Nikon Z 50mm f/1.4: two-minute review

The nifty-fifty lens is a staple in many a photographer's camera bag – a typically compact lens for portraiture that offers good control over depth of field to make your subjects stand out. It's the lens that I would recommend to beginner photographers having grown out of their kit lens and looking for a second lens to elevate the quality of their photos – and if they have a Nikon camera I would recommend the new Nikkor Z 50mm f/1.4.

Where mirrorless lenses can often be much pricier than DSLR equivalents – the classic 50mm f/1.8 lens for Canon and Nikon DSLR cameras is just about the cheapest lens you can buy at around $100 / £100 secondhand – Nikon is looking to buck this trend by creating affordable options for mirrorless, and the new Z 50mm f/1.4 is its cheapest Z-mount f/1.4 lens so far.

This isn't Nikon's first 50mm lens for its mirrorless cameras. It follows the optically-excellent Z 50mm f/1.8, which was one of Nikon's first lenses for its Z-mount, launched back in 2018, while there's also the 50mm f/1.2 pro lens with 'S' moniker, and the beastly 58mm f/0.95 Noctilux which costs a cool $9,000. However, the new Z 50mm f/1.4 is a stripped-back variation, with minimal external controls, a lightweight build, and offering decent rather than spectacular image quality.

It's pretty much in the same mold as the Nikkor Z 35mm f/1.4 lens which I reviewed recently – the pair share practically the same size, weight, 62m filter size and design. One on hand I respect what Nikon is doing; where Canon launches the pro-grade RF 35mm f/1.4 for mirrorless which costs around $1,500 / £1,820 / AU$2,699, Nikon is launching a lens for enthusiast photographers for around a third of the price.

The downside, however, is that optical quality, while very sharp, is decent rather than outstanding, especially when it comes to bokeh. You're not getting buttery-smooth out-of-focus light balls, but a slightly 'fussy' bokeh instead. I pitted it against the F-mount Nikon 50mm f/1.4G AF-S lens for DSLRs launched in 2008 (you can see the two lenses side by side, below) and the older lens has smoother bokeh.

However, bokeh is more circular in shape with the new Z-mount 50mm f/1.4, while its clarity wipes the floor with the F-mount 50mm f/1.4 G when shooting at f/1.4, which is what I suspect many photographers will be doing. In-focus detail is so much sharper at f/1.4, and even skin tones are more accurate – there can be a slight yellow-ish hue with the DSLR version of the lens.

That superior performance when shooting with the aperture wide-open is what you can expect with the best Nikon mirrorless cameras and lenses, while autofocus is snappier and more reliable too.

My F-mount 50mm f/1.4G AF-S, which by the way is almost the same price as the Z 50mm f/1.4, has notoriously bad back-focusing issues when used with a DSLR – you think the focus is on the eyes of your subject, only for it to be on the ears. When you're shooting at f/1.4 with such shallow depth of field, it's noticeable. This issue is somewhat improved when the lens is used on a mirrorless camera via an adapter, but the mirrorless lens still has the edge.

With mirrorless cameras, such as the Nikon Z6 III for which the Z 50mm f/1.4 is a perfect fit, you get the latest subject-detection and eye-detection autofocus, which will nail sharp focus on the eyes. And it's this performance which makes a Nikon mirrorless camera with this new 50mm lens an easy recommendation, even if the icing on the cake would be slightly better bokeh.

Like the 35mm f/1.4, I expect the 50mm f/1.4 to prove popular, even if it's not one of Nikon's best lenses. If you're upgrading from existing DSLR gear, of the two, I would buy the 50mm lens before the 35mm.

Nikon Z 50mm f/1.4 specs

Nikon Z 50mm f/1.4: Design

• Small and simple
• Decent pairing with Nikon's smallest mirrorless cameras like the Z6 III
• Quick and quiet autofocus
• Maximum 0.17x magnification ratio for moderate close-up photography

The Z 50mm f/1.4 design is pretty much a copy-and-paste of the Z 35mm f/1.4, meaning it's a small and simple lens. The lenses are practically the same in size and weight, with the Z 50mm a hair's breadth longer at 88.5mm in length, and tipping the scales at 14.9oz / 420g – that's just 5g more than the 35mm lens.

Nikon's equivalent F-mount lens for DSLRs – the 50mm f/1.4G – is smaller and lighter still, but so far as Nikon Z-mount lenses go, this is one of the smaller ones.

I tested the lens with a Nikon Z6 III and the Nikon Z6 II, mid-sized cameras for which the Z 50mm f/1.4 is perfectly balanced, being compact in form. Unlike those cameras, however, the Z 50mm f/1.4 isn't officially weather-sealed, and so it's probably best to treat it with care. Sure, the occasional light shower is no problem, but sand, dust, and heavy downpours could eventually prove the lens' undoing.

There's not a single button or switch on the lens, and as someone who regularly switches between manual and autofocus, I've missed having a direct control on the lens. I'd love to know Nikon's reasoning for omitting a MF / AF switch – surely it can't be a cost-saving exercise.

The only exterior controls are a generously-sized focus ring, plus a customizable control ring. The latter can be set to various functions, one of which is as a click-less aperture ring, which is a particularly handy control for filmmaking.

The minimum focus distance is 1.22ft / 0.37m, which results in a magnification ratio of 0.18x, which again is very similar to the Z 35mm lens. In real terms, you can easily fill the frame with close-up subjects like flowers, but this is no macro lens.

Autofocus is impressively quick and quiet. Pair this lens with the Z6 III, which boasts eye-detection autofocus and Nikon's best subject-detection autofocus performance, and you have a powerful tool for portraiture. Put simply, you can rely on this lens, mounted on one of Nikon's latest mirrorless cameras, to hit sharp focus where it matters most.

Autofocus is a refreshing and reliable experience when compared to shooting with my Nikon D800 and 50mm f/1.4 G AF-S lens, which I can't trust and; to be blunt, using it can be a little stressful, especially in pressure moments such as a portrait shoot or a wedding. I'm so glad that I upgraded from DSLR to mirrorless years ago, and it's lenses like the new Z 50mm f/1.4 that make the experience so enjoyable.

Nikon Z 50mm f/1.4: Performance

• Very sharp detail
• Handy wide aperture for shallow depth of field and low-light scenes
• Bokeh quality is just 'good'

Autofocus is quick and reliable with one of Nikon's latest mirrorless cameras, like the Z6 III, which is an excellent foundation for portraiture photography. Knowing that you're getting sharp focus on the eyes is one less thing to worry about, helping you relax into portrait shoots. But what is optical quality like beyond accurate focusing? Overall, it's just decent rather than spectacular.

Detail is very sharp. If you're shooting with the aperture set anywhere between f/2 and f/8 you can expect tack-sharp detail across the entire frame for subjects within the field of focus. Even at f/1.4 detail is very sharp, and this lens wipes the floor with the F-mount DSLR equivalent, the 50mm f//1.4G, which is much softer at f/1.4.

The optical construction, as with most 50mm lenses, is relatively basic. There are nine aperture blades for a rounded aperture, and bokeh is nice and round at f/1.4, especially when compared to the bokeh produced by the F-mount 50mm f/1.4G, which is more cat's-eye in shape in the corners of the frame. However, if you stop down the Z-mount lens to f/2.8 you'll see the more octagonal-like shaping.

It's the bokeh quality that could be a deal-breaker for professional portrait photographers, for whom the Z 50mm f/1.2 is the better choice, provided you can afford it (it's almost five times the costs of the f/1.4 lens). For everyone else, bokeh quality is fine.

If you look closely at images with the f/1.4 lens, the edging of bokeh 'balls' is a little pronounced, rather than them having a nice smooth fall-off. Thankfully there's little sign of aberrations in those edges, which would otherwise be impossible to fix at the click of a button. Only in the most extreme scenarios, like backlit water droplets (see above), will you see pronounced aberrations.

Vignetting – which is the light fall-off in the corners of images – is pretty standard. At f/1.4 it's clear to see, while those darker corners significantly brighten at f/2, and the effect is all but gone by f/4. Below you can see the same image shot at f/1.4, f/2, f/2.8, f/4 and f/5.6, so you can compare bokeh, aberrations, and vignetting.

Nikon Z 35mm f/1.4: sample images

Should you buy the Nikon Z 50mm f/1.4?

Buy it if...

Don't buy it if...

How I tested the Nikon Z 50mm f/1.4

• Regular use over one month
• Paired with the Nikon Z6 III and Nikon Z6 II
• Like-for-like tests with the F-mount Nikon 50mm f/1.4 for DSLRs

Nikon loaned me the Z 50mm f/1.4 for a whole month, and it was my primary lens during this period. I've taken it on early morning photo walks, made portraits, and used it in a wide range of stills and video scenarios. It has tackled some tough tasks, such as shooting close-up photos of water droplets into the light.

All in-camera lens corrections were turned off, and I took all photos in raw and JPEG format to compare the results un-corrected and the processed results. As always, I took several series of an identical image, working down the aperture range (in this case f/1.4, f/1.8, f/2, f/2.8, f/4 and f/5.6) to see how sharpness and bokeh compares at the various settings.

I also dug out my old F-mount 50mm f/1.4 lens, which I've previously used with a Nikon D800 DSLR, and took like-for-like photos with it alongside the Z 50mm f/1.4 on the Nikon Z6 III (via an adaptor for the F-mount lens). The resolution of the full-frame cameras used for this test was 24MP. I avoided using the camera in heavy rain, but felt comfortable using it in cold and moderately wet weather.

• First reviewed October 2024

Nikon Z 35mm f/1.4: two-minute review

Fixed 35mm lenses, especially those with a fast aperture, are incredibly popular with visual storytellers. They're able to shoot clean images in high contrast and low light, provide decent close-focusing skills, and offer a moderately wide perspective that allows you to include your subject's surroundings as part of the story. These are true documentary lenses. 

In fact, when I lived in East Africa working for a non-profit as a photographer and writer, there was an 18-month period during which about 90% of the photos I took were with the excellent Sigma 35mm f/1.4 Art lens for DSLR cameras, a lens I still use today with my Nikon Z6 II mirrorless camera through the F-mount to Z-mount adapter. 

So I was really excited when Nikon finally announced a Z-mount 35mm lens, a lens that I expect to be one of the best-selling lenses for Nikon mirrorless cameras. Sadly, however, that doesn't mean the Z 35mm f/1.4 is one of Nikon's best lenses.

Sure, image quality is sharp across the entire image area, while autofocus is fast, quiet and reliable. However, I'm not seeing the sort of optical progress I'm used to when a manufacturer produces an mirrorless version of a DSLR lens.

We're getting the same sort of lens distortions as before, and I even prefer the bokeh in my stalwart Sigma 35mm f/1.4 Art lens, which is smoother compared to the Z 35mm f/1.4's fussy bokeh.

Still, Nikon's moderately wide fast-aperture prime does a lot of things well. It focuses much faster than my DSLR lens adapted to the Z6 II, and it's an entirely different offering to Canon's recent RF 35mm F1.4 which is bigger and much pricier.

Canon has opted for the pro route with its 35mm fast aperture lens, while Nikon has opted for the more attainable and affordable enthusiast route: this is not one of Nikon's pro 'S' lenses, meaning official weather sealing is off the table. 

Balance-wise, the Z 35mm f/1.4 is a perfect match with the new Nikon Z6 III, Nikon Z8, or even Nikon's entry-level full-frame camera, the Z5, and it's an all-round lens that I could see getting a heck of a lot of use if it lived in my gear bag; I just wish its build quality and bokeh characteristics were a little better.

Nikon Z 35mm f/1.4: Design

• Simple and compact design
• Handy customizable control ring
• Not officially weather sealed
• Minimum focus distance delivers decent close-focusing capabilities

There's not too much to run through with regards to the Nikon Z 35mm f/1.4's design because it's such a simple lens. The only exterior controls are a focus ring and a neat customizable control ring. What I like the most about the latter is that you can set it to be a click-less aperture ring, which is particularly handy for filmmaking. 

Otherwise, we don't even get a manual / autofocus switch. That's a shame for people like me who regularly switch between the two focusing methods, who must instead dig through an in-camera menus to make the change – an unnecessary time sink. 

What I do like is the form factor of the lens. It's impressively compact and lightweight at just 14.7oz / 415g, and an ideal pairing for extended periods out in the field with Nikon's mid-range mirrorless models like the Z6 II.

The size, if not the weight, is very similar to the heavier Sigma 35mm f/1.4 lens, although for DSLR lenses you also need Nikon's DSLR to mirrorless adaptor – you can see how the lenses compare in the product photos below.

Sadly, the Z 35mm f/1.4 isn't officially weather sealed, which is probably a deal-breaker for pros working in demanding conditions. I felt the build quality was fine during testing, and had no qualms exposing the lens to light rain, but I'd think twice about packing it in the bag for a couple of weeks in the desert. At one point I found myself taking my super soaker-touting child to task when she got me, and the lens, wet in the garden – I'm otherwise a good sport.

These moderate-wide-angle lenses historically focus impressively closely, meaning you can capture the finer details as well as your subject and their surroundings; after all, there are stories to be found in the micro and macro. We get a minimum focus distance of 0.89ft / 0.27m, which delivers a maximum magnification ratio of 0.18x. For reference, a 'true-macro' lens has a magnification ratio of 1x or more. 

What impressed me most about the design of the Z 35mm f/1.4, when compared to my 10-year-old Sigma equivalent, is the speed and accuracy of its autofocus performance. 

Where the Sigma lens through an adaptor was hunting, the new Nikon lens quickly and quietly latched onto my subject. Where the Sigma had front-focusing issues, even with the Z6 II's eye-detection autofocus in play, the Nikon Z 35mm was getting focus bang on the eye every time. 

It's the direct compatibility with a Nikon mirrorless camera and the autofocus performance that would most tempt me to trade in my old Sigma DSLR lens, and one of the key reasons I'm so glad that I upgraded from DSLR to mirrorless years ago. 

Nikon Z 35mm f/1.4: Performance

• Optically sharp edge-to-edge
• Wide aperture is handy for shooting in low light and for shallow depth of field
• Bokeh could be better

I'll start this performance section by re-emphasizing that autofocus speed and reliability are excellent, delivering accurate focusing on the eyes in portraits. The same couldn't be said in my tests when using an adapted Sigma lens for DSLRs; and I'll take accurate focusing over outright optical quality. 

That said, the optical quality from the Z 35mm f/1.4 is very good. Looking closely at an image of pebbles at f/5.6, I can see that detail is very sharp across the entire frame – there's virtually no drop-off in the corners, which is impressive. 

There's the usual vignetting that I would expect from a wide-aperture lens like this. Light fall-off in the corners is very evident at f/1.4, those corners brighten up a lot at f/2, and somewhere between f/4 and f/5.6 vignetting is all but gone. Check out the series of sample images below, taken at full aperture stops. 

Bokeh, however, is a mixed bag. If you're particularly close to your subject and shooting wide open at f/1.4, you can get circular bokeh 'balls' in out-of-focus light sources, such as dappled light through tree leaves. There are only moderate signs of cat's-eye bokeh in the corners – I've found the effect much more severe in pricier lenses. (I don't mind the cat's-eye shape, but some people get very picky about it.)

The big strike for me regarding bokeh is the fringing you get around those bokeh balls. Instead of the buttery-smooth edges like I was getting with my 10-year-old Sigma, edges are harsher, with green and magenta fringing. It's only obvious when you're looking really closely, but it is there (see the close-ups of a portrait, below). 

That being said, I did turn off all in-camera lens corrections for this test (something I always do), and there are aforementioned distortions that would be somewhat improved by activating those corrections. 

Also, I don't use a 35mm f/1.4 lens primarily for its bokeh quality. I use it for telling stories in scenarios with both good light and bad, for which the maximum f/1.4 aperture is a godsend. I regularly make use of the maximum aperture, and would absolutely pay the premium over cheaper f/1.8, f/2, f/2.8 alternatives to get a f/1.4 lens. 

Nikon Z 35mm f/1.4: sample images

Should you buy the Nikon Z 35mm f/1.4?

Buy it if...

Don't buy it if...

How I tested the Nikon Z 35mm f/1.4

• Regular use over the course of several weeks
• Paired with the Nikon Z6 II
• Like-for-like tests with the Sigma 35mm F1.4 DG Art

Nikon loaned me the Z 35mm f/1.4 for a few weeks, during which time I documented everyday life and took it on an extended summer vacation. I used it in both fair and inclement weather (though I felt I needed to protect it somewhat during downpours given it's not officially weather sealed), and both in bright light and during the 'blue hour'.

The Z 35mm f/1.4 was been attached to my Nikon Z6 II, which is a 24MP full-frame mirrorless camera. I've not used the lens with a higher-resolution camera like the 45MP Nikon Z8, and I therefore can't comment on whether it's able to resolve detail from such cameras. 

I've made several series of the same images, working down the aperture range at full stops to compare how image quality stacks up at the various settings. I also took the chance to compare the lens with my 10-year-old Sigma 35mm F1.4 Art, taking like-for-like shots.

All in-camera lens corrections were turned off throughout my testing. 

• First reviewed August 2024

Panasonic Lumix S 28-200mm F4-7.1 Macro OIS: Two-minute review

It has been said in the past that the selection of lenses for the L-Mount is too limited, however that can no longer be argued. Alongside the wide range of prime lenses, macro lenses, and high-performance zooms, there have been some key releases that have solved a real-world problem for everyday photographers. The Panasonic 28-200mm f/4-7.1 Macro OIS is just such a lens: it has come in as an answer to all of the photography enthusiasts and wanderlusters that want one lens that is compact, durable, versatile and affordable.

In all honesty, I have a rather low opinion of super-zooms as I feel they tend to sacrifice everything on the altar of versatility. This lens has somehow avoided that, maintaining impressive sharpness, autofocus performance, stabilization and build quality, despite its huge zoom range and compact size. Instead of sacrificing all of these things, Panasonic made the decision to make one key compromise: the aperture speed.

In a world of lenses like the Sigma 50mm f/1.2, many people will look at the range of f/4-7.1 and dismiss the 28-200mm out of hand, but that would be a mistake. The poor low-light performance is mitigated by the excellent Panasonic camera bodies, which offer Dual Native ISO and internal stabilization that means both photos and videos can be well exposed in low light without the issue of noise creeping in.

The only thing that cannot be overcome is the lack of subject separation at most focal lengths, meaning that this lens will not produce a large amount of bokeh unless you are taking advantage of the compression at 200mm.

So, portrait photographers aside, this lens will cater to a wide range of people, from landscape photographers to travel enthusiasts who don’t want to have to spend $2,000 / £2,000 / AU$3,500 on lenses to get the coverage they need. With dust- and weather-sealing included, there is little reason not to get this lens for your next holiday, and leave the rest at home.

Panasonic Lumix S 28-200mm F4-7.1 Macro OIS: price and availability

• Costs $899 / £899 / AU$1,599
• Available to buy now
• Lens hood is supplied

The Panasonic Lumix S 28-200mm F4-7.1 Macro OIS was announced on March 26 2024, and costs $899 / £899 / AU$1,599 – a reasonable price for such a versatile lens. 

There's no real Panasonic alternative that covers both wide and telephoto focal lengths, with the 20-60mm F3.5-5.6 covering the wide to standard end, and the 70-300mm F4.5-5.6 the telephoto end. The 24-105mm is a decent alternative for pros, but it's an altogether proposition, being weightier and pricier. 

Panasonic Lumix S 28-200mm F4-7.1 Macro OIS: design

• Decent balance with Lumix cameras
• 7x optical zoom
• Optical image stablization included
• Rubber-sealed and weather resistant

The small size and light weight of the Panasonic 28-200mm is immediately noticeable, and it balances very comfortably on cameras like the Panasonic Lumix S5 II. It is primarily a plastic build; however it doesn’t feel cheap or flimsy, with smooth resistance on both the focus and zoom rings. 

There are just a couple of switches on the lens, including one for the OIS, which provides an excellent 6.5 stops of stabilization, coupled with an AF - MF selector switch. The metal mount and weather seal further enhance its credentials as a one-and-done travel lens. 

I like the fact that the lens is slimmer than many zooms, with just a 67mm front thread, much like my beloved Sigma 28-70mm f/2.8. I find the large diameter of lenses like the Panasonic 24-105mm F4 to be unwieldy and uncomfortable, making you feel like you are carrying a far bulkier setup when travelling. Whipping my Lumix S5 II in and out of my side bag with this lens on was quick and easy, and it encouraged me to take more photos without feeling conspicuous. 

Panasonic Lumix S 28-200mm F4-7.1 Macro OIS: Performance

• Just 14.6oz / 413g
• Impressive closeup photography ability with up to 0.5x magnification 
• Moderate flare and ghosting

Panasonic has been clever here: by offering what could be described as an unimpressive aperture range, f/4-7.1, it has allowed the lens to not only be compact, but also sharp and free of most image quality issues. 

Professional photographers know that prime lenses are almost always sharper than zooms. However, their f/1.4 or f/1.8 apertures also cause chromatic aberration and fringing, as well as softness in the corners that is expensive to correct for. These are a non-issue with the 28-200mm, as the aperture range allows the lens to remain sharp from corner to corner, with no chromatic aberration or unwanted rendering elements that I could find.

The fact that this lens also offers macro capabilities is remarkable, and I was pretty stunned to see how close I could get to a subject while still being able to focus. At 28mm, I could capture something just 1.2in / 3cm away from the front element, which created sharp images with wonderfully soft out-of-focus areas.

Of course this won’t be the lens for serious macro photographers who need the reproduction ratio of lenses like the Panasonic S 100mm F2.8, but it is a great added feature for those who want one lens to cover all their bases.

Autofocus speed and accuracy has been one of the key upgrades to the newer Panasonic line of cameras, and this lens doesn’t let down the team here either. Although it uses a linear motor, instead of the smoother stepping motors found in some of Panasonic’s other lenses, it snaps to the subject quickly and holds focus very well when zooming in and out.

I did have a few issues with unpleasant flaring and ghosting when shooting into the sun, which is common in super-zooms, so I would make sure to use the included lens hood when in those situations.

Panasonic Lumix S 28-200mm F4-7.1 Macro OIS: sample images

Should I buy the Panasonic Lumix S 28-200mm F4-7.1 Macro OIS?

Buy it if...

Don't buy it if...

How I tested the Panasonic Lumix S 28-200mm F4-7.1 Macro OIS

• A mixture of landscape, wildlife and portrait photography
• Used in changeable weather

Panasonic was kind enough to let me take this lens around southern Egypt, where I put it through its paces for real-world travel photography on my Lumix S5 II. From the desert to the Nile, it came with me on boats, camels, to the hotel poolside and through the local streets and markets. For the days I was testing it, I didn’t use any other lenses and relied solely on it for all the moments I wanted to capture. While I take care of my kit, I certainly don’t baby it, and I got to test the ruggedness of the lens along with its performance. 

• First reviewed in June 2024

OM System M.Zuiko Digital 150-600mm F5.0-6.3 IS: two-minute review

With an equivalent focal range of 300-1200mm, the OM System M.Zuiko Digital 150-600mm F5.0-6.3 IS is a wildlife photographer’s dream. Small and distant subjects are suddenly thrust into the limelight, while mind-blowingly effective Image Stabilization steadies the viewfinder image and makes it possible to shoot handheld at much slower shutter speeds than should be possible. What more could you possibly want or need in this type of lens?

The 150-600mm focal range has become extremely popular in the past 10 years or so with enthusiast photographers, who can enjoy the long reach at a much more affordable price than professional telephoto prime lenses. There's a slight trade-off in maximum aperture and image quality from those pro telephoto prime lenses, but the money saved and versatility afforded is usually worth the compromise.

The M.Zuiko Digital 150-600mm is not inexpensive at $2700 / £2499 / AU$4099, and it’s only marginally less expensive than the Olympus M.Zuiko Digital ED 300mm f4 IS PRO. The latter is an optically superior lens with an equivalent focal length of 600mm paired with that f/4 maximum aperture, but for the average enthusiast the versatility of the 150-600mm will prove particularly tempting.

This colossal telephoto lens is also quite a beast in itself at 10.41x4.30 inches / 264.4x109.4mm, with a weight of 4.55lbs / 2,065g without the lens hood or lens cap. (It's actually a reworked version of the full-frame Sigma 150-600mm, with the micro four thirds lens mount.) 

Honestly though, don’t let its gargantuan proportions put you off. You can and likely will want to attach the lens to a monopod or tripod anyway for photographing distant subjects, achieved via the Arca Swiss compatible tripod foot or the tripod screw thread on the bottom of the foot.

This may not be one of OM System’s PRO series lenses, but it provides great performance overall in what is arguably a compact and lightweight lens considering the extensive reach on offer. But let’s take a deeper dive into the specifics to see exactly how this lens performs in the real world when shooting wildlife.

OM System M.Zuiko Digital 150-600mm F5.0-6.3 IS: design

The 150-600mm is quite a large lens for OM System – its design is based on a full-frame Sigma 150-600mm lens. A shoulder strap is included, which makes carrying the lens comfortable and convenient when walking around. Build quality is fantastic and offers XPX1 weather sealing making it dust and splash-resistant – essential for a lens of this type. 

The only real downside of the lens build is that it has an external zoom mechanism, which means it extends as you zoom, but there is a zoom lock that works when the lens is retracted in its 150mm setting, plus two zoom friction settings. The lower resistance setting allows you to push or pull the front of the lens to change focal length, which is both useful and comfortable.

Other controls available on the lens include focus mode, focus limiter, image stabilization and three customizable Function buttons. So, despite not being a professional lens, the 150-600mm certainly offers controls more commonly associated with higher-end lenses.

The front element and filter thread are 95mm, so you can use filters if you need to, although this is uncommon with wildlife photography and the screw-on lens hood provides more than adequate protection for the front element while also reducing the risk of flare. The lens is made up of 25 elements in 15 groups, with the front element featuring a fluorine coating to resist dirt and water spots, while the aperture is made up of nine blades.

The lens is surprisingly comfortable to use for long periods despite its size and weight. It doesn’t balance well with typically compact OM System cameras, but this isn’t a problem because using a lens like this with any camera system because you'll at the least be supporting the lens with both hands when shooting handheld.

OM System M.Zuiko Digital 150-600mm F5.0-6.3 IS: performance

The two standout features of the 150-600mm, alongside the incredible focal range, have to be image stabilization and autofocus. The 5-AXIS SYNC Image Stabilization offers up to 7 stops of compensation and uses a combination of optical stabilization in the lens and in-body image stabilization (IBIS) provided by OM System camera bodies.

Image stabilization performance is truly remarkable, and putting this into context, I often found myself shooting at 600mm (1200mm) at shutter speeds as low as 1/200 sec and still achieving sharp results. Autofocus is also fast and positive, not to mention silent, so no complaints here whatsoever and ideal for wildlife. The only problem I found when tracking fast-flying birds when zoomed in at 600mm was that I simply couldn’t keep up with them in terms of framing.

Image quality is, overall, very good considering the focal range on offer. Images are sharp and provide plenty of sharp detail, but it’s fair to say that they lack the level of sharpness produced by professional-level telephoto prime lenses. This isn’t surprising, and in terms of sharpness, the M.Zuiko Digital 150-600mm is comparable to full-frame 150-600mm lenses, with the micro four thirds advantage of double the reach.

With a maximum aperture of f/5.0-6.3 depending on the zoom factor, you could fairly assume that this combined with the MFT sensor size would produce a larger-than-desired depth-of-field. But in reality, backgrounds are sufficiently and pleasingly defocused, placing full emphasis on the subject itself.

Should I buy the OM System M.Zuiko Digital 150-600mm F5.0-6.3 IS?

Buy it if...

Don't buy it if...

How I tested the OM System M.Zuiko Digital 150-600mm F5.0-6.3 IS

I shot with the OM System M.Zuiko Digital 150-600mm F5.0-6.3 IS over several days, opting to focus on bird photography to maximise the full potential of the lens in terms of the reach it provides. Photos were taken at different aperture settings to test handling, sharpness and distortion, while image stabilization was put through its paces by shooting at considerably slower shutter speeds than would normally be possible.

Most images were shot simply to see how the lens performed in different situations, while others were shot specifically to compare the results, all in real-world environments rather than relying on statistics and lens charts.

With nearly 30 years of photographic experience and 15 years working as a photography journalist, I’ve covered almost every conceivable subject and used many of the cameras and lenses that have been released in that time. As a working photographer, I’m also aware of the factors that are most important to photographers and aim to test cameras and lenses in a way that reflects this.

First reviewed June 2024

Sony FE 16-25mm F2.8 G: two-minute review

Cameras are getting smaller, but lenses – especially zoom lenses – appear to be getting bigger. It’s normal now to be shooting with a mirrorless camera with a compact body but a big, hefty standard zoom that makes it feel front-heavy and unbalanced. 

Sony, however, has started turning its attention to more compact lens designs, refusing to compromise on performance but instead sacrificing a little focal length or zoom range in exchange for smaller, lighter and perhaps cheaper optics.

The Sony FE 16-25mm F2.8 G is an excellent example. It has the same constant f/2.8 maximum aperture as Sony’s flagship FE 16-35mm f/2.8 G Master II lens, but in a smaller, lighter design that’s also little more than half the price. It doesn’t have that premium G Master label, but Sony’s regular ‘G’ lenses are now so advanced, both optically, physically and in AF technology, that it’s getting increasingly hard to see a difference.

The one compromise in the FE 16-25mm F2.8 G is its focal range. Most lenses in this category are 16-35mm zooms, but this lens stops at a maximum focal length of 25mm. It covers the same ultra-wide angles of view, but is less versatile if you need a more general semi-wide angle of view.

Does this matter? On paper it gives the FE 16-25mm F2.8 G an almost laughably limited 1.6x zoom range, but in practice that may be all you need in an ultra-wide zoom. Whether it's landscapes, architecture or interiors, you're very often going to be shooting in this narrow focal range. If you’re also carrying a regular 24-70mm, 24-105mm or Sony’s new FE 24-50mm f/2.8 G lens, it just means you’ll swap to your standard zoom sooner. You’ll get the same overall focal range from a wide/standard lens combination, just with less overlap in focal lengths.

So is the size saving worth losing that extra focal range. Sort of. The FE 16-25mm F2.8 G is certainly smaller and lighter than a regular 16-35mm f/2.8 lens, but it’s still not exactly small. I tested it on a Sony A7C II, and it still felt pretty big on that. It would balance nicely on a regular A7 body, though.

Sony FE 16-25mm F2.8 G: price and release date

At the time of writing, the Sony FE 16-25mm F2.8 G is on pre-order, but with supplies expected around May 10th – so by the time you’re reading this, it’s probably available amongst the major resellers. The US price is around $1,198, in the UK it’s £1,249, while in Australia it's AU$2,189. You wouldn’t call it a cheap lens, but it’s way cheaper than Sony’s other constant f/2.8 ultra-wide G Master zooms. 

It looks very good value for an own-brand lens with a sophisticated optical construction, fast and silent dual linear AF motors and excellent external controls. It’s also weather-sealed with a fluorine-coated front element to repel oil, grease and water.

Sony FE 16-25mm F2.8 G: design

Sony certainly hasn’t stinted on build quality and controls. This lens uses ‘engineering plastics’ to keep the weight down, but there’s no harm in that and the finish is excellent. The aperture control ring is first rate too, with firm and positive clicks between each 1/3 aperture setting and an extra firm detent at f/22 to switch it to auto aperture control. 

If you’re shooting video and changing aperture/iris settings while filming, you can use a Click On/Off switch on the underside to enable stepless silent aperture adjustment.

Focusing is so fast as to be practically instantaneous, and silent too. This is where you’re likely to notice most difference between Sony’s newer own-brand lenses and cheaper third-party alternatives. There’s a slightly stiff AF/MF switch on the barrel, and in manual focus mode the focus ring at the front of the lens feels a fraction light but offers progressive and accurate focus control.

This lens is compatible with Sony’s focus breathing compensation mode, depending on the camera you’re using. The focus breathing doesn’t seem particularly strong, though objects do appear to grow somewhat smaller as they go out of focus. 

There’s one other external feature worth highlighting – the FE 16-25mm F2.8 G has a very compact front element that doesn’t protrude, so it’s perfectly possible to attach regular filters and it has a pretty common 67mm filter thread, so you may not have to buy any outsize filters just for this lens.

Focusing is full internal, and while there is a change in the length as you zoom from one end of the range to the other, it’s only a few millimeters, so if you’re balancing a gimbal you probably only need to do it once and not keep changing it for different zoom settings.

The limitations of this lens's focal range are obvious, but its build quality, handling, features and performance are a pleasant surprise, and it certainly feels as if you're getting your money's worth.

Sony FE 16-25mm F2.8 G: sample images

Should I buy the Sony FE 16-25mm F2.8 G?

Buy it if...

Don't buy it if...

How I tested the Sony FE 16-25mm F2.8 G

The weather was not kind during testing, so I mixed indoor and outdoor shots. The indoor shots were good for checking angles, of view, distortion and close focusing capability, while the outdoor shots were at a motorcycle meet that tested the practicality of this 16-25mm zoom range for this kind of walkaround shooting. I also did a brick wall test at both ends of the zoom range to check for optical quality across the aperture range.

I also paid attention to the autofocus performance, both for speed and silence, to see how effective Sony’s dual linear motor setup actually is, and I paid particular attention to the feel and operation of the external controls, as these are a significant selling point for this lens.

I also wanted to find out how the Sony FE 16-25mm F2.8 G handled on the smaller A7C series body (OK, as it happens), whether it was especially nose-heavy on a tripod and how easy it was to balance on a gimbal. My Ronin SC had a long enough camera plate and fore-aft adjustment to cope easily, and the very small lens extension when zooming meant no rebalancing was necessary.

• First reviewed May 2024

Nikon Z 28-400mm f/4-8 VR: Two-minute review

As photographers and videographers, sometimes we just want to pack one lens that can do it all, but this comes with a few drawbacks. Typically, the broader the focal range and faster the maximum aperture, the bigger, heavier and ultimately more expensive the lens. The good news for Nikon shooters is that the Nikkor Z 28-400mm f/4-8 VR lens – which the manufacturer refers to as its ‘superzoom’ – is the lightest full-frame lens in its maker’s line-up while offering a maximum focal length of 400mm. As well as being useful for bringing the faraway closer, the telephoto end is also well suited to portraiture, for when we want to attractively throw the background out of focus and achieve attractive bokeh, while keeping our subject pin-sharp. 

With a minimum focus distance of 0.2m at its widest setting allowing for reasonable close-ups of flora and fauna, and a still-useful 1.2m at the telephoto end, those shooting handheld in more demanding lighting conditions are aided by Nikon’s built-in Vibration Reduction image stabilization, here providing equivalent to up to five stops. This is boosted to 5.5 stops when the lens is used with a Nikon camera, such as the Z f, that has a Synchro VR feature. This allows for image-stabilized camera bodies and image-stabilized lenses to work in tandem – an automatic process if the user has already activated it, the result being less pronounced blur caused by camera shake. For the record, other Nikon camera bodies with this feature aside from the Z f include its flagship Z 8 and Z 9 mirrorless models.

At its widest 28mm setting this lens also proves perfectly suited for landscape and travel photography – it’s wide, without being so wide as to cause fisheye or barrel-like distortion – while nudge a bit further up the zoom range and it’s great for street photography and people watching. In short, yes, this is a single lens that can do it all.

It’s a contender for one of the best Nikon Z lenses, and of course you’ll need one of the best mirrorless cameras from Nikon to pair it with. I used the impressive retro-styled Nikon Z f for the duration of my test, which felt like something of a perfect marriage, in that the camera body and lens are almost identical in weight, so the combination doesn’t feel too ‘front-heavy’ in the hand.

Nikon Z 28-400mm f/4-8 VR: price and availability

• Costs $1,299.95 / £1,399 / AU$2,199
• Available to buy now
• Lens hood is supplied

The Nikkor Z 28-400mm f/4-8 VR was announced on March 26 2024, and costs $1,299.95 / £1,399 / AU$2,199

While it’s not a cheap lens, having spent some time shooting with it the price feels fair (and it’s much better value for Nikon users in the US than in the UK).  That’s not just because of build quality and performance, but because it’s basically capable of replacing a whole bag full of prime lenses that would otherwise be necessary to cover anything approaching the broad focal range on offer here. 

On top of that, most of us don’t want to kart a lens the size and weight of a dedicated 400mm around with us for day-to-day shooting, on the off-chance that we might actually need it – even if Nikon claims its Nikkor Z 400mm f/4.5 VR S is the lightest lens in its class at 2.75lb / 1,245g. Similarly, at the other end of the scale, a 28mm focal length might not be quite what we always have in mind for the treatment of a particular subject.

A possible alternative to the Nikkor Z 28-400mm f/4-8 VR is the Nikkor Z 24-200mm f/4-6.3 VR if you’re after a catch-all zoom for this specific mount. It starts out wider and only has half the reach of the 28-400mm, but it’s also less expensive at around $899.95 / £899 / AU$1,599.

Nikon Z 28-400mm f/4-8 VR: design

• 14.2x optical zoom
• Extending barrel
• Rubber-sealed and weather resistant

We get the equivalent of a generous 14.2x optical zoom, with common focal distances/framing options marked in millimeters at regular intervals on the barrel itself. Just behind these sits a control ring with a rougher feel and which is assigned to manual focus by default, although it can be assigned to adjust aperture, exposure compensation, or ISO. When set to manual focus, twisting the ring will momentarily override autofocus. 

The focus markings on the lens barrel start out at the maximum 28mm, progressing through 35mm, 50mm, 70mm, 105mm, 200mm and 300mm before arriving at 400mm. At this point the almost comically fully extended lens barrel resembles a child’s kaleidoscope, and not just the look but also the feel of this lens reminded me of a ‘super-zoom’ bridge camera like the Nikon Coolpix P1000. The lens’s ridged rubberized surface enables a nice firm grip when holding or rotating the barrel to cycle through its broad focal range.

The design of the Nikkor Z 28-400mm f/4-8 VR is further practical in offering a degree of weather resistance, with Nikon helpfully providing sealing around the mount and its moving parts. I was testing the camera in the UK in April, a month that’s prone to sudden rain showers, and while I made sure that neither the lens nor the camera got too wet, a light drizzle didn’t stop me from continuing to shoot.

A lens hood is included to prevent instances of possible flare in brighter conditions, and this can be ‘worn’ in reverse/inverted on the lens for easier transportation without affecting lens use. There’s also a lens lock to prevent the barrel from being accidentally nudged and extending as you’re walking around with it, although I didn’t often feel the need to engage this.

Nikon Z 28-400mm f/4-8 VR: Performance

• Only 1.6lbs / 725g
• Balances well with Nikon's smaller Z-mount cameras
• Speedy autofocus

This lens is as much about portability and practicality as it is about performance, and Nikon has attempted to balance these attributes without too much obvious compromise. A good start is that the lens weighs a manageable 1.6lb / 725g, which makes it fairly evenly balanced when twinned with a body such as the 1.57lb / 710g Nikon Z f I tested it on. The pairing makes for a very solid and sturdy combination that gave me confidence from the off. I carried the camera with lens affixed around for the day without experiencing neck or shoulder ache, although it’s probably at the limit of what I’d feel comfortable traveling with or taking on holiday.

The beauty of this lens’s multi-purpose nature is that if you suddenly come across practically any image opportunity when out and about, you have the tool in your hands to be able to capture that image. Autofocus is both rapid and accurate, and unless there’s busy foreground detail getting in the way you have a high likelihood of achieving the shot you want, which is worth its weight in gold, creatively.

While to my eye results at maximum telephoto weren’t always quite as razor-sharp as from a dedicated 400mm prime lens married to a full frame sensor – and I occasionally got some slight image blur at maximum telephoto when shooting handheld – that’s to be expected. On the whole, I was more than satisfied, and I reckon that all but the most demanding of enthusiasts and amateurs will find detail both plentiful and sufficient for their needs.

Generally speaking, images are consistently sharp across the frame, whether shooting at maximum wide-angle, extreme telephoto, or pretty much any point in between. Where I occasionally got a softer frame, this was often down to the fact that I was shooting handheld, and simply reframing an image and trying again with my palm wide open and supporting the lens barrel yielded a sharper result. Throughout my test period I kept Vibration Reduction active.

While a lot of zoom lenses have photographers wishing for just that bit more poke at the telephoto end to get them that bit closer, I found the Nikkor’s 400mm maximum setting useful and versatile. For those who prefer shooting with autofocus, I’m pleased to report that the lens’s stepping motor is as quiet as Nikon claims – imperceptibly quiet in fact. I was able to take several shots of a nearby robin perching on a tree branch at eye-level without startling it.

Nikon Z 28-400mm f/4-8 VR: sample images

Should I buy the Nikon Z 28-400mm f/4-8 VR?

Buy it if...

Don't buy it if...

How I tested the Nikon Z 28-400mm f/4-8 VR

• A mixture of landscape, wildlife and portrait photography
• Used in changeable weather

Nikon pitching the Nikkor Z 28-400mm f/4-8 VR as a jack-of-all trades option, I tested it in a variety of shooting scenarios, and the lens generally proved to be a capable performer. Landscapes, wildlife, portraits – we shot them all, with consistently pleasing results. I was ‘blessed’ with changeable weather conditions during my testing period, allowing me to put it through its paces in less than ideal light, and it coped ably with a variety of conditions.

Two-minute review

Nikon's Nikkor Z 40mm f/2 is one of two lightweight, inexpensive prime lenses for the Z-mount - the other being the wider 28mm f/2.8. 

At 40mm, it’s currently the closest match to the ‘nifty fifty’ lenses of old, aiming to provide a lightweight lens with a compact footprint, flexible focal length, and a relatively fast aperture. Above all, it’s cheap - really cheap for a proprietary lens sitting at just £259 / $289 /AU$310 new. Compared to the Nikon S 50mm f/1.8 or the S 35mm f/1.8, the 40mm comes in at under half the price while still offering some form of weather sealing and excellent performance.

Optically, this lens has a few idiosyncrasies - namely corner sharpness and coma - but the 40mm is innately usable in a wide range of situations. It’s wide enough for some landscapes and close enough for most portraits. Personally, I find the 40mm focal length more usable than 50mm for a walkabout lens - and f/2 is plenty outside of extreme situations.

I tested on a full-frame Nikon Z6 but the lens is also compatible with the 'DX' APS-C Nikon Z-mount cameras. In this case, the focal length becomes 60mm. It’s getting into portrait lens territory for APS-C here although it would also be a good choice for a shy street photographer who wants some distance from their subject.

Nikon Z 40mm f/2: design

The Nikon Z 40mm f/2 features an entirely plastic build that feels well engineered and deceptively robust in the hand. Overall, it’s a solid and well put together lens but the plastic thread and mount do cheapen the overall feel somewhat. You’re never tricked into thinking this is a premium lens, even though its output is excellent. 

The Nikon Z 40mm f/2 is, however, extremely light - weighing just 6oz / 170g. Pairing this lens up with my Nikon Z6 results in a package that weighs just over 21oz / 600g, which rivals crop sensor setups for sheer portability. While I’d never call this pairing ‘pocketable’, it’s a featherweight combination for a full-frame system and perfect for every day shooting.

And, I have to say - the 40mm pairs nicely with the Z6’s relatively minimalist, being workmanlike in its design since there are no external AF switches, custom control rings, or any other kind of outward flare to speak of. I'd say it looks decent enough on one of Nikon’s more modern bodies. Is it boring? Maybe, but it doesn't look out of place. 

It’s worth noting here that the Nikon Z 40mm f/2 comes in two variations - the standard version that I tested and a more retro-themed ‘SE’ variant. If you're looking for a prime to pair up with the much more old-school-looking Nikon Zf or Nikon Zfc then you'll want to make sure you're checking out the SE for maximum retro effect.

Neither variant ships with a first-party lens hood but both are dust and drip-resistant, which is a major selling point for a lens this inexpensive. In recent years, third-party manufacturers (most notably Viltrox) have started to offer compelling budget alternatives to entry-level first-party lenses but weather sealing is one area where most are severely lacking. And, I can personally attest that the splash resistance of this lens is fantastic - having been soaked from head to toe on Dartmoor during field testing.

Nikon Z 40mm f/2: performance

Thanks to built-in lens corrections on Z-mount bodies, you'll get extremely good results out of camera with the 40mm. For the price, the lens is impressively sharp even at f/2 and exhibits minimal chromatic aberration or vignetting. Flare is also controlled - despite this lens likely not featuring Nikon’s higher-end coatings. 

I’ve shot thousands of images with the 40mm and I’ve come to appreciate how it renders a scene. I've read some describe this lens as 'classic' in character and while its sharpness is certainly more akin to a modern lens, colors certainly do pop under the right circumstances. Bokeh-wise, the 40mm is also relatively circular/puffy in the center but becomes less bloomier and more defined around the edges. 

As with most lenses, the sharpness sweet spot for the 40mm is around f/5 to f/8 but even at these optimal apertures the 40mm is notably sharpest in the centre. Depending on what you're shooting the 40mm will exhibit some softness at the extreme corners - as with this sample image of a dock leaf taken at f/5.6.

Despite having a minimum focus distance of 11.8in / 30cm the lens is also quite soft when close focusing. You can narrow down the aperture for more sharpness but you’ll miss out on that creamy DoF (depth of field) up close, which means the 40mm can suffer for specialized applications like floral photography. Just below you can see a specific example of a flower taken at around a foot distance, where the focus point was set directly on the central bud.

The 40mm also exhibits some coma, which can result in noticeably smeared lights during night photography towards the extreme edges of the frame. In real-life testing, I found this to be an incredibly minor issue that only cropped up on a few niche cases such as the attached scene just below. Astrophotographers will likely skip this lens over in favor of the wider (and similarly priced) 28mm but note that this lens does feature some astigmatism if you're deadset on edge-to-edge clarity. 

That’s where my criticisms end, however. In practical use the 40mm performs admirably. Autofocus is extremely quick and minimal focus breathing means this is a versatile lens that can also handle video. Note, however, that my lens has a slight whirring sound when focusing - an absolute non-issue for me as a photographer but videographers may notice. I wouldn't rule out copy variation here since it's not a widely reported issue, though.

Nikon Z 40mm f/2: sample images

Should I buy the Nikon Z 40mm f/2?

Buy it if...

Don't buy it if...

How I tested the Nikon Z 40mm f/2

• Regular use for over a year and counting
• Used in fair and inclement weather
• Day and nighttime use

I've had the Nikon Z 40mm f/2 in my kit for over a year now; in which time I've used it extensively for general purpose photography both home and abroad. Subsequently, I've been able to thoroughly test the lens in a variety of situations to determine its strengths and weaknesses.

Since Nikon openly advertises this lens as weather-sealed, I've made sure to test this lens in adverse conditions, particularly in rainy environments. I've also extensively tested this lens at night, making use of its wide aperture of f/2. 

Two-minute review

The Canon RF 100mm F2.8L Macro IS USM is the only "official" macro lens in the Canon RF lens lineup. The brand does make some other macro-enabled primes, including the RF 24mm, RF 35mm and RF 85mm f/2 lenses, but these achieve a maximum magnification ratio of 0.5x, or half life size; so while this might be plenty close enough for many users, they're not true 1:1 macro lenses.

The RF 100mm F2.8L Macro IS USM doesn’t stop at life size reproduction, however; it goes to a full 1.4x magnification. That means you can fill the frame with an object just 26mm wide. And that isn't its only interesting feature.

Half way along the barrel is an intriguing "SA", or Spherical Aberration, control ring. This shifts optical elements within the lens to adjust the appearance of bokeh, both in front of and behind your main subject, and can also introduce a soft-focus effect.

It isn't immediately obvious how you're supposed to use this control, since it’s locked at its center position. In fact, there’s a switch on the underside of the lens to unlock it, which is easily missed. This is one lens where it's actually a good idea to read the manual!

This bokeh control is aimed more at portraiture and longer shooting distances; indeed, Canon does seem keen to push this as a "portrait" lens as well as a macro lens. It’s an interesting idea, but then it leaves you wondering whether the Canon RF 85mm f/2 Macro IS STM might be better, being a stop faster and far cheaper, too. You might say the 100mm is a macro lens first and portrait lens second, while the 85mm is the other way around.

I only had the RF 100mm F2.8L Macro IS USM for a short time, so I concentrated on its macro capabilities.

These are pretty formidable. It’s hard to make any sensible comments about edge sharpness wide-open with close-ups because it’s near-impossible to find a subject flat enough to test it on – and to get it perfectly perpendicular to the camera. Photographing a framed vintage "butterfly wing" picture reveals another macro photography issue: objects with layers of paint and textures, especially those under glass that may have dust or fibers on its surface, are actually three-dimensional.

Only the most ambitious, bokeh-loving macro fan would want to shoot wide open at these distances. You’re more likely to want to shoot at f/11-f/22, and the RF 100mm F2.8L Macro IS USM produced crystal-clear detail that was difficult to fault.

However, while you might think that a 100mm lens should offer plenty of working distance between yourself and your subject, that isn't the case here. At its closest shooting distances, the front of this lens is close enough to your subject to cast a shadow or give unwanted reflection on shiny surfaces. A skilled macro shooter could fix this easily enough with good lighting and choice of angles, but it was still a bit unexpected. 

You can also use this lens outdoors on a range of subjects, where its weatherproofed design and fluorine-coated front element should shrug off rain and dew. The lens also has image stabilization built in – although, as Canon admits, the effectiveness diminishes the closer you focus. 

This isn't necessarily a fault with the stabilization, but an issue with handheld macro photography. If you can’t keep the camera perfectly steady, even the tiniest fore-and-aft "drift" will throw your subject out of focus between half-pressing and fully pressing the shutter release (switching to Servo AF mode can be an effective solution!).

The RF 100mm F2.8L Macro IS USM’s Dual Nano USM autofocus seemed pretty quick at normal shooting distances, doing a reasonable job of tracking the eyes of our pet Dachshund. However, on occasion it got a bit lost switching to ultra-close subjects. It has a focus limiter to help with this, and you can also use manual focus to get it in the right ballpark first. In fact, manual focus works especially well here. The focus ring is smooth and precise, and there’s a real focus "snap" in the viewfinder to show you when the focus is correct. 

Canon says this lens has suppressed focus breathing, which should be especially useful for filming where you want to use focus pulls.

This is a nice lens to use, if rather long. The SA control seems a slightly odd choice for macro work; I guess it's designed more for portraits and larger product shots. It’s good to have a single lens that can do a few jobs, so it’s easy to see how the RF 100mm F2.8L Macro IS USM could create a kind of "product" lens category of its own.

Best of all, it isn't hugely expensive for an own-brand macro lens, especially one that can focus closer than rivals and has IS built in.

Canon RF 100mm F2.8L Macro IS USM Price and release date

The RF 100mm F2.8L Macro IS USM was announced in April 2021 and is now widely available. It typically costs around $1,099 in the US and £1,369 in the UK. However, if you don’t mind manual focus – and you’re not interested in the SA bokeh control – then you can get the Venus Optics Laowa 100mm f/2.8 2X Ultra Macro APO lens for around half that, and with even higher 2x magnification.

Should I buy the Canon RF 100mm F2.8L Macro IS USM?

Buy it if…

Don’t buy it if…

How I tested the Canon RF 100mm F2.8L Macro IS USM

I tried out the RF 100mm F2.8L Macro IS USM in a variety of situations to test its performance, handling and image quality. One session was spent shooting a family pet to see how well the Nano USM autofocus could keep up with my EOS R8’s excellent AI subject tracking, while another was spent out on the coast, shooting a variety of subjects from driftwood to sea spurge.

I also spent some time testing this lens with typical close-up subjects including a challenging "butterfly wing" picture, some just-open narcissi, and the engravings on a vintage WW1 cigarette case. These were taken using a tripod, the 12-second timer on the camera, and electronic shutter mode.