Ref.: https://www.astrhori.cn/products/28mm-f13-full-frame-2x-macro-probe-lens-for-e-z-rf-l-ef-f-pl-fx-m43 Mounts：L/RF/EF/E/Z SpecificationsOptical construction21 elements in 16 groupsNumber of aperture blades7min. focus distance 0.08m (max. magnification: 2:1)Dimensionsφ 30 x 470mmWeight760gFilter size-Hood-Other featuresLED fill light, 360°Rotating base, focus lock, aperture ring, waterproof front lens
Author: Klaus
Ref.: https://www.tamron.com/global/consumer/lenses/a069/ For Sony E-mount Price (USD): $800 SpecificationsOptical construction19 elements in 14 groups (2x LD, 2x XLD)Number of aperture blades9 (circular diaphragm)min. focus distance0.22 – 0.9m (max. magnification: 1:2-3.1)Dimensionsφ78 x 150mmWeight555gFilter sizeΦ67mmHoodPetal-shaped, bayonet mountOther featuresMoisture-resistent, Image stabilizer, zoom lock, fluorine coating, focus set button
Ref.: https://www.usa.canon.com/shop/p/rf35mm-f1-4-l-vcm SpecificationsOptical construction14 elements in 11 groups (2x UD, 2x aspherical)Number of aperture blades11 (rounded diaphragm)min. focus distance0.28m (max. magnification: 1:5.5)Dimensionsφ76.5 x 99.3mmWeight555gFilter sizeø67 mmHoodPetal-shaped, bayonet mountOther featuresASC coating, aperture ring, weather resistant, A Nano USM is used for floating focus, and a Voice Coil Motor (VCM) for rear focus allows for quiet, independent, or synchronized actuation at high speed, which is great for video.
Available in E- and L-mount for $1349 USD – fairly “affordable” for what it is. Ref.: https://www.sigma-global.com/en/lenses/a024_28_45_18/ SpecificationsOptical construction18 elements in 15 groups (5 SLD, 3 aspherical elements)Number of aperture blades11 (rounded diaphragm)min. focus distance0.3m (max. magnification: 1:4)Dimensionsφ87.8 x 153.4mmWeight950gFilter sizeφ82mmHoodPetal-shaped, bayonet mountOther featuresHLA AF, Nano coating, aperture ring/lock/de-click, weather sealing
Introduction Viltrox produces a series of high-quality as well as budget-focussed AF lenses. The Viltrox AF 40mm f/2.5 Z clearly falls into the latter category, with a retail price of just $150 USD—a price region that has been all but abandoned by the Japanese OEMs. It’s a full-format standard prime lens, albeit a bit of a slow slide for a representative of its class. 40mm lenses became a bit en vogue during the last years probably because it’s a bit better suited to street photography. Technically, in terms of perspective (not field-of-view), this focal length is closer to the human eye (~43mm)…
Some may not understand it, but from a personal perspective, yours truly has long waited for a “premium” super-ultra-wide prime lens, and it doesn’t need to be fast as long as it’s compact. So now, we (or maybe just I?) have a new contender for a place in the photo bag—the Sigma 17mm f/4 DG DN Contemporary | Series I. Based on the paper specs, it does many things right in terms of compactness, but some may argue that $600 USD for an f/4 lens may be a bit overpriced given its slow speed. So, let’s see where it fits in.…
Introduction We reviewed the Viltrox AF 16mm f/1.8 in Sony E-mount about a year ago, and the results were more than just impressive for this kind of lens. Viltrox has now released this lens in Nikon Z mount as well. There won’t be any fundamental differences, but let’s see how the lens performs on Nikon’s 45-megapixel sensor. The 16mm f/1.8 Z is a full-format ultra-wide lens for those who haven’t read the Sony review already. It retails for about $550 USD, which is quite a steal, given the speed of the lens. The mechanical implementation is pretty much identical to…
Ref. S9: https://www.panasonic.com/uk/corporate/news/articles/panasonic-announces-new-lumix-s9-compact-full-frame-mirrorless-camera.html PRESS RELEASE Panasonic Announces New LUMIX S9 Compact Full-Frame Mirrorless Camera London, 22nd May 2024 Panasonic is proud to announce the LUMIX S9, the smallest and lightest full-frame mirrorless camera in the LUMIX S Series. Available in a choice of colors – Jet Black, Crimson Red, Dark Olive, and Classical Blue – the LUMIX S9 is a stylish companion for content creators on the go. The approx.24.2-megapixel full-frame CMOS sensor, equivalent to that of the LUMIX S5II, and the latest engine capture content in rich detail with natural tones. In addition, the camera is equipped with PDAF (Phase…
Introduction It is always exciting to review lenses with exotic specs, but the truth is that much of the real-world action in shops is about items with a more sane price tag. The Japanese manufacturers seem to depart from this market segment, thus making room for new players – and Viltrox is one of them. While Viltrox is now also exploring higher-grade products, they still release more affordable lenses, such as the Viltrox AF 56mm f/1.7 X offered for as low as $169 USD ($139 in Zmount). That’s far more affordable than Fujifilm’s own 50mm f/2 R WR lens. The 56mm…
Introduction AstrHori is one of the Chinese lens manufacturers trying to move up the food chain. An important step is always the transition to autofocus lenses. A while ago, they released the AstrHori AF 85mm f/1.8 in Sony-E mount, but there’s now also a Z-mount version. While it may appear to be a copy of a classic lens, it is actually a dedicated mirrorless-format lens – the rear element is close to the sensor. However, it doesn’t use any special elements that already suggest they aren’t chasing the high-end market. The price of merely $249 is also clearly at the…
Ref.: https://www.astrhori.cn/products/85mm-f1-8-full-frame-autofocus-lens PRESS RELEASE Automatic lenses for Nikon Camera Full FrameFrame: Full FrameFoal Length: 85mmAperture range: F1.8 – F16Field of view: 28.4°Minimum focusing distance: 790mmLens Configuration：9 Elements in 8 groupsFilter Size: φ 72mmWeight: 626gMount: Nikon ZPrice: $249
Ref.: https://www.sigma-global.com/en/lenses/a024_24_70_28_ii/ Press Release The Art 24-70mm F2.8, evolved on all levels:rendering performance, functionality, and portability. The SIGMA 24-70mm F2.8 DG DN II | Art is SIGMA’s flagship lens that has evolved significantly from the previous model by incorporating the most advanced technologies available to SIGMA from design to production. Compared to the previous SIGMA 24-70mm F2.8 DG DN | Art, the SIGMA 24-70mm F2.8 DG DN II | Art has improved resolving power throughout the entire zoom range, and also benefits from functional enhancements such as the addition of an aperture ring and high-speed AF with a redesigned AF…
Ref.: https://fujifilm-x.com/en-au/products/cameras/x-t50/ PRESS RELEASE TOKYO, May 16, 2024 – FUJIFILM Corporation announce the launch of the “FUJIFILM X-T50” (X-T50) worldwide in June and onward. The X-T50, the latest model in the X series, offers outstanding image quality, compact and lightweight body. The X-T50 is a versatile and compact camera with a lightweight body weighing approximately 438g*1 and equipped with the back-illuminated 40.2 megapixel “X-Trans™ CMOS 5 HR”*2 sensor, the “X-Processor 5” high-speed image processing engine, and a 5-axis, maximum 7.0-stop*3 in-body image stabilization function. It delivers high mobility, high image quality, and high performance, and can be used for still image shooting in a wide…
Ref.: https://fujifilm-x.com/en-au/products/lenses/xf16-50mmf28-48-r-lm-wr/ PRESS RELEASE TOKYO, May 16, 2024 – FUJIFILM Corporation announces the launch of the “FUJINON Lens XF16-50mmF2.8 -4.8 R LM WR” (XF16-50mmF2.8-4.8 R LM WR) from June, 2024. The lens is a new lineup of the “XF Lens” interchangeable lens lineup for the mirrorless digital camera “X Series” that offers outstanding image quality and compact size and weight thanks to its unique color reproduction technology. The XF16-50mmF2.8-4.8 R LM WR is a standard zoom lens with a focal length range from 16mm (equivalent to 24mm in 35mm format) wide angle to 50mm (equivalent to 76mm in 35mm format) medium telephoto.…
Ref.: https://global.canon/en/news/2024/20240515.html Press Release TOKYO, May 15, 2024—Canon Inc. announced today that it is currently developing the EOS R1, a full-frame mirrorless camera, as the first flagship model for the EOS R SYSTEM equipped with an RF mount and is aiming for a 2024 release. The EOS R1 is a mirrorless camera geared toward professionals that brings together Canon’s cutting-edge technology and combines top-class performance with the strong durability and high reliability sought in a flagship model. This camera will dramatically improve1 the performance of both still images and video and meet the high requirements of professionals on the frontlines of…
Ref.: https://thypoch.com/ PRESS RELEASE: Thypoch Expands Simera 35mm & 28mm f/1.4 Lineup to Z/ X/ E/ RF Mounts Thypoch, the emerging manufacturer of photo lenses in vintage look, is set to expand its popular Simera 35mm f/1.4 and Simera 28mm f/1.4 lenses to include Z/E/X/RF mount options. This expansion comes in response to feedback from Thypoch’s fans and users, who have expressed a desire for more versatility in their lens options. The Thypoch team is committed to maintaining the exceptional performance of the original M-mount lenses while fine-tuning the new mount solutions for optimal results. The release of Z/E/X/RF mount…
Introduction Sigma’s Series I lenses are a lovechild of their engineering department. These aren’t your typical high-spec prime lenses. Instead, they focus on providing a more classic “feel” combined with very compact dimensions.It has been a while since we last reviewed one of them, but let’s restart this journey with the Sigma 90mm f/2.8 DN DG Contemporary | Series I. On paper, such a lens doesn’t seem overly interesting at first glance. f/2.8 is rather slow for a medium tele lens, which typically starts at f/1.8 unless we are talking about pro glass.The lens isn’t even overly cheap at USD…
Ref.: https://viltroxstore.com/en-au/products/viltrox-af-40mm-f2-5-z SpecificationsOptical construction 10 elements in 6 groups, including 1x ED, 1x aspherical, 3x HRNumber of aperture blades7min. focus distance0.34m (max. magnification: 1:?)DimensionsΦ68×55.9mmWeight180gFilter sizeφ52mmHoodPetal-shaped, bayonet mountOther features-
Ref.:* Fujifilm X: https://viltroxstore.com/en-au/products/viltrox-af-56mm-f1-7-xf-z* Nikon Z: https://viltroxstore.com/en-au/products/viltrox-af-56mm-f1-7-aps-c-lens-for-nikno-z-mount SpecificationsOptical construction 11 elements in 9 groups, including 4x ED, 3x HRNumber of aperture blades10min. focus distance0.55m (max. magnification: 1:9.1)DimensionsΦ65×54.7mmWeight171gFilter sizeφ52mmHoodPetal-shaped, bayonet mountOther features-
Now available in Nikon Z mount Ref.: https://viltroxstore.com/en-au/products/viltrox-af-16mm-f1-8-z
Ref.: https://www.tamron.com/global/consumer/news/detail/b060rf_20240423.html April 23, 2024, Tamron Co., Ltd. (President & CEO: Shogo Sakuraba; Headquarters: Saitama City, Japan; “TAMRON”), a leading manufacturer of optics for diverse applications, announces the development of TAMRON’s first CANON RF mount lens, 11-20mm F/2.8 Di III-A1 RXD (Model B060), an ultra wide-angle zoom lens for APS-C mirrorless cameras. TAMRON’s lenses for mirrorless interchangeable lens cameras are highly regarded for their combination of superior optical performance and compact, lightweight designs. After receiving many requests from customers to offer lenses compatible with the CANON RF mount, TAMRON made the decision to develop a lens for the CANON RF mount…
Ref..: https://www.sigma-global.com/en/news/2024/04/23/010362/ “SIGMA Corporation (CEO: Kazuto Yamaki) is pleased to announce the upcoming launch of interchangeable lenses for Canon RF Mount system. This addition allows users to enjoy high performance, and high quality SIGMA lenses in native mount on their Canon RF Mount system.”
Smaller sensor formats promise more compact gear. To some degree, this is a bit of a sweet illusion, but let’s not get too deep into equivalence discussions again. Regardlessly, there are certainly examples to support the claim. Fujifilm’s 18-55mm f/2.8-4 or Sigma’s 18-50mm f/2.8 DC DN Contemporary, for instance, come to mind. The latter has seen considerable success in the sales chart, and recently, Sigma released an ultra-wide cousin to this standard zoom lens—the Sigma 10-18mm f/2.8 DC DN Contemporary that we are reviewing here. It’s a truly tiny lens, even by the standards of the already very small 18-50mm…
SpecificationsOptical construction 7 Elements in 5 GroupsNumber of aperture blades10min. focus distance0.2m (max. magnification: 1:?)DimensionsΦ46x37mmWeight165gFilter sizeφ37mmHood-Other features- Available in X-, E-, Z, R- and MFT-mounts Price: USD 69 via Amazon or the Pergear.com website.
SpecificationsOptical construction 7 elements in 6 groupsNumber of aperture blades12min. focus distance0.5m (max. magnification: 1:?)DimensionsΦ75x73mmWeight364gFilter sizeφ46mmHood?Other featuresde-clicked aperture, Tilt Shift Available in Sony E-, Fujifilm X-mount and MFT mount Price: 226 USD Ref.: https://7artisans.store/products/50mm-f1-4-aps-c-tilt-lens-for-e-fx-m43
SpecificationsOptical construction 16 groups of 13 elements (includes 3x aspherical, 1x hybrid, 3x ED)Number of aperture blades11 (rounded)min. focus distance0.17-0.22m (max. magnification: 1:4.3)Dimensionsφ74.8 x 91.4mmWeight409gFilter sizeφ67mmHoodpetal-shaped, bayonet mountOther featuresaperture ring, focus-stop button, aperture de-click Price: 1200 USD Ref.: https://electronics.sony.com/imaging/lenses/all-e-mount/p/sel1625g
Press Release: The AstrHori macro focusing rail slider comes with a micrometer adjustment knob,moving 0.05mm per revolution for more precise adjustments, enhancing the stabilityof macro photography imaging.The adjustment knob facilitates a 2mm movement per rotation, providing precisetuning capabilities within a range of 1mm. Utilizing a multi-head lead screwmechanism, it enables swift positioning, achieving a movement speed that is 14times faster than that of a standard lead screw.When used with the 25mm f2.8 super macro lens, the Macro Focusing Rail Slidermakes macro photography easy and stable, allowing both professional macrophotographers and enthusiasts to capture fine details in their macro photographsfrom any…
Ref.: https://viltroxstore.com/en-au/products/viltrox-af-56mm-f1-7-xf-z SpecificationsOptical construction 9 groups of 11 elements (includes 4x ED, 3x HR)Number of aperture blades9min. focus distance0.55m (max. magnification: 1:9)Dimensionsφ65 x 54.7mmWeight171gFilter sizeφ52mmHood-Other featuresUSB-port for firmware updates
Ref.: https://www.tamron.com/global/consumer/news/detail/a063z_20240314.html SpecificationsOptical construction17 elements in 15 groups (2x LD, 2x aspherical)Number of aperture blades9 (rounded)min. focus distance0.18-0.38m (max. magnification: 1:2.7-1:4.1)Dimensionsφ75.8 x 119.8mmWeight550gFilter sizeφ67mmHoodpetal-shaped, bayonet mount, suppliedOther features dust- & moisture resistant
Price: $1300 USD / 1550 EUR SpecificationsOptical construction21 elements in 15 groups (4x ED, 3x aspherical)Number of aperture blades9 (rounded)min. focus distance0.2-1.2m (max. magnification: 1:2.85)Dimensionsφ84.5 x 141.5mmWeight725gFilter sizeφ77mmHoodsquare-shaped, bayonet mount, suppliedOther features dust- & moisture resistant, image stabilizer (5 f-stops) Ref.: https://imaging.nikon.com/imaging/lineup/lens/z-mount/z_28-400mmf4-8_vr/
The Sigma 16-28mm f/2.8 DG DN Contemporary is Sigma’s second ultra-wide zoom lens for full-format mirrorless cameras, after the more expensive 14-24mm f/2.8 DG DN ART. As a member of Sigma’s “Contemporary” lineup, it targets consumers rather than professionals. At around 900USD/950EUR, it isn’t a magnitude more affordable, but you can save a couple of hundred bucks nonetheless. As always, the big question is whether Sigma had to accept some compromises along the way. The most obvious one is, of course, the focal length range. However, whether 14mm vs 16mm really makes such a difference in your photography may be…
Price: $1400 USD SpecificationsOptical construction17 elements in 12 groups (4x aspherical)Number of aperture blades13 (rounded)min. focus distance0.4m (max. magnification: 1:6.2)Dimensionsφ81.0 x 108.8mmWeight745gFilter sizeφ72mmHoodpetal-shaped, bayonet mount, suppliedOther features dust- & moisture resistant Ref.: https://www.sigma-global.com/en/lenses/a024_50_12/
https://leica-camera.com/en-US/photography/cameras/sl/sl3-black
Nikon has lots of fancy lenses in their lineup. These keep us excited, but in terms of volume, the bread-and-butter lenses are certainly outselling them by some factors. One of them is certainly Nikkor Z 24-200mm f/4-6.3 VR, which will surely find its way into the bags of many consumer-grade Z cameras. The massive 8.3x zoom range makes it an ideal companion for more casual photography, specifically for traveling, where many people simply prefer to avoid the bulk and weight of having to carry big setups. An 8.3x zoom lens isn’t going to be the sharpest knife in town, but let’s…
But why? $1098 USD: https://electronics.sony.com/imaging/lenses/all-e-mount/p/sel2450g
A 75mm f/1.5 Aspherical in R-, E- and Z-mount – without AF but with electronic coupling even in R-mount. Interestingly the finish differs between the different mount versions. An APO-LANTHAR 50mm F3.5 VM in Leica M mount.
Laowa finally did it. It took them a LONG while, but they finally released their first autofocus lens. And it wouldn’t be Laowa if it wasn’t something extreme. Matching with their 10-year anniversary, they released another 10 – the Laowa AF 10mm f/2.8 Zero-D FF. In this review, we’ll have a look at the Nikon Z-mount version. The lens is also available in Sony E-mount, as well as Canon R and L-mount, although the latter two are only available as fully manual versions. 10mm may smell like APS-C, but it’s actually a full-format lens. Thus, we are talking about an ultra-wide…
18mm, 24mm, 35mm, 50mm, 75mm, 100m – all T1.5 in Sony E-mount with electronic coupling but no AF. The whole set will cost $25,950 / €23,000 (excl. VAT). Individual lenses are also available. Ref.: Zeiss News Page
70-200mm f/2.8s are among the most popular lenses among enthusiast photographers – for a reason. They are fast enough to substitute prime lenses in this range … most of the time … while providing the flexibility of a zoom lens. They are used in a very broad range of applications – press work, wedding photography, still life, and even landscape photography. Among the most desirable options on the market is the Sony FE 70-200mm f/2.8 GM OSS II. The MK I wasn’t a bad lens by any means, but the MK II represents a quite substantial upgrade. Other than the…
A mild update to the OM-1 … the OM-1 II:Ref.: OM-1 II A rebadged Sigma Sports (full format lens) … a bit pricey in comparison: Ref.: M.Zuiko Digital ED 150-600mm F5.0-6.3 IS A cosmetically updated 9-18mm lens – basically just a renaming from Olympus to OM System: M.Zuiko Digital ED 9-18mm F4.0-5.6 II
Our Patreon supporters can fine the RAW test data here: Sony FE 70-200mm f/2.8 GM OSS II
Manufacturer Page: https://www.cosina.co.jp/voigtlander/x-mount/color-skopar-18mm-f2-8-aspherical/ SpecificationsOptical construction7 elements in 5 groups (1x aspherical, 1x ED)Number of aperture blades10 (rounded)min. focus distance0.17m (max magnification: 1:6.6)Dimensionsφ59.3×23.5mmWeight115gFilter sizeΦ43mmHoodbarrel-shaped (bayonet mount, provided)Other featuresManual focus, electronic coupling Manufacturer video:
Manufacturer page: https://th.hkyongnuo.com/products/yn11mm-f18s-da-dsm-wl?VariantsId=10292 SpecificationsOptical construction10 elements in 9 groups (1x aspherical, 1x HR, 3x UD)Number of aperture blades7 (circular)min. focus distance0.15m (max magnification: 1:6.6)Dimensionsφ66×69mmWeight260gFilter sizeΦ43mmHoodpetal-shaped (bayonet mount, provided)Other featuresdust-proof, USB-port Manufacturer video:
Manufacturer Page: https://na.panasonic.com/explore/press-release/panasonic-announces-its-newest-s-series-lens-ces-2024 SpecificationsOptical construction13 elements in 11 groups (3x aspherical, 2x UED, 1x ED)Number of aperture blades10 (rounded)min. focus distance0.204m (max magnification: 1:1)Dimensionsφ73.6mm×82mmWeight298gFilter sizeφ67mmHoodbarrel-shaped (bayonet mount, provided)Other featuresDust-, splash-, freeze-resistant Manufacturer video:
Introduction Some of the OEMs now offer ultra-wide zoom lenses with some coverage into standard focal lengths. In Sony land, the most prominent example is the Sony FE 20-70mm f/4 G. Tamron has picked up the gauntlet by releasing the Tamron 17-50mm f/4 Di III VXD. So it may not be a full substitution for a conventional standard zoom lens like the Sony, but it offers a little extra at the wide end, which some may prefer. It is very competitively priced at $700 USD (750EUR) – that’s a whopping $500 less than for the Sony lens. So, it’ll be interesting…
Introduction In the last 5 years or so, the ultra-wide lens market has gone bonkers. During the DSLR era, 14mm was about the widest (rectilinear) you could get. These days, it’s down to 9mm for prime lenses and 10mm for zoom lenses.Sure, there are applications, but these are all very niche. Unless you are really into this, “longer” ultra-wides make more sense – the 17-20mm range is a reasonable target for most of us.This is still wide enough for some drama but keeping a distance from insanity. The Viltrox AF 20mm f/2.8 FE fits in here. If you followed our…
Introduction Tamron had quite a run in recent years with rapid releases of new lenses for mirrorless systems. Obviously, they must have been doing something right because their revenue even exceeded competitor Sigma recently. It’s worth noting that Sony has a 15% stake in the company. So, in a way, Sony is also supplying lenses to Nikon and Fujifilm. Anyway, this article is about the Tamron 11-20mm f/2.8 Di III-A RXD, an ultra-wide-angle zoom lens available for Sony and Fujifilm APS-C cameras. It is somewhat ambitiously priced at around $800USD/EUR, so let’s see whether it’s worth the extra premium over…
Introduction As of the time of this review, Canon R-mount is still a closed system. If you are a professional photographer, you won’t mind much because the system is very much aligned to pros.However, things are a little more complicated if you can’t tax-deduct your purchases. Third-party lenses are all but absent, and the only budget tele-zoom lens option is the Canon RF 100-400mm f/5.6-8 IS USM.It is a comparatively slow lens, but it is quite affordable at around $ 650 USD or 600 EUR, even when comparing it to similar (albeit slightly faster) third-party options in other systems.The lens…
Introduction Time flies also in the mirrorless camera world. Some of the lenses released early in this era are getting a little long in the tooth – like the Sony FE 70-200mm f/4 G OSS, which was released back in 2014.It’s a fine lens also used by yours truly for a while. However, just like moths longing for the sun, we get excited when new stuff is coming around – in this case, the Sony FE 70-200mm f/4 G OSS macro II.While the name may imply a mild evolution, it is actually a very different lens compared to its predecessor.…
Introduction TTArtisan may not yet be a household name among most photographers. However, they have released some ambitious designs in the past, and they are now slowly moving towards offering more mainstream products – and the latter means, first and foremost, lenses with autofocus, camera-controlled aperture and EXIF data. One of them is the TTArtisan AF 27mm f/2.8, available in X-mount (tested here), E-mount and Z-mount. The paper specs aren’t all that hot upon first sight – it’s an APS-C format lens equivalent to “42mm f/4.2”. However, just like its Fujinon XF 27mm f/2.8 WR counterpart, it is tiny, making…
Introduction The Samyang AF 12mm f/2 E has been on the market for quite some time, so we are a bit late to the game here.However, the design of the lens isn’t new anyway – it dates back to the Samyang 12mm f/2 NCS CS, a manual focus lens.Even so, it’s certainly one of the more interesting prime lenses for APS-C cameras. It’s wide, it’s fast, and it’s affordable at just $300/340EUR.Samyang emphasizes its suitability for astrophotography due to the fast max aperture of f/2. While it may be fast enough, we’d probably wish for something wider for this specific…
Introduction Over the years, we have seen quite a few Chinese players, but most of them are still on the exotic side of things – except Viltrox. And since last year, they seem to be in full attack mode in the medium to high-end market. Especially the Viltrox AF 75mm f/1.2 XF Pro and AF 16mm f/1.8 FE surprised us with a combination of great quality at an affordable price. And the Viltrox AF 27mm f/1.2 XF Pro just made it into our lab. As the name implies, it is for the Fujifilm X mount, but other mounts will follow shortly.…
Introduction Samyang has been a lens manufacturer for quite a while but only recently released their first zoom lens – the Samyang AF 24-70mm f/2.8 FE. And Samyang wouldn’t be Samyang if they didn’t undercut the competition by quite a margin. The lens has an MSRP of just $999, but you can get it for as low as $800US/750EUR if you shop around. Quite a steal – on paper, at least. That’s a third of Sony’s own offering here and a couple of hundred bucks less than the Sigma 24-70mm f/2.8 DN DG ART. The price tag alone is no…
Introduction Having multiple lens grades to choose from is great from a consumer perspective. Sony knows this as well and is offering no less than three of them (GM, G & consumer). However, Sony isn’t alone with this, even within the E-mount ecosystem. Sigma is doing something similar with their ART, SPORTS and Contemporary lineup. Interestingly, they even offer different variations of the same lens TYPE here and there.They’ve got the Sigma 24-70mm f/2.8 DG DN ART alongside the Sigma 28-70mm f/2.8 DG DN Contemporary – that’s quite a unique approach to all this. And today, we’ll have a look…
Introduction Canon may not have a Pentaxian-level love affair with pancake lenses, but they still have a history here. During the EF mount era, they had an EF-S 24mm f/2.8 STM as well as an EF 40mm f/2.8 STM.And they continued their journey with the (sort-of pancake) RF 16mm f/2.8 STM in 2022. Fortunately, they didn’t stop here, so let’s welcome the new Canon RF 28mm f/2.8 STM. There are probably two kinds of people on the planet – those who hate them because they tend to be fairly slow by modern prime lens standards, and those who love them…
Introduction In an era in which long tele zoom lenses are reaching 600mm, the 100-400mm class may almost feel dated, but it still exists. For a good reason, actually. Sony’s own 200-600mm G is certainly the more attractive choice when reach is everything, but such lenses are heavy, big and 200mm at the short end makes them unsuitable for mainstream use. Conversely, the 100mm setting of a 100-400mm lens is usable for some landscape and even basic portrait photography – although the speed isn’t all that hot. Still, it is simply a more versatile lens. Unlike its longer cousin, it’s…
Introduction Many of us know the problem – sometimes wide and fast just isn’t wide and fast enough. And then there’s the other problem – the wider and faster you go, the more you are entering stratospheric price levels. However, there might be a solution to these problems – meet the Viltrox AF 16mm f/1.8 FE, available in Sony E-mount and, soon, in Nikon Z-mount. Yes, there are wider and faster lenses, but the Viltrox lens keeps a nice balance by offering a little extra without going downright bonkers. And it does so without breaking your bank account at just…
Introduction At the time Canon announced the Canon RF 600mm f/11 IS STM and RF 800mm f/11 IS STM, the photo community was a little confused. While (all-manual) slow, long tele tele prime lenses have been around for decades, these were mostly confined to more or less obscure third-party manufacturers. e.g. The oldies among you may remember the T-mount Samyang/Vivitar/Exakta 500mm f/8 from the 1970s and 80s, but with the emergence of 500/600mm zoom lenses, these vanished into history.So why a modern 600/800mm f/11? There are a couple of reasons, of course. The most obvious one is costs. Canon R-mount…
Review by Klaus Schroiff, published May 2023 Introduction Most of us start photography with an affordable camera kit. This will be sufficient for a while, but eventually, you want to up your game and move towards faster lenses. You can, of course, add some prime lenses, but most will probably upgrade their standard zoom lens first. If you stick to the OEM manufacturer, this can get pretty expensive, but there’s also a nice middle ground occupied by third-party manufacturers. And one of the APS-C format alternatives in Sony-E mount (and Fujifilm X-mount) is the Tamron 17-70mm f/2.8 Di III-A VC…
by Klaus Schroiff, published May 2023 Introduction For decades, full-format standard zoom lenses have been confined to the 24-XX or 28-XXmm range. This only changed very recently in 2020 when Panasonic released their Lumix S 20-60mm f/3.5-5.6 lens. The Panasonic lens was quite an innovation because conventional standard zoom lenses are already hard to design, and a 20-60mm is on an even higher complexity level while remaining quite affordable. It took Sony no less than 3 years to come up with their own interpretation of the topic – the Sony FE 20-70mm f/4 G. Unlike the Panasonic lens, it is…
Review by Klaus Schroiff, published April 2023 Introduction Fast 85mm f/1.4 lenses are hot commodities, but the OEM options tend to be on the expensive side. However, at least Sony users are not without options – and the Sigma 85mm f/1.4 DG DN ART is one of them. It’s actually Sigma’s 2nd 85mm f/1.4 lens in E-mount. The first one was merely a somewhat optimized DLSR lens – whereas the “DN” has been designed specifically for mirrorless cameras. During the late DSLR era, Sigma was known for offering very good but also huge & heavy lenses. This isn’t really true anymore.…
by Klaus Schroiff, published April 2023 Introduction Reviewing a “super zoom” lens is both heaven and hell. It’s heaven because the world is full of shooting opportunities with this much zoom range. And it’s hell for the same reason when having to do the formal testing across many focal lengths in the lab – with results that are often not all that exciting. Anyway, these lenses are popular, so they are an “inevitable” part of the game. This time, it’s about the Canon RF 24-240mm f/4-6.3 USM IS. Canon has a bit of a mixed history regarding super zoom lenses.…
Review by Klaus Schroiff, published March 2023 Introduction Sometimes, albeit rarely, a new lens seems to defy conventions. Straight f/2.8 standard zoom lenses tend to be rather bulky and heavy – even in APS-C format. e.g. The Fujinon 16-55mm f/2.8 has a size of 83.3 x 106 mm and weighs 655g, and the Sony E 16-55mm f/2.8 G isn’t much smaller. So meet the new Sigma 18-50mm f/2.8 DN DC Contemporary coming in at just 285g and a size of merely 61.6×76.8mm. Of course, this comparison is slightly unfair. After all, the Sigma isn’t quite as wide – these 2mm…
Review by Klaus Schroiff, published March 2023 Introduction The release of the Panasonic/Leica DG Summilux 9mm f/1.7 ASPH killed a lot of the market of the emerging Chinese players in the ultra-wide segment – wide(r), fast, small, and affordable were important value propositions for them, and some of this is now basically owned by Panasonic. So what to do when facing the inevitable? You go even more extreme. Meet the Laowa 6mm f/2 Zero-D MFT. On paper, a difference of 3mm may not sound impressive, but it’s far from insignificant in terms of field-of-view. We are talking about 112° vs…
Review by Klaus Schroiff, published February 2023 Introduction Welcome to our new mini-series of vintage lens tests – and this time, it’s not just about some vintage-style lenses but truly about lenses from the 1970s to the early 1980s. In phase I, we’ll have a look at lenses around the 100mm f/2.8 mark with a typical used-market value between $100 to $200. This is probably the financial sweet spot for vintage lenses that you don’t just want to collect but intend to use. There are substantially more expensive (and better) lenses from this era but you have to be quite…
Review by Klaus Schroiff, published February 2023 Introduction Our 2nd 100mm-ish lens in our vintage test series is the Olympus E. Zuiko 100mm f/2.8 in OM mount. The Olympus OM mount was developed by Olympus Corporation for their OM-series 35mm single-lens reflex (SLR) cameras. The mount was introduced in 1972 and was used on several Olympus camera models until the early 2000s. So Olympus manufactured manual lenses well after most others had moved on to AF. Some of their latest lenses feature special glasses, and the price on the used market are often sky-high. However, the 100mm f/2.8 is reasonably…
Review by Klaus Schroiff, published January 2023 Introduction The Nikkor 105mm f/2.5 is a medium telephoto lens that was produced by Nikon for their F-mount cameras. The 105mm f/2.5 was first introduced in 1959 ( Nikkor Nippon Kagaku 10.5CM f/2.5 ) and has gone through several iterations over the years. In 1966, Nikon introduced an improved version of the lens, the Nikkor-P 105mm f/2.5, which featured a modified optical formula and a more convenient stop-down aperture ring. The version that we are discussing here is the “P.C.” variant manufactured sometime around 1973-1975 which uses a further improved Xenotar/Gauss design. The…
Review by Klaus Schroiff, published February 2023 Introduction Viltrox is a bit of an outlier among Chinese lens manufacturers. Most are trying their luck in certain niches. e.g. Loawa is well-known for ultra-wide and macro lenses while others are bottom feeders. However, Viltrox has a very different approach. They are going for the mainstream market. Their rise to (relative) fame started with a set of APS-C format prime lenses – namely the AF 23mm f/1.4, AF 33mm f/1.4 and AF 56mm f/1.4 both in Sony E and Fujifilm X mount. Later they added a 13mm f/1.4 including one for Nikon…
Review by Klaus Schroiff, published January 2023 Introduction Minolta used to be a major player throughout the 20th century. The company was founded in 1928 and the camera department was active until 2003 after which Sony took over this business division. During the 70s and 80s, Minolta was one of the most innovative camera manufacturers. e.g. Minolta was the first company to introduce TTL (through-the-lens) metering with the Minolta SR-T. Another first was Multi-Segment Metering as well as IBIS in DLSRs. They were also among the first to use computer-aided lens design. Their reputation also led to cooperation with Leica…
Review by Klaus Schroiff, published January 2023 Introduction Canon FD is a lens mount system developed by Canon for its 35mm film SLR cameras. It was introduced in 1971 and replaced the older FL mount. The FD mount was in use from 1971 to 1987, when it was eventually replaced by the Canon EF mount.You may wonder why we chose the Canon FD 135mm f/2.5 S.C. as an example of a medium tele vintage lens from Canon – whereas we used 100mm variants for the other tests. The reason is simple – the pricing. Canon used to make an FD…
Review by Klaus Schroiff, published January 2023 Introduction We already reviewed the Olympus Zuiko MC 100mm f/2.8 and didn’t really plan on going for another vintage telelens from Olympus … but there was an attractive offer for an Olympus Zuiko MC 135mm f/2.8 and we thought that the Canon FD 135mm f/2.5 review could use a companion in the 135mm class. The 135mm f/2.8 (“E-Zuiko AUTO-T 135mm f/2.8”) was first introduced in 1972 and refined in 1977 (“Zuiko AUTO-T 135mm f/2.8”). This review is about the latter which features improved multi-coating.As far as release dates go, the Olympus lens is…
Introduction Third-party vendors have a difficult task when it comes to super-tele zoom lenses in Sony E-mount. There’s a behemoth in town – the Sony FE 200-600mm f/5.6-6.3 G OSS. For many wildlife photographers, this lens alone is a reason for choosing Sony over other brands. However, competition is a good thing, especially if you can offer a twist. The Sony lens is huge by normal mortal standards and Tamron goes into a battle with a smaller interpretation of the theme – the Tamron 150-500mm f/5-6.7 Di III VC VXD. You can immediately notice two things just from the paper…
Review by Klaus Schroiff, published December 2022 Introduction Tokina was and still is a powerhouse when it comes to ultra-wide DSLR zoom lenses but things have been way too silent on the mirrorless front for too long – until now. Meet the Tokina atx-m 11-18mm f/2.8 E for Sony Alpha APS-C mirrorless cameras. In FF terms, this is roughly equivalent to “17-27mm”. Such a focal length range is perfectly aligned with landscape and architecture photography. One of the surprising aspects is its US price tag of $600 (although it costs 800EUR in Europe) – and quite a bit less than…
Review by Klaus Schroiff, published December 2022 Introduction Laowa, one of the better-known Chinese players in the market, specializes in ultra-wide, cine and macro lenses. In the latter segment, their website lists no less than six dedicated macro lenses for various systems and sensor formats.Among them is the new Laowa 58mm f/2.8 2X Ultra-Macro APO. APO stands for apochromatic design here or, in order words – superior color fringing correction. We tested a bunch of their previous APO lenses and were impressed most of the time – so let’s see what this “standard” macro lens can give you. Price-wise, the…
Review by Klaus Schroiff, published December 2022 Introduction Sigma’s Series I lens series has a special place in our hearts here. The vast majority of lenses we are testing are made of plastics combined with an uninspiring design. Usually, we test them … and forget them once they leave the lab. Not so in the case of the Sigma 65mm f/2 DG DN Contemporary. Obviously, this isn’t exactly a mainstream lens. While there is another 65mm f/2 lens on the market (hello, Voigtlander), it certainly qualifies as an “exotic” focal length. That’s more of a mental hurdle than anything else…
Review by Klaus Schroiff, published October 2022 Introduction Lately, Tamron had quite a run with lots of attractive new products as well as product updates, and a short while ago, they also released the Tamron 28-70mm f/2.8 Di III VXD G2. Despite being popular among consumers, we weren’t overly impressed by their 28-75mm f/2.8 Di III RXD (aka G1) so let’s hope that the G2 is more convincing. Tamron is listing 5 improvements over the “G1” version. Better image quality, better close focus performance, designed body, faster AF and user-customizable functions. Sounds good – on paper – so let’s have…
Review by Klaus Schroiff, published October 2022 Introduction A mighty long tele lens has been a deep dark gap in the Fujifilm lens lineup for years, but they finally released the long-awaited Fujinon XF 150-600mm f/5.6-8 R LM OIS WR. It is one of Fujifilm’s few “RED” badge lenses. As of the time of this review, there are just 6 of them. Thus, they consider it to be among the best they’ve got. Consequently, the entry ticket isn’t exactly cheap at around $2000USD or 2200EUR. In full format terms, we are talking about a 229-914mm lens here – (almost) ideal…
Review by Klaus Schroiff, published August 2022 Introduction When it comes to camera gear, hybrid is the new black – thus, cameras and lenses should be aligned to both photographic and video work. Sony listened and released the Sony FE PZ 16-35mm f/4 G. You may wonder a little bit about the paper specs of this new lens. After all, they are almost identical to the Zeiss Vario-Tessar T* FE 16-35mm f/4 OSS, one of the earliest full format E-mount lenses. Both lenses are also in the same price league at $1200 (Sony) and $1000 (Zeiss), respectively. Sony may not…
Review by Klaus Schroiff, published August 2022 Introduction Autofocus lenses are still pretty rare beyond the mainstream players, but slowly and steadily, some of the Chinese players are taking the leap. Yongnuo was probably the first, followed by Viltrox, and now Meike has started offering AF lenses – their first shot in the mirrorless AF segment is the Meike AF 85mm f/1.8 STM in Sony E-mount. This medium-tele lens is compatible with both APS-C and Full Format Sony Alpha cameras. Priced at just $199, it undercuts the competition by a huge margin. This raises the question of what you can…
Review by Klaus Schroiff, published August 2022 Introduction At the time Sony announced their set (11mm f/1.8, 15mm f/1.4G, 10-20mm f/4G) of new ultrawide APS-C lenses back in June (2022), it caused quite a stir in the Sony community. Given the fact that all the rage was about full-format gear in recent years, such a visible commitment to the format was certainly a relief. In this review, we’ll have a look at the lens that is probably the most interesting of the bunch – the Sony E 11mm f/1.8. Unlike its two cousins, it is both wide AND fast, and,…
Review by Klaus Schroiff, published August 2022 Introduction Meike has had quite a stampede of new lens releases lately. One of their most ambitious new designs is the new Meike 8mm f/2.8 MFT. You may think that this is another fish-eye, but it is, in fact, a fully correct ultra-wide lens equivalent to 16mm on full-format cameras.Priced at $399 USD, it is not a budget item anymore, but it’s also not your average optical construction either – consisting of no less than 17 elements, including two aspherical elements.So it seems that Meike wants to move up the food chain now.…
Review by Klaus Schroiff, published July 2022. Lens sample provided by Meike. Introduction Fish-eye lenses may not be the most popular lenses around, but they can, obviously, provide images with a unique character. A field-of-view of 190 degrees (diagonal) is quite something – and they can be lots of fun. For most photographers, they are just too exotic to spend much money on them, but you don’t have to – which is where the Meike 7.5mm f/2.8 Fisheye finds its place. At just $149, it’s about as affordable as it gets. The lens is available in most APS-C mounts as…
Review by Klaus Schroiff, published June 2022 Introduction While Sony has been the undisputed leader in terms of the number of professional-grade mirrorless system lenses for many years, they are at least facing competition regarding the quality of individual lenses. Some of their 1st generation pro glass has been getting a bit long in the tooth. And one of these lenses was the Sony FE 24-70mm f/2.8 GM – not a bad lens by any standard but it has its weak spots. And thus Sony reacted with the new Sony FE 24-70mm f/2.8 GM II. As you may notice, the…
Review by Klaus Schroiff, published June 2022 Introduction Competition is always a good thing and preventing it is not overly consumer-friendly. Canon still created a closed system with the introduction of the RF mount – making it difficult for 3rd party manufacturers to supply alternatives.Non-Canon lenses with electronic coupling are non-existent after Samyang had to withdraw their initial offerings. Thus if you’d like to shop for a more affordable option, you either have to go for an EF adapter solution or a fully manual lens. One of the more interesting offerings in the latter category is the new Laowa 90mm…
Review by Klaus Schroiff, published May 2022 Introduction Every once in a while, many of us are feeling an itch for something exotic – a super-tele maybe, an extreme macro lens, a fisheye lens … or an insane ultra-wide lens. And the Sony FE 14mm f/1.8 GM falls into the latter category. 14mm may sound harmless but it’s excessively wide really with a (fully corrected) field of view of 114 degrees. This can create LOTS of drama in your images. However, lenses this wide are also notoriously difficult to use because they emphasize the foreground and finding an interesting one…
Review by Klaus Schroiff, published May 2022 Introduction No system is complete without macro lenses and while Canon has been offering the RF 85mm f/2 STM IS macro early, it isn’t really aligned to professional needs, at least.In order to serve this market, Canon finally released the Canon RF 100mm f/2.8 L USM IS macro. As professional-grade lenses go, the price for the entry ticket is on the high side at $1400/1500EUR – that’s more than double the amount you have to pay for the faster RF 85mm f/2. This raises the question of whether it’s really worth it ……
Review by Klaus Schroiff, published April 2022 Introduction The Canon RF 28-70mm f/2 USM L was one of the first lenses for the RF-mount cameras. You may also say that it was nothing short but a STATEMENT because it’s the world’s first full-format standard zoom lens with a constant max aperture of f/2. It supplements the RF 24-70mm f/2.8 USM L IS, so Canon users are blessed with two high-speed zoom lenses in this range class. The two lenses are fairly different so each one has its place with the RF 28-70mm f/2 USM L surely being the more exotic…
Review by Klaus Schroiff, published February 2022 Introduction There is a general notion that full-format is the way to go for shallow depth-of-field photography. Of course, there have been many attempts to defy the limitations of smaller formats with f/1.4 and f/1.2 lenses. However, even this isn’t enough for some smaller Chinese players. Notably, Laowa got serious about it with a set of f/0.95 “Argus”-branded lenses. Now, in all honesty – lenses around the f/1 mark tend to be relatively poor in terms of performance – or let’s call it “full of character,” as Youtubers describe it. The new Laowa…
Review by Klaus Schroiff, published February 2022 Introduction First of all, I’ve to admit something – I’m one of the oddballs who love fish-eye lenses. Not always but often.Maybe it relates to the sea of conventional lenses that find their way into our lab and everything unusual is a welcome distraction. So in any case I have got a favorable bias. Thus the offer to review the new Tokina SZ 8mm f/2.8 Fish-Eye was very welcomed. It’s a fully manual, APS-C mount lens for X- and E-mount. The lens is very compact and lightweight – as it should be.Fish-eye lenses…
An ultra-wide lens on a budget?
Review by Klaus Schroiff, published January 2022 Introduction So to finalize our little tour of Tokina’s new gang of three prime lenses, let’s have a look at the Tokina atx-m 33mm f/1.4 E. Just like its cousins – the 23mm f/1.4 and 56mm f/1.4 – it probably shares most of its genes with a corresponding lens over at Viltrox. Still, it adds a more recognized brand and more local service centers to the value proposition. It is equivalent to a standard prime lens on APS-C cameras with a correspondingly broad amount of applications. Available for around $400USD or 320EUR, it…
Review by Klaus Schroiff, published January 2022 Introduction Recently, we reviewed the Tokina atx-m 56mm f/1.4 X in Fujifilm X mount, but there’s also a variant in E-mount – correspondingly named the Tokina atx-m 56mm f/1.4 E. On APS-C cameras, the field-of-view is equivalent to “85mm” on full-format cameras. Thus it primarily targets the popular portrait-, still- and street-photography market. Priced at around 370EUR/$430USD, which is slightly more affordable than the X-mount version – probably a result of the stiffer competition in E-mount. As of the time of this review, we can count no less than 19 different standard prime…
Review by Klaus Schroiff, published January 2022 Introduction The Tokina atx-m 23mm f/1.4 E is a moderate, wide-angle prime lens for APS-C Sony E-mount cameras. The paper specs may appear familiar to some of you. While differences may be present, the lens seems strongly related to the Viltrox AF 23mm f/1.4 which we reviewed last year. Cooperations in the industry are fairly normal and it’s undoubtedly a win for both companies especially regarding Tokina’s better-known branding and service network. The pricing remains reasonable at around $450USD or 370EUR. The build quality is pretty high so the lens remains true to…
Review by Klaus Schroiff, published December 2021 Introduction The Sigma 100-400mm f/5.6-6.3 DG DN OS is the mirrorless camera version of the highly popular Sigma 100-400mm f/5.6-6.3 DG OS HSM. While very similar in shape, there are some subtle differences – including a modified optical formula. Unlike the older lens, it is at least possible to attach an (optional) tripod mount. The HSM has been replaced by a stepping motor which is more aligned to the use on mirrorless cameras. The good news is the pricing only increased marginally to around 950 USD/EUR both in Sony E- and L-mount. It may come…
Review by Klaus Schroiff, published December 2021 Introduction Laowa is playing it fancy again – not in terms of speed or focal length but in making things as small as possible. This time they surprised us with the Laowa 85mm f/5.6 2x Ultra Marco APO, a full-format lens for mirrorless systems only. And it is tiny with a length of just 81mm and a weight of merely 291g (to 310g depending on the target system). Some may frown upon the thought of an f/5.6 lens but at least for macro photography, it makes absolute sense. Anything faster than this is more on…
Review by Klaus Schroiff, published October 2021 Introduction Recently Fujifilm opened up its system to a broader pool of third-party manufacturers. That’s good news for consumers because we can finally see some real competition. Among the alternative players is also Tokina, one of the oldest third-party lens manufacturers for system cameras (established in 1950). So far Tokina has released a series of APS-C prime lenses for Fujifilm X and Sony E mount. In this review, we’ll discuss the Tokina atx-m 56mm f/1.4 X. On APS-C cameras, the field-of-view is equivalent to “85mm” on full-format cameras. Thus it is primarily targeting…
by Klaus Schroiff, published September 2021 Introduction The overall market has been shifting to high-end products, and primarily towards the full-format segment. However, Micro-Four-Thirds has maintained one stronghold – serving users who want to enjoy the benefits of system cameras while maintaining a compact setup. Full-format CAMERAS may be almost comparable in size and weight but there is barely anything that the manufacturers can do to shrink LENSES without giving up the benefits of full-format. And unless we are talking about single-lens setups, it tends to be the lenses that are responsible for the bulk of the carrying burden. An…
Introduction As of the time of this review, Samyang has been the only third-party manufacturer offering AF lenses in Canon RF mount – namely the Samyang (Rokinon) AF 14mm f/2.8 RF & AF 85mm f/1/4 RF … but their status is unclear. Canon R-mount is a closed ecosystem with Canon obviously not willing to issue mount/protocol licenses. But it seems as if there’s even more to it. Samyang appears to have reverse-engineered the protocol but, at least according to messages on social media, they are about to stop manufacturing AF lenses for R-mount (because Canon threatened them?). The future of…
by Klaus Schroiff, published August 2021 Introduction Following our review of the Tamron 35mm f/2.8 Di III OSD M1:2, let’s go a little wider with the Tamron 24mm f/2.8 Di III OSD M1:2 – thus a moderate ultra-wide angle lens with typical applications such as street photography or landscapes. Other than its optical design and name, it is basically indistinguishable from its two in-house cousins (with the third one being the 20mm f/2.8). And at least regarding its pricing that’s a good thing. At around 250 USD/EUR, it is among the most affordable prime lenses on the market.For this amount…
by Klaus Schroiff, published August 2021 Introduction In our last part of our Tamron prime lens review mini-series, we’ll have a look at the Tamron 20mm f/2.8 Di III OSD M1:2 – probably the most interesting of the triple. It sits outside the coverage of standard zoom lenses and for photographers on a budget it can be a first step into the true ultra-wide segment. This doesn’t mean that there is much of a physical difference compared to its more moderate cousins (24mm f/2.8 and 35mm f/2.8). As mentioned already in the previous review, you’ll be hard-pressed to distinguish between…