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

Viltrox AF 35mm f/1.2 LAB FE: one-minute review

Professional lenses typically offer the best image and build quality, but at a cost. Plus, when thinking about features on prime lenses, most are fairly straightforward despite the aforementioned characteristics. One of two lenses bucking this trend is the Viltrox AF 35mm f/1.2 LAB FE, the other being the Viltrox AF 135mm f/1.8 lens.

The latter is available for both Sony E and Nikon Z mount, with the 35mm soon to be available for Z mount, too. The thing I love about these lenses is that, despite being primes they're surprisingly feature-packed, and are available at extremely attractive prices.

The 35mm f/1.2 LAB costs just $999 / £959 at Amazon, which is an amazing price for what you get (if you're buying from Australia you can purchase the lens in USD.) This price is especially impressive when the slower Sony FE 35mm f/1.4GM is considerably more expensive. The Sony is, of course, a flagship G Master lens, which may suggest superiority, but the 35mm f/1.2 LAB holds up well by comparison.

That extra 1/3 stop of light-gathering capability makes a difference in two ways. First, it makes the lens better for astrophotography. Second, it produces a beautifully shallow depth of field. Detail is also impressively sharp wide open at f/1.2, so for portraiture and astrophotography this is a truly stunning lens.

• Check out more of the best Sony lenses

Viltrox AF 35mm f/1.2 LAB FE specs

Viltrox AF 35mm f/1.2 LAB FE: Design

• Digital color screen
• Large and heavy for a 35mm lens
• Excellent build with weather sealing

Most prime lenses are fairly simple in their design, relying on their fast maximum apertures and excellent image quality to act as the main selling points. The 35mm f/1.2 LAB certainly follows suit here, but it also has a few tricks up its sleeve that set it apart from other primes. It’s also a beast of a lens, at 3.51 x 8.80 inches / 89.2 x 121.8mm and weighing32.5oz / 920g.

It’s certainly nowhere near as large and heavy as the 135mm f/1.8 LAB lens, but it’s close to double the weight of the Sony FE 35mm f/1.4GM and is slightly larger. The fact that it's an f/1.2 lens is a contributing factor, but Viltrox LAB series lenses do seem to be pretty hefty, to say the least.

Both lenses are made of aerospace-grade magnesium-aluminum alloy with a die-coating, so they have a premium look and feel alongside being of an extremely high build quality. Plus, the lenses feature a dust and moisture-resistant construction, making them perfect for outdoor photographers.

The filter thread is 77mm, so not too large and ideal for both circular and square filters, while the 11-blade aperture produces smooth bokeh with circular highlights. The minimum focusing distance is 13.4 inches / 34cm, which isn’t the shortest you'll find but is still pretty good.

As mentioned, despite being a prime lens, the 35mm f/1.2 LAB is fairly feature-packed. It has a customizable multi-function ring, which by default is set to control the aperture, with clicked and clickless operation selectable using a switch.

There are also two customizable Fn buttons and a small color digital screen that shows the focus distance, aperture, and the active Fn button. The screen can, alongside the Fn and multi-function ring, be customized by connecting the lens via Bluetooth to the Viltrox Lens app.

Since this is a third-party lens, firmware updates and customization can’t be applied in the same way as OEM lenses. But, with the lens unattached from a camera, it can be powered via a USB-C port on the lens mount and then connected to the app. This works incredibly well; a firmware update was required during testing and only took a few minutes to complete.

The ability to personalize the controls is extremely useful for tailoring the lens to the way you like to shoot. I was quite happy with the default configurations, so although I looked at the options available in the app, I left everything as it was.

Viltrox AF 35mm f/1.2 LAB FE: Performance

• Excellent image quality overall
• Impressive sharpness at f/1.2
• Sharpest at f/8

The image quality produced by this lens is sensational, with incredible sharpness and detail wide open at f/1.2. Sure, with this lens you’ll need to stop down on some occasions, but most people want a lens like this for that fast maximum aperture, and the 35mm f/1.2 LAB is incredible when shooting wide open. It’s not perfect, but it’s seriously impressive.

The 35mm f/1.2 LAB produces exceptional center sharpness at f/1.2, and while extreme corner sharpness is quite soft, edge sharpness is excellent. Corner sharpness increases gradually as you get closer to the center of the frame and as you stop down the aperture, with f/4 showing greatly improved extreme corner sharpness.

Overall sharpness continues to improve up to f/8, which, like many lenses, is the sweet spot at which most detail is resolved and the overall image produced is sharpest. Beyond f/8, diffraction begins to come into play, with f/11 providing slightly less sharp images, and f/16 exhibiting the least sharp results.

Vignetting is most visible at f/1.2 as you’d expect, and becomes less noticeable until f/2, where it almost disappears, and completely disappears at f/2.8. This is normal for a prime lens, and it’s not an issue at all because vignetting is easy to remove with software.

There isn’t a profile available in Adobe Lightroom yet since this lens is still relatively new after an April 2025 release, so any corrections currently have to be made manually. Chromatic aberration is minimal, with only the tiniest amount of fringing visible, and this was easily removed.

Autofocus performance is fast and precise, with the lens locking onto subjects quickly and silently. The AF 35mm f/1.2 LAB features Quad Viltrox HyperVCM motors, which Viltrox claims provide 150% faster AF than STM motors. I couldn’t perceive a difference in speed.

The lens also supports subject recognition, which I tested by using people/eye recognition to shoot portraits wide open. This worked exceptionally well, with perfectly sharp eyes and a dramatic fall-off in depth of field.

Should you buy the Viltrox AF 35mm f/1.2 LAB FE?

Buy it if...

Don't buy it if...

How I tested the Viltrox AF 35mm f/1.2 LAB FE

• I tested it over several weeks
• I used it to capture multiple subjects
• I tested it with an unforgiving Sony A7R V

I tested the Viltrox AF 35mm f/1.2 LAB FE over several weeks attached to an unforgiving Sony A7R V, shooting a range of relevant subjects and using different aperture settings to test sharpness and distortion. I shot both static and moving subjects to test autofocus performance.

With 30 years of photographic experience and 17 years working as a photography journalist, I’ve used many of the cameras and lenses that have been released in that time. As a working photographer, I aim to test cameras and lenses from a photographer’s point of view.

• First reviewed July 2025

Viltrox AF 16mm f/1.8 FE: one-minute review

It’s not often that a lens grabs you by the scruff of the neck and demands attention, but that’s exactly what the Viltrox AF 16mm f/1.8 FE does. This unassuming lens, which doesn’t benefit from Viltrox’s Pro or LAB series labels, is one of the most impressive lenses I’ve used in a long time. It’s not the best, it’s not the most expensive, but it is unbelievably impressive for several reasons.

That’s a bold statement if ever I’ve made one; but this lens, which is perfect for landscapes and astrophotography, is incredibly well-priced, produces excellent image quality, and offers professional-level build quality and features. How Viltrox has managed to pull off creating a lens of this quality at this price point is beyond me.

The Viltrox AF 16mm f/1.8 FE costs just $464 / £533 / AU$899, which is an incredible price for such a well-built, weather-sealed lens offering professional performance and excellent image quality. Sony's own Sony FE 16mm f/1.8 G is a direct competitor, and it costs a whopping $848 / £849 / AU$1,799, so the Viltrox undoubtedly offers excellent value for money – and the Viltrox is a far superior lens in almost every way, despite being larger and heavier than the Sony.

What’s more, the Sony version relies heavily on lens corrections, while the Viltrox is optically excellent without the need for corrections. I appreciate that many modern lenses rely on lens corrections to achieve their excellent image quality (and compact size), but you simply cannot beat near-perfect images in terms of sharpness, distortion, and aberrations straight out of camera.

The Viltrox AF 16mm f/1.8 is one of the best Sony lenses designed for full-frame cameras, plus it is also available for Nikon Z mount. There's no word on future versions yet, such as for L-mount.

Viltrox AF 16mm f/1.8 FE specs

Viltrox AF 16mm f/1.8 FE: Design

• Compact yet heavy design
• Weather sealed
• Excellent handling

We’ve already covered the price of this lens, and you’d normally expect build quality to take a hit at such a competitive price point, but that's certainly not the case here. The 16mm f/1.8 features an all-metal body and weather-sealing, giving it an undeniably premium look and feel. This is emphasized further by the color digital screen that displays lens information – more about that later.

The 16mm f/1.8 is quite a hefty beast in terms of weight due to its construction at 19.4oz / 550g, but it’s fairly compact at 3.35 x 4.06 inches / 85.2 x 103mm, and balances well with Sony full-frame and APS-C mirrorless cameras.

This is in contrast to the Sony FE 16mm f/1.8 G, which is much smaller and lighter at 2.91 x 2.95 inches / 73.8 x 75mm with a weight of 10.7oz / 304g, but it’s an optically inferior lens alongside being much more expensive.

That construction comprises 15 elements in 12 groups, including four ED glass and three aspherical lenses. The optical design aims to deliver sharpness, detail and high contrast while minimizing distortion, and it achieves this as we’ll discuss in the performance section.

The front element is standard in its design rather than bulbous, which is great, and it features an HD Nano multilayer coating including water-resistant antifouling coatings.

The filter thread is 77mm, which is average for wide-angle lenses, which typically range from 67mm to 82mm. This means you can use both circular and square filters for astrophotography and landscape photography.

The minimum focusing distance of the lens is 10.6 inches / 27cm, which is great for landscape photographers who want to use focus stacking to achieve pin-sharp images from front to back.

In terms of controls, you get a nice wide manual-focusing ring, a manual aperture ring that can be set to stepped or stepless operation via the switch on one side of the lens, two customizable Fn buttons and an AF/MF switch.

There’s also a USB-C port on the lens mount so that you can connect it to the Viltrox Lens app via Bluetooth to update firmware, customize the Fn buttons, and customize the digital screen’s welcome screen.

Viltrox AF 16mm f/1.8 FE: Performance

• Fantastic image quality
• Impressive sharpness at f/1.8
• Excellent corner sharpness

This is a fast and wide prime, which means it has excellent light-gathering capabilities for astrophotography. The combination of such a wide field of view and a fast f/1.8 aperture draw in huge amounts of light.

Of course, f/1.4 would be better, but that would require the lens to be much larger and heavier. The focal length is also great for landscapes, which can benefit greatly from the image quality the 16mm f/1.8 is capable of producing.

The image quality produced by this lens is fantastic, with excellent sharpness across the frame, even in the corners, wide open at f/1.8. This aperture produces the most vignetting as you’d expect; this almost disappears as you stop down to f/2.8 and is completely gone at f/4.

There is an Adobe Lightroom Lens Profile that can deal with this and the tiny, pretty much negligible amount of barrel distortion that’s present. There’s also only minimal chromatic aberration, so this is an optically impressive lens.

Sharpness is great wide open and increases incrementally up to the sweet spot of the lens, which is f/8. Sharpness drops slightly at f/11, and at f/16 you begin to see diffraction coming into play, and while f/16 is perfectly usable for landscape photography, diffraction is too high at f/22, so this setting is best avoided.

The color digital screen is a feature we’re seeing more on Viltrox lenses, and it’s a unique and pretty neat feature. It simply shows the focus distance, aperture setting and the active Fn control, and I find it most useful when I’ve manually focused on a point and need to replicate that focus distance quickly.

Autofocus isn’t the fastest. It takes the lens around 0.5 seconds to lock onto subjects when stopped down, and about 0.25 seconds wide open. This isn’t great, but since this is a lens that you wouldn’t typically use for action subjects, it’s not a huge issue.

Autofocus is driven by an SMT stepping motor, which is quiet but just about audible. AF is absolutely fine for landscape photography, while astrophotographers will exclusively use manual focus for precise focusing on stars.

Should you buy the Viltrox AF 16mm f/1.8 FE?

Buy it if...

Don't buy it if...

How I tested the Viltrox AF 16mm f/1.8 FE

• I tested the lens over a couple of months
• I used it to capture landscapes and astrophotography
• I tested it with a Sony A7R V

I tested the Viltrox AF 16mm f/1.8 FE over several weeks attached to an unforgiving Sony A7R V, shooting landscapes and astrophotography. I took photos at a range of aperture settings to test sharpness, distortion and aberrations.

I shot most images simply to see how the lens performed in different situations, while others were shot specifically to be able to compare the results to those from other lenses.

With 30 years of photographic experience and 17 years working as a photography journalist, I’ve used many of the cameras and lenses that have been released in that time. As a working photographer, I aim to test cameras and lenses from a photographer’s point of view.

• First reviewed July 2025

Sigma 56mm F1.4 DC DN Contemporary: one-minute review

Most beginner mirrorless cameras are available as a kit with a standard zoom lens – a pairing that many users settle with long-term. However, if you want notably better-quality photos from such a setup, my first bit of advice would be to invest in an additional lens.

That's where the Sigma 56mm F1.4 DC DC Contemporary prime comes in. Offering pin-sharp detail, dreamy bokeh and an 85mm effective focal length, it's ideal for portraiture, and a level up from your kit zoom.

It's one of a quartet of dinky f/1.4 primes by Sigma. But of those four, and indeed of the many lenses I've tested for crop-sensor cameras, it's Sigma's 56mm F1.4 that has impressed me the most.

What's more – it's tiny, lightweight, and well-built too, meaning it'll pair nicely with mirrorless cameras from the likes of Sony, Canon, Fujifilm, Nikon, and more.

In fact, Sigma should be commended for making this lens available for such a wide range of lens mounts. It was originally released for Sony E and Micro Four Thirds back all the way back in 2018, then for other mounts such as Fujifilm X, and only this year did it debut for Canon RF – a third-party lens for Canon RF is rare.

Put simply, the Sigma 56mm F1.4 is the best second lens you can buy in this format, especially for portraiture. Being a Sigma, it's made in-house in Japan to high standards, and the cherry on the cake is that it's reasonably priced too.

Sigma 56mm F1.4 DC DN Contemporary specs

Sigma 56mm F1.4 DC DN Contemporary: Price and availability

• Available for most mirrorless camera lens mounts
• Priced at around $450 / £420 / AU$650, depending on mount

Sigma offers the 56mm F1.4 DC DN Contemporary in L mount, Sony E mount, Fujifilm X mount, Micro Four Thirds mount, Nikon Z mount, Canon EF-M mount and Canon RF mount versions. Put simply, you can find a version of the lens for your crop-sensor mirrorless camera, without needing an adaptor.

How much the lens costs depends on the version you need. The Canon RF version, for example, costs $449 / £419 / AU$649, while the Sony E-mount version is a little cheaper.

Sigma 56mm F1.4 DC DN Contemporary: Design

• Weighs around 10oz / 285g
• Plastic barrel, no external buttons
• Available for most mirrorless camera lens mounts

Lenses for APS-C cameras tend to be smaller than equivalent full-frame optics, and that's certainly true of the Sigma 56mm F1.4. It weighs just 10oz / 285g (the Canon RF version is a few grams heavier), and measures 57.5mm in length, whereas an 85mm f/1.4 lens for full-frame cameras would typically be double the weight and size.

Its diminutive dimensions and light weight make the Sigma lens a suitable match for the best beginner mirrorless cameras, and it's the dinkiest in the series of f/1.4 primes. I was testing it with the Canon EOS R100, which is Canon's smallest mirrorless camera with RF mount, and there was a really nice balance to the pair.

There's a nice feel to the lens too, thanks to its large rubberized focus ring that's easy to locate and smooth in action. The barrel is plastic rather than metal, but it feels solid enough. I didn't exactly thrash the lens around during testing and portrait shoots, but I can still appreciate its durability.

The mount, on the other hand, is metal, and most versions feature a rubber seal for dust and moisture resistance (the exception is the Canon EF-M version). It's worth pointing out that Sigma makes the lens at its HQ in Aizu, Japan, with tight control over build and optical quality.

There are zero external buttons and switches on the lens; the sole manual control to hand is the focus ring. I was testing the lens with a beginner-level camera, which also lacks the kind of external controls found on pricier cameras. As such, I missed having quick access to a basic adjustment such as a manual / autofocus switch.

The lens comes with a generously-sized lens hood, and should you want to attach threaded filters you'll need 55mm ones. Such small filters are usually pretty low-cost.

Sigma 56mm F1.4 DC DN Contemporary: Performance

• Smooth, rapid and precise autofocus
• Maximum f/1.4 aperture for defocusing backgrounds
• Minimum 19.7 inches / 50cm focus distance delivers 1:7.4 maximum magnification

Autofocus in the 56mm F1.4 lens is powered by a stepping motor, which drives the lightweight lens elements with ease for quiet, rapid and accurate focus. Focusing is internal too – which means the lens's exterior maintains its size.

The minimum focus distance is 19.7 inches / 50cm, which is pretty decent for an 85mm-equivalent lens, realizing a 1:74 maximum magnification. This is no macro lens, however; the closest you'll get to sharp focus is on details such as flower heads.

The aperture range is f/1.4 to f/16, with a nine-blade rounded aperture. Naturally, I gravitated to the maximum aperture for portraiture, and I suspect that the majority of the photos I would take with the lens, should I own it myself (and I want to), would be at f/1.4.

At this aperture, backgrounds defocus nicely for head-and-shoulders portraits, as in the images below, in which you can also see what bokeh looks like – note the quality of the dappled light in the background. Bokeh is smooth and round in the center of the frame, although a little cats-eye-shaped in the corners.

On the same day that I shot those portraits, I also used Canon's own RF-S 55-210mm F5-7.1 IS STM lens for portraits and the difference in quality was clear – bokeh in the lower-end Canon lens has an ugly onion-ring effect, whereas the Sigma's is, as I've said, buttery smooth.

The lens construction comprises 10 elements in six groups, two of which are aspherical elements, plus one 'SLD' element. The result is ridiculously sharp detail, even at f/1.4, although for absolute peak sharpness any setting between f/2.8 to f/5.6 is on the money.

Like many Sigma lenses, the 56mm F1.4 utilizes in-camera digital correction to fine-tune images. I shot photos both in raw & JPEG, and checked the uncorrected images in Adobe Camera Raw, which supports the 56mm lens's profile for corrections. Switching lens corrections on and off allowed me to see how extreme any corrections are.

Lens distortions such as chromatic aberration and flare are all well controlled off the bat, and certainly nothing to worry about. There's notable pincushion distortion, and modest amounts of vignetting at f/1.4, but nothing that automatic lens corrections can't handle easily enough.

Image quality is excellent across the board, and the outstanding sharpness is even more impressive given the tiny dimensions of the lens.

Sigma 56mm F1.4 DC DN Contemporary sample gallery

Should you buy the Sigma 56mm F1.4 DC DN Contemporary?

Buy it if...

Don't buy it if...

How I tested the Sigma 56mm F1.4 DC DN Contemporary

• Sigma loaned me the 56mm F1.4 DC DN Contemporary for a few weeks
• I tested the lens at the same time as three of Sigma's other F1.4 primes
• I had the Canon RF-mount version, and paired the lens with a Canon EOS R100

I had several weeks to put the Sigma 56mm F1.4 DC DN Contemporary lens through its paces, together with the three other lenses that make up Sigma's quartet of Contemporary primes for crop-sensor cameras: the 16mm F1.4, 23mm F1.4 and 30mm F1.4.

They are some of the few third-party lenses made for the Canon RF-mount, which is the version that I had, and I paired the lens with the entry-level Canon EOS R100.

Throughout my time testing the lens, I've set the camera to shoot in raw & JPEG simultaneously, with in-camera lens corrections turned off. Adobe Camera Raw's profile for the lens allowed me to directly check the extent of corrections that are applied.

I've mostly used the lens for portraiture, making use of its maximum f/1.4 aperture. I've also taken images in various scenarios and using various apertures, in order to check for lens distortions and check detail.

• First reviewed June 2025

Viltrox AF 50mm F2 Air: one-minute review

This isn’t my first Viltrox lens review, and nor it will it be my last, because the Chinese lens maker is on a roll, producing a string of excellent optics for users of all skill levels and budgets. Coming in at the opposite end of a recent cinema lens that could cost up to $200,000, the 50mm f/2 Air costs less than $200 / £200 / AU$320, and offers excellent value for money.

It’s a tiny and lightweight prime that's available for Sony E and Nikon Z mounts – I had the latter for this review – with a decent maximum f/2 aperture for defocusing backgrounds. You don’t get the sharpest detail or creamiest bokeh I’ve ever seen – for those you'll want to check out the excellent Viltrox 135mm f/1.8 LAB – but the Viltrox 50mm f/2 is an excellent casual lens for enthusiasts, especially for portrait photography, and an ideal foil to a standard zoom.

I’d have preferred the lens’s minimum focus distance to be a little closer, which would bolster its everyday photography credentials, while a couple of external controls to speed up changing settings, such as an AF / MF switch, would be welcome. However, the Viltrox AF 50mm F2 Air delivers performance and image quality that belie its price – and the fact it squeezes proprietary camera-brand alternatives with its aggressive pricing is the cherry on the cake.

Viltrox AF 50mm F2 Air specs

Viltrox AF 50mm f/2 Air: Price and availability

• Available for Sony E and Nikon Z mounts
• $199 / £229 / AU$319 list price, but it usually can be found for less

Hovering around the $200 / £200 / AU$320 mark and often available for a little less, the Viltrox AF 50mm f/2 Air is an excellent value prime lens, especially when you considering its build quality and optical performance.

Price-wise, it reminds me of the old Canon EF and Nikon F-mount cheap nifty fifties for DSLRs, being an affordable first prime for enthusiasts. There's bad news for some though – Viltrox's lens is only available for Sony E and Nikon Z lens mounts.

Viltrox AF 50mm f/2 Air: Design

• Weighs just 7.8oz / 220g
• No external buttons or controls
• Available for Sony E and Nikon Z mounts

The 50mm f/2 Air lens is, as the name suggests, designed with an emphasis on light weight over absolute performance – it’s positively featherweight, especially compared to alternatives such as Nikon’s own Z 50mm f/1.4.

It’s a small lens, too. I paired the 50mm f/2 Air with a Nikon Z6 II, and I could barely feel the lens. It's not often that I'd describe a camera / lens pairing as rear-heavy, but that's the case here.

This is also excellent value, with a sale price often dipping under $200 / £200 /AU$319, and the list price only a little more. For context, the Nikon-own f/1.4 lens is double the price (and double the weight), while Nikon's Z 50mm f/1.8 is four times the price.

Viltrox’s lens well made too – a rugged metal barrel and rear mount instil confidence, even though there’s no proper weather-sealing to speak of (such are the compromises with such a low-cost lens).

There's a generously sized focus ring with smooth and easy rotation, and that’s it for controls. No AF / MF switch, no optical stabilization, no focus distance limiter – this is a simple bit of gear.

The lack of controls could, depending on which camera you pair the lens with, make changes to camera settings a little fussy. My camera doesn’t have an AF / MF switch, and because the lens doesn’t either I need to dive into a menu to switch between the two focusing methods, which can be frustrating.

Otherwise, there's little to talk about regarding design – this is a simple and lightweight optic that accepts 58mm threaded filters and comes supplied with a decent lens hood.

Viltrox AF 50mm f/2 Air: Performance

• Bright maximum f/2 aperture ideal for portraiture
• Fairly limited close-focusing capabilities
• Snappy autofocus speed

This is no pro-quality lens, but for beginners and enthusiasts the optical quality and performance of the Viltrox 50mm f/2 Air are perfectly sufficient.

The bright, zoom lens-beating maximum f/2 aperture ensures plenty of light intake and makes this lens great for low-light photography, as well as for defocusing backgrounds for dreamy portraits. Bokeh is smooth enough – I didn’t really spot the ugly ‘onion ring’ effect that can be evident in cheap optics.

Optical clarity is perfectly acceptable, even if this isn't the sharpest 50mm lens I’ve used. With a little extra sharpening in post, most users should be perfectly happy with the results.

I shot all images in JPEG and uncompressed raw, and with lens corrections switched off there are slight signs of chromatic aberration, but the Viltrox has a reasonable handle on such distortions.

I found the 1.67ft / 0.51m minimum focus distance a little limiting for close-up shots – the maximum magnification is a modest 0.11x. This isn't really a macro lens in any way, and perhaps even less of an everyday lens, with portraiture being its strongest suit.

With such a small and lightweight collection of ashperical (ASPH), ED and IF lens elements, the 50mm f/2’s STM autofocus motor has an easy job – those lens elements are moved with ease for quick and precise autofocus. Not once did I perceive sluggish autofocus on account of the lens rather than the camera.

Overall, the Viltrox AF 50mm F2 Air is a capable performer, especially when you consider its compact size, low price and bright maximum aperture. For users on a budget who are looking to step up from a standard-zoom kit lens, this is an ideal choice.

Viltrox AF 50mm F2 Air sample gallery

Should you buy the Viltrox AF 50mm F2 Air?

Buy it if...

Don't buy it if...

How I tested the Viltrox AF 50mm F2 Air

• I've used it over a loan period of several months
• I paired the lens with a Nikon Z6 II
• I've used it in a range of scenarios, generally in fair weather, and checked image quality at the various aperture settings

I paired a Z-mount version of the Viltrox AF 50mm F2 Air with a Nikon Z6 II for several months, during which time it has seen moderate use, generally in fair weather. Size-wise, the camera and lens are perfectly balanced, with no hint of wrist strain due to front-heaviness.

To test optical quality I’ve snapped portraits with the aperture wide open at f/2, and also taken series of images at each aperture setting to compare sharpness and check for lens distortions.

• First reviewed June 2025

Sony FE 50-150mm F2 GM: two-minute review

Sony's lens department is on a roll. Its superb FE 85mm F1.4 GM II bagged our 2024 lens of the year award; the recent FE 28-70mm F2 GM picked up a five-star rating; and now we have the FE 50-150mm F2 GM, which is the world's first telephoto zoom with consistent f/2 maximum aperture – and it's another stunning flagship optic.

When I was first presented with the 50-150mm lens in April, I wasn't convinced by its unique focal length. Especially when you consider the 28-70mm F2 GM, plus a string of other pro 70-200mm lenses from down the years, which includes the FE 70-200mm F2.8 GM OSS II.

However, following extended use, I'm convinced the 50-150mm is probably the single most versatile lens for the type of photography I often do – events, grass-roots sports, weddings, candids – and it's easily one of the best Sony lenses ever.

The 50-150mm lens is part of Sony's professional G Master (GM) range, which means handling, durability, autofocus performance and optical quality are all top-drawer. Add its bag-of-primes-in-one-lens credentials, and the result is an eye-watering list price.

The real kicker, though, is the 50-150mm's heft – it weighs a wrist-tugging 1,340g. It was fine over the course of a soccer match, but all day at a wedding would be a proper workout. It's chunky, too, measuring 102.8 x 200mm – that's a particularly big diameter that will stretch the compartments of a regular camera bag.

Having what is effectively several fast aperture primes in one versatile optic makes sense for a certain type of user. It's the telephoto zoom flexibility and bright maximum f/2 aperture at any focal length that make the 50-150mm the goat for events photography, where speed, low-light performance, rapid autofocus, pin-sharp detail, shallow depth of field and buttery bokeh are needs, not wants. The 50-150mm ranks highly across the board.

Before the 50-150mm lens was announced, my go-to lens combination for events was a 24-70mm f/2.8 and a 135mm f/1.8. However, having put Sony's impressive telephoto zoom through its paces, I'm now reconsidering this setup – and even the camera system I've spent years building up. I can't think of any higher praise for a lens.

Sony FE 50-150mm F2 GM: specs

Sony FE 50-150mm F2 GM: price and availability

• $3,899 / £3,799 / AU$6,799
• Available for pre-order

Beyond its size and weight, if there's one thing that the FE 50-150mm F2 GM lens has going against it, it's the list price – which at the best part of $4,000 / £4,000 / AU$7,000, is eye-watering.

To put that into context, you could pick up both Sony's 24-70mm F2.8 and 135mm F1.8 G Master lenses and have change left over – or, for a little extra, the 24-70mm with Sony's 70-200mm F2.8 GM II.

Put simply, you have to really need the maximum f/2 aperture over f/2.8 to justify the extra outlay, and to put up with that extra weight. I'll get onto the benefits of the brighter aperture later in the reivew.

Naturally, the 50-150mm lens is billed as an ideal pairing with the 28-70mm F2 to cover a huge range of scenarios that would otherwise require an army of primes. I actually think the 50-150mm is the more compelling of the two f/2 lenses.

I'd happily pick up the 50-150mm and a wide prime such as the (cheaper) 24mm F1.4GM instead of the 28-70mm to cover the times when the telephoto zoom isn't wide enough – I'm not sure 28mm is wide enough for me.

Sony announced the 50-150mm lens in April, and at the time of writing it's available for pre-order, with the anticipated sales start date some time in June, 2025.

Sony FE 50-150mm F2 GM: Design

• Big and heavy
• Robust, weather-sealed build
• Internal zoom and focusing

The bigger the maximum aperture, the bigger the lens, so it should come as no surprise that the Sony FE 50-150mm F2 GM is a substantial optic – a cumbersome 47.3oz / 1,340g, excluding the tripod mount.

For context, Sony's second-generation 70-200mm F2.8 GM OSS II lens weighs 36.9oz / 1,045g – that's 20-25% lighter. The pair are identical in length, measuring 200mm, but the diameter of the 50-150mm lens is wider at 102.8mm.

Such is the diameter of the lens, I found it struggled to fit into the padded dividers of numerous camera bags, requiring a reconfiguration of the dividers in most instances. Naturally, the 50-150mm lens' filter thread is bigger than most, too, accepting pricey 95mm lens filters.

Paired with the a7R V, I felt the combination was a little front-heavy and wished for Sony's vertical grip, which would make for a more comfortable setup. Without the grip, I happily photographed a soccer match, while supporting the lens with my second hand.

I would hesitate using the lens for weddings, but the action on such days can be in bursts, so weight might not be an issue. For lengthier, sustained shoots, the 50-150mm isn't too far off the size and weight of pro lenses benefiting from a monopod support.

The handling of the lens is otherwise superb – every G Master lens I've tested is. Here, in the same mould of the FE 28-70mm F2 GM, you get a full complement of controls; rings for focus, zoom and aperture; plus customizable focus hold buttons, AF/MF, iris (aperture) lock and full time DMF switches – the latter lets you manually override autofocus.

However, optical stabilization is absent, which I find a little surprising. More on this later.

Aperture can be changed on the lens through smooth or clicked adjustments. In general, photographers opt for the tactile clicked feedback, while videographers prefer the smooth movement through f-stops, for whom the ridged ring will be compatible with follow-focus systems.

Zoom is internal, which means the lens barrel remains the same length whatever the focal length. That's one less point of potential weakness in this a fully weather-sealed lens built to withstand the rigors of professional use and inclement weather.

Put simply, no corners have been cut here – this is a top-quality lens. I'd just advise getting hands-on before you buy to check that its size and weight work for you.

Sony FE 50-150mm F2 GM: Performance

• Fast f/2 maximum aperture at every focal length
• Strong center sharpness across the zoom range
• Four XD linear motors for rapid, accurate autofocus

In many respects, the FE 50-150mm F2 GM lens is a copy and paste of the superlative FE 28-70mm F2 GM – it's also equipped with four XD linear motors that drive autofocus. Together, these motors make light work of the sizable lens elements, for a truly rapid, reliable and remarkably quiet autofocus.

Autofocus speed and accuracy are paramount for high-pressure events and sports photography, and I've been consistently impressed by the 50-150mm. This is especially the case with the a7R V's subject-tracking capabilities – when shooting grass-roots soccer, in particular. There isn't the slightest hint of hesitation.

As mentioned, what's missing is optical stabilization (OIS). However, Sony's flagship mirrorless cameras, which are the natural choice for such a lens, are equipped with in-body image stabilization (IBIS). Armed with IBIS and the bright maximum f/2 aperture, I haven't given OIS a second thought.

Like the Sony FE 28-70mm F2 GM, the FE 50-150mm F2 GM delivers incredible image quality across the board. And of the two, it's the telephoto option that enhances the maximum f/2 aperture with smooth focus fall-off and buttery-smooth bokeh, even if its shaping can be cat's eye.

The series of the same image, above, is shot in sequence with the aperture set to f/2, f/2.8. f/4 and f5.6. Bokeh at f/2 is notably bigger and smoother than f/2.8 – that's one of the reasons to splash out on a bright aperture lens.

A difference of one stop between f/2 and f/2.8 lenses might not sound like much, but bokeh is much bigger at f/2, and you're gathering an extra stop of light that's supremely useful in low light – as is often the case in professional work.

The 50-150mm's qualities aren't all about bokeh, either – the lens is consistently sharp from center to edges across the zoom range and aperture settings, besides the natural focus fall off when shooting at wider apertures with shallow depth of field.

Having shot all pictures during my test in RAW and JPEG, I further assessed quality through Adobe Camera Raw by directly comparing like-for-like files, keen to know the extent of in-camera correction at play.

Minor pin-cushion distortion across the entire zoom range surprised me – I'd normally expect it just at the telephoto end of this zoom range, not at 50mm. JPEGs are notably sharper than in RAW, too. Still, neither pin-cushion distortion nor relative lens softness are an issue – corrected RAW images are spectacular.

As for vignetting and color fringing, both are kept under tight control, as are ghosting and flare artifacts when shooting into direct sunlight. Optically, the 50-150mm F2 GM is pretty much flawless, save for easily corrected pin-cushion distortion.

When pairing the lens with a high-resolution full-frame sensor, like I did with the 61MP Sony a7R V, there's no trouble cropping in on stills to effectively further extend reach. I shot a solid set of soccer images, capturing players across the pitch largely from one position on the touchline with the 50-150mm lens.

And it's this cropping flexibility that has convinced me the 50-150mm's wider focal length is much more versatile than 70-200mm.

Sony FE 50-150mm F2 GM: sample images

Should you buy the Sony FE 50-150mm F2 GM?

Buy it if...

Don't buy it if...

How I tested the Sony FE 50-150mm F2 GM

• I had the lens and the Sony a7R V camera for a three-week loan
• I've shot portraits, sports and more
• I've also taken multiple series of identical images with the lens at different settings

I had a decent length of time with the Sony FE 50-150mm F2 GM lens – almost a month, during which time I was able to test it in multiple scenarios, including sports and for portraits.

Sony loaned me the a7R V to pair the lens with. With the camera's 61MP sensor and superb autofocus, the lens has felt even more versatile – giving greater scope for cropping into images such as distant players in football (soccer) match.

To really show the benefit of the f/2 aperture, I have made sure to use it regularly, and to take like-for-like images at different apertures to compare handling and quality.

• First reviewed May 2025