This Thrifty Nifty Fifty Has Beautiful Photos: Canon RF 50mm F1.8 Review

The Canon RF 50mm f1.8 isn’t perfect, but for $200, we can forgive its few flaws.

I’ve long recommended the nifty fifty as one of the first lenses for beginners to add to their DSLR kit. With a bright aperture and a price often around or even under $200, the nifty fifty is an easy choice. However, the affordability of the 50mm f1.8 hasn’t quite made the migration over to mirrorless. Nikon’s is $600, and L-mount lenses are all much higher. Sony is an outlier with a $250 option. That is, until the Canon RF 50mm f1.8 STM.

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The Lust Is Real. Leica 35mm F1.4 Summilux ASPH Review

The Leica 35mm f1.4 Summilux ASPH lens will appeal to the person who loves the 35mm field of view.

They’re pricey, but they’re often worth it. That’s how I often describe Leica lenses often. The Leica 35mm f1.4 Summilux ASPH fits the bill in many ways. There’s beautiful image quality, nice colors, it’s small, well built, and there’s a justified sense of prideful ownership. I’ve used the lens many times over the years, but I never completed a full review. Time and time again, I always found myself blissfully content with the Leica 35mm f1.4 Summilux ASPH. If you were to ever get just one lens for the Leica M mount, this is the one to go for. Alternatively, you could buy the lens and adapt it to any mount you want.

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Remarkable Images, Risky Design: Nikon Z 20mm F1.8 S Review

The Nikon Z 20mm f1.8 S delivers some impressive images, but in a minimal package.

Just 4 mm from the more standard 24mm, the 20mm lens offers a happy medium between ultra-wide distortion and the narrower view of a 24 or 35mm. The Nikon 20mm f1.8 S blends in with a growing list of Z mount lenses. On the outside, the 20mm looks nearly indistinguishable from all other f1.8 primes in the series. But, on the inside, the lens hides a new dual-motor autofocus design.

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Challenging, but a Worthy Slice of Focus: Leica 90mm F1.5 Summilux ASPH

The Leica 90 f1.5 Summilux ASPH rewards patience with some spectacular flare.

Leica’s Summilux lenses boast ultra-bright apertures, but until recently these ultra-fast lenses have been limited to wide-angle and standard focal lengths. The Leica 90mm f1.5 Summilux ASPH is the Summilux line’s first 90mm, joining 90mms from the Summicron and Macro-Elmar line-ups. Mixing the wide aperture of the Summilux line with a longer focal length creates a tiny slice of perfect focus that fades quickly into a spectacular blur.

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Affordable and Surprisingly Fantastic: Fujifilm 27mm F2.8 R WR Review

Kit lenses have a reputation for being lackluster. But then, sometimes cameras are paired with lenses that are excellent to consider, even for photographers not investing in a kit. The Fujifilm 27mm f2.8 R WR is one of those lenses. Equivalent to 41mm on a crop camera, the pancake lens makes a good walk-around kit with the XE4. But does the XF 27mm have enough strength to stand alone outside of the kit?

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The Fujifilm 18mm F1.4 LM WR Is Probably Everything You Ever Wanted

The Fujifilm 18mm F1.4 LM WR is going to please many photographers, especially street photographers.

The Fujifilm 18mm f1.4 LM WR is probably going to confuse a lot of people. It’s not replacing the 16mm f1.4 R WR or the 18mm f2. Instead, it’s living alongside those lenses. Now, the X series has a classic 28mm equivalent with an f1.4 aperture. Add onto that the fact that it’s weather sealed. Then top it off with the linear motor that’s inside for faster autofocus. To blow your mind more, it’s coming in at under $1,000. Trust me when I say that I think the Fujifilm 18mm F1.4 LM WR will sell like newly legalized marijuana in NYC.

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It’s Beautiful, But It Has Issues: Fujifilm GF 80mm F1.7 R WR Review

The Fujifilm GF 80mm f1.7 R WR is an innovative lens that almost hits it out of the park.

Fujifilm is no stranger to shaking things up when it comes to cameras and lenses. They have dominated the APS-C field for some time, and they have taken the Medium Format segment by storm. They are continually innovating; it’s what sets them apart from other manufacturers. When it comes to Medium Format, we have been calling for faster glass for some time. Now, Fujifilm has delivered. Not only is the Fujifilm GF 80mm f1.7 R WR the fastest GF mount lens, but it’s also the fastest Medium Format lens with autofocus on the market. Period. Does it live up to the hype? Find out in our full review.

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Astonishing Images, Finally Focused: Nikon 70-200mm F2.8 VR S Review

The bokeh on the Nikon Z 70-200mm f2.8 VR S is delicious, but the autofocus lags.

The 70-200mm f2.8 lens is meant to be a workhorse lens that can move seamlessly from one genre to the next. Now, Nikon has brought that workhorse to the Z mount system. The Nikon Z 70-200mm f2.8 VR S is a $2,600 lens that boasts closer autofocus and lighter weight than competing lenses. And, as the name suggests, it pairs a lens stabilization system with the in-body system on many Z bodies.

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The One You Want. Leica 28mm F2 Summicron SL Review

We’re amazed at how well the Leica 28mm f2 Summicron SL lens performed.

The Leica 28mm is something to behold. One of my favorite lenses is their 28mm f1.4 for M mount. So when the Leica 28mm f2 Summicron SL, I was incredibly intrigued. Leica started off by making some massive claims about autofocus speed. That one raised my eyebrows. Autofocus speed has been a huge problem for Leica for years, and now it seems they’re taking it more seriously. On top of that, they’re packing in a ton of aspherical lens elements. For a long time, I’ve wanted them to make faster lenses than f2, but in this case, I’m delighted.

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This Affordable Lens Doesn’t Suck: Sony 50mm F2.5 G Review

The new Sony 50mm f2.5 G isn’t perfect, but for $600 it’s pretty impressive.

Prime lenses fall into two categories: the compact, affordable yet bright lenses and the pro-level, huge, near-technical-perfection monstrosities. The Sony 50mm f2.5 G falls in the first category. Weighing roughly six ounces, it’s a lens that almost feels like you forgot to mount a lens at all. In the bag, it barely takes up a lens slot.

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Spend Your Money Better: The Funleader 18mm F8 Lens Review

The Funleader 18mm f8 lens can surely be a joy to use, but you’ll use it maybe once and then give it up.

We’ve been asking manufacturers for something different for a long time now. And thankfully, we’re experiencing a lens renaissance. So the Funleader 18mm f8 seems like just the right tool, right? It’s a pancake lens for a variety of lens mounts. It’s got an 18mm focal length with a fixed f8 aperture. Plus, you can’t even focus the lens. It’s got a fixed focus to a certain distance away. Best of all, this lens packs in character to it that’s beautiful.

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One of the Best: Leica APO Summicron 35mm F2 ASPH Review

The Leica APO Summicron 35mm f2 is as close to perfect as you can get.

The word innovator is thrown around a little too easily these days. Sure, lots of companies are creating lenses we haven’t seen before. In the pursuit of perfection, though, many modern lenses produce sterile images. But Leica has a habit of creating modern lenses while retaining qualities that make their images stand out. The new Leica APO Summicron-M 35mm f2 ASPH is the latest prime to come out of Germany. We’ve had our hands on it for a few weeks now, and we have been putting it through a battery of real-world tests. Find out how it performs and if it’s worth the lofty price tag in our full review.

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Great Sharpness Meets Vibrant Character: Nikon Z 50mm F1.2 S Review

The Nikon Z 50mm f1.2 S is a gorgeous lens — if you don’t mind the Z system autofocus.

When Nikon launched the Z mount, the company promised wider apertures and sharper photos. The Nikon Z 50mm f1.2 S is the fruit of that promise. The lens mixes a blurred-to-oblivion depth of field with a sharpness that’s detailed enough to make out the tiniest eyelash even on the lower resolution Z 6 II.

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Affordable, Portable, and Fast: Sony 40mm F2.5 G Review

For $600, the Sony 40mm F2.5 G delivers portability, speed, and pretty good image quality.

Sony’s G lenses have a reputation for high-end image quality — but with a price to match. Sony’s newest optics in the series were announced on March 23. These put G series sharpness in a trio of compact lenses that are $600 each. The Sony FE 40mm f2.5 G, alongside the new 50mm and the 24mm, is now the most affordable of the E-Mount G lenses. The question is, did Sony sacrifice too much to reach that lower price point?

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The G Stands for Good, Not Great: Sony 24mm F2.8 G Review

The Sony 24mm f2.8 G goes head-to-head with some strong contenders in this now oversaturated lens segment.

Lately, it seems as though every manufacturer is making small, relatively fast, and affordable 24mm prime lenses. Tamron released one not too long ago, and it costs $199. Sigma has one in their new I-Series of lenses with a price tag of $549. Now, Sony has decided to release a new 24mm f2.8 prime in their G series of lenses with a price tag of $599. With an all-metal build, weather sealing, and an aperture ring, the Sony 24mm f2.8 G stands out a little from the rest. However, is it worth the premium price that they’re asking for it? Find out in our full review.

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This Colorful Zoom Is a Tank: Fujifilm 10-24mm F4 R OIS WR Review

Weather-sealing, stabilization, and a small size make the Fujifilm 10-24mm F4 R OIS WR a worthy contender.

Telephoto lenses tend to get all the love — and by love, I mean stabilization. Yet the new Fujifilm 10-24mm F4 R OIS WR packs a stabilization system into one of the widest zooms you can get without breeching fisheye territory. Pair it with the Fujifilm X-T4, and get 6.5 stops of stabilization.

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Battle of the 50mm f1.2 Lenses. Is Sony Better Than Canon?

The Sony 50mm f1.2 G Master was announced today, but is it better than the Canon RF 50mm f1.2 L USM?

Before I go into this, I need to make a few things transparent. I’m the type of photographer who’s leaned more into my photojournalism roots recently. I don’t like doing a lot of photo editing. And that’s fine. If you’re the type who wants something perfect out of camera, then you’ll think like me. That will in turn affect my choice in gear. And quite honestly, the Canon RF 50mm f1.2 L USM and the Sony 50mm f1.2 G Master shouldn’t really be compared. But if you’re considering switching from one system to another, there’s some useful info here. So we put these two 50mm f1.2 lenses head to head. How’d they do?

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Details You Never Wanted. Sony 50mm f1.2 G Master Review

The Sony 50mm f1.2 G Master will satisfy those who obsess over clinical sharpness with the bokeh to match and just a bit of lens flare.

I spent the better part of an hour trying to figure out the right title for this piece. The Sony 50mm f1.2 G Master lens is here. And it’s obviously their best 50mm lens yet. It’s packed with 11 aperture blades, weather sealing, two custom control buttons, an aperture ring, and more. Of course, what would a Sony lens be without overengineering? And that’s where I was scratching my head. The Sony 50mm f1.2 G Master lens is like a table hot sauce. Some of you may think Frank’s Red is hot. Others may adore Cholula. But to the elitist snobs among us, these are barely hot. However, they’ll satisfy the needs of most. And that’s what the Sony 50mm f1.2 G Master lens is doing. If it were a hot sauce, it would be a high-end product with a lot of bite but little flavor. Of course, we’ve come to expect that from Sony. And fear not, we compared it to the Canon RF 50mm f1.2 L USM Lens.

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Crispy Quality. Sigma 35mm F2 DG DN Contemporary Review

The Sigma 35mm f2 DG DN Contemporary is an odd but good lens.

Even as I type this review up, I’m still not totally sure how I feel about the Sigma 35mm f2 DG DN Contemporary lens. It’s an easy lens to appreciate. Sigma is giving us options we’ve needed for years. They now offer three 35mm lenses to customers. And at the same time, they’re eliminating a big need for the 35mm f1.4 Art lens. The Sigma 35mm f2 DG DN Contemporary is small. It also has a solid metal body. Best of all, it’s got a little bit of weather sealing at the mount. But at the same time, I wish Sigma had gone even further with this lens, but it’s nearly perfect so far.

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Nothing Special Here. Sigma 24mm f3.5 DG DN Contemporary Review

The Sigma 24mm f3.5 DG DN Contemporary Lens is to lenses what Nikon is to cameras these days.

“Why would I buy this?” is the question I kept asking myself. The Sigma 24mm f3.5 DG DN Contemporary is quite a headscratcher. For the Sony E mount, there are better weather-sealed and cheaper 24mm lenses. For the Leica L mount, there isn’t much competition at all. However, that’s also one of the most ruggedly built systems. Yet somehow, the Sigma 24mm f3.5 DG DN Contemporary isn’t up to par. Luckily, the image quality is outstanding. Either way, this lens is still one that will raise eyebrows.

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The Cost of Being Different. Leica 75mm F2 SL Review

This is probably the best portrait lens the L Mount has.

It took me a while to figure out the right headline for this review. The Leica 75mm f2 SL is a beautiful lens with wonderful image quality. Technically it’s not an odd focal length. If you put a 50mm lens on most APS-C cameras, you’ll get a 75mm focal length. If you’ve used Leica lenses for a while, you’ve probably used a 75mm lens. This is one of my favorite lenses for the SL lenses. In my mind, it’s one of the best portrait lenses for the system. Make no mistake; comparatively speaking, you’re probably paying quite the premium. But, at the same time, this lens has no comparison.

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