Canon RF 24-70mm f/2.8L IS USM – Canon RF

Some lenses are just so good that there is little doubt that they are worth aspiring to. It is unfortunate that often prices are high as well, but the old adage that we get what we pay for does have some validity.

Basically, this new Canon lens is a cracker and that holds true whether we are looking at the handling or the technical performance. The quality of the results is there to be seen and that can be a pleasure in itself.

Canon RF 14-35mm F/4L IS USM – Canon RF

Some lenses just gel and just get on with the job, performing flawlessly and smoothly and not getting in the way of image-making. This is such a lens; what a beauty it is and what lovely results it delivers.

The extra 1mm compared to the existing 15-35mm lens should not be underestimated, as such a difference is much more significant in an ultra-wide than, say, the difference between a 100mm and 105mm lens would be. The loss of 1 stop of speed does mean a lighter, more compact lens that also costs significantly less. 

Canon RF 15-35mm F/2.8L IS USM

This is a great lens to use that has a really useful focal length range and impeccable technical performance. What’s not to like? Well, there’s the price of course, and as things stand the Canon is quite expensive. However, mitigating this is the fact that most of the other marques have settled for f/4 lenses in similar ranges, rather than f/2.8 ones as with the Canon. That extra stop of speed costs. The problem with the lens hood was unfortunate but it is very unlikely to be a design fault.

In all other respects, it’s a fantastic lens and has to be ‘Highly Recommended’.

Canon RF 16mm f/2.8 STM – Canon RF

It is not perfect technically, but it is a perfectly usable and extremely versatile ultra-wide lens at a very keen price. It seems to be well made and many of the shortcomings optically may well not be significant drawbacks for the applications the lens is intended for. Great value, versatile and delivers very good results.

Canon RF 24-105mm f/4-7.1 IS STM

The Canon RF 24-105mm f/4-7.1 IS STM is a fine performer, with a bonus of 24mm ultra-wide coverage, handling superbly, compact, light, focusing down to macro distances, and at half the price of the original offering has to be attractive. In terms of value, as stated above, we could do with weather sealing and a provided lens hood. Other marques provide these things more readily and we could argue that the extra cost at the very least of a lens hood, built into the lens purchase, could be relatively low.

However, despite these points, we have a superb lens that will deliver the goods at a price that, in the context of the Canon EOS R system, has to be good, leaving a package that is Highly Recommended.

Fujifilm Fujinon 23mm f/1.4 R LM WR – Fuji X

There is something quite liberating about travelling light with just one lens and there can be no finer choice than a classic focal length such as this 23mm. It soon becomes apparent why 35mm lenses were so well regarded on 35mm cameras, and certainly, the 23mm recaptures this versatility in terms of its APS-C crop format field of view. For those who are also concerned about the effect of the smaller format, the faster f/1.4 aperture will help make up for the increased depth of field and resultant difficulty in throwing backgrounds out of focus. Ultimately though, these sorts of comparisons are only approximate guidelines and the APS-C format has a look and strengths all of its own.

In summary, a beautiful lens that delivers the goods with style.

Fujifilm Fujinon XF 18mm f/1.4 R LM WR – Fuji X

An 18mm lens on APS-C format is not unheard of, as there are compact cameras around with fixed 18.3mm f/2.8 lenses. In fact, the focal length is quite versatile, offering landscape, travel, architecture and street as its main areas. This lens does however also lift itself into something else entirely by way of its outstanding technical performance plus its bright, fast f/1.4 maximum aperture. This alone makes the outlay worthwhile and Fujifilm users will I’m sure be delighted by its performance.

It is not only technical performance that recommends this lens, but also very fine handling. There are not many controls, but everything is smooth as silk and the lens is a very enjoyable ergonomic experience.

In summary, the Fujifilm Fujinon XF 18mm f/1.4 R LM WR is another outstanding lens from Fujifilm and Highly Recommended.

Fujifilm Fujinon GF 20-35mm F/4 R WR

This is such an exciting lens to use that it tempts us towards medium format. Is there an advantage over full frame? There is probably an edge, but then again full frame cameras are so good… Fujifilm tempts us with not only high resolution and exquisite rendering, but also with reduced depth of field, smooth bokeh, and delicious handling… Even the cost, although not inexpensive, is really on par or even less than some full-frame systems. OK, it’s still fairly heavy and bulky, but then again so are some full-frame cameras.

No mistake, it’s a great lens, even if it doesn’t focus as closely as we might like. It has some very fine qualities and produces truly great images. It may not be for everyone because of the weight, bulk or even the huge file sizes, but if you need it (or want it) you probably know that already and will be well on the way to parting with some cash. Highly recommended.

Fujifilm Fujinon XF 16-80mm f/4 OIS WR – Fuji X

With the partial caveat regarding edge sharpness under some circumstances, overall the Fujifilm Fujinon XF 16-80mm f/4 R OIS WR lens put in a pretty sparkling performance. Above all, it has proved to be an incredibly useful range of focal lengths and I could easily imagine this lens staying firmly on the camera almost all the time. 

Fujifilm Fujinon XF 8-16mm f/2.8 R LM WR

Fujifilm’s Fujinon XF 8-16mm f/2.8 R LM WR lens is gorgeous, at a price, and inevitably it scores highly, in this instance being Highly Recommended. It offers superb image quality, great handling and it’s one of the widest options available for Fujifilm X cameras. 

Venus Laowa 14mm F/4 Zero-D – DSLR

The Laowa 14mm f/4 Zero-D lens has some remarkable properties. It is very sharp indeed, outstandingly so at the centre, and its low distortion and virtually banished CA are highly commendable. The biggest drawbacks are a high susceptibility to flare and for some, the manual focusing of an ultra-wide f/4 lens may prove more difficult.

The answer to the focusing issue lies in using the depth of field markings and zone focusing, or by using a tripod and spending some time getting that point of focus right. The flare issue is harder to avoid when shooting against the light, but is not an issue in normal, less demanding lighting conditions. It is of course possible that the flare properties of the lens could be used in a creative way.

In conclusion, apart from the flare, the lens is well worth serious consideration and is capable of outstanding results.

Leica Summicron-SL 35mm F/2 ASPH

This is a lens that is very easy to like, with outstanding central sharpness but tempered by a very satisfactory mix of other properties that create beautiful images. The Leica name stands up well, with the expected optical qualities, the expected construction quality and the expected ease of handling. The operational ethos of the SL cameras is different in some respects, and the whole design feels perhaps somewhat bulky compared to the reasonably sized lens, but overall the Leica Experience is fit and well.

The price is something else because there are several alternative L mount lenses that are in themselves very fine lenses and yet in some cases approaching around one-quarter of the price of the Leica. As always though, if we know we want Leica it is very unlikely that we will be disappointed, even though the bank balance might take a bit of a hit.

The Leica Summicron-SL 35mm f/2 Asph lens is Highly Recommended.

Leica Summilux-M 35mm f/1.4 ASPH – Leica M

The Leica Summilux-M 35mm f/1.4 lens is expensive, can be tricky to handle well, but can also deliver the most superb colour images that are quite reminiscent of the best transparency films. Yes, there is a certain look to the images and when it’s right it is spectacular.

The most difficult part is the higher demand on technique. When the results can be so stunning when spot-on it tends to show up the images where it is not quite so. Also, used as we are to super fast and accurate AF, shake reduction, weather resistance, ultra-close focusing and all the other features available in mirrorless and DSLR cameras, some of the limitations of a rangefinder design can be a bit disconcerting. Conversely, there are photographers to whom picking up the Leica M11 and Summilux-M lens will feel as though they are coming home to a type of camera that just cuts through all the complexities and becomes again an extension of themselves.

Particularly for those who gel with the rangefinder experience, they will be rewarded with superb sharpness and filmic colour. With that in mind, the verdict is Highly Recommended.

Nikon Nikkor Z 26mm F/2.8

There’s no doubt it is a great lens, performing superbly well in most respects. Sharp, distortion-free and without colour fringing, the only drawback would seem to be flare in extreme lighting, some vignetting and perhaps a price that is a tad higher than we might wish. Is the extra 2mm of wide-angle worth the extra cost compared to the excellent Nikkor Z 28mm f/2.8? Given that 2mm extra wide-angle coverage is way more significant than for a telephoto lens, then it might make the difference if that is the photographer’s forte, and a lens does last a very long time, so maybe it could be worth the higher price. This sort of equation is very different for different users, with all their different requirements.

Weighing up all these factors, if this fits your photographic style and requirements, then the lens well deserves the accolade of Highly Recommended.  

Nikon Nikkor Z 28mm F/2.8 – Nikon Z

This lens has yet again proved that it is possible to produce really high-quality results at a very affordable price. With superb performance and slick handling, it’s a wide-angle lens Nikon Z fans will be happy to have in their kit bags. 

Nikkor Z 28mm F/2.8 SE – Nikon Z

Whether the lens appeals because of its superb performance, its price or its retro styling and nostalgic appeal, it is a winner all around. There is really no qualification to that, and it would be an asset to any Nikon user.

28mm lenses are also quite thin on the ground, but as a wide standard lens, it fits very nicely with the equally retro Nikon Z fc or other crop sensor Z series bodies. Aesthetically, the Z fc shouts out as a logical companion.

As a wide-angle lens on the full-frame Z series cameras, the lens is equally at home and the performance is still at the highest level.

Nikon Nikkor Z 28-75mm F/2.8 – Nikon Z

Yet again, Nikon delivers the goods with the Nikkor Z 28-75mm f/2.8, a terrific lens that ticks all the boxes. The right price, outstanding sharpness, lovely bokeh, close focusing, weather resistance and a very useful set of focal lengths. Handling is a doddle as there is little to do when using, say, Aperture Priority where you set the aperture and let the camera focus and set the shutter speed. The VR is dealt with by the camera body, so is independent of the lens itself, which does lead to simpler lens construction and no doubt helps slightly with costs. In summary, a superb standard zoom for the Z series cameras.

Nikkor Z 24-120mm F/4 S – Nikon Z

This is an amazingly sharp lens, with lots of other fine qualities as well. It is the first lens to exceed our usual graph limits in terms of sharpness, an achievement in itself. With low flare and virtually no CA or distortion, the technical results are amongst the best. In terms of handling, it is pretty much faultless.

In summary, a very fine lens indeed and one that must be at the top of the list for a general-purpose companion. 

Nikon Nikkor Z 24-200mm f/4-6.3 VR – Nikon Z

The Nikon Nikkor Z 24-200mm f/4-6.3 VR is a complex lens in terms of construction and also in terms of performance but it is compact, light, well made, weather-resistant and an excellent performer. At the price and versatility on offer, Nikon Z users may well have a “no-brainer” here.

Nikon Nikkor Z 20mm f/1.8 S – Nikon Z

20mm is a true ultra-wide and capable of being a very rewarding creative tool. Coupled with the dramatically excellent performance, the Nikon Nikkor Z 20mm f/1.8 S is without a doubt an Editor’s Choice. Overall, the Nikon Nikkor Z 20mm f/1.8 S is an outstanding fast 20mm ultra-wide for Nikon Z cameras.

Nikon Nikkor Z 14-24mm f/2.8 S – Nikon Z

This Nikon lens does not disappoint with what it delivers – it is clearly splendid and yet another example of Nikon being right at the top of its game. An amazing performance, with outstanding sharpness, and lovely handling.

Nikon Nikkor Z 24mm f/1.8S – Nikon Z

Gorgeous results from a lens that is gorgeous to handle. Nikon really has cracked it with these Z-series lenses. The quality is there and the price is still in the realm of being realistic. The handling is sublime.

Nikon Nikkor Z DX 18-140mm F/3.5-6.3 VR – Nikon Z

There is a lot to like about this high-performance, reasonably priced universally useful zoom lens. It has the technical performance, it has the handling and it has the VR and weather resistance. Most similar lenses only reach 135mm at the long end, so the extension to 140mm is also useful. It is also capable of focusing closer than many lenses and makes an ideal lens for small objects and details.

The 18-140mm is such a universally useful optic it just might stay on the camera most of the time. From night shoots in dimly lit woodland to portraits to events in wind and rain, it covers the lot and is another sparkling Nikon Z series lens that is just so good to use.

Nikkor Z DX 16-50mm F/3.5-6.3 VR – Nikon Z

We have here a compact, low price, high-performance lens that really sets the bar very high for “plastic fantastic” standard zooms. It even gives many prime lenses a run for their money.

OM System M.Zuiko 12-40mm f/2.8 PRO II

There is little sign here that the smaller MFT format is causing much in the way of diffraction issues with this lens. Sharpness is maintained throughout the aperture range and also throughout the focal length range, to an extraordinary degree. There have been many claims in the past that zoom lenses perform as well as any primes within their range, and in this case that is definitely true.

The cost of this is a slightly higher price and an increase in bulk, but the latter point may be moot as the lens is not particularly heavy anyway. We really see the benefits of the compact nature of the MFT format here. It is just possible that some might choose the more compact 12-45mm f/4 option and save £300 in the process, but then again we have to set this against the more expensive lens that has a truly outstanding performance level.

It can definitely be Highly Recommended.

Olympus M. Zuiko 8-25mm F/4.0 Pro – MFT

This is a versatile lens indeed, performing well, nice and compact and at a reasonable price, making it a strong kit bag contender. Close focusing is a bonus.

The only limitations are really relating to the small MFT format, which is by its nature diffraction limited. This shows clearly in the results, but as long as the lens is kept to f/8, possibly f/11, or faster than the images are very crisp.

Depth of field is another issue, and the lens will not be for those who seek defocused backgrounds at wide apertures. There is too much DOF in the MFT format for that. Conversely, those who desire as much DOF as possible will be highly satisfied.

Olympus M.Zuiko Digital ED 12-45mm f/4.0 PRO – MFT

The standard zoom has many merits, saving us from changing lenses constantly and offering a versatile set of focal lengths. The focal length is a vital aspect and here the usefulness of having that ultra-wide 12mm (24mm-equivalent) cannot be underestimated.

Panasonic Lumix S 20-60mm F/3.5-5.6

The Panasonic Lumix S 20-60mm f/3.5-5.6 lens is a great little lens at a great price. The performance hardly wavers anywhere in its range, it’s compact, it’s light and it’s responsive with fast AF.

Of course, it all comes down to choices, and there are so many superb choices. The limitation of the new lens might be in its limited aperture range, particularly at 60mm, and it is interesting to note in this context that Panasonic has chosen to limit the smallest aperture to f/22, rather than have it vary along with the widest aperture. This is probably a good decision as it makes sure quality is maintained rather than having poor apertures of f/32 or even f/45 that will frankly probably never be meaningfully used. It does mean of course that there are just 5 aperture values to choose from at 60mm.

The potential here is as a great lens for travel, especially with its dust, moisture and freeze resistance, its macro capabilities and its excellent overall technical performance.

At the price particularly, it just has to be an ‘Editor’s Choice’.

Panasonic Lumix S PRO 14-28mm F/4-5.6 Macro

Panasonic has made some good design decisions with this lens. The focal length range has been extended compared to what else is available, the hood catch redesigned so it does not become loose, the smallest aperture has been capped at f/22 throughout so quality is maintained. The price is keen. The form factor is light and relatively compact. Admittedly, the wide-open apertures are fairly modest, but this is the sort of trade-off that allows the other advantages.

There is a lot to like about this lens, and also about Panasonic’s lens range in general, be it compact and affordable primes or heavier, wide aperture options. It’s all about choice, and the new lens is a sound choice that delivers the goods, and in fact not only a sound choice but also an Editor’s Choice.

Panasonic Lumix S 18mm F/1.8

The summary really is that we have a great lens at a very reasonable price. The logic of the whole range of f/1.8 prime lenses is well thought out, the quality is high and the price is very cost-effective. The design does appear to favour the centre of the image in terms of image quality at some cost to the edges, but to be fair the edge performance is still very good and rather better in the field than the resolution tests would suggest. This is because the lens is designed to photograph real 3D subjects and not flat test charts at close distances.

Although some alternatives have been listed, in terms of ergonomics in particular, the matching set of f/1.8 primes share so much that to only buy some from the range and mix and match with other lenses would miss the point. Whichever ones are selected for purchase, it’s a bit of a no-brainer that the others in the range fit in with each other so well and therefore as a set they are a perfect fit.

The Panasonic Lumix S 18mm f/1.8 lens is definitely ‘Highly Recommended’.

Panasonic Leica DG Summilux 9mm F/1.7 – MFT

For an unobtrusive, ultra-wide lens with a fast, bright maximum aperture, this offering from Panasonic is a very strong contender. It fulfils all the requirements for a compact, fast ultra-wide. The actual performance technically is excellent centrally in particular, the only glitch being the relatively lacklustre sharpness at smaller apertures at the edges. Fortunately, this is the most apparent close-up and at normal distances not so much of a problem.

Panasonic Leica DG Vario-Elmarit 12-60mm f/2.8-4.0 ASPH – MFT

The lens hits all the right spots and delivers generally excellent quality. It is true that it falters in a couple of areas, principally the edge sharpness at 12mm and the general sharpness at f/16 and f/22. Given the small MFT format, the performance at the two smallest apertures can be forgiven as diffraction is to blame. Arguably f/22 could have been left out altogether, but on the other hand, as long as we are aware of its drawbacks then at least it remains a choice. In all other respects, the lens shines, with low vignetting, low CA, remarkably low distortion and virtually no tendency to flare. Even the edge sharpness problem at 12mm could be mitigated by shooting at f/5.6 or f/8, which many photographers might do anyway.

Given the awareness of the one drawback, the lens can be ‘Highly Recommended’.

Panasonic Lumix S 35mm f/1.8 – L-mount

For those who consider the 50mm standard lens to be a bit restrictive, especially in more cramped situations, the 35mm “wide standard” has always been a popular choice. It is versatile, high quality, compact and competitively priced. This has always been true of 35mm lenses and remains true as embodied in this lens from Panasonic. Plus, it also offers a very satisfactory technical performance as well as great handling in the field which makes it a highly effective photographic tool.

Panasonic L-Mount S 24mm F/1.8 – L-mount

In the case of this 24mm, the quality is high, the handling excellent and the price reasonable. There have also been improvements in the small design details, such as the lens hood release catch. In terms of performance, apart from lower edge sharpness that is more apparent in shooting flat test charts than shooting three-dimensional subjects in the field, it delivers quality images. In terms of handling, it is a beauty and has no vices. Focusing and exposure are both spot on and as an old favourite, a 24mm lens fits with so many subjects with complete ease. In summary, the lens is a pleasure to use.

Sigma 17mm F4 DG DN Contemporary

There is much to like about this compact ultra-wide lens and the icing on the cake is the high quality of the results. It handles beautifully and performs beautifully, all at a reasonable price.

There are some design points where this reviewer would have made different decisions. The magnetic lens cap could be ditched and a locking button could usefully be added to the aperture ring, but these are not insurmountable and are certainly not deal breakers.

17mm is wide enough to make for some very interesting perspectives, and this is aided by the very close focus. Architecture, landscape, street, documentary and vlogging all happily lie within the scope of this lens. For all these reasons it earns the accolade of Highly Recommended.

Sigma 23mm F/1.4 DC DN Contemporary

If the photographer is looking for a light and fairly compact travel prime lens, perhaps a classic street lens or just a versatile focal length that enables travelling light, then this could well be worthy of serious consideration. The sharpness is excellent throughout and although some of the other technical aspects such as distortion, CA and vignetting may need some additional software correction, it is unlikely to disappoint those who like crisp images. Full weather resistance would be good, as possibly would inbuilt OIS, but all of these things add bulk, complexity and cost, and at least many of the camera bodies include SteadyShot.

Handling is good, the lens is an unobtrusive companion and is likely to be light and compact enough to take anywhere. It can happily be recommended.

Samyang AF 35mm F/1.4 FE II – Sony FE

It is well established that Samyang make excellent lenses and this version of the already desirable 35mm f/1.4 continues that path of high quality and keen prices. To the original specification, we now have two modes added, as well as a focus lock switch, weather sealing and an optical performance that has kept pace with the general increase in MP counts. There is no vibration reduction built-in, but the Sony cameras have SteadyShot inside the camera bodies so that works very well.

Samyang has done it again, achieving an enviable balance between quality and cost that is a winning combination.

Samyang AF 24-70mm F/2.8 FE – Sony FE

A sound AF zoom lens from Samyang and one that has some useful features built-in, such as the silent aperture control ring option and the parfocal zoom design. The only downsides are the rather stiff zoom control, the bulkiness and the weight.

Performance is generally very good, with the centre being of a high order of sharpness and the edges somewhat weaker. The lens needs stopping down for the most uniform results. Distortion is very obvious at 24mm but well-controlled elsewhere. Flare control is impressive.

Overall, a useful lens that performs soundly and at a competitive price and one that can be ‘Recommended’.

Samyang AF 12mm F/2 X – Fujifilm X

It’s ultrawide, it’s fast, it has crisp AF performance and it offers a very high level of performance. There is huge potential in such a lens, especially as it fits seamlessly into the operation of the Fujifilm camera body. A compact, fast ultrawide lens with weather sealing and excellent performance.

Samyang AF 12mm f/2 E – Sony E

This is a very useful ultra-wide lens for Sony APS-C E fit cameras, priced very advantageously as well. The edges are not as sharp as the centre, although using f/4 or f/5.6 will result in the highest level of sharpness across the image field. There is quite a bit more CA than we have become used to, but this is correctable in software. The overall conclusion though is that the Samyang AF 12mm f/2 E lens is well priced, offers an almost uniquely wide field of view and performs very well.

Samyang AF 24mm f/1.8 FE – Sony FE

The lens is compact, light and offers superb sharpness as well as lovely bokeh. What’s not to like about such an optic? There are some signs of CA and some barrel distortion, not too excessive and correctable anyway in camera or in software. The 24mm focal length is just so useful, not only for astrophotography and landscapes but the whole gamut of traditional ultra-wide applications such as street, architecture, interiors and much more. The performance is superb, the price is right, the handling is superb. An obvious win for the Samyang AF 24mm f/1.8 FE lens and an Editor’s choice from us.

Samyang AF 35mm f/1.8 FE – Sony FE

Samyang has been consistently producing excellent lenses at excellent prices for a very long time, building an enviable reputation. The manual focus lenses have always been superb VFM, but the AF range has brought an even higher standard, along with the convenience of reliable AF. With this lens, Samyang has done it yet again and produced a cracking lens, opening up their clear advantages to the Sony mirrorless full-frame cameras.

Samyang MF 14mm f/2.8 MK2 – DSLR

The Samyang MF 14mm f/2.8 MK2 can be tough to focus using an optical viewfinder but is saved by extensive depth of field, and excellent and accurate focus if using Live View. The lens is weather-sealed, which is almost a requirement these days, and gives impressive optical performance in terms of sharpness in particular.

The end results are fantastic and using the hyperfocal distance technique there is almost no need to focus, which goes some way to offset any difficulty finding the focus point. It’s a great lens overall, but some may find the handling a bit on the slow side. In summary, the Samyang MF 14mm f/2.8 MK2 offers fantastic value, impressive performance and is Highly Recommended.

Samyang AF 14mm f/2.8 RF – Canon RF

14mm lenses for full frame cameras are not the easiest to handle from a compositional point of view, but once mastered they can certainly help to make very dramatic, powerful images. This offering from Samyang is well-made, offers excellent sharpness and is available at a price that can’t be ignored. 

Samyang AF 18mm f/2.8 FE – Sony FE

There is so much on the plus side for the Samyang AF 18mm f/2.8 FE lens – it’s affordable, really sharp, focuses fast and produces crisp, attractive images. Handling is superb. The only question marks are over the lack of weather resistance and the amount of flare against the light, but if these can be accepted then, especially at the price, the lens is a remarkable and highly desirable, compact and efficient lens.

Sigma 20mm F/1.4 DG DN Art

There are some terrific ultra-wide primes around, and the Sigma 20mm f/1.4 DG DN Art lens is definitely up there with the best. It’s true that 20mm is quite wide and does need some thought to get the best out of the composition, but it is a matter of practice and confidence, of moving in close, and closer. Once the feel of this clicks into place, then what a powerful lens it becomes. Sweeping vistas, close-ups with the unusual perspective of that close viewpoint, and everything in focus from near to far….are just some of the possibilities. Confident street photography will immerse us in the action, quite different from standing back with a long lens and becoming a distant observer. Environmental portraits can include the details of a working environment, perhaps an artist in a studio with their work surrounding them. Architecture is another obvious choice, especially wide interiors and dramatic staircases.

With such potential, delivered with impeccable quality, the Sigma 20mm f/1.4 DG DN Art lens is a definite ‘Editor’s Choice’.

Sigma 24mm F/1.4 DG DN Art – Sony FE

The 24mm lens is a terrific lens in use and is capable of really dramatic results if used well. The Sigma is well made, delivers high quality and handles beautifully, so is high on the list of possibilities if we are looking for a high-quality full-frame 24mm lens, and is Highly Recommended.

Sigma 28-70mm f/2.8 DG DN Contemporary – Sony FE

Great value for money, incredibly even performance across the whole focal length range, lovely bokeh and fantastic handling just about sum up this attractive and useful lens. The lack of weather sealing is also a shame, although we can recognise that including it would increase the price and quite possibly the bulk of the lens. It could be done though.

Going with the very smooth bokeh, the lens also exhibits that other sort of quality that we seek, that is the undefinable something that makes one lens a keeper and another not. This one looks like a keeper and it could be a trusted go-to lens that stays on the camera for much of the time.

Sigma 16-28mm F/2.8 DG DN Contemporary – Sony FE

Taking the lens in isolation, it is terrific value for money, performs well, is compact and light and also delivers very attractive images, never mind the technical figures, good as they may be. Ultimately, it is what the images look like that counts and this is a lens that can be worked with to produce some lovely-looking pictures. This pitches it very well into the landscape and travel definition, although it can obviously be used for many more subjects.

Sigma 18-50mm f/2.8 DC DN Contemporary – Sony E

 It is a simple-to-use lens, with no controls other than zooming and focusing, so nothing to interfere with the creative process. 

It may well be that the in-camera corrections should be switched on, unless the excessive amounts of distortion are actually wanted for creative reasons. This is a point of course where the design of a lens becomes ever more a design of a lens integrated with some corrections being made in the camera body. The merits or otherwise of this approach could be an interesting debate.

However, to summarise this very fine lens, it’s the right price, the right handling and the right performance

Sigma 35mm f/1.4 DG DN Art – L Mount

If we want sharpness and clean, clear shots with no obvious CA and the ability to shoot into the light without flare spoiling the shot, then this lens fulfils those criteria very comfortably. It handles smoothly, it’s well made, the price is right. The Sigma 35mm F/1.4 DG DN Art is a lovely lens to use, delivers the goods and is well worth the reasonable asking price.

Sony FE PZ 16-35mm F/4 G – Sony FE

Some lenses deliver so well that they hit the magic spot between high technical quality and aesthetic pictorial quality, the “certain something” that is hard to measure. This lens proves itself to be a high-class performer, with great sharpness, low CA, low susceptibility to flare, moderate vignetting and all the other measurables. On the more intangible side of things, we also see a classy rendition of details, smooth bokeh, and just really pleasant pictorial quality. All of this adds up to a great lens and will no doubt in time become for its owners a “keeper” and a great companion for landscape photographers. 

Sony FE 24-70mm f/2.8 G Master – Sony FE

Zoom lenses do have strengths and weaknesses in their performance, but there is little to complain about with this Sony G Master. Any sacrifice in the bald figures is more than made up for with the convenience and versatility a zoom lens represents, and there are precious few sacrifices.

Sharpness at its best is excellent to outstanding, CA and distortion can be addressed in software, although centrally CA is very well controlled anyway. Flare is non-existent. And the bokeh is indeed beautiful, quite sublime. So visually the overall “look” of the images from this lens is highly impressive.

Sony E 11mm F/1.8 – Sony E

This is a gorgeous little lens, light, compact, easy to handle and giving sharp, lively results for both stills and videography alike. Without a doubt, a very versatile and high-quality lens that can be ‘Highly Recommended’.

Sony E 15mm F/1.4 G – Sony E

Lenses sometimes gel very quickly, and this is one of them. It is wide enough to be interesting and fast enough to be useful in a multitude of different situations. Couple that up with the excellence that was the initial promise and we end up with a very attractive proposition.

Sony E 10-20mm F/4 PZ G – Sony E

The lens works really well and should be a versatile companion that can cover everything, including landscape photography. The quality of results is not in doubt, it’s a great little lens. It’s always difficult to assess whether or not f/22 should be included, as at that point diffraction has taken hold and results will not be of the highest order. However, it does at least give us a choice. For the highest quality, apertures up to f/11 can be reliably used; considering the small format, this should offer plenty of depth of field for most subject matter.

Sony FE 12-24mm F/2.8 GM – Sony FE

The lens performs impeccably at a very high level indeed. The extra stop of speed over the f/4 version does come at a hefty premium in cost, but if we need it then there is nothing else quite like it. That will no doubt be the deciding factor, as it is not at a price level that would attract a casual purchaser, but it will not deter anyone who uses this for a more specific purpose. The versatility is certainly there, with that ultra-wide 12mm to the reportage 24mm, all at f/2.8 and all in the one lens. When we start to consider how many lenses it might replace, then the VFM equation could start to shift more in its favour.

Sony 16-50mm F/3.5-5.6 PZ OSS – Sony E

Not a perfect lens, having some sharpness issues at some apertures, but nonetheless an extremely useful one.  It is virtually rectilinear, offers nice sharp results at mid apertures and the potential for smooth portraiture. Stick to f/8 or f/11 or f/16 at most focal lengths and the result will be nice crisp images, with plenty of great colours. Quality is there to be found, just not at all apertures and focal lengths.

Sony FE 14mm F/1.8 G Master – Sony FE

If you love ultra-wide lenses, then this could well be the one that will hit the spot. The dynamic compositions that are possible are unique to this type of optic, and on top of that, we have an absolutely superb optical performance. For landscapes, the look of a 14mm is awesome, although it does need some thought to be given to the composition to extract the best out of it. A lovely lens indeed.

Sony FE 24mm F/2.8G – Sony FE

What a delight to have such a light and compact lens that handles superbly and delivers excellent sharpness both centre and edge. The lens is a real joy to use and is ‘Highly Recommended’.

Sony FE 20mm f/1.8 G – Sony FE

The Sony FE 20mm f/1.8 G lens is a very well-made weather-sealed lens, that gives impressive levels of sharpness, and a rather good close focusing distance. The lens is also to be commended for its relatively compact size and weight. The lens does have quite strong vignetting when shooting wide-open (depending on the subject), however, this could be resolved by stopping down, or by correcting it in software. If you value impressive levels of sharpness and want to stick to the Sony brand, then this lens could easily be seen as worth the money.

Tamron 17-70mm F/2.8 DI III-A VC RXD – Fujifilm X

Sharpness is excellent and well maintained as we zoom in. Bokeh is pleasantly smooth and relaxed. The other technical requirements are well met. The handling is ultra-smooth and ergonomically sound. In addition, the less easily defined overall look of the images is extremely attractive. This is a lens that can be happily used for most of our general shooting purposes, including landscapes. 

Tamron 18-300mm f/3.5-6.3 Di III-A VC VXD – Fujifilm X

Using this lens as a general-purpose optic and all of your needs will be covered. No longer will subjects escape because the wrong lens is on the camera, no longer will subjects be too close to focus on and no longer will those impromptu wildlife shots be out of range, rendering the subject as a tiny dot. Using this lens to shoot images of test charts will reveal the shortcomings technically, but by being aware of these we can avoid the pitfalls and thoroughly enjoy the easy shooting experience that the Tamron lens offers. Shoot at f/11 or wider and avoid the main subject being at the edges at 18mm and 300mm and the result will be some beautiful images, with rich colours and sharpness, ranging from very good to outstanding.

Tamron 28-75mm F/2.8 Di III VXD G2 – Sony FE

It’s a lovely lens to use and is capable of some excellent results. In some respects, it may be desirable to switch on some lens corrections, but this is something that is becoming increasingly so with many mirrorless lens designs, and after all, it is the end result that matters. Even where the edge sharpness falls off at 75mm this does give us the possibility of some very attractive portrait effects with beautifully smooth bokeh. At all other focal lengths sharpness is of a very high order, without compromising bokeh. Add to this the really useful close focusing and we have a very practical lens indeed.

Tamron 35-150mm F/2-2.8 Di III VXD – Sony FE

It is true that the lens is on the large and heavy side, but this is down to the fast, bright maximum aperture of f/2, and the value of this should not be underestimated.

Lenses are not just a collection of technical measurements though and it is equally important to consider the overall “look” of an optic. This can be as much a result of its technical limitations. The Tamron lens has both qualities – excellent technical performance coupled with a very pleasing “look”.

Tamron 11-20mm F/2.8 Di III-A RXD – Sony E

No two ways about it, this is an extraordinary lens. Its performance is superb, it is far lighter than it could be expected to be, it has weather sealing and the price is realistic. It doesn’t have any form of shake reduction, but fortunately, this may be more acceptable in an ultra-wide lens rather than in a telephoto. Still, that would have been the icing on the cake and some Sony bodies do have inbuilt SteadyShot.

Tamron 17-70mm f/2.8 Di III-A VC RXD – Sony E

The Tamro 17-70mmn is splendid. In common with many mirrorless lenses some of the parameters, such as distortion and CA, are controlled in conjunction with the camera to get the best results, but the lens on its own is still an excellent overall performer. The sharpness is exemplary and holds up very well, even at the longest focal length where performance in zooms is often at its weakest.

The caveat regarding handling is really not the fault of the lens, but rather the fault, if fault is the right word, of the tiny APS-C format camera used. The operation of the camera is intrinsically fiddly and the size of the lens is quite out of proportion to the size of the body.

However, there’s no denying the excellence of the performance.

Tamron 28-200mm f/2.8-5.6 Di III RXD – Sony FE

This lens is very impressive indeed. The quality of results is far better than we might expect, and extremely well held even at the longer focal lengths, often a weak spot with zoom lenses. There is also the option of switching in the in-camera corrections if desired.

This is a lens that is hard to fault in terms of handling or results and the snappy, sharp images obtained are testament to this. 

Tamron 35mm f/2.8 Di III OSD M1:2 Sony FE

Many photographers prefer a standard lens that is wider than the traditional 50mm, and 35mm is often the favoured choice. It is wide enough to give a slightly increased field of view and yet still has good geometry and high standards of sharpness. The Tamron 35mm f/2.8 Di III OSD M1:2 fulfils all of the needs of a high-class 35mm lens at a very attractive price level. What’s not to like?

Tamron SP 35mm f/1.4 Di USD – DSLR

The performance is excellent, the handling is excellent and this puts the Tamron on a par with the best alternative 35mm f/1.4 lenses, and, it must be said, at an attractive price. Yes, it is still expensive, but that is the price we have to pay for such high quality.

Zeiss Batis Distagon 18mm f/2.8 T* – Sony FE

There is no doubt that Zeiss makes some very fine lenses. It is also a pleasure to have a range of AF lenses as well, and the Batis 18mm fits beautifully on the Sony E system cameras. Those who want a lens to match their existing Zeiss optics will of course not find it a difficult decision and they will be rewarded with a superb lens.