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

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

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

Firmware

Updates: 17mm, 20mm and 24mm

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Pro Advice

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

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

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Browse the best lenses for the Sony A7 V

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

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

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

Kitamura's 10 best-selling lenses, June 2026

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Why is the XCD 35-100E so popular?

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

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

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

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

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

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

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

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

Lower demand for 70-200mm in Japan

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

ABOVE: Watch us discuss the lens on our podcast

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

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

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

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

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

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

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

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

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

Editor's Choice R&D Award: Sigma BF

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

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

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

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

Why simplicity matters in photography

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

You might also like…

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The high-end DSLR zoom

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Enter now!

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

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

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

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

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

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

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

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

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

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

Number 1: predictably dominant

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

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

Why Sigma's 20-200mm Contemporary stands out

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

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

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

System-loyal market celebrates third-party lens

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

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

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

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

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

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

MapCamera 2025 best-selling lenses

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

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

The unbeatable all-rounder

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Canon EOS 5D Mark IV – the DSLR workhorse

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

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

Sony A7 III – mirrorless versatility on the move

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

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

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

Where to see the winning series

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

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

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

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

DSLR lives on vs all-in on mirrorless

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Thinking of switching to E or L-Mount to make use of this lens? Check out the best Sony cameras and the best Panasonic Lumix cameras – and read my Sigma BF review, my Leica SL3 review and my Leica SL3-S review for more great L-Mount options.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Specs and features

Sigma 35mm F1.2 DG II | Art

Specifications (Figures are for L-Mount)

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

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

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

Sigma 135mm F1.4 DG | Art

Specifications (Figures are for L-Mount)

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

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

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

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

Specifications (Figures are for L-Mount)

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

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

*1 Only on supported cameras

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

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

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

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

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

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

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

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

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

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

Shop the Sigma BF

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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According to the latest data on China's online digital camera market, Sony is the clear leader. Not just by a few numbers either – Sony tops all major categories, from the most popular camera brand to the best-selling lenses, in a market that remains one of the most competitive ones in the world.

The following rankings are based on sales data gathered by the Chinese e-commerce platform JD.com, and were reported by Sony Alpha Rumors, offering us a picture of what's trending in China's digital imaging space in 2025 so far.

Seeing Sony at the top may not come as a surprise. The company also led the mirrorless market in Japan during the first half of 2025. According to BCN Retail's latest market report covering January through June, Sony held a 30.4% market share in mirrorless camera sales, though that figure was down slightly – over 5% – compared to the previous year. Popular models are, for example, the ZV-E10, known for its strong appeal among vloggers, also ranking among the top five best-selling cameras in China.

In terms of brand popularity, Sony leads the camera category, followed by Canon, Fujifilm, Nikon, and Panasonic. The lens market reflects a similar hierarchy: Sony once again takes first place, ahead of Canon, Sigma, Nikon, and Tamron.

So, let's take a closer look at the top five best-selling camera models and lenses in China's online digital market for 2025.

Most sold cameras

1. Sony A7C II
2. Sony A7 IV
3. Canon EOS R6 Mark II
4. Sony ZV-E10
5. Fujifilm X-T5

Most sold lenses

1. Sony FE 24-70mm f/2.8 GM II (SEL2470GM2)
2. Sony FE 20-70mm f/4 G (SEL2070G)
3. Sony FE 70-200mm f/2.8 GM OSS II (SEL70200GM2)
4. Sony FE 70-200mm f/4 G OSS II (SEL70200G2)
5. Sony FE 50mm f/1.4 GM (SEL50F14GM)

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If you're keeping tabs on the camera market, then you'll want to check out the best mirrorless cameras, or dive into more sales numbers, to gain insights into the photography market:

- No compact cameras in Japan's top 10 best sellers
- Compact camera reclaims top spot in Map Camera's best-seller list for May
- Canon EOS R10 tops the BCN Ranking once again
- Kodak tops compact camera charts, Canon reigns for DSLR sales, and Sony dominates mirrorless market in Japan H1 2025

US President Donald Trump said that the country has reached a “massive” trade deal with Japan, applying a 15 percent tariff on imports from the country, he announced late on Tuesday, July 22.

The agreement avoids a threatened 25 percent tariff on Japanese goods, which was set to automatically go into effect in less than two weeks on August 01. The number, however, is higher than the 10 percent reciprocal tariff pause that has already hiked camera prices from major manufacturers.

Several major camera brands call Japan home, with many of those companies also manufacturing photography gear in Japan. Canon, Fujifilm, Nikon, and Sigma all have significant manufacturing in Japan.

Canon

While Canon has manufacturing centers in Japan as well as Taiwan, Thailand, China and Malaysia, the brand’s flagship lens factory is based in Utsunomiya, Japan, where many high-end interchangeable lenses, including the iconic white telephoto lenses, are made. Nagasaki Canon Inc, also based in Japan, is a production facility for cameras geared for “skilled enthusiasts and professional photographers,” a list that includes compact cameras, mirrorless, and DSLRs. Miyazaki Canon Inc. also produces DSLRs and mirrorless cameras. Canon Electronics Inc. is also based in Japan and manufactures components for products ranging from cameras to printers.

Canon previously adjusted prices in the US on many cameras and lenses in June.

Nikon

Nikon has shifted much of its production to Thailand, but several photography products are still made in Japan. According to Nikon’s Country of Origin list, several lenses are made in Japan, including the NIKKOR Z 58mm f/0.95 S Noct, Z 24-70mm f/2.8 S, Z 100-400mm f/4.5-5.6 VR S, Z 400mm f/2.8 TC VR S, and Z 600mm f/4 TC VR S.

While Nikon has already increased prices on some lenses sold in the US, the company has not yet altered the cost of camera bodies. Some DSLRs are made in Japan, but the list includes older models, while options like the D850 and D7500 are made in Thailand. All of Nikon’s mirrorless bodies are made in Thailand.

Fujifilm

Fujifilm is one of the few major brands that has not yet appeared to increase prices, but it appears to have shifted some manufacturing. Fujifilm gear is manufactured in China and Japan. The company has already launched “JP” versions of several popular cameras in the US, which appear to be the same camera but made in Japan instead of China.

Sigma

Sigma’s manufacturing is all done out of one factory in Aizu, Japan. Sigma has already increased prices by 10 percent earlier this summer, although a few products increased less than that 10 percent tariff rate.

What about the other camera brands?

Sony, Panasonic, and OM System are also headquartered in Japan, however, tariffs are based on the factory location not the company's headquarters. Sony manufactures much of its camera gear in Thailand. OM System has factories located in China and Vietnam, while Panasonic's are located in China and Malaysia.

More: Camera Tariffs 101: Where are cameras made?

Tariffs are based on the declared value, not the list price, and among the brands that have already increased prices, many products increased by around seven to eight percent, while others have increased by ten percent or even more.

A change from a 10 percent to a 15 percent tariff could mean another small increase for companies that have already raised prices. Having an agreement in place after months of uncertainty could potentially prompt the companies that have not yet adjusted prices to do so. However, while the agreement may mean a slight increase, the 15 percent tariff is less than the 25 percent tariff that was threatened in a letter by President Donald Trump earlier this month.

Among the key countries where cameras are manufactured, Thailand is facing a potential 36 percent tariff on August 1 if an agreement is not reached. Malaysia could see a 25 percent tariff. The European Union – where many Leica and Hasselblad cameras are made – has been threatened with a 30 percent tariff beginning August 01.

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In recent years, Sigma has become one of the most interesting and formidable manufacturers in the cine lens space. In a recent interview on the Sigma America YouTube channel, CEO Kazuto Yamaki sat down to discuss the company's bold new moves – including the launch of the Aizu Cine Prime series and a slick rebranding that reflects a more creative future.

The Aizu Prime line is a new family of cine lenses, 12 in total, ranging from 18mm to 125mm. They are being hailed as the world’s first set of T1.3 cinema primes designed specifically for large-format cinema cameras. Each lens offers a silky, natural rendering with a fast T1.3 aperture, delivering beautifully soft out-of-focus areas and strong low-light performance.

"It enables a new visual expression, says Yamaki in the video, embedded below. "I really hope that by using our Aizu primes, emerging filmmakers can create something totally new."

ABOVE: Watch the interview with Sigma CEO Kazuto Yamaki

Designed and built entirely in Sigma’s Aizu factory in Japan, these lenses promise consistency across the range – not just in color rendering and optical quality, but also in reliability from project to project. That means less time correcting footage in post and more time creating.

In addition to the primes, Sigma has also recently introduced two all-new cine zooms: a 28–45mm T2 and a 28–105mm T3. These are autofocus zoom lenses with full cine-style housing, something rarely seen in the industry.

"It’s a totally new concept," explains Yamaki. "They achieve great autofocus performance in a cine-style body, so they’re very versatile. Perfect for everyone from single-person crews to large productions." Yamaki also states that the response so far has been overwhelmingly positive, with many filmmakers already lining up for the release.

Alongside the hardware, Sigma has also revealed a completely fresh rebrand, rooted in creative expression. Personally, I’m a huge fan of the new identity. It moves beyond technical specs and emphasizes the work made with Sigma cameras and lenses.

Even the latest product catalog I picked up at The Photography & Video Show this year felt more like a zine than a spec sheet, filled with bold, inspiring images that celebrate what these tools can do in the right hands.

For a long time, I’ve believed that the best way to sell your gear is to showcase what’s possible with it. Sigma clearly agrees, and I’m all for it. I highly recommend watching the full video, as Yamaki has plenty of insightful things to say.

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It's a marketing promise that's been made for years: "This is the zoom lens that replaces your prime lenses." And it's never been true.

Until now.

I don't think enough has been said about quite how remarkable the new Sigma 17-40mm f/1.8 DC | A really is. Because not only, if you're an APS-C shooter, does it legitimately replace a bunch of your prime lenses, it might actually replace the need for a full-frame camera system altogether.

There are lots of asterisks involved in that premise, of course. So let me reframe the question about this lens, which is an effective 26-60mm f/1.8 on Sony, Fujifilm and L-Mount, and 27-64mm on Canon RF.

Consider this…

If I was buying a camera from scratch, would I be better served to get a full frame Canon EOS R8 and an RF 28mm f/2.8, RF 35mm f/1.8 and RF 50mm f/1.8 lens, or an APS-C Canon EOS R10 with the Sigma 17-40mm f/1.8?

In almost every way, the latter is a superior setup. It's smaller, lighter, cheaper, and gives you significantly more reach at the long end and a significantly faster aperture at the wide end. And, of course, it's one lens instead of three lenses (which don't even cover the same range).

Obviously, for bokeh freaks, you don't get the same shallow depth of field at those equivalent angles of view – though honestly, there's not a huge amount of difference between the Sigma zoom at 40mm at f/1.8 and the Canon 50mm prime at f/1.8 (and you get increased, effective magnification of 64mm).

If you're a pixel peeper, you can compare our test charts between all those lenses – but from my real-world shooting, there's not much between them.

So at the very least, if you're an APS-C photographer, I think yes – this does in fact replace a bunch of primes.

There may be principles that mean you don't want it to (if you believe that fixed focal lengths are a "purer" way to shoot, for example), but in terms of performance you aren't losing anything unless you compare this to the superior f/1.4 and f/1.2 primes.

Does it really replace the need for full frame, though? Honestly, for some people, I think it could.

A whole lot of people, among them working professionals, have a 24-70mm f/2.8 standard zoom lens almost permanently fixed to the front of their full-frame camera. That covers everyone from enthusiasts and hobbyists to people who photograph weddings and events.

Now consider THIS…

So let's ask another version of my previous question. Would I be better off buying a full frame EOS R8 with a Canon RF 24-70mm f/2.L lens or an EOS R10 with the Sigma 18-40mm f/1.8 (which, again, gives us an equivalent 27-64mm range)?

Some perspective. The R8 will set you back $1,600 / £1,200 / AU$2,600 while the 24-70mm will run you $2,600 / £2,600 / AU$4,200. By contrast, the R10 goes for $980 / £850 / AU$1,500 and the 17-40mm costs $920 / £780 / AU$1,500.

That's $4,200 / £3,800 / AU$6,800 for the full-frame combo versus $1,900 / £1,630 / AU$3,000 for the APS-C setup.

Now you tell me: is the extra 3mm at the wide end and 6mm at the long end worth over double the cost? Or the perceived "better image quality" of a larger sensor? The better sensitivity I'll give you, but I seriously can't remember the last time I intentionally shot above the R10's ISO32,000 ceiling.

Yes the 24-70mm f/2.8L lens performs better if you pixel peep. But all most people really care about is how different the rendering is – and if you're worried about your blurry backgrounds, 70mm at f/2.8 looks almost identical to 40mm at f/1.8 (which, again, benefits from the magnification of being an effective 64mm on Canon APS-C).

Personally, I'd go the APS-C route and either sink the extra cash in a second body or a bunch of additional glass – or better yet, just keep that money in my bank account.

Obviously one lens isn't going to make an entire sensor format extinct. But for a certain kind of shooter, who primarily shoots in the standard zoom range, you might have to reexamine a lot of received wisdom about what full-frame really has to offer.

Sigma's new lens redefines a lot of the rules. And if you're an APS-C user, or someone who's weighing up whether to upgrade to a larger sensor, you might just find that bigger isn't really better.

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If you think I'm full of hogwash, take a look at the best full frame cameras. And if you own one (or both!) of them, check out the best lenses for the Canon EOS R8 and the best lenses for the Canon EOS R10.

Sigma has issued an official apology in Japan regarding unexpected shipping delays for the upcoming Sigma 17-40mm f/1.8 DC Art lens, due to demand exceeding initial expectations.

The lens, which is set for release on July 10 2025, appears to have resonated strongly with photographers even before hitting store shelves. In a statement shared in Japan, Sigma wrote:

"Thank you for your patronage of Sigma products. We have received more orders than we expected for the 'Sigma 17-40mm f/1.8 DC Art' which is scheduled to be released on Thursday, July 10 2025, and production is unable to keep up with demand. As a result, some customers may experience delays in receiving their products.

"We apologize to our customers and other parties involved who have been waiting for the product for any inconvenience caused, but we are currently working hard to produce the product, so we ask that you please wait for a little longer".

It's important to note that this statement only applies to the Japanese market. So far, Sigma has not announced any delays or shipping issues in other regions. That means international customers may still receive their pre-orders on time but, with global interest growing, it wouldn’t be surprising if this becomes a wider issue.

Personally, after seeing the 17-40mm f/1.8 DC Art in person at the Wales & West Show last week, I’m not surprised that demand is outpacing supply. On paper the specs already looked exciting, but it wasn’t until I held it that I could appreciate what Sigma has achieved here.

This is the world’s first mirrorless APS-C zoom lens with a constant f/1.8 aperture, and it delivers an equivalent field of view of around 25.5–60mm on most crop-sensor bodies. That alone makes it incredibly versatile, covering everything from wide-angle to standard focal lengths with prime-like optical performance.

What sets it apart, though, is just how compact and lightweight it is despite that fast aperture. Even knowing the size and weight figures ahead of time, I was genuinely surprised when I saw it in person; it’s much smaller than I expected for a lens of this spec. It feels like the kind of lens you could leave on your camera all day.

The Art line has always been known for its optical excellence and this lens is no exception. It brings the kind of image quality and fast glass typically reserved for full-frame primes to the APS-C market, but in a single zoom that’s smaller and more practical.

"To create this lens with such excellent handling, image quality and all-round performance, in such a comparatively compact and lightweight build, and at a knockdown price point is a mighty achievement," said my colleague Matthew in the DCW review.

"It’s a fabulous lens that really does take the place or three or even four prime lenses, and is something rather special."

So yes, while it’s disappointing that early buyers in Japan will face a delay, it’s a strong sign that Sigma has created something compelling. If production can catch up, I think the 17-40mm f/1.8 DC Art has the potential to be one of Sigma’s most popular lenses ever.

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If you’ve never seen a puffin before, prepare to be surprised by their diminutive size, impressed by their diving capabilities and amused by their colourful beaks and sad eyes. The UK has 580,000 breeding pairs of Atlantic puffin, which is one of the three types of Fratercula, as the genus is known. The other two are the Horned puffin, found off the coasts of Siberia, Alaska and British Columbia in the summer, wintering in California; and the Tufted puffin, also found in the north Pacific. The Atlantic puffin is the most distinctive, if smallest at 32cm long on average, thanks to its orange feet and brightly coloured beak. 

The UK-based puffins like to nest in grassy burrows or crevices, in seaside cliffs, and are excellent swimmers which helps them capture small fish and, particularly, sand eels. You can find puffins at Dunnet Head, South Stack cliffs, Skomer Islands, the Farne Islands, the Orkney and Shetland Islands, though most Atlantic puffins are in Iceland where there are 10 million of them! The best time to photograph puffins is the breeding season, April-August, as this is when they spend the most time ashore.

Top tips for photographing puffins

1) Time your shot

The easiest shot is one where they are just outside the burrow but look for those coming in to land and especially, ones coming back from a successful hunt for food as their beaks can hold multiple catches.

2) Tracking AF

It’s much easier to capture an incoming bird if you have a tracking AF system, especially one designed for birds. Alternatively, use a single focus point and continuous focussing to follow it down to the ground.

3) Multiple captures

Shoot with a continuous or burst mode to get a range of shots as the puffin comes in to land. With those on the ground you can be more selective and have time to focus on the head. Use a fast shutter speed.

4) Beware overexposure

Puffins have a black body and a white chest, which is a recipe for blown highlights. Minimise this by always shooting in RAW to give yourself more latitude and possibly tweak the exposure compensation by -0.3EV or -0.7EV.

5) Open up the aperture

With a long telephoto, your maximum aperture may be f/5.6 or f/6.3 unless you have an expensive lens. This is fine, and should give enough depth of field for the puffin, while blurring out the background.

Kit and settings

Sometimes you can get reasonably close to puffin burrows, but when they are in the crevices of cliffs, diving into the sea, you’ll need as long a lens as possible, so a zoom such as a 150-600mm is a perfect starting point. Also, if the light is dull, you may need to increase the ISO rating to keep the shutter speed up. 

To get close to those little birds you need a big lens. Here are our guide to picking the best telephoto lens. Keep all your gear safe with one of the best backpacks. 

Many photographers, especially beginners, often wonder whether to choose a prime lens or a zoom lens. In sports photography, most shooters favor zoom lenses; a popular choice is, for example, a 70-200mm telephoto zoom, like the Sigma 70-200mm f/2.8 DG OS HSM | Sports.

Zoom lenses are a favorite among many (including myself) because they allow versatile shooting from a distance, whether capturing wildlife or high-speed sports action.

Curious about what other motorsport photographers prefer, I reached out to pro motocross photographer Tania Delohery-Duffy to hear her take. She shared why the Sigma 70-200mm f/2.8 is the lens she never leaves behind for consistently sharp and reliable results on the track.

"With action photography, it's safer to be away from the scene, especially with sports such as motocross. This is where you need a lens with a longer range, so you don't have to get too close. But, when you want to shoot some filler images to build up a story, getting images of prep work and riders getting ready, you would ideally shoot with a shorter focal length.

"In a dusty environment, the LAST thing you want is to be swapping lenses and getting all that dust on your sensor, so a zoom lens comes in handy.

"The Sigma 70-200mm f/2.8 DG OS HSM | Sports is my favorite lens. It gives me next to no chromatic aberration compared with other lenses I’ve owned, and the images are sharp and clear.

"With this focal length range, I can take almost any shot I need, whether I’m out on the track capturing the action, or in the pits taking a candid shot. What's more, especially when you're in an environment like motocross where it gets dusty, wet, and mucky, this lens is weather-sealed."

The optic

The Sigma 70-20mm f/2.8 DG OS HSM | Sports lens delivers top-tier performance with exceptional build quality and a host of advanced, customizable features. While it's slightly larger and heavier than some rivals, it handles beautifully and offers outstanding value for its price – making it a smart choice for serious photographers.

"The Sigma 70-200mm f/2.8 is really versatile. I also love using it for landscape and wildlife. It came in handy during a commercial shoot for a scaffolding company when I needed to capture the scaffolders working two stories up.

"I found the images are sharpest at 135mm, but don't be afraid to push the lens to its limits. It does well at all focal lengths and environments."

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You might want to read our discussion with a pro sports photographer to see if Image stabilization is a useless feature, or what camera legendary sports photographer Bob Martin is using at the Olympics.

Just a week or so ago, I asked whether prime lenses still hold their place in a modern kit. It seems Sigma may have answered that question with the newly announced Sigma 17-40mm f/1.8 DC Art lens.

Bringing a constant large f/1.8 aperture to the 17–40mm zoom range, the lens offers the image quality of a prime with the flexibility of a zoom. Designed for APS-C mirrorless cameras, it’s one of the most compelling lens announcements of the year.

The Sigma 17-40mm f/1.8 DC Art builds on the legacy of a classic: the Sigma 18–35mm f/1.8 DC HSM Art, a lens that made waves when it launched 13 years ago for DSLRs. At the time, it was the world’s first f/1.8 constant aperture zoom, and it quickly became a favorite among photographers and filmmakers alike.

The new Sigma 17-40mm f/1.8 DC Art continues that tradition while embracing modern upgrades such as improved optics, faster autofocus, and a significant 30% reduction in weight.

Available for Sony E, Fujifilm X, Canon RF, and L mounts, the Sigma 17-40mm f/1.8 DC Art covers an equivalent 25.5–60mm focal length in full-frame terms, making it ideal for everything from landscapes and documentary work to travel and portraits.

Its constant f/1.8 aperture means it performs beautifully in low light and produces a shallow depth of field with smooth, pleasing bokeh. The optical design uses high-precision aspherical elements and advanced coatings to minimize flare and ghosting, delivering outstanding sharpness and clarity even wide open. The lens was designed to rival prime lenses in overall image quality while offering the flexibility to reframe without changing lenses.

For video shooters, the Sigma 17-40mm f/1.8 DC Art offers silent and responsive autofocus thanks to Sigma’s High-response Linear Actuator (HLA). Focus breathing is minimal, and the internal zoom mechanism keeps the lens length constant, making it ideal for gimbal use and handheld shooting.

The lens also includes an aperture ring on the L-Mount, Sony E-mount, and Fujifilm X-Mount versions, which supports de-clicking for smooth, silent operation during video recording. On the Canon RF Mount version, the aperture ring is replaced with a control ring that can be assigned various functions via the camera, but it does not include the aperture click or lock switches. Additionally, on supported systems, the aperture ring can be locked to avoid accidental shifts during use; useful for both stills and video workflows.

Above: A sample gallery of images taken with the Sigma 17-40mm f/1.8 DC Art (RF Mount)

Despite its fast aperture, the Sigma 17-40mm f/1.8 DC Art is compact and travel-friendly, weighing in at just 535g. A completely new design brings the weight down by more than 30% compared to its predecessor, while the filter diameter drops to 67mm. The body is dust and splash-resistant, and the front element features a water and oil-repellent coating for use in demanding conditions.

Other notable features include a focus mode switch, support for Sigma’s USB Dock (for L-Mount), compatibility with mount conversion services, and for L-Mount users the ability to toggle between linear and non-linear focus ring settings. Two AFL buttons are positioned for ease of use in both landscape and portrait orientations and can be customized through the camera menu.

The Sigma 17-40mm f/1.8 DC Art lens is available to order now, with a release date scheduled for July 10, 2025, except for the Canon RF version, which will be in August. Priced at $919 / £779 / AU$1,499.95.

With its rare combination of fast aperture, compact size, and professional-grade performance, it’s set to become a go-to lens for serious APS-C shooters across both photography and video.

See our full Sigma 17-40mm f/1.8 DC Art review with lab tests

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A super telephoto zoom like the Canon RF 200-800mm f/6.3-9 IS USM lens is an incredibly versatile and popular optic. Now, a new Sigma patent hints that the third-party lens maker is working on an upgrade: a super telephoto zoom like Canon's but with a faster aperture and a broader zoom range for mirrorless cameras.

The super telephoto zoom market is highly competitive, with industry giants like Sony and Nikon battling along with top third-party manufacturers like Sigma. And that's great news for us photographers. Increased competition drives faster innovation, pushing manufacturers to deliver better optics at more attractive prices.

Sigma is known as the leading third-party lens maker for Sony and L-mount mirrorless cameras. According to a newly published patent application, it might step into Canon's territory with its rumored 180-800mm f/5.6-8 DG DN lens, challenging Canon's RF 200-800mm f/6.3-9 IS USM – Canon's first ever 800mm super telephoto zoom lens.

Sigma's Japanese Patent P2025-85984A reveals a design focused on making the supertelephoto lenses longer, slightly faster, smaller, and lighter than Canon's super telephoto zoom. The patent provides drawings for 180-800mm, 400-800mm, and 300-600mm designs. Sigma launched its innovative 300-600mm f/4 DG OS Sports in March this year.

This Sigma optic could bring us a compelling alternative with improved specs and a friendlier price tag (as lenses from third-party manufacturers are likely to cost less).

Currently, Sigma does not offer a lens that reaches 800mm. The closest options for mirrorless shooters are the Sigma 60-600mm f/4.5-6.3 DG DN OS Sports and the Sigma 150-600mm f/5-6.3 DG OS HSM for DSLRs (which can be adapted for mirrorless).

However, Sigma lenses aren't typically known for being lightweight. For example, the Sigma 60-600mm weighs around 2.79kg (6.15lbs), whereas Canon's lighter RF 100-500mm f/4.5-7.1L IS USM tips the scale at just 1.44kg (3.17lbs).

Sigma's patent P2025-85984A reveals a clever zooming mechanism that moves only parts in the middle lens group, which could make this lens lighter and more compact than Sigma's typical super zoom lenses.

While some online speculations hope the lens might be compatible with Nikon Z mounts, Canon Rumors hints it may not be available for Canon RF mounts – either way, we'll have to wait.

While Sigma hasn't officially announced this 800mm zoom yet, but the recent launch of the 300-600mm f/4 gives us a good reason to hope the new supertelephoto zoom will make it into production at some stage.

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Check out our camera rumors to stay up to date. If you are on the hunt for your next telephoto lens, here is our guide to the best budget telephoto lenses, along with the best Sony, Nikon, and Canon telephoto lenses.

At the recent launch in Japan of the now much-discussed Sigma BF, the attending journalists were also taken on a tour of the factory where it’s made. This facility is located in Aizu, in the Fukushima prefecture, about 190 miles north of Tokyo.

On display in a showroom at the Aizu factory are the many milestone products in the history of Sigma since it was founded in 1961. Obviously many of these are lenses, but there’s also a surprising number of cameras.

The line-up – which commenced in 1976 with a 35mm SLR based on a Ricoh model – shows that Sigma largely stuck with convention with its early film cameras, which included quite a number of fully-automatic compact cameras.

In the digital era, Sigma started to do things differently – adopting the three-layer Foveon sensor for its first DSLR, the SD9, which was launched in 2002. The Foveon X3 sensor was developed in the USA as an alternative to the (still) widely-used Bayer pattern of RGGB filters positioned over clusters of four photodiodes.

Creating a full-color image thus requires interpolation (specifically demosaicing) and Foveon reasoned that this compromised image quality – specifically sharpness – and came up with a sensor structure comprising three vertically-stacked layers of photodiodes, individually sensitive to blue, green and red (top to bottom).

Thus each photosite delivered full RGB color and effectively three times the resolution (much as now happens with high-res pixel-shift multi-shot capture).

In practice, however, there have been problems, particularly with the red layer – the deepest one – because a lot of light is lost on the way, so the result is less sensitivity and more chroma (color) noise.

Nevertheless, Sigma liked the Foveon sensor so much that in 2008 it bought the company. It has continued to work on trying to improve the performance, but this has been even more problematic with a full frame imager (all the X3 sensors so far have been APS-H, APS-C or slightly smaller).

Sigma continues to persist with Foveon, despite ongoing technical issues, while having now produced three full-frame mirrorless cameras using conventional sensors.

After Kodak’s much-publicized fallout with Canon, it switched its DSLR platform to Sigma’s SA-9 body refitted with the EF mount and using its own 14MP full-frame CMOS sensor. This camera was called the DCS Pro SLR/c and was introduced in 2004, but just over a year later Kodak ended its DSLR program.

Always a small player in this sector, Sigma also turned its attention to making compact digital cameras with a wider appeal, starting with the DP-1 in 2008. It used the same 14.15 MPFoveon X3 sensor as the SD14 DSLR (which was actually slightly smaller than APS-C, giving a focal length magnification factor of 1.7x) and a 16.6mm f/4 fixed lens (effectively 28mm).

Although fairly conventional in design, but not the idea of a bigger sensor in a small camera, the high-end DP1 began Sigma’s reputation for making cameras with, shall we say, more individualistic appeal.

A higher-res Foveon X3 sensor was introduced in 2012 with a trio of 15MP layers to give 46MP in total (44.3MP effective) which was impressive for the time. It was also now fully APS-C in size, so the DP1 was redesigned with a 19mm f/2.8 lens to still give an effective focal length of 28mm.

The new sensor also appeared in the SD1 DSLR and the DP2 compact which had a 45mm-equivalent fixed lens. Around this time, Sigma also began adding the name “Merrill” to various editions of its cameras, in honor of Richard B Merrill (1949-2008), founder of Foveon and the inventor of the X3 vertical color filter technology.

In most cases, though, there were virtually no differences between the versions.

With the next-generation DP Quattro series of fixed-lens cameras, launched in 2014, Sigma went completely off-piste with the styling while also introducing a much-revised Foveon sensor, primarily designed to help reduce the issues with color noise.

Still with three layers, the new X3 sensor now used only the top one to capture luminance info (brightness) along with the blue color, while the other two layers captured green and red. Sigma called this the “1:1:4 structure”, hence the Quattro name. Brightness information was subsequently added to these two layers as the image was processed in the camera.

As only the top layer captured the full resolution, the Quattro series cameras had an effective pixel count of 19.6 million (but there was a ‘Super High’ quality mode, which used interpolation to give 39MP for JPEG capture).

There were initially three models – the DP1 Quattro with a 19mm f/2.8 fixed lens (equivalent to 28mm), the DP2 with a 30mm f/2.8 lens (45mm) and the DP3 with a 50mm f/2.8 lens (75mm). The DP0 Quattro followed in early 2015 and had a 14mm f/2.8 lens, equivalent to 21mm.

These were cameras with plenty of quirks and foibles – among them no EVF, no video, no image stabilization and slow operation – but they gained a loyal following of dedicated enthusiasts and performed well in terms of image quality. By the way, Foveon X3 sensors can’t record video – period.

Next came the sd Quattro series in 2016, which were mirrorless bodies using Sigma’s own SA bayonet lens mount as per the earlier 35mm SLRs and the DSLRs. The sd Quattro model had an APS-C size sensor, again with the native resolution of 19.6MP, but the option of ‘Super High’ quality capture for JPEGs at 39MP.

The sd Quattro H featured the largest size Foveon sensor seen to date, equivalent to the APS-H format in imaging area, to give a focal length magnification factor of 1.3x. The native resolution is 25.6MP, but with the option of an upscaled 51.2 megapixels when shooting in the proprietary 14-bit X3F RAW format (which required Sigma’s clunky Photo Pro software).

Perhaps for this reason, the sd H also had the option of 12-bit Adobe DNG RAW capture. Notably, these cameras have a built-in EVF (along with a tilt-adjustable monitor screen) and the styling, while not as radical as that of the fixed-lens Quattro models, is still quite unusual.

Again, there’s a dedicated following with the H model, in particular, maintaining pretty buoyant pricing on the second-hand market – mostly because of its unique sensor, despite there still being performance limitations.

With the adoption of a conventional Bayer-filtered sensor for the current fp series mirrorless cameras, Sigma embraced video with great enthusiasm – and, consequently, these very compact bodies have near-cinematic capabilities and are particularly suited to rig or gimbal usage.

This is now the L-Mount era, so there’s a choice of lenses beyond Sigma’s own offerings, although it still has the most extensive range. The original 24MP Sigma fp and the current fp L model with 61MP on tap continue Sigma’s desire to do things differently in camera design.

Apart from being the smallest and lightest full-frame mirrorless bodies – even after the arrival of Panasonic’s Lumix S9 which, of course, is also an L mount model – they’re still fairly idiosyncratic in both form and function.

It seems that, fairly early on, Sigma determined it could never compete with the biggest camera brands and decided instead to attract attention in other ways. Consequently, it isn’t about chasing big sales numbers (although the aim is probably always to at least break even) but having the courage of convictions which, when realized, are convincing enough for others to buy into.

The new BF is Sigma’s most radical departure from convention yet, but it’s probably only happened because none of the company’s other adventures in camera design have been complete failures. It’s undoubtedly bold, brave and probably, possibly downright bonkers – but it’s not without either insight or inspiration, and that’s always going to start a conversation.

As Oscar Wilde famously noted, “There’s only one thing in the world worse than being talked about, and that is not being talked about”.

How do Sigma's latest cameras fare? Check out our Sigma BF review, along with our Sigma fp review and Sigma fp L review. All three use the L-Mount, so take a look at the best L-Mount lenses.

In the same week that Sigma announced its new super-fast Aizu Prime cine lenses, the company also revealed the development of something equally forward-thinking: its first autofocus-compatible cine lens series.

The upcoming Sigma AF Cine Line will launch with two full-frame zoom lenses. The 28-45mm T2 FF and the 28-105mm T3 FF will bring high-performance autofocus to professional cinema production. The former is set for release in November, with the longer latter lens following in spring 2026. Both will be available in L-Mount and Sony E-mount.

While Sigma’s manual cine primes have become industry favorites for their precision and character, the AF Cine Line taps into a growing demand for fast, reliable autofocus in serious filmmaking.

As mirrorless camera systems become more prevalent on set, and autofocus motors become more sophisticated, cinematographers are increasingly open to using AF in scenarios where speed, agility or small crews make it invaluable.

Sigma’s entry into this space suggests that the technology has matured enough to be trusted with high-end production.

Both lenses are built on the optical platforms of Sigma’s acclaimed Art series stills lenses, redesigned with cinema ergonomics in mind. They promise sharp, clean rendering with controlled flare and pleasing bokeh, all while maintaining consistent performance across the zoom range.

Mechanically these are true cine tools, with 0.8M pitch gears, clickless aperture rings and a refined build for on-set reliability. The autofocus system uses Sigma’s HLA (high-response linear actuator) offering high-speed, near-silent tracking even in high-movement scenes. This makes them ideal for gimbal work, handheld setups or unpredictable documentary moments.

What sets the AF Cine Line apart is its ability to bridge the gap between traditional cine build and modern autofocus needs. It offers the look and handling demanded by professionals, but with the flexibility today’s hybrid workflows increasingly require.

Pricing is still to be confirmed, but for filmmakers blurring the boundary between stills and cinema – or simply looking to move faster without sacrificing image quality – Sigma’s latest development could be just what the industry was waiting for.

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Sigma has just unveiled a significant new lens range for filmmakers – the Aizu Prime Cine Line. A comprehensive suite of large-format cinema lenses featuring a consistent, ultra-fast T1.3 aperture across all focal lengths.

If you’ve followed Sigma’s cine lens journey over the past few years, this won’t surprise you. The brand has quietly become one of the most trusted names in cinema optics, so much so that its lenses are often used as reference tools to benchmark new cameras.

Sigma's High Speed Prime and Classic Prime ranges are already industry-loved for balancing modern sharpness with filmic character. And with the Aizu Prime Line Sigma looks to be doubling down on that ethos, pushing further into the realm of premium large-format glass.

So, what makes the Aizu Prime Line special? Named after the location of Sigma's factory in Fukushima, Japan, every lens in the Aizu line from 18mm to 125mm opens to T1.3.

That consistent aperture means no light drop-offs, providing consistency in optical performance when switching lenses. This provides complete creative freedom across your focal range.

For those less familiar, where f-stops are physical aperture measurements, T-stops measure the actual light transmission. T1.3 is incredibly fast, which means excellent low-light performance, buttery shallow depth of field and an ability to isolate subjects in a way that feels cinematic yet organic.

Similar to an f/1.4 photography lens, a wide-open T1.3 enables cinematographers to carve light and focus with intention, drawing the eye exactly where it needs to go, without the image falling apart at the edges. This provides the filmmaker with a significant compositional tool.

ABOVE: Sample video of the Aizu Prime Cine lenses

The Aizu Prime lenses are specifically designed from the ground up for cinema. Every focal length features a custom optical design tuned for large-format sensors, with minimal distortion and focus breathing.

The image is sharp but natural, with just the right amount of organic softness, and this is proved to be true in the sample video shown above. Across the entire range you get consistent tone, contrast, color balance and flare control; a crucial feature for maintaining a unified look across a shoot.

With a large ⌀46.3mm image circle, the lenses cover full-frame, Super 35 and large-format cameras such as the popular Arri Alexa LF. That flexibility provides DPs and production teams with ample room to scale projects up or down without compromising optical quality.

For VFX-heavy workflows, the Aizu Prime Line supports Zeiss Extended Data, providing real-time lens metadata during shooting and enabling distortion and shading correction in post. It’s a powerful asset for streamlined, high-end productions.

Despite their serious specs the lenses remain compact, which is a rare achievement for glass this fast and this capable. That makes them a great fit for Steadicam, gimbal, handheld and run-and-gun setups, without sacrificing durability.

Mechanically they’re built to last, too, with smooth, long-throw focus rings, precise aperture control and rugged metal housings that are built for the demands of professional work.

Yes, these are professional cinema lenses, and yes, they’re priced accordingly. At $8,299 /£6,999 each, the Aizu Prime Line sits in the high-end tier.

But it’s important to understand that that buys precision engineering, dependable performance and the peace of mind that every focal length will deliver a matching, reliable image under pressure.

Initially, 8 lenses will be released in August covering 25mm to 75mm. The full 12-lens set, ranging from 18mm to 125mm, will follow shortly after. Mounts include PL and Sony E, covering most professional workflows and hybrid rigs.

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New camera launches are typically littered with phrases about cutting-edge technology. But in recent years, as I’ve held cameras with over 50 megapixels and cameras that have burst speeds fast enough to create a slow-motion video, I’ve often wondered: where do we go from here?

Looking at recent yet odd camera announcements like the Fujifilm X Half and the Sigma BF, I now have an inkling that the next big thing in camera isn’t going to be about impressive technology, but about the shooting experience itself.

The Fujifilm X Half is a prime example. This camera isn’t about cutting-edge technology. In fact, it lacks a lot of features that similarly priced cameras typically have, like RAW files and burst shooting. But the X Half isn’t about specs or even image quality, it’s about the feeling of using a digital camera that seems more like an analog experience.

Looking at cameras like the Fujifilm X Half, the similarly retro Yashica FX-D cameras, and even the minimalist Sigma BF, I can’t help but feel like camera engineers have been reading Marie Kondo and asking, does this spark joy? 

The BF feels as if it has removed everything that may not spark joy (and some that may spark joy, like a grip, but I digress). It’s a camera with few bells and whistles, yet it feels a bit like a luxury concept car.

The Fujifilm X Half seems to be a camera that’s not about fancy technology or super-resolution images but about the joy of shooting. Do digital cameras need a “film” advance lever? Well, no, but using a retro advance lever sounds fun, so why not?

Do digital cameras need two screens? Perhaps not, but why not give Fujifilm’s most famous feature – Film Simulations – a permanent spot on the back of the camera? And with the resurgence in retro cameras, why not embrace light leaks and film grain?

I don’t think the shift towards experience-based cameras is a bad thing, nor will it replace cutting-edge camera tech. Yes, it’s getting harder to imagine what’s next when we have high-resolution cameras with pore-level detail and 120fps burst shooting.

But, like the global shutter on the Sony A9 III, camera technology is still in for some surprises. Flagships are still gonna flagship, and those high-end features will continue to slowly trickle down to more affordable models over the years.

Still, while I don’t think cutting-edge flagships are going anywhere, I think camera brands may be more open to prioritizing the experience over tech specs.

The shift towards building cameras that prioritize the experience over the image quality highlights why dedicated compact cameras are resurging among regular consumers and not just serious photographers: the experience of taking photos with a camera is far different than that of taking a photo with an iPhone. 

Digital “minimalists” are carrying dumb phones and a dedicated camera, because they want to remain in the moment while taking a photograph – not be distracted by capturing the moment itself. Why not take that a step further and create cameras that aren’t distractions, but tools that spark a bit of happiness in the hands?

Admittedly, I’m not rushing out to buy the X Half, a Sigma BF or any of the other recent "experience cameras". But, I’m still glad they exist. I find more joy shooting with my mirrorless camera and with my old film SLR than I do snapping photos with my iPhone. And frankly, we’re living in a world that could use a little more joy.

Am I still wishing for a film experience camera that retains all the bells and whistles? Well, yes, I’m a techie at heart. The X Half has me excited to see what Fujifilm might have in store for the successor to the XPro3. If Fujifilm gave one of its mirrorless cameras the advanced lever and double screen without axing RAW and bursts, I’d be sorely tempted.

The last year or so has brought new cameras that feel a bit weird – but perhaps some experimentation and embracing the joy of taking photographs is just what the camera industry needs.

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After we applauded the current fashion for retro camera designs – as exemplified by the Nikon Zf and the OM System OM-3 – what to make of the pared-back Sigma BF?

Sigma says it has deliberately stepped away from any conventional camera design elements in the pursuit of “radical simplicity” and the idea of “an everyday camera” that also works as an alternative to a smartphone. 

Of course, with a price tag just shy of $2,000 / £2,000 / AU$4,000 before you add an L-mount lens, the BF is anything but “everyday” – and, as a full-frame L-mount mirrorless camera, it’s up against some pretty serious competition.

But there, I suspect, is where many of us reviewers are going wrong and – but I’m conceding only possibly – missing the point of the BF. No matter which way you look at it, Sigma is challenging everything we think that a contemporary mirrorless camera should be… and, indeed, what it should do and how it should do it.

The BF is unquestionably radical and its designers have relentlessly pursued their goal seemingly completely shut off from any taint of tradition or convention. We’re told that ‘BF’ stands for “beautiful foolishness”, which was a term originally used in reference to Japan’s traditional tea ceremony. But it’s apt because, while the camera is undoubtedly beautiful, it’s hard not to conclude it’s also foolish.

The one-piece aluminum bodyshell is a work of industrial art, and here the simplicity works beautifully; it looks great and feels even better. But then somebody has dived into Leica’s Das Wesentliche playbook and taken the concept of stripping down to the bare essentials way beyond what the Germans have ever dared.

There’s more than a hint of the Leica T in the Sigma BF, with both the design concepts and their execution having much in common. But Leica didn’t go quite as bonkers with the delete button – which, perhaps to Sigma’s way of thinking, means it didn’t go far enough, so the final result was a compromise.

But has Sigma gone too far? At what point does maintaining a purity of design at all costs start to come at the cost of some other things, particularity practicality and usability?

The BF doesn’t have an electronic viewfinder, there’s neither a hotshoe nor a built-in flash, no memory card slot, no wireless communications, no physical shutter and no IBIS. The monitor screen is fixed and there’s one interface – a USB C port – along with just a handful of external controls.

You’d think there’s some essentials in that little lot, wouldn’t you. But the camera’s massive internal memory is nice (if potentially problematic) and many photographers don’t use flash – especially with the high ISO performance of a 24MP full-frame sensor being so good. And I, for one, don’t use any wireless functions so that’s not an issue for me. 

The real biggie – especially for me in Australia, where the sun shines a lot – is the fixed monitor along with the absence of an EVF. For a camera supposedly designed primarily for keen photographers and with the stated aim of eliminating “everything that distracts from your interaction with the image”, not including a viewfinder is a very big miss indeed.

It’s likely some of this has to do with maintaining a purity of form, but function has suffered accordingly. The BF’s user interface is nice, though not as simple as Sigma would have you believe – but then it really can’t be, with a camera that has a pretty decent feature set. If, like me, you’re of A Certain Vintage, you’ll need to unlearn some basics, but it does work well and becomes ever more efficient with practice.

Messing around with the fundamentals of camera design has had mixed success in the past – the Leica T series had a comparatively short life – which is definitely one reason why the retro camera designs are doing so well.

The Sigma BF is as audacious as it is daring, but it’s harder to pin down exactly what it is… fashion statement, style icon, prestige product, unique high-end camera or a luxurious point-and-shooter? There’s the potential to be all of these things and, despite my initial misgivings, it’s fun to use if occasionally frustrating (which will surely go over time). 

Thinking outside the square is always a gamble, especially when there are such well-established – and accepted – rules of engagement, as is the case with camera design and operation. Sigma is to be commended for taking a totally different path, but there’s no question that the way ahead from here will have its challenges. 

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Take a look at our full Sigma BF review, and if it wins you over then check out the best L-Mount lenses to pair with it.

Sigma will increase prices beginning in June as a result of changes to US tariffs, Sigma America announced on May 06.

The cost of Sigma gear will be increasing beginning on June 02, Mark Amir-Hamzeh, the president of Sigma America, wrote in a letter to Sigma customers.

“Due to the recent implementation of government-imposed tariffs, our costs have increased substantially.

“We have made every effort to absorb these added expenses, but the sustained impact of the tariffs now necessitates a price increase to ensure we can continue delivering the quality and service you expect.”

Sigma says that prices will increase on June 02 2025, while current pricing will remain in effect for in-stock items through June 01. The price increase will apply to orders placed on or after June 02, as well as “any unfulfilled items,” the company notes.

The company did not comment on how much prices would be changing. However, Sigma says that its entire product line is manufactured in Aizu, Japan.

Goods imported to the US from Japan are currently facing a 10% tariff as part of a 90-day pause that temporarily lowered higher rates. If the countries do not negotiate new rates, that 10% tariff rate could revert to the original reciprocal tariff rate of 24% in July.

“​​We understand this is difficult news to hear, and please know this decision was not made lightly,” Amir-Hamzeh continued.

“We have always prided ourselves on delivering unmatched value to our customers, and we are doing everything we can to continue to do that while providing the same service and product excellence.”

Sigma is largely known for its lenses, which are available as third-party optics for a number of different mounts. Sigma is also part of the L-Mount Alliance, offering native L-Mount lenses.

Sigma also recently announced the BF, a mirrorless camera that the brand says is “radically simple.” Like the company’s lenses, the Sigma BF is made in Aizu, Japan.

The introduction of new reciprocal tariffs have caused uncertainty, followed by some price shifts for photographers and videographers based in the US.

Leica has already increased prices for customers in the US and Canada, while DJI has increased the cost of its popular vlogging camera and many of its drones are out of stock in the country. Canon has also indicated that a price increase is coming during a meeting with investors, but has not noted when or by how much.

Out of the price increases that camera makers have announced so far, gear made in China has seen the steepest increases, with China excluded from the 90-day pause and facing a 145% tariff rate.

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Want to buy before the June 2 price increase? Find DCW's favorite Sigma optics on the best L-mount lenses, the best lenses for astrophotography, or the best lenses for bird and wildlife photography. Or, follow our live blog on the latest announcements related to the US tariffs.