Choosing between 25mm and 35mm on APS-C sounds simple until you see how differently they shape a scene, especially with fast apertures. These two focal lengths control how much environment you show, how close you feel to the subject, and how hard the background falls away.
Coming to you from Thomas Fransson, this hands-on video looks at the 7Artisans 25mm f/1.8 AF and the 7Artisans 35mm f/1.8 AF for APS-C cameras. Both lenses share the same basic design, the same f/1.8 aperture, and roughly the same price, which puts pressure on the focal length decision itself. You see them shot back to back from the same spots, which makes differences in framing and background behavior easy to spot. Autofocus performance gets attention early, with quick focus pulls that show how confidently these lenses lock on in cold outdoor conditions. The takeaway at this stage is consistency, with autofocus behaving reliably on both lenses.
The video then leans into what 25mm versus 35mm actually means in practice, using side-by-side scenes instead of charts. With the 25mm f/1.8 AF, you keep more of the setting in the frame, which makes it easier to place a subject inside a larger story. The 35mm tightens things up without forcing you to step absurdly far back, adding compression that pulls the background closer. Subject separation is more obvious on the 35mm, even when the camera position stays the same. That difference shows up clearly in details like branches, textured backgrounds, and layered foreground elements.
Build quality gets a quiet but meaningful nod. These lenses include details you do not always see at this price, like a metal mount and a gasket at the rear. Filter threads are a practical 58mm, shared by both lenses, which simplifies using ND or polarizers. There are no switches or buttons, only a focus ring, which keeps operation straightforward. Mount options include Sony E, Nikon Z, Fujifilm X, and Canon RF, which covers most APS-C systems people use. The overall look coming out of both lenses stays neutral rather than stylized, matching 7Artisans’ recent autofocus releases.
There is one limitation worth noting without sugarcoating it. Manual focus pulls show small stepping jumps rather than perfectly smooth movement, which matters more for video than stills. Autofocus remains the strength, and most of the shooting here leans on it for that reason. Vignetting appears, especially at the wider focal length, then fades quickly as you stop down. Chromatic aberration stays minor and never dominates the frame in normal use. Check out the video above for the full rundown from Fransson.
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