Gear Reviews

The Fujifilm X half is a machine for time travel, and the destination is roughly 1997.

Two 85mm portrait lenses, one costing $1,948 and the other $569, produce photos so close in sharpness that even a 200% crop of a model's eye barely separates them. That kind of price gap between near-identical results forces a real question about what you're actually paying for when you buy first-party glass. 

The Nikkor Z 85mm f/1.8 S came out in 2019 as the only 85mm option on Nikon's mirrorless system, and today it sits in a crowded field where third-party glass costs a third as much. That single shift, from sole option to premium holdout, is the whole story behind whether this lens still deserves a spot on your list in 2026. 

If you shoot long exposures at night, you know the frustration — your intervalometer dangling from your camera, swinging in the breeze, pulling on the cable. Not good. The Ruggard RTC-10 Timer-Remote Case (Standard) fixes that with a padded holder that straps directly to your tripod leg. It works great, with one Velcro gripe we'll get to shortly.

A 12-20mm zoom at f/2.8 sits right in the sweet spot for astrophotography, wide enough to swallow the Milky Way and fast enough to pull in faint starlight. Most shooters reach for a prime when the sky gets dark, which makes a zoom that can keep pace worth a real look. 

For my photo tour in Iceland, I wanted to go lightweight. I had my eye on the new Think Tank FocusPoint 30L because it just looks great. Amazingly, my gear did fit in this compact photo backpack, and I took it with me to Iceland. Let me tell you about my experiences.

About six months ago, PolarPro sent me their new Portra filter. On their website it states, "Inspired by the look and feel of Portra 400 film… the Portra Filter blends color tone, diffusion, and glare reduction into one optical filter for a finished look." Hmm, sorry, it looks nothing like Portra 400 film. And I hadn't even put the filter on my camera at this point.

Nikon sells three different 35mm prime lenses for the Z mount, and picking between them comes down to details that specs alone won't reveal. The gap between the Nikon 35mm f/1.4 and the Nikon 35mm f/1.8 S is smaller than the labels suggest. 

An 800mm equivalent lens that fits in a hand and a 1,000mm equivalent monster share the same day out on the Welsh coast. That kind of reach used to mean carrying gear you could barely lift, and the shift toward smaller sensors covering it is one of the more interesting developments in wildlife photography right now. 

Every desk has one ugly corner: the gray knot of chargers and power bricks that no cable management ever truly tames. The Anker Nano Power Strip (10-in-1, 70W, Clamp) clamps to your desk edge and swallows that knot whole, and after a month running my entire charging setup off it, I'm not going back. 

Fujifilm's original XF16-55mm f/2.8 lens has long been considered one of the best in the X-mount lineup, and is a lens I've owned and loved to use for many years. I know from personal experience that it's truly one of the best, whether discussing sharpness, detail, autofocus, build quality, or usability.

Everybody loves a good pancake. A pancake lens, that is. Though some pancake lenses sacrifice quality for the sake of size, this new EVO lens begs to differ. 

A 15-year-old camera with no USB-C charging, no eye sensor, and dated video specs still earns a spot in a working photographer's bag for a trip to the Italian coast. That says something about what actually keeps a camera in rotation years after its spec sheet stops mattering. 

Picking one full frame camera for travel means weighing color, size, stabilization, and price against each other, and the differences rarely show up on a spec sheet. Three cameras in the same price range can feel like completely different tools once you actually carry them through a city all day. 

Impostor syndrome hits almost every creative person at some point, and if you shoot photos, you know the feeling: you look at work you admire and wonder why you even bother picking up a camera. Jesse Senko has a surprisingly practical answer to that spiral, and it comes from an unlikely source. 

For years, Nikon's f/1.8 S-line lenses stood almost alone: premium optics at a maximum aperture where you rarely find premium anything. That comfortable spot is now under real pressure, and a head-to-head test shows exactly how much. 

I've been looking for new ways to exhibit my photo and video work, ways that aren't tied to white walls or interior spaces. That search led me toward projectors, and I found one that fits. The appeal of something untethered is obvious in the fact that you can take your work almost anywhere.

A $200 lens outperforming a Zeiss on corner sharpness is exactly the kind of result that shows how fast optics have moved. The 24mm focal length gives you a wide field of view with just enough drama to hold onto your subject, and paired with a bright aperture, it delivers backgrounds that fall away beautifully. 

At this point, there are so many brands of gimbals that it can be hard to know which direction to go, especially with heavy-hitting names like DJI at the forefront of most publications and media outlets. But when I saw the MT3 Pro from Hohem, there was a standout feature that made me pause.

Twenty years behind a camera can lock you into fixed ideas about what gear delivers the results you want. A long-held bias against Micro Four Thirds is exactly what gets challenged here, and the reasons have less to do with specs than with how you actually shoot. 

The Fujifilm X100VI has a cult following for good reason: it packs an optical viewfinder, IBIS, a built-in ND filter, and a fast fixed lens into a body small enough to carry anywhere. The catch is the price, and increasingly, the availability. 

I had the good fortune of spending some time with Sony's new RX10 V, and I shot the entire range of my life with it. A World Cup match here in Seattle one weekend, then a family outing to the Ballard Locks the next. 

Choosing between a wider aperture and a longer zoom range is one of the most common trade-offs in APS-C lens selection, and few comparisons make that tension as concrete as the Tamron 17-70mm f/2.8 versus the Sigma 17-40mm f/1.8.

Choosing between the 7Artisans 135mm f/1.8 and the Viltrox 135mm comes down to a real tradeoff: raw optical and autofocus performance versus a lighter, smaller package at a lower price. At $689, the 7Artisans sits well below the Viltrox, and that gap raises a fair question about what you're actually giving up. 

Choosing the right portrait lens for an APS-C system is genuinely hard when the native options are expensive and heavy. The Viltrox 75mm f/1.8 and Viltrox AF 90mm f/2.2 are making a strong case for themselves as lightweight, affordable alternatives for Fujifilm, Sony, and Nikon APS-C shooters. 

Owing to the growing popularity of Leica cameras in recent years, a bunch of new lens manufacturers have sprung up to provide much cheaper alternatives to Leica lenses. And what's particularly exciting is that, with the aid of modern technology, many rare and desirable Leica lenses from the past can now be reproduced with incredible accuracy.

The Canon EOS R6 V is Canon's first full frame V-series hybrid camera, priced at $2,500 body only. It's built for video makers who still need serious stills capability, and at that price, it competes in a range of the market where buyers are making real commitments. 

The Leica 35mm Summilux-M f/1.4 ASPH has been around for 16 years, and it was never designed with a 60-megapixel sensor in mind. Whether it holds up on something like the Leica M11 is a real question, and the answer is more nuanced than you might expect. 

The Sigma 17-40mm f/1.8 for Fujifilm X sits in an interesting spot. It's faster than Fujifilm's own XF 16-55mm f/2.8, covers a narrower zoom range, and costs less, and for event shooters who live in dark rooms, that aperture difference isn't trivial. 

Buying a 50mm lens for under $100 sounds like a deal until you see what you're actually getting. The TTArtisan AF 50mm f/1.8 Neo hits that $89 price point on full frame, and the question isn't whether it's cheap. It's whether cheap is cheap enough to matter. 

Finding a fast prime with an apochromatic design under $400 is almost unheard of, and that's exactly what the Viltrox 35mm f/1.8 Evo claims to be. Apochromatic lenses correct chromatic aberration by aligning all three color wavelengths to the same focal plane, a feature you typically only find in lenses costing several times more. 

7Artisans has built its reputation on cheap manual focus glass, so releasing autofocus lenses puts the company in direct comparison with brands that have been doing this for years. The bar for autofocus in 2024 is high, and whether a budget brand can clear it is a real question. 

Choosing between a $370 lens and a $1,100 lens is easy when the cheaper one wins on almost every technical measure. The Viltrox AF 55mm f/1.8 Evo is a direct challenge to the Sony Zeiss 55mm f/1.8 ZA, and Dustin Abbott's side-by-side test on the Sony a7R VI makes that case in detail. 

Today I'll have a look at an exciting new lens option for filmmakers, the Zhongyi Zone T1 cinema lens. 

There are lenses that photographers buy because they need them, and there are lenses photographers buy because they can't stop thinking about them.

The 200mm f/2 sits firmly in the latter category.

The 135mm autofocus lens market has gotten crowded fast, with options from Samyang, Viltrox, and Sigma all competing for your attention on Sony E-mount, Nikon Z-mount, and L-mount. The 7Artisans 135mm f/1.8 enters that field with the lowest MSRP of the group at $689, but price alone isn't enough to stand out when the competition has had years to mature. 

This lens is the perfect example of why one should not judge a lens by its cover. While it may seem like any other budget fast prime, it offers a real, visible difference for your images.

Ultrawide lenses used to cost a fortune. A full frame 14mm f/2.8 from Canon or Nikon ran around $1,500 just over a decade ago, which put serious glass out of reach for a lot of people. Budget manual focus alternatives have changed that equation, and the Brightin Star 14mm f/2.8 is one of the most affordable yet, coming in at around $279. 

Fujifilm's X system has been a quiet workhorse for serious landscape work for over a decade, and the debate about whether crop sensor cameras can hold their own professionally never really goes away. Andy Mumford's answer, built on 11 years of real-world use across five continents, is worth paying attention to. 

Anamorphic lenses produce a look that's immediately recognizable: stretched bokeh, horizontal lens flares, and a cinematic quality that's defined Hollywood films for decades. The question most people face is whether that distinctive look is worth the tradeoffs compared to a conventional spherical lens. 

The Leica SL3-P positions itself as Leica's answer to a problem that has frustrated SL system users for a while: you had to choose between the video-focused SL3-S and the resolution-focused SL3, and if you shoot both stills and video seriously, neither option was a clean fit. The SL3-P sits between them, and Leica calls it the best camera they've ever made. 

Choosing between the Sony a7R VI and the Sony a1 II is genuinely difficult, and the spec sheets don't make it any easier. On paper, the two cameras overlap so heavily that you could easily talk yourself into either one without ever really knowing if you made the right call. 

At $135 a full frame autofocus 50mm lens sounds like a compromise waiting to happen. The Yongnuo 50mm f/1.8S DF is that lens, and it turns out the compromises are a lot smaller than you'd expect. 

To paraphrase a favorite pair of authors of mine: once is never, twice is always. Not sure where the third and fourth times something goes wrong rates. 

Why fix what isn't broken? Well, Viltrox seems to have a good subtle reason as to why it did with the 35mm f/1.2 LAB (N) that photographers might appreciate. 

The MacBook Neo sits at the bottom of Apple's MacBook lineup, and that single fact shapes everything about it. At its price point, it goes up against laptops that routinely disappoint, which makes what Apple has pulled off here genuinely worth paying attention to. 

The Leica SL3-P sits in an interesting position: a 45-megapixel hybrid that Leica designed to land between the speed-focused SL3-S and the resolution-heavy SL3, and the question of whether it actually pulls that off has real stakes if you're considering dropping serious money on any of the three. 

The Canon RF 20-50mm f/4L IS USM PZ is a lens built around a specific kind of shooter: someone who wants wide angle coverage, reliable stabilization, and smooth power zoom control, all in one relatively compact package. At $1,400, it sits in territory where performance has to justify the price tag. 

Finding a fast, versatile zoom for APS-C mirrorless that doesn't cost as much as a full frame body is genuinely difficult. The Tamron 17-70mm f/2.8 sits in a spot where very few lenses compete.