Viltrox AF 28mm f/4.5: one-minute review

I mean, the pictures don't do justice as to how impossibly small the Viltrox AF 28mm f4.5 lens is. It's a true body cap lens – meaning that you can have it on your Sony, Nikon or Fujifilm mirrorless camera at all times with no real footprint, ready to go for quick wide-angle snaps.

On several occasions throughout my couple of months with what is the tiniest lens I've ever tested, I thought I had lost it, quite literally mistaking it for a body cap in my gear bag (I was testing multiple lenses at the time).

Yet despite the Viltrox AF 28mm f4.5's minuscule proportions – it measures just 15.3mm in length and is a featherweight 60g – it features autofocus and has a respectable f/4.5 fixed aperture. That's way faster than other body cap / pancake-style lenses I've tried, such as the Panasonic 26mm f/8.

Oh, and did I mention that center detail is surprisingly sharp? That'll be the 6 lens elements in 6 groups crammed inside, two of which are ED and another two being aspherical optics.

Quality falls off somewhat at the corners and lens flare is notable. So if you're looking for technical perfection and supreme versatility, then the fixed focal length, fixed aperture Viltrox AF 28mm f/4.5 is not for you. What it is, though, is a memorable lens that I'm confident you will grow fond of, and by heck is it cheap.

Viltrox AF 28mm f/4.5: price and availability

• Available in Sony E, Nikon Z and Fujifilm X-mounts
• It costs $99 / £90 / AU$169, but Viltrox regular discounts its lenses by 15%
• There's currently no indication of Canon RF or L-mount versions

The Viltrox AF 28mm f/4.5 first hit the scene for Sony E-mount in September 2024, and has since been launched in Nikon Z and Fujifilm X-mount versions. I wouldn't expect a Canon version since the camera giant sued Viltrox and those bridges feel burned (Nikon is next). Viltrox has joined the L-mount alliance, however, so there could be an L-mount version for Panasonic, Leica, and Sigma cameras – this could be a great pairing with the Lumix S9, for example.

The list price at the Viltrox store and trusted retailers is $99 / £90 / AU$169 (see links to the best prices, below). The 28mm f/4.5 is great value at full price, although I regularly see Viltrox doing site-wide discounts of its lenses, typically around 15% off. I've seen the lens for even less at cheap Chinese import online stores.

I usually include an Also Consider section in my reviews, but being available in three mounts there are too many alternatives to sensibly feature individually. For Nikon cameras, the Z 26mm f/2.8 is one possible, but it's 5x the price, while the 24mm f/1.7 DX (for APS-C) is around 2.5x the price – both are bigger than the Viltrox lens.

Fujifilm has its own XF 27mm f/2.8 R WR, which again costs much more than the Viltrox, plus the wider XF 23mm f/2.8 which was announced alongside the X-E5.

Sony makes a wider-angle 20mm f/2.8, while other third parties include TT Artisans with its AF 27mm f/2.8, which is much like Fujifilm's aforementioned 27mm lens for a much lower price.

For more options, check out my best Sony lenses and best Nikon lenses guides. Let me know in the comments below if a best Fujifilm lenses guide would interest you.

Viltrox AF 28mm f/4.5: specs

Viltrox AF 28mm f/4.5: design

This is a playful lens, with plenty of quirks that won me over - one being the slide lens cap, which protects the otherwise non weather-sealed lens from damage. It's just as well the lens cap is built-in, really, because a removable lens cap would be the tiniest of them all, no bigger than a dime. I would give myself less than a week before losing such a thing.

And there's nowhere to click a lens cap on in any case – there's no thread for lens filters, which is normally where a clip-on lens cap sits. Nope, it's the neat slide lens cap only, which I heart.

I was honestly surprised that Viltrox was able to fit such a small, but more so, low-cost lens with autofocus. Sat alongside those electronic contacts (which provide full communication between camera and lens for autofocus, plus metadata) is a USB-C port, which makes future firmware updates possible.

On the note of focusing, there's another surprise on the flip side – there's no manual focus option whatsoever. No, this is an autofocus lens only – so you're reliant on your camera's autofocus skills.

Thankfully, I found autofocus performance with my mid-range Nikon full-frame camera to be snappy with the lens – but that's hardly a surprise given how lightweight the 6 tiny lens elements are.

I suppose adding a focus ring for manual focus would increase the bulk of the lens and water down its charm, but it was the feature I missed the most as autofocus can miss the mark occasionally. It's helpful to take control at such times.

Minimum focus is 1.05ft/0.32m, which makes for a 0.11x maximum magnification. In short, the lens's close focusing skills are fairly limiting for such a wide-angle lens. The ability to focus closer is a close second on my wishlist for this lens.

I don't mind the fixed f/4.5 aperture, though – that's right, you can't stop down to increase depth of field. For me, f/4.5 is a decent all-purpose aperture with a full-frame camera – it's shallow enough to blur backgrounds (when your subject / focus distance is close), and deep enough for sharp detail when your focus distance is further. What it's less ideal for, however, is low-light photography.

As you can see in the product photo above, the Viltrox AF 28mm f/4.5 lens tucks in neatly on a full-frame camera. In fact, the grip on the Z6 II camera I was using for this test is deeper than the lens.

For me, Viltrox's body cap-style lens makes more sense being paired with a smaller camera than the mid-range model, above, and even more sense with an APS-C model rather than full-frame. I'll explain why in a moment.

It's currently made for Sony E, Nikon Z, and Fujifilm X-mount versions, so the kinds of slimline cameras that would suit the lens include the Sony ZV-E10 II / A6700, Fujifilm X-E series / X-M5 and the Nikon Z30 / Zf series. Lumix users will surely hope that an L-mount version is forthcoming, especially since Viltrox joined the L-mount alliance last year.

Viltrox AF 28mm f/4.5: Performance

As for image quality, I have been pleasantly surprised. Detail is nice and sharp in the center. You'll find plenty other even sharper premium primes, but with a little additional sharpness applied in Adobe Camera Raw, I'm not complaining here at all. On the contrary, I'm impressed.

Sharpness falls off at the corners somewhat, and there's heavy vignetting in the corners, which again benefit from corrections in post. That said, those two notable lens distortions direct the gaze in the center of images and can add character, and as such I've avoided heavy-handed lens corrections and leaned into that style with my sample pictures.

It's these corner lens distortions that also make a strong case for using the Viltrox AF 28mm f/4.5 lens with an APS-C camera, as most of its image quality foibles (technically-speaking) fall outside the 42mm effective frame.

I've not used the lens with an APS-C camera, but if that were all I had done, I'd be even more impressed by the optical quality as those heavier distortions would be outside the frame. And, that tighter perspective with APS-C makes it a compelling everyday lens – you'd never need to take it off the camera.

The same sentiment for corner quality can be said for lens flare. Viltrox itself bills the starburst effect as a draw to this lens – it's a pronounced and a little over the top at times, but again, I'm filing this under characterful rather than ugly.

I've been able to get a couple of light leak affects to when shooting towards the sun, too. These are the kind of effects that could do well in 2026 and beyond, where authentic and lo-fi images are trending over technically perfect ones.

The 'flaws' I've drawn out in this review are worth noting, but take them within context; this is a tiny, sub $100 lens. Design drawbacks and optical quirks only add to the charm of a lens that I'm very fond of.

Should I buy the Viltrox AF 28mm f/4.5?

Buy it if...

Don't buy it if...

How I tested the Viltrox AF 28mm f/4.5

• Viltrox sent me the Z-mount version of the lens
• I paired it with a full-frame Nikon Z6 II
• I've tested the lens over a couple of months, in a wide range of scenarios

I had plenty of time to use the Viltrox AF 28mm f/4.5 lens – at least two months. I paired it with a full-frame Nikon camera, but haven't used it with an APS-C model.

Being a fixed focal length, fixed aperture lens, my testing didn't get bogged down in aperture comparisons and distortion at various focal lengths – I was freed up to use this lens in a very real way.

I've shot everything from portraits to landscapes and everyday observations. I've used the lens in good light and bad, and shot towards and around the sun / strong light sources to check for lens flare characteristics.

First reviewed February 2026

Viltrox AF 28mm f/4.5: one-minute review

I mean, the pictures don't do justice as to how impossibly small the Viltrox AF 28mm f4.5 lens is. It's a true body cap lens – meaning that you can have it on your Sony, Nikon or Fujifilm mirrorless camera at all times with no real footprint, ready to go for quick wide-angle snaps.

On several occasions throughout my couple of months with what is the tiniest lens I've ever tested, I thought I had lost it, quite literally mistaking it for a body cap in my gear bag (I was testing multiple lenses at the time).

Yet despite the Viltrox AF 28mm f4.5's minuscule proportions – it measures just 15.3mm in length and is a featherweight 60g – it features autofocus and has a respectable f/4.5 fixed aperture. That's way faster than other body cap / pancake-style lenses I've tried, such as the Panasonic 26mm f/8.

Oh, and did I mention that center detail is surprisingly sharp? That'll be the 6 lens elements in 6 groups crammed inside, two of which are ED and another two being aspherical optics.

Quality falls off somewhat at the corners and lens flare is notable. So if you're looking for technical perfection and supreme versatility, then the fixed focal length, fixed aperture Viltrox AF 28mm f/4.5 is not for you. What it is, though, is a memorable lens that I'm confident you will grow fond of, and by heck is it cheap.

Viltrox AF 28mm f/4.5: price and availability

• Available in Sony E, Nikon Z and Fujifilm X-mounts
• It costs $99 / £90 / AU$169, but Viltrox regular discounts its lenses by 15%
• There's currently no indication of Canon RF or L-mount versions

The Viltrox AF 28mm f/4.5 first hit the scene for Sony E-mount in September 2024, and has since been launched in Nikon Z and Fujifilm X-mount versions. I wouldn't expect a Canon version since the camera giant sued Viltrox and those bridges feel burned (Nikon is next). Viltrox has joined the L-mount alliance, however, so there could be an L-mount version for Panasonic, Leica, and Sigma cameras – this could be a great pairing with the Lumix S9, for example.

The list price at the Viltrox store and trusted retailers is $99 / £90 / AU$169 (see links to the best prices, below). The 28mm f/4.5 is great value at full price, although I regularly see Viltrox doing site-wide discounts of its lenses, typically around 15% off. I've seen the lens for even less at cheap Chinese import online stores.

I usually include an Also Consider section in my reviews, but being available in three mounts there are too many alternatives to sensibly feature individually. For Nikon cameras, the Z 26mm f/2.8 is one possible, but it's 5x the price, while the 24mm f/1.7 DX (for APS-C) is around 2.5x the price – both are bigger than the Viltrox lens.

Fujifilm has its own XF 27mm f/2.8 R WR, which again costs much more than the Viltrox, plus the wider XF 23mm f/2.8 which was announced alongside the X-E5.

Sony makes a wider-angle 20mm f/2.8, while other third parties include TT Artisans with its AF 27mm f/2.8, which is much like Fujifilm's aforementioned 27mm lens for a much lower price.

For more options, check out my best Sony lenses and best Nikon lenses guides. Let me know in the comments below if a best Fujifilm lenses guide would interest you.

Viltrox AF 28mm f/4.5: specs

Viltrox AF 28mm f/4.5: design

This is a playful lens, with plenty of quirks that won me over - one being the slide lens cap, which protects the otherwise non weather-sealed lens from damage. It's just as well the lens cap is built-in, really, because a removable lens cap would be the tiniest of them all, no bigger than a dime. I would give myself less than a week before losing such a thing.

And there's nowhere to click a lens cap on in any case – there's no thread for lens filters, which is normally where a clip-on lens cap sits. Nope, it's the neat slide lens cap only, which I heart.

I was honestly surprised that Viltrox was able to fit such a small, but more so, low-cost lens with autofocus. Sat alongside those electronic contacts (which provide full communication between camera and lens for autofocus, plus metadata) is a USB-C port, which makes future firmware updates possible.

On the note of focusing, there's another surprise on the flip side – there's no manual focus option whatsoever. No, this is an autofocus lens only – so you're reliant on your camera's autofocus skills.

Thankfully, I found autofocus performance with my mid-range Nikon full-frame camera to be snappy with the lens – but that's hardly a surprise given how lightweight the 6 tiny lens elements are.

I suppose adding a focus ring for manual focus would increase the bulk of the lens and water down its charm, but it was the feature I missed the most as autofocus can miss the mark occasionally. It's helpful to take control at such times.

Minimum focus is 1.05ft/0.32m, which makes for a 0.11x maximum magnification. In short, the lens's close focusing skills are fairly limiting for such a wide-angle lens. The ability to focus closer is a close second on my wishlist for this lens.

I don't mind the fixed f/4.5 aperture, though – that's right, you can't stop down to increase depth of field. For me, f/4.5 is a decent all-purpose aperture with a full-frame camera – it's shallow enough to blur backgrounds (when your subject / focus distance is close), and deep enough for sharp detail when your focus distance is further. What it's less ideal for, however, is low-light photography.

As you can see in the product photo above, the Viltrox AF 28mm f/4.5 lens tucks in neatly on a full-frame camera. In fact, the grip on the Z6 II camera I was using for this test is deeper than the lens.

For me, Viltrox's body cap-style lens makes more sense being paired with a smaller camera than the mid-range model, above, and even more sense with an APS-C model rather than full-frame. I'll explain why in a moment.

It's currently made for Sony E, Nikon Z, and Fujifilm X-mount versions, so the kinds of slimline cameras that would suit the lens include the Sony ZV-E10 II / A6700, Fujifilm X-E series / X-M5 and the Nikon Z30 / Zf series. Lumix users will surely hope that an L-mount version is forthcoming, especially since Viltrox joined the L-mount alliance last year.

Viltrox AF 28mm f/4.5: Performance

As for image quality, I have been pleasantly surprised. Detail is nice and sharp in the center. You'll find plenty other even sharper premium primes, but with a little additional sharpness applied in Adobe Camera Raw, I'm not complaining here at all. On the contrary, I'm impressed.

Sharpness falls off at the corners somewhat, and there's heavy vignetting in the corners, which again benefit from corrections in post. That said, those two notable lens distortions direct the gaze in the center of images and can add character, and as such I've avoided heavy-handed lens corrections and leaned into that style with my sample pictures.

It's these corner lens distortions that also make a strong case for using the Viltrox AF 28mm f/4.5 lens with an APS-C camera, as most of its image quality foibles (technically-speaking) fall outside the 42mm effective frame.

I've not used the lens with an APS-C camera, but if that were all I had done, I'd be even more impressed by the optical quality as those heavier distortions would be outside the frame. And, that tighter perspective with APS-C makes it a compelling everyday lens – you'd never need to take it off the camera.

The same sentiment for corner quality can be said for lens flare. Viltrox itself bills the starburst effect as a draw to this lens – it's a pronounced and a little over the top at times, but again, I'm filing this under characterful rather than ugly.

I've been able to get a couple of light leak affects to when shooting towards the sun, too. These are the kind of effects that could do well in 2026 and beyond, where authentic and lo-fi images are trending over technically perfect ones.

The 'flaws' I've drawn out in this review are worth noting, but take them within context; this is a tiny, sub $100 lens. Design drawbacks and optical quirks only add to the charm of a lens that I'm very fond of.

Should I buy the Viltrox AF 28mm f/4.5?

Buy it if...

Don't buy it if...

How I tested the Viltrox AF 28mm f/4.5

• Viltrox sent me the Z-mount version of the lens
• I paired it with a full-frame Nikon Z6 II
• I've tested the lens over a couple of months, in a wide range of scenarios

I had plenty of time to use the Viltrox AF 28mm f/4.5 lens – at least two months. I paired it with a full-frame Nikon camera, but haven't used it with an APS-C model.

Being a fixed focal length, fixed aperture lens, my testing didn't get bogged down in aperture comparisons and distortion at various focal lengths – I was freed up to use this lens in a very real way.

I've shot everything from portraits to landscapes and everyday observations. I've used the lens in good light and bad, and shot towards and around the sun / strong light sources to check for lens flare characteristics.

First reviewed February 2026

Sigma 135mm f/1.4 DG | Art: One-minute review

The Sigma 135mm f/1.4 DG | A (2025) builds on the now nine year old Sigma Art 135mm f/1.8 DG HSM. So with nearly a decade of technicological and optical advancements, how does Sigma’s latest cutting-edge 135mm prime up the ante?

For starters, the mount options have vastly changed since last time. The original Sigma 135mm f/1.8 DG HSM | Art supported Canon EF and Nikon F DSLR mounts, plus Sony E and L-mount, and eventually Sony’s newer mirrorless FE mount, too. By contrast, the new Sigma 135mm f/1.4 DG | A only supports Sony FE and L-mount for mirrorless cameras at present. While it could come to other mounts at some point in the future, it shows the shift in certain camera manufacturers being a little more restrictive (* cough, looking at you, Canon).

The price has also changed – 2017’s Sigma 135mm f/1.8 DG HSM | A hit the shelves at $1399 / £1399, whereas the new Sigma 135mm f/1.4 DG | A is $1899 / £1649 / AU$3,499, making it between 18-35% more expensive this time around. This isn’t just down to a decade of inflation and tariffs though, some of this cost will be down to its more premium build and redesign, being the world’s fastest 135mm with an f/1.4 maximum aperture.

But what's the Sigma 135mm f/1.4 DG | A actually like to use? Well, it's a phenomenal achievement, from the legendary Japanese lens manufacturer – delivering supremely sharp detail and dreamy bokeh, even if this is a particularly hefty optic.

Bottom line – if you need a short telephoto focal length with a super fast f/1.4 aperture, then this will be the one to go for, provided you shoot on the two mounts it’s currently available for and have deep enough pockets to buy one.

Sigma 135mm f/1.4 DG | Art: Price and availability

• Priced at $1,899 / £1,649 / AU$3,499
• Lens hood, tripod foot collar and soft pouch included
• Announced in September 2025

When it comes to value, the Sigma 135mm f/1.4 DG | Art is one of the most expensive 135mm primes on the market, though it’s not quite as expensive as the Canon RF 135mm f/1.8L IS USM which costs $2399 / £2399, or the Nikon Z 135mm f/1.8 S Plena which retails for $2597 / £2179. That being said, sadly the Sigma 135mm f/1.4 isn’t currently available for either Canon RF or Nikon Z mounts presently so it doesn’t offer a more affordable third-party option for Canon or Nikon users.

However, for the Sony FE and L-mount cameras that it is currently available for, it’s one of the more expensive lenses you can go for, but then it is the only 135mm lens on the market with that super wide f/1.4 aperture. If you're willing to pay the premium over a f/1.8 alternative, this lens is a must-have as you’ll be faced with no other options; it is an excellent portrait lens and one that delivers superb image quality.

For photographers looking for something more portable and svelte, the Sony FE 135mm f/1.8 GM, Samyang AF 135mm f/1.8 or Viltrox AF 135mm f/1.8 lenses will be better options and one of the best third-party Sony lenses.

Sigma 135mm f/1.4 DG | Art: Specs

Sigma 135mm f/1.4 DG | Art: Design

• Big and hefty, weighing 50.4oz/1430g
• Houses 17 elements arranged in 13 groups
• Has a removable Arca-Swiss tripod foot and collar
• No optical image stabilization

The new Sigma 135mm f/1.4 DG | Art is chunky and that’s perhaps none-too-surprising to achieve its momentous f/1.4 maximum aperture. Its diameter of 111.7mm is larger than its competition and its length of 135.5mm makes it about 18% longer than its predecessor. In fact, it's only the Viltrox AF 135mm f/1.8 and Nikon Z 135mm f/1.8 S Plena lenses that are longer, at 147.6mm and 139.5mm respectively.

The Sigma 135mm is heavier than its peers too – tipping the scales at 50.4oz/1,430g it’s significantly heavier than other mirrorless full-frame 135mm primes. Many 135mm primes from the likes of Sony, Samyang, Canon and Nikon all come in around 35% lighter or less, though none achieve the coveted f/1.4 aperture of the Sigma, so this is the price you pay for having a faster lens.

The barrel houses 17 elements arranged in 13 groups, four of which are large FLD glass elements along with strategically placed high dispersion glass which Sigma claims can suppress axial chromatic aberration. There’s also not one but two HLA (High response Linear Actuator) motors which drive the autofocus – the floating focus system allows two lens groups to be moved independently – I'll touch more on how it performs in the next section.

The original Sigma 135mm f/1.8 DG HSM | Art lacked image stabilization when it came out nine years ago and unfortunately the new Sigma 135mm f/1.4 DG | A omits this once again. However, while the original launched for predominantly for DSLRs, this new Sigma 135mm f/1.4 DG | A is built with modern mirrorless bodies in-mind, many of which have very good in-body image stabilization (IBIS) which is more effective than optical stabilization (OIS) anyway, so it’s less of an issue that it would have been back then. We also have to remember that adding stabilization to the lens would likely result in the lens being even bigger – something I’m sure Sigma would be keen to avoid with its already very tank-like build.

I got hold of the Sony FE version, though the lens can also be picked up for L-mount alliance cameras, which includes Sigma, Panasonic and Leica bodies. It has a nice brass metal mount with a weather seal around it, showing that the lens has some sealing and protection from the elements, which is to be expected from Sigma’s premium 'Art' range (and this price point).

Taking the front lens cap off reveals the huge front element, which has an oil and water repellent coating and also takes enormous 105mm screw-in filters. The front element is so large that the lens barrel protrudes at the front to make space for it (and presumably to protect it). This upshot is that the lens feels secure in the hand, with your supporting hand naturally resting on the focus ring.

Speaking of the focus ring, it’s significantly thinner than the old version at just 2cm wide, perhaps showing the shift away from manual focus, especially with how good modern face and eye detection autofocus systems have become in the past decade.

Looking at the new and old Sigma 135mm lenses side by side, the difference in real estate given to the focus ring is quite stark and has to be around half as wide this time around. That being said, its knurled rubber design offers plenty to hold on to and is smooth to turn. With the move to mirrorless, focusing manually is electronic rather than mechanical, which means we also miss out on a focus distance window.

The lens now comes with a tripod foot collar, you'll get a better balance on a monopod/tripod and reduce strain versus handheld shooting. I actually preferred attaching to a monopod while shooting outdoors to give me a more stable platform, especially when nailing such a delicately thin slice of focus shooting wide open at f/1.4.

The collar is removable, and while it can be screwed into a tripod or monopod, the foot has also been machined to work in Arca-Swiss mounts without the need to attach a plate.

Also on the lens barrel is a switch to flick between AF/MF and there’s an iris ring which can be used to control the lens aperture, complimented by another switch to engage or disable the aperture ring from clicking – a handy feature for videographers who like the smoother un-clicked operation. It can also be locked into the ‘A’ position if you’d prefer not to use it at all and instead set the aperture via the camera body.

To wrap up, you’ll also find two AFL buttons on the lens, spaced 90-degrees apart from each other, with one on the left and the other on the top of the barrel for easy access when shooting in landscape or portrait orientation. These buttons can be assigned to a range of functions.

Sigma 135mm f/1.4 DG | Art: Performance

• Stunning shallow depth of field effects with f/1.4 aperture
• Good face detection and eye tracking with my Sony test body
• Some vignetting when shooting wide open at f/1.4

As previoously mentioned, the Sigma 135mm f/1.4 DC | Art is a big and chunky lens that's almost twice as heavy as some of its rivals. This does make it a little unwieldy to use and I'd recommend a camera body with in-body image stabilization (IBIS) to reduce camera-shake – I paired it with the Sony A7R V.

If using a smaller body which lacks a vertical grip, I would also recommend adding a battery grip improve balance with the lens – it helps to keep the camera and lens more stable when taking photos in the portrait orientation.

The addition of the tripod foot and collar is clearly a welcome addition and will come in use for those shooting on a tripod in a studio or on a monopod for scenarios such as shooting models at an outdoor location, or cars at a racetrack, for example.

Focusing with the compressed 135mm focal length and with the aperture wide open at f/1.4 is a challenge because you’re playing with such a small focus area and very limited depth of field. Luckily, the Sigma 135mm f/1.4 DC | Art has quick and accurate focusing through its Dual HLA motors, and nailing focus on the eyes becomes easier when shooting on a tripod or monopod, to eliminate camera-shake.

Your subject will also need to be very steady to avoid subject blur and the focus slipping onto the eyelashes – which is all very well with an accommodating adult, but more of a challenge with animals! You are also somewhat at the mercy of how good the eye detection and subject tracking is on the camera body, but the Sony A7R IV I paired the lens to performed very well.

Optically, the lens is razor sharp when you are able to land the focus exactly where you need it on your subject, while the background bokeh blur is stunningly beautiful, with enormous bokeh circles when shooting wide open. The bokeh is huge, smooth and circular due its 13 bladed aperture, and showed no signs of ugly onion ring defects you can get with cheaper optics.

Vignetting is a minor issue when shooting wide open, although this clears up by f/1.8. There is also a very subtle amount of chromatic aberration on edges of contrast, though both of these issues are very easy to fix in post, and for the most part can be dealt with using the profile corrections in editing software with a single click, so for me they're not a big deal.

Should you buy the Sigma 135mm f/1.4 DG | Art?

Buy it if...

Don't buy it if...

How I tested the Sigma 135mm f/1.4 DG | Art

• I used the lens for a month, capturing everything from controlled still-life setups at home to outdoor portraits
• I paired it with the 61MP Sony A7R V full-frame body, zooming in on images to assess resolution and clarity
• I took shots throughout the aperture range, focusing up close and further away to judge image sharpness

I used the Sigma 135mm f/1.4 DG | Art lens for a month, paired with a Sony A7R V to produce incredibly detailed 61MP files so I could zoom in and thoroughly inspect the image quality.

I shot a range of subjects from indoor still life setups to portrait shoots outdoors with the lens and shot at all of the available apertures to see how image quality and vignetting were handled throughout the aperture range.

I took a range of pictures with in-camera lens corrections both enabled and disabled to see the difference. I also shot in raw and JPEG formats, and gauged how things like corner sharpness and vignetting changed at different aperture values.

• First reviewed January 2026

Sigma 12mm f/1.4 DC | C: One-minute review

The Sigma 12mm f/1.4 DC | C is the latest, and widest, lens to join Sigma’s comprehensive list of primes with a fast f/1.4 maximum aperture, complimenting the 16mm, 23mm, 30mm and 56mm f/1.4 primes in its Contemporary range.

All five f/1.4 primes are specifically designed for mirrorless APS-C cameras, and as such are small and portable. The Sigma 12mm f/1.4 DC | C is available for Sony E and Fujifilm X, but also for Canon RF, with the brand now opening up to third-party lenses with autofocus on its APS-C cameras.

Speaking of mount options, on Sony E and Fujifilm X bodies with a 1.5x sensor crop the 12mm lens behaves more like an 18mm focal length (full-frame equivalent), whereas on Canon APS-C mirrorless cameras with a 1.6x crop factor it will feel a little more zoomed in, and behave more like a 19mm focal length.

So if you own one of these APS-C mirrorless camera bodies should you run out to buy the Sigma 12mm prime? Well, it's not the widest prime on the market – that title goes to the Sony 11mm f/1.8. However, if you don't mind it being a little more zoomed in at 12mm, and prefer the brighter f/1.4 maximum aperture, then it's an absolute no-brainer.

If your budget can't quite stretch to the Sigma 12mm, or you shoot on Sony mirrorless, then you'll want to see what other options are available for you below.

Sigma 12mm f/1.4 DC | C: Price and availability

• Priced at $579 / £519 / AU$1,000
• Lens hood included
• Announced August 2025

Sigma announced the 12mm f/1.4 DC | C on August 19 2025, and it started shipping later in September.

It's available for Sony E, Fujifilm X, Canon RF mounts and costs $579 / £519 / AU$1,000. To put that into context, its rivals are the Sony E 11mm f/1.8, which costs $699 / £477 / AU$799, the Viltrox AF 13mm f/1.4 STM, which costs $429 / £440 / AU$624, and the Samyang AF 12mm f/2, which retails for $499 / £348 / AU$598.

While it can’t match the Sony’s wide focal length, it does offer a great balance of a still very wide 12mm focal length and that super-wide f/1.4 aperture, all wrapped up in a very small and portable package.

It's a little more expensive than the Viltrox and Samyang offerings, so those on tighter budgets may prefer to save money and miss out on the better features found in the Sigma 12mm. Sony users will be faced with a tougher choice, as they'll have to also weigh up the Sony E 11mm f/1.8, which has a wider focal length at the cost of a slower maximum aperture.

For me, the Sigma 12mm f/1.4 DC | C lens would have been even better value for money if it had included an iris ring lock and MF/AF switch on the barrel, though I think for most people these will be minor gripes in an otherwise stellar lens that combines brilliant portability with great image quality and a super-fast and wide aperture and focal length.

Sigma 12mm f/1.4 DC | C: specs

Sigma 12mm f/1.4 DC | C: Design

• Some level of weather-sealing that's usually reserved for more premium Art lenses
• Very lightweight at 7.9oz / 225g
• Sony and Fujifilm versions have an iris ring, while Canon version has a Control Ring

The Sigma 12mm f/1.4 DC | C is perfectly small and portable, with super-sleek dimensions of 68 x 68.4mm and a weight of just 225g, which makes it well matched with the smaller APS-C bodies it’s designed to be used with. You can also use it on a full-frame camera, but you’ll need to use the camera's APS-C crop mode to accommodate the smaller imaging circle this lens produces.

With not a lot of lens barrel to play with, the exterior design has been kept simple, with just an electronic fly-by-wire focus ring and also an iris ring to control the aperture – the latter is a ‘Control’ ring on Canon RF cameras, which can be assigned to a range of functions, including, but not limited to, aperture.

There are, however, no switches on the barrel itself, which means you’ll need to dive into the menus to switch between AF and MF. There’s also no switch to lock the iris ring in its ‘A’ mode to prevent it from slipping, and the iris ring is also clicked, with no way to switch it over to a de-clicked mode – two features which I’ve become accustomed to after using Sigma Art lenses such as the 135mm and 17-40mm. While not a dealbreaker by any means, these would have been welcome inclusions here.

Inside, the lens is constructed from 14 elements in 12 groups, and includes three aspherical elements, plus two SLD (Special Low Dispersion) elements.

It has a rounded 9-bladed aperture design which can be opened as wide as f/1.4 or closed to f/16. The minimum focus distance is also just 17.2cm, so close-up shots with blurry backgrounds are very possible (see my test shots in the Performance section).

On the front of the lens is a filter thread which takes 62mm screw-in filters. A LH652-01 petal lens hood is included, which is equally as petite as the lens itself, and helps to block out stray light rays to reduce flare.

The front element also has a water- and oil-repellent coating that compliments the dust and splashproof design of the lens. Sigma’s more budget-friendly line of Contemporary lenses don’t usually get the weather-sealed treatment, but this 12mm is somewhat protected, as it has a rubber gasket around the rear lens mount.

The lens is as fast as or faster than its main competition, including the Sony E 11mm f/1.8, Viltrox 13mm f/1.4 and Samyang 12mm f/2, though it’s not quite as wide-angle as the Sony model. It’s also the most expensive of the pack – more than twice the price of the Samyang. It’s similar in size and weight to the Samyang and Sony, though the Viltrox model is notably larger and heavier. However, if the speed of the faster aperture or shallow depth of field are your priority and money is no object then the Sigma is definitely one to consider.

Sigma 12mm f/1.4 DC | C: Performance

• Very small and portable
• Bright f/1.4 maximum aperture makes it a beast for low-light shots
• Sharp details and smooth bokeh
• No switches on lens barrel, making it a little difficult to switch settings

I was able to test the Sigma 12mm f/1.4 DC on both an APS-C Sony A6700 and full-frame Sony A7R IV in crop mode, both of which delivered images around 26MP.

Autofocus was fast and reliable – it took a brief moment to lock on but was overall impressively fast and quiet. Sigma claims the stepping motor delivers ‘minimal’ focus breathing, and in my testing I would have to agree. The autofocus was also accurate when locking on to subjects with low contrast, and it kept up well with the Sony A6700’s subject-detection and tracking, too.

It would have been nice if the lens featured optical image stabilization; however this wasn’t too much of an issue, considering most modern mirrorless cameras have sensor-based IBIS and you also have that super-wide f/1.4 maximum aperture, so you rarely capture shaky shots or footage. Many low-light shots. such as traffic trails or astrophotography. also require a tripod, so the lack of optical image stabilization for these types of shots isn't an issue.

Image quality was overall impressive, with decent center sharpness from the get-go, though that super-wide f/1.4 aperture did contribute to a little softness around the edges and corners, but these areas became sharp very quickly by f/2.8. The corners were also quite dark in the raw and JPEG files, though again this was remedied by f/2.8, and this vignetting is easily fixed in post-production.

The in-camera lens correction profiles did a good job at creating sharp and mostly distortion-free photos. There was also impressively virtually no chromatic aberration, and the lens handled flare when shooting towards the sun very well.

As is to be expected from a lens with such an extreme wide-angle focal length, Sigma’s 12mm does show some signs of barrel distortion around the edges, but this is by no means fisheye, and is overall it's very well handled. Straight lines of buildings do tend to bow a little when shot from up close, so if buildings and architecture is the top of your mind you’ll almost certainly be better off with a tilt-shift lens. Aiming the lens up at buildings exaggerates the barrel distortion the most.

However, for an everyday walkabout lens for city shots it’s a great choice. While perhaps not the best option for exterior architecture, it would be a fantastic lens for interiors, where the wide focal length will help you squeeze more of small spaces into the frame, and its bright f/1.4 aperture will help you get good results even in dark interior spaces.

Should you buy the Sigma 12mm f/1.4 DC | C?

Buy it if...

Don't buy it if...

How I tested the Sigma 12mm f/1.4 DC | C

• I used the lens extensively for a month, shooting around busy cities in both during the day and at night
• I paired it with the Sony a6700 APS-C body as well as a Sony a7R IV full-frame body in crop mode
• I took wide-angle shots of cities, sunsets, low-light scenes, starscapes, and more

I got hold of the Sigma 12mm f/1.4 DC | C and Sony A7R IV and A6700 bodies for a month to give the lens a thorough testing over an extended period.

Due to its small size and portability the lens quickly became my go-to option when I needed to bring a camera with me for days out around cities such as London, where I shot everything from landscapes to cityscapes, sunsets, astro and still life.

I took a range of pictures with in-camera lens corrections enabled, and also turned off to see the comparison. I shot in raw and JPEG formats, and shot at all of the various apertures to gauge how things like corner sharpness and vignetting changed throughout the aperture range.

• First reviewed January 2026

Sigma 17-40mm f/1.8 DC | Art: One-minute review

Cast your mind back to 2013 and Sigma had just brought out its 18-35mm f/1.8 DC HSM | Art lens – the world’s first zoom with a fast, constant f/1.8 aperture – and was set to revolutionize the photography industry.

Over a decade since that lens pushed the boundaries of what a zoom lens could do, the world's largest independent lens manufacturer has gone one better with the Sigma 17-40mm f/1.8 DC | Art, which like its predecessor boasts a constant and bright f/1.8 aperture and promises to deliver exceptional image quality comparable to a prime, but with an expanded zoom range, all while being more than 30% lighter than its predecessor.

The lens is specifically designed for mirrorless cameras with an APS-C sensor and is available in L-mount, Sony E, Fujifilm X, and Canon RF versions. I've spent a month testing an E-mount version of the lens mounted on a Sony A6700, to see if this optic really can do the job at least three primes.

The TLDR is that it absolutely can, and I thoroughly enjoyed hitting the streets to use it for all sorts of photography, from city shots to portraits, shallow-depth-of-field still-life shots, and even low-light scenes like traffic trails and stars.

While the 17-40mm f/1.8 DC | Art builds on its predecessor in pretty much every way, it's not free from faults. It's an APS-C lens with a smaller imaging circle, so it's less future-proof if you upgrade to a full-frame camera later down the road. It's also very expensive, and costs significantly more than its predecessor did back in 2013.

If money is no limit, and you love to shoot at a range of wide-angle focal lengths while also having the versatility of a fast f/1.8 aperture, this is the lens for you, providing you shoot on an APS-C mirrorless body. However, if you're on a stricter budget, and prefer smaller lenses and don't mind switching between them, then you may be better off with one or two cheaper prime lenses instead – provided you're not shooting weddings and other events where you may have less time to swap your optics over.

Sigma 17-40mm f/1.8 DC | Art: Price and availability

• Priced at $919 / £779 / AU$1,650
• Lens hood included
• Announced in July 2025

The Sigma 17-40mm f/1.8 DC Art costs $919 / £779 / AU$1,650. That’s more than Sigma’s original 18-35mm f/1.8 DC HSM Art, which retailed for $799 / £699 (around AU$1,150) at launch. However, this higher price is to be expected given more than a decade of inflation since then, and tariff increases have likely impacted US pricing too. Regardless, I think the extra money is justified in the US and UK by the suite of upgrades that come with the new and improved version.

It’s difficult to say exactly who this lens is for, as I personally found it a bit frustrating with it either being not wide enough or not telephoto enough for my shooting style, though as someone who regularly likes to shoot with 35mm prime lenses, there were times when the extra versatility from its small zoom range was welcome. It is a bit like a souped-up kit lens, but one that costs significantly more.

If you’re on a tighter budget, and not fussed about that wide f/1.8 aperture, or you’re looking for something a bit more portable for your everyday carry lens, then the Sigma 18-50mm f/2.8 DC DN Contemporary would be a better choice. Similarly, if you don’t want a zoom and simply want a smaller prime lens there are options like the Canon RF 35mm f/1.8 IS Macro STM that are lighter, smaller and a little bit cheaper, too. So it really comes down to what you want to use the lens for.

However, for events and wedding photographers shooting with APS-C bodies I can see this lens being a game changer, giving those photographers extra focal length options and a fast f/1.8 aperture when they may not have the time to change lenses.

Sigma 17-40mm f/1.8 DC | Art: Specs

Sigma 17-40mm f/1.8 DC | Art: Design

• Some degree of weather-sealing, usually saved for more premium Art lenses
• Combines a versatile zoom range with a fast f/1.8 maximum aperture
• Switches on the lens barrel to control AF/MF and iris ring functions
• Much longer than most prime lenses with a length of 115.9mm

The Sigma 17-40mm f/1.8 DC Art lens improves on its predecessor in virtually every way. Not only is it 34% lighter, tipping the scales at 18.8oz / 535g, it’s also 6.5% leaner in diameter and 4.2% shorter in length. Despite being a skinnier and lighter model it manages to pack in a 2.35x optical zoom, with a more expansive focal range of 17-40mm, whereas the original 18-35mm fell just shy of 2x optical zoom, so the overall zoom range has been expanded by roughly 18%.

As in the 18-35mm f/1.8 the optical design comprises 17 elements, but there’s one fewer aspherical and one fewer SLD (Special Low Dispersion) elements this time around, meaning there’s a total of three aspherical and four SLD elements inside the barrel.

The aperture has been upgraded however, and instead of the old nine-bladed design, we now have a more premium 11-bladed design, which should deliver better-rounded bokeh.

The rear mount is brass and also weather sealed, confirming the dust and splash-proof credentials of the optic. The lens is available to fit L-mount, Sony E, Fujifilm X and Canon RF, and factoring in the 1.5x crop factor of APS-C sensors the lens will behave much more like a 25.5-60mm, with the exception of Canon cameras, which have a 1.6x sensor crop and with which the lens will be have a slightly tighter perspective at 27.2-64mm.

On the outside of the lens barrel are the zoom and focus rings, which are a decent size and have a knurled rubber finish, making them very grippy and comfortable to use. Because this new lens is designed for modern mirrorless cameras it has an electronic fly-by-wire focus ring rather than a mechanical one, and this also means we’ve lost the focus distance window on the top. Both rings turn smoothly and are easy to operate.

A third ‘iris’ ring sits closest to the lens mount and is for controlling the aperture. This also has a lock to keep it securely in the ‘A’ position if you prefer not to use it, and there’s also a switch to enable or disengage the click – videographers will likely prefer the smoother declicked option when recording footage. It’s also worth noting that on the Canon RF version this is instead a Control ring which can be assigned custom functions for all sorts of settings, including but not limited to aperture.

The zoom is internal, so the lens remains compact and doesn’t rack out when zooming in or out. The throw from 17mm to 40mm on the zoom ring is also quite short, and certainly less than 90 degrees, so you can zoom fully in or out very quickly.

Also on the barrel is a switch to control AF/MF, and there are two AF-L buttons for holding focus, though these can be assigned different functions via the menu.

Heading to the front of the lens we see the front element, which isn’t overly large considering it has a wide f/1.8 max aperture, and this is also where you’ll attach the 67mm screw-in front filters. The front element also has a water- and oil-repellent coating to make it more durable in harsh outdoor environments.

Also in the box is a LH728-02 petal-shaped lens hood, which is part plastic and part rubber for a premium feel, and also has a nice chunky button to lock it in place and release it. This fits on the lens backwards to take up less space when not in use.

Sigma 17-40mm f/1.8 DC | Art: Performance

• Chromatic aberration and flare handled well
• Bright f/1.8 aperture makes it great for low light and blurry backgrounds
• Corner details a little soft and vignetting at f/1.8 but cleared up by f/2.8
• Autofocus is fast, quiet and accurate

When it comes to assessing performance, we first need to consider who the Sigma 17-40mm f/1.8 DC lens is for. It clearly excels in low light with its fast maximum aperture of f/1.8, though its wider focal range of 17-40mm makes it a bit too wide for portraits, so it’s likely to be better suited to indoor events, astrophotography, and perhaps as a wide option for wedding photographers who don’t have time to switch lenses and need its versatility.

It is designed for use with APS-C cameras, which means its imaging circle is too small for full-frame cameras, with which you would see a pronounced vignette. That said, you can still pair the lens with a full-frame camera using the camera’s APS-C crop mode. The downside to this approach is that you won’t be making the complete use of the sensor – effectively throwing away pixels.

I took the lens out around London for several days, using it as my main lens for street photography. In this setup I found it to be a little on the large side, not in terms of width, but in overall length – it’s easily twice the length of, say, my Canon RF 35mm f/1.8 Macro IS STM. This made it more difficult to keep a low profile and take candid shots of people going about their lives without me being noticed, though this is the cost of having a more versatile zoom range.

With its focal length of 17-40mm it’s fair to compare the lens to an 18-55mm kit lens, but with a little less telephoto power – it falls frustratingly short of that magical 50mm focal length which works wonderfully well with a wide aperture of f/1.8 for wider mid-length and head-and-shoulders portraits.

With all that being said, it is a big step up from the old 18-35mm f/1.8 DC HSM Art lens – the new version is 34% lighter, 6.5% shorter and 4.2% thinner, all while boasting two more aperture blades and being able to focus 2cm closer. While these may sound like minor updates, when combined they make the lens feel like a big upgrade overall.

On to image quality, and I have to say that considering its broad zoom range and constant f/1.8 maximum aperture I was quietly impressed. Corners were a little soft and showed some vignetting when shooting wide open at f/1.8, though this was pretty much cleared up by f/2.8 and was easy to fix in software. Impressively, there was very little sign of chromatic aberration, and flare was handled well when shooting towards the sun.

There is a little barrel distortion around the edges when shooting at the wider focal lengths, which as expected starts to disappear as you zoom in – at 40mm the distortion has completely vanished. What distortion there is is very minor and testimony to the new lens element construction, and the in-camera lens corrections do a good job at ironing this out, though further correction can be applied in post-production to straighten out vertical lines more.

Autofocusing was a joy thanks to the High-response Linear Actuator motor, with the lens being very speedy, silent and reliable in achieving focus even in low light.

Should you buy the Sigma 17-40mm f/1.8 DC | Art?

Buy it if...

Don't buy it if...

How I tested the Sigma 17-40mm f/1.8 DC | Art

• I used the Sigma 17-40mm f/1.8 DC | Art extensively for a whole month and regularly took it out on day trips around busy cities in both day and night
• I paired it with the Sony a6700 APS-C body as well as a Sony a7R IV full-frame body in crop mode – both of which delivered 26MP stills
• I took shots at all focal lengths and apertures of cities, sunsets, low light scenes, stars and more

I got hold of the Sigma 17-40mm f/1.8 DC | Art and Sony A7R IV and A6700 bodies for a month to give the lens a thorough testing over an extended period.

Due to its small size and portability the lens quickly became my go-to option when I needed to bring a camera with me for days out around cities such as London, where I shot everything from landscapes to cityscapes, sunsets, astro and still life shots.

I took a range of pictures with in-camera lens corrections enabled and also turned off to see the comparison. I also shot in RAW and JPEG formats and shot at all of the various apertures to gauge how things like corner sharpness and vignetting changed throughout the aperture range.

• First reviewed January 2026

Sony FE 100mm f/2.8 Macro GM OSS: One-minute review

Sony launched its original FE 90mm f/2.8 Macro G OSS back in 2015, just two years after the company revealed its innovative A7 full-frame mirrorless camera to the world.

While the Sony FE 90mm f/2.8 Macro G OSS has been a reliable macro lens for Sony macro photographers, it’s been the only first-party Sony option for over a decade, so all eyes were on Sony when it announced its new Sony FE 100mm f/2.8 Macro GM OSS in September last year.

I was lucky enough to get my hands on a review sample, as well as a Sony A7R V with its large 61MP full-frame sensor, so I was able to zoom into its huge images to assess the new FE 100mm f/2.8 Macro's sharpness and image quality.

As a lover of macro photography who regularly shoots everything from close-ups of interesting textures to insects and mushrooms to pocket watches, I was particularly keen to see how the new Sony FE 100mm f/2.8 Macro GM OSS performed.

At $1,498 / £1,399 / AU$2,599 it's among the most expensive consumer full-frame macro lenses on the market, and 70% more expensive than its predecessor. So should owners of the now decade-old Sony FE 90mm f/2.8 Macro G OSS rush out to buy one?

Simply put, no. The older, more affordable version will suffice for the majority of casual shooters. However, for serious professionals shooting on Sony systems the Sony FE 100mm f/2.8 Macro GM OSS will be well worth the high asking price, delivering as it does incredible image quality, rock-steady stabilization, 1.4x magnification and teleconverter compatibility.

Simply put, it's the best Sony lens for macro photography fans, though you'll have to be prepared to put a sizable dent in your wallet to get one.

Sony FE 100mm f/2.8 Macro GM OSS: Price and availability

• Priced at $1,499 / £1,399 / AU$2,599
• ALC-SH173 lens hood and soft case included
• Announced in September 2025

The Sony FE 100mm f/2.8 Macro GM OSS retails for $1,499 / £1,399 / AU$2,599, and is the successor to the now decade-old Sony FE 90mm f/2.8 Macro G OSS, which can be picked up now for around $1,050 / £819, though this price hasn’t changed all that much since it was released back in 2015. The Sony FE 100mm f/2.8 Macro GM OSS was always going to be a more expensive option with new tech, advanced features and more modern conveniences, and it works out 70% more expensive in the UK, or around 40% more expensive in the US.

Is it worth the extra money? For casual shooters probably not, but for serious working pros I think the extra upgrades, better stabilization and stunning image quality make it good value for money. It’s also a much stronger competitor to the Canon RF 100mm F2.8L Macro IS USM, which Canon users have been enjoying since April 2021, and a true competitor for which has been sorely missed in Sony’s range up until now.

For those on tighter budgets there is of course the original Sony FE 90mm f/2.8 Macro G OSS. There are also third-party options like the Sigma 105mm f/2.8 Macro DG DN Art and Tamron 90mm f/2.8 Di III Macro VXD – while both of these lack optical image stabilization, they are considerably cheaper, and will be a better choice for those on stricter budgets looking to get into macro photography.

Sony FE 100mm f/2.8 Macro GM OSS: Specs

Sony FE 100mm f/2.8 Macro GM OSS: Design

• Focus ring has a clutch mechanism to switch between AF/MF and Full AF quickly
• Switches on lens barrel for focus distance limiter, OSS, iris ring lock and declicking
• Quite long for a 100mm macro lens, measuring 147.9mm
• Built to be compatible with Sony's 1.4x and 2x teleconverters

The Sony FE 100mm f/2.8 Macro GM is very similar in terms of size and weight to the older FE 90mm f/2.8 Macro G OSS, although it has the benefit of being a little more zoomed in at 100mm, and offers a higher maximum magnification of 1.4x over the older optics’ standard 1:1 life-size reproduction ratio, so macro lovers will be able to get even closer. It’s about 7% heavier at 646g and is 2.4mm wider in diameter, and it’s about 17mm longer. So far, it’s bigger and better in every way.

I have no issues with the lens being a little larger; it feels really nice and secure in the hand, and the large focus ring, which is about 1.5 inches wide, is perfectly positioned for your thumb and forefinger to wrap around. Like the old model, the new macro lens uses a push/pull clutch, allowing you to push or pull the entire focus ring to quickly switch between AF/MF and Full MF.

There's also an AF/MF switch on the side of the lens barrel, which shouldn’t create quite as much motion. The manual-focus ring also has a focus distance scale on the lens barrel, which comes in handy when you want to specifically dial in a magnification such as 1:1 life-size, or go even closer.

Other switches on the side of the lens include a full-time DMF toggle to enable the Direct Manual Focus to override the autofocus when needed, which I found to be very useful. There’s also a focus limiter switch which can be set to Full, 0.26-0.7m or 0.5m to infinity to speed up autofocus operation when you know you’re working with subjects either very close or far away, as it prevents the camera from hunting outside the set range.

There’s also a dedicated switch for enabling OSS (Optical Steady Shot), Sony's optical image stabilization tech. It’s rated for 4-4.5 stops on the FE 100mm f/2.8 Macro, which is an improvement over the 3-4 stops you got with the older model. Even more stabilization can be achieved with Sony bodies that have sensor-based IBIS, though Sony doesn’t give an exact figure of how much stabilization can be achieved.

To add context, both of Sony’s lenses are the only optically stabilized macro lenses for Sony FE mount – as mentioned, the Sigma 105mm f/2.8 Macro DG DN Art and Tamron 90mm f/2.8 Di III Macro VXD don’t have optical stabilization, though they are considerably more affordable as a result.

Also on the outside of the lens barrel you’ll find an iris ring to control the aperture, which can be locked in the ‘A’ position if you prefer to set this via the camera body. The aperture click can also be enabled or disabled via a switch – helpful for videographers who prefer a smooth action when filming. We’re also treated to two customizable focus-hold buttons on the side of the lens barrel.

As one of Sony’s top-flight G Master lenses, the Sony FE 100mm f/2.8 Macro GM is of course weather sealed, and to that end there's a rubber seal around the metal lens mount.

In the box you’ll also find its ALC-SH173 lens hood, and a soft case to keep it protected when stored or in transit.

A rather odd feature that I’m glad to see included on the new Sony lens, and one I can’t recall seeing on other recent macro lenses, is the ability to use the Sony FE 100mm f/2.8 Macro GM with Sony’s SEL14TC and SEL20TC teleconverters to extend its macro capabilities even further.

While I don’t think this is essential, I do think some wildlife and nature photographers who already own these extenders for long telephoto lenses will benefit greatly and get extra use out of them. However, more casual shooters will probably still find better value in a set of extension tubes that usually cost around $100 compared to the SEL14TC and SEL20TC which both cost $598 / £479 / AU$799 and also allow you to get closer to your subject.

That said, as somebody who owns a 180mm f/2.8 macro lens, I can see the merit of using a 2x teleconverter as a cheaper and more convenient alternative to owning a telephoto macro lens as well as a 100mm one.

Sony FE 100mm f/2.8 Macro GM OSS: Performance

• Excellent image quality but autofocus not the fastest
• OSS makes it easier to shoot handheld close-up photos
• 1.4x magnification and teleconverter support make it easier to get closer

As one of Sony’s top-flight G Master lenses you’d expect the Sony FE 100mm f/2.8 Macro GM to deliver a solid performance, and I’m delighted to say that this is very much the case.

Considering that the lens has not one, but four of Sony’s XD Extreme Dynamic linear motors the autofocus wasn’t the snappiest I’ve ever seen from a mirrorless lens. Instead it took a little moment to smoothly transition the focus, although this will perhaps be preferred by videographers.

That said, Sony claims the autofocus is 1.9x faster than its predecessor so it's still a decent improvement, and the autofocus was accurate once it acquired the subject. I also found it invaluable to have the ability to pull the focus clutch ring to engage full-time manual focus at any time.

Image quality is excellent, with the lens employing both flourine and Nano AR II coatings on the front element to make it oil and water-repellent, and to counter flare when shooting towards a light source. The lens features 17 elements arranged in 13 groups, two of which are XA (extreme aspherical) elements and two of which are ED (Extra-low Dispersion) elements.

Of course, depth of field is limited when shooting close-up at f/2.8; however in-focus areas of images look very sharp, even when shooting wide open. Flare was controlled well, contrast was punchy, and images were free from chromatic aberration. The sharpness of the lens was able to meet the resolution of the 61MP Sony A7R IV I tested it with, producing beautifully clean images with virtually no distortion or vignetting.

In my tests shooting handheld I was able to take sharp shots at around 4-4.5 stops slower than would normally be required, though this was paired with a Sony A7R IV, which has sensor-based IBIS that also helps. This meant that where a shutter speed of 1/100 sec was required to take a sharp shot I was able to lower my ISO or close the aperture until my shutter speed was 1/5 sec and still get a usably sharp image when shooting handheld – impressive!

Should you buy the Sony FE 100mm f/2.8 Macro GM OSS?

Buy it if...

Don't buy it if...

How I tested the Sony FE 100mm f/2.8 Macro GM OSS

• I used the lens for a month, capturing close-up shots of nature as well as controlled still-life setups at home
• I paired it with the 61MP Sony a7R IV full-frame body, zooming in on images to assess resolution and clarity
• I took shots throughout the aperture range, focusing up close and further away, and used the lens with Sony's 2x teleconverter

I used the Sony FE 100mm f/2.8 Macro GM OSS with a Sony A7R IV for a month to give the lens a thorough testing over an extended period. Sony also kindly loaned me its SEL20TC 2x teleconverter, and I also took test shots with this sandwiched between the lens and camera body to see what difference it made.

The lens became my go-to for taking close-up shots over this time, and in particular when we had a cold snap in the UK, where I'm based – I loved heading out with it to capture stunning details of frost patterns and ice.

I took a range of pictures with in-camera lens corrections both enabled and disabled to see the difference. I also shot in raw and JPEG formats, and shot at all of the various apertures to gauge how things like corner sharpness and vignetting changed throughout the range.

• First reviewed January 2026

Nikon Z 24-70mm f/2.8 S II: one-minute review

Nikon's Z-mount mirrorless cameras system has come of age – seven years since its first Z-mount cameras, we now have its first second-generation lens, the Z 24-70mm f/2.8 S II, which is designed to replace the original Z 24-70mm f/2.8 S.

I have a particular personal interest in this new lens, because I've relied on the original for personal and professional work for several years, and I'm still completely happy with it today.

So the question I had going into this review was not whether this lens would be any good – I knew it was going to be a five-star performer. Rather, it's whether it gives users of the original like me enough of a reason to upgrade, and whether it's worth the extra outlay.

I'll cut to the chase and say I don't think it is... depending on the price difference. I've reviewed enough second-generation Sony lenses where I've seen genuine improvement – new lenses that are optically sharper, plus much smaller and lighter. Nikon's new 24-70mm boasts similar improvements, but for me Nikon hasn't quite gone far enough with the upgrades, given the big difference in price at launch and the already excellent quality of the original.

Still, the Nikon Z 24-70mm f/2.8 S II is a five-star lens by every metric. Its optical and build quality are top drawer, with edge-to-edge pin sharpness at any focal length, impressive control over lens distortion, and smooth rendering of bokeh.

Build quality impresses, too. Its weather-resistant design betters the original in one key way – zoom is internal, which is one less potential weak spot for dust and water to enter the lens internals.

The original lens is in fact slightly smaller in length, but it extends past the new lens as you zoom up to 70mm. For me, the internal zoom, snappier autofocus, lighter weight and moderately sharper detail are the biggest upgrades, but not enough of a reason to spend so much extra now, rather than waiting for potential price cuts or until the original is phased out.

Price considerations aside, you'll struggle to find a better-quality professional lens, with a versatile 24-70mm zoom and consistent f/2.8 aperture across that range – this is a five-star performer all the way, and key new addition to the Nikon Z lens range.

Nikon Z 24-70mm f/2.8 S II: price and availability

• Priced at $2,799 / £2,599 / AU$4,599
• Lens hood included
• Announced in August 2025

Nikon's Nikkor Z 24-70mm f/2.8 S II lens was announced in August 2025, costing $2,799 / £2,599 / AU$4,599, lens hood included. At the time of writing the lens has already got its first price cuts in the US and UK where it's now $2,599 / £2,299.

At the time of the mark II's launch, the original 24-70mm lens was already on sale for $2,099 / £1,999, while you can also buy that lens secondhand from trustworthy retailers for much, much less, with prices depending on the condition.

Personally, I'd buy the original secondhand in excellent condition for around 30% less than the mark II new at its current sale price. However, if money is no object for you, then the new lens is of course the better choice of the two.

Nikkor Z 24-70mm f/2.8 S II specs

Nikon Z 24-70mm f/2.8 S II: Design

• Lightest lens of its kind, just 675g
• Weather-resistant design, internal zoom
• Multiple control rings, including a clicked / de-clicked

The 24-70mm f/2.8 is a classic standard zoom and essential offering in a professional mirrorless camera system, historically sitting in the middle of a trio of professional f/2.8 zooms – the other two usually being a 14-24mm f/2.8 and 70-200mm f/2.8.

When I bought my first mirrorless camera, the Nikon Z6 II, I chose the original Z 24-70mm f/2.8 S as my first lens. Such is its quality and versatility that it ended up being the only lens I owned for years, until I splurged on a fast-aperture telephoto prime.

I didn't think the original 24-70mm needed updating – it's such a good lens already. However, the mark II is the first second-generation Z-mount lens, and it does indeed upgrade the original in several ways.

In terms of design, the Z 24-70mm f/2.8 S II is the lightest of its kind, just 675g – that's approximately 16% lighter than the 805g original. I used both lenses together and I can't say I noticed the difference particularly, even over a long day of event photography. However, that is a decent drop in weight.

The new lens's diameter is slimmer than before, too, with a 77mm filter thread to the original's 82mm. However, the new lens is longer than the original – that is when both lenses are set to the 24mm focal length.

Zoom each lens to 70mm, and that's where the difference kicks in – the new lens has an internal zoom, meaning its dimensions are unchanged as you move through the zoom range (see above), whereas the original lens extends past its successor as you zoom in.

For me, the internal zoom is the single biggest upgrade in the new lens, not only for better balance, but improved ruggedness – it's one less potential point of weakness in terms of dust and dirt ingress. Also, being shorter at 70mm, it's less likely to knock against your surroundings, which is helpful for hectic environments like weddings and events. You can see how the two lenses differ in length below.

We lose the basic top LED, which on the original could display key lens settings, including focus distance. In practice, it's not a feature that I particularly missed. Instead, we gain a control ring which can be set to clicked or de-clicked – I suspect most users will set this ring to control aperture. There's three rings in all; zoom, focus and that custom ring.

There's a reassuring quality to the lens, despite its lightweight design – each ring, button and switch handles well. And it balances perfectly with the Nikon Z6 III, which is the camera I was testing the lens with. By extension, it'll be a decent fit with the Z8 and Z9 cameras, too.

A lens hood is supplied with the lens, and it features a hatch. The idea is that when the hatch is open, it's much easier to make on the go adjustments to a filter, say a variable ND for video recording.

On that note, there is a general sense that the mark II version of the lens is better designed for video work. Autofocus is speedier – more on that shortly – focus breathing is suppressed, and there's that de-clicked aperture control ring for smooth adjustments while recording.

Close focusing is also improved – the minimum focus distance depends on the focal length, but the maximum magnification is 0.32x – that's an improvement from the original's 0.22x, and suitable for close up details such as wedding rings, without being a proper macro lens.

Nikon Z 24-70mm f/2.8 S II: Performance

• Incredibly sharp edge to edge
• Smooth bokeh and impressive control of all lens distortions
• Versatile maximum f/2.8 aperture and snappy autofocus

I've taken a wide range of photos in various scenarios with the lens attached to a Nikon Z6 III (with all in-camera lens corrections turned off), using the various aperture settings and focal lengths. Put simply, the Z 24-70mm f/2.8 S II is optically flawless, save for a light fall-off at f/2.8 (vignetting, which I rather like).

Detail is pin-sharp from center to edges. For reference, I compared like-for-like images shot with the original, and the new lens has the edge (I'm also working on a versus piece between the two lenses where I will share comparison images, coming soon). You'll need to zoom in to 100% to appreciate the difference, but it is there. I wouldn't feel the need to apply any sharpness corrections when editing the images, whereas with the original I tend to apply a little.

Bokeh quality is similar between both lenses. Sure, you'll want a f/1.4 prime or faster for bigger bokeh, but bokeh rendering at f/2.8 is pleasantly smooth and free of any distortion.

What's all the more impressive is that optical quality is better despite what is a simpler optical design – the new lens has 14 elements in 10 groups, compared to the original's 17 elements in 15 groups (this also partly explains the lighter weight of the new lens).

Photos I took in woodland with strong backlighting at f/2.8 are free from chromatic aberration – a distortion I'd expect to see in such a scenario with lesser-quality lenses. In the same scenario with the lens aperture stopped down to f/16, the lens rendered a crisp sunstar (you can see those two photos in the gallery, above).

Only when I pointed the camera straight towards the sun for a backlit selfie could I get any kind of lens flare – that's not a lens drawback, just an impossible situation I presented the lens with, and better lighting required!

Focus breathing is really well controlled, while autofocus performance is superb too. There's no sense of laboring – the lens snappily latches onto subjects, especially when paired with the Z6 III and making use of that camera's subject-detection tracking autofocus skills.

Combine that optical quality, decent close-focusing skills and speedy autofocus, and the Z 24-70mm f/2.8 S II is an impressive performer on all fronts.

Should you buy the Nikon Z 24-70mm f/2.8 S II?

Buy it if...

Don't buy it if...

How I tested the Nikon Z 24-70mm f/2.8 S II

• I tested it for one month
• I paired it with the Nikon Z6 III and Nikon ZR cameras
• I used it for photography and video, both indoors and out

Nikon loaned me the Nikkor Z 24-70mm f/2.8 S II lens for a month, and during this time I've used it for event, portraiture and landscape photography, and as an everyday lens. I've also shot video with it.

I've made direct comparisons with my own 24-70mm f/2.8 S lens to see to what degree Nikon has improved on the original.

I've made sure to take images using various aperture settings and focal lengths, with all in-camera lens corrections switched off, and compared those images to check for any lens distortions and assess bokeh quality.

• First reviewed November 2025

Panasonic Lumix S 100-500mm F5-7.1 O.I.S: one-minute review

The Lumix S 100-500mm F5-7.1 O.I.S is Panasonic's first ultra-telephoto zoom lens for the L-mount system, and an exciting prospect for photographers and videographers looking to shoot subjects at a medium to far distance.

As someone who has occasionally dabbled in wildlife, sports and live music photography, I was keen to see what this lens could do paired up with a Lumix S camera, and a couple of weeks of use left me very impressed.

Given its zoom range, the lens is relatively lightweight and compact, and feels reassuringly solid and well constructed. It's splash-proof and dust-proof, so I had no qualms about using it in inclement weather, and it comes with a lens hood to block unwanted sunlight and give the front element extra protection. It's also supplied with a (removeable) mount to ensure proper balance when it's mounted on a tripod.

Panasonic has lavished the lens with some premium features, most notably dual-ball optical image stabilization (OIS). The company says this offers up to 7 stops of compensation, and with the lens attached to a Lumix S1R II camera I found that it was entirely possibly to shoot at 500mm handheld and achieve consistently sharp stills and video. The OIS ensured the frame barely moved in the viewfinder, suggesting some very impressive work being done by the system.

Other key features include some useful external controls, including a Tight-Smooth ring to adjust tension while zooming – something videographers might find very handy – and a customizable focus ring and button.

Performance is very strong across the full 100-500mm range, although the maximum aperture of f/5 (at the widest end) to f/7.1 (at 500mm) may be a little slow for some users. I found I was still able to grab sharp shots at 500mm in lower light conditions with the help of the OIS, but there are faster ultra-telephotos available.

The lens' optics are excellent, with good sharpness even when shooting wide open, no noticeable vignetting, and purple/green fringing kept well under control.

Overall, the Panasonic Lumix S 100-500mm F5-7.1 O.I.S is a fantastic lens for any L-mount camera user who wants to shoot distant subjects with ease and at high quality. There are cheaper alternatives out there, but they're heavier – and I strongly suspect this lens outperforms them thanks to its excellent optics and OIS.

Panasonic Lumix S 100-500mm F5-7.1 O.I.S: price

• Priced at $2,099 / £1,799 / AU$3,699
• Lens hood and tripod mount included
• Available from October 2025

The Panasonic Lumix S 100-500mm F5-7.1 O.I.S costs $2,099 / £1,799 / AU$3,699, and is available from October 2025 (November in Australia). The package includes a removable tripod mount and lens hood, but no storage bag.

Those operating on a tight budget might baulk at the price, but you're getting a lot of lens for the money. Not only is it designed for full-frame cameras, weatherproof, and equipped with a very effective OIS setup, it's also Panasonic's first ever ultra-telephoto zoom for the L-mount system; and it's not like Lumix S shooters have a lot of alternative choices out there, especially in such a compact package. Sigma offers some competitors in its 150-600mm F5-6.3 and 60-600mm F4.5-6.3, but both lenses are much larger and heavier.

Panasonic Lumix S 100-500mm F5-7.1 O.I.S specs

Panasonic Lumix S 100-500mm F5-7.1 O.I.S: Design

• Lightweight and compact for its range
• Splash-proof and dust-proof
• Tight-Smooth zoom ring

If you're used to wide-angle and standard zooms, the Panasonic Lumix S 100-500mm F5-7.1 O.I.S will feel like a big and heavy lens, but given its focal length range it's actually fairly compact, at just 196.1mm long when set to 100mm, and lightweight at 1,285g.

To aid with balance when it's mounted on a tripod, Panasonic has thoughtfully included a metal tripod ring. This clasps around the barrel, can be rotated if you want to shoot in portrait orientation, and can be completely removed if you're shooting handheld and want to keep bulk and weight to a minimum.

The lens is built to premium standards, with very little play or flex in any of the plastic or metal elements. Panasonic calls it splash-proof and dust-proof, so it's usable in drizzle and light rain, and perhaps even worse conditions.

Panasonic has included switches to limit focus distance (it can be set to Full, or 5m to infinity), switch between auto and manual focus, and toggle between OIS modes. The focus ring and focus button can also be customized to various functions, at least when the lens is attached to a Panasonic camera.

Perhaps its most noteworthy design feature, though, is the Tight-Smooth ring, which allows the user to make fine adjustments to the resistance of the zoom ring. Videographers who want to zoom while rolling might find this very useful indeed, but I would say personally I found the difference between the tightest and smoothest settings fairly minimal. Then again, I was mostly shooting still photos, so perhaps I'm not the target user here.

Panasonic Lumix S 100-500mm F5-7.1 O.I.S: Performance

• Stabilisation to 7EV compensation
• Silent, fast autofocus
• Max aperture of f/5 to f/7.1

The lens performs to excellent standards across the board, although I should address its potential Achilles heel early on: with a maximum aperture of f/5 to f/7.1, it's not the fastest zoom around. That said, I never found it particularly slow in use, even when shooting in twilight conditions; and increasing the aperture size might have resulted in this being a much more expensive, larger and heavier piece of glass, of course.

The lens is optically excellent, and exhibits no vignetting at 100mm, which I'd expect, but even shooting wide open its sharpness is superb. Those f/5 to f/7.1 settings are, in other words, completely usable if needed – although pixel peeping I can see a slight increase in sharpness when reducing the aperture by a couple of stops.

The image stabilization is a massive help with low-light and handheld shooting, because those extra stops of motion compensation really help when longer shutter speeds are required. I could even shoot video handheld at 500mm with no real issues, and the silent autofocus worked swiftly and accurately throughout, all without being picked up on mic.

The lens has quite a short minimum focus distance of 0.8m at the wide end and 1.5m at the tele end, which allowed me to shoot subjects fairly close up with impressive detail. This is not a macro lens by any means, but use it carefully and you can grab very sharp and detail-rich images of smaller subjects.

Bokeh is smooth and attractive, thanks to the circular aperture diaphragm, and Panasonic has taken steps to eliminate focus breathing in video shooting. Overall, I was hugely impressed by what this lens could do, and if I was a regular wildlife or sports photographer I would be very tempted to add it to my collection.

Should you buy the Panasonic Lumix S 100-500mm F5-7.1 O.I.S?

Buy it if...

Don't buy it if...

How I tested the Panasonic Lumix S 100-500mm F5-7.1 O.I.S

• I tested it over two weeks
• I shot wildlife, candids and landscape
• I mounted the lens on a Panasonic Lumix S1R II

I spent two weeks shooting with the Panasonic Lumix S 100-500mm F5-7.1 O.I.S, which I attached to a Panasonic Lumix S1R II. I shot images and video clips of wildlife, people and landscapes at various focal lengths, used the lens handheld and mounted on a tripod, and tested it in different lighting conditions and at different times of day.

All the sample images you see above have been shot in raw format, imported to my MacBook Air and adjusted in Adobe Lightroom. Note that they'e not presented at their original resolution, as the file sizes would be far too large.

• First reviewed October 2025

OM System M.Zuiko Digital ED 50-200mm F2.8 IS Pro: two-minute review

Having shot with the OM System 50-200mm F2.8 zoom, I'm now an even bigger fan of the Micro Four Thirds format for wildlife photography than I was previously. It's a fabulous lens in every regard, with superb build quality, excellent handling and top-drawer image quality.

Above all, its bright maximum f/2.8 aperture – which is a first for a 100-400mm equivalent lens – delivers super-fast shutter speeds and better light intake than cheaper alternatives, which levels up the kind of telephoto wildlife action it's possible to capture.

I tested the telephoto zoom with an OM System OM-1 II; together the IP53-rated weather-resistant pairing are impressively lightweight at just 59oz / 1,674g, and deliver incredible image stabilization and subject-detection autofocus performance, especially for birds – the lens's autofocus can continuously keep up with the camera's blazing 50fps burst shooting speeds.

I love how the lens balances with the camera, and I happily carried the pairing all day, rain or shine. Its internal zoom further protects against potential dust ingress over the long run, and I've no doubt it'll last for many years of heavy use.

Detail is impressively sharp, even at f/2.8, which is the aperture I used the most. This setting also enables the use of the fast shutter speeds that are crucial for high-speed wildlife photography.

Bokeh at f/2.8 is smooth for the most part, though in some scenarios it appeared a little fussy. Close the aperture down and you lose the circular shaping, and get harder edges instead. Bokeh is fine overall, but this is probably the only real negative to mention regarding optical quality.

Close focusing impresses – just 0.78m at any focal length, for up to half-life-size macro capture.

I do have to get the small matter of the price out of the way at this point. At £3,000 (US and Australia pricing is TBC), the 50-200mm F2.8 IS Pro is less than half the price of OM System's other pro 'white' lens, the 150-400mm F4.5, but almost three times the price of the 40-150mm F2.8.

In fact, it's pricier than similar full-frame lenses – Nikon's 100-400mm f/4.5-5.6 VR S comes to mind. However, considering the features on board, the build and optical quality, and that maximum f2.8 aperture, it's still decent value, even if many will be priced out.

I can't fault the OM System 50-200mm F2.8 as an overall package. It's a superb telephoto zoom, and one that I can only dream will one day live in my gear bag. If you're a serious wildlife shooter, OM System has produced one of the best camera and lens pairing you can find.

OM System M.Zuiko Digital ED 50-200mm F2.8 IS Pro specs

OM System M.Zuiko Digital ED 50-200mm F2.8 IS Pro: Design

• IP53-rated weather-resistant design, internal zoom
• Relatively lightweight at 38oz / 1,075g
• 0.78m close focusing for 0.5x (equivalent) magnification

I can't find any fault in the 50-200mm F2.8's design. It's IP53-rated, and is weather-resistant and freeze-proof to -10C; its internal zoom – a feature you'll generally only find in high-end optics – is further evidence of its rugged credentials, as it's one less place for potential dust ingress.

Check out the images below, which show how the lens barrel remains unchanged as you zoom through the focal range.

Considering its features – particularly that focal length and maximum aperture combo – it's lightweight too, at 38oz / 1,075g (without the removable collar). Paired with an OM System camera like the OM-1 II, the total weight is only 59oz / 1,674g, making for a comfortable all-day carry.

All the external controls you'd want in a telephoto zoom are here: optical stabilization, manual / autofocus switch, custom buttons, and a focus range limiter.

Focus range can be limited to 0.78-3m, which is handy for macro photography (for which the lens has that impressive minimum close-focusing distance 0.78m), or to 3m to infinity, which is the option I'd pick when shooting telephoto wildlife. A third option is the full focus distance range, which could increase the risk of focus hunting.

The lens is supplied with a tripod collar, and I tend to keep this attached even when shooting handheld, as it provides another point of contact or place to hold when shooting.

There's no built-in teleconverter, which is a feature you'll sometimes find in high-end telephoto lenses, including OM System's own monster 150-400mm F4.5. However, I'd happily use OM System's 1.4x teleconverter with this lens – I've used it before, and I wouldn't expect to see any significant drop off in image quality.

Adding the 1.4x teleconverter extends the maximum reach of the lens at the cost of 1EV of light, effectively turning this into a 560mm f/4 lens. That's still seriously impressive, and a better reach for bird photography, where subjects tend to be small and tricky to get close to.

OM System M.Zuiko Digital ED 50-200mm F2.8 IS Pro: Performance

• 100-400mm effective focal length with maximum f/2.8 aperture
• Optical and camera stabilization combine for up to 7.5EV stabilization
• Sharp detail and, for the best part, smooth bokeh
• Supports 50fps burst shooting with continuous autofocus

The OM System 50-200mm F2.8 is an impressive performer in every respect. Its autofocus speed and precision are top drawer; when paired with the OM-1 II, it quickly latched onto subjects such as birds, and was able to support 50fps burst shooting with continuous autofocus.

The lens's optical stabilization can also combine with the OM-1 II's in-body image stabilization to deliver up to 7.5EV of stabilization.

In real terms, OM System says you can shoot handheld at the maximum focal length, which is 400mm (effective), using shutter speeds as slow as 1/3 sec, and still get sharp results.

Of course, if the action is moving then 1/3 sec won't be of much use, unless you want to intentionally blur your subject, but static objects will indeed appear sharp based on my testing.

For me, what's even better to have than the superb stabilization performance is the bright maximum f/2.8 aperture. This enables fast shutter speeds to freeze action, which is personally what I'm looking for a lens like this to do – for wildlife, you can do so much more with a f/2.8 telephoto than, say, an f/5.6 one.

The 100-400mm effective focal length range easily covers a range of scenarios – it's my go-to range for grassroots sports like soccer, and for large wildlife. To give you an idea of the difference between 100mm and 400mm, I've taken pictures of the same scene at those extremes, and you can see some examples in the gallery below.

I also explored macro photography with the 50-200mm F2.8, and you can see some of those pictures below. The 0.25x maximum magnification (which is 0.5x full-frame effective) is half-life size and super-versatile – there's no such full-frame lens with such a feature set.

It was while using the lens to shoot macro, including a dew-covered backlit spider's web at first light, that I started paying particular attention to the bokeh – the quality of the out-of-focus orbs of light.

At f/2.8 it's smooth and rounded, but there are scenarios, such as the cobweb shots, where it becomes a little fussy rather than smooth – stopping the aperture down to f/7.1 to increase depth of field revealed polygonal-shaped bokeh. For less extreme scenarios, bokeh quality is pleasant, but I wouldn't buy this lens solely for that attribute.

Where this lens shines is in its wonderfully sharp detail, no matter the focal length or aperture (f/2.8 to f/11, at least). I've been really impressed by the quality of detail in my subjects, and I've been able to shoot images that simply wouldn't be possible with cheaper gear, or even with full-frame lenses with darker maximum apertures, like the Nikon 100-400mm.

If anything is holding this lens back, it's the limitations of the Micro Four Third's sensor format, which is half the size of full-frame. It's less clean in low light, and dynamic range is a little limited in high-contrast scenes, like the sunrise shot in the gallery below (scroll past those adorable guinea pigs).

The maximum f/2.8 aperture mostly makes up for any sensor format limitations, though, and in its own right the OM System 50-200mm F2.8 is a top-quality telephoto zoom, with no real drawbacks.

Should you buy the OM System M.Zuiko Digital ED 50-200mm F2.8 IS Pro?

Buy it if...

Don't buy it if...

How I tested the OM System M.Zuiko Digital ED 50-200mm F2.8 IS Pro

• Following an initial testing session with OM System, I used the 50-200mm extensively for an entire week
• I paired it with the OM System OM-1 II
• I took telephoto shots of wildlife, macro photos of spiders, and more

I first used the OM System 50-200mm F2.8 IS Pro at an event hosted by OM System at a wildlife trust in the UK, where I had some hands-on experience photographing exotic birds. I subsequently used the camera over a week-long loan period, paired with the OM System OM-1 II camera.

During my own time with the lens I've taken it out for sunrise shoots of birdlife on a common, been captivated by the macro world of insects including backlit spider's webs, and snapped my family's pet guinea pigs at last light.

I've made sure that all lens corrections are switched off in-camera, shot in both raw and JPEG format, used every key focal length and various apertures, then assessed image quality using Adobe Camera Raw, which has OM System profiles.

• First reviewed September 2025