The China National Intellectual Property Administration (CNIPA) has invalidated the patent at the heart of Nikon’s high-profile legal battle against Viltrox, according to court documents obtained by Nikon Rumors.

The rumor outlet previously reported that Nikon had likely lost its patent infringement lawsuit and now the outcome appears to have been confirmed.

Technically, the suit isn’t over yet. Nikon will be given three months in which to appeal the decision or could focus its efforts elsewhere. But either way, this is a major setback for the Big N and a major hurdle cleared for Viltrox.

What's the lawsuit about?

Talk of a lawsuit began to surface at the beginning of the year, with a variety of reports speculating exactly what Nikon was suing Viltrox over – the most outlandish being a completely unsubstantiated Z-mount camera.

Now that the dust has settled somewhat, it’s clear that Nikon was pursuing Viltrox primarily over its implementation of four bayonet lugs and the placement of electrical terminal groups (contacts) – but it’s still not clear which product(s) the lawsuit actually relates to.

Nikon Rumors posted an English translation via an AI recap of the 25-page document, which helps to shed some light on the Chinese authority’s reasoning, stating that the legal basis for the invalidation was a “lack of inventiveness”.

What does that mean? Well, according to Strachan IP, a patented invention has to “have at least one novel technical feature over what has been done before,” which is called an inventive step. So, you can’t patent a wheel, but you can patent a particularly innovative axle.

In the aforementioned court case, the CNIPA has invalidated Nikon’s patent by arguing that it simply isn’t inventive enough. The story continues…

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Viltrox has officially announced that two of its popular line of "Air" prime lenses are coming to Micro Four Thirds cameras (MFT), giving the format a much-needed shot in the arm of third-party support.

While MFT is the longest-running and most prolific mirrorless format, having launched back in 2008, third-party manufacturers have gradually stopped releasing new lenses over the years.

Perhaps most significantly, Sigma stopped developing Micro Four Thirds lenses back in 2023 (though it has produced OEM lenses for OM System, such as the M.Zuiko 150-600mm).

However, this announcement could signify that Viltrox is about to fill the void left by Japanese third-party lens makers.

The Viltrox 25mm f/1.7 Air along with the Viltrox 35mm f/1.7 Air have both been confirmed for MFT cameras, offering respective 50mm and 70mm equivalent prime focal lengths.

The former is a slightly crowded space, including first-party "nifty fifty" options in the form of the weather-sealed OM System 25mm f/1.8 II and the affordable "plastic fantastic" Panasonic Lumix G 25mm f/1.7 Asph.

(The Panasonic Leica DG Summilux 25mm f/1.4 II has reportedly been discontinued.)

The latter is a different story, though, with the closest autofocus options being the Olympus M.Zuiko 30mm f/3.5 Macro and the Panasonic Lumix G Macro 30mm f/2.8 Asph Mega OIS, both of which offer a shorter 60mm equivalent experience.

While it hasn't been confirmed by Viltrox, my assumption is that these lenses are simple mount swaps with the same general size and optical formula for larger APS-C image circles (since they are already available for Fujifilm X, Nikon Z and Sony E).

In other words, don't expect the lenses to possess new slimmed-down designs that better befit the more compact MFT bodies.

Still, if these first two primes prove popular, it seems likely that we can expect more Viltrox optics to make their way to Micro Four Thirds. In addition to the brilliant Evo and Lab lenses, I'd personally love to see the Viltrox AF 28mm f/4.5 – an ultra-thin autofocus pancake lens.

Pre-orders and international pricing have yet to be confirmed, but both the Viltrox 25mm f/1.7 Air and Viltrox 35mm f/1.7 Air carry a price tag of ¥899 in China – which is around $130 / £99 / AU$189.

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Viltrox has announced the release of its full-frame 26mm autofocus (AF) Evo pancake lens for Sony E-mount and Nikon Z-mount cameras. This pancake prime brings the sophistication of longer-barreled telephoto lenses that, until now, we've had yet to see.

The Viltrox AF 26mm f/2.8 Evo is the first full-frame AF pancake lens to feature not only a dedicated aperture ring, but a focus ring too. On an APS-C body, it has an equivalent focal length of 39mm.

This latest addition to Viltrox's apochromatic-dedicated Evo lineup could become a new favorite among photographers wanting a pocket-friendly lens with solid aberration-busting abilities, but that also features a high level of built-in tactile control.

With the dual control ring system, it seems like Viltrox is trying to corner the pancake corner of the lens market by out-sophisticating the competition (which includes its own, budget-friendly and even slimmer Viltrox AF 26mm f/4.5, which lacked any rings and had a fixed aperture).

While Sony and Nikon both produce equivalent native AF lenses, in the Sony FE 24mm f/2.8 G and Nikon Z 26mm f/2.8, the Sony model is not a true pancake lens at almost twice the thickness of the Viltrox – and the Nikon, which is ever so slightly thinner, features a single (albeit) programmable, control ring.

Like any true pancake lens, Viltrox has packed this tactile control into a lens that's incredibly thin. Yet despite being just 23.8mm thick, it houses an optical design of 8 elements in 6 groups (including a high-refractive and a pair of aspherical elements) with a minimum focusing distance of 0.2m.

"To my mind, the 26mm Evo proves that the best things sometimes do come in small packages," said my colleague Matthew in his Viltrox AF 26mm f/2.8 Evo review.

"Despite its wide-angle perspective and reasonably fast f/2.8 aperture, the lens is less than an inch thick, quintessentially qualifying as a pancake prime. Even so, its image quality is impressively sharp and crisp, and the lens manages to pack both focus and aperture control rings.

"All in all, I love this lens as a travel companion and for everyday shooting, and it’s great value at the price."

The Viltrox AF 26mm f/2.8 Evo is available now, with an RRP of $299 USD / £279 / AU$579.

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I am a proud owner of a Fujifilm X100VI. I even managed to get one of the limited-edition versions from the anniversary. It genuinely is a wonderful camera that’s easy to use and even easier to have with you. It scored ‘Best for Travel’ in our Fujifilm Camera Buying Guide, and it’s a well-deserved accolade. The fixed 23mm (35mm equivalent) lens does have an in-between feel that’s a great fit for street shots and travel, but neither wide enough for proper landscapes nor long enough for portraits. When I say equivalent, it’s because the X100VI uses an APS-C sensor, which has a 1.5X multiplier on focal lengths.

Of course I wanted to find some way to get wider and longer shots, without adding significant weight. Fortunately, Fujifilm does have a wide and tele adaptor lens for this system, but at a price. I do own these as there were no real alternatives at the time. It was inevitable that other makers would seek to add more competitive options. The big question, of course, is whether they match up to Fujifilm's version, or if that’s not the intention, do they offer something different and unique that I might prefer?

Here I'm looking at Viltrox’s recently launched versions of these screw-on lens adaptors. The WCL-X100VI and the TCL-X100VI, wide and tele respectively. These are significantly lower in price than the Fujifilm version, but is this because the adaptors don’t hit the mark on quality? Maybe I’d be better off saving up and getting the original?

Who are Viltrox even? Well, Viltrox are a well-established third-party lens manufacturer working across a range of camera systems: Fuji, Sony, Nikon, Canon and others. Initially they created manual focus lenses, but branched into autofocus lenses in more recent years. They have a range for the X-Series, and I’m particularly fond of the XF13mm f1.4, which is very sharp for astrophotography. You can check out our Viltrox AF 75mm f/1.8mm and AF 90mm f/2.2 review for more.

I’m happy with the pedigree that Viltrox has established, which gives me some hope for the quality of these as a potential alternative to the Fuji WCL-X100II and TCL-X100II. And with Viltrox's reputation for having lenses that sit well above their price point, it could be a win-win on price and performance.

Specifications

Price and Availability

The WCL-X100VI lists for $159, £159, €179, while the TCL-X100VI is $189, £179, €219, though Viltrox often has sales. Given that the Fujifilm versions are $399, £289, €319 and $399, £299, €339, respectively, I think this is a fantastic price point.

Even a not-so-genius like me can see that there’s a massive saving to be made should the lenses stack up. These adaptors have just been launched and are accessible from the Viltrox website or via their suppliers. Given the solid nature of the adaptors, and the amount of glass, I think the build quality exceeds the listed price. If price were the main concern, there are other options, including the Freewell Tele adapter at $149.99 and combined Wide and Macro adapter at $99.99-even cheaper if price is an issue.

Design

Viltrox definitely went out of their way to make these match the X100VI in colour, with both silver and black versions available. I have the silver versions, and they match the camera really well, along with being very similar to the Fujifilm versions. When testing without the lens caps on, I had to read the name on the adapters each time to make sure I’d pulled out the one I wanted to use for the shot while comparing. So yes, aesthetically, they’re quite similar to the originals. Both the WCL and TCL have a knurled ring, which is nice in hand, and distinguishes them from the Fujis’.

It’s having these originals to compare that really makes any potential issues stand out. The filter threads on the Viltrox also match those of the originals, meaning that if I had started with the Viltrox, I wouldn’t lose out if I went to the Fujifilm versions later. I have a lovely 67mm diffusion filter from K&F Concept that gives soft portraits with the TCL, for example.

The lens cap on the TCL is the central pinch-to-remove type that is now the default everywhere (and I am glad to see this). The rear caps and cap on the WCL are Viltrox-branded push-on rubber with the thread marked on them. Still not as cool as the screw-on rear caps from Artra Labs though. Realistically, both Fuji and Viltrox need something better for the back of the adapters, as these wear over time and become loose and easy to misplace.

The adapters screw on easily and are immediately recognised by the camera, showing a W or T icon on the camera screen. Viltrox says this is due to a combination of a magnetic mount and an integrated chip in the camera. This embeds metadata in the file so programs like Lightroom Classic can automatically apply the correct lens correction for that adapter. They also label the focal length correctly, so the TCL shows as 33mm, for example. Viltrox do warn that metal-on-metal screwing can cause issues, but I feel it would take a reasonable amount of force to cross-thread. Just be careful! There’s a small ring that unscrews from the front on the built-in lens to give access to the threads. Something else for me to lose.

Both lenses use 5 elements in 4 groups, whereas Fuji has 4 elements in 4 groups for the WCL and 4 elements in 3 groups for the TCL-this explains the roughly 50g difference between each brand’s version of the teleconverter. It’s an impressive reason for the additional weight. As with other Viltrox lenses, there’s a nano coating on the lenses to help retain sharpness, while minimising aberrations and chromatic dispersions. It’s not perfect, as there is a situation where flare is very visible-more shortly. The final note that I should make on the glass is that these don’t change the minimum aperture, so you have the option to shoot at f2.0 with either lens.

Performance

Getting these adapter lenses on and off was flawless, but keeping the caps despite making use of the cloth bags for each lens wasn’t. I couldn’t find them after my first use- I did eventually! I wanted to give these a test in some of my typical shooting situations, so I shot both outside and in studio.

I often shoot quick model sets with the TCL. I had a day-long shoot with Olga Solo, and as part of that I did some test shots to compare to the Fuji. When I A/B’d the shots together I was surprised by how similar they were. Initially, the auto white balance had the Viltrox looking warmer and with better contrast, but when I made them the same temperature and tint in Lightroom, they were hard to tell apart. There is maybe a small amount more vignetting on the Viltrox TCL, but it’s very subtle. Other brands, like Freewell, have significantly more darkening of the corners.

The TCL is wonderfully sharp with these studio shots, again directly comparable to the Fujifilm. Viltrox was definitely trying to match the look and has succeeded. The Viltrox TCL is a little heavier, but in practice you don’t notice the difference.

The Wide Converter lens is practically weightless, meaning I could forgo the tele for some travel elements; I could always use the digital zoom and lose some of the 40MP I have to save weight. Equally, that zoom with the TCL gives a nice 100mm equivalent view, back to the wide lens. When I compare the photos to the original wide converter, they’re very similar.

I used the Viltrox in a variety of situations, and the main issue I could find is that there’s a dramatic flare with the sun in the centre of the frame sometimes, as with this sunset shot in the woods. Even dropping or raising the camera helped significantly, but I haven’t seen anything like this before. It’s the only real negative I have with the lens.

When I tried this during the afternoon, aiming at the sun, it didn’t flare, so it may just have been a fluke related to the conditions in the woods. Flare isn’t strictly a bad thing, and as an avid user of Boris FX Optics, where I add flare, I can’t complain about it artistically. It’s where I can’t control it that I have an issue. Besides this, the lens performed flawlessly for me. At the beach, in the woods, even out camping. When compared to the Fuji, there was very little difference-often anything I thought I’d notice would turn out to be a slightly different white balance or a minor change in shutter speed.

Given that Viltrox only advertises these as conversion lenses for the X100 series, it’s not setting itself up for comparison directly. But I think they match the look and feel of the X100VI beautifully, as well as competing in optical quality-probably the key metric.

Sample Images

Verdict

I think the Viltrox TCL-X100VI and the WCL X100VI are an excellent addition to my X100VI kit. They’re optically great and easily compete with Fujifilm’s versions of these converters. I love the retro look and the additional knurled ring that adds a unique visual element. The lens caps are great, but I do think there needs to be a better rear cap system. I love that the styling sits perfectly with the camera, so much that I think it looks like it could just be part of the camera natively.

I find the weight to be more than acceptable, even with the TCL being heavier than other versions. They’re more than pocketable should I decide to go out with the camera around my neck-though I’d avoid jeans pockets for moisture.

My only concern is that flare, but I’m finding it hard to repeat, so it may have been a fluke. Perhaps a mix of the shadow and light, and maybe I hadn’t screwed the converter on far enough? Either way, these will come in the small messenger bag for my X100VI, along with a small flash, ready for everything from landscapes to portraits, as well as those travel shots.

I would not hesitate to recommend these converters to anyone, whether budget-driven or otherwise. Viltrox has come through again, showing that they are a force in the optics world.

Alternatives

I’ve mentioned alternatives throughout, but in summary there are three other alternatives:

• Fujifilm have their own converter lenses used for comparison in this review.
• The Freewell Tele adapter combines a Wide and Macro adapter. These do match the styling of the X100VI, but also offer a macro option. The converters have threads on them as well, so require a threading ring to connect them, which comes as part of the kit. The TCL has a strong vignette, and may be related to the fact that they don’t trigger the lens correction switch like Viltrox.
• Artra Labs have slightly longer tele at 60mm equivalent and 24mm equivalent versions. They advertise the 24 as a 16mm and the 60mm as the equivalent. This is entirely true, but at first glance I thought it was a much wider lens for the WCL. It does vignette significantly, though with a lot of barrel distortion.

I've been scouring Amazon for the best Prime Day deals on the best Nikon cameras and best Nikon lenses, and I'm afraid I've come up empty-handed, on day one at least. But just when I thought all was lost, I came across these cracking deals on Viltrox Nikon-fit lenses for Z-mount cameras.

Viltrox makes some of the best third-party lenses for Nikon cameras, and all at a fraction of the price of official Nikon glassware. And on Prime Day(s), there's a cool 15% off a range of lenses, from fun lens cap pancakes to fully pro fast autofocus glass, making these already attractively priced lenses not-to-be-missed bargains!

Here are some of the highlights, but there are loads more. Click on the alternative lens tabs on the Amazon page to find the perfect Viltrox lens for you.

While Viltrox lenses may be cheap to buy when compared to Nikon equivalents, there's nothing cheap about their build quality or spec sheets, with luxuries such as fast apertures and autofocus found throughout the range. You'll find some of these lenses available as Sony-fit too, with the same Prime Day Deal discounts!

Last week, third-party lens maker Viltrox announced a tiny pancake lens – but if the rumors are any indication, that’s not the only tiny product on the horizon. Photos of a tiny Viltrox keychain camera have leaked online from a regular rumor reporter on Chinese social media.

I’ve heard a few dubious rumors popping up recently hinting that Viltrox was working on a camera. I had my doubts, but the newly leaked photos are not at all what I was expecting.

If the photos leaked by the Independent Photographers’ Association on Weibo are true, then Vilrox could soon offer a tiny keychain camera with a retro design.

The leaked photos look quite similar to the viral Kodak Charmera keychain camera, with the same rectangular shape, keychain ring, and retro stripes. The camera has “1839” printed on it, like some of the original Kodak Charmera designs that have 1987 printed on it, the year of the Kodak Fling that first inspired the Charmera.

The leak didn’t contain any specifications, but with the word “toy” printed on the box, it’s clear the rumored Viltrox camera isn’t made for serious shooters.

If I had to guess, I would venture that the Viltrox toy camera may not even be something headed to stores. The Google-translated caption with the photos indicates that the camera is made for a Dragon Boat Festival gift box.

For now, the Viltrox toy camera is just an unconfirmed leak – but it raises questions about the keychain camera craze. Since the Kodak Charmera went viral and sold out in a matter of hours last year, copies have popped up everywhere, from fast food swag to gas station rewards programs.

Now, the Kodak licensee Reto Productions has made a second set of blink box designs, this time on a Y2K theme.

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It's tough being an S9 owner. Panasonic proudly announced an ultra-small full-frame camera that's about the same size as a Fujifilm X100VI – but the only ultra-small lens available for it was barely fit for purpose, and every other L-Mount lens was comedically oversized on the camera.

Since then, even the so-called small Lumix S 40mm f/2 and TTArtisan 40mm f/2 are too chunky for my taste. But thankfully, mercifully, Viltrox has come to the rescue with an ultra-small lens that the Lumix S9 has been screaming out for.

Already available for Sony E, Nikon Z and Fujifilm X mounts, the Viltrox AF 28mm f/4.5 has just been launched for L-Mount. It's a super-thin pancake lens that's just 15mm thick, making it a perfect pairing for the svelte S9.

I wish this lens was available for the S9 at launch, as I think it would have utterly transformed the reception that greeted the camera. Instead of Panasonic's poorly-received, manual focus, fixed-f/8 26mm pancake, this is the proof-of-concept optic that the Lumix deserved.

As it is, the Viltrox AF 28mm f/4.5 – which my colleague Matt Richards awarded four stars in his review – offers silent and snappy autofocus, a faster (but still fixed) f/4.5 aperture and tasty central sharpness (even if it gets choppier towards the edges of frame). Heck, it even has a built-in lens cap that can be engaged with the flick of a slider switch!

All that tech and it's still slimmer than Lumix's 18.1mm-thick pancake – and only a shade heavier, too, at just 60g (compared to 58g).

And while I've been moaning about the S9, the L-Mount version of this lens obviously fits any camera using the mount – it's equally at home on the similarly small Sigma BF, chunkier bodies like the Lumix S1IIE or even a Red Dot camera like the Leica SL3. But we all know that it's meant for the S9.

"I feel that the Viltrox AF 28mm f/4.5 is the last word in convenience and portability, thanks to its incredibly small and lightweight build," Matt said in his Viltrox AF 28mm f/4.5 review. "I really like using it for street photography and for walkabout/travel shooting, as it keeps size and weight to an absolute minimum."

He does note that the fixed aperture can prove tricky (though nothing that isn't remedied by nudging your ISO) and found that flaring can be an issue, but otherwise concluded that "it's a fun lens that keeps things simple." Which is exactly what I want from my S9 – and is exactly what the 26mm f/8 failed to deliver.

Anyway, S9 users like me can finally shut up as we've got the lens we always wanted. It's available now for $99 / £90 (Australian price to be confirmed). Now, if only Samyang can be persuaded to bring the Remaster Slim to the L-Mount as well… 

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This one of the crazy camera rumors I've heard, but crazier things have happened: Viltrox is reportedly making a mirrorless camera that uses the Nikon Z mount.

If true, this might also explain the vigor with which Nikon has been legally pursuing the Chinese manufacturer.

On the surface, Nikon suing Viltrox over the Z mount seemed to be about the unlicensed production of third-party lenses. But if Viltrox is planning to use the Big N's mount wholesale, it becomes a much bigger issue.

Is Viltrox really making a Z-mount camera?

Viltrox has been rumored to be developing a mirrorless camera system since at least last August. When the brand joined the L-Mount Alliance in September, the dominoes seemed to line up for a Viltrox L-Mount camera.

Which may, indeed, still be the case. But Chinese social media has been rife with reports that Viltrox has – or, at least, had – its sights set on the Z mount.

Chinese social media, of course, is hardly the most robust source of information. However, when it comes to Chinese manufacturers, it has proven to be the most reliable insight into what companies in the region are up to.

It would be ballsy as all hell to make a completely unlicensed camera using someone's proprietary mount. Not unheard of, but certainly not from a brand as big as Viltrox.

As such, I'd personally take the biggest pinch of sale you can and file this one under "highly unlikely" – but that doesn't mean Viltrox wasn't developing something. Or, perhaps more offensively to Nikon, reverse-engineering something.

Why would Viltrox want to make cameras?

What would be the point in a third-party lens maker starting to produce cameras? It's a fair question. There is a mountain of R&D time and money involved in making a camera of any kind – let along a mirrorless camera that is going to compete with cutting-edge products from the likes of Nikon.

But you need only look at Sigma, which recently added the Sigma BF to the Sigma fp and fp L, as a lens maker who decided that the juice was worth the squeeze. Those cameras used the L Mount, with Sigma being a fellow (and indeed founding) member of the Alliance.

Then there's Yongnuo, another Chinese manufacturer, which launched a series of mirrorless cameras using the Micro Four Thirds mount – an open source standard, which would be a far less problematic route for camera development.

Still, it's a big expense and a big risk for minimal reward – Yongnuo's cameras were poorly received, and largely disappeared without trace, while Sigma's cameras are well regarded but hardly sell huge numbers.

However, Viltrox did say last year that, "Our commitment is to create a seamless and responsive ecosystem for creators," and this move would certainly serve that purpose.

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Viltrox’s new portrait primes sit in the telephoto family, yet only weigh about as much as a can of soda – and sell for under $400 / £400. The Viltrox AF 75mm f/1.8 EVO and AF 90mm f/2.2 EVO, unveiled on June 8, mix bright optics with a compact design.

The two prime lenses join VIltrox’s Evo series, which sits in both cost and size between the Chinese optics brand’s Air and Pro series, alongside previously launched 35mm f/1.8, 55mm f/1.8, and 85mm f/2.0 Evo lenses.

Both the new Viltrox AF 75mm f/1.8 Evo and 90mm f/2.2 Evo lenses are multi-mount optics made for APS-C camera bodies, including the Sony E, Nikon Z, and Fujifilm X mounts.

As part of the Evo series, Viltrox worked to keep the lenses compact and lightweight - right around the weight of a 12-ounce can of soda. The 90mm weighs about 320g / 11.2 ounces, while the shorter 75mm weighs about 355g.

Both lenses use the same type of autofocus – an STM or stepping motor that the company says delivers both speed and precision. The 75mm can focus as close as .74m / 29.5 inches away, with the 90mm minimum focus distance almost identical at .74m / 29.1 inches.

The lenses share a handful of design features, including the option to switch between a clicked or clickless aperture ring, an Fn button, and a USB-C port for firmware updates. Both lenses also share a 58mm filter thread size.

The Viltrox AF 75mm f/1.8 EVO is a shorter telephoto prime that’s equivalent to a 112mm focal length on full-frame. The longer focal length helps bring in more distant subjects and compresses the background, further helped along by that f/1.8 aperture.

The new 90mm, meanwhile, is a 135mm equivalent designed for tighter portrait crops. Viltrox says the 90mm focal length is also ideal for more distant street scenes, as well as photographing pets and travel.

Viltrox says that both lenses are built to suppress colored fringing and minimize vignetting.

While judging a lens by a spec sheet is difficult to do, Digital Camera World’s Matthew Richards was able to test the new lenses, giving both the 75mm and 90mm five stars for a balance of image quality, features, and price.

While the new Viltrox lenses may not have the brightest apertures for their respective focal lengths, the new lenses similarly launch at a competitive price point. The 75mm retails for $329 / £319 / CA$479 and the 90mm for $369 / £359 / CA$539. (Australia pricing has not yet been announced, but that converts to about AU$466 and AU$523.)

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Earlier this year, news broke about Nikon suing Viltrox over unlicensed products for the Z-mount. And following reports that Sirui and Meike pulled Z-mount-compatible lenses from sale in China, the legal dispute is once again in the headlines following a new Viltrox Z-mount patent.

And while the big question is what Nikon hopes to achieve, the bigger question for many consumers is this: is Nikon in the right?

While it’s very easy to take the side of the cheap lens manufacturer, I really don’t think this is a case of greed on Nikon’s part.

It’s difficult to have a rock-solid opinion when we don’t have all the facts, so I can only go by what I know – which is that a patent dispute could suggest that Nikon’s problem isn’t with third parties making Z-mount-compatible lenses, but rather third parties using patented technology that supports the mount. Two very different things. Let me explain…

In a previous story I quoted Professor Bob Newman, whose Amateur Photographer article highlighted how an overarching Z-mount patent doesn’t exist, presumably because the concept of a camera mount isn’t wholly original, leading to the assumption that Nikon is, in fact, protecting the electrical-contact arrangement.

This would make a lot of sense, because cheap Chinese optics with robust autofocus systems are still relatively new. For a long time, most cheap Chinese optics were manual focus-only, which presumably reduced the chances of patent infringement.

However, I also came across another interesting point from ENS, whereby patent attorney Dr Bernard Dippenaar stated: “If a patent owner ignores large-scale, unauthorized use of its technology, those patent rights can become harder to enforce”.

Thus, Nikon’s motivations may also be to protect its patent long term.

If the legendary Japanese manufacturer’s goal is to obtain reasonable reparations via royalties, then I sit firmly on the side of Nikon – because the Z mount is so much more than just a mount. For that mount to have any relevance at all, an entire system had to be built around it at Nikon's expense.

A third-party manufacturer only has to worry about developing and building an optic. A first-party manufacturer has to develop and maintain an entire system, which requires pumping huge amounts of resources into the development of a mount, but also cameras – and all the technology that goes along with them – all the while creating a formidable lens ecosystem that redefines modern optical technologies.

This is why I think it’s only right that Nikon receives its dues.

My hope is that this is a relatively routine case in which an agreement can be reached that benefits both parties. Nikon protects its patent and receives reparations, and Viltrox is able to continue building affordable Z-mount optics.

And while it might be an unpopular opinion, if Viltrox has to raise its prices slightly to compensate, then so be it. Ultimately, a healthy relationship between first- and third-party brands is good for everyone, including the consumer.

In a world of computer chip shortages and rising memory costs, it feels like the fast-tech industry could be experiencing something of an affordable renaissance. And while I think cheap third-party optics are great – perhaps even necessary for a thriving camera industry – we still need to support first-party companies. Because without them, none of this exists.

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Camera lenses are already mind-boggling enough, but seeing one that has been sawed in half still able to take photos is even stranger. Well, this is exactly what Viltrox did recently at the China P&E trade show in Beijing, when it sliced one of its lenses lengthwise before a photo shoot.

This wasn't just any lens, either. It was one of the company's premium AF 35mm f/1.2 LAB lenses, and the resulting photos were honestly pretty impressive – and quite creative.

As far as I can tell, there was absolutely no practical reason to doing this; it was simply a PR stunt designed to show off Viltrox's lens constructions. But it does have me wondering how the lens kept working.

Even if a lens is sawn in half, as long as light can still travel through every part of the lens unobstructed, a complete image can still be formed.

By slicing a lens in half, you won't block half of the image; you'll simply let in less light, typically resulting in a dimmer, grainier image. Admittedly, before seeing the results, I had imagined the subject being sliced down the middle, too. Evidently not.

When taking photographs, an infinite number of light rays bounce off your subject, with all of these rays traveling through every element contained within the lens barrel – even if it has been cut lengthwise – and recreating the image on the camera sensor.

Because light from the entire scene still passes through the remaining half of the lens, the resulting image still captures the whole scene.

Above: Physicist explains how blocking half a lens doesn't stop half the image from forming

As for the images themselves, they have an ethereal look with some unusual distortion, yet the subject is still clearly rendered. Although, I can't say I'm a fan of the choice of outfit or the questionable posing. Still, it's impressive that the Viltrox lens was able to function despite being only half of itself (see what I did there?).

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Viltrox launches two new lenses, taking its Evo range from one to three prime numbers.

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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Viltrox has seemingly come out of nowhere to now be a formidable force in camera lens sector, and the brand is showing no sign of slowing. It's recently teased that it is readying as many as NINE new lenses (plus a flashgun), set to be revealed at the upcoming 2026 China International Photograph & Electrical Imaging Machinery and Technology Fair, which takes place in Beijing from May 15th to 18th. These include:

AF 28mm f/4.5 (L Mount)

This is a tiny pancake lens which is outwardly similar to the Olympus 15mm F8 Fisheye Body Cap Lens for MFT cameras. The AF 28mm is however a full-frame design and it has autofocus, though like the Olympus lens, it also has a fixed aperture, in this case f/4.5. Pictured on a Panasonic Lumix S9, it seems to be an ideal companion for that camera, being super compact and likely also super light - an ideal lens for candid street photography.

AF 75mm f/1.8 EVO + AF 90mm f/2.2 EVO (APS-C)

Both these primes belong to Viltrox's Evo line-up, which is positioned between the featherweight and accessibly-priced ‘Air’ series, and its premium ‘Pro’ and Lab’ lenses. Given previous Evo lenses have been released exclusively for APS-C Sony E and Nikon Z cameras, we'd expect these new 75mm and 90mm variants to follow suit. Like previous Evo lenses, they also have a dedicated aperture ring. Judging by the initial product images, both new lenses appear to have a very similar (and compact, for their maximum aperture) barrel size.

AF 35mm f/1.4 Pro (Full Frame)

This will be a premium lens for full frame cameras. The image we have shows a Sony FE version, but it's possible other mount options may be available. Despite being an autofocus lens, an aperture ring is present, and it looks as though it might have a de-click option, making it better suited to video work. As you'd expect for a fast lens, it seems like a fairly sizable design, albeit not too large in overall diameter.

New Tilt-Shift Lens

This appears to be a manual focus lens that'll be part of Viltrox's Pro range of high-performance optics. As such we'd bet on it having full-frame coverage. Focal length and maximum aperture aren't clear, but it's possible the latter could be f/4.

AF 18mm f/1.2 Pro + AF 40mm f/1.2 Pro (APS-C)

This pairing looks interesting. Both are compact APS-C lenses, yet fall into Viltrox's Pro range, suggesting their image quality will be a cut above its Evo APS-C offerings. The extra-large f/1.2 maximum aperture is also unusually generous for APS-C lenses, and will surely be appreciated by APS-C shooters who want a super-shallow depth of field. The lenses we can see are both E-mount, though Z mount versions might also be available.

AF 25mm f/1.7 (Micro Four Thirds)

A new standard prime for MFT cameras, with its 25mm focal length equating to 50mm in full-frame terms.

AF 35mm f/1.2 Pro

This lens is featured in Viltrox's teaser image showing all the lens' it'll reportedly be showcasing at the P&E show, but as yet we don't have any additional image or information, apart from it potentially being a full-frame lens. If so, it could be positioned as an even more upmarket, and faster, alternative to the full-frame AF 35mm f/1.4 Pro.

And not content with all those new lens reveals, Viltrox has also hinted that a new compact flashgun could also be on the way. We await the full reveal of it, along with the plethora of new Viltrox lenses, on May 15th.

The camera industry has gradually shifted from DSLR to mirrorless, but there’s a key piece of tech that’s much easier to find on a DSLR than a mirrorless: a pop-up flash.

Pop-up flashes have long been more common among entry-level cameras than high-end pro cameras – after all, most pros would prefer to use more powerful hotshoe flashes and off-camera lights. But, in the DSLR era, there were still some full-frame cameras that managed to pack in a hidden flash, most notably from Nikon, including the Nikon D810 and D750.

But, lately, even APS-C mirrorless cameras tend to skip out on the pop-up flash. There are a handful of options, including the Nikon Z50 II, the Canon EOS R50, and the Sony A6400, to name just a few. But, the number of cameras with pop-up flashes feels as if it's diminishing quickly.

In the mirrorless era, a pop-up flash seems less of a must-have feature. Ironically, the direct flash look seems to be trending, as the harsh light carries a bit of a retro, candid feel to it.

There are a number of reasons behind the declining number of pop-up flashes in mirrorless. A pop-up flash is harder to weather-seal (though not impossible). Adding a flash adds to the size of the camera, and many more entry-level mirrorless cameras prioritize a compact size.

Instead, there seems to be a growing number of portable budget flashes ready to take the pop-up’s place. Just this week, Westcott announced the S18 Mini Flash, a 3.5 oz (100g) flash that costs under $40 / £40. Unlike many cheap flashes, the S18 is small but still has a tilting flash head.

And the S18 is far from alone. The list of pocketable budget flashes includes models like the Godox iM20 / iM22, the Godox iT20, and the Viltrox Vintage Z1, among others.

I don’t have a pop-up flash on my mirrorless camera – but I don’t really miss it either. The only time I really miss it is when I pack light for a trip and opt to leave my admittedly bulky hotshoe flash behind.

Otherwise, my hotshoe flash offers more power and far more flexibility with the ability to bounce and modify the light. Modifying a pop-up flash is harder to do, and the built-in flashes can’t be tilted to bounce light off a wall or the ceiling for softer light.

But the compact camera trend is also bleeding over into mirrorless cameras. A pop-up flash will likely make a mirrorless body larger, but then again, so will needing to pack an extra flash.

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There's a term that I've been seeing over and over in the latest rounds of lens announcements: apochromatic or APO lenses. But what are APO lenses, and does the tech really matter, or is it all hype?

I’ve been banging on about APO tech for a while but, for beginners, that can sound like just another one of the abbreviations in the world of camera lenses. This is what the tech means and why it matters.

What is an APO lens?

APO glass is engineered to deal with a range of aberrations – unwanted visual artefacts in images – that sometimes occur when light refracts through a lens.

An apochromatic or APO lens is designed specifically to avoid color defects. If you've ever zoomed into a photo, particularly a high contrast shot with fine lines such as backlit tree branches, you may have noticed purple or blue colors along the edges that shouldn't be there. That's an optical phenomenon called chromatic aberration.

APO lenses use optical designs to fight this color flaw for cleaner images with less distracting colored fringing. Software can, to an extent, also help correct this with lens profiles.

Is APO becoming more common on budget lenses?

APO isn't a brand-new lens technology – high-end lenses have long tried to correct colored fringing. But where I've been seeing the term APO even more is among some budget lenses – which are notoriously worse at colored fringing than high-end pro optics.

Case in point? Viltrox just announced the EVO AF 35mm f/1.8 II and the EVO AF 55mm f/1.8 for Sony E-mount and Nikon Z-mount. These are APO lenses, and our hands-on testing showed that they're quite good at minimizing those common color flaws, despite being more affordable primes.

Viltrox has made a big deal about its APO glass since launching the Evo series last year, and some might think it’s nothing but a load of marketing hype. However, my colleague, Matthew Richards, has already reviewed all of the Evo lenses – yes, even the two announced this week at NAB – and he’s been impressed by just how well each lens renders colors and sharpness across the frame.

Speaking about the new 35mm f/1.8 II, Matthew has said: “The roll-off between focused and defocused areas looks nice and natural, and there’s virtually no lateral or axial chromatic aberration to be seen. The latter, often referred to as ‘bokeh fringing’ can often be a problem with fast lenses. As such, the lens earns its apochromatic credentials.”

I'm not trying to convince you to go and buy a new Viltrox Evo – these aren't the only lenses with APO. But what's fantastic is that these corrected lenses seem to be becoming more affordable than before.

I am excited to see a lineup of lenses that, so far, seems to actually be the solution to the chromatic aberrations that have so often plagued my images, and for a reasonable price, too.

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Viltrox has already announced two new lenses today – but if the rumors are any indication, the third-party lens brand is just getting started. Social media is buzzing with rumors for more Viltrox primes, including a compact pancake lens.

The Chinese social media platform, Weibo, is where all the buzz is at. According to the rumors from the Independent Photographers Association, Viltrox will treat us to a trio of apochromatic lenses for its budget EVO line, a dedicated L-mount lens, and a PL-L AF adapter.

So what are the newly-rumored lenses, which Viltrox doesn't seem to have alluded to anywhere? In the EVO mix there’s a 75mm f/1.8 APS-C, a 90mm f/2.2 APS-C, and a 26mm f/2.8 pancake lens, all of which are autofocus (AF). Plus, there’s an AF 28mm f/4.5 L-mount too.

Viltrox has already announced the AF AF 35mm f/1.8 Evo II and 55mm f/1.8 Evo during the NAB Show in Las Vegas, Nevada.

Another teaser shared by the company's official channels on social media hints that a Viltrox AF 35mm f/1.2 FE lens without the built-in LCD screen may be coming, with an April 23 announcement date.

If the rumors are true, the lenses could expand the relatively new Evo series. The pancake lens could also be a popular option, as more compact lenses have been trending alongside the compact camera craze.

This rumor seems to have come out of the blue, and no fixed dates have been given for announcements, let alone releases, but I’ll keep my eyes peeled for any further information.

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Viltrox is getting ready to launch the company's first wide-aperture autofocus APO lens, as the lens brand teases a new Evo series lens coming next week.

The third-party lens manufacturer posted a teaser on Instagram on April 13, stating that the new lens would be revealed on April 20.

The teaser says that the lens is the company's first "large aperture" APO AF lens. The image paired with the teaser has a few more hints: the forthcoming kit is for full-frame cameras, and it features a 58mm filter thread along with a 1.4ft (0.43m) minimum focusing distance.

The APO in the teaser – and Viltrox's mention of "see color" suggests that the lens will be designed to fight chromatic aberration, or colored fringing.

While this information gives no indication as to the focal length, I think we’re most likely to see a nifty-fifty (50mm) with a maximum aperture in the region of f/1.4-1.8.

The EVO lineup is in its infancy and currently only features an 85mm f/2.0 for Sony E-mount and Nikon Z-mount, so it would make sense for Viltrox to build it out with typically high-demand focal lengths first. With that in mind, my second guess would be that the new EVO will be a 24mm wide-angle.

Viltrox has already mentioned that new EVO lenses would be displayed at NAB this year, which is happening April 18-22 in Las Vegas, Nevada.

Interestingly, this latest Instagram announcement mentions a single lens, while the previous announcement talks of multiple new EVO lenses coming to the show. So, I’m also hoping to see a 135mm f/1.8 APO showcased and, potentially, a 35mm f/1.4 APO.

NAB begins April 18 and runs until April 22, so we’ll know for sure what Viltrox has in store for its EVO lineup then.

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According to Buddha, it’s better to travel well than to arrive. Or simply, ‘It’s Better to Travel’, if you prefer the title of the 1987 Swing Out Sister album. Sure enough, I love to travel and even though I’m writing this in the early days of spring, my heart and mind are already planning ahead to summer vacations. Part of the process, for me at least, is deciding on what camera gear to take along for the ride. Decisions, decisions.

I’ve been testing and reviewing cameras, lenses and photographic accessories for a quarter of a century now, and have been a keen photographer for twice that long, so I’ve built up a sizeable arsenal of camera kit over the years. The collection includes some seriously heavyweight items but I do love to travel light. I also love the look and feel of a ‘real’ camera, and my travel companion of choice is my trusty, lightweight and delightfully retro Nikon Z fc.

Naturally, a camera body is a fat lot of use without lenses to go with it and my dynamic duo in this respect pair the amazingly compact yet capable Nikon Z DX 16-50mm and Nikon Z DX 50-250mm zoom lenses. Both of these are real space-savers with their retractable designs, the standard zoom even qualifying as a ‘pancake lens’ when it’s retracted.

So what don’t my pair of zooms bring to the party? Sure, they team up to give great versatility, with a combined zoom range of 24-375mm in full-frame terms. But even the most wide-angle extremity on offer can leave me feeling a bit blinkered.

Travel has a habit of serving up epic photo opportunities. There are sweeping landscape vistas, vast cityscapes and amazing architectural interiors, to name but a few. These often include views that are far to big to squeeze into a standard zoom lens. And when the sun goes down, the entire night sky beckons, taking on magical proportions if you’re traveling away from the pollution of urban areas.

What’s needed to complete my trio of lenses is an ultra-wide-angle prime or zoom. But here’s the problem. This kind of lens is usually big, heavy, cumbersome, expensive and all of the other things that are not in the least travel-friendly. But I’ve discovered a secret weapon in the diminutive size, weight and shape of the Viltrox AF 9mm f/2.8 Air. This remarkable prime lens for APS-C format cameras comes in Fujifilm X, Nikon Z and Sony E mount flavors.

The Viltrox 9mm is Air by name, Air by nature. It’s impossibly small and light for an ultra-wide prime, measuring just 65x57mm / 2.6x2.2in and weighing a mere 175g / 6.2oz. It’ll literally fit in a spare coat pocket yet offers a gigantic 113.8-degree viewing angle that can pull huge areas into view. Better still, the asking price is similarly lightweight at just $199 / £190 / AU$299. Bargain! I’m off to start packing.

Competition between third-party manufacturers of L-mount lenses is about to heat up following the latest Viltrox announcement that it’ll unveil “several new and unreleased” lenses at the NAB trade show in Las Vegas later this month.

The announcement confirmed that the company is “reinforcing its commitment” to L-mount users, an effort which began earlier this year with the release of Viltrox’s first L-mount lens, the AF 16mm F1.8.

The teaser has an obscured photo of some lenses, but very few details. The early teaser, however, does mention the Evo Series and L-Mount. EVO is Viltrox's budget-end range, and these lenses are touted for their apochromatic optics, which deal well with aberrations.

The teaser also notes a "NexusFocus AF Adapter." VIltrox's existing NexusFocus is an adapter that adds autofocus to vintage manual lenses. But a partially obscured adapter is included in the teaser, which has me wondering if one is launching with new features or perhaps a different mount.

The announcement also stated that Viltrox will unveil new focal lengths for its existing EPIC anamorphic cinema line, which currently boasts a 35mm, 50mm and 75mm prime.

That’s about all the information leaked regarding Viltrox expanding its L-mount offering, but I'd hazard a guess that we’re going to see, among others, 50mm and 85mm primes boasting fast apertures in the f/1.4 region.

Viltrox has rapidly gained status as a leading third-party manufacturer of top-quality, more-affordable primes for other major mount systems over the past couple of years. And to strengthen this among L-mount photographers, it doesn’t need to reinvent the wheel, only look to Sigma for inspiration.

As a founding member of the L-mount Alliance, Sigma is widely regarded as one of the best producers of lenses for Panasonic and Leica cameras, and two of its most popular L-mount models have been the 50mm F1.4 DG DN Art and 85mm f/1.4 DG DN Art.

These are both professional-grade primes capable of capturing stellar-quality images and stand as excellent examples for Viltrox to follow and, hopefully, improve upon.

I think it’s highly possible that we could even see a Viltrox rendition of the Sigma 35mm f/1.4 DG DN Art too. We won't have to wait too long to find out. NAB is scheduled for April 18-22 in Las Vegas, Nevada.

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There has been a flurry or ‘retro’ mini flashes recently, from the likes of Godox and other manufacturers, as well as the Viltrox Vintage Z1. The Z1 marked the company’s first foray into the on-camera flash market, followed by the uber-modern ‘mech-inspired’ Viltrox Spark Z3. The latest Z2 reverts to retro styling but like the Z3 and unlike the Z1, it’s a dedicated rather than manual-only flash, again available in Canon, Fujifilm, Nikon and Sony options.

Designed to be compact, lightweight and easy to use, the Z2 aims to be one of the best flashguns on the market, at least if you’re after a low-budget retro TTL option and don’t mind a modest maximum power rating and a relatively basic set of features.

Viltrox Vintage Z2: Specifications

Viltrox Vintage Z2: Price

Own-brand dedicated flashguns from camera manufacturers can be notoriously expensive. By stark contrast, the Viltrox Vintage Z2 is incredibly inexpensive, with a list price of just $36.99 / £31.99 / AU$ TBA. Sure, it’s ‘only’ a mini-flash with a fairly basic set of features but even so, it’s great value for money. For comparison, the Viltrox Spark Z3 which is available in the same range of dedicated options, sells for more than twice the price at $79 / £66 / AU$119.

Viltrox Vintage Z2: Design & Handling

Adhering to the ‘KISS’ principle (Keep It Simple, Stupid), the Viltrox Z2 looks disarmingly straightforward. There’s a small flash tube up top, somewhat reminiscent of the pop-up flash built into a number of cameras. That said, the number of recent cameras that actually feature a pop-up flash is somewhat diminished, making the addition of a separate mini-flash all the more desirable.

Flip the flash around in your hand, from front to back, and you’ll see a similarly simplistic rear panel. There’s no LCD info screen, let alone a color touchscreen as featured in a growing range of larger flashguns. Instead, you get a basic rank of status lamps, the first indicating that the flash is in Auto (TTL, Through The Lens) flash metering mode, where the output power is adjusted automatically depending on the shot conditions and the distance to the subject.

The rest of the status lamps in the line-up indicate manual power settings. There are only five in total, ranging from 1/16^th to full 1/1 power settings, with no interim one-third or one-half EV steps. Most full-sized flashguns go right down to a minimum power setting of between 1/128^th and 1/512^th but the Z2 has a relatively modest maximum output, so the minimum value of 1/16^th is a fair shout. Similarly, the lack of a bounce and swivel head is entirely reasonable, as there’s not really enough power on tap to effectively bounce the flash off walls or ceilings to soften the lighting effect.

Flashguns that run on AA or AAA sets of batteries are a dying breed. Like most recent releases, the Z2 relies on Li-ion power and in this case, it has a built-in, internal battery rather than an interchangeable battery. The only real downside with that is that you can’t buy a separate, spare battery, which can come in useful if you’re on a long shoot and need to pop in a replacement battery rather than waiting around for the internal one to recharge. On the plus side, the internal battery has enough juice for around 700 full-power flashes, so there’s plenty of stamina.

Recharging is courtesy of a USB-C port and takes around 70 minutes. That’s if you’re using a basic USB charger with a conventional 5V / 0.5A output. As is often the case nowadays, you’ll have to supply your own charger as there isn’t one supplied with the flash.

The flash has a nominal daylight color temperature of 6500K +/-200K. Another vital statistic is the flash duration, which ranges from 1/16,500s to 1/50,000s, depending on power setting. As usual, the flash nods off to sleep mode after a period of inactivity, which equates to 15 minutes. After that, you need to press the power button to wake it up again. As I’ve mentioned, the Z2 is very small but not all versions are exactly the same size. The Canon, Fujifilm and Nikon dedicated options all measure 38x65x33mm (WxHxD) whereas the Sony version is 2mm or just under a tenth of an inch taller.

Viltrox Vintage Z2: Performance

For the most part, performance comes down to power and speed. I wouldn’t expect a mini-flash to boast much in the way of maximum power and sure enough, the Z2 has a meagre 10Ws power rating, resulting in a Guide number of Gn 6 / 20 (ISO 100, meters / feet). For the sake of comparison, that’s slightly less than the rating of the built-in pop-up flash of the Nikon Z50 II, and marginally more than the tiny Godox iM20 and Godox iM22 manual mini-flashes. It’s also less than only half that of the Viltrox Vintage Z1 manual flash, at Gn 12 / 40.

In practical terms, the maximum flash power is sufficient for close-ups and to supplement ambient lighting in dull, indoor shooting conditions, as well as to add a little fill-in flash for sunny-day portraiture. However, if you’re relying on the flash to illuminate larger spaces, you’re likely to need to bump up your camera’s ISO setting somewhat.

The spread of illumination covers the same width as using a 28mm lens on a full-frame camera (about 18mm for APS-C), which is pretty reasonable. A push-fit diffusion dome is supplied with the flash, which spreads the beam angle and softens the light, at the expense of reducing the maximum available power (by 1.33 EV in my tests).

It bears repeating that the modest maximum output power is insufficient for effective bounce and swivel flash, off ceilings and walls. Unsurprisingly, the Z2 therefore lacks a bounce and swivel head. There are also no RF (Radio Frequency) nor infrared slave modes, so wireless remote off-camera flash isn’t within the Z2’s remit. Again, the emphasis is on straightforward simplicity, the idea being that you simply pop it into your camera’s hot-shoe and fire at will. That’s fine as far as it goes, but the lack of bounce, swivel and off-camera flash means that the ‘direct’ lighting effect is bound to be relatively harsh and two-dimensional.

As I've mentioned, the supplied diffusion dome softens the quality of light a little. The pair of example shots in the following gallery are lit from the Z2 flash, first without and then with the diffusion dome fitted. TTL flash metering proved consistently accurate during my testing and manual power adjustments are easy to apply in full EV steps.

Some flashguns can be prone to sluggish recycling speeds, towards the high end of their output range. There’s no such problem here, the Z2 recycling almost instantaneously through much of its power range, and being ready for action just 2 seconds after a full-power flash. If you’d rather go Auto TTL rather than setting the flash power manually, I found that TTL metering was consistently accurate when testing the Nikon dedicated version of the Z2 with my Nikon Z6 III and Nikon Z fc cameras.

Viltrox Vintage Z2: Lab Results

We test all available features for each flashgun that goes through out labs. To test power output, we use a Sekonic flash meter placed at a distance of one meter from each flashgun. We check the complete range of manual power settings, in one-stop increments. Based on a sensitivity of ISO 100, the figures correlate directly with the Gn (Guide number) in meters. The results are double-checked by taking shots of a gray card with the appropriate lens apertures and using the camera’s histogram display in playback mode. We also use the gray card to test the accuracy and consistency of Auto and Auto TTL flash metering, where featured.

We check the speed with which each flashgun can recycle to a state of readiness, throughout its range of power settings, culminating in a full-power flash. We use freshly charged Ni-MH rechargeable batteries for this, or the supplied rechargeable Li-ion battery pack where featured in some flashguns.

The table below shows both the power output (Gn, ISO 100, meters) at each full EV step through the complete power range, from minimum to maximum output. The recycle speed in seconds is shown for the same settings.

The maximum output power is fairly muted, in keeping with the very compact size of the flash. Fitting the supplied diffusion dome reduces the intensity of light at each power setting by 1.33EV. Recycling speeds are good, being almost instantaneous at the lowest two power settings and rising to just two seconds after a full-power flash.

Viltrox Vintage Z2: Verdict

The Viltrox Vintage V2 makes me feel like repurposing the ‘KISS’ principle as ‘Keep It Small & Simple’. I love that it’s sufficiently compact to be eminently pocketable, and that it’s a real featherweight. The combination makes it easy to pack and carry, and the load is also pretty much unnoticeable when it’s mounted in your camera’s hot-shoe, for portrait as well as landscape orientation shooting. For portrait orientation shooting latter, I find that big, hefty flashguns can feel a bit unwieldy, especially on smaller cameras.

Naturally, the small, lightweight build comes with compromises. The maximum available power is somewhat limited and there are no fancy frills like bounce, swivel and zoom, nor any advanced flash modes like high-speed sync or programmable repeat. Even so, I feel the Z2 accomplishes its aim in being a simple yet effective and inexpensive mini-flash in Canon, Fujifilm, Nikon and Sony dedicated options, ideal for adding a little light when and where you need it most. And for the budget-conscious, it's definitely one of the most inexpensive dedicated flashes on the market.

Alternatives

Many shooters have come to rely on autofocus, especially as the consistently good results you can achieve make missed shots far less likely. On top of that, not needing an AC means you can shoot solo or in confined spaces, without the need for extra hands to adjust settings. However, there is one thing that holds autofocus a less inviting proposition, and that is lens choice.

Many filmmakers, including me, like to work with cinema lenses, or vintage glass, that just don’t have the electronics or motors, meaning they are full manual only. This is a crying shame, as it would be so useful to have some automatic features combined with the visual character these lenses provide.

Now, there are some systems that can help here, like DJI’s focus pro, which does help here, and a motorised follow focus like the Tilta Nucleus Nano, which does go some way toward managing focus, but there are downsides to these systems. And really, we often want the rock-solid autofocus that Sony cameras have. That’s where Viltrox comes in, with the promising NexusFocus F1 (I’ll refer to it as the F1 from here). It’s a PL to E mount adapter, with some clever electronics, mated with a focus motor that essentially focuses through the lens using Sony’s own autofocusing system. That may restrict this to Sony shooters for now, but word has it that Viltrox is expanding this for other cameras too.

I spent some time getting to know the FR1, using my Sony A7RIV and a handful of cine lenses to see what’s what.

Viltrox NexusFocus F1: Specifications

Viltrox NexusFocus F1: Price

Originally launched on Kickstarter, but it has far surpassed the amount Viltrox was looking for. The F1 is now available on Viltrox's online storeas well as in major camera stores.

The single motor kit is priced at $599 / £455, which feels like a bargain to me, but do factor in buying a few other bits, if you don’t already have them, as you will need to rig it up.

Viltrox NexusFocus F1: Design & Handling

Let’s kick things off with a look at what comes in the box. First up, the F1 ships in a nice semi-rigid case, with custom foam inserts to hold everything in place. I got the two motor kit, as you can see, there’s a precut section in case you add a third motor down the line (Yes, the F1 is FIZ system, but more on that later).

Next is the adapter itself, along with three USB-C cables and a D-tap to USB-C power cable. Everything is built well, feels rock solid, and the materials and finish are excellent. I’m also a fan of the rod clamps on the motors. As well as ratcheting grips, they are also swing away, so you can easily add or remove a motor without the need to remove anything you might have mounted in front, like a matte box. Good move Viltrox, and not something you see as often as you should.

Then there’s the power box. This sits between your power source and the rest of the setup, and it’s really the only part I’m not so fond of. It has a ¼”20 mount on one long side for mounting, and the two ports for power in and out. The problem is that it feels a bit clunky, and finding a good place to mount it isn’t always that easy. This might be in part due to the cables. Now, I’m not a fan of overly long cables, as they snag and get in the way, or need winding around something else, but the cables here are a little short for my liking. This means there’s less scope for mounting the power box, as it needs to reach the motor(s) and power. That said, the D-tap cable is pretty long, so it should be fine for most rigs.

Overall, everything looks and feels top-notch, but how is it in use?

Viltrox NexusFocus F1: Performance

Let’s start with rigging. As mentioned, everything is nicely made. The fit and finish are very good, but you will need a few extras to get set up. Keep in mind that this will vary depending on your use case, but for me, using an A7RIV, I already had a cage and a top handle, but I did need to add rods for mounting the motor. This isn’t an issue in itself. I have lots, so I grabbed a baseplate with rod supports and attached that to my cage.

The F1 needs V-mount power, so you’ll need some way of accommodating this. For me, I used a smallrig V-mount plate, which I mounted at the back to keep the weight distribution level. I do wonder if you could use a power bank and a normal USB-C cable for power, but Viltrox doesn’t mention it, and I didn’t want to risk damage. Either way, you’d need a mounting solution, so it’s neither here nor there at this point.

I wasn’t massively keen on adding bulk and weight to my little setup, which is usually used for handholding in tight situations or for use with a gimbal, but I think the payoff is worth it if you actually get Sony autofocus.

Once you’re all set up and rigged, you’ll need to add the adapter to your camera body, then connect all the cables, finishing by choosing your lens and lining up the gears of the motor. All very simple and quick.

Now, here’s where you might find an issue. Depending on your rig, you may struggle with a couple of things. Firstly, the cable connections and motor. If the gear rings of your chosen lens are too far back, it can be hard to line up, as the PL locking lugs can get in the way. This wasn’t a problem for many lenses, but keep it in mind. Also, my cage protrudes over the front of the camera body, obscuring the screen. That’s only a small issue, as you only really use it to choose a lens profile, and you can do that on the app, but it is a slight annoyance, especially when you have a top handle.

On to lens profiles, the most important part of the process. It takes a few minutes to get going, but it’s relatively straightforward. Power everything up, open the Nexus Focus app, and head to the library tab. If your lens isn’t on the list, you can set it up manually. Give a name and set things like the minimum focus distance, aperture range, and so on. You can define hard stops for focus, then calibrate using the focus chart supplied. The app is pretty good overall. I did have an issue where my iOS keyboard wouldn’t go, but this problem seemed to vanish, although I have no idea why. It was troublesome, though, as I couldn’t press the save button that was hidden behind it.

One thing to note is that you need your camera to be set to centre point focus during setup. I wonder if this is to do with lenses that might be soft around the edges, as you can change to other modes once you save your profile.

The connection between the phone and adapter is bluetooth and the signal was flawless.

On to the actual shooting experience, which was surprisingly good. The focus using this system is smooth and accurate. Not quite the same as a native E-mount lens, but very close indeed. I did find that, because of my setup, I couldn’t see the screen all that easily at some angles, but a quick addition of a field monitor (I used my Viltrox DC-L2) and everything was fine.

What I particularly like about the F1 is that everything is through the lens. While I do really enjoy the DJI focus pro, being lidar means that the closer you get to your subject, the more likely it is to miss slightly. For most situations, this won’t be a problem, but the added reliability of the F1 is a clear winner.

Viltrox NexusFocus F1: Verdict

If you’re a Sony shooter and miss the autofocus when using PL lenses, then the F1 is a no-brainer. You get all the benefits of that system, with none of the limitations of cinema glass. It’s also a big plus for one person shoots and small spaces too, and at this price it is well worth adding to your basket.

Alternatives

Viltrox has alluded to two new lenses with apochromatic (APO) technology coming to The Photography & Video Show (TPS), which begins this weekend in Birmingham, UK.

In a recent Instagram post, the third-party lens manufacturer showed off two silhouetted compact builds that look to be smaller prime lenses.

While the post as a whole reveals little information, the image does as the lenses depicted look a lot like the coming 35mm and 50mm f/1.8 APO primes lenses for the new EVO series which Viltrox revealed at this year’s CP+ show in Japan.

Viltrox’s EVO lenses sit between its super-budget-friendly Air series and higher-end PRO series lenses. EVO lenses balance premium features such as a lightweight, metal build, USB-C connectivity and clickable aperture rings with a still low-end price point. The series was launched late last year with the release of the AF 85mm f/2 EVO for Nikon Z-mount and Sony E-mount cameras.

Viltrox has made a name for itself as a manufacturer of cheap but high-performing prime lenses, and a premium feature it’s really pushing at the moment is APO technology.

APO optics correct chromatic and spherical aberrations using specialized, low-dispersion glass elements. This technology ensures that red, green, and blue light waves converge on the same focal plane, resulting in sharper images with minimal color fringing.

According to a recent report from Photo Rumors, at CP+ 2026 Viltrox engineers referred to the company’s APO technology as ‘hyper APO’, saying that ‘APO’ has become a buzzword among lens manufacturers, often used for technology that doesn’t truly meet the standard.

This is fighting talk from Viltrox and, if the coming lenses are the expected 35mm and 50mm EVO f/1.8 primes, then my expectations of their APO performance are high to say the least.

More will be revealed on these new Viltrox lenses at TPS 2026, which takes place at the NEC in Birmingham, UK, and kicks off this Saturday 14 March. Viltrox will be at stand F72.

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Viltrox Air prime lenses offer solid specs for tight budgets. Check out our reviews of the AF 9mm f/2.8 Air, AF 15mm f/1.7 Air and AF 25mm f/1.7 Air.

If I were starting my photographic journey from scratch right now, I'd skip the zoom lens and go with a nifty fifty prime. Why? It's simple: this one lens will teach you so much about photography and you'll learn faster than you will with a zoom.

This can be tricky if you're an APS-C shooter, because the crop factor makes it tricky to work out what lens will actually be 50mm on your camera. You want to look at 35mm lenses, because the 1.5x crop factor gives them an effective focal length of 52.5mm.

And right now, there's a great option on sale...

The Viltrox AF 35mm f/1.7 Air APS-C Lens for Nikon Z Mount is just £148.75 at Park Cameras – that's a £26.25 saving on the usual £175 price tag!

The Viltrox AF 35mm f/1.7 Air APS-C Lens for Fujifilm X Mount is just £148.75 at Park Cameras – that's a £26.25 saving on the usual £175 price tag!

To get this price – simply use the Voucher code: VILTROX-15

I was just writing recently about how zoom lenses, while convenient, can hold us back from truly learning photography. When working with a zoom lens, you often skip over the fundamental process of seeing and composing a shot with intention.

So, if you're serious about improving or building your photographic skills, I always recommend starting with a prime lens – especially a 50mm. Many professional shooters prefer this focal length, you can read here why. And a prime is one of the fastest ways to train your eye, master composition and become more confident behind the camera.

Why a 50mm lens is great for beginners or to improve your photography:

It works across genres
From street photography to portraits, even night shooting and travel photography – a 50mm f/1.8 can handle it all.

It gives a natural perspective
A 50mm optic gives a very organic view of the world with minimal distortion, making it a great focal length for storytelling and narrative work.

It teaches you to see
Without a zoom, you'll start "zooming with your feet." You'll move, observe, and truly interact with the scene – skills that will sharpen your eye for framing and storytelling far more than any zoom lens can.

Sure, prime lenses can be pricey, but that's where timing helps. With these fantastic Park Camera offers, it's a great opportunity to pick up a quality prime lens at a lower price.

See our full Viltrox AF 35mm f/1.7 review

Viltrox has continued to bolster its Air series of APS-C prime lenses by releasing the Viltrox AF 35mm f/1.7 Air and 56mm f/1.7 Air lenses for Fujifilm X-mount in a striking silver color.

The Air series was released in 2025 and features a range of lightweight and budget-friendly prime lenses for Fujifilm, Sony and Nikon APS-C cameras.

The silver 35mm and 56mm f/1.7 Air lenses, which have equivalent angles of view of 53mm and 84mm respectively, have a friendly price tag of $239 (approximately £175 / $AU 338) – the same as their black counterparts.

We like the Viltrox Air range, which my colleague Matthew Richards describes as “punching well above” their price tag.

The Air lenses are designed to be as lightweight as possible while maintaining sturdy build quality.

They typically feature 12 optical elements, respectable autofocus driven by a stepping motor and a minimum aperture of f/16. While the bodies of these lenses are plastic, the mounting plates are metal and they weigh around 60z (170g).

So far, the silver versions of the 35mm and 56mm f/1.7 Air lenses are only available for Fujifilm X-mount – there's no news on whether they will be released for E-mount.

The new silver Viltrox Air lenses will pair nicely with the Fujifilm X-T5 and X-T50 camera bodies as these are also available in silver.

In related news, Viltrox isn’t the only producer of "Air"-branded lenses. Direct competitor Meike is set to release its own range of "Air" APS-C primes with autofocus rumored to be carbon copies of Viltrox’s, including the name.

We don't know yet if Viltrox plans on releasing more of the Air lenses in silver, but I'd certainly love to see more!

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Take a look at the Meike 35mm f/1.8 Pro AF, a solid prime lens that doesn't break the bank, and competes well with Viltrox lenses. And for a look at what else is available for X-mount cameras, check out the best Fujifilm lenses.

Last October saw the launch of the Viltrox AF 50mm f/1.4 Pro, following hot on the heels of the more portrait-friendly AF 85mm f/1.4 Pro. Both lenses are from the upper echelons of Viltrox product lines, bearing a ‘Pro’ badge and very much aiming to live up to that billing. Interchangeable in the best possible way, both lenses have a virtually identical size and weight of 85x111mm / 3.4x4.4" and 800g / 1.76lb, making it an absolute doddle to switch between the two and carry on shooting as if nothing happened.

Pro aspirations of any lens have more to do with the quality of the glass than anything else. While the Viltrox has really solid, weather-sealed build quality, its top-level feature is an exotic optical path based on 15-elements, arranged in 11 groups. These include a UA (Ultra Aspherical) element with a relatively large diameter and ultra-high precision build, 3 ED (Extra-low Dispersion) elements, 8 HR (High Refractive index) elements, and the application of HD Nano multi-layer coatings.

The aperture is particularly well-rounded, based on an 11-blade diaphragm that helps to maintain the quality of bokeh when stopping down a little. And with that in mind, there’s a dedicated aperture control ring comes complete with a click/de-click switch, suiting both stills and video capture respectively. Autofocus is courtesy of a high-grade HyperVCM (Voice Coil Motor) system, designed to be fast for shooting stills, as well as delivering ultra-smooth focus transition in virtual silence when shooting video. An AF/MF focus mode switch is fitted, along with a customizable function button.

As I said at the start, there’s only one thing I didn’t like about this lens. And that’s that it was only available in Sony E-mount, which was a fat lot of use to anyone with a different make of camera. That’s all changed with the advent of a Nikon Z-mount edition, which follows the recent Z-mount launch of the sibling Viltrox AF 85mm f/1.4 Pro lens. And now that Viltrox has become a signed-up member of the L-Mount Alliance, I’d expect an L-mount version to be somewhere in the pipeline.

For now though, the Viltrox AF 50mm f/1.4 Pro ‘Z’ goes on sale for around $549 / £525 / AU$929, making it standout value for such a high-quality lens. For more information, check out our full review.

Lens manufacturer Viltrox began a new chapter back in September of last year, becoming the 10th member of the L-Mount Alliance. It thus joined elite image industry movers and shakers, including Leica, Sigma, Panasonic, and DJI, in the process.

As a leader in the welcoming committee, Leica Camera AG released a statement saying, “By welcoming Viltrox as a new member, we are strengthening our network with a highly regarded partner that shares our vision of a forward-looking and versatile system. Viltrox contributes valuable expertise in high-quality lens development and brings fresh momentum to our ecosystem.”

As they say, the proof of the pudding is in the eating and while there’s an AF 28mm f/4.5 L waiting in the wings, the first Viltrox L-mount lens out of the blocks is the AF 16mm f/1.8 L. The lens has actually been around for a while, the Sony E-mount edition being launched back in May 2023, and the Nikon Z-mount version following in May 2024 (see our full review).

A high-tech feast of a lens, it was Viltrox’s first to feature a color LCD display panel, along with dual customizable function buttons and an aperture control ring complete with a click/de-click switch. Autofocus is courtesy of a fast and virtually silent linear stepping motor, and the dual-function buttons enable you to set up two ‘A and B’ focus distance settings, so that you can automatically transition between the two.

The high-end optical path comprises 15 elements in 12 groups, including three aspherical elements and four ED (Extra-low Dispersion) elements, plus HD Nano multilayer coatings. The front element also has a fluorine coating, and the lens is extensively weather-sealed.

Expect to pay around $580 / £533 / AU$999 for the L-mount version of the lens, with prices closely following the Nikon and Sony versions of the lens. 

For more, you can check out our review of the Sony E-mount version of the Viltrox AF 16mm f/1.8.

If the rumors are true and Nikon is suing Viltrox, I really hope the two companies can find a middle ground that allows Nikon to get its fair share while Viltrox continues to produce Z-mount lenses. I’ve just finished writing my latest report on the much-talked-about beef between the ‘Big N’ and the ‘Big V’, and it made me think back to the tail end of 2024, when I declared cheap, third-party lenses good for consumers and good for camera manufacturers.

Having read through that article again, I really don’t think my position has changed. My research on the proposed lawsuit led me to a very interesting YouTube video (above) by photography YouTuber Matt Irwin, who offered up a similarly balanced opinion. However, he made the very good point that companies like Nikon don’t just spend money on building optics; they have to put huge amounts of time and money into developing their proprietary lens mounts and indeed the architecture of their compatible cameras.

As such, first-party lenses aren’t only more expensive because (you hope) they boast better optics and indeed build quality than cheaper third-party lenses, but you’re also paying for all of that costly development (not to mention brand heritage). As such, I do think it’s right that camera manufacturers are compensated accordingly by third-party lens manufacturers, even if that means price increases.

However, I do want camera manufacturers to remain reasonable in their limitations. It’s my opinion that cheap third-party lenses are an essential part of the industry. After all, they encourage a wider variety of consumers through the door: casual photographers, those on a budget, beginners looking to experiment with lenses, etc. Some of those users will progress to buying first-party lenses, some will not. But crucially, all of them will buy into the system via a first-party camera.

As such, I believe that Nikon is a more attractive prospect because it has, thus far, been rather generous with its Z mount. And besides, I still think plenty of consumers will buy first-party lenses anyway. I’ve said it before, and I’ll say it again, Nikon’s FTZ adapter allows Z-system users to adapt cheap F-mount DSLR lenses, but it’s not seen as something that syphons Z-mount purchases.

Going back to Matt Irwin’s video. He makes another good point in that third-party lenses tend not to match up perfectly with their first-party counterparts, in that focal lengths and apertures tend to differ (although not always). So, if you’ve got your heart set on a first-party optic and it’s within your budget, there’s a good chance you’ll buy the lens you want instead of compromising on a focal length and aperture that's nearly the same, but not quite.

Nikon’s also been surprisingly adept at beating third-party manufacturers at their own game, too, with a really nice selection of cheap first-party glass. I personally own the Nikon Z 40mm f/2, which I purchased secondhand for an absolute steal, but that's far from the only cheap Nikon lens out there; just look at the recently announced Nikon Z 24-105mm f/4-7.1. Ultimately, if there’s truth to this rumored lawsuit, I’m hoping Nikon, Viltrox, and the consumer can all have their cake and eat it. We might just have to compromise a little on the flavor.

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The suspected beef between Nikon and Viltrox is showing no signs of cooling down, with more talk of a rumored court case filed by the ‘Big N’. Chinese social media has been particularly busy, with Japan-based online news outlet Asobinet sharing supposed documentation of four patents regarding lens mounts, of which the source identified as “modified structures based on the Nikon Z mount”. It also revealed that there was just one month between the patent’s application and it being published.

Earlier reports suggested that Viltrox’s recent Z-mount teleconverter could be the cause of such a dispute. Whatever the reason, Nikon did respond to DPReview, but avoided directly addressing the matter. It highlighted the fact that it has long worked with “officially licensed partner companies,” which could potentially be telling, as I cannot find confirmation that Viltrox is or isn’t an officially licensed partner.

A hearing date of March 2, 2026, has been reported by Nikon Rumors, but what most consumers are talking about are potential consequences. If Nikon were to take Viltrox to court, there are a multitude of outcomes, but perhaps the biggest fear is a Canon RF-style lockdown of the Z-mount system.

However, that’s pure conjecture at this moment in time. Nikon’s case could relate to a dispute over a very specific instance, or it could be a wider dispute regarding Viltrox’s production of Z-mount-compatible optics in search of royalties or the enforcement of certain limitations.

I watched an interesting video (above) by photography YouTuber and Nikon user, Matt Irwin, who offered a very balanced point of view. He noted that Nikon has made a huge investment in Z-mount in terms of the development of both the mount itself and how it communicates with Z-Series cameras, stating: “They deserve a piece of the pie (...) for creating the opportunity for Viltrox to sell lenses for these cameras.”

However, he also noted the importance of third-party lenses offering options for consumers who may not be able to justify first-party expenditure.

Matt's hope – if the rumors are true – is that the two companies can “come to an understanding that works for both of them.” And as it stands, based on the little information that we have, I’m inclined to agree. I’ll be keeping you updated as/if this story evolves.

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If you're a Nikon fan, check out the best Nikon cameras and the best Nikon Z lenses. Here's why I think cheap, third-party lenses are good for consumers and good for camera manufacturers.

**UPDATE** Nikon has responded to DPReview regarding the reported lawsuit, but stopped short of addressing the matter directly. It did state that it has “always worked with officially licensed partner companies” and that it encourages third-party lens use “from manufacturers licensed by Nikon.” I cannot find confirmation that Viltrox is an officially licensed partner, so read into that what you will.

The word on the social-media street is that Nikon is suing Shenzhen-based lens manufacturer Viltrox, although over precisely what is pure conjecture. Japanese photography news website, Asobinet, picked up the rumor a couple of days ago, with the online source pointing to a licensing-fee dispute between the two companies.

However, a follow-up article today revealed that more talk on social media is suggesting that Viltrox’s recently released Z-mount teleconverter could be at the epicenter of the dispute, thanks to its potential to impact Nikon’s profits. After all, the Nikon Z Teleconverter TC‑2.0x retails for $649.95 / £599, while the Viltrox Teleconverter 2.0X undercuts it significantly with an RRP of around $280 / £260. The same article also surmises that Viltrox’s increased market share has simply become too big for comfort.

Nikon Rumors has turned to artificial intelligence in a bid to verify the story, which turned up Chinese corporate litigation databases and the Shanghai Court’s public docket as potential original sources. This has thrown up the possibility that Nikon could be looking for reparations if Viltrox replicated a Nikon innovation while a patent was pending, if said patent has now been granted.

Both outlets list a potential hearing date as March 2, 2026, so we could receive more information then. What this could mean for Viltrox, Nikon, and Nikon users remains to be seen. Nikon has historically been forthcoming in allowing others to use its Z mount, especially in comparison to Canon, which is famously protective of its RF mount.

But if Nikon does indeed sue Viltrox, this does raise the question: What next? Would it simply be looking for compensation, or would it look to make it harder for the third-party manufacturer to produce Z-mount optics, serving as a warning to others? I’ll be keeping a watchful eye for any further developments.

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Viltrox looks set to launch two new conversion lenses for Fujifilm X100-series cameras. Currently little is known about them, apart from teaser images released on the official Viltrox Weibo page, but they seem to be pretty close copies of Fujifilm's own TCL-X100 II telephoto conversion lens and its WCL-X100 II wide conversion lens.

The TCL-X100 II applies 1.4x magnification to convert an X100 camera's native 35mm-equivalent focal length to 50mm-equivalent, while the WCL-X100 II wide converter gives you a wider 28mm-equivalent perspective thanks to its 0.8x magnification.

Both are well regarded conversion lenses, but both also have relatively steep $400 price tags. Viltrox's equivalents provide the same focal length conversions and are almost guaranteed to cost significantly less. Given our experience with other Viltrox lenses, we'd wager optical quality will be impressive, too.

The official launch is set for December 10th, when we'll hopefully be given full details of each conversion lens, along with pricing and availability information. Until then, you can check out the specs for Fujifilm's own X100 conversion lenses below. We'd expect the Viltrox equivalents to share a lot in common.

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

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

- See the best Sony Black Friday camera deals

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

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

Pre-order from B&H

Story credit: Sony Alpha Rumors

According to a Reddit post from a Viltrox representative, the company will soon be launching a front-mounted 1.4x teleconverter, along with a 0.8x wide-angle conversion lens, for mirrorless and DSLR cameras. "With these, you can instantly unlock new focal lengths without changing your camera" says the poster.

Sony Alpha Rumors has a handy list of Sony lenses and what focal lengths can be achieved were you to attach the teleconverter or wide conversion lens. However, take this with a pinch of salt. Any front-mounted lens adaptor will of course be designed for a specific filter thread diameter, so it'll only fit compatible lenses. Furthermore, you probably won't be able to use a front-mounted teleconverter on a lens with a focal length wider than about 85mm, as depending on the physical depth of the converter, it'd likely cause obvious vignetting if fitted to a wide-angle lens. That said, there's little practical reason to use any form of teleconverter on a lens of a short-to-medium focal length, when the aim is to maximize telephoto reach.

It remains to be seen what kind of impact these conversion lenses may have on image quality. I've lab tested bona-fide rear-mounted 1.4x and 2x teleconverters from Canon, Nikon, Fujifilm and Sony for our guide to the best teleconverters, yet even these high-profile offerings still noticeably reduce image sharpness and increase chromatic aberration. 

I remain to be convinced that a (presumably) cheap front-mounted teleconverter can provide acceptable image quality and won't detrimentally reduce the performance of the host lens.

We await details of pricing and availability for both Viltrox conversion lenses.

Viltrox has launched a new 85mm autofocus lens for full-frame Sony cameras. The AF 85mm f/2.0 Evo is the first of a new series of ‘Evo’ lenses that aim to deliver up-market handling in a relatively compact, lightweight and easily manageable build. 'Evo' lenses are designed to fill the gap between Viltrox's featherweight 'Air' lenses and its chunky 'Pro'- and 'Lab'-series optics. Consequently, the 85mm f/2.0 Evo measures a compact 69x76mm (2.7x3.0") and weighs just 340g - that's under half the weight of Viltrox's existing AF 85mm f/1.4 Pro lens.

Despite the crash diet, the 85mm f/2.0 Evo still features a robust build, along with weather-seals and a fluorine coating on the front element. There's an AF/MF focus mode switch, plus a function button which can be customised to operate as an AF-hold, or to perform other duties depending on the camera body. A physical aperture control ring is also present, and there's a de-click switch to enable stepless adjustment of the 9-blade diaphragm when shooting video. Autofocussing is achieved by a linear stepping motor - a step down on the exotic VCM (Voice Coil Motor) system found in higher-spec Viltrox models - but it should still be fast and quiet. The features are rounded out by a USB-C port located in the metal lens mount which is used for applying firmware updates.

The optical stack consists of 10 elements arranged in 8 groups, including two ED (Extra-low Dispersion) elements and two HR (High Refractive index) elements. These are used to increase sharpness and clarity while reducing chromatic aberrations. Up front is a 58mm filter thread, and the lens is supplied with a circular profile hood.

The Viltrox AF 85mm f/2.0 Evo is available now, priced at $275 / £265 / AU$TBA. For context, that's around half the price of the Viltrox AF 85mm f/1.4 Pro, which is already good value, though of course the Evo is an f/stop slower.

Read our full review of the Viltrox AF 85mm f/2.0 Evo

Viltrox has released a fresh entry in its Pro line-up of upmarket autofocus lenses. The new Viltrox AF 50mm f/1.4 Pro has been designed for full-frame Nikon and Sony mirrorless cameras and follows in the footsteps of the AF 85mm f/1.4 Pro, released earlier in 2025, but which was only available for Sony cameras. The new lens is the same size and weight as its 85mm sibling, measuring 85x111mm / 3.4x4.4" and weighing in at 800g / 1.76lb. The advantage of this close family resemblance is you can swap between 85mm and 50mm lenses with no break in your creative workflow, as both lenses will feel and operate just the same.

The 15-element, 11-group optical path includes 1 UA (Ultra Aspherical) element with a relatively large diameter and ultra-high precision build, 3 ED (Extra-low Dispersion) elements, and 8 HR (High Refractive index) elements. An 11-blade aperture diaphragm should provide super-smooth bokeh, while the aperture itself can be controlled by a dedicated aperture ring on the lens barrel. This can also be 'de-clicked' to provide seamless aperture adjustment when shooting video. Viltrox has employed a HyperVCM (Voice Coil Motor) autofocus system which is designed to be quick for shooting stills, while also delivering ultra-smooth focus transitions when shooting video, and in virtually complete silence. Manual focussing is also available, via an electronically coupled focus ring.

The AF 50mm f/1.4 Pro is intended to be an all-weather lens. Its metal lens mount includes a rubber gasket, and the rest of the barrel is also weather-sealed. A fluorine coating on the front element helps resist fingerprints and rain droplets, while HD Nano multi-layer coatings are applied to minimize ghosting and flare. There's even a USB-C port at the base of the lens for applying firmware updates.

The Viltrox AF 50mm f/1.4 Pro is priced at $549 / £525 / AU$TBA, which makes it quite a bargain when compared to its direct rivals from Nikon and Sony. The Sony FE 50mm f/1.4 G Master will set you back $1,398 / £1,499 / AU$2,099, while the more budget-friendly Nikon Z 50mm f/1.4 costs $597 / £499 / AU$899, though it has lower aspirations and lacks Nikon’s high-grade ‘S-line’ credentials.

Read our full review of the Viltrox AF 50mm f/1.4 Pro

Viltrox has been launching a growing range of ‘Air’ lenses for both APS-C format and full-frame cameras. APS-C contenders include the Viltrox AF 15mm f/1.7 Air, Viltrox AF 25mm f/1.7 Air, Viltrox AF 35mm f/1.7 Air and Viltrox AF 56mm f/1.7 Air. Full-frame lenses include the Viltrox AF 20mm f/2.8 Air, Viltrox AF 40mm f/2.5 Air and Viltrox AF 50mm f/2 Air.

I like the common theme to the design, with most of the lenses being almost exactly the same size and weight. And while I’m at it, the size is astonishingly small and the weight is tiny. The newest pair in the line-up are ultra-wide-angle primes for APS-C and full-frame cameras, the full-frame AF 14mm f/4 having a slower aperture than its siblings but the upside is that, as I’ve mentioned, it maintains a very similar size and weight. If it can deliver on its promises, it’s destined to be one of the best wide-angle lenses, and a top option for Nikon Z and Sony E mount cameras.

The other lens in the new pair is the Viltrox AF 9mm f/2.8 FE Air, which is an APS-C format lens that gives a very similar viewing angle on crop-sensor Fujifilm X, Nikon Z and Sony E mount cameras.

Viltrox AF 14mm f/4 Air: Specifications

Viltrox AF 14mm f/4 Air: Price

Big viewing angles often cost big bucks. And you’ll also often find a 14mm focal length is only available in a zoom lens, like the Sony FE 12-24mm f/4 G ($2,298 / £1,399) and Nikon Z 14-30mm f/4 S ($1,347 / £1,349), or a faster prime like the Sony FE 14mm f/1.8 G ($ / £1,399). But what if you’re among the large number of photographers who only tend to use an ultra-wide zoom at or near its shortest focal length, or don’t feel the need for a fast f/1.8 aperture? This Viltrox AF 14mm f/4 Air fits the bill in every way, with a supremely budget-friendly price tag of just $199 / £190.

Viltrox AF 14mm f/4 Air: Design & Handling

Not all ultra-wide-angle lenses are big and heavy. The Nikon Z 14-30mm f/4 S is a notable exception, with it’s relatively compact, retractable design. Even so, it measures 89x85mm / 3.5x3.3” when retracted and weighs 485g / 17oz. The Viltrox 14mm prime is relatively tiny and it’s a real featherweight, measuring a mere 65x56mm / 2.6x2.2" and tipping the scales at just 170g / 6oz.

It’s incredibly small and light for a full-frame compatible rectilinear rather than curvilinear (fisheye) ultra-wide lenses with such a generous 112-degree viewing angle. The upshot is that I can squeeze this lens into a spare pocket or a corner of a daily bag without even noticing the additional size and weight, and take it along for the journey, whether I’m trekking across tricky terrain in search of landscape photo opportunities, pounding city streets or going on a lengthy search for interesting architectural shots.

It's not just the build that’s small and lightweight – the same goes for the price tag. I never used to expect much for this sort of financial outlay, but that’s before I started using and buying Viltrox lenses, which have really changed my experience. Like others in the ‘Air’ lineup, the 14mm is designed to be simple, small and convenient, but that doesn’t mean it lacks good glass.

Indeed, the lens features 12 elements arranged in 9 groups, and includes two aspherical elements, four ED (Extra-low Dispersion) elements and two HR (High Refractive index) elements. It therefore aims to be no ‘lightweight’ in terms of performance, intending to deliver good edge-to-edge sharpness, impressive clarity, contrast and color rendition, along with minimal aberrations.

Something else that’s common to Viltrox Air (and many other recent lenses from other manufacturers) is the use of a leadscrew stepping motor to drive autofocus. As usual, it gives speedy focusing for stills, along with smooth and virtually silent transitions when shooting video. The latter is a specialist area of interest for this lens. The wide viewing angle and short minimum focusing distance of just 0.13m / 5.1” makes the lens ideal for handheld vlogging, when you want to present to the camera and squeeze in a sizeable portion of your surroundings to set the scene.

I’m personally not a great one for taking selfies or vlogging, but I do love to use ultra-wide-angle lenses for landscape photography. I’m frustrated that many ultra-wide primes and zooms have a built-in, integral hood, designed to protect the bulbous front element. This makes it difficult or impossible to use the likes of ND Grads (Neutral Density Graduated), high-density ND filters for long exposures, and Variable ND filters, that I often rely on in landscape photography. There’s no problem with the Viltrox, as it has a separate, bayonet-fit hood and a regular filter attachment thread with a modest size of 58mm.

The hood itself has an efficient petal-shaped profile and, as usual, is reversible so you can store it on the lens without any increase in physical length. When in use, in its forward facing orientation, it doesn’t extend very far. I also like that the lens is supplied with a pinch-action front cap, which makes it easy to attach and detach even with the hood in its forward-facing business mode.

Shifting my attention to the back end of the lens, its mounting plate is made from metal and feels really solid. Many lenses nowadays that are designed to be compact and lightweight have plastic mounting plates but I’m pleased that Viltrox held out for a metal mount. It includes gold-plated electronic contacts and a USB-C port, the latter being featured for firmware updates if they become necessary. The only thing that’s lacking is any weather-seals but I certainly wouldn’t expect those on a lens in this price bracket.

Viltrox AF 14mm f/4 Air: Performance

Even with pro-grade lenses, I’ve often found that sharpness is sadly lacking towards the edges and corners of the image frame. And from lenses that I’ve bought and subsequently sold, that includes the Nikon AF-S 14-24mm f/2.8G ED. From my real-world tests with the Viltrox, I was immediately impressed that sharpness is retained well, right out to the extreme edges and corners of the frame, even when shooting wide-open at f/4. That said, the widest aperture of f/4 isn’t fast, and makes the lens less than ideal for astrophotography, where you want to pull in more light.

Autofocus lives up to its claims of being quick for stills as well as giving smooth and virtually silent performance when shooting video. I’d have liked to see an AF/MF focus mode switch included in the design but everything is pared down to make the lens as simple, lightweight and compact as possible. Fair enough.

Not just for seeing the bigger picture, ultra-wide-angle lenses are also great for shooting sizeable subjects in extreme close-up, so that you can exaggerate perspective and set them apart from an expansive background. The 0.13m / 5.1” minimum focus distance (as measured from the image sensor in the camera body) really does enable extreme close-ups, where the f/4 aperture is sufficiently wide to enable a fairly tight depth of field.

Sure enough, something has to give when cramming such an ultra-wide viewing angle into such a tiny, lightweight lens. As I’d expect, there’s some noticeable vignetting when shooting at the widest aperture of f/4, and barrel distortion is apparent. That said, the Viltrox relies much less on automatic in-camera corrections for vignetting and distortion than the majority of wide-angle lenses for mirrorless cameras, that I’ve used over the last few years. Indeed, the lens is perfectly usable with automatic corrections switched off and, unlike with many recent lenses, you can disable the corrections if you wish, rather than them being ‘forced on’.

Viltrox AF 14mm f/4 Air: Sample Images

The sample images in this gallery were taken at Wells Cathedral in England’s smallest city, and in the nearby town of Shepton Mallet, on a sunny morning in Collet Park. The interior shots of the cathedral were all taken at the lens’s widest available aperture of f/4, giving it the toughest test for edge-to-edge sharpness.

Viltrox AF 14mm f/4 Air: Lab Results

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

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

Sharpness:

Unusually, sharpness across most of the image frame proved best at the lens’s widest available aperture of f/4. More typically, it drops off a bit at the narrowest apertures of f/11 and f/16, due to diffraction. Sharpness out at the edges and corners of the frame proved much better in real-world shooting than our lab tests would imply. Again, that’s typical when testing ultra-wide-angle lenses, because the test charts have to be shot at pretty much point blank range.

Fringing:

There’s only very negligible color fringing across most of the frame, although it can be slightly noticeable out at the edges and corners. However, automatic in-camera correction is generally available for all mount options of the lens, which eliminates the problem completely.

Distortion: -1.74

Barrel distortion can be a little noticeable but the lens is still perfectly usable with automatic in-camera correction disabled. It’s worth noting that very many recent lenses designed for mirrorless cameras rely completely on automatic in-camera correction for distortion, which can’t be disabled in the menu system. The Viltrox performs a whole lot better than these lenses in this respect.

Viltrox AF 14mm f/4 Air: Verdict

I like supersized and super-skinny in equal measure. For shooting sweeping landscapes and cityscapes, and for architectural interiors when my back is literally up against the wall, I love the really huge and expansive view of an ultra-wide-angle lens. But I also love compactness and lightweight design, especially if I’m going to be carrying a spare lens around all day long or going off on my travels. This Viltrox AF 14mm f/4 Air succeeds on both counts. It gives a mighty viewing angle from a relatively tiny, featherweight build. Even so, the little lens punches well above its weight in terms of image quality and all-round performance, while being extraordinarily excellent value for money. It’s a winner on all fronts, as far as I’m concerned.

Alternatives

I’ve been impressed with the growing range of Viltrox Air lenses for both APS-C format and full-frame cameras. The former includes the Viltrox AF 15mm f/1.7 Air, Viltrox AF 25mm f/1.7 Air, Viltrox AF 35mm f/1.7 Air and Viltrox AF 56mm f/1.7 Air. Full-frame contenders include the Viltrox AF 20mm f/2.8 Air, Viltrox AF 40mm f/2.5 Air and Viltrox AF 50mm f/2 Air. I’m also keen that, especially in the APS-C camp, the lenses have such a unified design, all sharing the same aperture rating and handling characteristics, and all being virtually the same size and weight.

The newest pair of Air lenses are ultra-wide-angle primes for APS-C and full-frame cameras respectively, this APS-C format AF 9mm f/2.8 Air again being a very similar size and weight to others in the range but having a narrower aperture to enable the same level of compact and lightweight build. And let’s face it, f/2.8 is pretty fast for such an ultra-wide-angle lens.

As such, it aims to be one of the best wide-angle lenses, as well as one of the best purchase options for APS-C format Fujifilm X, Nikon Z and Sony E mount cameras. And the other lens in the pair, in case you’re wondering, is the Viltrox AF 14mm f/4 FE Air, which is designed to give a very similar viewing angle on full-frame Nikon Z and Sony E mount mirrorless cameras.

Viltrox AF 9mm f/2.8 Air: Specifications

Viltrox AF 9mm f/2.8 Air: Price

APS-C format Viltrox Air lenses tend to cost around $168 / £165 to $237 / £229, so they’re typically very affordable for fairly fast prime lenses. The Viltrox AF 9mm f/2.8 Air that I’m reviewing here costs $199 / £190, so it’s a little pricier than some. Even so, given the extremely wide viewing angle delivered by this lens, I reckon it’s potentially great value for money.

Viltrox AF 9mm f/2.8 Air: Design & Handling

I’ll admit it, sometimes I’m a bit greedy. I see a fabulous sweeping landscape vista, an incredible cityscape or an epic architectural interior and I just want to cram as much of it into my camera as possible. Sometimes a standard zoom lens will suffice, especially one with a generous maximum viewing angle like the Fujifilm XF 16-50mm f/2.8-4.8 R LM WR, Nikon Z DX 16-50mm f/3.5-6.3 VR or the Sony E 16-55mm f/2.8 G. But sometimes it won’t, and I really want to pack a whole lot more into the image frame.

The flipside is that if I’m negotiating treacherous terrain for landscape photography, putting in some serious mileage along city streets for urban shots, or exploring architectural sites, I don’t want to be weighed down by a load of extra kit. I feel that the Viltrox AF 9mm f/2.8 Air is somewhat unusual in delivering an ultra-wide viewing angle in a package that’s incredibly compact and lightweight, especially considering its relatively fast f/2.8 aperture. Indeed, at only 65x57mm / 2.6x2.2" and 175g / 6.2oz, it’s easy to take pretty much anywhere and everywhere.

Considering its bargain basement price tag, you’d be forgiven for thinking that this and other Viltrox Air lenses skimp on quality glass. As it turns out, the optical design features no less than 13 elements arranged in 11 groups. These include two aspherical elements, three ED (Extra-low Dispersion) elements and three HR (High Refractive index) elements. That’s pretty good going, with the aim of maximizing sharpness, clarity and contrast while minimizing color fringing and other unwanted aberrations.

As I’ve come to expect from Viltrox Air lenses, autofocus is quick and snappy for stills, as well as offering smooth and virtually silent transitions when shooting video. That’s thanks to the leadscrew stepping motor that drives focusing. It also enables smooth and very precise manual focusing adjustments, thanks to a comfortably large and textured electronically coupled control ring. Sadly, there’s no AF/MF focusing mode switch but that’s in keeping with the compact, minimalist design of the lens. The same goes for the absence of an aperture control ring, which is typically featured on more up-market and up-scaled Viltrox lenses.

Here's something else of which I’m very much in favor. Unlike many ultra-wide-angle lenses, the Viltrox has a removable hood and a regular filter thread with a modest 58mm size. This makes it dead easy to attach filters like ND Grads (Neutral Density Graduated), high-density ND filters for long exposures, and Variable ND filters, any and all of which can give a massive boost to creativity in landscape photography.

The hood itself is of the usual bayonet-fit design and can be reversed and placed back on the lens for compact stowage. When in use, its petal-shaped profile maximizes efficiency, and the lens is also supplied with a pinch-action front cap, making it easy to attach and remove when the hood is in its forward-facing business mode orientation.

Moving from front to back, the lens has a metal rather than plastic mounting plate, again typical of Viltrox Air lenses, and unlike budget-priced own-brand lenses from some camera manufacturers. One thing that’s lacking is that there are no weather-seals, including the omission of a rubber gasket on the mounting plate, but it does include gold-plated electronic contacts and a USB-C port for applying firmware updates, should they become necessary.

Viltrox AF 9mm f/2.8 Air: Performance

I’ve often found that sharpness is a moveable feast with ultra-wide-angle lenses. It can be very good in the central region of the frame but comparatively lacking out towards the edges and corners. I’m impressed that the Viltrox maintains very pleasing sharpness right out to the extremities of the image frame, which can be a real performance boost for landscapes, cityscapes and architectural photography.

For creative effect, I sometimes like to shoot subjects from really close in with an ultra-wide-angle lens, to exaggerate the perspective between foreground and background areas. Again, the Viltrox obliges with a really short minimum focus distance of just 0.13m or about 5 inches, as measured from the image sensor in the camera body. Suffice it to say that you can definitely get up close and personal to your subject matter.

The ultra-wide perspective and short minimum focus distance also makes this lens a great choice for vlogging and taking selfies, where you want to hold the camera at arm’s length and put yourself in the scene, capturing a large portion of the backdrop.

As for other performance factors, the lens does well to control distortion, relying much less heavily on automatic in-camera correction than many other wide-angle lenses that are designed for mirrorless cameras. The same goes for minimizing color fringing, not only in the central region of the image frame but right out to the corners.

Viltrox AF 9mm f/2.8 Air: Sample Images

The sample images in this gallery were taken at Wells Cathedral and on a sunny morning in Collet Park, a recreational area in the small town of Shepton Mallet, both locations being in the county of Somerset, South West England. The interior shots of the cathedral were all taken at the widest aperture of f/2.8, giving the lens a tough test for edge-to-edge sharpness.

Viltrox AF 9mm f/2.8 Air: Lab Results

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

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

Sharpness:

Center-sharpness is excellent even when shooting wide-open at f/2.8. It drops off gradually as you stop down through the aperture range but this only tends to be noticeable in real-world shooting at the narrowest apertures between f/11 and f/16. Sharpness also holds up very well right out at the extreme edges and corners of the frame. Lab results aren’t flattering for this, due to the extremely close proximity of test charts when testing ultra-wide-angle lenses.

Fringing:

Color fringing is very minimal out at the edges and corners of the frame and completely negligible across most of it. And that’s with automatic in-camera correction disabled.

Distortion: -0.55

Many wide-angle lenses designed for mirrorless cameras nowadays rely massively on automatic in-camera correction, without which images look more like they’ve been shot with a fisheye lens. It’s refreshing to see such minimal barrel distortion from a ‘mirrorless’ wide-angle lens when in-camera correction is disabled.

Viltrox AF 9mm f/2.8 Air: Verdict

Money no object, I’d buy lenses to add to my collection just for the sake of it. But most of us nowadays have to be careful with our spending and need a very good reason to buy an additional lens. I feel that the Viltrox AF 9mm f/2.8 Air is almost a no-brainer. It gives a genuine advantage in delivering much greater wide-angle potential than the standard zoom that most of use for most of the time, really taking the blinkers off our photography for landscapes, cityscapes, architecture, astrophotography, and even for selfies and vlogging. And it does so in a really compact and lightweight package that’s easy to take along for the ride. Last but not least, it performs very well indeed and is remarkably inexpensive to buy, making it standout value for money. Just how many reasons do you need?

Alternatives

Love it or hate it, AI is becoming a key part of reliable autofocus (AF). It supports cameras and helps us capture sharp subjects, even in fast-moving action scenes (think of Canon's Dual Pixel Intelligent AF). Now, imagine an AI autofocus adapter from Viltrox – enabling better AF performance on lenses that don't quite nail AF – and maybe even giving older manual lenses AF functionality…

When Viltrox revealed its IBC 2025 lineup, it included four new lenses, a new tier Evo series, a new TTL flash… and the Nexus AI Autofocus Adapter. According to Viltrox's press release, it's "an innovative adapter integrating artificial intelligence to expand focusing capabilities."

Adapters aren't new; products like the E-Z AF and EF-FX offer electronic AF, but they don't feature AI-level tracking, recognition or predictive AF (at least, nothing that's clearly documented). The Nexus AI Autofocus Adapter has appeared in previous rumors so, for some, it might not be a total surprise.

Nexus AI Autofocus Adapter

Viltrox hasn't shared specs, images, or detailed info yet, so let's speculate on what this adapter might bring.

First, it sounds like it will improve AF speed and tracking – especially useful for photographing moving subjects and video. The key difference could be smarter AF logic – AI replacing simple mechanical or electronic relay systems.

This should translate to more consistent performance in challenging situations, like low light or fast motion, where AF speed, accuracy and quality often suffer. It might also combine hardware and software improvements to better handle lens quirks, like motor types or lens delay.

If so, this adapter could be a great choice for creators who work across different lens systems or use vintage lenses but want reliable autofocus.

Price & availability

Like the other new products, Viltrox hasn't announced pricing for the AI Autofocus Adapter yet – nor do we have anything in the way of availability timelines.

However, the fact that Viltrox is showcasing the adaptor at IBC 2025 suggests that it should be fairly far along in development – and no doubt there will be more information on the specifics as the show progresses.

If you're attending the IBC, you can see all of Viltrox's latest products in person at RAI Amsterdam, Hall 11, Booth A09, until September 15.

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At IBC 2025 in Amsterdam, Viltrox took the stage and introduced a fresh range of gear – designed to evaluate our photography and videography workflow without breaking the bank.

The spotlight includes a pro-level 50mm f/1.4, two lightweight ultra-wide Air lenses and a redesigned 85mm f/2 Evo. Alongside those, the new Z3 TTL flash brings a stylish approach to on-camera lighting.

Let's take a closer look at what's new – and who these releases are likely to appeal to.

Overview

Viltrox AF 50mm f/1.4 Pro

A fast, full-frame 50mm prime with a wide f/1.4 aperture. Ideal for low-light shooting, shallow depth of field and cinematic visuals. Whether you're shooting portraits, video interviews or night scenes, this lens is designed to deliver clean and professional-grade results – likely at a lower price than comparable OEM options.

Viltrox AF 9mm f/2.8 Air (APS-C) & AF 14mm f/4.0 Air (Full-frame)

Viltrox's Air series focuses on lightweight, compact builds for creators on the move. The 9mm offers ultra-wide framing in a small, fast package – a practical pick for vlogging, interiors or handheld video work. The 14mm brings wide-angle coverage for landscape, travel or architectural photography, all while staying minimal in size and weight.

Both lenses are designed for portability, without compromising optical performance – making them great for daily or travel use.

Viltrox AF 85mm f/2.0 Evo – the new Evo line

The Evo series marks a new chapter for Viltrox. The first in the line, the 85mm f/2.0 Evo, introduces a clean new design language, improved materials and updated optics.

This medium-telephoto prime is geared toward portrait and interview work, with a slightly slower aperture that keeps size and weight down. It's clearly made for creators who want solid image quality in a more manageable form factor. Viltrox seems to be aiming for a balance of style, comfort, and performance here.

Viltrox Z3 TTL Flash

The new Z3 TTL flash is a modern unit that is set to break from traditional flash design. Described by Viltrox as "mech-inspired", it's likely meant to pair visually with stylized rigs or setups.

It offers full TTL (through-the-lens) metering, which means accurate auto-exposure with compatible cameras – ideal for fast-paced shoots like weddings, events or documentary work.

Price & Availability

Viltrox hasn't announced pricing yet. That said, past launches give us a ballpark: budget-friendly lenses like the Viltrox AF 56mm f/1.7 launched at $169, while higher-end optics like the Viltrox AF 35mm f/1.2 Lab went up to $999.

Given the added features and new designs here – especially in the Pro and Evo line – some of the new gear may land in the mid-to-high price range. Still, Viltrox has a track record of undercutting OEM pricing.

Availability and timelines also haven't been shared, but the fact that Viltrox is showing the products at IBC 2025 suggests these are fairly far along in development.

And if you're attending the IBC, you can see all of Viltrox's latest products in person at RAI Amsterdam, Hall 11, Booth A09 from today until September 15.

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Last week, I wrote about speculation that Viltrox would join the L-Mount Alliance. Today, Leica has confirmed that the rumours were true: Viltrox has officially become the tenth member of the partnership, which now includes Leica, Sigma, Panasonic, DJI, Samyang, Blackmagic Design and others.

The L-Mount Alliance was founded in 2018 by Leica, Panasonic and Sigma to establish a unified standard for mirrorless cameras and lenses. Built around the L-Mount originally developed by Leica (previously called the T mount), the collaboration has grown steadily in recent years, offering photographers and filmmakers a system that enables cross-brand compatibility without the need for adapters.

At present, the Alliance covers more than 20 cameras and over 120 lenses, all of which can be used interchangeably across the ecosystem.

Leica described the move as a significant expansion of that system. Valentino Di Leonardo, managing expert technology & licensing at Leica Camera AG, said: "The L-Mount Alliance has been a key pillar of Leica Camera AG’s strategy from the beginning, standing for openness, innovation, and the highest standards in photography. With its bayonet system, it offers outstanding flexibility across a wide range of photographic and videographic applications.

"By welcoming Viltrox as a new member, we are strengthening our network with a highly regarded partner that shares our vision of a forward-looking and versatile system. Viltrox contributes valuable expertise in high-quality lens development and brings fresh momentum to our ecosystem. Together, we aim to offer photographers and filmmakers an even more comprehensive and flexible system that meets the most demanding requirements."

Founded in 2009, Viltrox has established itself as one of the most exciting third-party manufacturers, producing both affordable and high-performing stills and cine lenses. The company’s growing catalog ranges from compact primes, such as the Air series, to more advanced optics aimed at professional filmmakers.

With its entry into the L-Mount Alliance, Viltrox will be able to adapt these designs directly to the mount, giving users of cameras like Panasonic's Lumix S9, Blackmagic's Pyxis or Leica’s SL3 a host of new and accessible creative tools.

"Viltrox has joined the L-Mount Alliance, further expanding the system’s reach with high-quality, versatile, and accessible lenses," said Viltrox CEO, Dai Jinhui (Daniel Dai).

"This collaboration complements Leica’s portfolio by inspiring a new generation of creators – from passionate enthusiasts to seasoned professionals – while reinforcing a dynamic and inclusive ecosystem alongside Alliance partners DJI, Panasonic, Blackmagic Design and Sigma."

This announcement is a major moment for the L-Mount. Each new partner strengthens the case for the mount as one of the most flexible and universal platforms in the industry. For users, Viltrox’s arrival means more choice, more value, and a broader set of tools to meet both photographic and cinematographic needs.

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Viltrox has released a teaser that strongly suggests it could be making one of its biggest moves yet: joining the L-Mount Alliance.

The company announced that it will make an official announcement on September 01, though details remain scarce. The teaser image, carrying the phrase translated to "Bringing in something new," has quickly fuelled speculation online, with many noting the image design also resembles the letter L.

On Chinese social media platform Weibo, the Federation of Independent Photographers, known for accurate leaks, went further, stating outright that "Viltrox will officially join the L-Mount Alliance on September 01."

The L-Mount Alliance is a partnership formed in 2018 between Leica, Panasonic and Sigma to create a unified standard for mirrorless cameras and lenses based on Leica’s L-Mount. It has since grown to include brands such as DJI, Sirui, Blackmagic Design and Samyang, and has become an increasingly important system for both photographers and videographers.

If Viltrox joins, it would bring another major third-party manufacturer into the fold, expanding options across stills and cine lenses.

Viltrox has built its reputation by producing affordable yet capable optics that cover both full-frame and APS-C formats. Its catalog already overlaps with Sigma in places, but the lightweight Air series (including the 25mm f/1.7 and 50mm f/2) could be especially appealing on compact L-Mount bodies such as Panasonic’s Lumix S9.

Enthusiasts are already speculating what this might mean for the future of the system, which continues to expand thanks to contributions from multiple manufacturers.

If confirmed, this would be a significant development for the L-Mount ecosystem and the industry as a whole. It would not only broaden the range of affordable and creative tools available to photographers and filmmakers, but also move the system closer to its aim of becoming one of the most versatile and universal platforms in the camera world.

With the official reveal just days away, all eyes will be on September 01 to see if Viltrox will finally join the alliance.

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There's some interesting chatter about Viltrox. Word is, it's working on a full-frame zoom lens with a f/1.4 aperture, covering 35-50mm, and featuring autofocus (!)

The rumor started on Weibo, shared by the reliable Federation of Independent Photographers, who suggest this lens could arrive around 2026. If it's real, this might be the first full-frame autofocus zoom from a Chinese manufacturer – and an unusually bright one at that.

Zoom lenses with a constant f/1.4 aperture are rare, especially in full-frame formats. Most current zooms, like the Sony 24-70mm f/2.8 GM or Tamron 28-75mm f/2.8 Art, focus on flexibility and sharpness but don't open up quite this wide. On the other end, primes like the Sigma 50 mm f/1.4 DG DN Art or Sony FE 35mm f/1.4 G offer that fast aperture, but without the option to reframe on the fly.

The closest existing lens to the rumored 35-50mm f/1.4 would be the Sigma 17-40mm f/1.8 DC Art which was introduced earlier this year which although really fast for a zoom, would be two-thirds of a stop slower

What makes this rumored lens so interesting is where it fits in. A 35-50mm range may not sound huge, but it's a sweet spot for a lot of everyday photography – street, documentary, environmental portraiture. Add autofocus and a wide f/1.4 aperture, and it becomes a compelling option for low-light work or anyone who loves shallow depth of field without being locked into a single focal length (like with a prime).

Viltrox has already earned respect for its compact primes, so seeing it push into a more advanced territory is exciting. If Viltrox manages to bring this zoom lens to the market, it will fill a unique spot – combining the speed and light-gathering ability of a prime with the versatility of a zoom.

Considering Viltrox's track record, this lens feels promising and is definitely worth watching. So fingers crossed that we will soon know more, and that this zoom optic actually hits the market next year.

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A little while back, I shared news that sparked real excitement in the photography community – a hint that Viltrox might be developing its own camera system. The idea of a new player entering the space, bringing a more open ecosystem and potentially more affordable gear, felt like a breath of fresh air. For many, the prospect of Viltrox stepping up to challenge the camera industry giants was thrilling.

But now, the picture is clear: Viltrox isn't building cameras.

It all began with an interview shared by The PhoBlographer, where a question – "Are you folks also making cameras?" – got a less-than-clear answer. It wasn't a yes, but it wasn't a no either. You can read the full news here. The rumor mill was turning. Some of us thought we saw a signal. We dared to imagine a new competitor shaking up the photography market with a new Viltrox camera system.

Following the buzz, Photo Rumors reached out to several sources and individuals who work for Viltrox. Photo Rumors shared that Viltrox simply doesn't have the technical resources or intention to produce a full camera system. Instead, it clarified:

"What we actually said is that we will continue exploring and developing accessories around cameras — not the camera body itself. This may have led to some misunderstandings among users. Our goal remains the same: to create high-quality photography gear that empowers more creators to express their artistic vision."

No Viltrox camera. No disruption to the mirrorless market. No fresh challenge to Canon, Sony, or Nikon. For now, we're staying in the same lane – with the same big names, the same systems, and the same price tags.

But at least we know where things stand.

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"Are you folks also making cameras?"

It's a big question, especially when aimed at a brand best known for its affordable, high-performing third-party lenses. During a recent interview with The PhoBlographer, Viltox management's response wasn't a flat-out denial. While the company stopped short of confirming anything, its carefully worded answer dropped a hint.

So, is there something brewing beneath the surface? If so, Viltrox could genuinely shake up the mirrorless camera market and challenge industry heavyweights like Sony, Canon, and Nikon.

Recently, The PhoBlographer shared an interview with Viltrox management discussing brand growth, upcoming optics like the 28mm f/4.5, and the ever-evolving needs of modern photographers. But right at the end came the question: whether the company plans to develop its own mirrorless camera system.

"As for cameras, while our current focus remains firmly on lens development, we are actively exploring adjacent technologies that enhance the photographic experience," Viltrox responded. "Our commitment is to create a seamless and responsive ecosystem for creators – and we will continue to innovate with that mission in mind."

Whereas its "current focus" stays on lens development, Viltrox did not deny the possibility of developing its own cameras. So, is this Viltrox giving us a sign that something is brewing behind the scenes? Possibly. Mirrorless cameras by Viltrox could have massive implications – not just for enthusiasts, creators and photographers, but for the entire industry.

Viltrox already has the foundation, with proven manufacturing capabilities, growing expertise in autofocus systems and a track record of delivering high-quality lenses at accessible prices. Since the news spread, you can observe online that many creatives believe that it's only a matter of time before a Viltrox mirrorless camera system becomes a reality.

Right now, the big names – Sony, Canon, Nikon and Fujifilm – dominate the mirrorless space. But as prices continue to rise and innovation slows in the mid-tier, there's a widening gap waiting to be filled. And Viltrox already serves photographers looking for performance without the premium. If Viltrox enters the body market with the same approach, it could lower the barrier to entry for countless new creators.

Also, Viltrox is one of the very few third-party brands actively producing autofocus lenses across multiple mounts – including Sony E-mount, Fujifilm X-mount, Nikon Z-mount and even Canon RF-mount (though these optics were discontinued due to intellectual property issues).

So Viltrox understands how to reverse-engineer and adapt to closed ecosystems – making it all more likely that, if the company launches a camera, it will develop a more modular, flexible system than what the major brands currently offer.

That said, I want to mention that in the same interview, Viltrox stated that it explores compatibility with the L-mount Alliance (which includes Leica, Panasonic, Sigma and DJI) and Fujifilm's GF medium format. While that's big news on its own, it's currently being overshadowed by the growing speculation around a potential Viltrox camera system.

While there's no clear confirmation or follow-up statement yet, it's evident that Viltrox is exploring new directions. A mirrorless camera system of its own could easily become the breakout story.

If it happens, we might not only see a more affordable alternative to the big names, but also the beginnings of a more open and flexible camera ecosystem – something many photographers have been hoping for. And with Viltrox's track record for value and performance, that shake-up could arrive with a price tag that's just as exciting as the gear itself.

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Viltrox has just launched the latest in its growing Air series fast autofocus prime lenses - which all boast a maximum aperture of f/1.7. The newest addition is the Viltrox AF 15mm f/1.7 - which will be available for in Fujifilm XF, Sony E and Nikon Z mounts for use on APS-C mirrorless cameras.

After the 1.5x crop factor is taken into account, the new lens will offer an effective focal length equivalent to the view given by a 22.5mm wide-angle on a full-frame camera.

The Viltrox AF 15mm f/1.7 becomes the fourth prime in the Viltrox Air series - joining the 25mm f/1.7, 35mm f/1.7 and 56mm f/1.7

The 15mm lens is constructed from 12 elements in 10 groups, including three High Refractive (HR) elements, three extra-low Dispersion (ED) elements, and two aspherical (ASPH) elements. The minimum focusing distance is just 23cm.

Weighing between 180-195g (depending which mount you buy it in), the lens has a built-in USB-C port that can be used to update the lens with new firmware, as and when it is available.

The lens is due to go on sale from today with a retail price of $239 / £229, which includes a petal-shaped lens hood and a protective pouch bag. There is a 5% discount if you buy from Amazon before August 2.

• Viltrox AF 25mm f/1.7 Air review
• Viltrox AF 35mm f/1.7 Air review
• Viltrox AF 56mm f/1.7 Air review

When I think of Viltrox, my mind goes straight to lenses. Indeed, this Chinese company makes some of my favorite third-party primes. I’ve been impressed by the collection of 13mm, 23mm, 33mm, and 56mm f/1.4 prime lenses for APS-C format Fujifilm X, Nikon Z, and Sony Alpha mirrorless cameras.

More recently, relatively up-market offerings like the Viltrox AF 85mm f/1.4 Pro and Viltrox AF 135mm f/1.8 LAB have been definite highlights in my reviews schedule, and they’re among the best lenses for Sony cameras. It’s perhaps a little easy to forget that Viltrox also makes other photographic kit, including lighting and camera monitors – and now an on-camera flash in the old-school shape of the Viltrox Vintage Z1 Retro Flash. My curiosity is piqued. Let’s take a closer look.

Viltrox Vintage Z1 Retro Flash: Specifications

Viltrox Vintage Z1 Retro Flash: Price

The Viltrox is not alone in seeking to pick up the pieces, in the absence of pop-up flash modules in many modern, mirrorless cameras. I’ve also recently reviewed the roughly matchbox-sized Godox iM20 and Godox iM22, which both cost around $50 / £48 / AU$76, and the more sophisticated Godox iA32, which is larger and has retro styling.

The iA32 also has a richer set of features and includes a bounce mechanism and an auto flash exposure facility (not through the lens). That one costs $50 / £47 / AU$112. The Viltrox Vintage Z1 Retro Flash has a similar selling price of $50 / £48 / AU$76 and some of the same features, including dual wireless optical slave modes, although the Viltrox doesn’t have bounce flash.

Viltrox Vintage Z1 Retro Flash: Design & Handling

The Vintage V1 has a sleek, low-profile design. Despite being decidedly small, it still packs its own rechargeable Li-ion battery pack, so you won’t need to worry about adding any AA or AAA cells. It’s neatly self-contained and ready to roll. However, there’s no dedication for specific makes of camera, as the flash is designed to be as universal as possible. There are always going to be some cameras that fly in the face of convention but if yours has a regular size and shape of hot-shoe, with a sync pin in the middle, the Viltrox should fit and work.

The ridged, light-scattering flash tube lens is quite a lot larger than the pop-up flash a camera body, if featured. Looks can be deceptive though, as despite the upsizing, the flash’s maximum power output is only rated at GN 12 / 39.4 (ISO 100, meters / feet). For the sake of comparison, that’s only slightly more powerful than the pop-up flash of the Nikon D7200 DSLR, rated at GN 11 / 36 but considerably brighter than the pop-up flash of the Nikon Z50 II, rated at GN 5.6 / 18.

Around the back, there’s a power adjustment knob on the left, a red/green status lamp in the middle, and an on/off switch on the right. Starting on the right, the power switch is actually labelled Off and M, signifying the manual nature of the flash. Indeed, whereas some non-dedicated flashguns have a light-sensitive cell that enables automatic flash exposure, albeit not TTL (through-the-lens), this Viltrox is a purely manual affair, which I’ll come to in a moment. At the center of the back panel, the large status lamp glows red when the flash is recycling, green when it’s ready to go. The lamp also serves as a pushbutton for testing or manually firing the flash.

The most hands-on part of the flashgun is that power knob that I’ve just mentioned. It rotates in click steps to give seven alternative levels of output, each step change being the equivalent of a full EV step from 1/64^th to full 1/1 power output. I think that suffices, given that the flashgun isn’t enormously powerful, but some might prefer finer control steps of half-stops or even one-third stops.

The left hand side of the flash plays host to a USB-C socket and a switch. The USB socket is for recharging the flash’s internal Li-ion battery pack. You can expect this to take about 50 minutes, if you’re fully recharging a flat battery. Just behind the USB socket is a 3-way switch marked Off, S1 and S2. This is for triggering the flash in off-camera/remote use. There’s no fancy wireless RF linking, which is only to be expected, just an optical sensor. However, you do get two operational modes, S1 ignoring the pre-flash pulses of a master flashgun in TTL auto flash exposure mode, and S2 for triggering from a studio flash or a flashgun in manual mode without any pre-flash pulses.

Build quality feels pretty good and robust, despite the lightweight construction. The Viltrox is nicely finished and has a metal rather than plastic mounting foot. Catering to the hot-shoes of many and varied makes of camera, the securing mechanism is a rotary action clamp on a thread, rather than a lever.

At the base of the foot, there’s just a single electronic connection pin, which is used for triggering. That’s entirely as expected, as the additional pins on dedicated flashguns are for more advanced data communication. As such, luxuries like TTL flash metering and flash exposure compensation are off the menu.

There’s a small red window at the front of the flash, positioned just below the main flash lens. This is the optical sensor for slave mode triggering. It’s good that the flash can be used off-camera in slave mode but it doesn’t come with a tabletop/tripod stand as part of the kit, which would have been useful. Viltrox doesn’t sweeten the deal with a suitably retro-looking carrying pouch either.

You have to supply your own USB charger and cable as well, but one extra that’s bundled with the flashgun is a white plastic diffusion dome. This slots over the front of the flash, intending to give a softer quality of light.

Viltrox Vintage Z1 Retro Flash: Performance

In my tests, the maximum power output was Gn 12 / 4.3 (ISO 100, meters / feet). That’s bang on the advertised maximum power of the flashgun, which is far from common, as I often find that the strongest output comes up a bit short in practice. I was also impressed that most of the single-step power adjustments gave a pretty accurate 1-stop change in flash exposure value, through all seven levels.

Recycling speeds weren’t as quick as I was expecting, considering that most Li-ion flashguns are very quick to recycle, often in 2 seconds or less even after a full-power flash. I’ve usually seen virtually instant recycling up to around 1/8 power but in my tests, the Viltrox took 0.2 seconds even at its lowest 1/64 power setting, rising to 2.4 seconds after a half-power flash and a comparatively lengthy 4.3 seconds after a full-power flash.

Considering that you can’t just pop in a spare set of AA or AAA batteries when the internal battery goes flat, stamina is an important aspect of performance. Viltrox claims that you can get up to 10,000 flashes from a fully charged battery. That shrinks to a still pretty respectable 400 flashes if you fire each and every one at the maximum power setting.

Using the ‘flash’ white balance settings of my Nikon Z 6II and Nikon Z fc cameras, I found that the color balance with direct flash was a little on the cool side with a slightly bluish tone. It’s also no surprise that direct on-camera flash gives the usual harsh lighting effect with the danger of glare and very harsh shadows. However, it works well for fill-in flash when you need to brighten the shadows in the likes of sunny-day portraiture.

Slipping the supplied diffusion dome onto the flash gives a softer lighting effect. I found that in direct flash mode, the color rendition also warmed up slightly. Shooting a motorcycle model at close range, shadows were also softened, in part because the diffusion dome bounced a little light off adjacent walls and ceilings. However, you need to be aware that using the diffusion dome reduces the maximum available power by the equivalent of roughly a full EV step.

Viltrox Vintage Z1 Retro Flash: Lab Results

We test all available features for each flashgun that goes through out labs. To test power output, we used a Sekonic flash meter placed at a distance of one meter from each flashgun. We check the complete range of manual power settings, in one-stop increments. Based on a sensitivity of ISO 100, the figures correlate directly with the Gn (Guide number) in meters. The results are double-checked by taking shots of a gray card with the appropriate lens apertures and using the camera’s histogram display in playback mode. This is done for flash zoom settings of 24mm, 50mm and 105mm (in full-frame terms), where available.

We also check the accuracy and consistency of electronic/intelligent TTL (Through The Lens) flash metering, where featured, and the speed with which each flashgun can recycle to a state of readiness after a full-power flash, using both Ni-MH and alkaline cells, or a Li-ion power pack where supplied.

Power output:

Unlike many flashguns I’ve tested, the maximum output power lives up to the manufacturer’s claims. The step changes through the seven levels of power output are also impressively consistent.

Recycle speed:

I’m used to flashguns with Li-ion battery packs recycling after a full-power flash in just a couple of seconds or less. That holds true for large and small models alike, which makes the recycling speeds of the Viltrox look a little pedestrian.

Viltrox Vintage Z1 Retro Flash: Verdict

The lack of auto flash exposure might be a deal-breaker for some. I actually prefer using flash in manual rather than auto mode, so that’s no problem as far as I’m concerned. I do miss the availability of bounce flash, for softening the light. For off-camera flash, the dual slave modes are a bonus. The Viltrox has good stamina and everything works as it should, but recycling speeds are a bit on the slow side for a flash with a Li-ion battery. All in all, the Vintage V1 looks good, works well and is keenly priced.

Alternatives

If you have a Nikon Z camera, get your third-party lens off before updating the new firmware (!) A wave of warnings has been circulating online – from lens manufacturer Viltrox, the Federation of Independent Photographers, and many frustrated Nikon users – saying that these firmware updates can disrupt the electronic communication between your camera and lens, sometimes rendering the optic completely unusable.

Firmware updates are common, and while many photographers know they can not only fix but also introduce some bugs, the idea that a firmware update could destroy a lens is extreme. But this is exactly the issue many Nikon Z owners are facing after the latest firmware release, which Nikon rolled out for Z-mount mirrorless cameras, including Z8, Zf, Z6 III, Z5 II, and Z50 II.

If you are a Nikon Z shooter and use third-party lenses – especially Viltrox models – please read on to avoid the frustration and costly actions others have already experienced.

Viltrox has issued a clear advisory: "If you are planning to update your Nikon camera firmware, we strongly recommend that you detach any third-party lens, including Viltrox lenses, before proceeding with the update. This is a precautionary measure to avoid any unexpected behavior during the firmware installation process."

So, what's causing this issue? And what are the possible consequences?

The problem is that the firmware update can sever the electronic link between the camera and the lens. Users report that the autofocus stopped working entirely. In some cases, even manual focus became impossible because the camera no longer recognized the lens at all.

This essentially turns a perfectly good lens into a non-functional piece of equipment. These issues have been reported with Viltrox models, but Nikon shooters also described issues with earlier firmware updates involving other third-party lenses like those from Tamron. Also reported, once the lens is affected, the optic may not work on any Nikon Z camera, so the damage to the lens could be permanent.

So far, this issue doesn't seem to affect Voigtlander Z-mount lenses, as Cosina (Voigtlander's parent company) works closely with Nikon and uses official Nikon technology.

Still, the safest approach is caution… Before updating your Nikon camera's firmware, detach any non-Nikon lens – particularly Viltrox models – to protect your investment!

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The B&H Bild Expo in New York City was a dizzying array of all the latest photo, video, and audio gear. But wandering amid all the seemingly endless tech to touch and try this week, I spotted a lens that hasn’t yet been announced: the Viltrox AF 56mm f/1.2 Pro XF.

Viltrox had a prototype of the upcoming AF 56mm f/1.2 Pro XF on display, a physical teaser ahead of the full announcement scheduled for September. The lens is a bright prime designed for Fujifilm X-Mount cameras, which is where much of my excitement comes in.

As a Fujifilm portrait photographer, that 56mm bright prime is a sweet spot. My own most-used lens is Fujifilm’s 50mm f/1, but it’s a pricey, heavy lens. If the optics on the upcoming Viltrox 56mm are anything like the newly announced AF 85mm f/1.4 Pro for Sony E Mount, then the lens could offer an affordable yet sharp alternative.

As a prototype lens, Viltrox didn’t share details beyond the lens name, mount and the expected September announcement. But glimpsing the prototype at Bild, the lens felt well-made. I certainly wouldn’t describe the lens as compact, but it didn’t seem terribly large for an f/1.2 aperture either. It also has an aperture ring right on the lens, which is a personal must-have.

Viltrox hasn’t shared full specifications yet, but two pieces of the lens’ name itself make me hopeful for the features. The AF in the name indicates that it’s an autofocus lens, and I’m hoping for quick performance and accurate eye detection like with the Viltrox AF 85mm f/1.4 Pro.

The other component of the lens name that has me hopeful for a tech spec sheet chock-full of features is the 'Pro' in the name. Lenses like the Viltrox 75mm f1.2 Pro are weather-sealed. Sealing is a personal must-have for me, at least for my most-used lenses, and I hope that the upcoming lens will have some seals against dust and rain.

As just a teaser, Viltrox hasn’t yet shared price, let alone full specifications. But looking at the brand’s catalog indicates the upcoming lens could be an affordable alternative. The Viltrox AF 75mm f/1.2 Pro XF for Fujifilm X Mount, for example, retails for $580 / £533.

A Viltrox representative said the 56mm is expected to be fully announced in September.

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Viltrox built a reputation by offering surprisingly capable lenses at accessible prices. Known for delivering strong performance on a budget, the brand has become a favorite among mirrorless shooters and indie filmmakers alike.

But now, in a move that surprises even longtime followers, Viltrox is entering the world of high-end cinema optics with a flagship cine lens series that could cost as much as $200,000!

The Luna 10x full-frame cine zoom lens series is aimed at top-tier productions. The lineup includes the 30–300mm T4.0 (PL mount) and the 42–420mm T5.6 (LPL mount), both offering a 10x zoom range with constant aperture and parfocal operation, keeping focus locked throughout the zoom.

We had the chance to go hands-on with the 42–420mm T5.6 earlier this year at The Photography & Video Show, and even then, it was clear Viltrox had serious ambitions. Now, with official specs confirmed, the scope of that ambition is definite.

Designed for full-frame, VistaVision, and large-format sensors, both lenses cover image circles up to 60mm and support platforms such as the Arri Alexa 65, Fujifilm GFX 100 II, and Blackmagic Ursa 17K.

The 42–420mm features an adjustable flange distance, maximizing camera compatibility. Both lenses are built like tanks, weighing in at a whopping 15kg, with stainless steel mounts and integrated magnetic filter systems for standard matte-box setups.

Viltrox promises minimal distortion, low-focus breathing, and optics capable of resolving 8K and beyond. Internally, each lens uses a floating focus system and field-flattened elements for consistent sharpness across the frame. Mechanically, they feature 0.8 MOD gears, built-in ND slots, and an 8-blade iris for smooth cinematic rendering.

The real shock, however, is the price. Viltrox says the Luna lenses will sell "between $100,000 and $200,000", depending on configuration, mount, and market. Orders will begin in summer 2025, with delivery later in the year.

For a brand best known for affordable lenses, this marks a massive leap, and it is hard to put a finger on who these lenses are aimed at, as the budget certainly places them out of reach for most.

But if the Luna series delivers on its promises, Viltrox could soon find itself on major film sets, not just YouTube shoots. Certainly a bold move, but one that might pay off.

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With on-camera monitors becoming increasingly popular with vidomakers and photographers, Viltrox has launched yet another seven-inch screen to give you a bigger view as you frame and review your shots.

Just recently, Viltrox launched the DC-L1 and DC-L2 (see our review here) – two budget-priced models with the principal different between the two being that the DC-L2 offered more pro-level SDI connection sockets.

Now, Viltrox is offering a more premium model - the DC-A1 - with a higher resolution screen that offers a significantly brighter image. Its IPS touchscreen offers 1920x1080 Full HD resolution and a remarkable 2800 nits brightness. But amazingly the top model in this new range still retails for under US$300.

The new screen supports input and output via lossless, high-definition HDMI 2.0 in 4K resolution at 60Hz. It supports a range of pro tools 3D LUT, gyroscope, focus peaking, false color, anamorphic de-squeeze, and more. Its custom LUT import capability claims to enable seamless color consistency, from on-set monitoring to post-production.

The screen is supplied with carrying case, tilt and swivel mount, NF-F550 battery, quick-release sunhood,  screen protector, and cables. It is on sale now for $280/£269.

See our full guide to the best on-camera monitors and recorders

Continuously illuminating light sticks and light wands, such as the Viltrox K90 dual light kit, provide ways to make your portrait and video shoots look more professional (rather than having to rely on available light in your locations). The K90 is marketed as a fill light, so it can fill in harsh shadows caused by a brighter location light source, such as the sun. Continuous lights (as opposed to intermittent flash lights) are traditionally used on video shoots, but the K90 also proved to be a powerful and effective light source for on-location portrait shoots during our test.

An LED (Light Emitting Diode) tube light’s larger surface area covers a wider range than a smaller, more narrowly focused spotlight, such as the Neewer HB80C 80W. The LEDs are placed along the K90’s 973.3mm length, giving you almost a metre of light. You get two K90s in the kit, which enables you to use one as a key light and the other as a fill, which helps ‘model’ the subject by emphasising the contours of their face (rather than suffering a ‘flat’ look from a single burst of on-camera flash).

The K90 is an RGB LED, so you can alter its settings to produce thousands of creative colours. It’s also a bi-colour light, so you can dial in a specific colour temperature in the Kelvin range to make the light match location light sources such as the sun during the golden hour.

The company that designed and built the K90 is Viltrox, which since 2009 has been designing and manufacturing a wide range of photography equipment, focusing on lenses and adapters for mirrorless cameras. The 30W K90 is the latest model in their light stick series, so it has a more powerful output than its cheaper 20W predecessor, the Viltrox K60.

Viltrox K90: Specifications

Viltrox K90: Price

The Viltrox K90 is available for $229 in a twin light kit, which I think is a reasonable price. The K90 kit is similar in size and functionality to the Nanlite Pavo Tube T8-7X, which, at around $95 each, costs a little less than the K90 for two tube lights. However, the K90’s body is much more robust than the Nanlite Pavo Tube T8-7X, and you get more accessories, so this makes the K90 a more attractive purchase.

Viltrox K90: Design & Handling

As a 30W lamp, the Viltrox K90 produces a brighter light source (2300 lumens— that’s the equivalent of 2300 candles!) than its 20W predecessor, the Viltrox K60 (which shines with the brightness of 1950 candles). The K90’s brighter intensity is also achieved as its nearly metre-long shaft has 448 lamp beads inside, compared to the 266 beads in the K60 (which has a shorter length of 578.3mm). The LED beads are hidden inside a sturdy white plastic panel, which acts as a diffuser, creating a soft and even spread of light.

Despite being nearly a metre long, each K90 tube in the dual light kit weighs in at under a kilo (864g), which means it’s easy for you to hold the light in one hand while shooting with the other. Our model had no trouble wielding one of the K90s like a lightsaber (and the light felt robust enough to be handled in this way).

You can control the K90’s various properties via a panel at the base of the unit. The panel features five buttons that enable you to power on the LEDs and change their colour in degrees Kelvin, or dial in thousands of creative colours or mimic industry-standard gels. A monochrome display enables you to see properties such as Hue, Saturation, and Lightness values, which you can modify via a couple of button presses.

This control section also contains a USB-C socket so that you can charge the lamp up at home or power it via USB-C on location via a power bank. At the top and tail of the tube, you’ll find handy 1/4” threaded ports. We used a port to stand one of the K90s on a mini tripod— a Manfrotto Pixi.

The K90 kit also ships with two plastic clamps for each K90 tube light. These clamps have two 1/4” threaded ports that you can use to attach the K90 to a lighting stand in horizontal or vertical orientation. The clamps also feature built-in magnets that are strong enough to clamp a K90 to magnetic objects on location. Check out our video in the Performance section to see the magnetic clamps in action.

The K90 dual light kit is contained in a sturdy black fabric bag for easy transport to a shoot. The two K90s are held securely in place by hook-and-loop straps, and the interior of the bag is padded, so we felt that the kit was safe as we carried the bag via its shoulder strap between two city locations.

Viltrox K90: Performance

I took the K90 dual light kit on two model shoots in London. The first shoot, with Instagram-sourced model @ocado_yoo, was a conventional portrait shoot. As the shoot started at 5:00 pm, the sun was in the golden hour phase, and the tide on the River Thames was out, so I was able to shoot my model on the beach against the spectacular backdrop of Tower Bridge, which was bathed in a warm golden glow of the setting sun. However, while the bridge was in direct sunlight, the model was in the shade due to the sun’s low angle. To solve this problem, I used the Viltrox Link app on my iPhone 16 Pro to set one of the K90s to a comparably warm colour temperature of 4100K. This added a warm, golden glow to the side of the model’s face to complement the background sun hitting the bridge. The model was able to hold the K90 at arm’s length so that it was out of shot while still illuminating her.

The Viltrox Link app also lets you trigger animated effects such as a Hue Loop that cycles through multiple colours. This provides a quick way to add multiple washes of creative colour to your model’s face so that you can capture a quick series of portraits that have different colour-induced moods. In Hue Loop mode, the model was encouraged to keep the K90 in shot to add extra colour and drama to the images.

For my second test shoot, I took the Viltrox K90 dual light kit to the Barbican Centre and met up with Maddy the model (@Runway.voguish) for a retro sci-fi themed shot. The K90 was perfect for this type of shoot. I popped a K90 onto a mini Manfrotto tripod and stood it vertically. I then used the Viltrox Link app to set the LEDs to Hue Loop to cycle through multiple colours. I locked off my camera and got Maddy to walk into shot. By mixing between two locked-off shots, I was able to make her materialise Star Trek style - see supporting video. The glowing and colour-looping K90 in shot looked like a teleport device. I placed the second K90 out of shot and set it to Hue Loop too, so that Maddy would have multi-coloured interactive lighting on her as she exited the frame.

My second sci-fi set-up involved Maddy advancing on the camera and firing a ray gun (which I picked up for a fiver in a local toy shop). I chose a flickering light effect in the Viltrox Link app to create some interactive lighting. I was able to modify the animated light effect to change its colour to red so that it matched the flickering red LED in the ray gun. I then tapped the effect preset icon in the app as Maddy fired the gun. It took me a few attempts to trigger the effect at the right moment as I was filming Maddy with an iPhone in one hand while using another iPhone to run the Viltrox Link app. My iPhone 16 Pro was mounted on my current ‘go-to’ smartphone gimbal - the Hohem iSteady M7.

I found that the Viltrox Link app was very useful. Before the shoot, I set up presets for both lights so that I could turn one to teal and the other two orange in a couple of taps. This meant that on location, I could set up my still fashionable cinematic-style lighting quickly and concentrate on directing the model and getting the camera work right.

Viltrox K90: Verdict

I’ve tested a wide range of tube, wand, and spot LEDs for Digital Camera World, and I find that by using an LED light, it elevates my portrait photography to a higher level of quality. An LED brings out the contours of a model’s face and creates a more professional look. RGB LEDs such as the K90 also add drama and atmosphere to a portrait shoot with their ability to cast a wide range of colours on the subject. The K90 is also light enough for the model to play with, which led to some creative shots that featured the light as a prop.

I was particularly impressed with the magnetic staying power of the K90’s clamps. When shooting in the Barbican, I have been moved on by security twice when using a light mounted on a tripod. Tripods (even mini ones) are like a red rag to a bull in relation to security personnel. By using the supplied magnetic clamps, I was able to quickly clamp a K90 to a metal panel and shoot a video clip of my model firing her ray gun. I could then quickly grab the LED and change location. The lightweight nature of the K90 kit enabled me to ‘run and gun’. The ability to control the K90 via the Viltrox link app was very useful as I could create presets before the shoot and tap to access them on location. The K90 dual light kit should suit the needs of both portrait photographers and videographers. Highly recommended.

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