Table of Contents
Fujinon 14mm f/2.8 R
Mounted on any of Fujifilm’s APS-C sensor bodies, the focal length of the Fujinon 14mm f/2.8 R converts to roughly 21 mm, keeping it farther from fish-eye territory than you might first suspect, and making it one of the most attractive options in that system.
M.Zukio Digital 7-14mm f/2.8
Micro four-thirds shooters using either Olympus or Panasonic cameras would do well to consider the M.Zukio Digital 7-14mm f/2.8 . It features a built-in petal-style hood that helps cut down on flare from the sun or ambient light sources.
Nikon Nikkor Z 20mm f/1.8
If you’re looking for something that can take you right to the brink of fisheye without an obnoxious amount of barrel distortion, the Nikon Nikkor Z 20mm f/1.8 is a smart place to start. It’s particularly good at capturing broad landscapes in less than optimal light.
Sony E-mount FE 24mm f/1.4
The Sony E-mount FE 24mm f/1.4 comes from a company that knows a lot of its users rely on their bodies for film production, so they added a switch to this offering that effectively de-clicks its aperture setting, allowing you to make smooth exposure adjustments mid-shot.
Nikon AF-S Nikkor 28mm f/1.4E
The Nikon AF-S Nikkor 28mm f/1.4E is a fast, accurate selection that makes a nice companion for street shooters. It’s images are sharp from edge to edge, and it can produce very a fine bokeh in the background with a shallow depth of field.
Canon EF 11-24 f/4L
A professional grade zoom, the Canon EF 11-24 f/4L makes a fine addition to event photographers’ kit bags, as it can capture low-light interiors with a lot of detail and plenty of context. It’s a little surprising that its aperture speed isn’t faster, though.
Nikon Nikkor 24mm ƒ/1.4G
Chromatic aberration is all but nonexistent, even at the fastest settings of the Nikon Nikkor 24mm ƒ/1.4G . This is thanks both to the use of aspherical elements and to the company’s exclusive nano crystal coating, which greatly cuts down on ghosting.
Canon RF 15-35mm f/2.8
Designed for the company’s EOS R mirrorless system, the Canon RF 15-35mm f/2.8 boasts a 12-pin mount connection for communicating a tremendous amount of data to and from the camera body. Its image stabilization technology can reduce shake up to five stops.
Panasonic Lumix Professional 8-18mm f/2.8-4
The Panasonic Lumix Professional 8-18mm f/2.8-4 is one of a few models produced in conjunction with Leica, and the glass housed within this barrel lives up to their legendary reputation. It’s designed for a micro four-thirds system, essentially making it a 16-36mm.
Canon 16-35mm f/2.8L USM III
The Canon 16-35mm f/2.8L USM III occupies a focal range that can serve you in tight indoor quarters or make an already expansive landscape seem even more impressive. Its third-generation ultrasonic motor operates silently and accurately.
