Viltrox's 35mm f/1.2 Lab was already one of the sharpest, most capable lenses in its class when it launched. The new "N" version strips out the OLED screen and replaces the unconventional control ring with a traditional aperture ring, and that single change makes a lens that was optically exceptional finally handle the way it should.
Coming to you from Dustin Abbott, this detailed hands-on video walks through every meaningful change Viltrox made with the Lab N, and why Abbott considers it the best version of this lens yet. He had given mixed feedback on the OLED screen and the declickable control ring in his earlier reviews of the original Lab series lenses, noting quirks in how aperture lined up and general oddities in the interface. Viltrox clearly listened. The N version replaces all of that with a clean, traditional aperture ring that offers smooth, declickable movement for video work or firm 1/3-stop detents for stills, with a slightly firmer detent between f/16 and automatic. Abbott also notes that two physical function buttons sit side by side on the barrel, and while firmware support to assign them independently hasn't fully caught up yet, the intent is for each to carry a different function rather than being redundant duplicates.
Beyond the redesigned controls, Abbott found genuine autofocus improvements despite the optical formula remaining unchanged. The lens still uses four HyperVCM focus motors, but he says Viltrox has tuned the algorithms in a way that unlocks what those motors were always capable of. Close-up subject acquisition is noticeably snappier, event shooting at f/1.2 in Montreal produced consistently sharp results, and he ran directly toward the camera at full speed to test tracking, with strong results. Focus pulls in video are smooth and confident, with no visible stepping or pulsing on Sony. The one remaining limitation is focus breathing, which is more pronounced than Abbott would like and creates a slight lurching sensation during focus transitions. That's not a new problem with this lens, and it's worth knowing going in.
The optics themselves are the same formula Abbott praised in his original review, and he's clear that if you want a full breakdown of resolution, rendering, and comparative optical performance against Sony G Master and Sigma Art lenses, you should go back to that earlier video. What he does say here is that after running it through a wide range of real-world shooting, including event work and video, his opinion hasn't changed. He considers this one of the best-performing 35mm lenses available at any price. The size and weight haven't changed at 910 grams, so if you need something compact, this isn't it. But if you can carry it, Abbott is hard-pressed to find a more compelling large-aperture 35mm option on the market right now. Check out the video above for the full rundown from Abbott.
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