Hundreds of lenses are reviewed each year by our expert photographer reviewers. Find out about the different models being offered by the biggest brands and the best lenses for specific types of photography and focal distance needs.
Out of all the RF lenses to recently emerge, the Canon RF 70-200mm f/2.8L IS USM is one of the most significant. The RF 15-35mm f/2.8L IS USM and the RF 24-70mm f/2.8L IS USM are the standards for the shorter focal lengths, while the 70-200mm f/2.8 is the de facto standard for a fast
While the rest of the current RF lens lineup consists of heavyweight zooms and primes, the Canon RF 35mm f/1.8 MACRO IS STM is a more compact, middle of the range offering. Many advantages here, such as a better lens to body-weight balance and a cheaper price point. This doesn’t mean the Canon has skimped
Out of the latest crop of RF lenses, the release of the Canon RF 28–70mm f/2 L USM is arguably the most significant. The 24-70mm zoom has traditionally been the go-to standard, as it encompasses all the most useful focal lengths and produces great quality images. As Canon is going down the full-frame mirrorless route,
The shiniest and brightest lenses from the Canon RF range have started out with the release of the most common focal length zooms. One of these being the Canon RF 24-105mm f/4L IS USM. Considered more of a generalist lens than the Canon RF 24-70mm f/2.8L IS USM, the 24-105mm is an L-series offering and
Canon is slowly rolling out camera lenses that are native to their EOS R and RP formats. Three of these are the most commonly used zoom lenses, covering 70-200m, 24-70mm and the one we will be looking at today, the Canon RF 15-35mm f/2.8L IS USM. It’s immediately apparent that these lenses are for the
The Sigma 17-70mm f/2.8-4 DC Macro OS HSM is one of those lenses that hits the middle of the price range and offers a lot of features in one package. Specifically designed for APS-C sensors, the equivalent focal length comes in at 25.5-105mm, which still gives a very usable range, along with a macro mode
Ever since the release of the Sony mirrorless camera lineup, the company had been slowly expanding their lens lineup. The f/4 versions came first, but it was soon apparent that photographers wanted a more ‘pro’ version of each lens. Thus, the introduction of f/2.8 variants in the GM form, which include the Sony FE 16-35mm
When the Sony Alpha platform was first announced, there was no denying its groundbreaking nature. Great camera platform, but it needed the equivalent native lenses to finish off the package. The process took a few years, with Sony users now being able to access a good range of primes and zooms at the top end
Ever since Sony first released its hugely popular mirrorless camera formats, photographers have had a good choice of primes and zoom lenses to fit all budgets. Sony and third-party makers were soon quick on the draw, producing some very credible lenses, with some the very best coming from Sony’s own topline G-Master series. Today, we
When the Sony Alpha cameras were first released, many people immediately got the usefulness of the system. Great cameras, but initially not really any workhorse lenses. By this meaning, native format commonly used focal length primes and zooms with an f/2.8 aperture or wider. It wasn’t long before Sony stepped up to the mark and
It’s usually the case that before buying into high-end prime and zoom lenses, a general all-rounder lens is the first port of call. A lens that has good optical quality, a good range of focal lengths, and hopefully other extra goodies such as image stabilization. The cheapest of the cheap could be opted for, but
When photographers are starting down the journey of collecting interchangeable lenses, we don’t always buy into the latest and greatest straightaway. We usually buy into cost-effective lenses, discover the pros and cons, what we like shooting, then progress from there. A lens that covers a bit of everything, with good quality results is the usual
Small form cameras with interchangeable lenses will always have a place on the market. A solution that isn’t as overwhelming as a top-end camera but still feels like you’ve got professional gear in your hands. One example is the Panasonic LUMIX GX85 (labeled the GX80 in Europe). The GX85 has a rangefinder type body, interchangeable
The Sony Zeiss 35mm f/1.4 ZA when it was first announced, it only the second 35mm lens for Sony’s full-frame mirrorless cameras. The other being the 35mm f/2.8 ZA. The new model brings significant upgrades, the most obvious being a wider aperture. This also means the lens is heavier and carries a higher price tag.
The majority of lenses on the open market either fall into the camps of standard primes or zooms. Macro lenses also have their place when the tiny aspects of our world need to be captured, but they are not always as commonplace. In steps the Tokina FiRIN 100mm f/2.8 FE Macro, which is a medium
Adding an extra level of quality to the front of your camera can come in various guises. There are lenses that are the same as your camera brand or you could go the third-party route. Arguably, some of the highest quality third-party lenses currently available are from ZEISS. One of these being the ZEISS Batis
Sony has been releasing some very tasty, high-end lenses in the past few years. However, there’s always the case for a more cost-effective prime lens, that still provides great optics at a more palatable price point. The Sony DT 35mm f/1.8 SAM is built specifically for APS-C Alpha cameras and features the A-Mount. The lens
The 85mm focal length has been a traditional standard for portrait shooters, both in and out of the studio. While there are plenty of lenses on the market which can cover this ground, what if you want the best of the best and are willing to pay for it? The ZEISS Otus 85mm f/1.4 provides
If you’ve had even a passing acquaintance with Sigma’s Art lenses, then you will have probably got the message of lots of optical quality for the money. However, if the current prices are still a bit of a stretch, then there is the option of slightly older versions. This is the case with the Sigma
If you’ve had the pleasure of trying out any of the Sigma Art range of lenses, then you would have probably found a lot of optical quality for the money. These prime lenses have been whipping up a storm as quality alternatives to the standard fare and now it’s time for the zooms to get
Those of you out there who have bought into the Sony camera body range are lucky enough to have a good range of lens options. Along with Sony lenses, you can use Canon lenses and a good deal of third-party offerings. Basically meaning, you shouldn’t be short of options. If a relatively wide-angle prime lens
It’s never been a better time for third-party lenses. Even the less well-known makers are producing high-end optics in both primes and zooms, with very reasonable price points. Like any lens choice, it’s ultimately about testing a few examples and seeing which fits your needs. But, if you’re in the market for a high-end prime
If you’ve read any of our recent reviews on the rather lovely Sigma range of Art lenses, you’ll know that the company has been producing some great optics for the money. The problem is not everybody wants to step up to that price band and may want a lighter weight solution or some added extras
When it comes to the choice of quality prime lenses, the usual few manufacturers spring to mind. That’s either your camera body brand or the most popular third-party makers. However, other lens manufacturers have been stepping up their game and this is evident with the Samyang Premium MF 85mm f/1.2. Samyang can also be branded
If you’ve never used Sigma’s Arts range of lenses, you may be in for a treat. As with the Sigma 12-24mm f/4 DG HSM Art, these are high-end offerings that are very capable of competing against the usual go-to lenses. Obviously, each lens comparison has to be done on its own merits, but in general,
Pardon the pun, but in the wide world of wide-angle lenses, the usual go-to are lenses from your camera manufacturer. However, third-party lens makers are currently producing some of the highest quality lenses ever from their lineup. In particular, one such lens is the Sigma 30mm f/1.4 DC HSM Art. Sigma’s Art series, especially in
A fisheye lens can seem like a very specialist or even novelty proposition, but in the right hands, it can be a very creative lens. There are many band photos from the 1960’s shot with a fisheye lens, which gives a very psychedelic look. Fisheye lenses also a staple of 360 or VR images and
The Micro Four Thirds camera format is still a cost-effective way to capture good quality stills and video. If you own one of these camera bodies and want a high-quality, all-round lens then the Panasonic LUMIX G Leica DG Vario-Elmarit 12-60mm f/2.8-4 ASPH could be an option. With a real-world focal length of 24-120mm, the
The Olympus M.Zuiko Digital ED 300mm f/4 IS Pro is a hefty lens, with the potential audience being the more professional end of the spectrum. Built for the Micro Four Thirds format and being a high-quality prime, should mean exceptional quality. Something that you would use for shooting wildlife, sports or action. There was obviously
The Olympus M.Zuiko 12-40mm f/2.8 PRO was the first offering which was part of the line up to provide pro-level lenses, covering a wide variety of focal lengths. The idea was to cover the most obvious of pro criteria, such as excellent optics, weatherproofing, and high build quality. By weatherproofing, Olympus uses the term ‘splash
