Tamron SP 90mm f/2.8 Di Macro 1:1 VC USD

Another new Tamron lens, this one building on the reputation of its predecessors and definitely coming up to the mark. The Tamron 90mm Macro has been a favourite for many over the years. This one takes performance to a new peak and is very comfortable to use. There does remain the possibility of picking up the previous model at a much lower price but that is always a dilemma when lenses are updated.

This is a lens that has been a pleasure to use, from the crisp view through the viewfinder to the satisfaction of the quality of images opened on the monitor screen. Tamron has continued the legacy reputation of their 90mm Macro in an accomplished way.

Meike 85mm f/2.8 Macro

As a general-purpose short telephoto for portraits, landscapes, etc., it may be that the loss of AF will be an inconvenience. However, in the arena of macro shooting, this lens comes into its own, being what it is clearly designed for. Very often MF is the method of choice for macro shooting anyway. All the accuracy of the focusing is concentrated in the macro range and the image snaps clearly into focus in the viewfinder or on the monitor screen.

The Meike 85mm f/2.8 Macro lens is a well-made, well-priced lens that will do the job efficiently and to an excellent standard.

Irix 150mm f/2.8 Macro 1:1 Dragonfly

There is no doubt that there will be many photographers who will be delighted by the arrival of the Irix 150mm f/2.8 Macro lens. The greater reach of 150mm will be welcomed, and indeed is highly sought after already as photographers search for legendary long macro lenses from the days of film.

Manual focus can often be the method of choice for macro work, depending upon the techniques needed, but at least can be regarded as a little impediment. This is an excellent addition to the options available, especially perhaps for Pentax users who have had no option at all before this.

A specialised lens to some degree, but one that can be Highly Recommended.

Sigma 180mm f/2.8 APO EX DG OS HSM Macro

Although the price may seem on the high side for a lens from a third-party manufacturer when compared to the prices of lenses from Canon and Nikon. If the excellent optical quality and features such as the fast f/2.8 maximum aperture, optical stabilisation and fast, silent autofocus are taken into account, then this lens looks like it may be worth the premium.

Those serious about macro photography, using a telephoto focal length to increase the working distance will love this lens. It’s sharp, well built and very well-featured.

Samyang Premium MF 14mm f/2.4

The Samyang 14mm f/2.4 lens proves itself to be a high-class performer and also a very exciting lens to use. Manual focusing lends itself to use on a tripod with critical focusing, and when this is done the sharpness of the results can be stunning.

The alternative technique of setting a reasonably small aperture, say f/8, and using depth of field to ensure sharpness throughout, can be very liberating and also yields excellent results. Whatever the technique chosen, this is a versatile lens delivering high-class results.

Samyang AF 14mm f/2.8 F

With a highly competitive price tag, high quality all around and an especially fine optical performance, the Samyang AF 14mm f/2.8 lens for Nikon F certainly more than justifies its cost. Against the competition, it holds its head up high and hits a very sweet price/performance point that makes it a very serious contender for those seeking a 14mm lens. A definite Editor’s Choice.

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. As a result, it can quite positively be ‘Recommended’.

Irix 11mm f/4 Firefly

What an exciting lens the Irix 11mm f/4 Firefly is. It opens up a whole new world of creative possibilities in a well-made, well-designed package that delivers the image quality. It will not be for everybody, perhaps because of the ultra-wide style of the images, or maybe because of difficulties using the manual focus system, but if the lens appeals to the individual photographer’s creativity then it will be a rewarding experience.

Irix 15mm f/2.4

The Irix 15mm f/2.4 lens is a powerful photographic tool. This new lens from Irix lifts the performance for such lenses way beyond the first early 1970s offerings and gives us a lens that is free from flare, and very sharp. This Swiss design is an excellent one, built in Korea to very high standards.

Zeiss Milvus 15mm f/2.8 Distagon T*

15mm lenses are beautiful to use and offer unique results. There are several excellent choices on the market, and Zeiss enthusiasts will welcome this new moisture and dust-resistant lens. For some, the choice will be clear and the price will be paid. For many that price may be out of reach, but there are other choices that will still acquit themselves well

Zeiss Milvus 18mm f/2.8 Distagon T*

The temptation may well be there to go for the wider 15mm lens at the same price, or one of the alternative 15mm offerings. However, the Zeiss Milvus 18mm f/2.8 does offer a smaller, lighter lens that is easier to focus and handle and may even be more universally useful. It is not a lower-cost option. The optical performance is virtually the same.

This leaves the lens as a very tempting option that could be a superb travel and landscape companion.

Zeiss Milvus 25mm f/1.4

As always, there will be a price to pay for excellence. None of the 24/25mm f/1.4 bright lenses are cheap, but they do represent the cost of high quality optics. The Milvus represents a variation, sacrificing the AF and pulling no punches in weight or bulk, just delivering solid engineering and optical quality.

Manual focus does become more difficult the wider we go and this may well not be for everybody, but there are others who will revel in the sheer tactile joy of handling a precision, traditional style lens.

Tamron SP 35mm f/1.4 Di USD

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.

The only question is whether or not the photographer finds 35mm to be the right focal length on full frame. For some, it may fall between being truly wide angle and being long enough for more flattering portraits. For others, it will be the perfect standard lens, perhaps especially for those involved with classic street photography or small group portraits.

If the specification is right though, then this lens hits the spot and yet again Tamron have that coveted accolade and another Editor’s Choice.

Irix 45mm f/1.4 Dragonfly

When we moved from compact 35mm cameras to SLRs the standard focal length tended to increase from 45mm to 50mm, 55mm or even 58mm. The longer the focal length, the easier the lens designer’s problems were, as they have to use retro focus designs that gave room for the flipping mirror. Now lens design has moved on considerably, aided by computers but also by the availability of more exotic glass.

It is a personal choice of course, but I ask would we use a 45mm lens as opposed to a 50mm one? Some may feel it is too close to 50mm, some may feel that the extra field of view is advantageous, and for each individual photographer that answer could be very different. There is a subtle difference between 45mm and 50mm and if anyone did feel that their 50mm lens was just a tad constricting, then the Irix 45mm could well be the answer. It is a lovely lens to use and gives lovely results, in fact, to be fair it gives startlingly lovely results.

Tokina Opera 50mm f/1.4 FF

All the things that made the Pentax version of this design an Editor’s Choice apply just as well to the Tokina Opera version, bringing some fine qualities into the domain of Canon and Nikon users. There is no doubt that the competition amongst these types of high-quality lenses is fierce, but Tokina is delivering close to the best quality available at a very competitive price. Another Editor’s Choice.

Zeiss Milvus 35mm f/1.4

The Zeiss Milvus 35mm f/1.4 lens is a bright, high-quality optic with smooth bokeh and a very well-balanced set of properties. It handles beautifully and is a pleasure to use. It exudes a feeling of quality. It is very likely that it will last for many years before needing any attention. The manual focus is utterly smooth and the point of focus is very easy to achieve.

There is a high price to pay for this, so some hard decisions need to be made. Paying £1699 for a 35mm lens, even an f/1.4 model, is a very high cost and needs to be assessed alongside the amount of use that it might be put to. But for those who want that indefinable something from a lens and are able to meet the cost, then there may be a much clearer choice, especially if 35mm is a focal length that is favoured.

Samyang MF 85mm f/1.4 MK2

There is much to like about any 85mm f/1.4 lens and the new Samyang ticks almost all of the boxes. The only caveat is for those who might prefer an AF lens, and then Samyang have an offering for just a couple of hundred pounds more should it be preferred.

However, the new Samyang MF 85mm f/1.4 MK2 lens also delivers a splendid overall performance and it is basically just a lovely lens. On the basis of its performance, its ease of use and its very modest price tag it has to be an Editor’s Choice.

Sigma 135mm f/1.8 DG HSM Art

The Sigma 135mm f/1.8 DG HSM Art is a really sharp lens, with excellent handling and beautiful bokeh, which makes a powerful mix. Although many photographers have felt that 135mm was slightly too long for a short portrait telephoto, perhaps looking at 100mm instead, with this Sigma the close focusing seems to be a game changer. Whereas the 135mm often stopped short at 4 feet or so, at just over 3 feet this new lens makes the tight head shot absolutely possible and probably tips the balance. Coupled with a truly splendid performance, Sigma has a winner, without a doubt.

ZEISS Otus Apo-Sonnar 100mm f/1.4 T*

It is actually quite surprising how few fast 100mm lenses there are, especially considering the popularity of the 100mm macro lenses. For those who find 85mm too short and yet 135mm too long and unwieldy, the 100mm lens has always been an excellent focal length. There have been many 100mm lenses in the past, mostly f/2.8 designs that were light and compact.

The new Zeiss lens is definitely not light or compact, but it is uncompromisingly excellent in performance. It is also most definitely not a cheap option, but then again if we want traditional metal and glass construction of the highest order, then that is what it costs.

This is also the sort of lens design that raises standards, as the difference between a shot that hits the spot and one that nearly does becomes very obvious. Zeiss claims the lens offers a “medium format look” and it does have a certain quality, a certain look that lifts it beyond the norm. It will not suit every photographer, but those whose way of working it does suit will love it.

Zeiss Milvus 135mm f/2.0 Apo Sonnar T*

The Zeiss Milvus Apo Sonnar 135mm f/2 lens is without doubt a beauty. The performance in every respect is magnificent and the handling one of those real pleasures in photography.

The only downsides are the price, which is really quite high, and the lack of AF or vibration reduction. But if we want a lens of this high calibre and we can afford to pay the price, then there’s no alternative than to consider it both highly recommended and highly desirable.

Sigma 24-70mm f/2.8 DG OS HSM Art

This is a very attractive proposition for full frame users. A reasonable cost, a sound general performance, gorgeous bokeh and the potential for portrait shooting, low distortion, in fact, a variety of positive aspects that make for a quality end result. It’s a pity the weather resistance isn’t a bit stronger and the weaker performance at 70mm will not suit everyone, but even this may well delight others as the portrait and perhaps flower study potential is very real. Overall, recommended.

Tamron 10-24mm f/3.5-4.5 Di II VC HLD

The Tamron 10-24mm f/3.5-4.5 Di II VC HLD Lens is an excellent lens that can be highly recommended. It is designed with the centre of the field very much in mind, so depending on use, it should be possible to enjoy the outstanding sharpness when the main subject is fairly centrally placed. However, it is still possible to have excellent edge sharpness if the aperture used is chosen with that in mind.

It is an attractive optic, not only for its sharpness and other optical qualities but also for its smart new design ethos, matching nicely with other new Tamron lenses. Add the moisture resistance and a price competitive with its peers and we have a very useful general purpose wide angle zoom capable of very satisfactory results.

Tamron 17-35mm f/2.8-4 Di OSD

There are a few things missing, such as Vibration Reduction and full-time manual focus, but the Tamron 17-35mm f/2.8-4 Di OSD is a very impressive lens in terms of performance. When we see that the price is also very reasonable it becomes an attractive proposition indeed. If the features and specification suit, then the lens can definitely be Highly Recommended.

Tamron SP 24-70mm f/2.8 Di VC USD G2

The Tamron lens performs very well indeed and has a very well-balanced set of properties. It is well-priced against similar lenses and definitely worth looking at. Images are sharp, well detailed and show smooth bokeh. Resistance to flare is excellent.

In summary, a very fine general-purpose zoom lens, highly recommended.

Tamron 35-150mm f/2.8-4 Di VC OSD

The Tamron 35-150mm f/2.8-4 Di VC OSD is another great lens from Tamron. It handles beautifully and delivers the goods in terms of quality. The 150mm length is long enough to be useful, but not so long that it increases the bulk of the lens too much. There’s a lot to like about the design engineers’ decisions and they have provided a lens that is a clear photographer’s lens and also a clear Editor’s Choice.

Sigma 70-200mm f/2.8 DG OS HSM Sport

There are quite a few 70-200mm f/2.8 lenses, none of them exactly cheap. For those who want a lower cost or a lighter lens, there are the f/4 versions, but many photographers will seek the reduced depth of field that a fast, bright f/2.8 aperture has to offer.

In terms of quality, we rarely see a zoom lens that offers such an evenly fantastic performance as this new Sigma, and at a basically very reasonable price. Without a doubt, the Sigma 70-200mm f/2.8 DG OS HSM S is a lens of choice, and therefore, without doubt, is awarded an Editor’s Choice.

Sigma AF 100-400mm f/5-6.3 DG OS HSM Contemporary

Very long lenses have always been more expensive, with the affordable telephotos ending around 300mm. That extra 400mm is very valuable for wildlife and sports and we have here from Sigma such a lens, but one that is much more reasonably priced.

The features cost is in lens speed, so cameras with good high ISO performance are the order of the day. Other advantages are a more compact and lighter optic, still quite large but nowhere near the bulk of some of the alternatives.

Performance is sound, giving excellent sharpness and lovely bokeh at an excellent price.

Tamron SP 70-200mm f/2.8 Di VC USD G2

The Tamron SP 70-200mm f/2.8 Di VC USD G2 lens is on the same level playing field as lenses costing up to twice as much, punching far above its weight. It may not have the same silky smoothness in operation as its more expensive competition, but it delivers the goods, making no compromise on image quality.

Add to that the amazing VC system and moisture and dust resistance and Tamron have a definite winner on their hands.

Tamron 70-210mm f/4 Di VC USD

Some lenses are impossible to dislike, and this is certainly one of them. It is compact and light compared to the f/2.8 lenses, performance is excellent and gives beautifully crisp images, handling is superb and the price very attractive. The Tamron 70-210mm f/4 Di VC USD is a lens for any Canon or Nikon user to put very high on their list and an Editor’s Choice.