200mm f/2.0 Options

So why do so few photographers own this lens? The near $6K price tag is likely the primary reason. The inconveniently large size and heavy weight is the other. Just check out the prices and specs of these lenses for Canon, Nikon and Fuji below:

• Canon EF 200mm f/2L IS USM Lens
• Nikon AF-S NIKKOR 200mm f/2G ED VR II Lens
• FUJIFILM XF 200mm f/2 R LM OIS WR Lens

But for those brave souls who are able to lug around the massive, expensive lens and skilled enough to use it with the right compositions (while posing subjects who are dozens of feet away), their results speak for themselves.

We found four incredible photographers who were kind enough to share their favorite 200mm f/2.0 photos with us.

200mm f/2.0 Lens Maternity Photography Examples

When capturing the beauty of an expectant mother, the 200mm f/2.0 lens truly shines. The long focal length enables photographers to capture intimate and emotionally charged moments without intruding on the subject’s personal space. The creamy bokeh produced by the wide aperture creates a dreamy atmosphere, enhancing the tender and loving connection between the mother and her unborn child.

Image Above by Danielle Hagens (Instagram | Website)

Image Above by Danielle Hagens (Instagram | Website)

Image Above by Danielle Hagens (Instagram | Website)

Image Above by Danielle Hagens (Instagram | Website)

Image Above by Danielle Hagens (Instagram | Website)

Image Above by Danielle Hagens (Instagram | Website)

200mm f/2.0 Lens Fashion and Model Photography Examples

In the world of fashion and model photography, the 200mm f/2.0 lens elevates every shot to another level. Its long focal length allows photographers to capture stunning full-body portraits from a distance, preserving the natural proportions of the model and emphasizing their unique features. The shallow depth of field achieved by the wide aperture produces an alluring separation between the subject and the background, resulting in captivating and high-impact images.

Image Above by Eli Infante (Instagram | Website | Youtube)

Image Above by Eli Infante (Instagram | Website | Youtube)

Image Above by Eli Infante (Instagram | Website | Youtube)

Image Above by Eli Infante (Instagram | Website | Youtube)

Image Above by Roland Sanchez (Instagram | Website)

200mm f/2.0 Lens Family Photography Examples

When it comes to family photography, the 200mm f/2.0 lens offers a fresh perspective. Its long focal length enables photographers to capture candid moments from a distance, allowing the family to interact naturally while creating visually compelling images. Whether it’s a playful interaction between siblings or the loving embrace of parents, the lens’s ability to isolate the subject from the background creates emotionally engaging photographs that freeze precious memories in time.

Image Above by Shana Carter (Instagram | Website)

Image Above by Shana Carter (Instagram | Website)

Image Above by Shana Carter (Instagram | Website)

Image Above by Roland Sanchez (Instagram | Website)

Conclusion

The 200mm f/2.0 lens is a remarkable tool that deserves recognition for its technical excellence and aesthetic prowess. From maternity photography to fashion shoots and family portraits, this lens consistently delivers breathtaking results. Its wide aperture and long focal length combine to create stunning bokeh, capturing moments with unparalleled sharpness and image quality. Whether you’re a professional photographer or an avid enthusiast, the 200mm f/2.0 lens is undoubtedly an essential addition to your gear, allowing you to create images that evoke emotions and leave a lasting impact.

All of the images in this article were used with direct permission from the artists.  Do NOT use or distribute the images without direct consent from the photographers.

Video: Which Portrait Lens is Right For You?

Ask me a few years ago and I would’ve picked the 85mm. With today’s lens technology, zoom lenses are able to match the aesthetic quality of prime lenses. Ask me now, and I’d say the 70-200mm hands down, but that’s just me. Depending on what you photograph, the 85mm could be the better portrait lens.

1. Comparing Aesthetics

Prime lenses are known for their bokeh. The Canon RF 70-200mm f/2.8 is the first zoom lens that gives the 85mm a run for the money. Here are several side by side bokeh comparisons of each portrait lens.

2. What Are You Photographing?

If you are an event shooter, I would recommend the 70-200mm. The reason is versatility. The 70-200mm allows you to quickly shoot zoom in from various distances and the focus is lighting fast.

If you’re primarily a portrait photographer, the extra depth of the 85mm may be the best dedicated portrait lens. On top of that, if you photograph often in the evenings, the low light capabilities of the prime lenses will make a huge difference.

3. Distance to Your Subject

If you prefer to be closer to your subjects, the 85mm will help you get that beautiful blur from a short distance.

To get the best bokeh from the 70-200mm, you’ll zoom in. That means you’ll have to be quite far from your subject. I captured this image at 135mm. Compared to the first image, you can see that I’m photographing from quite far away.

If you work in tight spaces or anywhere where space may be an issue, I’d recommend the 85mm.

So Which Portrait Lens Should You Get?

If you photograph both events and portraits, I’d say go for the 70-200mm. You’ll enjoy the versatility of the zoom while still capturing great bokeh at a distance.

If you photograph portraits with a focus on aesthetics, the 85mm wins hands down. You’ll enjoy the low light capabilities and the beautiful bokeh at closer distances.

Conclusion

I hope you enjoyed this article/video! Both of these are fantastic portrait lenses to work with and they leave me wondering what incredible lenses will be available in the future!

Be sure to visit SLR Lounge’s Premium Library for complete courses on topics such as Portrait and Wedding Photography, Lightroom, and Flash. You can also find intuitive lighting based presets and retouching tools at Visual Flow.

Don’t miss our next episode of Mastering Your Craft on Adorama’s YouTube channel next week! If you want to catch up on all the episodes, make sure you check out our playlist!

Video: Prime vs Zoom: Canon RF 85mm f/1.2 vs RF 70-200mm f/2.8

In this video/article, I’ll be comparing the RF 85mm f/1.2 with the RF 70-200mm f/2.8. I’ll be discussing the differences in price, versatility, weight, and the overall characteristics of the lenses. Let’s dive in.

1. Price Comparison
2. Versatility
3. Weight Differences
4. Comparing Bokeh
5. Low Light Capabilities

Price Comparison

The prices of the lenses are exactly the same, excluding the DS (Defocus Smoothing) version. Let’s break them down.

1. Canon RF 70-200mm f/2.8: $2699
2. RF 85mm f/1.2: $2699
3. RF (DS) 85mm f/1.2: $2999

Prime vs Zoom Versatility

The RF 70-200 f/2.8 wins hands down. The range in focal length paired with the autofocus speed gives this lens the edge over its competition. Whether it be portraits, weddings, documentary, or sports, this lens provides it all.

Weight Differences

I normally expect the zoom lenses to be substantially heavier than their prime counterparts. Surprisingly, this was not the case between these two lenses. The RF 70-200 f/2.8 clocks in at 2.35lbs while the RF 85mm f/1.2 weighs in at a slightly higher 2.63lbs. The subtle differences in weight makes a big difference when traveling with gear or working extended periods of time.

Comparing Bokeh Between Prime vs Zoom

When you think of prime lenses, you’re likely thinking about the bokeh usually associated with their low apertures. Let’s first compare the images from each lens shot wide open.

1. RF 70-200mm f/2.8

I captured these images at varying focal lengths. You can see the incredible depth provided from 100mm all the way to 200mm.

2. RF 85mm f/1.2

I captured these images on the RF 85mm f/1.2. While the bokeh was unsurprisingly good, I wondered if it was that much better than the 70-200. The main difference is that with the 85mm, I can capture this depth at a closer distance. With the 70-200, I’d have to be further away and more zoomed in.

Side-by-Side

I noticed that when placed side by side, you couldn’t tell which image was taken by which lens. The depth provided by the 70-200mm was comparable to that of the 85mm. This means that the versatility of the 70-200mm gives me the most for the price paid.

That being said, the 85mm can be the right choice for many photographers. This can be due to style, shooting preference at certain distances. Like stated before, the 70-200mm requires you to be further away to achieve the same bokeh characteristics.

Low Light Capabilities

This is where the 85mm has the edge. The autofocus speed paired with the f/1.2 aperture provides two whole stops of additional light over the 70-200mm. In the past, the autofocus of the EF counterpart would be too slow or there wouldn’t be a need use this lens in low light conditions. The new RF version provides great autofocus speeds and the additional stops of light can make this lens a great low-light lens.

Prime Vs Zoom: The Verdict

If given a choice between the two, I’d opt for the 70-200mm. The comparable bokeh quality with the versatility of a zoom makes this an easy choice for me. In addition, the abilities of newer camera bodies to shoot at high ISO speeds negates the need for an f/1.2 when I can have an f/2.8. With the small advantage over weight, the Canon RF 70-200mm f/2.8 takes my pick over the Canon RF 85mm f/1.2.

Conclusion

I hope you enjoyed this article/video. Each lens provides unique advantages and based on your own preferences, one can be a better solution than the other. For more gear reviews, comparisons, tips, and tutorials, be sure to check out the SLR Lounge Youtube channel and stay tuned for more upcoming videos!

A Few Questions to Ask Yourself Before Buying a Lens For Your Smartphone

Before you open up your wallet and jump right into buying what you think might be the best lenses for smartphones, ask yourself the following questions:

• What do you want it for? Knowing how you will use your smartphone lens(es) will help you decide which lens(es) you need. They come in a variety of sizes, focal lengths, and price points.
• Do you  plan to capture more portraits, scenic landscape shots, or cute snaps of your cat? Different lenses do different things. Wide angle lenses might work well for capturing epic landscapes or POV shots, but they’re not the best lenses to use for close up portraits due to lens distortion. Basically, the same rules hold true for photo lenses across the board, whether for your DSLR or mirrorless camera or your smartphone.
• Do you want quality or convenience? While some of the lower end smartphone lenses are super convenient and easy to clip on to your phone, they lack the quality output you’ll get from some of the higher end lenses with more complicated mounting systems. You’ll have to weigh the available options based on what’s most important to you and then find a lens that balances your expectations for quality and convenience.
• How much do you want to spend? If your budget is set in stone, then that will automatically narrow your search for the best lens that you can buy. That said, it’s probably a good idea to set a budget at the outset!

Best Smartphone Compatible Lenses

Here’s a quick roundup of a diverse range of smartphone compatible lenses to help you decide which are best for you.

Moment Macro Lens – $129

This is one of my personal favorites on the list, and I’m not alone. The Moment Macro Lens regularly earns recognition as one of the top smartphone lenses on the market. As the name implies, this specialty lens will give your smartphone macro photography capabilities with a 25mm focal length. In the photo above, you can see its removable light diffuser, which minimizes shadows as you capture images from as close a distance as one inch! If only lens makers could achieve that minimum working distance with a standard DSLR or mirrorless camera macro lens! It’s also worth noting that you can use the Moment Pro Camera App for advanced manual control.

Although a separate case is required, the Moment Macro Lens is compatible with several smartphone models, including iPhone 6-XS Max, Pixel-3 XL, Galaxy Note 8, 9, S8-S10+, OnePlus 6, 6T.

Apexel HD 20-40X Zoom Lens with Tripod – $69

Boasting a 20-40x zoom range, this lens is great for those looking to add quality telephoto capabilities to their smartphone camera. It’s the perfect addition to your smartphone for photographing sports, birds, or anything else you want to crop into from a distance.

This specialized lens features dual adjustments (focus ring and zoom ring) to get clear photos from long distances. Rotating the focus ring will allow you to fine tune your focus and capture get sharper pictures, and you can use the zoom ring to zoom up to 40x.  As an added bonus, a small (but decent) tripod is included with the lens to lend extra stability to your shots.

Bitplay AllClip Mini Photography Kit – $114

The Bitplay All Clip Mini Photography Kit gives you access to a versatile HD wide angle lens, fitting almost any type of smartphone or tablet with its adjustable width up to 16mm. This kit includes an HD Wide Angle Lens. From a quality perspective, this scratch-proof lens scores high in both form and function, boasting a sleek design and quality aluminum build. The lens barrel literally stands out and the glass includes an aspheric element. As an added bonus, the clip works with all eight of Bitplay’s available lenses, plus three lens filters (all sold separately).

Overall, this is a solid lens that provides great image quality. When used on a rear-facing camera, it gives a wide perspective that is incredibly impressive.

Mactrem Phone Camera Lens Kit – $30

Of all the options on this list, this kit (which comes with four lenses and other extras) earns the superlative of most affordable. The super low price point alone makes it a great option for beginners!

Here’s a look at what’s included with your purchase:

Lenses

• Macro Lens
• Wide-Angle
• Fisheye
• Telephoto lens providing up to 20x magnification

Extras

• Eyecup
• Carrying case
• Cleaning cloth
• Phone holder
• Micro tripod
• Clamp for attaching to your phone

This kit might not offer the best specs or the highest quality when compared to its competitors, but the cost makes it an outstanding smartphone lens set for the small price of $30. I would recommend this smartphone lens kit to anyone on a tight budget who is looking to buy the best lenses for smartphones.

Some Other Options in the Search for the Best Lenses for Smartphones

In addition to the lens options listed above, here are some other smartphone lenses you should check out. Each comes in a different price point and offers features unique to the brand, but all of them represent an upgrade from your standard smartphone lens:

• Moment Wide Lens – 18mm
• Moment Tele Lens – 58mm
• CamKix Universal Kit
• Xenvo Pro Lens Kit

Conclusion

A smartphone lens is a great buy for any photographer, no matter your experience. By adding one of the best lenses for smartphones to your camera phone, even your walk-up shots are going to improve. Determining the best smartphone lens depends on your specific needs and how much you’re willing to pay. For beginners looking to experiment with new tools, the Mactrem Kit is incomparable when considering cost. If you want something more technical, then the Bitplay kit might be best. Be sure to explore all of the options listed above more more detailed information.

There’s still no replacement for education and experience when it comes to taking better photos, but this gear will elevate your photography and give you more creative freedom as you continue on in your photography journey.

Sony was the first full-frame mirrorless system, of course, with their FE 24-70mm f/2.8 GM, back in 2016. Then, Canon and Nikon followed next with their RF 24-70mm f/2.8 L IS and Z 24-70mm f/2.8 S, at the same time in early 2019. Panasonic followed in mid-2019, with their S Pro 24-70mm f/2.8. Lastly, Sigma’s 24-70mm f/2.8 DG DN Art arrived in late 2019, and we just finished reviewing it after the trying year that 2020 turned out to be.

Is there a clear winner? A clear loser? Not really, to spoil the ending. There are a fair amount of nuances and quirks to each, and as you might imagine, the oldest lens is the least optically impressive, by a small margin, while the newest lenses are all downright incredible.

Of course, the Canon, Nikon, and Sony 24-70mm f/2.8’s are only available for their respective mounts. The Panasonic 24-70mm f/2.8 is only available for the Leica L-mount, however, for that mount, there are Panasonic, Leica, and Sigma full-frame mirrorless bodies available! Last but not least, Sigma’s 24-70mm f/2.8 is available for both the L-mount AND the Sony E-mount.

For the full set of specifications and similarities/differences between these lenses, see the chart below, and then read on to hear about all the significant differences in features or performance for each lens!

Specifications Mirrorless 24-70mm f/2.8 Zoom Lenses

24-70mm f/2.8 Zoom Lens | Who Should Buy It?

First, let’s talk about what types of photography you might want a 24-70mm f/2.8 for! Remember, all of these pro-grade lenses are rather big and heavy; in fact, on average, they’re about the same size and weight as a DSLR lens. And, all but one of them are over $2,000! So, clearly, they’re a serious investment.

Unfortunately, a lot of highly experienced photographers have a love-hate relationship with the entire class of 24-70mm f/2.8 lenses. Why? Because in the past, these lenses were never perfect. The older generations of DSLR 24-70mm’s, in particular, had some serious flaws: they’d be sharp at 24mm but terribly soft at 70mm, or sharp at both ends but horribly soft at ~50mm! You just couldn’t win, it seemed. And none of them were as sharp as a good f/1.4 prime stopped down to f/2.8, of course!

Modern mirrorless 24-70mm’s are all very different from that preconception, thankfully, and are all pretty impressive in terms of their image quality. Honestly, then? They’re now good for a whole lot of types of photography!

The bottom line is that if you are okay with f/2.8 (as opposed to f/1.8, f/1.4, or f/1.2, etc.) and if you don’t mind lugging around a bigger (though not enormous) lens, then you’ll love any of these mirrorless 24-70mm f/2.8’s.

So, maybe you photograph weddings and events, with a lot of action, and/or in low-light. Or, maybe you do portraits of any kind, from high-fashion editorial/commercial work to lifestyle family portraits. Maybe, you photograph landscapes or nightscapes,…the bottom line is, a 24-70mm f/2.8 could be one of your most-used lenses!

Verdict: Which Mirrorless 24-70mm f/2.8 Lens Is The Best?

Alright, let’s dive in and talk about each lens individually, and how it compares to the others. Spoiler alert: As you’ll see from the image samples, each lens is capable of beautiful results. To see a difference between most of the lenses, you’ll have to really pixel-peep, or focus on every subtle nuance of each lens’ “character”.

Canon RF 24-70mm f/2.8 L IS

The Canon RF 24-70mm f/2.8 L IS ($2,299) is unique in that it’s the only mirrorless 24-70mm f/2.8 lens to offer optical stabilization. Yes, most of the other full-frame mirrorless camera bodies do have sensor-based stabilization, and yes, at medium to wide focal lengths, sensor-based stabilization is very adequate.

However, Canon’s lens IS combines with the IBIS of bodies like the EOS R5 and EOS R6 to offer incredibly good stabilization, a minimum of 6 stops, and up to a whopping 8 (yes, EIGHT) stops of total stabilization.

Click here to read our full Canon RF 24-70mm f/2.8 L IS review!

By the way, even on ultralight bodies such as the Canon EOS RP, which lack IBIS, you get 5 stops of stabilization. This is what makes the Canon RF system truly unique, considering how many lenses, both L and non-L, have IS. (There’s the affordable Canon RF 35mm f/1.8 IS Macro ($499) and Canon RF 85mm f/2 IS Macro ($599), to be specific.)

Apart from having IBIS, the Canon also has a customizable command ring, and it’s at the front of the lens, meaning you’re less likely to accidentally bump it than on the Nikon, which puts the “command ring” in the traditional lens aperture position. Nice if you like changing settings that way, but a little too easy to bump in our experience.

Nikon Nikkor Z 24-70mm f/2.8 S

The Nikon full-frame mirrorless 24-70mm f/2.8 ($2,296) is without a doubt the one with the most professional functions, or bells and whistles depending on your needs/standards.  It doesn’t have optical stabilization like the Canon, however, it is the only lens with all of the other features:

• Zoom ring, focus ring, and customizable “command” ring
• AF/MF switch
• Customizable “L-Fn” button
• Customizable info display:
  • Focal length
  • Aperture
  • Focus distance
  • hyperfocal measurements

If all of these features sound attractive to you, the Nikkor Z lens is not just the only one to offer all of them in one package, but in the case of the information display, it’s the only lens to offer any of those features.

On top of that, the Nikon is, of course, flawlessly sharp, (see extensive image samples in our review here!) and generally one of the best lenses we’ve ever reviewed. Do we wish it also had VR stabilization? A little bit, however, Nikon’s in-body sensor-based stabilization is one of the best around, thanks to the enormous mount diameter that allows for an incredible range of sensor motion. Besides, the lens is already expensive and heavy enough.

Could we find anything to critique about the lens? We get a lot more in-depth with our full review here, but here’s the gist: The only complaint you might have is that it’s a bit “too much”; many serious hobbyists may just not need the info LCD panel, and the control ring in the aperture position is a little too easy to bump accidentally; you might actually just wish for a minimal, no-frills physical design like the Sony with just an Fn button, or the Canon with just a front-end command ring.

Personally? I loved the Nikkor, it gave me a delightful experience as someone who still reminisces of traditional SLR cameras, and as someone who is a serious pixel-peeper too.

Sony FE 24-70mm f/2.8 GM

The original mirrorless 24-70mm f/2.8, the Sony FE 24-70mm f/2.8 GM ($2,198) is a solid workhorse, but it’s also beginning to show its age. (Of course, the lens is only ~4 years old, and serious photographers usually invest in a pro lens like a 24-70mm f/2.8 with the hopes that they’ll get a decade or more of use out of it.)

Unfortunately, though, when pitted against the more recent Canon, Nikon, Sigma, and Panasonic, (with their “Leica-approved” badge) … Sony does the least-impressive job when you start shooting at 42 megapixels, let alone ~60.

The Sony 24-70 is very sharp at 24mm, and throughout most of its zoom range, even wide-open at f/2.8. If you’re not a pixel-peeper and are looking for general event journalism or wedding/portrait lens, it will absolutely get the job done.

However, looking closely at 70mm, and especially in the corners, you’ll see a night-and-day difference between the Sony and its newer competition. The Sony just isn’t as sharp at 70mm, even in the center of the image, until f/4, or f/5.6 in the corners.

Honestly? It’s a good lens, but considering the $2,200 price tag, the Sigma E-mount alternative ($1,100) is our recommendation, hands-down.

Sony might have a “mark 2” version of this lens, one of the oldest in their GM line, coming out soon, but you can bet it will also cost well over $2K. Thus, if you’re at all budget-conscious, just get the Sigma instead.

Sigma 24-70mm f/2.8 DG DN Art

Now, we get to the latest, modern marvel of optical engineering. The Sigma 24-70mm f/2.8 DG DN Art ($1,099) is just the best all-around 24-70mm f/2.8 we have ever tested. (Mind you, we’re not talking about the DG HSM Art lens, which is made for DSLRs!)

Not only is the Sigma mirrorless 24-70mm essentially flawlessly sharp, but it also delivers on the coveted “character” aspects of image quality quite a bit, too, which is something that early Art-class lenses were criticized for not having enough of. Make no mistake, though, the colors and bokeh from this lens are delightful.

Speaking of benefits that not all Sigma Art lenses have offered, the Sigma 24-70mm f/2.8 DG DN Art is also fully weather-sealed and built professionally durable overall, making it a worthwhile long-term investment.

Read our review of the Sigma 24-70mm f/2.8 mirrorless zoom here, for more samples of sharpness, bokeh, and a more in-depth look at the pros and cons of this lens. Most notably, the lens has an AF/MF switch, a customizable “AFL” button, and a zoom lock switch.

Panasonic Lumix S PRO 24-70mm f/2.8

With the prestigious badge of Leica on its flagship S PRO lenses, you’d expect the Panasonic Lumix 24-70mm f/2.8 ($2,197) lens to be an incredible performer, and you’d be right: it is incredibly sharp, basically just as flawless as the Sigma, and it is built like a tank.

The Panasonic has the distinction of being the only lens with a physical, fixed mechanical focus ring, meaning when you slide the clutch back, you see a physical distance scale right there on the lens, instead of it being on the LCD or in the viewfinder. Some folks might actually prefer a focus distance scale in the viewfinder, but for anyone who wants a true linear controlled focus ring, the Panasonic lens, along with its video-oriented bodies, is a professional choice.

Unfortunately, the lens is missing a physical AF/MF switch, which results in you needing to assign a button on the camera body to setting your focus mode.

Image Quality

We’ve extensively tested all five of these lenses, though unfortunately, we weren’t able to get them together all at once for an identical, controlled test.

Suffice it to say that if you look at the extreme corner sample image crop from the Sigma and Panasonic below, you can expect that both the Nikon and the Canon are also similarly “virtually flawless” in terms of not just sharpness, but also the things like aberrations. (See the star sample images below.)

Bottom line: all of these mirrorless 24-70mm f/2.8 lenses, except the Sony, are nearly flawless in terms of sharpness/resolution. And the Sony is no slouch, either; it will certainly get the job done if you’re a photojournalist rocking 24 megapixels and not making enormous prints.

In every other regard, these professional-grade lenses deliver impressive results, whether it is the “pop” of good colors and contrast, or the impressive scarcity of annoying “flare dots”.

Things like bokeh and sunstars, which can’t be “faked” with a lens correction profile, are all quite beautiful from the whole lineup.

Things that can be corrected in a profile, such as distortion and vignetting, are all decently well-corrected, especially when it comes to making sure straight lines stay straight. HOWEVER, we still have a general complaint about ALL of these mirrorless lenses: They could do a better job of correcting vignetting at all focal lengths and apertures. In the case of each of these lenses, if you really over-edit your images with excessive adjustments to the Contrast or Dehaze sliders, you’ll see a vignetting pattern that is impossible to fully correct. This isn’t going to be a problem for most photographers, though; all you need to do is have a little self-control when it comes to going over-the-top with Dehaze etc.

Design & Durability

All of the mirrorless 24-70mm’s are built to flagship professional quality standards. They will stand the test of time, unless you really start abusing them and mistreating them daily, weekly, etc.

They’re all well-protected against the elements with various amounts of weather sealing, and even though they all also extend while zooming, that’s not going to cause any serious issues with water ingestion, and “air suck” issues (that can cause sensor dust) are minimal compared to the telephoto zooms that extend a huge amount when zooming.

Autofocus Performance

All of these lenses have various cutting-edge technology in them when it comes to autofocus. They’re mostly silent, and all are responsive, fast, and precise when it comes to nailing focus and tracking a moving subject.

Of course, when it comes to autofocus performance on mirrorless camera systems, it is the body that plays the biggest role. In this regard, we have to give a nod to the flagship action sports mirrorless camera, the Sony A9 II, which is still ahead of the competition when it comes to tracking subjects with impressive reliability.

This used to be a bigger issue when Canon, Nikon, Sigma and Panasonic all had noticeably inferior autofocus reliability in years past, however, their latest generation cameras have made great strides, and Canon and Nikon’s newest AF systems are more than good enough for almost any challenging condition.

Manual Focus Performance

Like most mirrorless lenses, all of these lenses except the Panasonic have fully electronically controlled manual focus. That used to be a bad thing, many years ago when electronic focus precision was just terrible, but all of these lenses (and the Panasonic) are capable of incredibly fine accuracy, even when trying to nail focus on something as challenging as the stars of a night sky, at f/2.8.

The Panasonic is unique, of course, in that it has a physical focus distance scale and true linear focus control.

Value (Which Lens Should You Actually Buy?)

This one is very simple: All of these lenses are over $2,000, except the Sigma which is just a hair over $1,000, and that makes this a very simple dichotomy: The Sigma is an incredible value, and if you’re on the Sony E-mount or the Sigma/Panasonic/Leica L-mount, you should just get the Sigma.

If you’re on Canon or Nikon full-frame mirrorless? Well, each respective flagship lens has its perks, especially the Canon’s optical stabilization, and the Nikon’s traditional functionality. However, considering the price difference that makes both lenses more than double the price of the Sigma, we have to mention that if you’re at all patient, (maybe you have a DSLR 24-70mm f/2.8 on an adapter?) …then you might want to wait 6-12 months (or a little longer) to see if Sigma can join the Canon RF and/or the Nikon mount with its incredibly good value.

(Don’t get your hopes up, though; we have no rumors, nor insider knowledge, about specific Sigma plans to do anything specific any time soon!)

Mirrorless 24-70mm f/2.8 Comparison | Conclusion

All in all, we only have one clear winner in terms of overall value, and that is, of course, the Sigma. At more than $1,000 less than all of the competition, it is an incredible value, yet its performance is still on par with all of the flagships, or better. Let’s be honest: it trounces the Sony 24-70 GM and makes you wonder if maybe there’s a “II” GM lens in Sony’s near future. (But, again, such a mark two lens will probably cost well over $2K, maybe even $2.5K or higher.)

You should absolutely get one of these 24-70mm f/2.8’s, but only if the type of photography you do really does require the ability to zoom throughout this particular range, AND if you do a lot of low-light work.

If you’re a “prime lover”, and prefer a couple stellar, ultralight f/1.8 primes, or truly high-end f/1.4 or f/1.2 primes, then maybe you should consider an alternative such as the Tamron 28-75mm f/2.8 on Sony’s E-mount, or an adapted DSLR lens for the other mounts.

Should you “jump ship” and switch systems for any of these lenses? Probably not, although the stabilization of the Canon might be very tempting for those who shoot in extremely low light and want the combination of both IBIS and IS.

Also, the Nikon is a delight to use for those who still remember the SLR days, with focus distances and hyperfocal markings available on a lens, plus a customizable command ring and Fn button; no other lens has this many additional features and customizations.

The only lens that is lagging behind the rest of the pack is the Sony GM, but then again, the most “desirable” lens is the Sigma, so it balances out the Sony E-mount in terms of desirability. If anything, considering that we have no idea when Sigma will be able to make lenses for RF or Z mounts, and considering that Sony’s A9-series still is leading the pack in terms of autofocus, the Sigma plus a Sony 9-series make the most compelling case to buy into the Sony system overall, whether it’s the first full-frame interchangeable-lens camera system, or it’s a “big jump” from another brand.

At the end of the day, we were delightfully surprised to find that all of these lenses were impressive performers, even though we were a bit disappointed at first when full-frame mirrorless flagship lenses didn’t turn out to be that much smaller, lighter, or cheaper than their DSLR predecessors.

If you have any questions, please feel free to leave a comment below!

Check Pricing & Availability

Canon RF 24-70mm f/2.8 L IS ($2,299) – Adorama | B&H | Amazon

Nikon full-frame mirrorless 24-70mm f/2.8 ($2,296) – Adorama | B&H | Amazon

Sony full-frame mirrorless FE 24-70mm f/2.8 GM ($2,198) – Adorama | B&H | Amazon

Sigma 24-70mm f/2.8 DG DN Art ($1,099) – Adorama | B&H | Amazon

Panasonic Lumix 24-70mm f/2.8 ($2,197) – Adorama | B&H | Amazon

Since there are two new third-party 85mm f/1.4 lenses for full-frame mirrorless systems this year, we thought we’d do a quick comparison to show you how the bokeh compares, and particularly, the look of “bokeh dots”

The Contenders | Sigma VS Rokinon Mirrorless 85mm f/1.4 Comparison

• Sigma 85mm f/1.4 DG DN Art (Sony E-mount) – $1,199, B&H
• Rokinon/Samyang AF 85mm f/1.4 RF (Canon) – $699, B&H (presently on sale for $679)

The Sigma is an all-new optical design, and is lighter and smaller than its (let’s be honest, utterly massive) DSLR sibling, which has received rave reviews over the years. (This new mirrorless version looks downright TINY for an f/1.4 portrait prime!)

The Rokinon (Samyang) is, apparently, the same design as the existing Roki-Yang 85mm f/1.4 which has been available for the Sony E-mount for a while now, and has also received rave reviews.

(By the way, if you’re a Sony shooter who is trying to decide between the E-mount version of this Roki-Yang and the new Sigma, keep in mind that the E-mount version of our RF-mount lens is on sale or just $529!)

85mm f/1.4 Christmas Light Bokeh Comparison – Sigma VS Rokinon/Samyang

Of course, dogs never sit perfectly still while you change lenses, so we had some difficulty in getting a truly precise comparison. In short, when actually using these lenses in the real world, we had a lot of fun with both lenses, and got a lot of cute pics! (Hopefully, that’s what you’ll be doing as soon as you’re done reading this article… Get off your computer and go take pictures!)

To be scientific about it, we locked things down on a tripod and created a more fixed, ceteris-paribus test:

Right off the bat, we do see that the size of the bokeh dots is essentially identical at f/1.4. The Rokinon/Samyang might appear to have slightly larger bokeh dots, however, it looks like the result of a faint bit of additional aberration, not the actual diameter of bokeh dots. This might be to the Rokinon’s advantage, though, as other (not “dot”) bokeh character does appear to be a faint touch smoother if you look very closely.

Either way, if you’re looking to make gorgeous bokeh with an 85mm f/1.4 prime, both lenses deliver the goods, especially in the other, more tricky zones where there is background “clutter”. (Patterns, textures, …Christmas present ribbons?)

When stopping down, it seems as if the Sigma may very well have slightly smaller bokeh dots, but again, this could be due to the fact that although the cameras are tripod-mounted in the exact same spot, the actual angle of view may have a slightly different closeness. What does this mean? It means that, in the real world, you’ll get more bokeh out of either lens by simply leaning forward just one inch, especially when shooting very close-up. (At a great distance, the difference in bokeh, or we should say the difference in shallow depth, is imperceptible.)

Comparison: Sigma 85mm f/1.4 DG DN Art VS Rokinon/Samyang AF 85mm f/1.4 RF/FE

What other quick conclusions were we able to draw during this test, you might ask? We’ll have full reviews of each lens coming soon, however, we have found a few things to be very clear already, based on our initial handling and testing of each lens. In no particular order, here are some comparison notes:

• Both lenses are incredibly sharp, even wide open at f/1.4, (SEE ABOVE) with the edge going to the Sigma.
• Both lenses are well-built, with metal in most of their construction, but the Sigma Art-series build quality is definitely much more robust and likely to be “indestructible” (that is, very, very durable) in the long run.
• The Sigma seems to have better autofocus performance, however that may be due to the Sony AF system simply being more friendly with, or downright superior to, the Canon, since Canon’s mount protocols are not officially open.
• For the price tags, both lenses present an impressive value compared to any name-brand 85mm f/1.4, let alone an 85mm f/1.2.

For the Canon RF-mount Rokinon/Samyang 85mm prime lens, the closest competitor is actually the Canon RF 85mm f/2 Macro IS STM, which has incredible image quality, macro capability, and stabilization to make up for the 1-EV slower brightness.

For the E-mount Sigma 85mm prime lens, the closest competitor is likely the Roki-Yang AF 85mm f/1.4 FE, if you’re on a bduget, or the DSLR-to-E-mount version Sigma 85mm f/1.4 DG HSM, which usually costs exactly the same, and has similar performance, but weighs a whole pound more, and is massively front-heavy due to its DSLR optical formula.

Sigma VS Rokinon/Samyang 85mm f/1.4 Comparison | Conclusion

In conclusion, both of these lenses deliver impressive results, considering their price. The bokeh characteristics are similar, but the Rokinon/Samyang shows a bit more aberration in some of its bokeh while the Sigma shows a little more crisp, well-defined bokeh dots. This is a highly subjective area of image quality, so all photographers are welcome to draw their own conclusions! (Please leave a comment below with your thoughts…)

Both lenses exhibit beautifully soft, smooth bokeh in other areas, and both lenses have naturally pleasing characteristics in terms of flare and vignetting. (Stay tuned for additional sample images in our full reviews coming soon!)

Considering the significant price difference, we might be inclined to only recommend one lens, however, the overall quality of the Sigma is great enough that we absolutely view it as a desirable alternative to the flagship name-brand lenses which cost significantly more. We can’t wait for this Sigma lens to become available on Canon RF and Nikon Z mounts!

Having said that, of course, if you’re on a tight budget then the Rokinon/Samyang will absolutely deliver gorgeous images; just be sure to take good care of the slightly less robust, ruggedly built lens and you’ll be fine.

Thanks for reading, and happy holidays!

How to Safely Clean Your Camera Lens | Video Tutorial

After several long months of saving your pennies, skipping your favorite Starbucks habit for far too long, hoarding your tax return (what tax return, you’re a business owner?!), you finally buy the lens you’ve been eyeballing on B&H since last Christmas. Holding the new lens in your hand is as magical as you imagined it to be. Then there comes a day when you have to clean this fragile thing of beauty and you grab the edge of your t-shirt…

Stop right there. DO NOT clean your lenses with the shirt off your back. There are better, safer and more effective ways to do so, and the following video gives an in-depth look at one through and safe way to clean your camera lens. The 7-minute video below is a few years old, but is still a helpful guide to cleaning your lens properly.

In this lens cleaning method, Evan Luzi from the Youtube channel, The Black and Blue, uses the following items:

• Maglite Mini Flashlight
• Cleaning Fluid (He uses Pancro)
• Lens Cleaning Tissue (He uses Kimwipes)
• Compressed air, bulb blower, or brush (He uses Dust-Off)

For those of you that are fastidious about cleaning your lenses, this is definitely the video for you.  See our list of the Best Camera Lens Cleaners for more tips.

For more photography and filmmaking tips for camera assistants, check out the Black and Blue blog here.

Of course, this is only one of the many methods you can use to clean your lenses, what method do you use?

How NOT to Clean Your Camera and Lens

As a bonus, here’s a little bit of comedy we found.  Clearly, I’ve been cleaning my Canon 5D Mark II all wrong because the following tutorial shows you how to get your camera squeaky clean. All you need is a bowl of water and some soap, get a good amount on the sensor and make sure you rub it in with your fingers really well to get that soap working. Then hose it down and voila! Lather, rinse, repeat.

Before any of you reading this think I am being serious, I am not. DO NOT TRY THIS AT HOME (or ANYWHERE). Seriously. Just don’t do it. The following video tutorial made by Ioannis Pavlis is meant to be a joke. It is not real, and no, you should never, ever clean your camera this way. The only time you should submerge your very expensive camera in water is when it is safely encased in underwater camera housing, like the Aquatec.

Alas, though this video is cringeworthy for any photographer to watch, I just know that someone out there isn’t going to get the joke and attempt to do this, destroying their gear. Just don’t do it and don’t get mad either (like some of the commenters on the YouTube page), it’s all in good, clean fun (pun intended).

I’m going to venture a guess that the camera and lens he used were probably not in working order…and especially not after that cleaning.  And just a reminder, just in case you thought, “Hey, I’m gonna try this“…DON’T! To properly care for your camera, please refer to this rest of the article below, where we provide you with tips to safely clean your camera.

Who Is This Lens For?

The 85mm focal length is highly desirable for photographers who prefer not to be too close to their subjects. Its lack of distortion makes it a favorite of portrait photographers, as it produces slimming effects on subjects. Additionally, the 85mm’s compression combined with its fast f1.4 (or f1.2) aperture creates a desirable, creamy bokeh.

In sports photography, the 85mm is an excellent choice because it offers an intermediate length that allows the user to get closer to the action while still having the flexibility to capture shots of the entire field. Compared to other popular telephoto lenses such as the 135mm or 200mm, the 85mm is a more affordable, compact, and portable option.

Why Samyang/Rokinon?

In today’s market, photographers have a wide range of options when it comes to 85mm lenses, and third-party lenses have become increasingly popular due to their ability to deliver high-quality results at more affordable prices. Among these third-party manufacturers, Samyang, a Korean lens manufacturer known for its manual-focus lenses, has recently been expanding its line-up to include high-quality autofocus lenses.

Samyang’s 85mm lens for Canon‘s new RF mount is the first of its kind from a third-party company, and is based on the manufacturer’s extensive experience in producing similar lenses for other brands. Despite offering comparable performance to Canon’s EF version, Samyang’s lens comes at a lower cost, with a price tag below $1,599.00.

By creating lenses for the new EOS R system, Samyang is clearly demonstrating its commitment to staying ahead of the curve and producing quality lenses that will be relevant for years to come. As Canon continues to launch new mirrorless cameras, Samyang is poised to continue developing high-quality lenses for this mount.

As Samyang specifies “Samyang’s RF series is known for its outstanding image quality, since the AF 14mm F2.8 RF was awarded the prestigious TIPA award in 2020 as ‘best mirrorless prime wide-angle lens.’ The new AF 85mm RF also makes no compromise in image quality: A total of 11 elements in 8 groups, with 4 high-refractive (HR) optics and an extra low-dispersion (ED) lens, have been designed to create impressive image quality from corner to corner.”

Samyang 85mm F/1.4 RF Specifications

• Model name AF 85 mm F1.4 RF
• Aperture range F1.4 ~ 16
• Lens optical
  • Construction 11 Elements in 8 Groups
  • Special lens HR 4, ED 1
• Coating UMC
• Minimum focusing distance 0.90m (2.95ft)
• Maximum magnification ratio x 0.11
• Filter size Φ 77.0
• Maximum diameter Φ 88.0
• Number of blades 9
• Mount Canon RF
• Angle of view
  • Full Frame 28.9˚
  • APS-C 19.1˚
• Length 99.5mm
• Weight without lens cap, hood 582g
• Weather Sealing o
• AF/MF mode switch o
• AF Motor LSM

Build and Handling

As is typical with Samyang’s autofocus and manual-focus lenses, the build quality of this lens is of a high standard. The metal mounting plate and high-quality plastic barrel feel sturdy and well-engineered, with weather-seals providing protection against the elements. Inside, the optical path consists of nine elements in seven groups, including a hybrid aspherical element. The lens is also coated with “Ultra Multi-Coating” to minimize ghosting and flare.

Despite its high-quality build, the Samyang lens is easy to manage and much lighter than the latest Canon 85mm lens. As the first third-party option for the RF mount, it is likely to be compared to Canon’s own offerings.

It’s worth noting that the RF version of the lens is larger and heavier than the EF version. This is due to the need to adapt lenses to the 54mm RF mount, which allows wider lens elements to be placed closer to the sensor. This reduces chromatic aberrations and facilitates more effective lens arrangements.

The onboard controls for this lens are minimal, consisting only of a switch to toggle between autofocus and manual focus and a manual focus ring. The autofocus system utilizes a Dual LSM (Linear Supersonic Motor), which operates quickly and quietly. However, the manual focus ring is electronically coupled rather than mechanically coupled, unlike with an ultrasonic ring-type arrangement. As a result, the focus ring only functions when power is supplied from the camera, such as after a light press of the shutter button.

Performance

Like its EF counterpart, the RF version of this lens autofocuses quickly and with high accuracy, even in low-light indoor conditions. The fly-by-wire manual focus ring allows for very precise adjustments, particularly when using a magnified preview in live view mode. While center-sharpness is not exceptional at f/1.4, it improves significantly at f/2 and becomes excellent from f/2.8 onwards. Lateral chromatic aberration is reasonably well-controlled at f/1.4, but may become more noticeable at narrower apertures.

Despite shooting wide-open at f/1.4, the lens produces impressive contrast, and center-sharpness is quite acceptable, although it does drop off somewhat towards the edges. This is not a significant issue for portraiture, and the noticeable vignetting can even be seen as a bonus, as it can be avoided during post-production. When stopping down slightly to increase the depth of field, the bokeh remains excellent, aided by a well-rounded nine-blade diaphragm.

Autofocus

Samyang is a relatively new player in the autofocus aspect of lens design, which has been their Achilles heel so far, particularly when compared to other manufacturers with more extensive lineups of EF/RF AF lenses. However, the company has 40 years of experience in manufacturing high-quality glass, and they frequently release firmware updates to address any issues.

Samyang has begun incorporating dual Linear Sonic Motors into their designs, resulting in much quieter and refined autofocus. The AF-S performance produces a small amount of sound, but it is the fastest mode for stills. There is a brief moment where the momentum builds up before the focus occurs very quickly. The overall focus speed in AF mode is actually quite fast, comparable to many other 85mm lenses on the market.

One area where the Samyang lens truly excels is Eye AF. The release of the AF 85mm coincided with one of the most significant highlights for Canon’s new cameras, which included improved focus algorithms and enhanced tracking in the form of Real-Time Eye AF and Real-Tracking. This makes the Samyang AF 85mm an excellent choice for portraiture.

What We Liked

• Quite compact and lightweight
• Relatively inexpensive
• Good image quality

What Could Be Better

• Centre-sharpness isn’t overly impressive at f/1.4
• No optical stabilizer
• Ring control, such as Canon´s original

Conclusion

The release of the Samyang AF 85mm / 1.4 RF is a pleasant surprise for Canon shooters. Especially for those ones who already moved to the mirrorless system or to those ones who are still considering and waiting for the new cameras or lenses to be introduced.

For many novice photographers, the high price tag of some brand-name lenses is simply not feasible. Additionally, some photographers prefer not to deal with the bulk and weight of these lenses. This is where the new option from Samyang becomes an attractive choice, as it is more affordable and lightweight. The lens measures less than 10cm in length and weighs 582g without the lens cap and hood.

Despite its lower price point, the Samyang 85mm is still able to capture the finer details of portraiture while delivering a smooth and creamy bokeh with a seamless transition between focused and defocused areas. The lens strikes a good balance between price and build quality, offering solid autofocus performance and near-perfect image quality for portrait work.

Special Note

In combination with the Samyang AF 85mm / 1.4 RF, I did this shooting with the Godox AD200 Pro, the new AD300 Pro, Magbox, and other MagMod´s tools, a set-up that I recommend personally without hesitation for portrait photography.

Check Pricing & Availability of the Samyang 85mm F/1.4 RF Here:

Adorama | B&H | Amazon