The 85mm full-frame equivalent has long been considered the ideal portrait focal length. Its natural facial rendering, flattering compression, and versatility have made it the gold standard among portrait photographers worldwide. The newly release Viltrox 56mm f1.2 Pro is the lens created for this purpose.
Viltrox 56mm f1.2 ProViltrox 56mm f1.2 ProViltrox 56mm f1.2 Pro
Intro
The Viltrox 56mm f1.2 Pro marks the third addition to Viltrox’s growing “Pro” lineup, following the 75mm f1.2 Pro and 27mm f1.2 Pro. Announced on 1 September 2025, this lens comes in both X-mount and E-mount versions.
Like its 27mm and 75mm siblings, the Viltrox 56mm f1.2 Pro carries a consistent design language. The all-metal lens barrel immediately feels premium, like you’re holding something worth every dollar spent.
The aperture ring is satisfyingly clicky, with just the right amount of tension and tactile feedback. Nothing feels loose, sloppy, or overly stiff.
It comes with a 67mm filter thread and weighs 575 grams. It’s definitely not a tiny lens, but it balances reasonably well on bodies like the X-T5 and X-E5 (with grip). For comparison, Fujifilm’s own XF56mm f1.2 WR comes in at 445 grams.
As expected from a “Pro” lens, the Viltrox 56mm f/1.2 does not disappoint. It’s already sharp at wide open, with pleasing contrast and well-controlled chromatic aberration, even to my imperfect eyes. Vignetting is present but mild and easily corrected or avoided by stopping down or process in post.
The background blur is smooth with a gentle transition between in-focus and out-of-focus areas. Overall, the rendering feels clean and pleasant. No real complaints here.
Focusing
Viltrox equipped this lens with its Dual HyperVCM motor, but how does it perform in reality?
On both the X-T5 and X-M5, autofocus is generally snappy, silent, consistent, and accurate. I do get an occasional miss on the first try, but nothing worrying.
However, pairing it with the X-E5 gave me a very different experience. The autofocus mechanism jammed repeatedly, so much so that even remounting the lens or swapping with other lenses didn’t fix it. It would jam again after a few shots. I can ’t explain why, but the issue exists. X-E5 users should take note.
Another thing I observed: Eye-AF tends to jump rapidly between eyes and faces more often than other third-party lenses I’ve tested. I’m unsure whether this is a copy-specific issue or a broader batch issue, but I hope a future firmware update will address it.
At 50cm, the MFD is impressive for a mid-telephoto lens, identical to the Fujifilm XF56mm f1.2 WR. You can get quite close without losing image quality, which is great for tighter product shots.
Initially priced at 580 USD, the lens now goes for around 464 USD, making it extremely competitive, especially when the XF56mm f1.2 WR sells for 1099 USD at B&H.
Sirui also offers a 56mm f1.2 variant at $280 USD, but personally, I wouldn’t recommend that one.
As with all Viltrox autofocus lenses, the USB-C port is positioned at the rear, which I prefer over the exposed designs (on the lens barrel) with rubber flaps.
Viltrox 56mm f1.2 Pro – USB-C port at the rear lens element
The lens is also weather-sealed, in true “Pro” fashion, though I’m not exactly planning to test the seals anytime soon.
Viltrox 56mm f1.2 Pro with lens hood
A lens hood is included, but it’s a bit disappointing that it’s plastic instead of metal.
Who is this for?
If you shoot portraits, this focal length deserves a place on your wishlist. But portraits aren’t the only thing it can do.
During my testing, I found it great for product shoots, street photography, and even cityscapes. As long as the framing suits your vision, the lens delivers.
Conclusion
If you already own the Viltrox 27mm f1.2 Pro and 75mm f1.2 Pro, this lens completes the f1.2 Pro “trinity,” making your lineup feel wonderfully cohesive.
Viltrox 56mm f1.2 Pro and XF56mm f1.2 WRViltrox 56mm f1.2 Pro and XF56mm f1.2 WR (with lens hoods)
Viltrox has consistently impressed with its Pro series, excellent image quality, reasonable pricing, in exchange for slightly larger size and heavier builds. The 56mm f1.2 Pro follows that philosophy closely.
Sure, the Fujifilm XF56mm f/1.2 WR edges out a bit in sharpness and autofocus reliability, but at two times the cost, is it worth it? That comes down to your priorities. If you’re chasing image quality but can’t justify the XF56mm f1.2 WR’s premium price, and you don’t mind the extra weight, the Viltrox 56mm f1.2 Pro is definitely worth considering.
X-E5 with Viltrox 56mm f1.2 ProX-M5 with Viltrox 56mm f1.2 Pro
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Disclaimer: 1. All the shots taken here are shot by me. 2. Most of the shots are straight out of the camera with some shots edited via In-Camera Raw Processing. 3. The opinions are based on my experience. If there is any mistake, please kindly drop me a message and I will gladly make the amendment. 4. I reserve ownership of these images, if you wish to use my images, please notify me.
If you like my works, please follow me on either one of the 2 Instagram accounts:
When it comes to a 75mm focal length, it’s not exactly the most common out there. Most photographers are more familiar with 56mm, while 75mm sits in that in-between telephoto zone that can feel a little intimidating, especially if you’re shooting in tight urban spaces like I do. Space is a luxury here, and a longer focal length often means stepping back more than I’d like. Still, I was curious. And that curiosity led me to the TTArtisan 75mm f2, a surprisingly compact tele lens that might just deserve a spot in your camera bag.
X-M5 with TTArtisan 75mm f2X-M5 with TTArtisan 75mm f2
Intro
The TTArtisan 75mm f2 was first launched for Z-mount and E-mount back in September 2024, and it took almost a full year before the X-mount version arrived in August 2025. It’s now available in a total of four mounts, including L-mount, making it accessible to a wide range of photographers.
A quick shoutout to the awesome folks at TTArtisan for sending this lens my way to test, as always, my thoughts here are entirely my own.
Design and Build Quality
Design-wise, this lens follows the familiar TTArtisan aesthetic, very much in line with the 23mm f1.8, 35mm f1.8 II, and 56mm f1.8. But there’s one major difference: this time, there is an aperture ring.
That’s right, an actual clicky aperture ring on an autofocus lens. It’s something we rarely see from TTArtisan, and it’s a welcome addition, though I’ll admit, the clicks are a bit on the stiff side. It’s not the smoothest experience, but it works.
Build quality, as always with TTArtisan, doesn’t disappoint. The metal construction gives it a solid, premium feel. At 326 grams, it’s nicely balanced and not too heavy. The filter size is 62mm, making filters easy and affordable to find. Plus, it now comes with a square lens hood, which looks great and adds a bit of flair.
Image Quality
Let’s talk about performance. Wide open at f2, the TTArtisan 75mm delivers impressively sharp results. It’s not on the same razor-sharp level as the Viltrox 75mm f1.2, but for general use, it’s more than capable, and the images look fantastic.
Chromatic aberration is very well controlled, and vignetting is minimal enough to be a non-issue.
The bokeh is decent, not the creamiest out there, but it has character. The rendering feels a bit on the “hard” side, but for portraits and product shots, it still delivers pleasing separation and depth.
Autofocus runs on a Stepper Motor (STM), and it’s quick, accurate, and relatively quiet. Not lightning-fast, but definitely reliable. Eye tracking also performs quite well and stays sticky enough for most portrait situations.
Minimum Focus Distance (MFD)
The minimum focus distance is 75cm, which feels fair for this focal length. For comparison:
So the TTArtisan sits comfortably in between. More importantly, image quality stays strong even when shooting near the minimum distance.
Price Point
Here’s where things get wild: it is priced at just USD 200. For context, the Viltrox 75mm f1.2 costs about USD 580, and the Samyang/Rokinon 75mm f1.8 sits at USD 449. That’s more than double (and almost triple) the price. So for $200, this TTArtisan feels like a steal, a budget-friendly telephoto lens that still performs well in all checkboxes.
Like other TTArtisan AF lenses, the rear lens cap includes a USB-C port for firmware updates, which is always a plus.
Rear lens cap with USB-C port
One thing to note, this lens does not have weather or dust sealing. But honestly, at this price point, that’s perfectly reasonable.
Who is this for?
At a 112mm full-frame equivalent, this lens is clearly made for portraits and product photography. It’s not the most versatile choice for street shooters, unless you like keeping a bit of distance between you and your subjects. In that case, this focal length might be perfect for candid, unobtrusive shots.
For travel photographers, it’s a great lens to pack “just in case.” It’s compact, not too heavy, and covers a nice tele range when you need it.
Conclusion
Alongside TTArtisan’s compact prime lineup: the 23mm f1.8, 35mm f1.8 II, and 56mm f1.8, this new 75mm f2 rounds out a very practical and affordable set of lenses for any prime shooter. For 200 USD, TTArtisan has nailed the balance between build quality, image performance, and price. I honestly can’t find a solid reason not to recommend it.
It’s compact, capable, and fun to use, the kind of lens that reminds you good gear doesn’t always have to come with a high-end price tag. TTArtisan has been on a roll, releasing lens after lens, and now I can’t help but wonder… what focal length will they surprise us with next?
X-E5 with TTArtisan 75mm f2X-E5 with TTArtisan 75mm f2
Thank you for reading.
Disclaimer: 1. All the shots taken here are shot by me. 2. Most of the shots are straight out of the camera with some shots edited via In-Camera Raw Processing. 3. The opinions are based on my experience. If there is any mistake, please kindly drop me a message and I will gladly make the amendment. 4. I reserve ownership of these images, if you wish to use my images, please notify me.
If you like my works, please follow me on either one of the 2 Instagram accounts:
Tilt-shift lenses have always been a niche tool, designed for very specific kinds of photography, the kind most photographers never touch because, well, they used to cost a small fortune.
AstrHori 18mm f5.6 Shift Lens
But times have changed. With the rise of Chinese lens makers, we’re now seeing more affordable alternatives entering the market. These lenses bring once-exclusive creative tools into the hands of curious photographers who’ve always wanted to try tilt or shift lenses without breaking the bank.
Fuji X-E5 with AstrHori 18mm f5.6 Shift Lens
Before proceeding further, I would like to express my gratitude to the team at AstrHori for providing me with this lens for review. Rest assured that the opinion is my own.
Intro
When it comes to shift lenses, options are still rare. As far as I know, only AstrHori and Laowa (Venus Optics)currently make them.
Fuji X-M5 with AstrHori 18mm f5.6 Shift Lens
Now, it’s worth noting the difference between tilt and shift:
Tilt lenses allow you to play with the plane of focus, creating dreamy miniature effects or selective focus shots.
Shift lenses, on the other hand, are all about correcting perspective distortion, like the converging lines you see in architectural photos, while keeping your camera level. They’re also great for stitching large, high-resolution panoramas from overlapping shots.
AstrHori 18mm f5.6 Shift Lens
Design and Build Quality
The AstrHori 18mm f/5.6 feels solid and well-built, with a full-metal construction. You’ll immediately notice the zigzag line around the body — that’s the part where the shifting happens.
The lens can also rotate, with a satisfying click at each stop. This makes it easy to align your shift direction, whether you’re shooting in landscape or portrait orientation.
At 170 grams, it’s about twice the weight of the Fujifilm XF23mm f2.8 (which is 90g), but still feels light and well-balanced in hand.
Image Quality
This lens has a fixed aperture of f5.6, meaning there’s no way to change it , similar to the Viltrox 28mm f4.5. While that may sound limiting, it simplifies the shooting experience and keeps the design compact.
For the image quality, I will break down the image performance into two parts: normal and shift shooting.
Normal shooting mode
Image quality is surprisingly good, sharp enough with well-preserved contrast. Chromatic aberration is minimal, and vignetting is very well controlled, almost nonexistent.
The AstrHori 18mm allows for a ±6mm shift range. Whether or not that’s a standard figure, it’s enough to make a noticeable difference. The perspective correction is clear and effective, with no visible loss in image quality.
Since this lens does not come with a lens hood, we have to be mindful of the potential flare introduced into the photos.
Focusing
The focus throw spans about 170°, which gives you a good amount of precision for manual focusing. It’s smooth and consistent, exactly what you want for a lens like this.
With a minimum focus distance of 30cm, it’s not meant for close-up work. But that’s expected; this is a shift lens designed primarily for architecture and perspective correction, not macro photography.
At just USD 119, this lens is an absolute steal. It’s inexpensive enough to buy out of curiosity, experiment with, and maybe even surprise yourself with the results. For the price of a nice dinner, you can add a creative tool to your camera bag that might come in handy one day.
One thing to watch out for: be mindful of where your fingers rest when shifting the lens. The metal edges can be a little sharp, not enough to hurt, but enough to give you a surprise if you’re not paying attention. Hopefully, AstrHori smooths that out in the next version.
Sharp edges
The shift function works best when shooting upward or downward angles, like from the ground floor looking up at a building. If you’re shooting straight ahead, shifting mainly changes your framing rather than fixing distortion.
While the primary audience is architectural photographers, the 28mm (full-frame equivalent) field of view and f5.6 aperture also make it a fun lens for street photography. And again, at USD 119, it’s an easy lens to buy as a gift, or just to satisfy your curiosity.
Niche products like this are rare because most manufacturers won’t take the risk. So props to AstrHori for daring to do something different. The 18mm f5.6 Shift Lens is available in multiple mounts (E, L, and Z), opening up creative possibilities for photographers across systems.
It’s compact, affordable, and genuinely fun to use, proof that innovation doesn’t always have to come with a high price tag. Here’s hoping AstrHori keeps pushing boundaries with more unique releases, while continuing to refine their lineup of everyday lenses like the AstrHori 27mm f2.8.
Fuji X-E5 with AstrHori 18mm f5.6 shift lens
Thank you for reading.
Disclaimer: 1. All the shots taken here are shot by me. 2. Most of the shots are straight out of the camera with some shots edited via In-Camera Raw Processing. 3. The opinions are based on my experience. If there is any mistake, please kindly drop me a message and I will gladly make the amendment. 4. I reserve ownership of these images, if you wish to use my images, please notify me. 5. If you are interested in this lens and also wish to support me, this is the affilinate link to purchase.
If you like my works, please follow me on either one of the 2 Instagram accounts:
Fujifilm X-E5 is the newest camera in the X-E series and of course in the Fujifilm X series family as well. There was a saying that this series has been a lot of ups and downs with speculation about this series been axed. But it survived everytime and always been refining and Fujifilm always trying yo positioning it better.
Fuji X-E5
Intro
The X-E series has always been considered the little brother to the X-Pro line. Designed to be a more affordable option for photographers who love the rangefinder style but can’t justify the X-Pro’s price, the X-E models traditionally came with slightly lower specs and a plastic build.
Looking back at the Fujifilm X-E series, one thing that immediately stands out is how the design language has evolved. Earlier models carried a softer, curved body shape, but with the newer iterations, Fujifilm has shifted toward a sharper, more refined blocky look.
Interestingly, the X-E1, the very first in the lineup, was actually a bit larger and taller than the brand-new X-E5, yet it still managed to be much lighter thanks to the plastic built body.
The X-E4 was where Fujifilm took a bold leap into minimalism. Some photographers appreciated the stripped-back approach, while others felt it went a little too far. The X-E5 continues along that same minimal design path, but with a few thoughtful additions that make it feel like Fujifilm listened to the feedback.
The shutter, however, doesn’t feel heavy at all. In fact, it’s gentle and refined compared to earlier models, giving the camera a pleasing shooting experience.
A welcome return is the flip-up LCD display. I don’t take selfies often, but the flip-up screen is perfect for capturing low-angle shots.
What’s been brought back? The hand grip. While it’s not the chunkiest grip you’ll find, the small front and rear bumps do improve handling compared to the gripless X-E4. It’s still not perfect, many will likely want an additional grip accessory, but the difference is noticeable and very welcome.
What’s been added? From the front, you’ll now spot a focus mode selector, a control lever, and a function button, small but meaningful upgrades for usability. Around the back, the “Q” button has been moved into the same position as the X100VI, and Fujifilm has also added a rear command dial. These tweaks make the X-E5 feel more versatile without cluttering the minimalist design.
Focus Mode SelectorPlacement of the “Q” button is the same as X100VI
If you’ve shot with previous X-E cameras, one of the first things you’ll notice when picking up the X-E5 is the weight. At 445g, it’s the heaviest in the series (most predecessors hovered around 350g). But with that extra heft comes a sense of sturdiness, thanks to its solid aluminum build.
One of the most distinctive design touches on the X-E5 is the new film simulation dial built into the top plate window. Traditionally, that little window displayed film count, and now, it tells you which film simulation you’re using. A subtle but clever nod to the good film days, and of course, the Instax cameras.
Film simulation dial
The dial itself comes with 10 film simulation slots: 6 fixed presets and 4 that can be customized. (For comparison, the X-M5 offers 12 slots.) FS1 to FS3 can be assigned to any simulation you like, including your own recipes. The final slot, labeled “C” for Custom, lets you quickly change simulations on the fly using the front command dial.
Sensor and Processor
The X-E5 is equipped with the familiar 40MP X-Trans CMOS 5 HR sensor alongside the powerful X-Processor 5. It is the same combination found in Fujifilm’s X-H2, X-T5, X-T50, and even the X100VI.
40 megapixels might feel like overkill if your main goal is to share photos on social media, but having that level of resolution opens up plenty of creative possibilities, from large prints to detailed cropping. It’s a thoughtful move by Fujifilm, and one that photographers will no doubt appreciate.
40 megapixels image quality is superior. Pairing the right lenses help to optimize the best image quality Fujifilm offers. If you pair up with the Fujifilm older generation of lenses or other third party lenses, you might notice some levels of softness if you are the picky one.
For those who have experienced the X-Processor 5, you already know the kind of performance it delivers. This is the very same processor powering the flagship GFX100 II, and it brings that same level of speed and refinement into the X series. When paired with Fujifilm’s latest generation of lenses, the results are nothing short of outstanding, showcasing some of the best performance Fujifilm has to offer.
That said, the eye-AF tracking performs well by Fujifilm’s current standards. It sticks onto the subject most of the time, though every now and then it might wander off a little. When I put it side by side with my X-T5, the focusing feels slightly slower (both running on default settings). But honestly, it’s not a deal breaker for me.
Similar to all other latest series of X-Series camera bodies, it is equipped with 7 stops of compensation. In short, the IBIS in this camera works impressively well.
When it comes to battery, I am prepared and expecting that NP-W126S to be the battery model and we all know how small the battery capacity this model can be.
According to CIPA rating, it is about 300 shots. But based on my usage with everything in default, I managed to squeeze about 480 shots. And that including transferring 50 shots from the camera to the phone. This result of mine shared similarity with the X-T50.
In my opinion, the number of shots seems to be good enough for a 2-3 days travel occasion and probably a good one day coverage for photowalks. If you think the battery is not good enough, I will suggest getting another 1 to 2 spare batteries as the battery is quite pocketable and compact. Alternatively, standby a PD powerbank to charge via the USB-C to extend the juice whenever needed.
Feedback
Like all the rest of the X-E series that come before it, it does not equipped with Dial Lock Release like the X-T5. This lock is so beneficial because it can prevent accidental dial changes. I encountered this when my camera is place inside the bag and probably some movement has pushes the dial without noticing.
Wish to have a dial lock on the shuttle speed dialFuji X-E5 with XF23mm f2.8
There hasn’t been any upgrade to the Electronic View Finder (EVF) or the rear LCD display and they are still at 2.36 million dots and 1.04 million dots respectively. I do wish Fujifilm had pushed a little further in this area, especially to better justify the price increase.
This new generation comes in at a noticeably higher price than the previous one. The body alone is priced at 1599 USD, and in Singapore, it’s going for 2099 SGD. To put things in perspective, the last model was launched at 1449 SGD back in 2021.
Even after adjusting for inflation, which would bring that number closer to 1700 SGD, the new price still sits quite a bit higher. Whether that premium is worth paying really depends on what photographers feel they’re getting out of it.
When it comes to the Fujifilm X-E5 and X100VI, the comparisons never seem to end. Which one is better? Why choose this over that? Which camera really gives you the most value? The debates go on, often shaped by personal preference and bias. That’s completely fair, and I respect that.
From my perspective, both cameras serve different purposes and are designed to meet the unique needs of each photographer and shooting experiences. There’s really no right or wrong choice here. What matters most is understanding your own shooting style and priorities. Once you’re clear about what you need, picking the right camera becomes a much simpler decision. It might sound straightforward, but in reality, finding the right one often takes a bit more time and consideration.
The X-E5 has a little trick up its sleeve, a classic display mode in the electronic viewfinder. It’s an interesting addition that feels like a nod to nostalgia for senior generations users, while also giving younger generations a taste of the past.
Who is this for?
If you are interested in jumping into Fujifilm ecosystem and find that price of the X-E5 price is too steep, there are other models available, for instance, X-M5.
Fujifilm is always about the overall user experience from using the gear, to click the shutter and the final results in front of your eyes. Each camera user experience is different somehow and finding the right one is always a challenge.
If possible, give it a try in your nearest camera store or better recommendation is to rent it out for a week or two with a few lenses to try. The later one is a costly option, but probably a better one than rush buy.
Conclusion
The X-E series has always held a special charm for me. I still keep my X-E3 around, and while I regret missing the chance to pick up the X-E4 before Fujifilm suddenly discontinued it, I wasn’t willing to pay inflated resale prices. So when the X-E5 was announced, it was an easy decision. I knew I had to get it.
Thanks to the ripple effect from the viral X100V video, Fujifilm cameras have been attracting attention well beyond the photography community. And naturally, the X-E5 has also found its way into the spotlight.
Yes, the X-E5 is the most expensive model in the X-E lineup so far, but in my opinion, it’s also the best one yet. I absolutely enjoy the shooting experience this rangefinder-style body offers—it’s a completely different vibe compared to my X-T5. As I’ve said before, every camera has its own purpose, crafted to meet the specific needs and styles of different photographers. The X-E5 is no exception, and that’s exactly what makes it so special.
Fuji X-E5 with XF23mm f.28 kit lens
Thank you for reading.
Disclaimer: 1. All the shots taken here are shot by me. 2. Most of the shots are straight out of the camera with some shots edited via In-Camera Raw Processing. 3. The opinions are based on my experience. If there is any mistake, please kindly drop me a message and I will gladly make the amendment. 4. I reserve ownership of these images, if you wish to use my images, please notify me.
If you like my works, please follow me on either one of the 2 Instagram accounts:
Suddenly, there seems to be another new hype for 27mm among third-party manufacturers. I have no idea why there are suddenly so many 27mm in the market again. If you are not familiar, Ulanzi and 7Artisans release the same 27mm f2.8 setup. (Just that Ulanzi only released it for the Sony E-mount.)
AstrHori 27mm f2.8 AstrHori 27mm f2.8
On a second note, you might realized that both 7Artisans and AstrHori shared very similar lens design with Jintu. You are not wrong. They are the same lens. Just rebranded. (However, we have no idea who rebranded from who. But does it matter?)
Intro
AstrHori 27mm f2.8 was announced back in November 2024. AstrHori isn’t a new player for this focal length, in fact, they had released two 27mm manual lenses before. So I suppose they have decided to go for an autofocus one after noticing some demands from the market.
AstrHori 27mm f2.8 AstrHori 27mm f2.8
Design and Build Quality
From the look, this lens is a simple, beautiful, and minimalistic. It comes with a simple textured manual focus ring for easy gripping. No lens hood is provided for the 39mm filter thread. It comes with 2 colors, black and titanium, which I think the later one do stand out a bit from the crowd.
When it comes to size, it is not the smallest 27mm lens in the market. In fact, it is not even the size of being a “pancake” lens. It is about 2x the size of the XF27mm f2.8. If in return, the
The lens is metal-constructed, with decent built quality. At 165 grams, it is well-weighted and well-balanced on hand. If you are hoping this lens has a similar size to the XF27mm f2.8 WR, you might be disappointed as it is close to 2 times the thickness.
Image Quality
The image quality is noticeably better than that of TTArtisan’s offering. Not quite a fair comparison as the TTArtisan variant was released in 2022 and I believe the optical glass quality has improved over the years.
While sharpness isn’t exceptional at wide open, it remains decent and perfectly usable. The lens also delivers pleasing contrast, and I didn’t encounter any significant chromatic aberration. Vignetting is present, but it can be corrected easily in post.
As for sunstars, they’re acceptable and considerably sharp or well-defined.
The autofocus speed isn’t particularly fast or snappy, but it delivers respectable performance and remains largely accurate. In my testing, the Stepper Motor (STM) handled low-light conditions without any noticeable issues, and most importantly, it is quite silent compared to other 27mm f2.8 variants.
Minimum Focus Distance (MFD)
On the bright side, the MFD is actually better (@30cm) than the XF27mm f2.8 WR and TTArtisan 27mm f2.8, at 34cm and 35cm respectively. Also, the good news is that the image quality remains the same.
Priced at 126 USD. It is probably the second cheapest 27mm autofocus lens on the market, the 7Artisans variant is now 110 USD. If every cent is considered in your budget, this is the most affordable 27mm lens to be considered.
Like most of the third-party manufacturers, it does come with a USB-C port for future firmware updates. But unlike most of them, the port is located right at the bottom of the lens barrel. The port does protected by a piece of rubber seal but it is not my most favourable one since the seal can be easily lost without being noticed.
Left: AstrHori 27mm f2.8 with rubber seal on the USB-C port Right: AstrHori 27mm f2.8 without rubber seal on the USB-C portLeft to right: Viltrox 27mm f1.2, TTArtisan 27mm f2.8, XF27mm f2.8 WR, AstrHori 27mm f2.8
Oh yes, it comes with Sony E-mount and Nikon Z-mount too.
Who is this for?
The 40mm (full-frame equivalent) focal length tends to be a love-or-hate choice. This often comes down to two key factors: lens size and aperture. However, this particular lens isn’t designed to excel in either area. Instead, it’s aimed at photographers who want to experience the 40mm perspective without committing to a higher investment.
Although this is a rebranded lens, its image quality is more than acceptable, with reliable sharpness and decent focusing speed. Considering the price point, there’s little to complain about.
I’ve always admired AstrHori for producing unique and unconventional lenses that few other manufacturers attempt. That’s why I was surprised to see them release a focal length that’s already quite common in the market. Perhaps this is their way of balancing between offering distinctive, niche lenses and more conventional options.
X-M5 with AstrHori 27mm f2.8 X-E5 with AstrHori 27mm f2.8 X-E5 with AstrHori 27mm f2.8
That said, I look forward to seeing Astrhori continue to grow, especially with more autofocus lenses in their lineup.
Thank you for reading.
Disclaimer: 1. All the shots taken here are shot by me. 2. Most of the shots are straight out of the camera with some shots edited via In-Camera Raw Processing. 3. The opinions are based on my experience. If there is any mistake, please kindly drop me a message and I will gladly make the amendment. 4. I reserve ownership of these images, if you wish to use my images, please notify me. 5. If you are interested in this lens and also wish to support me, this is the affilinate link to purchase.
If you like my works, please follow me on either one of the 2 Instagram accounts:
Just like the mobile phone industry, where new brands and manufacturers frequently emerge with bold innovations and/or competitive offerings, the photography market is no stranger to fresh faces aiming to make their mark. In this case, the latest entrant is SG-Image, also known by its Chinese name, 深光影像.
SG-Image 25mm f1.8SG-Image 25mm f1.8 with lens cap
Intro
Although SG-Image is still a relatively new name in the photography world, the company is quickly positioning itself as a serious contender in the camera lens and imaging technology space. Impressively, they’ve already built a lineup of around 13 lenses — a well-rounded mix that includes both manual and autofocus options, models designed for full-frame and APS-C sensors, and even a selection of cinematic lenses. It’s a diverse and ambitious range for such a young brand.
X-M5 with SG-Image 25mm f1.8X-M5 with SG-Image 25mm f1.8
Following the release of their 55mm f1.8, SG-Image has now introduced the 25mmf1.8, marking their second autofocus lens made available to the global market. Generously, the team at SG-Image, who have been nothing but kind and supportive, sent me a unit of the 25mm lens (which offers a 37.5mm equivalent field of view on full-frame) to test out.
Before diving into the details, I’d like to express my thanks to the good guys at SG-Image for sending the lens. I truly appreciate their support. However, as always, their gesture has no influence on my opinions; this review remains entirely independent and unbiased.
Design and Build Quality
The lens feels great in the hand, compact and lightweight at just 145 grams. Its metal construction gives it a solid, premium feel, which I definitely appreciate. In terms of size, it’s quite comparable to the Fujifilm XF27mm f2.8 (about 10mm taller), making it a nice fit for smaller camera bodies.
That said, there are a couple of trade-offs. Unlike the XF27mm, this lens doesn’t feature an aperture ring, something some users may miss. It also uses a larger 52mm filter thread, compared to the 39mm size on the XF27mm.
One more thing to note: although many online sources mention that the lens includes a hood, the unit I received did not come with one.
Image Quality
The image quality at wide open is decent enough for the price tag. That said, the sharpness at the center is above the passing mark, but you will notice some softness at the corners. Contrast is also on the softer side.
As for chromatic aberration and vignetting, both are present but manageable in real-world use. Stopping down to f/2 or f/2.8 noticeably improves overall image quality, tightening up sharpness and contrast.
It is equipped with the standard Stepper Motor (STM), and I have no complaint with the focusing capability. It is fast, snappy, has no strong sign of focus pulling, and locks to the subject quite accurately.
Considering its compact size and budget-friendly price, the 30cm minimum focusing distance (MFD) is fairly acceptable. However, in my tests, getting close to the subject at that distance introduced noticeable softness and a drop in contrast compared to other shots. Stopping down to around f2.8 helps recover sharpness and improves overall image quality in close-up situations.
Price Point
Priced at just 69 USD, this lens comes with a highly attractive price tag that’s easy on the wallet. In fact, it’s even more affordable than the already budget-friendly TTArtisan 23mm f1.8, which retails for around 127 USD.
It comes with a USB-C port, but it is located externally and not hidden at the rear lens element like others do. It is protected with a rubber seal, and it is not easy for me to spot it for the first time.
SG-Image 25mm f1.8 USB-C port
There is no mention about weather protection so be sure to avoid doing something risky to the lens.
Lastly, it comes with 4 colours; black, silver, red and orange. Although the colors only appears on the focus ring, at least it’s a good attempt.
SG-Image 25mm f1.8 Silver and BlackX-M5 with SG-Image 25mm f1.8X-M5 with SG-Image 25mm f1.8
Who is this for?
This lens is highly versatile, coming very close to the 23mm focal length that I personally favor. It works well across a range of genres, including street photography, landscapes, environmental portraits, and photojournalism.
If you’re after something wider than 27mm (equivalent to 40mm on full-frame) but still want a compact setup, this is a solid choice.
Given its price point, it’s an easy recommendation for beginner photographers, also suitable to gift to someone.
Conclusion
SG-Image surprised me on how cheap one autofocus lens can be. Although it is not a perfect lens by any means, the image quality is still decent for social media sharing.
While an attractive price tag gives healthy competition among the third-party manufacturers, I hope it will not compromise the overall user experience with the lens.
During my test, I was told there was a new firmware for the lens to update. While updating the lens is a breeze, navigating the website to download the firmware is a little confusing. And the website isn’t in English; it might be a problem for non-Chinese-speaking photographers to find it. I have included the link to the general firmware download page below, and scroll to the lens and download. The link might be working in the future. Also, please do your own due diligence to ensure everything is clean before downloading, etc.
Disclaimer: 1. All the shots taken here were taken by me. 2. Most shots are straight out of the camera, with some edited via In-Camera Raw Processing. 3. The opinions are based on my experience. If there is any mistake, please kindly message me, and I will gladly make the amendment. 4. I reserve ownership of these images. If you wish to use my images, please notify me.
If you like my works, please follow me on either one of the 2 Instagram accounts:
The Meike 55mm f1.8 Pro is the second lens in their professional-grade lineup, released shortly after their first Pro lens. This quick follow-up suggests that Meike is pretty serious about expanding its offerings for APS-C users.
Meike 55mm f1.8 Pro
For photographers, this means more choices, and this is always a good thing, though it can make deciding between third-party options a bit more challenging for us.
X-M5 with Meike 55mm f1.8 Pro
Intro
A 55mm focal length isn’t a common one, but when mounted on an APS-C body, it gives an effective field of view of around 82.5mm, very close to the popular 85mm perspective. Similarly, that goes the same for the 50mm (in APS-C format). Ultimately, what matters more to me is the total package: image quality, usability, and whether it justifies the asking price. Let’s dive into that.
Meike 55mm f1.8 Pro with lens hood
Design and Build Quality
Weighing in at 365 grams and sporting a 58mm filter thread, the 55mm f1.8 Pro is nearly indistinguishable from Meike’s 85mm f1.8 Pro lens in appearance. Both share the same minimalist design language, similar weight, and identical build materials. The primary visual difference lies in the 85mm’s slightly larger size and its 62mm filter thread.
Fuji X-M5 . Meike 55mm f1.8 Pro @ 55mm . f1.8 . 1/850″ . ISO 320 . Nostalgic Negative Left: Fuji X-M5 . Meike 55mm f1.8 Pro @ 55mm . f1.8 . 1/350″ . ISO 160 . Nostalgic Negative Right: Fuji X-M5 . Meike 55mm f1.8 Pro @ 55mm . f1.8 . 1/340″ . ISO 320 . Nostalgic Negative
Meike has kept things consistent across both lenses, including a smooth, clickable aperture ring with satisfying tactile feedback and a frictionless manual focus ring. A plastic lens hood is also included.
Image Quality
To my eyes, the 55mm f1.8 Pro produces slightly better image quality than the 85mm f1.8 Pro. Center sharpness is notably strong, with only minor softness in the corners—nothing alarming in my opinion. Vignetting is present as expected but mild and acceptable in real-world use. Chromatic aberration appears to be well-controlled, with no distracting color fringing in high-contrast areas.
Fuji X-M5 . Meike 55mm f1.8 Pro @ 55mm . f1.8 . 1/8000″ . ISO 160 . Nostalgic NegativeLeft: Fuji X-M5 . Meike 55mm f1.8 Pro @ 55mm . f2 . 1/125″ . ISO 500 . Nostalgic Negative Right: Fuji X-M5 . Meike 55mm f1.8 Pro @ 55mm . f2 . 1/125″ . ISO 800 . Nostalgic Negative
The bokeh is smooth and natural, with a more refined background blur compared to the 85mm. This helps isolate subjects effectively without any jarring distractions in the background.
The lines from the sunstar aren’t well-defined, and it will also introduce some ghosting flares.
Fuji X-T5 . Meike 55mm f1.8 Pro @ 55mm . f16 . 1/80″ . ISO 500 . Nostalgic Negative
Focusing
It uses the common Stepper Motor (STM), and the focusing performance seems much better than that of the 85mm counterpart. Although I did encounter some focus pullings in bright daylight, it is still less than that of the 85mm counterpart. Focusing speed is decent, but I did encounter 2-3 mis-focused shots when the focus is locked with the green box. I hope it will be fixed with a firmware update in the future.
Fuji X-T5 . Meike 55mm f1.8 Pro @ 55mm . f5.6 . 1/800″ . ISO 125 . Nostalgic Negative
Left: Fuji X-T5 . Meike 55mm f1.8 Pro @ 55mm . f1.8 . 1/15″ . ISO 500 . Nostalgic Negative Right: Fuji X-T5 . Meike 55mm f1.8 Pro @ 55mm . f1.8 . 1/5400″ . ISO 125 . Nostalgic Negative
Minimum Focus Distance (MFD)
The minimum focus distance is 55cm, which is typical for a lens of this focal length. I didn’t notice any loss in image quality when shooting at close range, which is always a plus
Fuji X-T5 . Meike 55mm f1.8 Pro @ 55mm . f1.8 . 1/8500″ . ISO 125 . Nostalgic NegativeRight: Fuji X-T5 . Meike 55mm f1.8 Pro @ 55mm . f1.8 . 1/900″ . ISO 320 . Nostalgic Negative
Price Point
Priced at $330 USD, the Meike 55mm f1.8 Pro sits in a competitive space. Here’s how it stacks up against rivals:
Fuji X-T5 . Meike 55mm f1.8 Pro @ 55mm . f1.8 . 1/240″ . ISO 125 . Classic NegativeLeft: Fuji X-T5 . Meike 55mm f1.8 Pro @ 55mm . f1.8 . 1/950″ . ISO 125 . Nostalgic Negative Right: Fuji X-T5 . Meike 55mm f1.8 Pro @ 55mm . f1.8 . 1/1900″ . ISO 125 . Nostalgic Negative
While the Sigma is a class leader among the third parties (I am excited to see what Viltrox 56mm f1.2 Pro can do), it’s nearly twice the price. Meike seems to be offering a solid middle ground in terms of price, performance, and build quality.
Others
Meike continues to place the USB-C port for firmware updates inside the rear lens mount. This is something I have come to appreciate for its neat and protected design.
Meike 55mm f1.8 Pro – USB-C port
Although there’s no official word on weather sealing, the red ring around the lens mount appears to be made of a rubber-like material, which may offer some degree of environmental protection.
Fuji X-T5 . Meike 55mm f1.8 Pro @ 55mm . f4 . 1/850″ . ISO 125 . Nostalgic Negative
Oh yes, if you wish to do manual focusing, you have to switch to manual on the focus mode selector switch on the lens and not on the camera body. I guess from the manufacturer’s perspective, it is easier to switch on the lens than on the camera body.
Meike 55mm f1.8 Pro – focus mode selector
Who is this for?
The 55mm focal length is versatile, suiting portraits and product photography well, while also offering an interesting perspective for street, documentary, and even landscape work. It’s a nice “in-between” focal length that can handle various genres with ease.
Fuji X-T5 . Meike 55mm f1.8 Pro @ 55mm . f1.8 . 1/80″ . ISO 400 . Nostalgic NegativeLeft: Fuji X-T5 . Meike 55mm f1.8 Pro @ 55mm . f1.8 . 1/80″ . ISO 160 . Nostalgic Negative Right: Fuji X-T5 . Meike 55mm f1.8 Pro @ 55mm . f1.8 . 1/400″ . ISO 125 . Nostalgic Negative
Conclusion
Compared to the 85mm Pro, I find the 55mm easier to use when composing shots, especially full-body portraits. Since you don’t need to step back as far. It also makes communication with your subject more natural. While the 85mm delivers better background compression, the difference isn’t a dealbreaker in most scenarios.
Fuji X-T5 . Meike 55mm f1.8 Pro @ 55mm . f1.8 . 1/3000″ . ISO 125 . Nostalgic Negative
Left: Fuji X-T5 . Meike 55mm f1.8 Pro @ 55mm . f1.8 . 1/500″ . ISO 125 . Nostalgic Negative Right: Fuji X-T5 . Meike 85mm f1.8 Pro @ 55mm . f1.8 . 1/550″ . ISO 125 . Nostalgic Negative
Meike has done a commendable job with the Pro series. While f1.8 isn’t extremely fast by today’s “Pro” standards, the lens offers a great balance between price, performance, and portability. For photographers looking for a lightweight, affordable, and well-built lens in the short-telephoto range, the 55mm f/1.8 Pro is a compelling choice.
Right: Fuji X-T5 . Meike 55mm f1.8 Pro @ 55mm . f1.8 . 1/1400″ . ISO 125 . Nostalgic NegativeRight: Fuji X-T5 . Meike 55mm f1.8 Pro @ 55mm . f1.8 . 1/80″ . ISO 200 . Nostalgic Negative
Right: Fuji X-T5 . Meike 55mm f1.8 Pro @ 55mm . f1.8 . 1/80″ . ISO 2500 . Nostalgic Negative
Hopefully, Meike continues this momentum and completes a “Pro trinity” by adding a wide-angle option in the near future.
X-M5 with Meike 55mm f1.8 Pro
Thank you for reading.
Disclaimer: 1. All the shots taken here are shot by me. 2. Most of the shots are straight out of the camera with some shots edited via In-Camera Raw Processing. 3. The opinions are based on my experience. If there is any mistake, please kindly drop me a message and I will gladly make the amendment. 4. I reserve ownership of these images, if you wish to use my images, please notify me.
It’s been almost six months since I last got my hands on a Meike lens, and today I’m checking out something a bit different: Meike’s very first Pro lens.
That alone is enough to get me curious. However, the focal length itself isn’t new to me; I’ve used it before and, to be honest, it never really left a great impression. But every lens is different, and with this being Meike’s first step into the “Pro” territory, I am genuinely interested to see if this one can turn things around. Maybe it’ll surprise me.
Meike 85mm f1.8 ProLeft: Meike 85mm f1.8 Pro top view Right: Meike 85mm f1.8 Pro with lens hood
Intro
Meike launched the 85mm f1.8 Pro in November 2024, and let’s just say: it definitely turned some heads. Not because it’s an 85mm lens (we’ve all seen those before), but because “f1.8″ and “Pro” in the same name?
That’s not something you hear every day. It left a lot of people curious, and maybe even a little skeptical. I mean, isn’t “Pro” usually reserved for the big, heavy, brighter aperture, bank-account-crushing glass? So now the big question is: what actually makes a lens “Pro”? I’m here to test it out and see if this one earns the badge or if it’s just wearing the title for fun.
Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/1250″ . ISO 125 . Nostalgic NegativeLeft: Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/640″ . ISO 125 . Nostalgic Negative Right: Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/80″ . ISO 500 . Nostalgic Negative
Design and Build Quality
The first thing I noticed about the lens design is the noticeably bright red ring at the rear lens. Like the Meike 33mm f1.4 and Meike 55mm f1.4, it takes inspiration from the Canon L lens.
Fuji X-M5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/20,000″ . ISO 160 . Nostalgic Negative
Left: Fuji X-M5 . Meike 85mm f1.8 Pro @ 85mm . f18 . 1/5800″ . ISO 320 . Nostalgic Negative Right: Fuji X-M5 . Meike 85mm f1.8 Pro @ 85mm . f2 . 1/125″ . ISO 500 . Nostalgic Negative
The build quality is great. It comes with full metal construction and weighs about 390 grams. The weight is well-distributed across the lens body, which feels well-balanced when holding the lens in hand.
It comes with a 62mm filter size, pretty small for a “Pro” lens, and thanks to that, it allows photographers to buy considerably cheaper filters. It is also equipped with an aperture ring. The aperture ring is noticeably better than the f1.4 siblings. The gentle clicky aperture ring is smoother to control with minimum effort. As for the manual focus ring, it is frictionless and smooth.
Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/80″ . ISO 500 . Nostalgic NegativeLeft: Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/900″ . ISO 125 . Nostalgic Negative Right: Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/180″ . ISO 125 . Classic Negative
Like all Pro lenses, it does come with a lens hood as well. But it is made out of plastic.
Image Quality
In terms of image quality, I’d say it’s quite decent. While it’s not as tack-sharp as Fujifilm’s latest generation of prime lenses, the sharpness is still respectable, and the contrast holds up well. Vignetting is noticeable but fairly mild. As for chromatic aberration, it appears to be well-controlled and not easily noticeable to my eyes.
Fuji X-M5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/80″ . ISO 3200 . Nostalgic NegativeLeft: Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f5.6 . 1/1250″ . ISO 125 . Nostalgic Negative Right: Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/80″ . ISO 500 . Nostalgic Negative
When it comes to background rendering, I really like how this lens performs. It produces a pleasing blur that isolates the subject nicely without being distracting.
Focusing
Although this lens uses a Stepper Motor (STM), the autofocus speed isn’t exactly class-leading. It occasionally hunts, even in bright daylight, and can be slow to lock focus—especially noticeable when shifting from the minimum focusing distance to infinity. This is an area I hope Meike can improve through a future firmware update.
Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/9000″ . ISO 125 . Nostalgic Negative
Left: Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/3200″ . ISO 125 . Nostalgic Negative Right: Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/1900″ . ISO 125 . Nostalgic Negative
On the upside, I didn’t encounter any misfocus issues during my shoots. The manual focus ring is smooth and responsive, no complaints there.
Minimum Focus Distance (MFD)
85cm MFD is pretty far, but it is considered pretty impressive for the 85mm focal length. In my opinion, the image quality retains pretty well and shows no sign of degradation or sort of.
Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/400″ . ISO 125 . Nostalgic Negative
Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/170″ . ISO 125 . Nostalgic Negative
Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/1250″ . ISO 125 . Nostalgic Negative
Price Point
Before diving into the price of the Meike 85mm f1.8 Pro, let’s take a look at how other “Pro” grade lenses in a similar focal range are priced. The Viltrox 75mm f1.2 comes in at $580, the Sirui Aurora 85mm f1.4 is priced at $500, and the Fujifilm 90mm f2 sits at around $950.
Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f2.2 . 1/80″ . ISO 250 . Nostalgic NegativeLeft: Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/1600″ . ISO 500 . Nostalgic Negative Right: Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/220″ . ISO 400 . Nostalgic Negative
In comparison, the Meike 85mm f1.8 Pro is priced at just $340, making it by far the most affordable “Pro” lens in this category.
Others
The lens features a USB-C port located at the rear, likely for firmware updates. However, there’s no official mention of weather sealing or dust protection. That said, the red ring, made of a silicone-like material, suggests there may be some level of sealing, even if it’s not explicitly stated.
USB-C port located at rear lens
One thing to keep in mind: if you want to shoot in manual focus, you’ll need to switch to manual mode using the focus switch on the lens itself, not the camera’s focus mode selector. I’ve occasionally picked up my gear only to find the lens stuck in manual focus, usually because the lens switch was accidentally toggled in my bag. So, if the lens isn’t focusing, don’t panic, just check that switch first.
The AF-MF mode selector
Who is this for?
At 127.5mm (in 35mm format), this is a focal length that have good compression that suitable for portraits and product shots. That said, there is no reason why it cannot works for other genres.
Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/80″ . ISO 400 . Classic Negative
Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/80″ . ISO 320 . Classic Negative
Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/80″ . ISO 640 . Classic Negative
Conclusion
For this focal length, or anything close to it, the market doesn’t offer many options. However, the few available are spaced out quite a bit in terms of pricing, which actually makes the decision-making process easier since they don’t overlap much.
Left: Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/80″ . ISO 400 . Nostalgic Negative Right: Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/16000″ . ISO 125 . Nostalgic Negative
Coming back to my earlier question: does it truly deserve the “Pro” label? In my opinion, it earns about half of it. (Probably a bit more than half.)
On the positive side, it delivers solid image quality, has a sturdy build, offers a manageable weight (for comparison: Viltrox 75mm f1.2 is 670 grams), and includes a well-designed aperture ring that enhances the overall shooting experience. On the downside, the autofocus can be inconsistent—focus pulling is noticeable, and there are times it struggles to lock focus even in daylight, which can be frustrating.
Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/210″ . ISO 125 . Nostalgic Negative
Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/480″ . ISO 125 . Nostalgic Negative
Fuji X-T5 . Meike 85mm f1.8 Pro @ 85mm . f1.8 . 1/3,800″ . ISO 125 . Nostalgic Negative
That said, Meike did a commendable job balancing affordability, weight, and a wide aperture while still maintaining good image quality. I would love to see a wide-angle “Pro” lens from them soon, hopefully completing the trinity.
Fuji X-M5 with Meike 85mm f1.8 ProFuji X-M5 with Meike 85mm f1.8 Pro
Thank you for reading.
Disclaimer: 1. All the shots taken here are shot by me. 2. Most of the shots are straight out of the camera with some shots edited via In-Camera Raw Processing. 3. The opinions are based on my experience. If there is any mistake, please kindly drop me a message and I will gladly make the amendment. 4. I reserve ownership of these images, if you wish to use my images, please notify me.
If you like my works, please follow me on either one of the 2 Instagram accounts:
The XF35mm f1.4 holds a special place in my heart. It was one of the first three lenses ever released for the X-mount, but I didn’t get my hands on it right away. I finally picked it up when I bought my X-T3, and it’s been with me ever since.
7Artsians 35mm f1.4
Over time, I’ve come to see why it’s such a beloved classic in the Fujifilm community. There’s something almost magical about the way it renders images; there’s a certain characteristic that’s hard to describe but easy to feel. Sure, the autofocus is a bit noisy, and everyone talks about that, but the images it produces more than make up for it. It’s a lens that truly connects with how I see the world.
7Artsians 35mm f1.4X-M5 with 7Artsians 35mm f1.4
Intro
When 7Artisans unexpectedly released their own 35mm f1.4, I couldn’t help but pause and think—could this really hold its own against a lens that’s been loved by so many, including myself, for over 14 years? There was only one way to find out: I had to try it for myself.
Size-wise, it’s pretty similar to a typical compact lens. It’s nice and lightweight too, coming in at just 228 grams. The 62mm filter size is also pretty standard, which makes finding filters and accessories a breeze.
The build is all plastic, which doesn’t exactly scream premium; it definitely feels a bit cheap in the hand. The lens hood doesn’t help either; it feels even flimsier.
One thing to note: there is no aperture ring. It’s a bit of a letdown, especially for those who like that extra bit of manual control. But considering the price, it’s a compromise that’s easy enough to overlook.
Image Quality
I have to admit, I was a bit disappointed with the image quality. I had hoped for something sharper, with better contrast. Unfortunately, when shot wide open, the results were quite the opposite.
Chromatic aberration is noticeable, and the vignetting is quite pronounced. The sharpness is on the softer side, not entirely unusable, but definitely lacking that crispness I was expecting. Contrast is also underwhelming. While some photographers might appreciate this softer, more vintage look, it’s just not my style.
Things do improve when stopping down; I found f2 to be noticeably better, and in my opinion, the lens performs best at f2.8.
The background blur at wide open isn’t particularly pleasing either. It feels a bit messy, harsh, and nervous. Unfortunately, it is not the smooth, creamy bokeh I personally enjoy.
As for the sunstars, they didn’t impress me much either. The rays are soft and undefined, lacking that clean, sharp look around light sources.
Focusing
When it comes to focusing, it’s quiet but not particularly accurate. Even in good lighting conditions, it often hunts and struggles to lock focus, sometimes requiring me to refocus on a different area before it regains proper focus. Occasionally, it completely misses focus even when the green focus lock is displayed.
At $159, this is the only f1.4 lens currently available on the market. No other manufacturer, not even TTArtisan, has released a fast lens at this price point yet.
It features a USB-C port, but the placement of this port is somewhat uncommon for a third-party manufacturer. It is located at the side of the lens barrel instead of the rear of the lens element. While it does come with a silicone cover for dust and water protection, the cover feels like it could be easily lost.
7Artsians 35mm f1.4 – USB-C port
Who is this for?
For beginner photographers on a tight budget, this lens can be a solid introduction to prime lenses. While it’s not the top performer on the market, it offers a decent glimpse into the benefits of using a fast aperture lens. If you find yourself enjoying this focal length, you might eventually want to upgrade to a higher-quality option like the XF 33mm f1.4. That said, I would not recommend the Sirui 33mm f1.4 as an alternative.
I had hoped that the 7Artisans would deliver something impressive with this attractive price tag, particularly in terms of image quality, but sadly, it doesn’t quite measure up. While I don’t believe image quality can be improved through a firmware update, I do hope that 7Artisans will work on enhancing the autofocus performance in future firmware upgrades.
How does it compare to the XF 35mm f1.4? Honestly, the overall user experience and image quality fall well short of what the XF35mm f1.4 delivers. That said, the key selling point of the 7Artisans 35mm f1.4 is clearly its affordability. Something a $600 lens simply can’t compete with in terms of price point.
In the end, using the 7Artisans 35mm f1.4 served as a reminder of why the XF 35mm f1.4 remains so highly regarded among photographers. It truly stands the test of time as a classic. As for the 7Artisans 35mm f1.4, it is a missed opportunity.
X-M5 with 7Artsians 35mm f1.4X-M5 with 7Artsians 35mm f1.4 and Godox Lux Junior
Thanks for reading.
Disclaimer: 1. All the shots taken here are shot by me. 2. Most of the shots are straight out of the camera with some shots edited via In-Camera Raw Processing. 3. The opinions are based on my experience. If there is any mistake, please kindly drop me a message and I will gladly make the amendment. 4. I reserve ownership of these images, if you wish to use my images, please notify me.
If you like my works, please follow me on either one of the 2 Instagram accounts:
It’s hard to believe it’s been almost two years since I last got my hands on a tilt lens. Back then, as I packed it away after testing, I remember thinking, ‘This might actually be the last time I see a new tilt lens come out.’ It felt like that chapter was quietly closing, and I wasn’t sure if anyone would try something new with this quirky, beautiful niche again.
A tilt lens isn’t quite the same as a tilt-shift lens, but they are definitely in the same quirky, niche family. When TTArtisan dropped the 50mm f1.4 Tilt back in 2023, it caught me by surprise—in the best way. I couldn’t help but wonder if that was just a one-off experiment or if they were quietly working on something new to follow it up. Part of me hoped it wasn’t the end of the road for creative tilt lenses.
If you are familiar with its sibling, this TTArtisan 35mm f1.4 Tilt has the same design language and sturdy metal construction build quality. You will still get to see 2 extra knobs (one silver and one black) which you don’t see it on a typical lens. These two knobs are the main key roles for the tilt function.
The black knob is to control the tilt mechanism with a tilt angle of ± 8°. It’s where is the tilt effect comes in.
The silver knob is the rotation lock knob which allows the rotation mechanism to rotate the lens 360° with 15° rotation per step. This helps to orient to which focus plane where the tilt effect will be.
Typically how I use them is that I will adjusted the black knob first, then I used the silver knob to adjust to the my desired focus plane. All this is with the focus peaking, to visualize and easily notice where my plane of focus is.
At 341 grams, I have feel the weight on my hand. It comes with a sizable 52mm filter size which is smaller than it’s sibling.
The aperture ring is clickless which means I have look at the aperture value when I am changing. This is something I missed the most as I am quite rely on the click when change aperture value.
At f1.4, image quality feels quite soft—there’s a noticeable lack of contrast and sharpness in both normal and tilt modes. In tilt mode especially, the extreme shallow depth of field makes the shots pretty much unusable, at least in my opinion.
Considering where lens design is these days, the amount of vignetting and chromatic aberration wide open feels like a bit of a throwback—and not in a good way. It’s the kind of look that might work for a specific aesthetic, but definitely not something I’d rely on for consistent results.
That said, once you stop it down to around f2.8, things begin to turn around. The contrast improves, sharpness gets noticeably better, and the overall rendering feels more dependable. Even tilt mode starts to feel a bit more manageable at smaller apertures, though it still requires a lot of care to get the most out of it.
One thing I really did enjoy, though, was the way it renders sunstars. Compared to many other manual lenses I’ve used, the sunrays feel a bit more refined and clean right at the source of light. They do taper off and lose some of that definition toward the tail end, but overall, it’s a nice touch—especially if you’re someone who enjoys shooting into the light.
The focus throw from minimum focus distance to infinity is about 160°, which gives you plenty of room for precise focusing. I have to say, the focus ring feels great in use—it has just the right amount of resistance, making it both smooth and reassuring to operate.
One thing to note: the front element does extend outward when focusing at the minimum distance and retracts as you move toward infinity. It’s not a huge deal, but it’s something to be aware of, especially when working up close.
Also, like many manual lenses I’ve tested, the infinity mark isn’t perfectly accurate. Whether you’re shooting normally or using tilt mode, focusing all the way to the infinity stop usually results in slightly soft or missed focus. To get a truly sharp image at infinity, you’ll need to dial it back just a bit before the marking.
Minimum Focus Distance (MFD)
It’s MFD is 35cm which makes it similar to most 35mm APS-C lenses offered. Unfortunately or fortunately, the image quality isn’t any better or worse at wide-open. At least the characteristics remains the same.
It is priced at 169 USD. If you are comparing with the same “manual 35mm f1.4” category, we have the TTArtisan 35mm f1.4 at 73 USD and the Artralab 35mm f1.4 at 419 USD. On the other hand, 7Artisans just launched the autofocus 35mm f1.4 at the same 169 USD.
Is the TTArtisan 35mm f1.4 Tilt considered expensive? That really depends on the individual. If you want certain shots that only this lens can achieve, I think you will get them eventually.
Others
This lens comes with various mounts such as E-mount, Z-mount, RF-mount, M43-mount, and of course the X-mount. If you are from the Z-mount and RF-mount, this lens is awesome, given that there isn’t any similar kind of lens available in the market.
Like other manual lenses, this lens can also experience a shift in white balance as you change the aperture values. However, this can be resolved in post if you are taking in raw format.
It is a niche lens, and there are not a lot of choices in the market. In terms of versatility, this 50mm focal length (in full frame equivalent) is a better focal length and easier to adapt to those photographers who are attempting to use it in both the normal mode and the tilt mode. I am glad that TTArtisan isn’t slowing down and they are trying to explore more lens options for all kind of photographers to choose and I hope they don’t stop it here.
This is definitely a niche lens, and there aren’t many options like it out there. That said, the 50mm focal length (full-frame equivalent) makes it one of the more versatile choices as it is a better focal length and easier to work with for photographers who want to use both the normal and tilt functions. I really appreciate that TTArtisan is continuing to push into this space, exploring creative lens designs for more choices for the photographers. I just hope they keep going and don’t stop here.
Fuji X-M5 with TTArtisan 35mm f1.4 Tilt
Thank you for reading.
Disclaimer: 1. All the shots taken here are shot by me. 2. Most of the shots are straight out of the camera with some shots edited via In-Camera Raw Processing. 3. The opinions are based on my experience. If there is any mistake, please kindly drop me a message and I will gladly make the amendment. 4. I reserve ownership of these images, if you wish to use my images, please notify me.
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