down to f/22 through a stopless iris-style aperture system. There is also support for drop-in rear aperture plates, a 62° field of view, a minimum focusing distance of 0.35m and a 67mm filter thread.

There are no electronic contacts, as you would probably expect from something this deliberately old-school in its optical philosophy, with focusing handled entirely manually through a helicoid mechanism.

Sample images

Lomography has clearly paid particular attention to filmmakers as well. The Métamorphose features a 180° focus throw, mod 0.8 follow-focus gearing and stopless control rings for focus, aperture and bokeh adjustment.

There is also a built-in quarter-inch lens support for tripod, handheld and gimbal setups, while the focus-coupling mechanism is designed to prevent unwanted focus shift as the bokeh effect is changed. That means the character of the background can effectively be altered during a shot, opening the door to gradual transitions and increasingly pronounced subject isolation without interrupting focus.

I have always liked lenses that do something genuinely different rather, than simply chasing another tiny improvement in sharpness, and the Joseph Petzval Métamorphose certainly looks as though it falls into that category. This is not a lens pretending to be clinically perfect; its entire appeal comes from exaggerating the optical characteristics lens designers spent generations trying to remove.

For photographers and filmmakers who enjoy creating their look in-camera rather than adding everything afterwards, this could be one of the more unusual 35mm lenses we have seen for some time.

The lens is currently available for presale through Lomography's website, with delivery beginning in December, and will carry a price of $649 (approximately £489 / AU$930).

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Pixel peepers love to analyze the look of a lens’ bokeh – but one new third-party, multi-mount lens is giving photographers a slider to choose how those out-of-focus areas render. The Brightin Star MF 50mm f/2.0 Tri-Sight is a full-frame lens built around bokeh control.

Using a slider on the lens, photographers – and videographers – can choose from three different styles. The Prime setting is a standard mode for sharp subjects and well-defined, circular bokeh in the background.

The “Foams” setting creates a well-defined edge to those bokeh balls, sometimes endearingly dubbed “onion ring bokeh.” Brighton Star says this setting also creates dreamy lens flares.

On the opposite end, the Smooth setting on that bokeh slider creates softer, larger bokeh from points of light. This setting also creates a softer overall look, much like using a diffusion filter.

So how does building three different looks into one lens work? Brighton Star says that adjusting those Tri-Sight bokeh settings slides the lens groups back and forth. This movement will either over or under-correct spherical aberration, which also helps shape that bokeh.

While the bokeh slider is perhaps the new lens’ most unusual feature, that’s not the only way creators can manipulate bokeh. The lens ships with a set of drop-in discs that shape the bokeh, including a triangular shape inspired by old cinema lenses, a star, a butterfly, and a four-leaf clover. Using cut-outs to shape bokeh is a common photography trick, but Brightin Star is building the feature into the lens with a rear insert.

Those bokeh-focused features are wrapped up in a metal lens barrel, including a built-in, retractable hood. The focus ring has an optional lever, while the aperture ring is the de-clicked style.

The Tri-Sight lens launches in four different mounts with full-frame coverage: Sony E, Nikon Z, Canon RF, and the L-Mount. While the size varies slightly by mount, Brighton Star calls it a compact lens, with the length of the lens varying from 7 cm to 7.4cm depending on the mount.

If the Brightin Star MF 50mm f/2.0 Tri-Sight sounds familiar, that’s because the lens was first teased as a prototype earlier this year. Now, the lens has been officially announced, with orders opening up and retailers beginning to list pre-orders.

The lens retails for $399 / £302 (about AU$572 / CA$566).

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The Leica APO-Macro-Elmarit-SL 100 f/2.8 is the kind of lens that makes its intentions clear from the moment you pick it up. This is a serious piece of glass, designed not only to deliver exceptional macro performance, but also to serve as a highly capable medium telephoto for portraits, sport and general detail work.

Paired with the Leica SL3-S, the Leica's first L-mount macro lens feels every bit as premium as its price suggests, with the sort of build quality, balance and attention to detail I would expect.

Leica APO-Macro-Elmarit-SL 100 f/2.8 Specifications

Mount: L-mount
Full frame: Yes
Autofocus: Yes
Image stabilization: No
Minimum aperture: f/2.8
Minimum focusing distance: 0.95" / 2.41 cm
Optical deisgn: 17 Elements in 12 Groups
Dimensions: 5.4 x 3.03" / 137.2 x 76.96mm
Weight: 28.25 oz / 800.89 g

Leica APO-Macro-Elmarit-SL 100 f/2.8 Build and handling

There is very little about the APO-Macro-Elmarit-SL 100 f/2.8 that does not feel Leica-like. The construction feels reassuringly substantial, the controls are beautifully finished, and the lens has the sort of solidity I would expect from an optic designed to spend its life attached to a professional SL body.

Mounted on the Leica SL3-S, it feels extremely well balanced. This is not a tiny or particularly lightweight lens, but neither does it feel unnecessarily cumbersome once attached to the camera. If anything, the additional weight suits the SL3-S nicely and makes the combination feel like a serious professional setup rather than an oversized lens hanging from a smaller body.

One of the most useful controls is the focus limiter positioned on the left-hand side of the barrel. During most of my testing, I initially left the lens operating across its full focusing range, which works perfectly well under normal circumstances.

However, when moving quickly from photographing something in the distance to attempting to focus on a subject very close to the ground, I occasionally found that the lens would hunt as it searched through its enormous focusing range.

Switching the limiter into its 0.3-0.5m close-focus range solved that slight issue almost immediately. Once the lens knew roughly where I wanted it to focus, autofocus became much faster and more decisive, and I experienced none of the hesitation I had encountered while leaving it unrestricted. It is a small control, but one that makes a noticeable difference when working quickly with macro subjects.

Leica APO-Macro-Elmarit-SL 100 f/2.8 Performance

This is where the APO-Macro-Elmarit-SL 100 f/2.8 really begins to justify itself. Image quality paired with the SL3-S was outstanding, and I frequently found myself surprised by just how much fine detail the lens was able to resolve.

Even when photographing macro subjects at f/2.8, some of the resulting images appeared at first glance as though they had been shot using something closer to an f/1.4 prime. Backgrounds dissolve beautifully, giving close-up images an almost dreamlike quality, while the subject remains impressively well defined.

It is only when you begin zooming into those files that the real character of the lens becomes apparent. The fine texture of a petal, tiny imperfections on a leaf, and minute surface detail are all reproduced with remarkable clarity. There is a tremendous amount of information within the plane of focus, even when the depth of field itself is extremely shallow.

That combination is what impressed me most. There are plenty of lenses capable of creating attractive background blur, and there are plenty of macro lenses capable of capturing fine detail, but the APO-Macro-Elmarit-SL 100 f/2.8 manages to combine the two exceptionally well. Images can look soft and atmospheric from a normal viewing distance while simultaneously containing an extraordinary amount of sharp detail exactly where the lens has focused.

The 100mm focal length also makes considerably more sense once you stop thinking exclusively about macro photography. For portraits, it provides pleasing compression and excellent subject separation, while sports and documentary photographers could equally use it as a conventional medium telephoto before moving immediately into close-up detail shots.

That versatility could prove particularly valuable for photographers trying to tell a wider story. A sports photographer could photograph an athlete from a distance before moving in to capture the texture of their equipment, the stitching of a glove, or another smaller detail. A portrait photographer could move between headshots and close-up images, while nature photographers could switch effortlessly from wider compositions to the intricate patterns found within plants and flowers.

Sample images: Leica APO-Macro-Elmarit-SL 100 f/2.8

Leica APO-Macro-Elmarit-SL 100 f/2.8 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 center of frame, from f/2.8 right through to f/11. Equally impressive is how well the lens maintains this sharpness into the corners of the image frame at all apertures.

Fringing:

Fringing is kept consistently low, at all apertures - you won't see any aberrations in real-world shooting.

Distortion: 0.05

This is as close to a zero-distortion lens as you'll find.

Leica APO-Macro-Elmarit-SL 100 f/2.8 Verdict

The Leica APO-Macro-Elmarit-SL 100 f/2.8 is one of those lenses that becomes considerably more interesting once you stop looking at the name on the barrel. Yes, it is an exceptional macro lens, but reducing it to that description would seriously undersell what Leica has produced.

I found it to be an excellent f/2.8 medium telephoto in its own right, capable of producing superb portraits, sports images and detail shots before turning almost instantly into a highly capable macro optic. Paired with the Leica SL3-S, image quality was exceptional, and the resolving power of the combination was, at times, astonishing.

The occasional focus hunting I experienced when moving rapidly between distant and very close subjects was the only real weakness I encountered, but it was also incredibly easy to correct using the focus limiter on the side of the lens. Once set appropriately for close-up work, the autofocus became fast, confident, and reliable.

Price will naturally be the biggest barrier for many photographers; coming in at $2,700 / £2110, there are certainly more affordable macro lenses available. However, I would argue that the APO-Macro-Elmarit-SL 100 f/2.8 should not be judged purely as a macro lens. For photographers who want one extremely high-quality 100mm f/2.8 telephoto capable of portraits, sport, and general photography, while also being able to produce extraordinarily detailed close-up images, this new Leica could be a genuine godsend.

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The anamorphic look has had something of a resurgence over the last few years, driving a good number of manufacturers to invest in producing (relatively) affordable anamorphic lenses at various squeeze factors. This has enabled many filmmakers to create projects with the distinctive look you get, at far less prohibitive costs.

Sirui is one such company and it has released a number of anamorphic lenses in the past, which have gone down well with the community. The Saturn range in particular seemed to have just the right balance of features, performance and cost.

Another development in filmmaking has reared its head, however, and Sirui is spearheading a change in lens technology to try to fit this – and that is social media. Well, vertical video.

While there are ways to get ‘normal’ footage to work on socials, such as cropping a 16:9 shot or turning the camera to fit the vertical format, it does have some limitations – and they are most obvious for those wishing to publish anamorphic footage.

Frame edges, bokeh shapes and, most obviously, flares just don’t look right when rotating the camera, as the squeeze direction is off by ninety degrees and cropping such a wide image could be problematic when trying to reframe the content.

With this in mind, Sirui has developed the Saturn V2 lenses with a neat feature: the lens / mount can be unlocked and rotated.

I haven’t seen this before and was keen to test it out, while also seeing whether the Saturn V2s are a useful addition to my kit – even without this feature, as image quality and performance on a shoot are just as, if not more, important than a rotating mount.

Having shot with countless lenses over the years, including the Blazar Remus (another lower-cost anamorphic), I opted for an L-Mount set – which consists of a 35mm, 50mm and 75mm T2.9 – to go with my Lumix S5 for a compact, lightweight setup. Sony E and Canon RF options are also available.

Sirui Saturn V2 35mm / 50mm / 75mm T2.9: Price & availability

Each of the lenses – the Sirui Saturn V2 35mm T2.9, 50mm T2.9 and 75mm T2.9 – is available for $599 / £529 / AU$749.

The three-lens kit, comprising the entire set, is available for $1,699 / £1,589 / $2,693. While that isn’t a small investment, it does represent excellent value – and includes the hard case, along with a free gift in the form of a Sirui Alien Series Crab Clamp with Magic Arm (worth $29 / £27 / AU$46).

The selection of focal lengths gives you coverage for a broad range of shots and the build quality is even better than the cost might have you believe. Compared to other anamorphic lens sets, you are getting a great deal.

Sirui Saturn V2 35mm / 50mm / 75mm T2.9: Specifications

Sirui Saturn V2 35mm / 50mm / 75mm T2.9: Design & build

I have the Saturn V2 set, which includes the 35mm, 50mm and 75mm T2.9 in a very nice hard case, with foam cutouts for the lenses and accessories.

The three lenses are identical in dimension except for length, with the 50mm and 75mm gaining a few millimeters extra. All three have gears for both iris and focus, pitched to fit standard follow focus / PIZ motors, and the rings are far enough apart that dual motors should fit.

If you have used the previous version, you won’t be surprised by the form factor. These are compact lenses – much smaller, in girth at least, than your typical cine lenses – barely wider than the L-Mount itself.

They feel great in the hand, too. Weighty and solid, thanks to the metal construction, and finished in a satin charcoal paint, bar a couple of silver rings. Markings are clear in both white for iris and focal distance in meters, and orange for feet.

Each lens ends in a 62mm filter thread so, while you could add a matte box, for a small rig you could save some cash on filters too, as they generally increase in cost with size.

It’s worth noting that the front of the barrel is fixed. The focusing section, which sits behind and partially beneath it, rotates, but there is a section of the front barrel that protrudes over the focus ring.

It doesn’t extend much in radius, and is unlikely to cause any issues, but when focusing by hand you may find yourself coming into contact with it. It may be aesthetically pleasing, but I’d rather it wasn’t there – especially as I can’t see a use for it, other than being a place to label the lens as a 1.6x anamorphic (information that is found on the front, too).

The only other feature to be found is the locking tab on the left side, right by the mount, which allows for the entire lens to be rotated 90°.

Maximum aperture for all three lenses is T2.9, fairly standard at this price point. The minimum is T16 with no clicks in the gearing, ideal for videography. There’s a very smooth action and lovely damping to the ring, as is the same for the focus ring, which makes for easy operation.

It’s also worth noting that the equivalent field of view (compared to a spherical full frame lens) is wider. Vertically you retain the same coverage but horizontally, that stretched image gives you a far wider field of view. The 35mm becomes 22mm, the 50mm covers 31mm while the 75mm is equivalent to a 47mm.

The Saturn V2s looks and feels premium, although there’s a distinct lack of weather sealing gasket around the mount so I wouldn’t be overly confident in adverse conditions.

I’m a fan of the compact nature of these lenses, as well as the feel. The weight is good and both iris and focus rings are smooth. My only gripe is that the throw isn’t all that great. Fine with a motor that can be adjusted for speed, but it could be problematic otherwise, though I'll come on to that.

Overall a pleasing design that looks and feels good, which is best suited to small set-ups – which I imagine is the target market.

Sirui Saturn V2 35mm / 50mm / 75mm T2.9: Performance

I’ll start off with handling, which is generally very good. The compact nature of the Saturn V2 set makes it easy to build a small, light rig, ideal for handheld shots or solo filmmakers – but it’s easy to expand it where needed, thanks to the geared focus and iris rings.

I generally use my S5 as a true hybrid, without a cage, rods and so on – and for this, the Saturn V2 is perfect. Really easy to pop in a shoulder bag and take on trips and hikes, but I have tricked it out with a focus motor, field monitor and my PolarPro mattebox, and found that to work really well, too.

As mentioned, the focus throw is a bit short for my liking. At just 120° and with a larger aperture setting, nailing critical focus can be slightly challenging – although almost all cameras will have focusing aids, which do help. With a smaller aperture this problem drops away, and the ring really is nice and smooth, plus the damping helps a lot.

Speaking of focus, a big part of the look gained from shooting anamorphic is the out-of-focus areas, especially the bokeh. The Saturn V2s produce pleasantly consistent bokeh, with just a touch of onion skinning and a little bit of color fringing (although not overly obtrusive).

The size of these lenses (ranging from 100.9mm to 112.2mm) means balance is very good, too, and I have no issue with them feeling front-heavy, something to keep in mind if you are a regular gimbal user.

All this means nothing, though, if the image produced isn’t what you are after. Anamorphic lenses have an inherent look, which is one reason they are so popular. They don’t have the most clinical image, with a slightly softer appearance than a spherical lens, along with the headline flares and often some distortion towards the edges.

These would usually be considered flaws, if you were reading a review of a non-anamorphic lens, but here they tend to be sought after, as their character can be pleasing. Of course, there is the field of view to be considered as well.

Anamorphics come in different squeeze factors and the Saturn V2s sit around the middle of the range at 1.6x – but that isn’t the whole story. Your final output will depend on your sensor size and dimensions, and whether you are shooting open gate or in something like a Super35 mode.

There’s a lot of interplay between different elements of your shot to be considered. For example, some cameras will force you to crop in on the sensor if you want to shoot slow-motion footage. So, consider these factors when making your decision.

For my case I am shooting a 3:2 full frame in 4K on the S5. Unfortunately the S5 doesn’t have an internal desqueeze of 1.6x for monitoring, but it has 1.5x which is close enough – and I often have a field monitor attached, which does have the 1.6x desqueeze. This is purely for camera use, though, and squeezing the footage in Resolve isn’t affected.

You can see some sample images below, which are the correct ratio and they show the image characteristics of these lenses. I shot a sequence showing both flares and differences in sharpness and edge distortion.

Having used a good number of anamorphic lenses over the years I was expecting to see more of both, but the Saturn V2s are pretty clean in both regards.

For a start, while there is some pincushion distortion and sharpness falls off towards the edge, it isn’t as strong as I expected and is quite pleasing to my eye. Depending on your sensor and timeline ratio, you may not see much at all.

Optical performance is generally very good here. Minimum focus distance is average at 0.9m, but sharpness is excellent across all three focal lengths – although the 75mm is a little softer than the others.

The trio all show some edge softness wide open, but that is virtually eliminated at T4. It’s worth noting that they aren’t as sharp as their spherical counterparts, thanks to the nature of anamorphic squeezing, but it’s minimal.

Chromatic aberration and color fringing, on the other hand, are more noticeable. High-contrast edges show some across the aperture range. It’s not so much that it becomes a problem, but you may spot some magenta. Again, this decreases with higher T-stops.

Vignetting is visible at the extremes of all the lenses, again slightly more so with the 75mm, but like distortion, it’s not strong and will likely disappear once you crop to your timeline.

Anamorphic flares are often a headline feature and, whether you love them or hate them, they are part and parcel of shooting this type of lens. This set has neutral flares, which should pick up the colour of the light source causing them. Personally I prefer this to the blue, but that’s really personal taste.

Flares are definitely present, but not as strong as those found in other lenses – and I’m all for it. You retain the character they provide, without overwhelming the image.

Lastly, there is the Saturn V2 party trick: the 90° swivel. Increasing amounts of vertical video are being made and this doesn’t cause an issue for other lenses – but shooting anamorphic can be a headache because, as soon as you turn the camera for vertical shooting, your bokeh, flares and distortion all fall the wrong way.

While that could be a creative choice, there’s no control over it – so Sirui added the rotating mount. All you do is orient your camera for vertical shooting then pull back the little switch and rotate the lens. This only goes in one direction, so the right side of your camera will be at the top.

The action is very smooth and there is no play in the resting position at either end. It simply locks into position with a satisfying click and you are good to go. The button is spring-loaded, meaning you won’t be able to accidentally knock it out of position.

Because of the squeezing aspect to shooting this way, it takes a minute to get accustomed to framing – but that could just be middle-aged vertical video-avoiding mindset. Either way, the lenses perform identically in both orientations.

This a neat trick and something I can see become more common, as shooting for social media becomes ever more popular – especially narrative work, where this type of lens excels. Props to Sirui for innovating and giving us new opportunities.

Sirui Saturn V2 35mm / 50mm / 75mm T2.9: Sample video

Sirui Saturn V2 35mm / 50mm / 75mm T2.9: Verdict

The Saturn V2 set of lenses is ideal for solo filmmakers or creators, who want the benefits of a characterful image for use across various deliveries. That rotating mount makes them perfect for content creators and social media shoots, as well as more traditional horizontal output.

They are solidly built and, besides a short focus throw, very easy to operate – and could reduce accessory costs, too, thanks to a small filter size.

Sirui Saturn V2 35mm / 50mm / 75mm T2.9: Alternatives

Modern cameras and lenses try to fix imperfections like vignetting and color casts, but a new trio of filters from PolarPro leans into the imperfections to embrace a look that feels like it stepped out of the 1970s. The PolarPro Radial Gradient filters create an edge of color with a clear center to build an old-school look in-camera.

The new Radial Gradient filters come in a three-pack – one blue, one red, and one orange – and are designed to build in dramatic, warm, cool, and atmospheric color shifts that are strongest at the edges.

PolarPro says the look created by the filters changes a bit with the light on the subject. The company demoed the look the filters create with a 1970s drive-in-themed photo shoot in LA. Behind-the-scenes videos show a variety of different modern cameras being used on the set, but the resulting photographs have the vignetting and color casts that build a more classic feel.

The colors aren't the only way the filters aim to build a retro look. The sample images and videos suggest the filters have a slight diffusion to them, creating softer blooms of light that feel like vintage lenses.

Linear gradients are a popular filter format, but the radial gradient is far less common, creating vignetting at the edges that many modern lenses aim to avoid. While radial gradients aren’t common among modern filter options, the look feels reminiscent of some creative filter sets from the 1970s and 1980s, like Cokin’s Creative Filter System.

The Polar Pro Radial Gradient Filters, announced earlier this week, come in four different circular screw-in sizes as well as a Helix magnetic filter system option. A set of three starts at about $180 for the smallest size (about £136 / AU$256 CA$254).

The sizes range from 49mm – which also fits with the company’s filter adapter for the Fujifilm X100VI – to 82mm.

Shipping is expected to begin on October 7, with pre-orders open now.

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I’m once again left feeling jealous of all the photographers with access to Nikon Japan’s Nikon Direct storefront, because the ‘Big N’ has launched more tantalizing swag: a neck warmer and paper cups based around the fastest Nikkor lens in history, the Nikon Z 58mm f/0.95 S Noct.

Okay, so paper cups certainly weren’t on my bingo card for 2026, and more Nikon swag wasn’t exactly the big new release I’ve been waiting for, but I’ll take a neck warmer and paper cup that looks like the mighty Noct.

The Lens Neck Warmer Noct is definitely something I could see accompanying me on a cold hike. Ribbed fabric represents the focus ring, and the classic Noct script is embroidered just below the focal length and aperture markers. The fabric is fleece, so I’m guessing it’s pretty warm, too.

The Lens Paper Cups Noct come in a pack of 25 and feature a similar Noct-inspired design to the neck warmer, but more detailed, with printing made to look like a control ring, LED screen, tripod foot and more. I guess these 280ml cups would make a great talking point at a photography-themed party, exhibition or camera club meet.

Pricing and history

Sadly, these items are Nikon Direct exclusives, which means they are available only to Japanese domestic customers. The Lens Neck Warmer Noct is priced at 4,500 yen (roughly $29, £21, AU$40), and the Lens Paper Cups Noct (Set of 25) are priced at 1,500 yen (roughly $9.50, £7.15, AU$13.44).

If you’re wondering why the Nikon Z 58mm f/0.95 S Noct is such a big deal, it’s the latest in a very exclusive line of premium lenses that represent the pinnacle of Nikon’s optical engineering. The Z-mount Noct was released in 2019 with an eye-watering RRP of $7,997 / £8,299. Think of it as a conceptual lens that's available for purchase, designed to showcase the very pinnacle of the Z mount’s capabilities.

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A "remarkably compact yet well-built" zoom lens is the No.1 best-selling lens in Japan right now, according to major retailer Kitamura. Interestingly, the most popular optics are from third-party manufacturers.

The Sigma 18-50mm f/2.8 DC DN | C for E-mount sits at the top of the chart, followed by another Sigma optic for E-mount: the 28-70mm f/2.8 DG DN | C. Close behind is the Sony FE 100-400mm f/5.6-8 OSS – an affordable telephoto zoom, available for $848 / £799.

Since I started reporting on sales charts in Japan years ago, I have never seen more than three optics sharing the same position. However, in Kitamura's latest August 2026 sales chart, five lenses from Fujifilm, Sony, Canon and Tamron are tied at No.9.

Kitamura's best-selling lenses, August 2026

1. Sigma 18-50mm f/2.8 DC DN | C (E-mount)
2. Sigma 28-70mm f/2.8 DG DN | C (E-mount)
3. Sony FE 100-400mm f/5.6-8 OSS
4. Nikon Z 24-120mm f/4 S
5. Canon RF 50mm f/1.8 STM
6. Sigma 150-600mm f/5-6.3 DG DN OS | Sports (E-mount)
7. Canon EF-S 24mm f/2.8 STM
8. Sigma 20-200mm f/3.5-6.3 DG | C (E-mount)
9=. Fujifilm XC 13-33mm f/3.5-6.3 OIS
9=. Sony FE 70-200mm f/2.8 GM OSS II
9=. Sony FE 24-70mm f/2.8 GM II
9=. Canon EF 50mm f/1.8 STM
9=. Tamron 25-200mm f/2.8-5.6 Di III VXD G2 (E-mount)

No.1 lens: Sigma's "remarkably compact yet well-built" zoom

In our review, we found that the Sigma 18-50mm f/2.8 DC DN | C is "remarkably compact yet well-built". At just approx. 290g, it punches well above its weight. It delivers impressive image quality, features weather-resistant construction, and comes with a budget-friendly price tag.

5 lenses come ninth – from Fuji to Canon, Sony and Tamron

Five lenses are tied at No.9 in Kitamura's best-selling chart for August 2026. From Fujifilm to Canon and Sony to Tamron, the five optics cover a broad range of focal lengths and uses.

Fujifilm's XC 13-33mm f/3.5-6.3 OIS launched in 2025 as the smallest and lightest zoom lens in the Fujifilm X-mount lineup, adding just 125g to the camera bag.

The Sony FE 70-200mm f/2.8 GM OSS II is a light workhorse, while Canon's EF 50mm f/1.8 STM remains a compelling value option that delivers impressive image quality. Lastly, the Tamron 25-200mm f/2.8-5.6 Di III VXD G2 is an all-in-one superzoom.

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The Fujifilm X100VI is a travel wonder, giving loads of options for street, cities, and portraits with its 23mm lens (35mm Equivalent). Being a 40MP camera, I’d have no hesitation cropping in a fair bit to get the shot, so I could effectively treat it as a portrait lens if pushed. One thing I can’t do is get a wide shot. I could potentially stitch photos together, but only for shots lacking movement. Fujifilm does make lens adaptors that do wide and telephoto views. Roughly 28mm equivalent and 50mm. To be clear, Fujifilm is an APS-C format camera, so it has a 24mm instead of a 36mm wide, full-frame sensor. This means focal lengths appear 1.5 times larger.

For me, 24mm is usually where I’d consider wide for landscapes, and 70mm would still be a little wide for headshots, though shooting vertical images would approximate this. The Fujifilm WCL and TCL are not cheap, with the TCL coming in a little more expensive. Often people will just get the wide and crop for the tele look. 28mm is far better than 35 for landscapes, so it’s still a worthy investment for when I want those wider shots-and I do.

One alternative option for supplementing the camera at a better price is the Freewell lens adaptors. Freewell makes a range of goods that fit the X100 series, including Arca tripod plates, thumb grips, and even a circular polariser/mist/lens hood kit. These accessories are well loved by X100 users, including me, so it will be interesting to see how their lenses fare. These follow suit from phone camera adaptors in that the wide adaptor had two parts, the base of which works as an effective close-up lens. And I do mean close.

Freewell doesn't just make for Fujifilm. They make a huge range of filters, including film influencers' products. They’re well established, have an excellent design reputation, and produce popular and often unique products.

Specifications

Price and Availability

The Telephoto is $149 / £126, which I think compares quite well to the Fujifilm TCLX100II at £299. The Wide Angle Macro is $99.99 / £102. Again this is much cheaper than the Fujifilm WCLX100II which lists for £289. Another quality option to price against are the Viltrox set, listing at €219 and €179 respectively.

Given the feature set and the quality, the price is reasonable for these compared to both the Fujifilm and Viltrox alternatives. Atralab have similar products at €124 for a wide/macro, €81 for a wide and €99 for a telephoto, with similar issues to the Freewell.

Design

I have the silver version of these lenses, but they are also available in black. These match the tone of the silver on the X100VI perfectly and look good on it. The X100VI uses a screw thread to attach adaptors. To access this, I had to unscrew a small ring from the front of the built-in lens. Most of the adaptors I have used to date simply screw on directly, but Freewell takes a different approach. Each lens comes with a separate, beefy adapter ring. It’s an extra step in getting the lens on, which I found annoying when I was in a hurry, but it does give far more support. I did leave it on when swapping between adaptors, and it didn’t seem to affect the normal lens operation. The downside is I couldn’t cover the main lens when not using the adaptors.

The Telephoto has quite plain styling, but I have to say that I don’t like the large text saying 1.5x Telephoto on it. It just looks tacky. Otherwise, it feels solid and not out of place, despite being a large piece of glass. The aluminium alloy material choice is reassuring that it can handle the pressure of the streets. It is a lot heavier than the Fujifilm version at 273 g, compared to 180 g. I couldn’t find any information on the element composition of the lens. It may be 5 elements in 4 groups, but that information isn’t readily available.

The Wide/Macro is similar, but smaller. Again, unnecessarily large text on the side of the lens, but generally better-looking. As the macro is part of the wide lens, I simply unscrewed the front section and stored it in the soft case. The soft case deserves a mention because of all the soft cases that come with these adaptors; Freewell’s is by far the nicest. I think it feels rather plush. The lens weighs 173 g, comparable to the Fujifilm wide lens at 150 g. It does have a macro lens and the adapter ring, so it’s reasonable.

One design choice that is a design by omission is the lack of a magnetic switch that embeds metadata about the nature of the attached adaptor. With Fujifilm and Viltrox, I can see if I’ve used the telephoto or wide adaptors in the metadata, and it will apply corrections based on this. I’d be a fool to assume that the distortion properties of the lenses match those of the Fujifilm, but currently there are no automatic corrections applied that suit either lens. And these are definitely needed. Most systems these days use metadata as a way to instruct my processing software to apply a lens correction. I have to manually work out something that’s close and use a preset to attempt this correction, which isn’t optimal as I prefer to not spend my life editing.

Each lens has a standard, plastic lens cap with no branding, and a push-on rear cap. I’ve mentioned the soft case already. The box is beautifully designed, something I rarely think about, but this was notable.

Overall, these look good, and the knurled effect on the adapter ring reminds me a little of the design of the Viltrox lenses. They match the X100VI well, in both shades, looking made for the camera.

Performance

The good looks only get a lens in the door; I need it to perform to keep it in my bag for use. I was really excited to use these lenses, and I have to say I felt a little disappointed by them. My first time using them centred mostly around location shooting with Tink Kaos. I was making use of the leaf shutter of the X100VI to get higher shutter speeds with off-camera flash. Normally I’d have to use high-speed sync to achieve this, which means full power, slow recycle times, and a faster-draining battery. Not so with the X100VI.

I chose to focus mainly on using the Telephoto for this to allow shallower depth of field and more subject in frame. I did choose to use the Wide lens for a few quick shots as a rough test of flare based on my experience with the telephoto. Being a sunny day, I opted to use the sun as a rear light with more controlled soft light from the front. Once the sun hit the lens, the flare was immediate and very obvious. Now I like flare and often add it using Boris FX Optics, but there I have control. This just gives a double cyan and orange spot. I had to use my hand to block the sun in lieu of an appropriate lens hood.

The other issue I had that day was that, despite using the rather excellent eye focus, there were far more misses than hits. Usually this is quite rare, but it did leave me distrusting the lens for critical shots. The flash was firing, so it should freeze motion, and 1/160 at f2.8 should be enough for this on static shots. But it wasn’t. And as I wasn’t doing anything different from shot to shot, there was no way to predict when it wasn’t focusing. I should add that, as it was a bright enough day, I had 3 points of contact-two arms and my face using the viewfinder instead of the screen; the camera should be steady.

The lens does have green chromatic aberration, which I easily fixed with a click in Lightroom.

The final thing that I found noticeable, especially with the sky in the shot, was a vignette on the shot, with a visible darkening in the corners. I used the manual section of Lightroom with an amount of 50 and a midpoint of 30 to correct for this. Both of these Lightroom settings could be saved as a preset and applied to the shots as a batch fix.

I did shoot a lot more with the lens, though, and found that it could be very sharp, like with this exhibition installation as part of our international arts festival.

My first shots using the wide were disappointing. Even at f5.6 with eye focus on, the focus was on the dress and the face was soft. Even if the actual focus point was the dress, I’d expect the face to be in focus at f5.6 at 28mm equivalent.

I made a trip to a location where I often shoot the Milky Way for some shots at sunset. The friary itself looked crisp and clear even at f5, though the contrast seems to have suffered from mild flare. I did wipe the lenses in advance of shooting just in case.

I also shot a few exposure brackets to create HDR photos for more dynamic range. Processing these did reveal some edge vignetting that wasn’t really visible in unedited shots. The bottom corner shows a flare that I suspect is light reflecting off the filter threads, and it wasn’t there in every shot with the sun.

I’m not convinced by the wide adapter. The other part of this is the Macro. And folks, this is fun. I’ve seen people express worry that this lens causes the camera lens to throw a wobbly when, in reality, this lens needs to be REALLY close to the subject. So close that, in sunlight, the lens can cast a shadow on the subject if you’re not careful. Once you’ve accepted that you need to be close, then this does become fun, giving very abstract images, and even high apertures still give very shallow depth of field.

Verdict

I wanted this set to be much better. I really did. There are quality issues with the lenses. The telephoto can be quite sharp, but when it’s not, it really misses. I couldn’t, in the time I had, figure out the cause that made the difference between sharp and soft. Even from shot to shot it could vary.

At its best I found the wide adapter to be soft. Both lens adapters are prone to flaring, even with multi layer coatings. There is chromatic aberration and some optical distortion in the lenses. Yes, they look great, yes they match the system, but as a wide and telephoto, there is better for slightly more money.

The macro is a saving grace though. While the design is very limited in depth of field, the resulting in-focus areas are quite sharp, allowing beautiful abstract art to be created. I would buy the wide adapter just for this. Yes, I could buy a close up filter, but there’s a lot more glass in this than the usual filter. And there’s the fun factor. I’d happily print my favourite results shot using this lens.

Some of the things that aren’t great, like the aberration, distortion and vignette, are fixable in software, and are usually fixed automatically with other lenses. I could make presets for these and even increase sharpening and detail for the wide lens. If I was happy to do that and I was on a limited budget, then these adaptors would work for me.

Alternatives

I still can't quite believe the 7Artisans 10mm f/2.5 Fisheye lens. What it offers – and, more importantly, delivers – for the price is pretty remarkable.

You get an eye-watering 185° angle of view, for starters, which is a reality-warping kind of perspective. And you get a fast f/2.5 aperture, which obviously is far more useful for low light than blurry backgrounds at this focal length. But you also get an enviable 0.15m close focus distance, full weather sealing and, best of all, autofocus.

This, in case you're unaware, is almost unicorn territory for a fisheye lens; there is, after all, only one other autofocus fisheye for the Sony E and L-Mount (from Sigma), and none whatsoever for Nikon Z cameras. But the 7Artisans 10mm f/2.5 Fisheye offers all this for under $500 – less than a quarter of the price of the alternative.

Fisheye lenses aren't for everyone, and they aren't for everything, but they're a brilliant creative addition to your arsenal – and if I were in the market for one, with its unique combination of price, performance and size, the 7Artisans 10mm f/2.5 Fisheye is the one I would personally purchase and is absolutely among the best fisheye lenses on the market. Here's why.

7Artisans AF 10mm f/2.5 Fisheye: Price & availability

The 7Artisans 10mm f/2.5 Fisheye was launched in September 2026 with a price tag of $449 – which translates to around £330 / AU$625.

While there are plenty of third-party manual options, as noted there are almost no autofocus alternatives native to the E, Z or L-Mount – and none at all for Nikon's mirrorless platform.

For Sony and L-Mount cameras, there is the Sigma 15mm f/1.4 DG DN | Art Fisheye prime, priced $1,999 / £1,859 / AU$3,795, which is faster but wider.

Other than that, Sony shooters have the option of a slower autofocus zoom – the Sony FE 8-14mm f/3.5 Fisheye G, which carries a $1,599 / £1,499 / AU$2,099 asking price.

7Artisans AF 10mm f/2.5 Fisheye: Specifications

7Artisans AF 10mm f/2.5 Fisheye: Build & handling

Despite its affordable price point, the 7Artisans 10mm f/2.5 Fisheye feels every inch a premium lens – and indeed, it's part of the company's Max line of top-tier optics. The all-metal construction gives it a satisfying amount of heft in the hand, and obviously offers a reassuring level of robustness. On top of that, it's finished beautifully with a pleasingly smooth, satin finish that suggests a far more expensive optic.

The mount (which, again, is metal) features a USB-C connection for easy firmware updates and is finished with a gasket – making this is a weather-sealed lens that you can take out even in challenging conditions. As always, remember that this is only true if your camera is likewise sealed (which my Lumix S9 is not!) so make sure your body and lens are weather-sealed before shooting in wet or dusty conditions.

Despite its build quality, the 7Artisans 10mm f/2.5 Fisheye is comfortably light at 504g and pretty small at just 94mm in length – which makes it a smart match for smaller full-frame bodies like the Lumix S9 and Sony A7C II, as well as Sony's APS-C cameras. This stands in stark contrast to the Sigma 15mm f/1.4 DG DN | Art Fisheye, which tips the scale at 1,400g and measures 160mm.

Given the bulbous nature of the front element, this lens has a fixed hood on the front – which serves both to protect the glass and shield the optic from errant light sources. This does mean, of course, that it's not compatible with traditional lens filters – so you're looking at sensor-mounted options if you want to use something like an ND filter.

I'll also point out that, despite the integrated hood, the front element remains very vulnerable – especially if, like me, you whip it in and out of a sling bag for street shooting. You should definitely use the supplied lens cap (which is felt-lined and slides on top of the hood petals) whenever you aren't actively shooting, as you don't want to smudge, ding or damage that exposed element.

Where controls are concerned, there's an aperture ring (clicked) for lens-based exposure control as well as a very nice manual focus ring (fly-by-wire) if you want to override the AF. To accomplish this there's a manual / autofocus switch, and a pair of function buttons enable you to map custom controls to the lens.

7Artisans AF 10mm f/2.5 Fisheye: Compatibility

It's important to note that the 7Artisans 10mm f/2.5 Fisheye isn't fully compatible with every Sony or Sigma camera body (all current Nikon and Panasonic cameras will work fine).

The manufacturer has provided a list of camera compatibility, as of September 2026. Per 7Artisans, 'Fully compatible' means that all functions work, 'Basically compatible' means "normal shooting works; some features are being improved" and 'Not compatible' means that the lens cannot be used.

Here's the full list:

7Artisans AF 10mm f/2.5 Fisheye: Performance

I primarily tested the 7Artisans 10mm f/2.5 Fisheye with my Lumix S9. I shot in a variety of conditions and situations, from action skateboarding and portraiture to architecture and close-ups to day and night street photography.

As noted in the specs, and evidenced by the sample images below, this is a 'full frame' or 'diagonal' fisheye lens. In other words, it captures images that fill the entire image area, from corner to corner, rather than being a 'circular' fisheye lens that captures a porthole-style image surrounded by a black frame.

Shooting with a fisheye lens is always a good time, but I didn't previously own a fisheye quite as wide as this. So the first thing I wanted to shoot was street skateboarding – which, as anyone who grew up in the Nineties watching the likes of Rodney Mullen, Chad Muska and Bam Margera tear, is the preserve of low-angle fisheye shots.

The 10mm focal length definitely added an element of challenge, as you have to get right up close to the action (or ask the skater to bring the action right up close to you) which invites a little bit of danger! But I absolutely love the results and especially the environmental results that are possible.

Even though the Lumix S9 still doesn't have Panasonic's skateboard autofocus, the 7Artisans 10mm f/2.5 Fisheye was able to keep up with the action whenever the camera could – and it never once dropped focus once it had been acquired, which is pretty impressive.

Just as impressive is the lens' control of flare and glare. We shot at a variety of angles from the sun, including with it right behind us, and I only managed to capture a single instance of flare (and that's shooting 30fps bursts!) which you can see above.

I also took advantage of having a great subject on hand to capture some portraits. This isn't necessarily the first thing you should do with a fisheye lens, but it's possible to get some creative people pictures with a very unique perspective.

Obviously I wasn't able to get any meaningful subject separation, given the wide-angle nature of the lens, though you can use the 0.15m close-focusing capability to achieve background blur by getting right up to your subject. As you can see in the samples below, I was able to get a pretty pleasing macro-esque shot of a tiny bug on a flower.

Bokeh, as and when you achieve it, isn't anything to write home about; it's quite busy, and often descends into smear rather than blur thanks to field curvature, but I don't realistically think anyone is buying this lens for creamy backgrounds!

Where I was really impressed with the 7Artisans 10mm f/2.5 Fisheye is sharpness. Again due to the curvature of the front element, we weren't able to adequately lab test this lens; it's simply too bulbous to get any worthwhile test data as soon as you start moving away from the center.

But as you'll see in the above close-up image of fruit, and in the flora images below, center sharpness really is very good – and even as you stray towards the edges of the frame, where things will inherently be weaker, things can be surprisingly crisp and detailed (check out the black-and-white shots of the car park and the bicycle).

If you want to defish your images, 7Artisans has a calibration profile that you can download. This will give you more of a rectilinear look to your images, but obviously you will get superior optical performance with a native rectilinear lens.

7Artisans AF 10mm f/2.5 Fisheye: Samples

7Artisans AF 10mm f/2.5 Fisheye: Verdict

With so many features for such a low price, I assumed that something had to give – but the 7Artisans AF 10mm f/2.5 Fisheye surprised me by delivering in every department.

The autofocus is fast and reliable, the fast aperture makes it possible to shoot when the sun is going down or gone altogether, the weather sealing keeps you shooting around water or dust, and the sharpness and overall image quality mean that your images look great – even on high-resolution sensors, as 7Artisans says that the lens can resolve 60MP, making this suitable for megapixel monsters like the Sony A7R VI.

I had a brilliant time shooting with the 7Artisans AF 10mm f/2.5 Fisheye and, even though fisheye shots aren't a huge part of my usual photography, I found myself missing this lens when I didn't have it with me – making this one of those rare lenses that genuinely impacts how you "see" the world and inspires you to pick it up and use it.

While it's a shame that the lens isn't universally compatible with all Sony and Sigma cameras, this is potentially something that can be addressed via firmware – and I want to shout out 7Artisans for already dropping a firmware update that improves image stabilization, which inspires confidence for future support.

Fisheye lenses are incredibly niche tools – by no means does everybody need one. Moreover, even if you own one, you probably shouldn't use it for every shoot you do. But having a fisheye in your arsenal gives you an incredible and unique creative weapon – and this one is a fraction of the price of other autofocus fisheye lenses, making it an incredibly appealing entry point if you want to experiment.

The Sigma 15mm f/1.4 fisheye is arguably a more useful (and easier to use) fisheye focal length, and it's faster as well, but it's also quadruple the price – and it's so big and heavy that it comes with its own tripod foot. Sony's new 8-14mm f/3.5 obviously gives you a zoom range, but you only achieve diagonal coverage at 14mm – which is no good unless you want the "porthole look".

For everything this lens offers at its ridiculously low $449 price point, it's simply a no-brainer if you have even the remotest interest in shooting unique perspectives with an extreme angle of view.

If you've been looking for a versatile, high-performance zoom lens, this stellar optic has just dropped to its lowest-ever price.

The Nikon Z 70-200mm f/2.8 VR S is now available for just £1,949 at London Camera Exchange.

With this offer, you save £250 on the Z lens' regular price tag of £2,199 – a lens that we described as "probably the best 70-200mm zoom in the world. Ever" in our review.

This could be one of your last chances to buy it brand-new, as LCE states the deal is a clearance offer with limited stock remaining. Other major retailers have listed the zoom as discontinued, just before its pricier successor arrived.

Nikon's top-tier telephoto

The Nikon Z 70-200mm f/2.8 VR S is known for its steep price tag, reflecting its specs and versatility – and it's easily one of the best Nikon telephoto lenses out there.

The Z 70-200mm f/2.8 builds on the legacy of the popular Nikon AF-S 70-200mm f/2.8E FL ED VR DSLR lens, a go-to for pro Nikon shooters worldwide. This optic of the mirrorless S-line goes even further: it handles better, delivers sharper images and performs at a consistently high level.

Yes, it comes at a price, but that's what makes this current deal such a great opportunity if you are a Nikon Z user. Beyond its impressive technical specs, it's a true workhorse lens – versatile enough to cover multiple genres. So if your shooting style is consistent, this is a long-term investment that really pays off.

Optically, Nikon packed this lens with some serious glass: 21 elements in 18 groups, including two aspherical elements, six ED (extra-low dispersion) elements, a fluorite element, and an SR (short-wavelength refractive) element.

Autofocus is fast, accurate, smooth and super quiet, which also makes it appealing to videographers. And unlike many S-line lenses, this one doesn't rely solely on the camera body for stabilization. It features a built-in optical VR (vibration reduction) system that keeps performance solid, even at the longest zoom setting.

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Known as "probably the best 70-200mm zoom in the world. Ever.", the Nikon Z 70-200mm f/2.8 VR S is the top-ranked product in the zoom lens category on the Japanese marketplace Minna Camera during the first half of 2026. The telephoto lens is now discontinued following the arrival of its successor, the Nikon Z 70-200mm f/2.8 VR S II.

In the ranking, Minna Camera classifies lenses by their longest focal length. Zoom lenses reaching 200mm or longer accounted for 51.2% of all zoom-lens transactions, while 200mm was the single most common telephoto-end category, accounting for 17.9% of transactions. In this category, the best-selling model in 2026 so far is Nikon's popular 70-200mm f/2.8 VR S lens. While US stock seems empty, UK retailers still offer the zoom brand-new, with discounts available.

Zoom lenses covering up to 70mm make up 15% of the transactions, with the Sony FE 20-70mm f/4 G being the most purchased option. Close behind are lenses covering up to 400mm, with 12.5%. The top zoom in this category is the Canon RF 100-400mm f/5.6-8 IS USM.

Top 10 zoom lenses by telephoto end market share at Minna Camera (H1)*

*Source: Minna Camera, based on zoom lens transactions completed January 1 - June 30, 2026.

"Probably the best 70-200mm zoom in the world. Ever."

The Z 70-200mm f/2.8 builds on the legacy of the popular Nikon AF-S 70-200mm f/2.8E FL ED VR DSLR lens, a go-to for pro Nikon shooters worldwide. This optic of the mirrorless S-line goes even further: it handles better, delivers sharper images and performs at a consistently high level.

Nikon packed this lens with some serious glass: 21 elements in 18 groups, AF (autofocus) is fast,accurate, smooth and super quiet. Unlike many S-line lenses, this one doesn't rely solely on the camera body for stabilization. It features a built-in optical VR (vibration reduction).

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I’ve been fortunate enough to temporarily rent a luxury telephoto prime that welcomed pixel-peeping while melting backgrounds into oblivion – but the lens cost more than my first two cars combined and felt like carrying around a third leg.

When Sony announced that it had turned two luxury lenses into portable and semi-affordable lenses with the 400mm f/4.5 and 600mm f/6.3 GM OSS lenses, I knew I had to take a hike at one of my favorite spots for wildlife photography – a nearby wildlife refuge.

Hiking with the new Sony 400mm f/4.5 and 600mm f/6.3 felt more like carrying around two 70-200mm f/2.8 lenses rather than two extreme reach telephoto primes. The lenses slide in at just under a kilogram and just over two pounds. That certainly added a little weight to my hands and my backpack, but that’s about three times lighter than Sony’s brighter 400mm f/2.8 and 600mm f/4.

I started out with the 400mm, but immediately spotted a bird that I couldn’t recognize and quietly swapped it out for the 600mm for a closer look. I watched the little fellow sit on a branch and peer into the water for prey for several minutes.

I used the 600mm on the Sony A7 V, not one of the highest-resolution full-frame bodies, but the 600mm lens was still impressively sharp and detailed. Cropping in on my shots, I realized that I had a hard time identifying the bird because it was a juvenile black-crowned night heron with an entirely different feather pattern from the adults.

I was able to photograph several more birds with the Sony 600mm f/6.3 GM OSS. The lens doesn’t melt the background quite like an f/4, and I had to use a slightly higher ISO. But the trade-off is that the lens is still very much hike-friendly rather than sitting and waiting inside a wildlife blind.

The biggest surprise from my shoot with the two new Sony telephotos, however, came after I returned home and blew up the photos on my screen. I had captured this very distant egret, knowing he would be very small in the frame, but liking how his features were backlit anyway.

But when I looked at the photo on my screen, I realized that the same branch also held a perfectly preserved spider web. Even cropping in from the 33MP, there’s still an impressive level of detail in that spider web.

I tend to crave more reach when out photographing wildlife, so I was also surprised when I actually ended up with more photos that I marked from the 400mm f/4.5. With a bit less reach, the 400mm has that brighter aperture and is still very lightweight.

As I made my way back to my car, I had to watch my step as dozens of frogs leapt out of the path. Just before the parking lot, I watched this egret fish, which, with the f/4.5 aperture on the 400mm, I was still able to freeze the water droplets at 1/5,000 and ISO 400.

The launch of the new Sony 400mm and 600mm brings a sort of happy medium to the E-Mount telephoto family. Sony has luxury wildlife lenses like the 600mm f/4 and cheap optics like the Sony 100-400mm f/5.6-8 OSS. The new Sony 400mm f/4.5 and 600mm f/6.3 GM OSS slot in as a Goldilocks, just-right balance between price, weight, and image quality.

Sony FE 400mm f/4.5 GM OSS

Sony FE 600mm f/6.3 GM OSS

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More than half of the zoom lenses traded on the Japanese camera marketplace Minna Camera in the first half of 2026 had a focal length of 200mm or longer, according to new data from the retailer.

Minna Camera's analysis of zoom-lens transactions shows: lenses reaching 200mm or longer accounted for 51% of all zoom-lens transactions, narrowly exceeding the 48.8% share for lenses whose longest focal length was below 200mm.

Importantly, Minna Camera classifies lenses by their longest focal length, rather than their 35mm-equivalent field of view. A 24-200mm and a 70-200mm lens therefore both fall into the 200mm category, while lenses designed for different sensor formats are not converted to a common 35mm equivalent.

Top 10 traded zoom lenses by focal length at Minna Camera (H1)*

*Approx. used prices in USD and GBP added by Digital Camera World.

Canon accounted for the largest brand share

Among the five manufacturers for which Minna Camera supplied brand figures, Canon accounted for 38.1% of zoom-lens transactions, followed by Nikon at 27.2% and Sony at 16.6%.

Sigma accounted for 4.1% and Tamron 3.4%.

Looking instead at the proportion of each brand's zoom transaction that reached 200mm or longer shows a different picture. Tamron had the highest figure at 65.6%, narrowly ahead of Canon at 64.2%. Nikon stood at 49.7%, Sony at 39.7% and Sigma at 37.8%.

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The Leica M system has never been short of interesting third-party glass, but this might be one of the more unusual new options to appear in a while. Lailens has released its new 35mm f/3.5 lens for Leica M-mount cameras, nicknamed “The White Queen,” and it is now available to buy through eBay for $599.

There is a catch, though: only 299 examples are being made, so this is very much another small-production lens aimed at photographers who want something a little different on the front of their M camera.

Rather than chasing modern sharpness charts and increasingly complicated optical formulas, Lailens has looked firmly backwards for inspiration. The 35mm f/3.5 pays tribute to a classic British Dallmeyer 35mm f/3.5 design, with Lailens reportedly disassembling two original lenses before reproducing the optical structure and its imaging characteristics at a 1:1 ratio. It is an increasingly familiar approach among smaller M-mount lens manufacturers, where the objective is not necessarily to create the technically “perfect” lens, but to recreate some of the character that made older optics interesting in the first place.

That vintage influence is certainly obvious from the outside. The White Queen has a silver metal barrel paired with a gold-colored aperture ring, giving it an appearance that should feel perfectly at home on both classic film bodies and modern digital M cameras. Focusing is entirely manual, as you would expect, with Lailens emphasizing the mechanical feel of the focus ring as part of the overall experience. This is not trying to disguise itself as a modern Leica lens; its slightly eccentric styling is really part of the appeal.

Optically, you are getting a 35mm focal length with an aperture range of f/3.5 through f/22 and an Anastigmat-derived design. Minimum focusing distance is listed at 0.6 meters, while the lens accepts particularly small 23.5mm filters. It is designed to cover full-frame 35mm cameras, making it a natural match for the Leica M system, whether you are shooting one of the latest digital bodies or something considerably older.

Of course, f/3.5 is hardly fast by modern 35mm standards. Leica shooters can choose from plenty of f/2 and f/1.4 alternatives if maximum light gathering or extremely shallow depth of field is the priority. But I suspect that rather misses the point of a lens like this. The attraction here is its size, mechanical simplicity, limited-production nature, and most importantly the promise of an older optical character recreated for photographers who do not want every image rendered with clinical modern perfection.

And at $599, it is also entering the Leica M world at a price considerably below many first-party Leica lenses. The Lailens 35mm f/3.5 “White Queen” is currently listed through eBay, with production limited to just 299 pieces worldwide. Whether its vintage-inspired rendering can live up to its wonderfully unusual appearance remains to be seen, but in a market increasingly filled with technically exceptional lenses, there is something rather refreshing about a new piece of glass whose biggest selling point might simply be character.

Panasonic full-frame mirrorless cameras have been through quite a downsizing regime since the Lumix S system was first launched back in 2019. The diminutive but perfectly capable Panasonic Lumix S9 is currently the smallest of the group, the lack of a viewfinder helping to enable a particularly svelte and slender build. Naturally, that advantage is lost if you mount a big clunky lens on your slimline, lightweight body.

To keep everything in well-matched proportion, Panasonic has already released a couple of desirable lightweight full-frame lenses, ideally suited to the Lumix S9. The Panasonic Lumix S 18-40mm f/4.5-6.3 launched as the world’s smallest and lightest zoom lens, complete with an intriguing zoom range that packed big viewing angles into its small build. Then there’s the Panasonic Lumix S 40mm f/2 prime lens, neatly bridging the gap between 35mm and 50mm optics and proving itself to be very versatile.

The new Panasonic Lumix S 20mm f/2.5 that I’m reviewing here is virtually identical to the 18-40mm zoom and 40mm prime in size and weight, giving an appealing symmetry and synergy to the trio. As a compact yet wide-angle prime lens, the 20mm is geared to walkabout, street and travel photography, landscapes, cityscapes and architectural interiors, and maybe even a bit of stargazing. It’s also pretty ideal for taking selfies, vlogging and video content creation. Who said that prime lenses lacked versatility? All in all, the S 20mm aims to be one of the best L-mount lenses and best lenses for the Lumix S9, and certainly one of the most lightweight and affordable.

Panasonic Lumix S 20mm f/2.5: Specifications

Panasonic Lumix S 20mm f/2.5: Price

The Panasonic Lumix S 20mm f/2.5 comes with a price tag of $499 / £429 / AU$TBA. That makes it a bit pricier than the Panasonic Lumix S 40mm f/2 at $399 / £349 / AU$699 but less expensive than the Panasonic Lumix S 18-40mm f/4.5-6.3 at $548 / £519 / AU$899.

For further price comparisons, the faster and more sophisticated Sigma 20mm f/2 DG DN | C unsurprisingly costs more at $769 / £589 / AU$1,200, whereas the ultra-thin (half-inch) but relatively basic Viltrox AF 28mm f/4.5 pancake lens is super-cheap at $99 / £90 / AU$149. I’d say that the Lumix S 20mm is fairly priced but not bite-your-hand-off value for money.

Panasonic Lumix S 20mm f/2.5: Design & Handling

Available in either black or silver, the Panasonic Lumix S 20mm f/2.5 is seriously lightweight. When I picked up the retail box I thought it was empty. Lifting the lid was the only thing that convinced me there was actually a lens enclosed. It’s really small too. Talking in numbers, it measures 69x41mm / 2.6x1.6in and weighs just 142g / 5oz. Both the size and weight are virtually identical to those of the S 18-40mm zoom and S 40mm prime.

I know what you’re thinking. Okay, I don’t, but I’m guessing it’s something along the lines of flimsy lightweight lenses being cut to the bone and having plastic mounting plates. Well, think again. The Panasonic is a tough little cookie, with a dust, splash and freeze-resistant design. Not only does it include weather-seals and a metal mounting plate, it even has a keep-clean fluorine coating on its little front element and some advanced handling finery.

It almost goes without saying but the Panasonic is an autofocus lens, employing the usual stepping motor to drive the requisite elements. It’s a fully internal system, so the front element neither extends nor rotates during focusing. That’s a bonus for handling, especially if you’re using a rotation-specific filter like an ND-grad or circular polarizer. However, the angle of view might be a bit too wide for effective use of a polarizer, as you tend to get an uneven strength of effect across the frame.

Focusing is typically quick and extremely quiet, ideal for both stills and videography. Further video credentials are that the lens is designed to suppress focus breathing, so the field of view doesn’t change when you alter the focus setting. For manual focusing, there’s a control ring with a nicely ridged and grippy surface.

The image below shows how well proportioned the lens is, in relation to the Lumix S9 body. Another small measurement, as written on the side of the barrel, is that the minimum focus distance is a mere 0.18m or 0.59ft, as measured from the image sensor in the camera body. Suffice it to say that there’s some serious close-up potential. That’s great as far as I’m concerned, as I love getting in really close with an ultra-wide-angle lens, to exaggerate the perspective effect. It also puts selfies and vlogging firmly on the agenda, as there’s no problem shooting yourself from arm’s length.

I’ve seen all too many ‘compact’ lenses that use downsizing as an excuse to strip out important features. There’s none of that here, and I’m glad that Panasonic resisted the temptation to do away with an AF/MF focus mode switch. One of my pet hates is having to rummage around in camera menus to make the change, when a simple switch on the lens makes it so much quicker and easier. It’s present and correct in this lens.

As well as the AF/MF switch, there’s also the bonus of a customizable function button. This really is something unexpected on such a small lens but it’s completely in keeping with the design of the companion 40mm, ensuring further similarities in handling characteristics. It’s neat being able to swap between the two lenses without any adjustment to your creative flow. I like that it’s placed on the diagonal, making it easy to get at in both landscape and portrait orientation shooting.

I’d usually use the function button for autofocus-hold/lock but an interesting alternative is Panasonic’s ‘crop zoom’ facility. This enables you to apply a crop factor on the fly, gaining a longer ‘effective’ focal length, albeit with a loss in megapixel count. It’s similar to using the APS-C crop mode featured in many full-frame cameras, although the amount of crop on offer depends on the specific Panasonic camera body.

As I mentioned earlier, the lens has a sturdy metal rather than plastic mounting plate. It comes complete with a weather-seal gasket to guard against the ingress of dust and moisture through the joint between lens and camera body. And as I’d expect nowadays, the electronic data contacts are gold-plated.

Panasonic Lumix S 20mm f/2.5: Performance

Just how much can you squeeze into a really small lens? Quite a lot as it turns out, because the S 20mm has a properly wide field of view. Swap from a typical 24-70mm standard zoom to this lens and the difference is more than obvious as soon as you put your eye to the camera’s viewfinder (not the Lumix S9 actually has one). This makes the lens something of a vlogger’s delight, for which the vari-angle screen of the S9 comes in very handy, with its front-facing facility. The bottom line is that you can capture yourself at arm’s length while shoehorning a lot of the background into the frame, to set the scene. That said, the lens doesn’t go as wide as the same-sized S 18-40mm zoom.

Sharpness is excellent in the central region of the frame but drops off towards the edges and corners when shooting wide-open at f/2.5. Edge-sharpness doesn’t really come on song until you stop down as far as f/8. With the sibling S 40mm lens, I found that I only had to stop down to f/4 for much-improved edge-sharpness. Even so, I’d say that the S 20mm delivers perfectly adequate edge-sharpness at f/4 and f/5.6, even if it’s not entirely great. Sharpness across the entire frame is impressive at f/8 and f/11. Overall, levels of sharpness are very good, considering that the lens crams so much viewing width into such a small and lightweight package.

A bonus for shooting architectural interiors and starry skies is that the f/2.5 aperture can pull in a fair amount of light. Okay, it’s not as fast as many prime lenses but the 20mm is still a little faster than a ‘trinity’ f/2.8 zoom lens. And for reasonably well lit interiors, you can shoot at middling aperture settings for a greater depth of field, and still not need to push your camera’s ISO setting very far, as demonstrated in the image below.

Autofocus proved quick and consistently accurate throughout my testing period. I was impressed by the lens’s sharpness, clarity and color rendition, but there is one sizeable fly in the ointment. Make that two flies… Ghosting and flare. The front optical element is quite small and it’s recessed from the front of the lens barrel. On top of that, there’s a ridged sloping surface that acts as a lens hood of sorts. With that in mind, I wasn’t expecting the lens to be as susceptible to ghosting and flare as it turned out to be.

Panasonic doesn’t supply a hood with the lens, nor does it sell one as an optional extra. You can get around the problem by shielding the lens from stray light with a spare hand, but I reckon you’d be well advised to buy an after-market hood that screws into the 62mm filter attachment thread. Shooting against the light with no hood mounted on this lens can often give rise to the kind of result shown below.

Panasonic Lumix S 20mm f/2.5: Sample Images

The following gallery of sample shots was taken at the East Somerset Railway in the South West of England. It’s a delightful historic railway that’s run as a charity by a friendly bunch of volunteers, and is well worth a visit. Weather conditions were very pleasant on a sunny, late summer morning. The collection of photos was taken outdoors and inside the station buildings and nearby engine shed.

Panasonic Lumix S 20mm f/2.5: 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 in the central region is superb, even wide open. We'd expect a marked reduction in sharpness as you move out towards the corners of frame, as this is inevitable when shooting our large, flat test chart at such a close distance. However, sharpness drops off particularly steeply with the Panasonic 20mm, especially at larger apertures - you'll need to stop down to f/8 to get decent sharpness across the entire image frame.

Fringing:

Fringing is very well controlled at all apertures and across the whole frame - it won't be visible in general shooting.

Distortion: -5.52

The lens produces significant barrel distortion, but this is corrected automatically by firmware.

Panasonic Lumix S 20mm f/2.5: Verdict

I’m mostly impressed with the Panasonic Lumix S 20mm f/2.5. For me, the main attraction is that it shoehorns a generously wide viewing perspective into a compact and incredibly lightweight build. The combination is all I could wish for when picking a prime lens for walkabout, street and travel photography. And while it’s superlatively lightweight, the Panasonic doesn’t skimp on features and build quality. Handling extras include an AF/MF focus mode switch and customizable function button, while the construction includes a metal mounting plate and multiple weather-seals.

Although lacking any zoom facility, it’s a very versatile lens, catering to landscape and cityscape photography, architectural interiors, selfies, vlogging and much more besides. I’d give it full marks for sterling performance wrapped up in a diminutive and travel-friendly construction, but I’ve knocked the rating down a bit because edge/corner-sharpness is a little lacking at wide apertures, and the lens is very susceptible to ghosting and flare. Stop down a little and shield it with a spare hand against oncoming light, or buy an aftermarket hood, and you’re good to go.

Alternatives

The Panasonic Lumix S9 is something of a fashion icon in its own right, adored for its slimline dimensions and snazzy colorways (I’ll take the dark olive). But the appeal of the body beautiful is rather lost if you need to hang a big clunky lens off it. To keep everything in the right mix and match proportions, there’s already the Panasonic Lumix S 18-40mm f/4.5-6.3, which launched as the world’s smallest and lightest zoom lens, and the dinky little Panasonic Lumix S 40mm f/2 prime. Now there’s the new Panasonic Lumix S 20mm f/2.5, to literally widen your options.

So what exactly are your options with the new S 20mm lens? The wide-angle perspective is ideal for walkabout, street, and travel photography, as well as for landscapes, cityscapes and architectural interiors. With its fairly fast f/2.5 aperture, astrophotography is another possibility, so it’s already sounding like you might be covering a lot of ground with this lens. That’s why it’s so nice that the big viewing angle is shoehorned into such a small, lightweight build.