Nikon Noct 58mm F0.95 Review: Ultimate Bokeh, Obnoxious Price

When Nikon launched the Z system, the cameras came with a promise: wider aperture lenses. The Nikon Noct 58mm f0.95 S fulfills that promise. With an extremely wide aperture, this lens introduces more light-gathering power and bokeh to the full-frame mirrorless system. But, even more importantly, the Noct brings a classic feel to a system that otherwise reaches for technical superiority. With a metal build and a name straight from the 1970s, the new Noct merges old and new.

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Affordable Macro. But Be Careful! Laowa 85mm F5.6 Review

For a long time, I wondered why Macro lenses needed to be so large. And then the Laowa 85mm f5.6 came out. It’s a very small full-frame lens. Granted, it’s got a lot of trade offs to meet a certain price point and a few other parameters. Before writing this introduction, I took some time to process my thoughts on this lens. Is it good? I think there are surely folks who would want it. To them it will be a great lens.

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The Best Lenses with Character You Want for Sony E Mount

If you want lenses with character and you’re sick of the same clinically clean image quality, you’ve come to the right place. Why shoot a photo only to have to do tons of post-production? Why not be happy with what you get out of the camera? Well, that’s what we’re rounding up in this post on the best lenses with character for the Sony E Mount. Take a look!

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Sony 24-70mm f2.8 G Master II Review: A Fanboy’s Love?

Many photographers are bound to like the new Sony 24-70mm f2.8 G Master II. Following up their previous lens, this one has Sony leaning even harder into their beliefs. It’s sharper, smaller, lighter, and even more clinically perfect. It takes a lot of the tech they’ve created for years and bundles it into this lens. If you’re a fan of that extra clean Japanese look, get ready to pony up a lot of money.

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Affordable, Small, But Not the Best: Sony 16-35mm F4 PZ G Review

The 16-35mm ultra-wide zoom houses both the wide-open spaces look of the 16mm and the wide, but not too wide 35mm in the same lens. But, that flexibility typically comes at a high price. The Sony 16-35mm f4 PZ G cuts $1,000 off the f2.8 version of this lens in exchange for a narrower aperture. As the PZ in the name indicates, the lens also houses a power zoom feature designed for smooth zooming while recording video.

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The Best Value in Medium Format? Fujifilm 35-70mm F4.5-5.6 Review

I always look forward to shooting with the Fujifilm GFX system and barely having to edit. The lack of fast lenses for the system is why I have not switched over yet. The company is still creating a roadmap of lenses to reach its full potential. The Fujifilm 35-70mm f4.6-5.6 kit lens is an excellent addition to the GFX lineup. Its focal length is perfect for portrait, product, travel, and street photography. The best part is it is essentially $499 when you buy it as a kit with the GFX50s II. This kit is the most affordable way for photographers to get into medium format. But how does it perform? Keep reading to find out.

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This Is What $13K Luxury Really Looks Like: Canon RF 600mm F4 Review

Super telephoto lenses have been sluggish to arrive in mirrorless mounts. Yet, Canon already has more long lenses than the older Sony E Mount. That’s partly because lenses like the Canon RF 600mm f4 L IS USM adapt the same optical design as the similar DSLR lens. Telling the new RF 600mm apart from the EF version is difficult to do at first glance. But, with closer inspection, the RF lens has a band of silver at the mount and is actually a little longer and slightly heavier. But, with backgrounds as soft as melted butter, Canon’s new 600mm mirrorless mount is just as made for wildlife and sports as the EF lens.

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Massive Body, Remarkable Photos: Canon RF 400mm F2.8 Review

Long, bright glass is hard to come by, but Canon didn’t wait long before bringing its 400mm f2.8 over to the RF mount. The Canon RF 400mm f2.8 L IS USM brings the same optics as the EF 400mm f2.8 IS III USM to cameras like the R3 and R5 without the use of a mount adapter. As part of the L series, it uses both a high-end, weather sealed build and pro level optics. Lenses of this stature are pricey, however, and the new Canon RF 400mm f2.8 is no exception. The glass retails for just under $12K.

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A Beautiful Workhorse. Fujifilm 23mm F1.4 R WR LM Review

I’m going to preface this review with something upfront: I will keep my original Fujifilm 23mm f1.4 and this newer one. The newer one is a fantastic workhorse of a lens, but the original has the character I’ve come to know and love from Fujifilm. With that said, the Fujifilm 23mm f1.4 R WR LM is most likely the best lens I’ve ever used from Fujifilm. It checks all the boxes. And if you liked the previous 23mm, you’ll probably understand why I want to keep it.

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Magic Flare, Better Bokeh, Evil Aberration: Nikon Z 28-75mm F2.8 Review

The 24-70mm f2.8 lens is known both as a sturdy workhorse and a pricey luxury. But, unlike the 24-70mm f4, Nikon’s newest wide-to-mid zoom sacrifices focal length for aperture. The new Nikon Z 28-75mm f2.8 isn’t as wide but just as bright and less than half the cost of the Z 24-70mm f2.8. Selling for just a few pennies under $1,000, the Nikon Z 28-75mm f2.8 is only three dollars more than the Z 24-70mm f4 S lens.

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Is a $2,899 Lens Much Better Than a $649 Lens?

One would think a more expensive lens would outdo a cheaper lens. I mean, for the most part, that’s absolutely true. There are lots of big factors to take into consideration with lenses. There’s autofocus, image quality, weather sealing, and other tech. But we were curious to see whether the Canon RF 100-500mm L majorly outdoes the cheaper Canon RF 100-400mm lens. We’ve reviewed both, so we put together this short, informal comparison.

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How Good Is the New Fujifilm 23mm F1.4 R WR LM?

I’ve been eyeing the new Fujifilm 23mm f1.4 R WR LM for a while now. My heart was broken when it was delayed, but it’s finally in my hands. The new lens addresses a bunch of concerns after nearly a decade since the original was introduced. At the top of the list is the significantly faster autofocus performance. This lens has a new linear motor that makes it speedy even on the old X Pro 1. Meanwhile, the character comes through on the new X Pro 3 while showing off how sharp this lens really is. And finally, it boasts weather sealing. At the time of writing this piece, I’ve spent 24 hours with the new lens. Believe it or not, I’m still going to keep the original.

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Beautiful Colors. But the Autofocus? Nikon Z 28mm F2.8 Review

There are a few great things about the Nikon Z 28mm f2.8. It’s part of a lineup of insanely affordable lenses that are pretty much impulse buys. But it’s also got fantastic colors. In fact, shooting with the Nikon Z 28mm f2.8 transported me to a time long ago. If you’ve used and loved the Nikon D700, you’ll get vibes from that era, as the colors from this lens make you feel like you’re shooting with that old and trusted DSLR. But so will the autofocus. And in 2022, our comment on the autofocus isn’t necessarily a good thing.

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Medium-Format Magic in a Full-frame Lens. Laowa 45mm F0.95 Review

Imagine being able to get the kind of bokeh and depth of field with your full-frame camera that medium format camera users show off in their images. Creamy, buttery, super smooth, out of focus portions with an ultra-shallow depth of field. The Laowa 45mm f0.95 Z-mount lens delivered this and more in the week or so of indoor and outdoor testing I did with it. It’s not an autofocus lens, but it still won me over.

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Soft, Dreamy. Beautiful. Lensbaby 50mm F2.5 Soft Focus II Review

I’ve always really liked the Lensbaby line of products. Some of my favorite images I’ve shot for my reviews have been while using their Composer Pro II. And luckily, some photographers will find glee with the Lensbaby 50mm f2.5 Soft Focus II. Your photos will be filled with bloom and haze. In many situations, you’re bound to absolutely love that. But at the same time, just know that you’re going to work quite hard to get your shots. 

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Beautiful Colors: Panasonic Lumix S 24mm F1.8 Lens Review

Prime lenses are a personal favorite. I appreciate their sharpness, swiftness, and specific vantage point. Plus, I like to move around my subjects for the perfect composition. Wider focal lengths are enticing because they fit the bill for many applications. The Panasonic Lumix S 24mm f1.8 is a welcome addition to the existing lineup of L Mount lenses.

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Magic Bokeh, Beautiful Build: Panasonic Leica 25-50mm F1.7 Review

The Micro Four Thirds system is known more for compact size more than bokeh. Similarly, zoom lenses are known for narrower apertures and less sharpness than a lens with a single focal length. The Panasonic Leica 25-50mm f1.7 aims to challenge both stereotypes. Nearly as bright as the brightest primes, the 25-50mm brings some serious light-gathering prowess with a softly blurred background to boot. To top it off, the sharpness rivals that of a prime lens.

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This Is a Sturdy Storyteller: Panasonic 35mm F1.8 S Review

Some lenses are meant to add extra creative flare and others are meant to simply capture the scene as is. The Panasonic 35mm f1.8 S falls in the latter category. The 35mm focal length is a favorite for storytelling. Panasonic mixes that focal length with a weather-sealed and lightweight design that allows photographers to immerse themselves in the story. With this lens, the suppressed flare and minimal distortion help tell it like it is, rather than adding extra character.

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Beautiful Colors. OM-System 12-40mm F2.8 PRO II First Impressions

It’s been nearly a decade since the original Olympus 12-40mm f2.8 PRO lens was announced and reviewed. Now, we’ve got the OM-System 12-40mm f2.8 PRO II. The new lens boasts an incredible weather sealing durability rating, a $999.99 price point, 20cm close focusing, and more. This is the standard lens for the OMDS system and we got to spend some time testing it before the announcement.

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Small Yet Sturdy: OM System 40-150mm F4 Pro Review

One of the biggest perks of the Micro Four Thirds system is larger zooms in smaller packages. Now, Olympus has re-branded. One of the first moves for OM System, along with a new OM1 flagship mirrorless, is to create the smallest fixed aperture telephoto yet: the OM System 40-150mm f4 Pro. Now, there’s the usual slew of fine print conditions attached to any claim of world domination. OM System says that it’s the smallest 300mm equivalent with a fixed aperture. And of course, the Micro Four Thirds format with the 2x crop factor and the narrower f4 is helping out here immensely. But, the OM System 40-150mm f4 Pro is still pretty small.

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