This wide-angle lens for APS-C cameras combines an easy-to-use angle of view equivalent to approximately 37.5mm in 35mm format with a large aperture of F1.8. It weighs only about 145g and is a thin and lightweight design with a total length of 32mm, yet it is equipped with a silent and high-speed AF using an STM (stepping motor). From street snapshots to video shooting, it is an "Everywhere Prime" that you can carry around in your pocket at all times.
Main Features
Soft bokeh created by the 9-blade circular aperture with maximum aperture of F1.8
STM stepping motor for quiet and smooth AF drive
The latest optical design with 7 elements in 5 groups, including 3 high-refractive index lenses, provides high resolution all the way to the edges
Compact metal body weighing approximately 145g and measuring 32mm in length, perfect for everyday use
Multi-coating suppresses flare and ghosting even in backlit conditions
Metal exterior and diamond-cut focus ring for high operability
The included metal lens hood combines design and durability.
Specification
Compatible mounts: Sony E, Fujifilm X
Compatible image capture size: APS-C size
Color: Black, silver, red, orange
Focal length: 25mm (35mm format equivalent: 37.5mm)
Focus mode: AF (autofocus)
Aperture blades: 9
Lens construction: 7 elements in 5 groups (including 3 high refractive index lenses)
Aperture range: F1.8-F16
Minimum shooting distance: 0.3m
Filter diameter: 52mm
Size: Φ72mm×32mm (excluding mount and hood)
Mass: Approximately 145g
Accessories: Lens cap, rear cap, lens hood, lens hood cap
Manufacturer's warranty: 2 years (covers natural failures)
A new Sony PXW-Z380 camera was registered in Asia. The model is described as a "handheld shoulder-mounted camera" with support for dual-band Wi-Fi and Bluetooth.
Here is an updated list of all recently registered Sony camera models:
Figuring out your perfect travel photography setup is quite the balancing act, and often a constantly evolving task. It requires finding a sweet spot between portability (large gear isn't fun to lug around), versatility (travel can bring a wide range of photographic situations) and image quality. Here at DPReview, we are no strangers to travel, with all of us embarking on big trips fairly regularly for both work and vacation. That time spent traveling has allowed us to dial in our preferred cameras and lenses for trips. We're opening up our bags, giving you a glimpse into what we gear nerds like to take along (when we have a choice).
Dale Baskin
Fujifilm X100T | F3.2 | 1/340 sec | ISO 400 | Salvador da Bahia, Brazil Photo: Dale Baskin
While I always choose the right tool for a specific job, I’ve learned to travel light when I don’t have demanding photo requirements. It wasn’t always that way.
In the past, I often took too much gear, driven by FOMO: a fear of missing out on a once-in-a-lifetime shot. I’d constantly worry about having the right lenses, a tripod, or accessories for every possible situation.
At some point, I realized I was putting more effort into carrying photo gear than enjoying the travel itself. For my next international trip, I took a risk, carrying only my newly acquired Fujifilm X100T. Were there times I wished for more or different gear? Absolutely. But I quickly stopped stressing about what I didn’t have and focused on getting creative with the camera in my hands. That creative challenge has become part of what I enjoy about travel.
Fujifilm X100T | F2.0 | 1/105 sec | ISO 3200 | Salvador da Bahia, Brazil Photo: Dale Baskin
A decade later, the X100 series is still my go-to travel kit, though I now use an X100V, and I’ll often carry Fujifilm’s 28mm equiv wide-angle adapter in case I want a wider perspective. Of course, if I’m going to photograph birds or shoot a wedding, I take the right tools for the job. But for personal travel, it’s usually just my X100V. Even then, I find myself reaching for my iPhone; for many personal memories and shareable moments, it’s the best tool for the job.
Richard Butler
Sigma BF |Sigma 35mm F2 DG DN | F5.6 | 1/500 sec | ISO 250 | Little Britain, London Photo: Richard Butler
Working for DPReview means I'm usually shooting sample images, even when I'm on vacation, so I don't have much choice over which camera I'm shooting with. However, there are combinations of cameras and lenses that I find myself really enjoying, and that I try to recreate on my trips, where possible. And these combinations have evolved over time.
A few years ago, I'd have opted for just a 35mm equiv prime and the smallest standard zoom I could lay my hands on, which typically meant the kit zoom for most systems. But I increasingly find I like to have an 85mm equiv prime with me, too, as I love having a good option for taking portraits when I see my friends and family. My two most recent trips saw me using a 24mm, 35mm, 90mm set of compact primes, and before that, a 24-80ish equiv F2.8 zoom, which fulfilled a similar role. There are pros and cons to both approaches.
Sigma BF |Sigma 24mm F3.5 DG DN | F8 | 1/200 sec | ISO 100 | Twickenham, London Photo: Richard Butler
But while I've learned this is the range I like to use, I've also found that size is the most important criterion when I travel. That 24-80 equiv was an APS-C lens, meaning it was still comparatively small and light. When I've tried to take a full-frame 24-70mm F2.8, I've come back with almost no photos: the camera having stayed in the hotel room. It's the same story when I tried a three-prime set for medium format: I've got the photos from the occasions I specifically pushed myself to go out and shoot, but failed to capture any of the unexpected moments and incidental shots that would tell the real story of the experience.
Mitchell Clark
Sony a7CR | Sony 16mm F1.8 G FE | F2.8 | 1/60 sec | ISO 500 | Paris, France Photo: Mitchell Clark
Like Richard, my travel kit is generally dictated by what camera or lens I'm currently testing. However, if I'm reviewing a camera and get to choose a lens, I'll typically go for a fast, relatively wide-angle one. Those let me easily capture the people I'm traveling with and whatever sweeping vista we're in, and, in a pinch, can even be used for selfies.
However, I can only get away with that choice because I also take my own personal camera on every trip I take. I'm talking, of course, about the iPhone 15 Pro, which I specifically chose because of its 3x telephoto camera. While I'd prefer one of Apple's smaller, lighter and cheaper non-pro phones, the fact that their second camera is an ultrawide rather than a telephoto one is a dealbreaker for me; I've found a lot more situations where I can't physically get closer to something than ones where I couldn't back up a little.
iPhone 15 Pro | 77mm equiv. lens | F2.8 | 1/315 sec | ISO 25 | Las Vegas, USA Photo: Mitchell Clark
It's nothing like shooting with a dedicated camera, but if I need to take a picture of something quickly or something that's relatively far away, I'll reach for my phone every time...
Or, rather, I'll click the camera button, because it was probably already in my hand, acting as a GPS. I'm very good at getting lost in new places.
Mykim Dang
Overhead photo of Mykim Dang's travel cameras and storage solution. Photo: Mykim Dang
I shoot more video than photos and am pretty obsessed with traveling as light as possible (when possible). This is a holdover from years of operating as a one-person team dealing with endless connections in different countries with changing rules and regulations. A checked bag is something I avoid at all costs.
Ricoh WG-80 | Sayulitas, Mexico Photo: Mykim Dang
Most of my video work is focused on the outdoors and water-based activities. I tend to keep a few different cameras in my rotation for this reason. My main setup consists of a GoPro (still using the Hero 12 Black), a Sony ZV-1F, a Ricoh WG-80 and some sort of disposable camera. Between these 4 pieces of gear, I find a really nice rotation of video capture for in the water, underwater and on land. I love the variety of source material I have to work with in post. They are all very compact, lightweight and fun to use.
Abby Ferguson
Photo: Abby Ferguson
Even though I travel and adventure a fair amount, I've never bought a dedicated travel setup. Instead, I've used whatever gear I already have, even if it isn't excessively travel-focused. For the past handful of years, that has meant taking my Sony a7 III on trips. Luckily, it offers a decent balance of size and quality.
Lens selection is a bit more complicated, though. My one travel-specific purchase was a compact 35mm F1.8, which I picked up for a work trip to IFA Berlin. It has consistently been included in my travel kit since then, and is often my only lens. When I want a bit more versatility, I will throw in my 24-70mm. Or, for some select trips, I've swapped out the standard zoom for a 135mm prime lens. It's definitely not the most practical (it's far from light and compact) or versatile, but I like the challenge and I enjoy the photos I get with it.
Most recently, though, I've been more drawn to my Pentax K1000 film camera with a 50mm lens as my go-to travel camera. I was recently in Hawai'i for two weeks, and while I had my digital camera, I often only brought my film camera out with me. The size is right, and I love that it forces me to slow down and take in the scene more than I generally do with digital. It also doesn't separate me from what's going on as much, as I can't look at the rear display to check my shots. I take the shot and then move on, returning to enjoying my trip.
Matt Waller
Photo: Matt Waller
My camera for a recent street photography trip to London was the OM System OM-5. This cute little guy could be effortlessly carried on long walking days and did absolutely everything a travel/street camera could be asked to do. Its weather sealing shrugged off my one day of London drizzle (with the new weather-sealed 25mm f1.8 prime aboard), the hand-held hi-res 50MP mode came in handy to target the Shard and its superb IBIS made long exposures in the night tunnels of Southwark a breeze.
OM System OM-5 | OM 25mm F1.8 II | F4.5 | 1/2000 sec | ISO 200 | London Photo: Matt Waller
Yes, it's stuck at face/eye detect AF – which worked flawlessly on the streets. But its greatest power was the ability it gave me to carry a battery of superb little lenses: the 12mm F2 for cathedrals, 75mm F1.8 for occasional portraits, tiny Laowa 7.5mm F2 for skyscrapers – all in my coat pockets, no camera bag required.
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Pretty though it is, the thing that really caught our eye about Fujifilm's recently announced X-E5 wasn't a design flourish or aesthetic detail, it was the fact that the company has been taking note of how its users are actually using their cameras.
The film recipe concept, using tweaked versions of the brand's film simulations to give bigger vibes and more expressive looks, is an entirely grassroots development. Up until now, users had had to use the cameras' custom settings banks to capture these recipes, but with the X-E5, there's a dedicated system specifically to do so.
And, intriguingly, Fujifilm has adopted the term 'recipe' directly from its community.
While there are some photographers who'd rather start with a completely blank canvas in a way that a LUT-based system would allow, the option to riff on existing, attractive color modes, created by engineers with lots of built-up experience in the field, has its own appeal.
Now let's hope Fujifilm extends a similar capability to its other current cameras, with one of those firmware updates that inspired the appropriation of the term 'kaizen' in the first place.
The moon rises over Cerro Fitz Roy and the Fitz Roy massif in Patagonia along the border between Argentina and Chile. I captured this photo during a solo trek through Patagonia, and to this day, I'm amazed that there were basically no other people there. I can't imagine that would be true today.
Canon EOS Rebel XT | Sigma 18-50mm F2.8 EX DC Macro | F5.6 | 1/160 sec | ISO 200 Photo: Dale Baskin
The theme for our July Editors' photo challenge is "Landscape Showcase."
This is your chance to show us your favorite natural landscape photos! From grand vistas to creative compositions, we want to see your most stunning landscape shots. We know there are some talented landscape photographers here on DPReview, and we can't wait to see your stunning images.
This challenge is also open to stitched panoramas.
Photos can be submitted between Sunday, July 6, and Saturday, July 12 (GMT). It is open to photos taken at any time.
Important: Images MUST include a title and a caption of at least 25 words to be eligible. We need to be able to share the story behind your photo. We will consider both photos and captions when selecting our winners, so make sure to tell us that story!
Visit the challenge page to read the full rules and to submit your photos for consideration as soon as the challenge opens.
If you are planning to buy any Sony gear before the new price increase that will take effect on Monday, June 30th, consider doing so from one of our sponsors:
Here are some newly leaked pictures of the upcoming DJI Osmo 360 camera that is expected to be officially announced in July (previous coverage can be found here):
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This week, we released our review of the Fujifilm GFX100RF, and we're deep into the review process for the Canon PowerShot V1. Editors Richard Butler and Mitchell Clark sat down with director of video and social Mykim Dang to discuss the cameras and the community's reaction.
The video touches on several topics: the PowerShot V1's capabilities as a vlogging camera versus how it performs as an enthusiast compact, the GFX100RF's placement as a luxury product and weirdness around flashes and leaf shutters.
A recent video shared by All Arts TV profiles the late Beuford Smith, a self-taught street photographer who captured iconic images in New York City in the 1960s and beyond. The video was the inaugural episode of the publication's new "The Darkroom MCs" series and is one of the last interviews Smith gave before his passing on June 7, 2025. In it, Smith talks about his career, what distinguishes someone's style and his darkroom process.
Smith was a prominent figure in capturing Black life and culture. He documented pivotal moments in the Civil Rights Movement and photographed the likes of Malcolm X, drummer Elvin Jones and jazz pianist Barry Harris. His accomplishments include serving as president emeritus of the Kamoinge Workshop, creating "The Black Photographers Annual," having photographs in the MoMA permanent collection and more.
In the video, Smith talks with hosts Russell Frederick and Anderson Zaca about how good photographs are everywhere. "You don't have to travel to Timbuktu or Peru or anyplace to take photographs," Smith says. "They're right in front of you, you just have to be able to see them and take them." As someone who sometimes grumbles about picking up a camera when I'm in a place that I deem boring, I really appreciated this reminder.
Smith also delves into the technical aspects of his darkroom work, a topic he noted was, frustratingly, rarely discussed in interviews. He walks Frederick and Zaca through a selection of his prints, demonstrating the importance of light and shadow, and explaining his exacting standards for print quality and style. He even reveals that he turned down the opportunity to purchase an Ansel Adams print for $125 because he didn't like its print quality.
Finally, Smith also shows a photo he created of Malcom X, which he said was simply a "self-assignment." Even though he didn't take the image for a paid job, it has been one of his best-selling prints, and the Whitney Museum bought a print of the photo for $6500. It's yet another push to just get out there and create photographs, even if you don't know what could happen with them down the line.
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GFX100RF | F5.6 | 1/30sec | ISO 80 Photo: Richard Butler
This week, we released our review of the Fujifilm GFX100RF, a rangefinder-style large-sensor compact made for street photography. We've added the best photos we took during the review process to a sample gallery, which you can look through to get a feel for how the camera performs in a variety of real-world conditions.
Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing; we do so in good faith, so please don't abuse it.
Sample gallery
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A Longspined Bullhead. Click here to experience the full-size image.
Image: Søren Skarby
Combining work with hobbies can be a risky endeavor. Søren Skarby, a photojournalist and passionate fly fisherman, endeavored for years to keep photography – his profession – and fishing – his hobby – separate. But inevitably, the two worlds collided. The result was a long-term, ongoing project named Scaled Up, which aims to document fish with a level of detail we don't usually see. Skarby took the time to chat with me about his series, providing insight into what led to the project and the complicated process behind it.
"We think of fish in this part of the world as something dull. But fish are very colorful"
Skarby often has the experience of catching a fish and thinking how beautiful it is. Other people didn't quite get it when he would tell them, though. "We think of fish in this part of the world as something dull. But fish are very colorful as you can see, even in Scandinavia," he explained. Plus, most people only come across fish after it's processed and in the supermarket, which is always colorless. Seeing the fish alive is a totally different experience, and he wanted to figure out a way to show others the beauty he saw while fishing.
A Common Dragonet. Click here to experience the full-size image.
Photo: Søren Skarby
When he saw the Microsculpture series of insect photographs by Levon Biss, it was a turning point. Skarby decided he wanted to do something similar with fish by combining hundreds of images taken with a high-resolution camera to create uber-high-resolution photos. From the start, he knew he would need funding. "If I'm going to do this right, I've got to get paid while I'm thinking because I'll only be focusing on that," he said. So he reached out to a museum to collaborate, and they were eager to participate. Obtaining funding took time, but it did eventually come.
While the idea of photographing fish is simple at face value, it's actually quite complicated. "I came up with one idea after the other and ditched it because it didn't work," Skarby explained. While most fish are colorful while alive, they lose that color very quickly when they die. So you have a very short window to work. Skarby says that cod is the worst, as it will turn very dark in less than 10 minutes. He started working with a taxidermist, and together they figured out that baby oil would prolong the time they had to photograph the specimen before the color drained.
A female trout. Click here to experience the full-size image.
Photo: Søren Skarby
Next, Skarby said he had to figure out how to manage the camera setup. His process involves a combination of focus stacking and panoramic stitching to maximize the level of detail. But that presented its own set of problems. "It's really, really hard to set up a camera vertically and then move it and keep the same distance to the subject all the way. There's no gear made for it," he said. He was venting his frustrations to a friend, who said, "Can't you move the fish?" It was a lightbulb moment, and they drew the idea on the drywall of his mid-renovation kitchen, eventually having a movable table made for the project.
Lighting was the next hurdle. Skarby tried using constant light but said the exposure time gets way too long. He explained that the image he created of the male Three-Spined Stickleback took 40 minutes total, with each exposure lasting 15 seconds. Every time a loud motorcycle or large truck drove past their studio, they got nervous, because they were sure it would shake the camera or table with the fish and ruin the image. Flash, then, is a must, but it has to be precise flash that fires consistently each time.
A male Three-spined Stickleback. Click here to experience the full-size image.
Photo: Søren Skarby
His lighting setup is relatively simple, with a light under the glass on which the fish rests and a light above at a 45-degree angle. However, the highly reflective surface of the baby oil-covered fish introduces challenges with lighting. So, Skarby adds polarizing filters to everything, including both lights and the camera lens.
Finding an ideal polarizer for the lights was yet another moment of creative problem-solving. Eventually, Skarby realized that TFT displays used in TVs have polarizing filters inside, and that he could buy packs of the filters meant for large TVs directly from China for cheap. Those filters then go in front of the softbox, and when one needs to be replaced, it isn't a big cost to replace it.
A Garfish. Click here to experience the full-size image.
Photo: Søren Skarby
The studio setup isn't the end of challenges, either. Skarby ends up with between 120 and 440 individual images for each fish. He goes through each Raw file before starting the stitching process, and then spends an extensive amount of time retouching at 200% or even 300% once the files are stitched together. For example, the image he created of the Gar, which is 52,500 pixels long, took 80 hours to Photoshop. Each image has loads of dust to remove, along with the edges of the glass pieces used to spread out fins and keep the fish in position.
This unretouched image shows just how much work is involved in the retouching process. The final image can be seen here.
Photo: Søren Skarby
While the Scaled Up project has been running since 2019, Skarby is far from done. He's currently working on his largest round of grant funding and plans on building out a caravan to be a mobile studio. That includes a camera stand that is built into the vehicle instead of using a tripod.
The caravan studio will enable him to go where the fish are, and connect with more people to curate stories with each individual fish. He's also going to be switching from the Fujifilm GFX 50S to a Phase One camera system, and using Helicon software for stacking the images instead of Photoshop. He says those changes should make the process somewhat easier and faster.
A Snake Pipefish. Click here to experience the full-size image.
Photo: Søren Skarby
Beyond the technical side of things, Skarby says there are also concerns related to conservation and ethics. After all, the fish aren't alive when he photographs them. He was recently offered the opportunity to photograph the European sprat, which is endemic to Denmark. While he was honored, that fish is incredibly rare, so he turned it down. "It would be crazy to say that 'we want you to be aware of the wild tiger and that’s why we’ve shot one to show to you,'" he said.
"What I'm trying to do with the pictures is showing people this is what you risk losing."
Skarby says that one of the reasons this project is so important is for conservation reasons. "I don't know what I am any more, if I'm a fly fisher, photographer or both or I'm actually an environmentalist," he says. No matter what he is, he's using the images to raise awareness and help bring attention to the unexpected beauty of certain fish. "What I'm trying to do with the pictures is showing people this is what you risk losing."
We aren't able to show off Skarby's images at full resolution, so if you want to see these fish in all their glory, be sure to head to his website. There, you'll be able to zoom in to remarkable levels, highlighting spectacular details on each fish.
Sample gallery
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Image: Laowa
Venus Optics has announced the Laowa 12mm F2.8 Lite Zero-D FF, an updated, mirrorless version of one of its popular ultra-wide-angle lenses. The new model is slimmed down (hence, the Lite in the name), introduces autofocus capabilities for Sony E and Nikon Z mounts and brings additional upgrades over the original 12mm F2.8 Zero-D.
The 12mm F2.8 Zero-D lens's claim to fame was that it was one of the widest non-fisheye lenses for full-frame cameras. Like the original model, the Laowa 12mm F2.8 Lite Zero-D offers an ultra-wide 122° view with a rectilinear optical design, which Laowa says results in "virtually zero distortion." The optical design includes 16 elements in 9 groups, with 4 extra-low dispersion elements and 2 aspherical elements. It can focus as close as 14cm (5.5"), making it possible to capture close details.
Image: Christopher Frost / Laowa
Laowa says that the new model offers improved image quality, with better sharpness all the way to the edges and "excellent control of chromatic aberration." It is also more compact and lightweight than its predecessor, coming in at just 377g (13.3oz) for the E mount version. For comparison, the original model weighed 609g (1.3lbs). The lens sees the addition of a filter thread, using 72mm filters, whereas the old model required a filter holder system.
The autofocus version (left) and manual focus version (right) feature slightly different body designs. Image: Laowa
The 12mm F2.8 Lite Zero-D is available for Sony E, Nikon Z, Canon RF and L mounts. The Sony E and Nikon Z versions offer autofocus, while the RF and L mount models are manual focus only. The autofocus versions offer an MF/AF switch but no aperture ring, while the manual focus models feature an aperture ring.
Making things more complicated are the two aperture blade configurations. You can choose between a 5-blade or 14-blade aperture. Laowa says the 5-blade creates a 10-point sunstar effect when you stop down the aperture. If you want the 14-blade aperture, though, you'll need to opt for the manual focus lens no matter what mount you have. The autofocus versions are only available with the 5-blade aperture.
The Legend Returns for Mirrorless Systems: The Legend Returns for Mirrorless Systems: Laowa 12mm f/2.8 Lite Zero-D FF
Anhui, China – June 26, 2025 – Laowa announces the launch of the new Laowa 12mm f/2.8 Lite Zero-D FF for mirrorless systems. The original 12mm f/2.8 Zero-D was one of Laowa’s bestsellers, known as the widest non-fisheye lens available on the market at the time. Now, in the mirrorless era, the new Lite version is optimized specifically for mirrorless systems, featuring 122° ultra wide angle of view with a more compact and lightweight design. It also supports autofocus on Sony E and Nikon Z cameras.
Equipped with a fast f/2.8 aperture and maintaining Laowa’s signature “Zero-D” (zero distortion) optical design, this lens delivers natural-looking results. A built-in ⌀72mm front filter thread further enhances its portability. This lens is a versatile choice for landscape, architecture, astrophotography, aerial shots, vlogging, and more.
Key Features:
Ultra-wide 122° Angle of View
“Zero-Distortion”
Fast & Accurate Autofocus
Compact & Lightweight
Bright f/2.8 Aperture
14cm Close Focusing Distance
Excellent Image Quality
⌀72mm Filter thread
10-Point Sunstar
Ultra-wide 12mm with f/2.8 Large Aperture
The Laowa 12mm f/2.8 Lite Zero-D FF offers an ultra-wide 122° angle of view paired with a fast f/2.8 aperture, making it an excellent choice for landscape photography—especially in low-light conditions such as sunrise, sunset, or starry nights. The wide perspective helps capture vast, expansive scenes with dramatic scale and depth, while the f/2.8 aperture allows more light to enter, enabling faster shutter speeds and better performance in dim environments. This also offers creative flexibility for foreground emphasis and environmental storytelling. Whether you’re exploring rugged mountains, shooting seascapes, or capturing the night sky, this lens is built to handle it all with ease and clarity.
“Zero-Distortion”
While most 12mm full-frame lenses on the market are fisheye, Laowa continues to break boundaries with a rectilinear design. Building on the legacy of the original 12mm f/2.8 Zero-D, this new Lite version inherits its acclaimed optical performance. Thanks to Laowa’s advanced optical engineering, distortion is kept to a minimum, ensuring straight lines stay true, even at the edges of the frame. This makes it a powerful tool for architecture, cityscapes, interiors, and any scene where accuracy and perspective matter.
Compact & Lightweight
Designed with portability in mind, this lens is both lightweight and compact, weighing just around 377g ( 0.83 lb). It’s an ideal companion for creators on the move, whether you're shooting handheld, flying with a drone, or mounting it on a gimbal. Its minimal weight makes it perfect for street photography or travel scenarios where mobility matters and heavy gear is a hassle.
Close Focusing Distance of 14cm
With a close focusing distance of just 14cm (5.5 inches), this 12mm f/2.8 Lite Zero-D FF lens lets you capture stunning details up close, opening up exciting possibilities for wide-angle macro photography.
Excellent Image Quality
The Laowa 12mm f/2.8 Lite Zero-D FF is engineered with exceptional optics, resulting in outstanding image sharpness and excellent control of chromatic aberration (CA). Compared to the original 12mm f/2.8 version, it shows significant improvement in sharpness, even at the corners.
Fast and Accurate Autofocus
As the second autofocus lens in Law's lineup, the 12mm f/2.8 Lite Zero-D delivers fast, precise focus tracking for both Sony E and Nikon Z mounts. It combines the convenience of reliable autofocus with the exceptional optical quality Laowa is known for, ensuring you never miss a moment.
*RF and L mount are fully manual.
Built-in Filter Thread
The Laowa 12mm f/2.8 Lite Zero-D FF comes equipped with a built-in ⌀72mm filter thread, providing photographers with the flexibility to easily attach a wide range of filters and adding greater convenience to your shooting setup.
Stunning 10-point Sunstar
This lens is available in both 5- and 16-blade versions. The 5-blade version creates a distinctive 10-point sunstar effect when you stop down the aperture, adding a striking visual element to your photos.
Pricing & Availability
The new Laowa 12mm f/2.8 Lite Zero-D FF is currently available via Venus Optics official website (http://www.venuslens.net/) and authorized resellers.
The US price for Laowa 10mm f/2.8 Zero-D FF is USD699 for all mounts for both AF and MF versions. Pricing varies in different countries.
Principal specifications
Lens type
Prime lens
Max Format size
35mm FF
Focal length
12 mm
Lens mount
Canon RF, Canon RF-S, L-Mount, Nikon Z, Sony E, Sony FE
Connexion
