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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What is the Samyang V-AF range?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Photography & Video Show continues until Tuesday 19 March.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

"Thank you to all of the Samyang lens customers.

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

Compatibility Issue Camera Models

• A7C II (ILCE-7CM2)

• A7C R (ILCE-7CR)

• A 6700 (ILCE-6700)

• FX6 (ILME-FX6V)

Compatibility Issue Symptoms

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

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

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

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

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

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

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

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

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

Specifications

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

Handling

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

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

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

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

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

Design

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

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

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

Performance

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

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

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

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

Verdict

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

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

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

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

Specifications

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

Handling

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

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

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

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

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

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

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

Design

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

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

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

Performance

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

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

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

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

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

Verdict

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

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

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

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

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

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

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

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

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

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

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

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

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

What’s special about ‘astro’ lenses?

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

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

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

Samyang AF 12mm F2 E in detail

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

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

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

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

Sample images

Samyang AF 12mm F2 E price and availability

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

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

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

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

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

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

Samyang AF 35mm F1.8 FE specs

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

Samyang AF 35mm F1.8 FE sample images

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

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

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

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

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

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

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

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

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

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

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

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

Rokinon 18mm F2.8 AF

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

Specifications

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

Read more:

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

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

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

Beautiful background blur

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

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

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

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

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

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

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

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

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

Rokinon SP 35mm f/1.2

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

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

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