We all know that prime lenses are the best option for capturing the night sky, and depending on how you’re composing your shots, 50mm, 35mm, 20mm and wider options are available for full-frame cameras.

If you want to cover all bases, a selection of primes is essential. 50mm is a useful focal length when capturing foreground objects to create strong shapes, and the Viltrox AF 50mm f/1.4 Pro FE is a cost-effective nifty fifty for Sony shooters.

Pair this lens up with one of the best Sony cameras, and you could potentially have a great budget yet professional combination for less wide-angle astrophotography.

Sure, it’s not as premium as the Sony FE 50mm f/1.4 GM, but the Sony lens costs a whopping, almost, three times as much as the Viltrox lens, but there’s no way it’s three times as good. In fact, the Viltrox 50mm is an impressive lens, whichever subjects you’re shooting.

This lens costs a highly reasonable $549 / £525, which is a fantastic price for a 50mm f/1.4. It’s not the least expensive option, and you could save more by opting for a 50mm f/1.8 lens, but when you factor in the great build and the impressive image quality of the Viltrox, it is definitely worth considering.

The Viltrox 50mm f/1.4 is part of Viltrox’s Pro range, which sits just below the flagship LAB range, which includes the impressive Viltrox AF 35mm f/1.2 LAB FE.

Viltrox AF 50mm f/1.4 Pro FE lens review

Viltrox AF 50mm f/1.4 Pro FE: Design

• Solid build quality
• Manual aperture ring
• Wide metal focusing ring

Viltrox lenses have a handful of things in common: excellent build quality and being surprisingly heavy are a couple of these. The lens itself isn’t huge and comes in at roughly the size of most 50mm f/1.4 lenses at 3.33 x 4.37-in / 84.5 x 111mm, but it weighs a colossal 28 oz / 800 g.

To be fair, it balances well with Sony full-frame cameras but is considerably heavier than the Sony FE 50mm f/1.4 GM, which weighs in at a more moderate 18.2 oz / 516 g.

The Viltrox does, however, sport an all-metal and weather-sealed construction, which includes the comfortably wide metal manual focusing ring; something you’d no doubt get plenty of use out of when shooting the night sky.

Then there’s the metal manual aperture ring that can be set to clicked or clickless operation, an AF/MF switch and a programmable Fn button. Weather sealing is great for cold nights out, but that hefty weight isn’t ideal if you have to trek to locations with a variety of lenses in your kit bag.

The lens is made up of 15 elements in 11 groups. This includes one ultra-precision aspherical element, three extra-low dispersion (ED) elements and eight high refractive elements. The front element also features a water and stain-resistant coating, which is useful when working in dark and sometimes cold and damp conditions.

The aperture is made up of 11 diaphragm blades, which produce a pleasing bokeh effect (background blur). The minimum focusing distance is 17.7-in / 45 cm, and the filter thread size is 77mm.

While there aren’t a huge number of filters available for astrophotography, the 77mm filter thread is a standard size if you happen to use color correction filters to remove the orange glow of artificial lighting, or star filters to add a glow to stars. These types of filters are available in both the circular screw-in type and square filters.

Viltrox AF 50mm f/1.4 Pro FE: Performance

• Fantastic image quality
• Vignetting wide open
• The sweet spot is f/8

The Viltrox AF 50mm f/1.4 Pro FE is a fantastic lens, following what you’d expect from a fast prime lens in terms of sharpness, distortion and overall image quality.

For astrophotography, it’s what happens as the wider end of the aperture range that’s most important, which we’ll cover, but it’s also important to look at the lens in a wider context to give the fairest and, indeed, strongest assessment possible.

The 50mm f/1.4 produces reasonable sharpness at f/1.4, although the corners don’t exhibit a great deal of fall-off. Central and corner sharpness improve incrementally as you stop down the aperture, with f/8 being both the sweet spot of the lens and the setting where image quality takes a leap in a positive direction.

Despite this, shooting between f/1.4 and f/2.8 for astrophotography produces excellent results. Like all fast aperture prime lenses, there’s vignetting wide open, which is f/1.4 for this lens. This reduced slightly at f/2.8 and was gone at f/4.

At the time of writing, there wasn’t a lens profile available in Adobe Lightroom or Adobe Camera Raw, so lens corrections, except for chromatic aberration removal, had to be applied manually. The images presented in the review have not had any lens corrections applied, so you can see what the lens is capable of.

During testing, a shot was taken of Christmas lights with trees behind at f/1.4, and there was only the tiniest amount of fringing/chromatic aberration visible. This was easily removed using the "Remove Chromatic Aberration" option in the Lens Corrections tab in Adobe Lightroom.

Viltrox AF 50mm f/1.4 Pro FE: Functionality

• No Optical Image Stabilization (OIS)
• Fast and silent autofocus
• USB-C port for updates

Just like other prime lenses, there’s not a huge amount to shout about with the Viltrox 50mm f/1.4. This is typically the case because prime lenses traditionally trade on their, hopefully, excellent image quality and fast maximum apertures, with a handful of other features thrown in for good measure, such as manual aperture rings.

Manual focus with the lens is extremely comfortable thanks to the wide focus ring with smooth resistance, while its width makes it easy to use in low light and when wearing gloves. The same goes for the aperture ring, which features click and clickless operation via a switch. The downside of the all-metal construction, however, is that it will get cold when shooting in winter, so gloves will be a necessity.

Moving on to autofocus (AF), which isn’t relevant but remains important to mention, especially if you plan to use the lens for capturing other subjects, is that the AF is fast and silent. AF is powered by Dual Viltrox HyperVCM motors, so half the amount of the Viltrox 35mm LAB lens, but the 50mm managed to lock onto subjects positively during testing. Focusing is also internal, so the front element doesn’t rotate whether focusing manually or with AF.

One feature that’s handy for keeping the lens up to date is the USB-C port on the lens mount. This allows the lens to be powered by a computer, for example and switches on Bluetooth so you can connect the lens to the Viltrox Lens app. Alternatively, you can attach it to a computer via USB-C for firmware updates and use the desktop app instead.

Viltrox AF 50mm f/1.4 Pro FE: Price

At $549 / £525, the Viltrox AF 50mm f/1.4 Pro FE is an absolute bargain for a pro-spec lens. It may be tier two of the Viltrox line-up with Pro lenses sitting below the LAB series, but just like the flagship lenses, you get the lens, a lens hood, front and rear lens caps and a soft lens case in the box.

To give some context on how well-priced this lens is, the Sony FE 50mm f/1.4 GM costs $1448 / £1399, so it’s almost three times the price. The Sony GM is a fantastic lens, but it’s considerably more expensive — you could buy two Viltrox prime lenses for the same amount.

Viltrox AF 50mm f/1.4 Pro FE: User reviews

Online reviews suggest that users are extremely happy with the build quality and image quality, but often mention the weight of the lens. Some reviews mention slow autofocus, but this was apparently remedied with a firmware update. The firmware of the lens was updated before our review.

How we tested the Viltrox AF 50mm f/1.4 Pro FE

The Viltrox AF 50mm f/1.4 Pro FE was tested in combination with the Sony A7R V, which offers an unforgivingly high resolution. The lens was tested at night with a focus on astrophotography, and in daylight to assess sharpness, distortion and general functionality for an all-round approach to testing.

Should you buy the Viltrox AF 50mm f/1.4 Pro FE?

If you’re in the market for a fast 50mm prime lens, the Viltrox AF 50mm f/1.4 Pro FE is a fantastic option well worth considering. The maximum f/1.4 aperture is ideal for astrophotography, and the excellent image quality produced makes it an ideal partner for the Sony A7R V and older R series models.

The focal length isn’t the most versatile for wide-angle astrophotography, but it is perfect when capturing silhouetted objects in the foreground to add context to shots.

Build quality is also excellent thanks to the all-metal design, which includes weather sealing and a water and smudge-repellent coating on the front element.

There’s no getting away from the fact that this is a heavy lens for what it is, but that could be a price worth paying for the overall cost and performance of the lens.

If this lens isn't for you

The Sony FE 50mm f/1.4 G Master is a premium standard prime lens delivering excellent sharpness alongside Sony’s solid GM build quality. It’s a fantastic lens, but it also costs a lot more than the Viltrox 50mm f/1.4.

The Viltrox AF 35mm f/1.2 LAB FE is part of Viltrox’s flagship lens series, offering an ultra-fast maximum aperture, excellent image quality and a slightly wider-angle focal length.

The Sony FE 20mm f/1.8 G is a rare gem — one of those lenses that belies its price and series, offering exceptional image quality for a seriously affordable price. Many people say it’s better than the Sony 24mm f/1.4 GM.

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We’re witnessing a surge in the popularity of astrophotography, with Gen Z and beyond embracing the hobby as never before, but it comes with a steep learning curve. As the sun goes down and the stars come out, the familiar rules of photography radically change. Those comfortable with staying on auto in daylight are suddenly faced with manual settings and long exposures, an obsession with staying in focus and a subject — the night sky — that’s constantly in motion.

Astrophotography is not a single technique but many, ranging from simple tripod-mounted nightscapes — where at least the usual rules of composition apply — to highly technical deep-sky imaging rigs using telescopes. Some approaches to astrophotography emphasize simplicity and portability, while others reward patience and precision. Knowing which approach will suit you best depends on what you want to photograph, how much gear you’re willing to carry and how much time you want to spend learning.

Here are five common ways to shoot astrophotography, followed by a practical guide to getting started with any mirrorless or DSLR camera.

1. Smartphones

If you want to dip your toe into the world of wide-field astrophotography, begin with the device you already have. Flagship smartphones have quietly become capable of astrophotography, with ‘night modes’ often excelling at revealing stars, the Milky Way and aurora. For the latter, often viewed in icy conditions, a smartphone can produce excellent results without the painful setup of more complex photography equipment.

If you use one of the best camera phones for astrophotography at night, always shoot in RAW if that’s an option, and know that you’ll be limited by a relatively small sensor and a fixed lens. It’s also highly recommended to find a universal smartphone clamp and a tripod, which will massively improve results, though few smartphone users ever do this. Smartphones offer a surprisingly capable starting point for astrophotography, and serve as a reminder that the hobby is at least as much about technique as it is about equipment.

2. Mirrorless or DSLR camera on a tripod

This is where most astrophotographers begin, and it remains one of the most versatile and rewarding approaches. With one of the best cameras for astrophotography, whether that's a mirrorless or DSLR camera, a wide-angle lens on its widest aperture and a sturdy tripod, you can photograph starry skies and, if you get the timing right, the Milky Way (generally April through September).

Since Earth rotates, the time you can expose for is limited to 25-30 seconds (the wider your lens, the longer), but it’s possible to get some exquisite shots. It’s wise to emphasize composition, pairing the sky with a landscape, foreground interest or city skyline — and to always shoot in RAW to make post-processing easier — but once you’ve mastered the basics, the same techniques will allow you to image aurora and even meteor showers.

3. Mirrorless or DSLR camera on a star tracker

Once you’ve learned the fundamentals of night-sky photography, you can begin experimenting with specialist equipment — and it’s one of the best star trackers that is often the first significant upgrade for astrophotographers.

Compact motorized mounts that rotate in sync with the sky to compensate for Earth’s rotation, star trackers allow much longer exposures without star trailing. That means brighter, more colorful stars and much more light and detail from faint objects, such as the Milky Way and nearby nebulae. Exposure times can stretch to minutes, and ISO can be lowered to create cleaner images that allow much more post-processing. Sounds simple? Unfortunately, it’s not, with polar alignment required before you begin shooting, which can be challenging in the Northern Hemisphere if you don’t know where Polaris, the North Star, is (and even harder in the Southern Hemisphere, where there is no South Star). However, with a bit of practice, these fairly portable (though often heavy) contraptions bridge the gap between casual night photography and more serious astrophotography.

4. Smart telescope

These all-in-one systems — which can be as small and portable as a camera body — combine a small telescope, an image sensor, filters, a motorized mount and image-processing software into a single unit controlled by a smartphone or tablet.

Rather than taking a single long exposure, smart telescopes capture many short exposures and automatically stack them to reduce noise and increase detail and color, gradually revealing a color image of a galaxy, nebula, star cluster or the moon and sun (planets are largely beyond their skill).

Alignment, tracking and processing are automatic, making them so easy to use. Some are so small that they are ideal travel gadgets. However, their stacking and filters make them perfect for revealing deep-sky objects from light-polluted cities and suburbs, where astrophotographers are often left frustrated.

For beginners who want results quickly, or observers short on time, smart telescopes can be an effective solution — but creative control is mostly sacrificed.

5. Deep-sky imaging with a telescope

If you want complete creative control and the ability to shoot exquisite images of deep-sky objects, arm yourself with a telescope, an astronomy camera and a laptop — then find dark skies and hope for favorable weather. With a camera attached directly to a telescope, small, faint objects — such as distant galaxies and planetary nebulae — come into view, though the equipment required can be daunting. As well as choosing a telescope, these setups typically involve an equatorial mount, guiding systems, filters and specialist software. They reward patience and careful planning with highly detailed images, but demand significant time, money and technical knowledge.

Camera, lens and starting camera settings to use for astrophotography

With the right settings and a little patience, almost any mirrorless camera can capture the night sky — but mastering its basics takes a bit of patience. Start by switching to manual mode and shooting in RAW.

Armed with one of the best cameras for astrophotography and the best lenses for astro (14mm to 24mm are favored), put the camera on a tripod (use the camera’s self-timer, a shutter release cable or an intervalometer to reduce vibrations) and set the lens to the widest possible aperture — usually between f/1.4 and f/2.8 — and focus manually on a star or a distant light using live view, zooming in until it appears as small and sharp as possible.

Now comes the fun part — finding a balance between ISO and shutter speed. A good place to start is ISO 800 (for the cleanest possible shots), but depending on your camera, you can go way higher, beyond ISO 6400 on newer models. Shutter speeds typically range from 10 to 25 seconds when using wide-angle lenses, depending on focal length (longer lenses require shorter exposures to avoid star trailing).

Once you’ve found the ideal settings, you can move the rig around as you search for the perfect composition, remembering that images of stars are rather dull — it’s a fabulous foreground that you need for a great shot. Think of a starry sky around a building, a mountain or a tree.

A good, alternative hybrid setup

Astrophotography doesn’t need to mean a complex, expensive setup that’s only good for one thing. For photographers who want one kit that works day and night, a mirrorless camera, a fast wide-angle lens and a tripod form an excellent hybrid setup that’s inexpensive and portable. When you’ve mastered the basics, progress to a star tracker and gradually progress into deeper astrophotography without abandoning everyday shooting.

Whether you start with a smartphone, a tripod-mounted camera or a smart telescope, the ingredients of great astrophotography never change — dark skies, patience, composition and time spent practicing under the stars.

Selecting the right camera for astrophotography is a tale of two halves; on the one hand, it can be a minefield, and on the other, you can choose almost any camera these days, and chances are it will do a great job. The thing is, great may not be the best, so we’re going to delve into the intricacies of the main camera systems in this guide.

Astrophotography requires cameras with low read noise and strong high ISO performance, as high as ISO 6400. Modern sensors, particularly those with ISO invariance, where underexposing at base ISO and pushing shadows in post matches high-ISO in-camera results with lower noise, have revolutionized exposure flexibility for deep-sky imaging.

The camera system you choose may also need to be used with star trackers and smaller telescopes, so in the latter situation, at least, smaller APS-C and Micro Four Thirds cameras may be the best choice.

What astrophotographers need

Astrophotography requires a robust lens ecosystem featuring fast, low-distortion prime and wide zoom lenses with maximum apertures between f/1.2 and f/2.8. Primes are typically faster than zooms, but the latter still provide excellent image quality and all-important flexibility.

Fast lenses of either persuasion are essential for light gathering and sharp star rendition. This is essential for light gathering and helping to keep ISO levels low. Other useful features include low-light autofocus modes (OM System's Starry Sky AF down to -8EV, Panasonic's Starlight AF), enhanced EVF brightness modes (Nikon's Starlight View) and built-in intervalometers. A handful of cameras even have illuminated buttons, but these are few and far between.

Full-frame sensors excel at light-gathering and low noise; APS-C offers portability with reasonable performance; Micro Four Thirds maximizes portability but requires longer exposures to compensate for the narrower maximum apertures of wide-angle Micro Four Thirds lenses. As we said, it can be a minefield.

Cameras for astrophotography: Canon EOS

Canon EOS R mirrorless cameras, including the R6 Mark II, R8, R5, R5 Mark II, are perfect for astrophotography thanks to full-frame sensors that deliver excellent high-ISO performance in low-light conditions.

Useful features include bright live-view EVFs for real-time framing and precise manual focus in darkness and an electronic shutter for vibration-free exposures. A couple of models have illuminated buttons, but this is only the flagship EOS R1 and the high-performance EOS R3.

Thanks to strong ISO-invariant behavior, especially the R5/R6 series, these cameras offer effective shadow recovery, which is crucial for extracting faint deep-sky details and nightscape foregrounds without introducing excessive noise.

The discontinued EOS Ra enhanced H-alpha transmission 4× for nebula imaging, but current R-series bodies still deliver strong performance for both wide-field nightscapes and tracked deep-sky work through excellent dynamic range and noise control.

Take a look at our guide to the best Canon cameras

Read our guide to the best Canon lenses

Cameras for astrophotography: Sony

Sony mirrorless cameras such as the A7 V, A7R V, A7S III and A1 II excel at astrophotography thanks to their full-frame, back-illuminated Exmor sensors. These deliver exceptional low-light sensitivity, minimal read noise and excellent high-ISO performance, with the A7S III being the undisputed king in this area.

These impressive sensors provide superb dynamic range for extracting faint nebulae, galaxies and Milky Way details, while preserving color fidelity in the scene. Thermal noise is also managed well during longer exposures.

High-resolution models like the 61MP A7R V offer cropping capability for deep-sky imaging, while the 12MP A7S III offers extreme low-light capabilities. Sony's E-mount ecosystem features fast, well-corrected primes, including the 14mm f/1.8 GM, 20mm f/1.8 G and the 24mm f/1.4 GM, all of which deliver sharp, low-coma images. However, the 14mm shows more corner aberrations than the 20mm and 24mm lenses.

Take a look at our guide to the best Sony cameras

Read our guide to the best lenses for Sony, Canon and Sigma

Cameras for astrophotography: Nikon

Nikon full-frame Z-series cameras, including the Z6 III, Z8, Zf and Z9, are fantastic cameras on the whole. All perform incredibly well at ISO settings as high as ISO 6400-12800.

The Z6 III features a partially stacked sensor, while the Z8 and Z9 use fully stacked sensors. All models are highly ISO-invariant above ISO 800, thanks to a dual gain switch, which enables flexible shadow recovery without noise penalties. This is critical for extracting detail from faint nebulae and nightscape foregrounds.

Features, including Starlight View, which is an amplified EVF display for manual focusing and illuminated buttons on the Z8 and Z9, enhance shooting in darkness. Nikon's Z-mount provides excellent primes; the 20mm f/1.8 S is fantastic but shows visible corner coma at f/1.8, while the 14-24mm f/2.8 S delivers exceptional corner-to-edge star quality at 14mm. This makes these lenses ideal for wide-field nightscapes and Milky Way capture.

Take a look at our guide to the best Nikon cameras

Read our guide to the best Nikon lenses

Cameras for astrophotography: Fujifilm

Fujifilm cameras, whether the APS-C X-series, which is made up of models including the X-T5, X-H2 and X-H2S, or the GFX medium format series, all feature a vintage-inspired charm. They feature retro-style tactile manual controls on the outside and the latest technologies on the inside.

The X-series cameras use X-Trans sensors while the GFX series cameras use Bayer sensors. The dynamic range of the latter is impressive, while the former maintains impressive ISO handling. X-Trans sensors reduce moiré without optical low-pass filters. Film Simulations enhance in-camera JPEGs and RAW files in Lightroom with film-inspired looks, but these are largely irrelevant for astrophotography.

The GFX 100S and 100S II have high-resolution 102MP sensors for extreme cropping and large-print nightscapes. These have larger pixels than full-frame sensors, which means excellent dynamic range. GFX, as with all medium format prime lenses, aren’t as fast as APS-C or full-frame primes, so you may have to shoot at higher ISOs. However, this isn’t an issue at all thanks to strong ISO handling and the ability to capture the night sky.

Take a look at our guide to the best Fujifilm cameras

Read our guide to the best Fujifilm lenses

Cameras for astrophotography: OM-System (Olympus)

OM System (Olympus) cameras aren’t the most obvious choice for astrophotography with their small Micro Four Thirds sensors, but these compact, lightweight and weather-sealed retro-inspired cameras do have some impressive and useful astrophotography features. The 20.4MP stacked sensors manage moderate ISOs reasonably, although they’re not as good as full-frame cameras.

Models such as the OM-1 Mark II and the specialised OM-3 ASTRO are worth considering. The OM-3 ASTRO features 100% H-alpha transmission for vivid red nebulae alongside capturing stars, galaxies and nightscapes. Computational modes like Starry Sky AF (autofocus down to -8EV), Live Composite for star trails, and Night Vision mode aid in capturing the night sky.

The M.Zuiko 8mm f/1.8 Fisheye PRO offers fast light gathering with sharp corner performance, although it's said to be less sharp wide-open than other PRO lenses. With the 2x crop factor of Micro Four Thirds, this lens only comes in at an equivalent focal length of 16mm.

Take a look at our guide to the cameras for astrophotography

Read our guide to the best lenses for astrophotography

Cameras for astrophotography: Pentax

Pentax has remained stoically dedicated to DSLRs in a photography world that has ‘gone mirrorless’. Models including the K-3 Mark III, K-1 Mark II remain relevant for astrophotography thanks to the unique Astrotracer modes that use In-Body Image Stabilization to track stars.

Type 3 of this feature was introduced in 2022 and works GPS-free by calibrating from preliminary star exposures, enabling 30-second to 5-minute tracked shots depending on the focal length of the lens used. So, in a nutshell, you get in-camera star tracking without needing an external tracker.

The 26MP K-3 III delivers good high-ISO performance with excellent dynamic range, while the 36MP K-1 II offers strong shadow recovery with reasonable ISO-invariance above ISO 200. These cameras are rugged and weather-sealed, making them ideal for location-based photography. Their optical viewfinders, however, are less convenient for focusing on stars than electronic viewfinders on mirrorless cameras.

Take a look at our guide to the cameras for astrophotography

Read our guide to the best lenses for astrophotography

Cameras for astrophotography: Panasonic Lumix

Panasonic Lumix S series cameras S5II, S5IIX and the S1II have a strong video focus, but they remain perfectly usable for astrophotography. With 24MP full-frame sensors featuring dual native ISO (100/640 for stills), which significantly reduces read noise at ISO 640+, enabling cleaner high-ISO results.

This provides strong dynamic range for deep-sky shadow recovery. Phase-detection AF with Starlight View (focusing down to -9EV) aids composition and capture. There are also Micro Four Thirds Panasonic Lumix cameras, but these full-frame models offer superior low-light performance.

The L-mount alliance provides excellent fast primes, including the Sigma 14mm f/1.8, Panasonic 18mm f/1.8 and 24mm f/1.8, which are ideal for sharp wide-field Milky Way captures. Weather-sealing makes these cameras great for outdoor night work, despite the lack of astro-centric features.

Take a look at our guide to the cameras for astrophotography

Read our guide to the best lenses for astrophotography

Arguably, the second most important part of your camera setup, beyond the best camera body, is the lens. We have tested and recommend the best lenses for astrophotography, but oftentimes, for those looking for more cost-effective models, going for a third-party camera lens can save you money and they can be of comparable (if not better) quality than first-party models.

The key is knowing which ones are worth your money. That is why we have hand-picked the best third-party lenses you can buy for astrophotography in 2026.

Once you have picked out your new lens, head over to our night sky guide for an in-depth rundown of the whole month in skywatching.

The quick list

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The best third-party lenses we recommend for astrophotography in 2026

The best third-party lens overall

The Sigma 14mm f/1.4 DG DN Art is a standout choice for astrophotography, combining an ultra-wide 14mm field of view with genuinely impressive low-light performance. As a third-party lens, it proves just how far Sigma has pushed optical quality, offering performance that rivals, and in some cases surpasses, native alternatives at a more affordable price.

The Sigma 14mm f/1.4 DG DN Art is unapologetically large. It is a hefty lens, but it feels premium in every sense, especially the build quality that inspires confidence in the hand. It feels robust and purposeful, but its weight means it is not ideal for long handheld sessions; a tripod is almost essential to get the most out of this lens. The lens includes a lens cap that doubles as a filter holder, which helpfully also works with the lens hood attached.

Optically, this lens delivers where it matters. In our hands-on Sigma 14mm f/1.4 DG DN Art Lens review, we found sharpness to be excellent across the frame and distortion to be impressively low, even toward the edges. The autofocus is fast and accurate, while the manual focus ring feels smooth and precise, making it particularly satisfying for fine adjustments when shooting the night sky. We found its low-light performance to be the standout area of expertise. You can push the ISO higher, but still be confident you will capture crisp images, especially important when capturing starry nightscapes.

The Sigma 14mm f/1.4 DG DN Art is a versatile tool. The aperture ring offers tactile, precise control with clearly defined steps, plus an auto mode and the option to de-click for video work. Because of the bulbous front element, filters can only be fitted at the rear, but Sigma's included GP-11 filter holder makes this surprisingly straightforward.

While it can handle a range of photography styles, from architecture, events and creative wide-angle work, this lens truly comes into its own under dark skies. As a third-party option, it is a compelling example of how you do not have to rely on native glass to achieve exceptional results.

• Read our full Sigma 14mm f/1.4 DG DN Art Lens review

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Best budget Sigma lens

This Sigma lens leaves a strong first impression. It earned a full five stars in our hands-on Sigma 14mm f/1.8 DG HSM Art review, and it is easy to see why. Undoubtedly, the first thing we noticed is the weight. At 2.58 lbs (1.17 kg), this lens is heavy, especially compared to many other ultra-wide options (though not the heaviest in this guide). Shooting handheld for long periods is not particularly comfortable, but it certainly feels solid in the hand, and it is clearly built to last.

For astrophotography, the weight is far less of a concern as you'll be using a tripod more often than not — stability is more important than portability.

The Sigma 14mm f/1.8 DG HSM Art is fully weather sealed, so damp nights, dew and unpredictable weather are not really a concern.

One limitation to be aware of is the large, rounded front element, which prevents the use of front-mounted filters. For astro shooters, this is unlikely to be a major drawback, and for other shooters, there's always another way to use a filter, with a bit of creativity or using an alternative clamping system.

Optical performance is where this lens truly shines. Chromatic aberration is very well controlled, with minimal color fringing even when shooting wide open. Distortion is also impressively low for such an ultra-wide focal length.

At its maximum f/1.8 aperture, stars remain sharp and well defined across most of the frame, which is no small achievement. Stopping down slightly can further improve corner performance, but the lens' wide open performance gives you valuable flexibility when working in low light.

Overall, the Sigma 14mm f/1.8 DG HSM Art is a heavyweight in every sense. It is not subtle or lightweight, but it delivers exceptional image quality and reliability. For serious astrophotographers, it remains one of the best ultra-wide lenses you can buy.

• Read our full Sigma 14mm f/1.8 DG HSM Art review

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Best wide zoom

The Sigma 14–24mm f/2.8 DG HSM Art carries all the hallmarks you would expect from Sigma's Art lineup. It is designed with full-frame cameras in mind, and like (most of) the other Sigma lenses we've reviewed, it feels reassuringly solid in the hand. It is made for professionals and serious shooters.

The zoom and focus rings are smooth, and autofocus is quick and near silent so you can use it without creating too much attention. Great for capturing candid shots.

When we reviewed the lens, the comparison with Sigma’s 14mm f/1.8 DG HSM Art was inevitable. The big difference, however, is flexibility. The 14–24mm zoom range opens up far more creative options, allowing you to move from ultra-wide vistas to tighter compositions without changing lenses. This versatility will appeal to photographers who want one lens to cover multiple bases.

The mount options are generous too; it is available for Nikon and Canon systems, and Sony users can adapt it to E-mount bodies using Sigma's MC-11 converter.

Performance is where the lens really impresses. Images are sharp and vibrant across the frame, with stars rendered cleanly and clearly when shooting at night. Chromatic aberration is extremely well controlled, even when working wide open at f/2.8. Sigma makes a bold claim that there is no image distortion, and after our hands-on review, it is hard to argue otherwise.

As a zoom lens, the Sigma 14–24mm f/2.8 DG HSM Art does sacrifice some light compared to faster primes, but that is the trade-off. An f/2.8 maximum aperture is still more than capable for astrophotography, while the zoom range adds genuine practical value. Whether that balance is right for you depends on how much you value flexibility over outright speed, but as an all-around ultra-wide performer, we don't have any complaints.

• Read our full Sigma 14-24mm f/2.8 DG HSM review

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Best for aperture

The Viltrox AF 27mm f/1.2 Pro, which we reviewed recently, is an impressive prime lens for APS-C mirrorless cameras, offering a 40.5mm full-frame equivalent focal length and a hard-to-beat f/1.2 maximum aperture at a highly attractive price, making it a strong option for astrophotography and general photography without costing as much as first-party glass.

The lens is compact at 3.23 x 3.62-in / 82 x 92 mm and weighs about 565 g, so it partners well with Sony E, Nikon Z and Fujifilm X bodies.

Build quality is excellent, with a full-metal body and weather sealing, making it well-suited to outdoor use, whether shooting night skies or everyday scenes.

We found the controls to be straightforward and practical, including a large manual focus ring and a manual aperture ring that can be set to clicked or click-less operation, useful for both stills and video. It's worth noting that there is no screen like some Viltrox lenses.

The autofocus is fast, quiet and reliable, aided by a stepping motor, though some photographers still prefer manual focus for greater precision. There is no optical image stabilization, but in-body stabilization on many APS-C cameras compensates for this. The minimum focus distance is short at about 28 cm, which adds versatility even if it is not essential for astrophotographers.

We were impressed by the image quality, which was exceptionally sharp even at the widest f/1.2 aperture. Corner sharpness remained strong, and we only found minimal distortion and chromatic aberration. Vignetting is noticeable wide open at f/1.2, but all but disappears at f/2.8. Aperture settings around f/8 offer the sharpest overall results, but the standout here is reliable sharpness at f/1.2 itself, which benefits the astrophotographers amongst us.

Overall, we think the Viltrox AF 27mm f/1.2 Pro delivers excellent value, blending excellent build quality, versatile performance and a fast aperture that will appeal to astrophotographers and more general shooters alike, all at a competitive price point, and definitely much more affordable than similarly specced native lenses.

• Read our full Viltrox AF 27mm f/1.2 Pro lens review

• Back to the top ⤴

Best telephoto lens

The Sigma 70–200mm f/2.8 DG OS HSM is a fast telephoto zoom that delivers strong optical performance at a lower price than many first-party rivals, and we struggled to find much fault.

With a constant f/2.8 aperture, it suits a wide range of photography, from wildlife and sports to portraits and selected astrophotography applications. While 200mm can be challenging for night sky shooting without a star tracker, the lens is still useful for mid-field targets and creative compositions, such as the Milky Way behind an interesting foreground.

This lens sits in Sigma’s Sports line (opposed to the ART line) and feels every bit the part, with a solid metal barrel and a reassuring weight of around 1.8 kg. Weather sealing means it is suitable for use in less forgiving conditions, too.

In our hands-on Sigma 70-200mm f/2.8 DG OS HSM review, we found the image quality to be impressive throughout the zoom range. Sharpness is excellent when focus is nailed, and distortion is minimal. We found that the autofocus is fast, accurate and silent, and the stabilization system is handy for counteracting wobble when the camera isn't mounted on a tripod.

Overall, this is not the most typical or easiest lens for beginners, but it is a nice option for photographers who want a bright, versatile telephoto zoom with professional build quality and strong performance.

• Read our full Sigma 70-200mm f/2.8 DG OS HSM lens review

• Back to the top ⤴

Best budget overall

The Rokinon or Samyang 14mm f/2.8 is one of those lenses that quietly punches above its weight. Made in South Korea and priced firmly at the budget end of the spectrum, it still earned four out of five stars in our Rokinon/Samyang 14mm f/2.8 review. This is one of the cheapest ultra-wide options available for astrophotography, yet it delivers results that feel far more expensive than the price tag suggests.

The low cost is afforded by the simple design. Aperture control is handled via a manual ring near the lens base, and there is no electronic connection to the camera body. That means no image data is recorded with your shots, which may bother some users but will not trouble most night sky shooters. The lens is fully manual, covering both focus and aperture. For astrophotography, manual focus is standard practice anyway, so this likely won't be an issue for Space.com readers. Where it becomes less convenient is in daytime use or when photographing moving subjects, where autofocus would be most welcomed.

Despite its plastic and lightweight construction, the lens feels solid. It is highly portable and easy to use, making it a great choice for beginners. Astrophotography can be an expensive hobby — lenses like this make it more accessible.

Performance-wise, this lens won't win any awards, but it is by no means bad. When shooting at f/2.8, sharpness drops slightly, along with noticeable vignetting and distortion. The good news is that these issues are easily corrected in post-processing and do not detract much from the overall experience.

For newcomers to astrophotography, this lens makes a lot of sense. It lets you experiment and capture impressive images of the night sky without spending a huge amount of money.

• Read our full Rokinon/Samyang 14mm f/2.8 review

• Back to the top ⤴

Best third-party lenses: Frequently Asked Questions

Update log

How we tested the best third-party lenses

We put every lens we recommend through a rigorous review process to ensure we provide you with honest and up-to-date advice. Our expert staff and knowledgeable freelance contributors test each lens based on a variety of factors, including its construction, ease of use, design and most importantly, optical performance.

Each lens is evaluated on its intended use and price point. We consider the lens' weight and portability, as well as its build quality and functionality.

At Space.com, we are committed to providing reliable and transparent buying advice. Our reviews and buying guides are completely editorially independent, ensuring you can trust us to provide the best possible information, whether you decide to make a purchase or not.

Whenever you go on a stargazing trip, you'll need to pack some essential items such as a pair of the best binoculars for long-distance viewing or your best camera for astrophotography and your best camera lenses. You'll need something to pop this gear into and the Peak Design 7L sling bag might be the perfect solution.

If you're looking for a lightweight carrying solution for a few small items, the Peak Design 7L sling bag fits the bill perfectly. Photographers might want to protect their best camera for astrophotography by pairing it with a separate camera cube, as there's no padding. However, the Peak Design 7L sling bag's organization and comfortable design are a winning combination.

Peak Design 7L sling bag: Design

★★★★

• Deceptively spacious design
• Lots of pockets and storage for accessories
• Very comfortable and lightweight bag

The Peak Design 7L sling bag is surprisingly spacious for such a small bag, providing a comfortable and lightweight solution for lovers of the outdoors and photographers who don't want to carry much gear. Unlike the outdoor backpack, this bag has lots of internal storage to store your cards, batteries, power bank and other accessories.

The main compartment has three mesh pockets and an internal zip pocket that contains another, smaller pocket and four additional mesh pockets. On the front, there's a zip pocket with a key tether. On the back, there's a hidden phone drop pouch with a magnetic clasp — a feature I particularly enjoyed. There aren't any pockets on the strap, but I found it comfortable to wear and easy to carry. There are also cord hooks underneath the bag to hold a raincoat, walking poles or a small tripod; I thought it was perfect for my Joby GorillaPod.

Peak Design 7L sling bag: Performance

★★★★1⁄2

• Ability to fit a variety of gear combinations
• Lack of gear protection (without a camera cube)
• Good fit but reduced capacity with X-small camera cube

I used the bag both with and without the X-small camera cube, and I found pros and cons of both setups. Without the cube, there is much more room inside the bag, and I could fit a vast array of gear combinations, including a camera and two lenses, one big telephoto lens with accessories and a drone setup. The downside of not having the cube is that the bag doesn't offer any kind of padding for your gear, so if the bag is dropped, there's nothing to protect your equipment. Having the X-small camera cube inside adds more protection, but the cube reduces the capacity; I could only fit a full-frame camera with two small lenses inside it.

Users have said the X-small cube was an odd fit inside the sling bag, but I actually thought it was a very good fit. However, the bag itself doesn't have any loops for attaching the cube to the bag with the included C-clips.

Peak Design 7L sling bag: Functionality

★★★★

• Convenient hidden phone drop pouch
• Tricky zippers
• Potentially disastrous quick-release clasp

I would have liked a safety feature on the quick-release clasp on the strap. It can be activated very easily when you're adjusting the bag or picking it up. That means that, if the clasp is accidentally triggered while you're wearing the bag, it — and all of your expensive gear inside it — could end up crashing to the floor. With the lack of padding in the bag, I dread even imagining it.

I also found the zippers a bit fiddly to pull with one hand, even though they seemed strong and the toggles were easy to grab. The hidden drop phone pouch is great if you're using the bag when traveling, as it keeps your phone safe but is still easy to access.

Should you buy the Peak Design 7L sling bag?

If you're looking for a smaller bag that can fit enough gear but won't get too heavy, I'd recommend the Peak Design 7L. It's great for travel and for times when you want to take your camera out, just in case, but don't want to commit to a bigger backpack. It isn't the cheapest bag, but I think it offers good value and will last a long time.

If this product isn't for you

If you carry more gear regularly, you may want to consider additional options. Peak Design also sells a larger Outdoor Backpack, which is designed for a mixture of outdoor purposes. However, if you want a dedicated camera bag, you'll be better off with Peak Design's Everyday Backpack, which has internal storage and is targeted more toward photographers.

How we test

I tested the Peak Design sling bag with numerous combinations of gear to truly test its versatility, including a general photography setup, a wildlife photography setup and an aerial photography setup.

I wore it on longer walks and as a quick ‘grab-and-go’ option, and I assessed its ease of use and accessibility both with and without a camera cube inserted, noting how easy it was to put my gear in and take it out, plus the convenience of the internal compartments and pockets.

Astrophotography requires a bag that can handle rugged terrain and satisfy photographers' needs. After all, you want to be able to carry your best camera for astrophotography around with confidence.

At first glance, the Peak Design 25L Outdoor Backpack seems like it could be the perfect solution. Peak Design is known for its quality camera bags and photography equipment, so I was keen to see how a bag designed for the outdoors would compare. I tested it with an S-medium camera cube, but you'll need to purchase a camera cube separately for photography purposes.

Peak Design 25L Outdoor Backpack: Design

★★★1⁄2

• Odd color choice (white) for an outdoor bag
• Easy roll-top entry
• Deep pockets that comfortably fit a tripod

It's clear that a lot of thought went into the Peak Design 25L Outdoor Backpack, with its accessibility, versatility and quality of materials. Designed as an outdoor bag that photographers can use with one of the compatible camera cubes, it's suitable for hiking to remote dark-sky sites with all of your photography equipment and everything you need to stay warm and hydrated.

It has two deep side pockets that can easily hold a tripod and a water bottle, a laptop sleeve (that can also be used for a hydration pouch) and an easy-to-access roll-top opening to reach your gear without having to open the back panel. The zippers are easy to grab and very strong, but there's not much padding to protect your gear.

Peak Design 25L Outdoor Backpack: Performance

★★★

• Wide straps, which are uncomfortable for users with a small frame
• Easy access to gear
• Cinch feature that keeps the bag secure

There are two sides to the coin when it comes to performance. The first includes the bag's practicality and ease of use out in the field. We found it easy to access our gear and really liked the roll-top entry with the cinch hook to tighten and loosen the top compartment. There are mesh pockets in the straps to keep your phone or a power bank, which made it very easy for us to access our phone during a hike. We would have liked this bag to be compatible with a Capture clip, though.

The other side of the coin is comfort. Although we found this backpack fairly comfortable to wear for long periods when we wore a coat while walking around a nature reserve, we can't say the same for when we wore this bag on an 8-mile (13 kilometers) hike in just a long-sleeved shirt. For most users, it will likely be fine, but for people with small frames, the straps will be too wide. We found the straps digging into our arms while we walked, and as a result, the straps didn't fit over our chest properly when we had to tighten the sternum straps.

Peak Design 25L Outdoor Backpack: Functionality

★★★1⁄2

• No internal storage
• Utility as an outdoor bag
• One large compartment

Although the Peak Design 25L Outdoor Backpack is very functional as a general outdoor bag (which is what it's designed for, after all), it's not very useful for photographers without a camera cube.

There's no internal storage — not even small pockets for cards, batteries or filters. And even when a camera cube is inside, you need to fully open the rear panel to access your gear. This adds an extra cost to an already expensive bag. Therefore, the Peak Design Outdoor Backpack is best suited to users who do as much hiking as they do photography, so it can be used for both activities.

How we test

I wore the Peak Design 25L Outdoor Backpack on multiple outdoor trips, including a walk around a nature reserve in a padded coat and an 8-mile waterfall hike in a thinner T-shirt.

I fully assessed all of the compartments, straps and attachments for quality, practicality and comfort in a range of conditions to give a thorough review of how the bag would perform for different uses.

Should you buy the Peak Design 25L Outdoor Backpack?

The Peak Design Outdoor Backpack better serves as a general outdoor or hiking bag as opposed to a dedicated photography bag, so if you’re looking for a versatile bag that can also comfortably fit your camera gear as and when you need it, it’s a good pick.

That said, there are other more affordable alternatives that could do the job just as well. For photographers who want to use it specifically for remote shoots, I’d only recommend it if you already have camera cubes.

If this product isn't for you

If the Peak Design Outdoor Backpack didn't hit the mark, consider the Peak Design Everyday Backpack, which has internal storage. This makes it better for photographers, because there's no need for a separate camera cube. Plus, there's space for a Capture clip.

For something more lightweight, consider Peak Design's 7L sling bag. It's surprisingly roomy, but there's no internal padding. You also may want to look at the Wandrd Prvke, which is a favorite among photographers. It has internal storage and an easy-to-access roll-top entry that make this bag a great option for traveling.

Astrophotography is most commonly shot using full-frame cameras but, despite their smaller sensors, APS-C cameras are just as effective. With much improved noise handling over previous generations, modern APS-C cameras often offer a lighter weight and more compact alternative. This can be incredibly useful when shooting in locations that require trekking to reach.

The same goes for lenses, which are also typically smaller and lighter, and the Viltrox AF 27mm f/ 1.2 Pro lens, with its 40.5mm equivalent focal length, is much more compact than a 35mm f/1.2 full-frame lens. Plus, whether you’re on a budget or not, you’ll be pleased to hear that it costs just $578 / £530, making it an incredibly inexpensive lens considering the specs on offer. Later, I’ll delve into build and image quality further.

This 27mm APS-C lens is available in Fujifilm X, Nikon Z (APS-C) and Sony E mounts and provides an equivalent focal length of 40.5mm. For the review, I tested the lens with a full-frame Sony camera set to crop mode, so the performance of the lens was identical to a Sony E-Mount camera.

The 27mm f/ 1.2 Pro is perfect for astrophotography, landscape, cityscape, street and portraiture, so it’s a highly versatile all-rounder that will undoubtedly see plenty of use. For astrophotography, 35-40mm is a great focal length for incorporating more prominent foreground interest into shots. So, pair this lens with one of the best cameras for astrophotography (there are some APS-C options on the list) and you could potentially be looking at a match made in heaven.

Viltrox AF 27mm f/ 1.2 Pro lens review

Viltrox AF 27mm f/ 1.2 Pro: Design

• Compact for an f/1.2 lens
• Excellent build quality
• Weather sealed

APS-C lenses are smaller and lighter than their full-frame counterparts and the 27mm f/ 1.2 Pro is no exception. This is despite the extremely generous f/1.2 maximum aperture that’s perfect for capturing the night sky. f/1.2 lenses are typically large so it’s impressive to see one that manages to remain fairly compact. It is, however, much larger than slower f/1.8 APS-C prime lenses.

The lens is quite stumpy, you could say, with a maximum height and length that are almost the same. The tall front section of the lens, with its 67mm filter thread, is the result of the fast maximum aperture, but it still isn’t cumbersome at all.

The 27mm f/ 1.2 Pro is 3.23 x 3.62 in / 82 x 92mm with a weight of 19.93 oz / 565 g, so it balances well with Fujifilm, Nikon and Sony APS-C mirrorless cameras. As the ‘Pro’ moniker suggests, build quality is excellent with a full metal body. Plus, the lens is weather sealed, so it’s perfect for professional outdoor use, including astrophotography.

The lens feels solid and the unassuming black design will blend well with any of the cameras the lens is compatible with. It features a wide manual focusing ring that can be easily used when wearing gloves. The manual aperture ring is also suitably wide and grippy for gloved operation, with the ability to be set to clicked or clickless operation. The latter is ideal for video capture, where a stepless aperture is often preferred.

When it comes to controls, there’s an AF/MF switch, a focus lock button and a click switch for the manual aperture ring. This is a slightly more basic design than the full-frame PRO and LAB Viltrox lenses, but in terms of prime lenses in general, the 27mm f/ 1.2 Pro offers no more or less than the competition in terms of controls. On the lens mount, there’s a USB-C port for firmware updates, which is great for a third-party lens that can’t be updated through the camera menu.

Viltrox AF 27mm f/ 1.2 Pro: Functionality

• No optical image stabilization
• Fast and silent autofocus
• Short minimum focus

The AF 27mm f/ 1.2 Pro is a fairly standard prime lens in terms of functionality, with the main selling points being excellent image quality alongside a fast maximum aperture. This is a hybrid lens that can be used for both photography and video, with the clickless aperture being ideal for video. For stills photography, including astrophotography, the clicked aperture option is more appropriate.

Autofocus is fast, silent and accurate thanks to the stepping motor, which is useful for both photography and video, although manual focus is used by both astrophotographers and videographers because it’s more reliable in these situations. The manual focus ring provides a comfortable amount of resistance that allows for fast and precise manual focus.

As is often the case with prime lenses, the 27mm f/1.2 Pro doesn’t feature optical image stabilization, so no surprises here. But if your camera has In-camera Image Stabilization (IBIS), you can still take advantage of this feature, albeit not through the lens itself. This is best left switched off when shooting with the camera attached to a tripod.

Despite being an APS-C lens, the 27mm f/1.2 Pro can still be used with Sony FE and Nikon Z-mount series full-frame cameras since these two lens mounts include APS-C and full-frame cameras. To use APS-C lenses with full-frame cameras, you simply have to set the cameras to crop mode so that less of the sensor is used to meet the APS-C format.

In reality, you would never buy this lens specifically to use on a full-frame camera. You might, however, use it on a full-frame camera if you have both APS-C and full-frame bodies. For APS-C camera owners, it’s a fantastic combination of focal length and maximum aperture.

Viltrox AF 27mm f/ 1.2 Pro: Performance

• Excellent image quality
• Impressive sharpness at f/1.2
• Suitable for photography and video

The front element of the lens features a water and smudge-resistant coating. This is handy for outdoor shooting, of course, but it’s always best not to touch the front element or allow rain droplets to hit it where possible. The included lens hood offers a degree of protection alongside helping to reduce flare and haze.

The 27mm f/ 1.2 Pro is made up of 15 elements in 11 groups including two ED, five elements with a high refractive index and one aspherical lens. There’s also Viltrox’s HD Nano multi-layer coating to minimize ghosting and flare.

The 27mm f/ 1.2 Pro produces exquisite sharpness even wide open at f/1.2. Levels of sharpness are impressively high across the frame, even in the corners, making it a truly stunning lens.

All apertures produce impressively sharp images with excellent corner sharpness, although at f/16 diffraction does come into play to produce the least sharp result of all apertures. f/8 is the sweet spot that resolves the sharpest detail, but for astrophotographers, it’s the impressive performance at f/1.2 that will be of most interest.

Vignetting is strong wide open at f/1.2, but Adobe Lightroom Lens Profiles take care of this and the tiny amount of barrel distortion that’s present. The latter is minimal and barely visible to the naked eye. Vignetting is all but gone at f/2.8, although the fact that Lens Corrections removes the strong vignetting at f/1.2 is most important.

The minimum focusing distance is short at 11 in / 28 cm, which is useful for general photography but not so much for astrophotography. It’s handy to have if you need it, so no complaints. The aperture is made up of 11 blades, making it circular, so bokeh highlights are also circular, although once again, this isn’t relevant to astrophotography since distant stars are the point of focus rather than close-up subjects.

Viltrox AF 27mm f/ 1.2 Pro: Price

Lenses with an f/1.2 maximum aperture are typically expensive. Even those with an f/1.4 maximum aperture command a typically hefty price tag, but the Viltrox AF 27mm f/ 1.2 Pro bucks this trend to deliver some incredible value for money. At just $578 / £530, this well-made lens with a useful equivalent focal length of 40.5mm is a bargain.

In reality, there aren’t any direct alternatives available, so this is a lens that stands alone. In the box, you get the lens, a lens hood, front and rear lens caps and a soft lens pouch. This is the standard for most lenses, and many photographers will store their lenses directly in their camera bags rather than a lens pouch.

Viltrox AF 27mm f/ 1.2 Pro: User reviews

Online reviews for this lens agree that the Viltrox AF 27mm f/ 1.2 Pro is an extremely well made lens with excellent sharpness overall and in particular at f/1.2. They also comment that autofocus is fast and reliable, while the lens is available at an excellent price.

How we tested the Viltrox AF 27mm f/ 1.2 Pro

The Viltrox AF 27mm f/ 1.2 Pro was tested in combination with the Sony A7R III, which offers a high resolution which is reduced to 18MP in crop mode for APS-C lens compatibility. The lens was tested at night with a focus on astrophotography, and in daylight to assess sharpness, distortion and general functionality.

Should you buy the Viltrox AF 27mm f/ 1.2 Pro?

If you shoot with a Fujifilm X, Nikon Z or Sony E-Mount APS-C cameras, the Viltrox AF 27mm f/ 1.2 Pro is a fantastic lens offering a 40.5mm equivalent focal length. This is pretty close to the useful full-frame 35mm focal length. What’s more, the ultra-fast f/1.2 maximum aperture is a boon for astrophotographers.

The lens is also designed for both photo and video capture, so it has huge scope for use alongside being suitable for a range of subjects. With excellent build quality, great image quality and a highly cost-effective price, this is a lens well worth considering for capturing the night sky.

If this lens isn't for you

The Sigma 14mm F1.4 DG DN HSM ART is an incredibly fast and wide full-frame lens with an APS-equivalent focal length of 21mm. This could be perfect if you’re looking for a fast, wide-angle prime.

The Sigma 20mm f/1.4 DG HSM ART is an APS-C prime offering an equivalent focal length of 30mm alongside a compact and lightweight build at an affordable price for Sony E-Mount cameras.

The Sony 20mm f/1.8 G is a stunning full-frame wide-angle prime that produces a 30mm equivalent focal length when used with APS-C cameras. It also provides longevity if you plan to upgrade to full-frame in the future.

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Not to be confused with the numerically similar Canon EOS R50 or R50 V, which, like this Nikon, squeezes an APS-C sensor into a compact chassis, the Z50 II updates and revitalizes its brand’s entry-level mirrorless camera. With an eye on hitting an affordable price point, it doesn’t come with a mains charger for its removable battery, just a USB lead without a mains plug. However, the body is lightweight and doesn’t feel plastic-y. Plus, there’s a decent-sized handgrip that most budget models lack.

So, while ostensibly the Nikon Z50 II is an entry-level camera that sits below the full-frame sensor models in its Z series mirrorless range, does its operation and delivery see it punching above its weight? It may be relatively inexpensive compared to the likes of the OM System OM-3 or Fujifilm X100 VI, but can it still provide a competent tool not just for multiple subjects but specifically for astrophotographers? We tested it to see if it could make it into our best cameras for astrophotography guide. Here are the results...

Nikon Z50 II: Design

★★★★

• Conventional consumer DSLR-type layout, albeit in a more portable mirrorless form
• Flip-out and tilt 3.2-inch LCD screen plus ultra-high-resolution eye-level electronic viewfinder
• Dedicated buttons for the selection of ISO while exposure control in tandem with the touchscreen aids fledgling astrophotographers

It may sound like an obvious thing to note, but the Z50 II very deliberately looks like a Nikon; its DSLR-style appearance nodding to the design and layout of its maker’s cameras over the past quarter of a century. It’s reassuring that when buying a Nikon, you do so in the knowledge of getting pretty much exactly what you anticipate.

In practice, this means that, despite the compact chassis, there are still enough physical buttons and controls that you can exercise tactile, manual control. At the same time, its layout and operation should not feel overwhelming for the uninitiated. The largest and most prominent control on the camera is a raised shooting mode dial with both Program, Aperture Priority, Shutter Priority and Manual settings enabling us to exert some manual control for night sky photography, plus a fully auto mode. You also get a Scene mode with pre-optimized settings for common subjects, plus further user-customizable settings for saving personal preferences. All pretty standard stuff.

This chunky dial is ergonomically encircled by a lever for flipping between stills and video modes, while the raised shutter release button found on the slope of the hand grip is similarly encircled by the camera’s on/off switch. Thankfully, this proves easy enough to locate and operate with a flick of the thumb in the pitch dark when attempting astrophotography.

A one-inch, 2360K dot resolution eye-level electronic viewfinder with built-in eye sensor for self-activation sits directly above the flip-out, tilt and swivel 3.2-inch LCD. For added convenience, the latter is also a touch screen. This works well as key settings can be adjusted in the dark when shooting the night sky via the screen rather than having to delve deep into menus. The LCD offers a respectable 1040k dot resolution, so if attempting manual focusing, you can be reasonably sure you’ve got your scene sharp.

Both EVF and LCD offer 100% frame coverage, so what we see is what we get in terms of shot composition. Nikon claims the camera’s EVF is the brightest in its class and, in practice, it proves sufficiently large and clear as to be useful whether shooting indoors or out. Like others of its ilk, I can forget I’m not looking at the scene via an optical viewfinder, so life-like is the image.

A decent-sized handgrip on an entry-level model isn’t always easy to find, but fortunately, you do get one here. The design of the Z50 II enables a firm and steady grip in the right hand, while your left hand is curled around whichever lens you’ve fitted. There’s no sophisticated body integral sensor shift image stabiliszation mechanism here, unfortunately, as I’m used to in models costing just a bit more. Only electronic vibration reduction is provided. As ever, if you want a budget camera, you must make some compromises.

Nikon Z50 II: Performance

★★★★

• APS-C CMOS sensor providing a 20.9MP effective resolution from 21.51MP total
• Up to 4K resolution video clips at 60FPS
• 3:2 aspect ratio images by default mirrored in 3:2 aspect ratio of provided LCD screen

Shooting to a single SD/SDXC card slot, it may be the ‘baby’ model in its maker’s Z series, but the response times of the Nikon Z50 II are as swift as I’d expect from a mirrorless camera based on a DSLR-like design and control layout. A half-press of its shutter release button and images are captured quicker than it took me to blink.

In this way, I can keep my attention fully focused on my subject rather than what the camera is doing, which is exactly as it should be. The Auto Focus detection range here is more than adequate, being able to find focus in conditions from the equivalent of -9 to +19EV. If I wanted to, I could pretty much point and shoot all the way. However, I did dip into manual settings to more precisely control results for night shooting. For example, I was typically manually setting exposure times via the lozenge-shaped virtual backscreen buttons for night sky photography. I set it to between two and five seconds in duration. On top of this, I was shooting at maximum aperture, which in the case of the Nikkor Z 14-24mm S series lens is f/2.8. I adjusted the ISO speed to suit, varying it from ISO 800 to ISO 1600 and monitoring results on screen. This gave a broad indication of what I was achieving in the dark.

However, something to be aware of is the fact that the brightness of the screen under such circumstances can trick your eyes into thinking you’ve captured an image a little brighter than it subsequently appears when downloaded and viewed in daylight on a desktop monitor.

At all times for shots of celestial objects, I was using a tripod and setting the camera’s self-timer to a delay of two seconds, after the shutter release button was fully pressed, to avoid any instance of camera or tripod wobble resulting in blurred image detail.

While I feel the 20.9 effective megapixel images this camera offers are more than plentiful for not only capturing celestial objects but landscapes, wildlife and more, inevitably some critics will complain that you’re getting a smaller APS-C sensor here rather than the full frame chip found in Nikon’s top-end ‘Z’ models. Balanced against this is a lower price tag. And, if all you are thinking of doing is reviewing the shots you take on a laptop or desktop rather than producing wall-sized prints, then arguably a full-frame sensor isn’t required and the money saved can be spent on lenses and other accessories.

Nikon Z50 II: Functionality

★★★★

• A choice of JPEG, HEIF or RAW formats when shooting stills
• MOV or MP4 formats selectable for video
• ISO 100 to ISO 25600 light sensitivity settings allow plenty of in-camera adjustment

Direct compatibility is offered with Nikon Z-mount lenses as well as Nikon’s older F-mount lenses via an adapter. If you use the Nikon Z50 II with the retractable 16-50mm f/3.5-6.3 kit lens, you first must fully unfurl it before you can operate either the camera or lens. This adds a further couple of seconds to your start-up time, which is potentially an issue if you spot a potential image in your mind’s eye before the Nikon is powered up and ready. Many may feel, however, it’s worth it to maintain a relatively slim profile for camera and lens combined. If using the chunkier and more prominent Nikkor Z 14-24mm f/2.8 S series lens, this isn’t an issue; screw the lens into place before you head out for the evening and you’re ready for whatever the night sky reveals to you.

As noted, with its manufacturer’s proprietary Expeed 7 processor on board, the Nikon is swift to respond when it comes to AF performance, which here takes the form of hybrid phase/contrast detection Auto Focus. Furthermore, you’re offered subject detection for up to nine subject types, functionality inherited from its higher-end Z8 and flagship Z9 cameras.

For videographers, as well as the ability to shoot 4K resolution clips at up to a cinematic looking 60FPS, alternatively, you can capture Full HD at 120FPS to achieve slow motion results. Interestingly, the Nikon Z50 II is also the first in its series to feature a Product Review mode for those presenting to the camera who want to subtly shift focus to objects they’re showing in the foreground during recording. Another first is a self-timer accessible in video mode as well as when shooting stills, thereby allowing for a delay before recording starts. As noted earlier, setting the self-timer for astrophotography is obviously a must to avoid the mere pressing of the shutter release button jogging the camera and thereby potentially introducing blur to a long exposure capture.

Nikon Z50 II: User reviews

Fellow users and reviewers of Nikon Z50 II claim that it is a fun performer for those on a budget. Others summarize that it exudes professional power in a ‘baby’ body. Though it lacks in-body image stabilization, which is unfortunate, it’s still described as a pocket rocket that’s a worthy successor to the 2019 original. The consensus follows its maker’s claim that it is designed to appeal to first-time camera buyers who may have just previously used a smartphone to take pictures and record video. One of the best value mirrorless cameras around at this moment in time is the conclusion of many.

How we tested the Nikon Z50 II

I used the Nikon Z50 II in daylight conditions that included both overcast days and strong sunlight and was pleased to witness a good degree of detail maintained in both shadows and highlights. Whereas I mostly used the compact kit lens for general-purpose everyday shooting, it was the Nikkor Z 14-24mm f/2.8 S that I used for night sky photography.

Initially, during my test period, heavy cloud meant only the brightest of celestial objects, such as the North Star, were visible. Fortunately, when the weather improved,the Big Dipper / Plough came clearly within sight of my lens.

Should you buy the Nikon Z50 II

The Nikon Z50 II is a very approachable everyday mirrorless camera at an affordable price point that should appeal to both fledgling photographers and would-be content creators alike. In doing so, it battles directly with the likes of the Canon R50 V and Sony’s ZV compact series. But in my opinion, it feels more like a real camera than both thanks to its more conventional control layout and design, including eye-level viewfinder as well as flip-out and twist LCD screen.

The Nikon’s menus are easy to navigate — results straight out of the camera look impressive and its operation is sufficiently intuitive not to require recourse to any manual. Yes, it doesn’t have the full-frame sensor and body integral image stabilization of rivals at twice or even three times the price, but as ever in life, you get what you pay for. For what’s requested in terms of outlay, the Nikon Z50 II feels like a very fair proposition.

If this camera isn't for you

Like Canon’s R50 V, the Nikon Z50 II is aimed at budding content creators of every description, so Canon’s more pared-back rival is an obvious direct alternative. We weren’t keen on the fact that the Canon omits both an eye-level viewfinder and a built-in flash, but those who want a camera that concentrates on the essentials may find it viable.

For those who prefer a camera that not only obviously looks like a camera, but one with retro looks borrowed from the days of film, further alternatives to the Nikon Z50 II include the Fuji X100V and VI cameras. These, like both Nikon and Canon, incorporate an APS-C-sized sensor.

One further caveat is whichever system you choose, be mindful that accessories and lenses aren’t directly transferrable — at least not without an adapter. So, if you already own a bunch of Nikon F lenses from the early days of digital or further back in the heyday of film, it might be worth sticking with Nikon. If you’re trading up from a smartphone, however, which I reckon most of the Nikon Z50 II’s potential audience will be, then it’s not an issue and you’ll find this one a capable contender at a value-added price.

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Its cameras may no longer bear the Olympus brand name, but the OM System is sensibly mining that company’s heritage for all it is worth. A case in point is the new OM-3, based on an Olympus film SLR with the same model name from the 1980s. Retro cameras with rangefinder-like switches and dials like this one remain popular — just look at Fuji’s ‘X’ series, lots of which feature in our Best Fujifilm cameras guide, and its recent hits like the X100V / VI. Plus, Olympus did formerly release a whole slew of digital versions of its 1960s PEN camera more than a decade ago.

Indeed, this camera reintroduces the funky, if eccentric, faceplate Creative Dial previously seen on the Olympus PEN-F. But it also inevitably and wisely takes on board a lot of the technology recently featured in the range-topping OM-1 Mark II. Sitting just beneath that flagship in its manufacturer’s lineup, it commands a premium price because of it. So, can the OM-3 offer potential purchasers the best marriage of old and new? And all while offering enough manual control over exposure, light sensitivity and aperture to make it one of the best cameras for astrophotography? Read on to find out.

OM System OM-3: Design

★★★★

• Quirky front and backplates
• Flip-out, angle-adjustable backplate LCD screen plus eye-level electronic viewfinder
• Top plate shooting mode dials festooned with custom settings, plus front and back command dials for rapid scrolling

Classic in looks and immediately catnip for those who love a familiar retro design, the OM System straddles two stools. Inspired by an identically named Olympus SLR from 1983, it also takes on board innovations introduced in the OM System’s range-topping, OM-1 Mark II. This is a potential best of both worlds, helping to cater to everyone.

Shot composition and review is via a choice of flip-out and twist 3-inch touch panel LCD screen with a helpful 1.62 million dots or eye-level 2.36 million dot electronic viewfinder just above. We love to have the option of both, though the clarity of the screen when attempting astrophotography in the pitch dark just has the practical edge for us in those circumstances. Also, our nose butted up against the backplate LCD when using the viewfinder above.

With lots of rangefinder camera-like dials on its busy-looking top plate, this is certainly a device for those who like to get hands-on with their photography and make manual changes, rather than purely relying on auto focus and exposure. The camera delivers if all you want to do is point and shoot, of course, and there is always a place for that, but you’d hardly be exploring its capabilities fully if you did so. It feels like the OM-3 is the camera for those of us who want to shoot digitally, but at the same time miss shooting on film.

Just one image card slot for the common SD memory card is provided.

The camera feels substantial when gripped in the palm, thanks to a magnesium alloy construction that is splashproof and dustproof, as well as being freezeproof, which proves useful for the great outdoors. A screw thread is helpfully provided at the base for affixing the camera to a tripod for astrophotography.

OM System OM-3: Performance

★★★★★

• Four Thirds format 22.9MP stacked backside-illuminated CMOS sensor providing a 20.4MP effective resolution
• Five-axis body integral image stabilization system equivalent to 8 steps
• 4:3 aspect ratio images by default

The performance of the OM System OM-3 is based largely on a happy marriage of a 20.4-megapixel effective resolution Four Thirds format sensor, which we’re told is the same as that found in its OM-1 II flagship, and its manufacturer’s latest generation TruePic X image processor, which crunches data and keeps things zipping along.

There is five-axis in-body image stabilization provided here, as there has been for quite some time for Olympus/OM System cameras, which provides a belt-and-braces approach when allied with tripod use. A self-timer is also available, in case pressing the shutter release jogs the camera and unintentionally creates image blur, which is something we want to avoid when attempting night sky photography.

On the OM-3, we’re further able to potentially enhance the camera’s performance as an astrophotography tool by scrolling through the menu settings and activating the Starry Sky Auto Focus setting, which can be set to cover a wide area, while also switching to manual and/or bulb shooting modes. This allows us to control the duration of exposure, settling on a 15-second duration for our photography in most cases, as well as choosing ISO 3200 light sensitivity setting. Naturally, we were also shooting at the lens’ widest angle and maximum aperture setting. If we’re being picky, this did introduce some slight instances of vignetting/corner shading that weren’t visible for daytime images. That said, it does provide a framing device that draws the eye into the central portion of the night sky image, so isn't a deal breaker for us. However, we were impressed with the clarity delivered, with a lack of compromise visible even when compared with daytime images. These are similarly sharply rendered despite what, on paper, reads as a smaller, less powerful image sensor than some of its competitors offer. The ability to control exposure with a quick spin of a thumb wheel proved a practical boon for us.

OM System OM-3: Functionality

★★★★

• A choice of JPEG or Raw formats when shooting stills at up to 20.4MP effective
• 4K resolution video clips at up to 60fps
• Adjustable light sensitivity up to ISO 102400

The OM-3’s default image ratio is a standard 4:3 when first activated, as might be expected from a camera incorporating a Four Thirds format sensor. Further selectable options include 3:2, 16:9, 1:1 and 3:4. Given that the physical dimensions of this chip are smaller than the APS-C and Full Frame sensors found in competing cameras in its class, the OM-3’s maker hasn’t over-egged the pudding. It offers a sensible 22.9 total resolution that’s made effective use of in delivering 20.4MP imagery. There are other benefits to the smaller sensor, in enabling the use of more compact lenses. These, in turn, offer a focal range bigger than their size suggests. For example, the 12-45mm f/4 Pro lens we used with our review sample does the job of a 24-90mm lens in 35mm film terms, making it suitable for everything from wide-angle views of the night sky to close-up portraits at the telephoto end with attractive background blur, known as ‘bokeh’. In other words, we have a jack of all trades device, providing a quality of result that is largely without compromise.

While light sensitivity can be altered with a thumb flick of a dial all the way up to ISO 102,400 equivalent, further settings worth exploring are accessed via a twist of the pimple-like Creative Dial on the OM-3’s faceplate. This takes us through alternative color and mono image capture options. While this feels like a fun, if slightly eccentric addition, for those who favor a tactile way of adjusting settings as opposed to scrolling through on-screen menus, we also get access to what is grandly termed the camera’s more experimental ‘Computational Photography’ settings via a lever encircled ‘CP’ atop the back.

The virtual Neutral Density filters, high dynamic range 'HDR' and the multi exposure and focus stacking options will benefit landscape photographers who want to maintain details in both a bright sky and a darker foreground. To access these settings, hold down the button while spinning the command dial.

Another less immediately familiar feature is the ‘S & Q’ marking on the top plate image capture mode dial, which otherwise lets us toggle between shooting stills and up to 4K resolution video clips at a cinematic looking 60fps. 'S & Q' stands for ‘Slow & Quick’, providing a mode for slow-motion video or sped-up clips, the latter useful for social media shares.

We can do a fair amount here by turning, twisting or flicking the OM-3’s manual controls without having to do a deep dive into its menus. However, this does mean a period of familiarization is required. Ultimately, we’re getting the best of both worlds. — those who want to get hands-on can do so, while anyone looking to pick up a camera and point and shoot can do that too.

OM System OM-3: User reviews

Other users and reviewers of the OM System OM-3 praise the ability to use it as an advanced travel camera that ticks just about every box required. Others suggest it is a feature-packed, everyday camera. Further described as a fabulous camera that is a joy to shoot with and one that blends fashion and function, the consensus when it comes to the camera neatly dovetails with our own findings. Another conclusion for those for whom its heritage is important is that this model is as close to a new PEN-F as you’re going to get.

How we tested the OM System OM-3

We tested the OM System OM-3 in a variety of shooting conditions, including daylight and pitch black for our night sky captures. We examined images full-sized on a desktop monitor and did not just rely on the camera’s own backscreen, as helpful as it is for expanding detail and checking critical focus when out in the field. We shot with the camera body with a supplied 12-45mm f/4 Pro zoom lens, boosting the amount of light entering the lens and hitting the Four Thirds format sensor. To do that, we experimented with alternating between 15, 10 and five-second exposures.

Should you buy the OM System OM-3

The OM-3 excels as an all-round photography tool, though including functionality specific to astrophotographers via the Starry Sky AF mode is a real boon. We also loved the fact that we have access to manual control and a bulb mode for longer exposure durations. The ability to not only alter ISO but colour temperature as well, to achieve pleasing results of the night sky, was a bonus. Of course, a degree of trial and error and experimentation is required as ever, but this camera provides room to grow. Those who love a classic camera design as well as tactile operation will similarly feel that investing in the OM-3 is money well spent. Overall, while not inexpensive, fair value for money is offered here in comparison with similarly priced rivals.

If this camera isn't for you

If it is retro-styled mirrorless digital cameras that catch your eye, then Fujifilm’s ‘X’ series is obviously a close competitor which is well worth investigating, specifically regarding its X100V and VI cameras. These are priced very similarly and competitively compared with the OM-3. If you’re not fussed about the retro look, then high-end full-frame devices such as Sony’s A1 II could be worth exploring, as long as you have the budget to match. Alternatively, if you’re as keen on video as you are stills, then the Panasonic Lumix S1R II is a further option. As ever, bear in mind, it’s not just the one camera you’re investing in but a whole ring-fenced system, including lenses and myriad accessories. In that respect, the OM System OM-3 is presciently named.

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The Canon EOS R50 V is an attempt to capture content creators such as vloggers in addition to Canon's core photographer audience. With the uplift in people making podcasts, vlogs, and personal YouTube channels, it's no surprise.

Unlike expensive, top-end EOS R models, such as the full-frame EOS R1, however, the R50 V incorporates the smaller APS-C-sized sensor typically found in entry-level mirrorless cameras, which is reflected in the lower price. Consumer-friendly features also include a flip-out-and-twist LCD screen that helps with selfies and 4K video self-recording, as well as a faceplate-mounted record button. But is this camera as suited to stargazing as it is to navel-gazing? Read on to find out.

Canon EOS R50 V: Design

★★★

• Top-plate mode dial that combines stills and more comprehensive video settings
• Command dial that's handily encircled by an on/off power lever
• Flip-out tilt-and-swivel LCD

Compared to mirrorless cameras that resemble shrunken DSLRs, or more retro-styled examples like the Fujifilm X100VI or the OM System OM-3, the Canon EOS R50 V's design appears somewhat basic at first glance. It's essentially a box that houses a sensor and a lens mount. True, that pretty much describes any digital camera, but perhaps taking inspiration from its boxy Cinema EOS series, the Canon EOS R50 V impression given here is that it's more about function than form.

Still, a classy, matte-black finish helps disguise a mainly plastic and rubber, lightweight build. With the removable SD card and battery, the Canon EOS R50 V weighs about 13 ounces (370 g) or about as much as a point-and-shoot compact camera. In practice, that makes this camera commendably portable, which is especially important if you'll be carrying a tripod for astrophotography. However, this camera is too thick to fit in a pocket.

The lens can be changed to suit your intended purpose. We had Canon's RF-S 14-30mm f/4-6.3 IS STM PZ or 'Power Zoom' to play with, which helps maintain a compact set-up overall, while featuring a motorized zoom mechanism that you can control via a lever encircling the shutter-release button. While it's rare to find such control on a mirrorless camera, the rest of the controls here mostly resemble those on older fixed-lens point-and-shoot cameras.

There are some modern touches, however. There's a rear screen that can be flipped out from the body and rotated to face the subject in front of the lens, or at least tilted to get a better low- or high-angle view.

Directly above the lens is a vacant hot shoe for an accessory flash, as there's no built-in bulb. This nestles next to a familiar shooting mode dial, recessed into the top plate, thereby reducing the chance of accidentally nudging it from one setting to another in the dark or during transportation. Alongside the regular stills and scene options are three custom settings, plus a standard video and 'Slow and Fast' video option, which gives videographers control over the speed of capture and playback.

With the R50 V's DSLR-type command dial, you can quickly scroll through the many on-screen menu options. Each control fell readily under our thumb as our forefinger hovered over the shutter-release button. There's a second record button nestled beneath the lens mount — a handy extra for those directing the lens at themselves.

For those who want a steady and level camera for star gazing, there are two screw threads to enable tripod mounting — one on the same side as the handgrip and one more conventionally located at the camera base. These options respectively allow portrait and landscape shooting.

Tripod mounting is essential for astrophotography and even wise for general subject shoots. That's because the Canon EOS R50 V's handgrip, although rubberized, is narrower than we'd like. Even with a separate thumb rest on the back, we almost dropped the camera when moving our thumb up a notch to spin the backplate dials. Luckily, there are lugs for attaching an included strap.

The opposite flank of the camera features various essential input/output ports protected by rubber flaps. These allow for an accessory microphone, headphones and cable release; the latter is an option for astrophotographers who would otherwise set the self-timer to prevent camera wobble and blur. However, there is a self-timer.

One advantage of this camera's bare-bones design is that it pushes key features to the forefront. Plus, anyone trading up from a smartphone to a dedicated camera won't be daunted by a bewildering array of options because the design lends itself to intuitive operation.

Canon EOS R50 V: Performance

★★★★

• 24.2-MP effective images via a 22.3 x 14.9-mm APS-C- sized sensor and DIGIC X processor
• Onboard digital image stabilization system that's best supported by an image-stabilized lens
• Tilt-and-swivel LCD screen

The Canon EOS R50 V matches — and, in many cases, beats — the performance of most consumer-level mirrorless cameras. Although the EOS R50 V is aimed at amateurs rather than pros, it is as swift to power up as we'd expect a consumer-level mirrorless camera to be. The backplate LCD blinks into life around two seconds after its on/off switch has been flicked. With a half-press of the shutter-release button, the camera acquires a focal point in a literal blink of an eye.

The touch screen allowed us to tap a point on the screen to redirect the autofocus to our intended portion of the frame. For astrophotography, we found it useful to tab left on the rear-plate control dial to switch from auto to manual focus, to make sure heavenly specks of light were sharply rendered.

The rechargeable battery is good for around 480 shots on a charge, which is enough for multiple long-exposure images in an evening. Interestingly, for a consumer camera, there's no built-in flash bulb, although the provided vacant hot shoe allows you to attach accessories. But for nighttime photography, the lack of a flash is more of a benefit than a problem.

The Canon EOS R50 V offers sufficient manual control over exposure duration, ISO light sensitivity and focus for night-sky photography. The ability to set a self-timer helps to avoid jogging the camera and introducing unwanted blur or star trails.

This Canon also keeps image noise well under control. Utilizing manual focus and the manual shooting mode allowed us to alternate between light sensitivity settings of ISO 1600 and ISO 3200. Coupled with these settings, we found exposure durations from about four to 15 seconds delivered the best results. Alternatively, when we tested the EOS R50 V in natural daylight, the images were rich in color and detail. Minimal adjustments were needed for exposure and contrast.

Canon EOS R50 V: Functionality

★★★★

• A choice of JPEG, Raw and HEIF formats for stills
• Option to add creative effects
• 4K resolution video at up to 60 fps or full HD up to 120 fps

Sensibly matching the dimensions of its LCD screen, the Canon EOS R50 V's default image aspect ratio is 3:2, which delivers full-resolution still photographs. The step-down alternatives are 4:3 (standard digital), 16:9 (widescreen) and 1:1 (square). You can change the look and feel of the images by selecting from the picture style options. These include selections optimized for portraits and landscapes, as well as various color filters. We were aiming for a natural, faithful rendition of subjects, so we tended to opt for the standard picture style option.

At first, you'll need some time to get familiar with the camera and the menu options. However, the camera's functionality feels relatively fluid after a short time.

We liked that we could just tap an option on the screen to select and implement it, rather than pressing different buttons to figure it out. However, as we found when attempting astrophotography, it's nearly impossible to locate the correct backplate button in the dark. It doesn't help that most of the buttons are tiny and the camera and controls are black. Therefore, it's much easier to compose and review your shots via the on-screen display.

Canon ESO R50 V: User reviews

We were lucky to enjoy an early hands-on experience with the Canon EOS R50 V, meaning there were scant user opinions available when we wrote this review. However, the user reviews that were available say the Canon EOS R50 V resembles a baby Canon Cinema EOS camera that puts potentially powerful features in the hands of aspiring content creators. Others note that the EOS R50 V is a solid choice that leaves room to grow your skill set while offering impressive specifications for the price.

How we tested the Canon EOS R50 V

We tested the Canon EOS R50 V for its suitability to astrophotography, shooting fully wide at f/4 and selecting both the camera's manual mode and manual focus. We alternated between ISO 1600 and ISO 3200 and tried exposures from 10 to 15 seconds down to just four or five seconds. We found that these settings delivered the best results.

We also mounted the camera on a full-size angle-adjustable tripod and selected the self-timer mode to minimize instances of camera shake that could contribute to blurred images or jumping streaks of light. A two- second self-timer proved perfectly sufficient.

We also tested the camera in the daytime, mostly leaving the camera's picture style settings on the standard option because we wanted a natural look that we could readily compare to our experience with other models. The images proved well saturated and rich in color, without appearing unrealistic.

We also shot video at both 4K resolution and full HD, and both produced detailed results. The only audible issue when we recorded outdoors was wind noise. However, an accessory microphone equipped with a 'dead cat' windshield can improve the audio, so this isn't a deal-breaker.

Should you buy the Canon EOS R50 V

The Canon EOS R50 V is a portable and relatively affordable camera for astrophotography, but thanks to its video capabilities, it is targeted primarily at influencers and vloggers who are looking for a straightforward tool for self-recording. Though it does present a portable and relatively affordable tool for those seeking to attempt astrophotography, if we were to entirely ignore its video capabilities, that would feel like a bit of a waste.

There are more comprehensive manually featured mirrorless cameras for those who want to capture night-sky views. They include the OM System OM-3, which even directs you to optimal settings via a dedicated starry-sky menu setup.

If this camera isn't for you

If you're looking for astrophotography-specific features, including starry-sky autofocus, consider the OM System OM-3, which offers a classic camera design and the ability to make manual adjustments on the fly when you're stargazing. If you're seeking a hybrid camera for both video and stills and want a few more features, check out the Panasonic Lumix S1R II.

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When you’re shooting subjects such as the night sky, the ability to resolve fine detail while also pushing camera settings to the limit is essential. This is why professional prime lenses can be the perfect options for astrophotographers, and the Viltrox AF 35mm f/1.2 LAB FE is a lens that full-frame Sony camera owners will appreciate.

This lens is part of Viltrox’s flagship LAB series, which currently also includes a 135mm f/1.8 lens in Sony FE and Nikon Z mounts. The AF 35mm f/1.2 LAB is currently only available for Sony FE but a Nikon Z version is on the horizon. Pair this lens with one of the best cameras for astrophotography, and you'll enjoy a high-performance professional lens for an incredibly attractive price.

The 35mm f/1.2 LAB costs $999USD / £959GBP, which is still an investment but incredibly attractive for such a fast prime. It’s also considerably less expensive than the Sony FE 35mm f/1.4 GM, and faster, so with this in mind, it’s arguably something of a bargain. If performance is up to scratch, this could be a must-have for your kit bag.

35mm is a focal length that’s perfect for a wide range of subjects, including astrophotography, where the ground and foreground interest are important elements of the scene you’re capturing. Of course, 35mm is nowhere near as wide as a 16mm prime but it can be equally as useful.

Viltrox AF 35mm f/1.2 LAB FE lens review

Viltrox AF 35mm f/1.2 LAB FE: Design

• Naturally chunky and heavy
• Excellent build quality
• Weather-sealed, protected against rain etc

Many f/1.4 lenses are quite chunky but when you throw f/1.2 into the mix, the design of the lens naturally means it’s going to have some heft to it. As such, the 35mm f/1.2 LAB is a chunk of glass with a size of 3.51 x 8.80 in / 89.2 x 121.8 mm and a weight of 32.5 oz / 920 g. This is quite a beast of a lens but there’s no getting around its construction.

The lens is made up of 15 elements in 10 groups. These include five ED lenses, three high refractive index lenses and two UA lenses. The front element also features a water and stain-resistant coating. The aperture is made up of 11 diaphragm blades, which produce a pleasing bokeh effect, while the minimum focusing distance is 13.4-in / 34 cm. These are most useful for general photography and of little consequence for astrophotography but worth mentioning.

The 35mm f/1.2 LAB is built to an incredibly high standard, both in terms of the optical construction and the overall design. For the price, it’s exceptional in these areas. The lens itself is made of aerospace-grade magnesium-aluminum alloy with a die-coating, so it has a premium look and feel alongside being built like a tank.

This is a lens that’s built to a high standard thanks to its dust and moisture-resistant construction, making it perfect for outdoor photographers, especially those working at night in locations where dust and moisture can be an issue. The 77 mm filter thread is a standard size if you plan to use color correction or star filters, whether the square or circular variety.

By default, the Multi-Functional Ring is set to control the aperture with click and clickless operation available using a switch to toggle between the two. The latter is perfect for video.

The Multi-Functional Ring is customizable, so you can apply one of several different controls to the ring. Other controls on the lens include two customizable Fn (function) buttons, an AF/MF switch, a wide and comfortable manual focus ring and a small digital screen that shows the focus distance and aperture setting.

Viltrox AF 35mm f/1.2 LAB FE: Functionality

• Customizable Fn (function) buttons
• Digital color screen
• Fast autofocus

Prime lenses are typically fairly straightforward but the 35mm f/1.2 LAB comes loaded with some innovative features that are extremely fitting for the modern world of photography. Not to mention, this functionality is extremely useful to photographers because we can customize aspects of the lens for a more personal shooting experience.

We’ve already briefly discussed the customizable Multi-Functional Ring, where you can change the setting that the ring controls, but there are also two customizable Fn (function) buttons. The options available for both are useful for personalizing lens functionality. This is achieved by connecting the lens via Bluetooth, to the Viltrox Lens app.

With the lens unattached from a camera, there’s a USB-C port on the lens mount where you can power the lens and connect the app to make these changes, update the lens firmware and customize the digital screen’s welcome screen. The color digital screen shows the focus distance and the aperture setting, as well as showing the active Fn (function) button.

Manual focus with the lens is extremely comfortable thanks to the wide focus ring with comfortable resistance, while its size makes it easy to use in low light and when wearing gloves. The same goes for the Multi-Functional Ring. By default, one of the Fn buttons is also set to zoom into the EVF and LCD screen image, which is perfect for manual focus on stars in the night sky.

While AF isn’t relevant for astrophotography, it performs well and locks onto subjects quickly and silently. The AF 35mm f/1.2 LAB features Quad Viltrox HyperVCM motors, which Viltrox claims are 150% faster AF speed over STM motors.

The silent aspect of the AF will be useful for videographers who use AF when capturing video, while the lens also supports subject recognition, which was tested and proved to be precise when using eye recognition while shooting at f/1.2.

Viltrox AF 35mm f/1.2 LAB FE: Performance

• Fantastic image quality overall
• Excellent Sharpness at f/1.2
• The sweet spot is f/8

Prime lenses are the holy grail of astrophotography because of the fast maximum aperture they typically offer. And with a lens with an f/1.2 maximum aperture, achieving excellent image quality is quite a challenge. The 35mm f/1.2 LAB doesn’t skip a beat when shooting wide open, and although it’s not perfect, it’s seriously impressive.

The 35mm f/1.2 LAB exhibits exceptional centre sharpness at f/1.2 but corner sharpness is quite soft. Edge sharpness, however, is excellent. Corner sharpness incrementally improves as you get closer to the centre of the frame and also as you stop down the aperture. f/4 is the earliest setting to show greatly improved corner sharpness.

Corner sharpness continues to improve until f/8, which is the sweet spot of the lens, before sharpness begins to fall off slightly as you continue to stop down. Vignetting is most present at f/1.2, as to be expected, and this remains pretty much the same until f/2, where it almost disappears. It’s at f/2.8 when vignetting completely disappears, although it’s no major issue because vignettes are easy to remove using photo editing software.

During testing, a shot was taken of a tree with a bright sky behind at f/1.2 to check for chromatic aberration and there was only the tiniest amount of fringing visible. This was easily removed using Lens Corrections in Adobe Lightroom. At the time of writing, there wasn’t a Lens Profile available in Lightroom to correct vignetting and any lens distortion.

Viltrox AF 35mm f/1.2 LAB FE: Price

The Viltrox AF 35mm f/1.2 LAB FE is available for the incredible price of just $999 / £959. This is one of Viltrox’s premium LAB series lenses and in the box you get the lens, a lens hood, front and rear lens caps and a soft lens case.

This lens is the Sony FE version and there will be a Nikon Z-mount version being released soon. So, to get a little context in terms of price for these two systems, the Nikon Z 35mm f/1.2 S costs $2797 / £2899, while the slightly slower Sony FE 35mm f/1.4 GM costs $1398 / £1429. This makes the 35mm f/1.2 LAB an absolute bargain when you consider the performance and build quality of the lens.

Viltrox AF 35mm f/1.2 LAB FE: User reviews

Online reviews for this lens typically agree that the Viltrox AF 35mm f/1.2 LAB FE is a fantastic lens overall, with excellent sharpness and fast autofocus. Users also report that the lens represents excellent value for money.

How we tested the Viltrox AF 35mm f/1.2 LAB FE

The Viltrox AF 35mm f/1.2 LAB FE was tested in combination with the Sony A7R V, which offers an unforgivingly high resolution. The lens was tested at night with a focus on astrophotography, and in daylight to assess sharpness, distortion and general functionality.

Should you buy the Viltrox AF 35mm f/1.2 LAB FE?

If you’re a Sony A1, A7 or A9 series full-frame camera owner looking for an ultra-fast 35mm lens, then look no further. The maximum f/1.2 aperture is perfect for lowlight and astrophotography, while image quality is fantastic overall. The focal length is also useful for other subjects, so this is a lens that could be extremely useful.

For a prime lens, the 35mm f/1.2 LAB is feature-packed with its small digital screen, two customizable Fn buttons, a customizable aperture/function ring with clicked or clickless operation and app-based firmware updates. It offers much more than most prime lenses. Build quality is excellent and the weather-sealed design makes it ideal for outdoor use.

If this lens isn't for you

35mm might not be wide enough for you, so if you’d prefer a fast prime with a larger field of view and excellent image quality, take a look at the Sony FE 20mm f/1.8 G lens.

There’s no getting away from the advantages of prime lenses, but for maximum versatility, you can’t go wrong with the impressive Sony FE 16-35mm f/2.8 GM II lens.

If you’re an APS-C Sony camera owner, the Sony E 16-55mm f/2.8 G lens offers a versatile focal range for astrophotography alongside a reasonably fast maximum aperture.

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85mm prime lenses are highly regarded for their excellent image quality and fast maximum apertures. This makes them a popular choice for different types of photography because of the focal length they provide alongside fast maximum apertures. This makes it an attractive lens for astrophotographers who require a short telephoto lens for capturing the night sky.

The Canon RF 85mm f/1.2L USM is something truly special but this large and heavy ultra-fast professional L-Series lens is large, heavy and expensive, with a price exceeding that of a handful of full-frame Canon mirrorless cameras. Just to give you some perspective on size and weight, the 85mm is 4.61-in / 117.3 mm long, with an eyewatering weight of 42.15 oz / 1195 g.

Image quality is fantastic with impressive levels of sharpness at f/1.2 and throughout the aperture range to the f/16 minimum. Plus, when shooting wide open, you can enjoy beautifully sharp subjects and smooth bokeh with an extremely narrow band of focus to highlight the subject.

The image quality of the lens makes it ideal for use at most apertures but it's the ability to take advantage of that fast maximum f/1.2 aperture, which is naturally going to be the main reason photographers will want this lens.

Canon RF 85mm f/1.2L USM: Design

• Simple design
• Large and heavy
• Excellent build quality

The 85mm f/1.2 is large and heavy as a result of that large maximum aperture; you're never going to get that down to a compact and lightweight package, so this is the physical and practical cost of such a lens.

When you see the dimensions of the lens on paper, it doesn't seem excessively large at 4.06 x 4.61 in / 103.2 x 117.3 mm but even when using it with the Canon EOS R1, which is a large professional camera with a built-in vertical grip, you can't help but notice its size.

The balance between this camera and the lens isn't too bad but attach the 85mm f/1.2 to a standard camera body such as the Canon EOS R5 Mark II and the combination becomes significantly front-heavy.

It's not surprising when the lens weighs a whopping 42.15 oz / 1195 g, which is heavier than many full-frame cameras. This isn’t to say the 85mm f/1.2 can’t be used with smaller camera bodies; it's just something to be aware of.

Being an L-Series lens with weather sealing, the build quality is excellent and can't be faulted. Not to mention, the sheer bulk of the lens indicates that it's something special because it's unlike 85 mm lenses with narrower maximum apertures, such as f/1.4.

The filter thread size is 82 mm, which is large for a short telephoto prime like this but is again a result of the optical construction required for such a fast lens.

The external design is fairly simple with just an AF/MF switch, a focus limiter switch and a lens control ring at the front end of the lens that can be programmed in-camera to adjust some camera settings. This is a lens that is substance over technological gimmicks.

Canon RF 85mm f/1.2L USM: Functionality

• No optical Image Stabilization
• Fast and silent autofocus
• Minimal features

In true prime lens fashion, this is a lens that offers no bells or whistles such as Optical Image Stabilization but this is no issue for astrophotography because cameras need to be tripod-mounted.

If you do shoot handheld, some full-frame Canon R-Series bodies feature In-Body Image Stabilization, so there can be a way around this. This is already a large and heavy lens, so adding this functionality to it would make it impractical.

Autofocus is fast, silent and accurate, which is great for both photography and video. Plus, the manual focusing ring is comfortable to use with a pleasant amount of resistance that allows for precise manual focus.

There is also the previously mentioned lens control ring that can be programmed to adjust certain camera settings. However, this is easy to accidentally turn on in the dark rather than the focus ring, so it's best left inactive for night photography.

The main feature of this lens is the optical construction that combines an 85 mm focal length with an f/1.2 maximum aperture. The lens is made up of 13 elements in nine groups with a nine-blade aperture. The minimum focusing distance is 33.5-in / 85 cm, which is pretty much standard for this focal length.

Canon RF 85mm f/1.2L USM: Performance

• Fantastic image quality
• Excellent sharpness at f/1.2
• Sharp throughout the aperture range

One of the main reasons photographers will buy this lens is to take advantage of that bright maximum aperture for shallow depth-of-field effects and to gather light. Plus, it's lovely and sharp at this aperture. This is fantastic news for astrophotographers because it means you can shoot at lower ISO settings.

Edge sharpness is at its lowest at f/1.2 but it's not bad at all, while the centre of the frame is beautifully sharp. This means it's still suitable for astrophotography and although the vignette is most noticeable at this setting, it's easily removed using Lens Correction in Lightroom and Adobe Camera Raw.

Edge sharpness improves massively when you stop down to f/2 and naturally increases further as you stop down to medium aperture settings. Vignetting is strongest at f/1.2 but reduces significantly at f/2 and Lightroom's Lens Corrections remove vignetting perfectly with only the tiniest amount of distortion correction.

The lens' minimum aperture of f/16 is nice and sharp but marginally less so than at f/8, which is to be expected. The only time you might need to stop down to f/16 is if you were using the lens for landscape photography but, even then, f/11 is sharper and would provide a similarly large depth-of-field. What's more, f/8 and f/11 are incredibly sharp and ideal for use with flash when shooting in a studio.

Canon RF 85mm f/1.2L USM: Price

The Canon RF 85mm is a high-end professional lens that can be used to capture a range of photographic subjects. And, as such, it comes with a professional price tag to match, with an eye-watering price of $2699USD / £2999GBP.

In a nutshell, it's the fast f/1.2 aperture, premium build quality, the excellent optical construction and the impressive image quality that you're paying for. When purchasing the lens, you also get a lens cap, rear lens cap, lens hood and a lens storage bag.

Canon RF 85mm f/1.2L USM: User reviews

Users of the Canon RF 85mm f/1.2L USM are hugely impressed by the sharpness of the lens alongside the pleasing bokeh it can produce.

One user reports that, 'The ability to pick up light also when doing night photography is unbelievable', while another said it's, 'A beautiful lens to add to my R5 Mark II. A win for Canon'.

This all comes as little surprise since this is one of the most impressive lenses Canon produces and is a must-have if you need this focal length.

How we tested the Canon RF 85mm f/1.2L USM

The Canon RF 85mm f/1.2L USM was tested with the Canon EOS R1 and the Canon EOS R5 Mark II at night, handheld and tripod-mounted to capture the night sky. Some test shots were taken in daylight to assess distortion and vignetting, where these issues would be more visible, if and where present, than when shooting at night.

Should you buy the Canon RF 85mm f/1.2L USM?

The Canon RF 85mm f/1.2L USM is a stunning lens capable of producing excellent image quality throughout its entire aperture range. f/1.2 is particularly impressive considering how wide it is and the sharpness it can produce.

It's a large and heavy lens, though, and it's front-heavy on smaller Canon bodies, not to mention it's incredibly expensive. But if you can justify it, you'll undoubtedly be impressed.

For astrophotography, it's the best short telephoto lens money can buy if your budget stretches far enough. You simply won’t find an 85 mm lens in the Canon RF mount that's as fast or can produce the same high level of image quality.

If this lens isn't for you

The Canon RF 15-35mm f/2.8L IS USM is a fast and sharp ultra-wide zoom that's perfect for astrophotography, making it a versatile choice for outdoor photographers.

If you'd prefer a wide-angle lens to capture the night sky, the Canon RF 24mm f/1.4L VCM offers a fast maximum aperture and great image quality for Canon EOS R cameras.

The Canon RF 35mm f/1.4L VCM is a fantastic lens for astrophotography because it offers a highly versatile focal length that sits between 24mm and 85mm.

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Do you have one of the best Nikon cameras and want to make the most of its photography power? Then you'll want a lens to match, which is why we have rounded up the best Nikon lenses.

You don't have to break the bank to level up your Nikon camera, though. The best Nikon lenses can be had for as little as a few hundred dollars, so you'll find something here to suit your pocket.

Just be aware that the weightier lenses will add bulk to your gear and may benefit from one of the best tripods. So let us help you choose the right Nikon lens, or if you're after a new camera body as well, we have also rounded up the best cameras.

The quick list

Below you'll find out our picks of the best Nikon lenses. Click 'Read more below' for a more in-depth look at each lens.

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Best Nikon lenses we recommend in 2025

Best Z-mount wide angle zoom lens

The Nikkor Z 17-28mm f/2.8 is an appealing wide-angle zoom lens for Nikon's mirrorless Z-mount system. Positioned as a compact and affordable alternative to the Nikkor Z 14-24mm f/2.8 S, this lens offers a versatile focal range from 17mm to 28mm with a constant f/2.8 maximum aperture. The optical design is comprised of 13 elements with extra-low dispersion (ED) and aspherical elements to minimize aberrations throughout the zoom range. The lens also features a stepping motor (STM) for smooth and quiet autofocus.

We are yet to review this lens but feedback from various user reviews highlight its strong performance for its price point and size. It is often praised for delivering sharp images across the frame and the f/2.8 aperture makes it suitable for low-light conditions. The lightweight construction comes in just under sixteen ounces, making it a highly portable option for travel, landscapes and astrophotography.

One significant advantage of this lens is its ability to accept standard 67mm screw-in filters, a feature often missing from other ultra-wide f/2.8 zooms with bulbous front elements. For regular filter users, this would be a great lens to invest in. The downsides to this lens are minimal but there are reports of barrel distortion at the 17mm focal length.

The Nikkor Z 17-28mm f/2.8 lens presents a compelling option for Z-mount users looking for a versatile and fast wide-angle zoom that balances performance with affordability. It is a great option for those who find the 14-24mm f/2.8 S too large or expensive but still want great wide-angle versatility.

Best Z-mount wide angle prime lens

The Nikkor Z 35mm f/1.4 lens is a highly anticipated addition to Nikon's Z-mount prime lineup, offering a beloved focal length with an ultra-fast f/1.4 aperture. This lens is designed for full-frame Z-series cameras such as the Nikon Z8 and Nikon Z9. It features 10 elements, including aspherical elements, to control aberrations and ensure high image quality. The wide f/1.4 aperture makes it an excellent choice for astrophotography, shallow depth of field effects and capturing atmospheric shots with smooth background blur.

While we haven't conducted a hands-on review of this specific lens, based on its specifications and Nikon's track record with Z-mount primes, we expect it to deliver strong center sharpness with some potential for softness in the extreme corners when wide open. Some user reviews report minor chromatic aberration and vignetting when wide open but it is not a huge amount of distortion.

The lens design includes a customizable control ring, standard on many Z lenses, which can be assigned to adjust aperture, ISO or exposure compensation. Its relatively compact build makes it a comfortable companion for extended shooting sessions and ideal for 35mm astropphotography, portraits and everyday shooting. The lens is also compatible with traditional screw-in filters and has a 62mm filter thread.

The Nikkor Z 35mm f/1.4 is an important stop on the Z-mount lens roadmap, providing a high-performance alternative to the existing f/1.8 S-line primes for photographers who prioritize a huge aperture. Its optical design is geared towards delivering smooth bokeh and excellent image quality, making it a compelling option for enthusiasts and professionals alike.

Best 50mm lens

The Nikkor Z 50mm f/1.4 lens is Nikon's offering of a "nifty fifty" lens for the Z-series cameras. It combines the classic 50mm focal length and a huge f/1.4 aperture to provide excellent optical performance for full-frame Z cameras, making it a staple for low-light, portrait and astrophotography. It incorporates 12 elements with aspherical elements to minimize optical aberrations and ensure the best image quality. The wide f/1.4 aperture allows for great light gathering and enables faster shutter speeds in dim environments. Perfect for shooting astro where you want to stars to be in pinpoint focus or if you want to isolate a subject with smooth bokeh in the background.

We haven't reviewed this model yet but based on its specifications and some online user reviews, we think it would be a great Z-mount lens for someone who shoots in a lot of low-light or does portrait photography. Users have praised its impressive sharpness, particularly from f/2.8 onwards. Like some other fast primes, minor vignetting and chromatic aberration may be present at f/1.4, but these are easily correctable in post-processing.

The design of the Nikkor Z 50mm f/1.4 is relatively lightweight, making it a comfortable lens to carry for long shoots or when travelling. Some users may find the plastic housing not robust enough for getting knocked around on the job, but it is weather sealed against moisture and dust. It features a customizable control ring, allowing users to assign functions like aperture, ISO, or exposure compensation. The filter thread size is a common 62mm size so it's easy to use with any 62mm filters you might already have.

For Z-mount users seeking a fast and strong 50mm prime, the Nikkor Z 50mm f/1.4 offers a brilliant balance of performance, size and value. It stands as a strong alternative to the S-line 50mm f/1.8 lens for those who require a bigger aperture for capturing large amounts of light.

Best telephoto zoom lens

The NIikkor Z 70-200mm f/2.8 VR S is Nikon's flagship telephoto zoom for its Z-mount system forms a part of its high-performance S-line. This lens is designed to deliver sharp images with speed, an essential tool for professional photographers covering sports, wildlife and astrophotography. It boasts a complex optical design of 21 elements featuring extra-low dispersion (ED), fluorite and short-wavelength refractive (SR) glass elements, along with Nikon's nano crystal coat and ARNEO coat to eliminate chromatic aberration, flare and ghosting.

In our full Z 70-200mm f/2.8 VR S lens review we remarked on the edge-to-edge sharpness, even when wide open at f/2.8 and across the entire zoom range. Autofocus is silent, accurate and powerful thanks to its multi-focusing system, ensuring critical sharpness on moving subjects. The built-in vibration reduction (VR) and f/2.8 aperture allow for steady handheld shooting at slower shutter speeds than typically possible. We were particularly impressed with its versatility for astro work, despite being a telephoto, thanks to its fast aperture and excellent clarity.

The lens features an internal zoom mechanism, meaning the physical length does not change when zooming. It is extensively weather-sealed so you don't have to worry about using it in challenging conditions. It also includes an OLED display panel for settings reference, a customizable control ring and two Fn buttons. While it is a significant piece of kit, weighing over 3 pounds, its balanced design on Z-series bodies is manageable, especially with the tripod collar.

Even though the price tag is eye-watering and some users have noted a "cat's eye" effect in the bokeh at f/2.8, the Nikkor Z 70-200mm f/2.8 VR S lens stands as one of the best 70-200mm lenses available on any system. Its uncompromising performance and advanced features make it one of the best telephoto lenses that will deliver breathtaking results in almost any scenario.

Best ultra wide angle lens

The Nikon Z 14-24mm f/2.8 S is the flagship ultra-wide zoom lens for Nikon's Z-mount camera system and is designed to deliver superior light gathering ability from an f/2.8 alongside a highly versatile focal range between 14-24mm. This S-line lens builds upon the legacy of its F-mount predecessor, offering a more refined optical design and a more compact form. The lens design features 16 elements, including four extra-low dispersions (ED) elements and three aspherical elements, along with Nikon's advanced lens coatings to minimize chromatic aberration and ghosting even in challenging lighting conditions.

We haven't reviewed this lens yet but the user reviews indicate that the Z 14-24mm f/2.8 S offers phenomenal sharpness from corner to corner, even at the maximum f/2.8 aperture. Users note that distortion and vignetting are well-controlled and require minimal correction in post-processing.

This lens also has the ability to accept screw-in filters, with two lens hoods coming included to allow for either. Unlike its F-mount counterpart, the Z 14-24mm f/2.8 S ships with two lens hoods, a smaller HB-96 and a larger HB-97 that allows the use of 112mm filters. Despite its pro-level optics, Nikon has managed to keep the weight down to a remarkable 22.9 ounces, which is much lighter than many comparable lenses.

The Nikon Z 14-24mm f/2.8 S represents a significant development in wide-angle zoom design for mirrorless systems and is a premium lens, which means it comes with a premium price tag of over $2000. Even when considering the price, practical features like filter compatibility, relatively lightweight build, constant f/2.8 aperture and versatile zoom range, it still stands out as a top-tier choice for Z-mount photographers engaged in wide-angle pursuits.

Best F-mount wide angle lens

The Nikon AF-S 14-24mm f/2.8 ED is a versatile lens for Nikon's F-mount DSLR cameras. This ultra-wide zoom lens is designed for full-frame DSLRs but can also be used on APS-C DSLR bodies too, where it provides an effective focal length of 21-36mm. Its optical construction includes 14 elements in 11 groups, with extra-low dispersion glass and aspherical elements to minimize chromatic aberration and distortion. The f/2.8 constant aperture ensures excellent low-light capability and shallow depth of field control.

In our full Nikon AF-S 14-24mm f/2.8 ED lens review we were consistently impressed with the edge-to-edge sharpness, even at its widest apertures. Vignetting, while present at 14mm f/2.8, was manageable and typical for an ultra-wide lens. We found the autofocus to be quick and quiet thanks to Nikon's silent wave motor (SWM) technology. The manual focus ring is smooth with a good amount of rotation, allowing for precise adjustments.

One distinctive feature is its permanently attached petal-shaped lens hood, which protects the bulbous front element but unfortunately prevents the use of traditional screw-in filters. If you are a landscape photographer who relies on polarizing or neutral density filters, you would need to look at getting specialized filter systems to use with this lens. Despite this, its strong optical performance for astrophotography, wide landscapes, and architectural shots makes it a go-to for many professionals.

The lens is a "G" type, meaning it lacks an aperture ring and aperture control is handled directly by the camera body. Priced as a professional-grade optic, it represents a significant investment, but its build quality and optical prowess ensure it will be a reliable workhorse for years. Its ability to maintain sharpness even at its widest apertures makes it a prime candidate for capturing the night sky.

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Best Nikon Lenses FAQ

How we test

When we test and review Nikon lenses, we put them through testing that includes everyday shooting and astrophotography. We look at the specs and see how they translate to real-life experience.

If a lens has a faster aperture, we would expect better low-light performance and good bokeh. When looking at focal lengths, we see whether the optical quality is maintained with aberration and distortion under control, especially on zoom lenses, where quality is sometimes sacrificed for the zoom ability. We also take into account autofocus quality as well as any additional features like custom function buttons or rings and image stabilization technology.

We call in Nikon lenses with Nikon camera bodies so that we are optimizing their performance and replicating their real-life usage. While we haven't tested all of the models in this guide, we are in the process of calling them in to review. When commenting on a model that we haven't had hands-on testing with, then we look at the specs and user reviews to gauge whether it would be worth including in our guide.

Sony cameras are renowned for their quality, but if you're not using the right lens, you may not be getting the most out of your Sony camera. That's why we have put together an expert guide to the best Sony lenses.

Our guide covers both prime and zoom lenses and it's important to understand the difference. The former have a fixed focal length, meaning you have to physically get closer to your subject. Typically, you'll get better optical quality from prime lenses but the trade-off is the lack of zoom.

Another factor to bear in mind is just how much bulk you want to add to your kit. We have detailed the weight of each lens, but the heavier your equipment is, the more likely it is that you'll need one of the best tripods. So read on, and let us help you choose the right Sony lens. Or if you want to look at the best camera models out now, we have a guide to the best cameras.

The quick list

Below you'll find out our picks of the best Sony lenses, alongside a brief explanation of how and why they stand out. Click 'read more below' for a more in-depth look at each lens.

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Best Sony lenses we recommend in 2025

Best FE wide angle prime lens

The Sony FE 14mm f/1.8 GM lens is a testament to Sony's G Master series, offering an incredibly wide 14mm focal length paired with a super-fast f/1.8 aperture. Despite its impressive specifications, it boasts a remarkably compact design and weighs just over 16 ounces (460 g). It's an ideal companion for Sony E-mount full-frame cameras, particularly for those looking to capture expansive astro shots, wide landscapes and architectural shots. The optical designs features 14 elements including two extreme aspherical elements and one super extra-low dispersion element which are designed to deliver superb resolution from corner to corner.

The lens performed well during astrophotography testing in our full Sony FE 14mm f/1.8 GM lens review. Its wide-open sharpness is truly impressive, with coma aberration well controlled, leading to pinpoint stars across the frame. The f/1.8 aperture allows for significant light gathering, enabling shorter exposure times or lower ISO settings, something that helped us get clear photos of the Milky Way during our testing. The fast and quiet autofocus, powered by two linear Motors, proved reliable even in low-light conditions.

While the lens offers outstanding image quality, it does come with a few considerations. The bulbous front element means there's no traditional front filter thread, requiring the use of rear gel filters or specialized external filter holders. We also observed noticeable vignetting at f/1.8, though this is common for ultra-wide lenses and can often be corrected in post-processing. The build quality is as expected for a G Master lens, featuring a robust dust and moisture-resistant design, making it suitable for challenging conditions.

The lens also includes a customizable focus hold button and a de-clickable aperture ring, which is a valuable feature for videographers. Its minimum focus distance of 9.8 inches (25 cm) allows for interesting close-up perspectives, although its primary strength lies in its wide-angle capabilities. The Sony FE 14mm f/1.8 GM lens is a significant investment, but its performance and portability justify the cost for serious photographers and astrophotographers.

• Read our Sony FE 14mm f/1.8 GM lens review

Best E prime lens

The Sony E 11mm f/1.8 lens is part of Sony's APS-C E-mount lineup, designed specifically for cameras with the smaller sensor format. Its headline feature is the ultra-wide 11mm focal length combined with a fast f/1.8 maximum aperture, making it highly versatile for a range of subjects from landscapes to astrophotography. With a weight of just 6.3 ounces (178 g) it is one of the lightest and smallest lenses in its class, complementing the compactness of Sony's Alpha APS-C cameras.

In our full Sony E 11mm f/1.8 lens review, we found this lens truly excelled in its astrophotography tests, it managed to capture the Milky Way and skies full of pin-sharp stars. We also thought it would perform well for many different photography styles, including cityscapes, architecture and landscapes.

However, like many ultra-wide lenses, it's not without its quirks. We noted some visible vignetting at f/1.8, particularly in the corners, though this can often be corrected in post-processing. The lens includes an assignable focus hold button and a linear response manual focus for precise control.

The Sony E 11mm f/1.8 lens has a dust and moisture-resistant design, adding to its durability. Its 55mm filter thread is a common size, making it easy to share filters with other lenses. While it is an APS-C dedicated lens, its performance and form factor make it an attractive option for photographers seeking a portable and capable ultra-wide perspective without the full-frame cost. It has an accessible price point but still delivers the high-quality performance associated with the Sony E-mount system.

• Read our Sony E 11mm f/1.8 lens review

Best E zoom lens

This is Sony's answer to a professional-grade standard zoom lens for its APS-C E-mount cameras, such as the A6000 series or ZV series. It is equivalent to a 24-82.5mm lens on a full-frame model and it features a constant f/2.8 maximum aperture, making it a great option for everything from everyday photography to specialist styles like astrophotography and portraiture. The lens is surprisingly compact for its specifications and balances well on smaller APS-C bodies. Its optical construction features two advanced aspherical elements, two aspherical elements and three extra-low dispersion glass elements to ensure high resolution and minimal aberrations.

In our Sony E 16-55mm f/2.8 G lens review, we noted the high image quality across the zoom range, even when wide open at f/2.8. Autofocus performs well in good light but can struggle in low-light settings. That being said, the f/2.8 aperture is suitable for astrophotography and produces smooth bokeh for top-notch subject isolation. This fast aperture is constant across the entire zoom range, meaning you can control depth of field at any focal length.

One notable absence from this lens is optical image stabilization (OIS). While many modern Sony APS-C cameras feature in-body image stabilization (IBIS), users with older bodies or those who prefer optical stabilization might find this a drawback. We did observe tiny amounts of barrel distortion at the wider end of the zoom range, which is common for lenses of this type but is easily correctable in post-processing. The front lens element has a fluorine coating which repels water and oil, adding more protection to the robust waterproof design.

The Sony E 16-55mm f/2.8 G includes a customizable focus hold button and a zoom lock switch. This lens is a premium offering within the APS-C ecosystem but if you demand the best optical performance, it proves to be a worthwhile investment to elevate your photography.

• Read our Sony E 16-55mm f/2.8 G review

Best FE zoom lens

The Sony FE 12-24mm f/2.8 G Master lens is a top-of-the-line ultra-wide zoom for Sony's full-frame E-mount cameras. It brings a range of wide-angle focal lengths and powerful low-light performance from the constant f/2.8 aperture. Despite its advanced optics, it maintains a manageable size, measuring 3.8 x 5.2 inches (97.6 x 137 mm) and weighing 1.86 pounds (847 g). The optical design features 17 elements with three extreme aspherical elements, one aspherical element, three extra-low dispersion (ED) glass elements, two super ED glass elements, all working together to eliminate aberrations and deliver sharpness edge to edge.

In our full Sony FE 12-24mm f/2.8 G Master lens review, we rated the image quality highly and found sharpness from edge to edge, even at f/2.8, and particularly at the 12mm focal length. It is an ideal choice for capturing pinpoint stars during astrophotography, when edge-to-edge sharpness is needed. The autofocus system is driven by four extreme dynamic (XD) linear motors, and is fast and precise, capable of keeping up with demanding shooting scenarios.

The optical design has a bulbous front element, necessary for achieving such a wide field of view with a fast aperture but it means that traditional screw-in filters won't work. The lens boasts the typical G Master build quality, with a dust and moisture-resistant design and a fluorine coating on the front element for easy cleaning. The barrel of the lens features a custom focus hold button and a zoom lock switch.

The Sony FE 12-24mm f/2.8 G Master lens is a high-end piece of glass and this is reflected in its price. However, for professional landscape, architectural, and astrophotographers who require a super wide perspective with no compromises on image quality or aperture, this lens will be a welcome companion.

• Read our Sony FE 12-24mm f/2.8 G Master lens review

Best 50mm lens

The Sony FE 50mm f/1.4 GM lens is another G-master lens that combines optical quality with a rapid aperture. With a max aperture of f1/.4, this lens provides great low-light performance, creamy bokeh and great subject isolation. weighing in at 18.2 ounces (516 g), it is considerably lighter and smaller than the Sony FE 50mm f/1.2 GM lens. Its optical construction includes two extreme aspherical elements and one extra-low dispersion lens element to control aberrations and maintain sharp resolution.

In our full Sony FE 50mm f/1.4 GM lens review we praised the 50mm focal length, which provided a natural field of view for portraits and still life images. The fast f/1.4 aperture made shooting in dim environments a breeze and captured plenty of light. The fast f/1.4 aperture produced acceptable results when paired with the Sony Alpha A1 II. Vignetting and coma distortion are well under control thanks to the G-master quality optics.

Some reviewers have noted a degree of focus breathing, which can be a concern for videographers, although newer Sony cameras offer in-camera compensation for this. This lens features the classic dust and moisture-resistant construction with a fluorine coating on the front element, which repels moisture and oil. The aperture ring has a de-click switch for silent aperture transitions during video recording, along with two custom focus buttons.

With a 67mm filter thread, it's compatible with a wide range of standard filters. The Sony FE 50mm f/1.4 GM positions itself as a lens option that bridges the gap between Sony's accessible 50mm primes and the flagship f/1.2 GM lens. It offers the same optical excellence of the f/1.2 but in a more portable package. It is a premium lens, but its performance and versatility make it a strong contender for any Sony photographer.

• Read our full Sony FE 50mm f/1.4 GM lens review

Biggest aperture lens

The Sony FE 50mm f/1.2 GM is Sony's flagship standard prime lens, boasting a massive f/1.2 maximum aperture for their E-mount system. This aperture allows for incredible low-light shooting but also creates an exceptionally shallow depth of field for perfect subject isolation and beautiful bokeh. Sony has managed to keep its size and weight manageable and is one of the lightest f/1.2 lenses available at 1.71 pounds (778 g). The lens design features extreme aspherical lens elements to minimize aberrations and eleven diaphragm blades to produce a smooth circular aperture, crucial for perfect bokeh.

While we haven't specifically reviewed the f/1.2 model, we have reviewed the Sony FE 50mm f/1.4 lens and were thoroughly impressed with its low-light capability and subject isolation. We can only expect the f/1.2 version of this lens to have even better low-light ability and more exquisite bokeh. Its reception across the photography community has been overwhelmingly positive. Reviewers consistently praise its optical performance, with sharpness being outstanding even wide open at f/1.2, extending well into the corners. Photographers also love the rapid and precise autofocus, which is powered by extreme dynamic linear motors.

As with any ultra-fast prime, there are some minor trade-offs. Some vignetting has been reported at f/1.2 but this is easily correctable in post-processing or by stepping down the apertures. While it is one of the lightest f/1.2 lenses available, it is still a hefty lens to use for handheld shooting and could make your setup significantly heavier.

Some vignetting is present at f/1.2, but it quickly dissipates as the aperture is stopped down and is easily correctable in post-processing. While it is more compact than some f/1.2 rivals, its weight is still substantial, particularly for extended handheld use.

The Sony FE 50mm f/1.2 GM sits at the top of Sony's prime lenses and is designed for photographers and videographers who demand the absolute best in terms of light-gathering capability and artistic control over depth of field. The professional grade G-master optics are dust and moisture resistant with a fluorine coated front element to help keep it clean. This lens is one of the sharpest tools available to the modern Sony photographer and delivers top-notch performance but it does come with a premium price tag of over $2000.

Best telephoto lens

The Sony FE 70-200mm f/2.8 GM OSS II represents a significant leap forward from its predecessor. The second-generation G Master lens is designed for Sony's full-frame E-mount cameras, offering a constant f/2.8 maximum aperture throughout its versatile 70-200mm focal range. For a lens of this class it is remarkably light at 2.3 pounds (1045 g) The optical design features an extreme aspherical element, two extra-low dispersion (ED), two super ED elements and an aspherical element to maintain sharpness edge to edge. It also has Sony's Nano AR coating II to minimize flare and ghosting.

In our full Sony FE 70-200mm f/2.8 GM OSS II review, we were impressed with sharpness across the entire zoom range, even while wide open at f/2.8. While not a typical astrophotography lens, we still managed to attain great results when shooting pictures of stars with this lens. The autofocus is powered by four extreme dynamic linear motors and is fast, precise and quiet, making it a great option for tracking fast-moving subjects in sports or wildlife photography. The built-in optical steadyshot (OSS) system is effective and has three different modes to switch between general use, panning use and active framing.

At over $2500, this lens is made for professionals who shoot a lot of telephoto stills in low-light. It is expensive but it does feature the best G-master optics, constant f/2.8 aperture and sharp detail across the frame. It also makes a good video lens as it has a de-clickable aperture ring and zoom smoothness switch for quiet and effortless transitions. The fluorine coating on the front element allows for easy cleaning and a moisture-resistant build ensures it has reliable operation in challenging environments.

The Sony FE 70-200mm f/2.8 GM OSS II has the standard 77mm filter thread so it will work with a wide range of existing filters. It also comes with a dedicated tripod collar for better balance when mounting, this is especially useful for those shooting deep astro. For Sony camera users who shoot a lot of professional telephoto stills, this is an essential lens that combines a fast aperture across a varied focal range with the best glass on the market.

• Read our Sony FE 70-200mm F2.8 GM OSS review

Best sony lenses FAQ

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How we test the best sony lenses

To make sure that you are getting informed reviews about Sony lenses, we try to test each lens so that we can discuss its performance in the field. We have tested every lens in this guide apart from the Sony FE 50mm f/1.2 lens but we our comments are informed by our experience with the f/1.4 model and user reviews online.

Our expert reviewers are professional photographers, so you can trust their opinions about the best Sony lenses. Our reviewers use Sony lenses with Sony camera bodies to make sure that the lens has optimized performance. When testing out a lens, we usually review it for a couple of weeks and shoot astrophotography as well as everyday shooting to get a feel for the product.

During our testing, we look at features like aperture size, focal length and optical sharpness and see how those features translate to real-world astro use. A wider maximum aperture like f/1.4 should theoretically be a good astrophotography lens because of its light-gathering ability. We check the high-quality optics offered from Sony at a premium price and double-check whether they live up to the price.

Looking to upgrade your Canon camera? Changing the lens can give it a new lease of life, but with so many lenses on offer, where do you start? With help from our expert reviewers, we have rounded up the best Canon lenses. It is important to note that Ef lenses are for Canon's DSLR range and RF lenses are for use with Canon's EOS R range of mirrorless cameras. Our guide to the best Canon cameras can give you a more detailed look at the range of Canon cameras that are available.

You don't have to have a Canon camera either, you can buy lens adapters that will let you use Canon's lenses on the best cameras. If you are after a non-Canon lens, we have a guide to the best lenses for photo and video. Our guide to the best cameras for astrophotography is the best place to look if you are in the market for a new body.

There is a huge range of Canon lenses to choose from that are suitable for all kinds of photography, including astro. We have selected lenses that suit a range of purposes and pockets, from wide-angle lenses to ultra-powerful telephoto lenses. So, whether you are a pro or an enthusiastic amateur, now is a great time to eye up which Canon lens would be right for your Canon camera with the holiday season upon us.

The quick list

Below you'll find out our picks of the best Canon lenses for astrophotography, with explanation of what or who they're best suited to. Click 'Read more below' for more in-depth specs and reviews for each lens.

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Best Canon lenses we recommend in 2025

Best ultra wide-angle lens

The Canon RF 10-20mm f/4 L IS STM is Canon's widest sngle lense and, with up to an astonishing 130˚ field of view, it absolutely shows.

It's weather-sealed, as with the rest of Canon's L range, and is ideally suited to capturing landscapes, architecture, the night sky and more. That said, while it will capture a wide swathe of the cosmos, its f/4 aperture isn't as light-gathering as some of the other models on our list.

Despite this, it's surprisingly lightweight, light enough to be held in your hand, making its 5 stops of stabilization a real boon.

User reviews:

Users are seriously impressed with this lens, in particular its use for landscape photography. They compare it to a fisheye, though with less distortion.

Best RF wide-angle lens

This Canon RF 16-28mm f/2.8 IS STM lens is pleasingly lightweight, coming in at under 500g. It's dust and moisture resistant, though not specifically weather sealed. It doesn't come with a lens hood, likely a cost-cutting measure, but you can purchase one separately.

You can count on the Canon RF 16-28mm f/2.8 IS STM to deliver excellent quality images. It boasts 5.5-stops of optical image stabilisation to eliminate judder, and its f/2.8 fixed aperture is a boon for low-light shooting, astrophotography included.

User reviews:

Users of this lens report being happy with its image quality, praising its image stabilization in particular. They also mention its whisper quiet autofocus is excellent for video and it compares to other cameras at higher price-points.

Best RF lens for astrophotography

The Canon RF 20mm f/1.4 L VCM is part of Canon's hybrid range, designed to offer a combination of pro-cinema lenses with the best photography glass. The f/1.4 aperture makes it great for astrophotography and lets lots of light into the sensor. Combined with a 20mm wide focal length, this lens helped us capture a wide portion of the night sky during our astrophotography testing.

We captured the constellation Orion amid the starry night sky and were seriously impressed with the results. Whilst the ultra-low dispersion (UD) elements did prevent most chromatic aberration, we did spot some purple color fringing when zoomed into the stars of Orion's belt, but this is to be expected when shooting wide open on very bright subjects. It was a half-illuminated moon during our shoot, though, so we weren't able to test its full ability to capture faint celestial objects, although we did manage to get a decent capture of Orion's nebula (M42) despite the moonlight.

Coma is controlled well on this lens too, thanks to the aspherical elements, and even when we found it, it was minimal and at the very edge of the frame. As is usually the case with f/1.4 lenses, there is always a chance of slight aberrations and distortions when shooting wide-open, so you can mitigate this by stopping down slightly to f/1.8 or f/2.

Other premium features included in this lens are a manual iris ring for silent aperture control, an iris lock to keep the aperture fixed to auto and a customisable control ring for changing exposure settings. These would be too much for a beginner photographer but if you are a wide-field astro enthusiast, then it could be worth spending $1800 on.

It doesn't have built-in image stabilization, meaning you'll need to couple it with a camera that has in-body image stabilization (IBIS) if you need it, but if you are buying for astrophotography, then this probably won't bother you as you will most likely be using a tripod anyway.

Biggest aperture lens

At a massive f/1.2, this camera's massive aperture drinks in light, making it an excellent option for close-up astrophotography such as photographing planets. However, it's not a wide-angle lens so it's less suitable for capturing the whole cosmos.

Its quality is superb, offering super sharp images, with the kind of quality optics you'd expect from Canon. Even five years after its release, this remains one of Canon's most impressive lenses. Its manual focus ring and digital control ring give you the power to fine-tune your shots.

The trade off, apart from it not being cheap, is that it's a huge lens, weight around 3lbs / 1360g. Be prepared for this to add a lot of heft to your camera, particularly if you've got a compatible but compact DSLR.

User reviews:

With its 85mm range, it may not be seen as a complete all-rounder, but users report it offering excellent quality for landscapes, portraits and more. A few have stated autofocus makes an audible noise, which could be an issue if recording video.

Best telephoto lens

At nearly six pounds, the Canon RF 100-300mm f/2.8 L IS USM requires a sturdy tripod, but the results it'll deliver make it worth the effort. It offers stunning image quality at all zoom levels; it may have a hefty price tag but you're getting what you pay for.

This lens's excellent low-light performance means it's outstanding for astrophotography and night-time wildlife shoots. Its manual zoom, focus and control rings give offer you price control over your shoot.

It doesn't support drop-in filters, only screw on-filters, which may be a disappointment to some. But if you're looking for the ultimate Canon telephoto lens, this is it.

User reviews:

Users of this lens praise it as one of the best telephoto lenses they've used. They're stunned by with its image quality, mentioning that there's next to no distortion.

Best EF wide-angle lens

In our review of the Canon EF 16-35mm f/2.8 L III USM we said "It delivers superb results worthy of its price tag", and that still stands. This isn't a cheap lense, but it delivers superb image quality, with fast and accurate autofocus.

It has the flexibility to capture impressive wide-field images of virtually any subject, low-light shoots included. It lacks image stabilization, but its color correction is hard to beat and we rank it as one of the best cameras for astrophotography. Its superb build quality is the icing on the cake.

User reviews:

Users of the Canon EF 16-35mm f/2.8 L III USM are similarly positive about this lens, praising not only its image quality and autofocus but also its versatility. The only real complaints relate to its weight.

• Read our Canon EF 16-35mm f/2.8L III USM review

Best EF lens for astrophotography

If you're after a lens that excels at astrophotography and has the quality and performance for general use, the Canon EF 24mm f/1.4 L II USM is for you. Its massive aperture drinks in light, and its has an impressively wide field of view. It doesn't have image stabilization, so you'll need a camera that does have IS. However, astrophotographers will likely be using a tripod anyway.

Its 24mm focal range means it's not ideal for close up portraits but it's excellent for shots where you want to show a subject in context. And while no-one wants to get rained off, the lens is weather-sealed to prevent water damage.

User reviews:

Users are mostly positive about this lens, praising its ability to capture stunning images of the cosmos. Some but not all have mentioned vignetting at full aperture, though going down a couple of stops vastly reduces it.

Best Canon lenses: Comparison

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Best Canon lenses: Frequently Asked Questions

To get the best results from your Fujifilm camera, you need a top-notch Fujifilm lens to go with it. Fujifilm has carved out a niche that focuses on creativity, tactile control and stunning image quality. This guide will go through some of the best XF and GFX lenses for Fujifilm cameras.

We've tested a range of lenses and detailed exactly what makes each lens special. You don't have to stick with one lens; professional photographers and serious enthusiasts often have several lenses on hand and switch between them as the situation dictates. Our guide will cover a variety of lenses that offer telephoto capability, superfast apertures and wide angles while considering their value and technical prowess.

We've given the weight of each lens, and the heavier lenses may need one of the best tripods. If you are looking for a new camera body, check out our guide to the best Fujifilm cameras. If you're after a new camera body as well, see our guides to the best Fujifilm cameras and the best cameras.

The quick list

Below, you'll find our picks for the best Fujifilm lenses. Click "Read more below" for a more in-depth look at each lens.

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Best Fujifilm lenses we recommend in 2025

Best XF wide zoom

The Fujifilm XF 16-55mm f/2.8 LM WR II is the second version of Fujifilm's flagship standard zoom on the X-mount system. It's designed to be the ultimate all-rounder, capable of handling everything from astrophotography to wide-angle landscapes and portraits. Compared with its predecessor, this iteration of the lens is 37% lighter and more compact, making it perfect for everyday shooting.

During our astrophotography testing, the Fujifilm XF 16-55mm f/2.8 LM WR II performed well and captured a wide range of celestial phenomena, including the Orion Nebula, Mars and the Big Dipper. The fast f/2.8 aperture let in lots of light, and the variable focal length allowed us to shoot different targets. For example, we used the full 55 mm focal length to photograph the Orion Nebula and the wide focal lengths for larger targets, like the Big Dipper. Yes, star trails become slightly more pronounced with more zoom, but pairing this lens with one of the best star trackers would create crystal-clear nightscapes.

The lens is weather sealed in 12 points, making it a good choice for challenging conditions involving dust and moisture. There is also a "click" switch for the aperture ring that can silence or enable the tactile clicking sound that accompanies the switching of apertures. Although this lens lacks optical image stabilization (OIS), many newer Fujifilm cameras feature in-body image stabilization (IBIS), so this is only an issue if your camera body lacks it.

The Fujifilm XF 16-55mm f/2.8 LM WR II is a high-performance lens for Fujifilm X-series users. It has a constant f/2.8 aperture, meaning it will keep that aperture value for the entire range of focal lengths, and it is more portable than its predecessor. This is surely an essential lens for any serious photographer.

Best XF ultra-wide zoom

This lens is designed for X-mount photographers who need ultra-wide capabilities while maintaining a fast f/2.8 aperture. It is ideal for capturing sprawling landscapes, wide star fields and large architecture. It has a robust construction and contains aspherical lens elements that work to minimize aberration and ensure edge-to-edge sharpness.

During our astrophotography testing, we used this lens with both the Fujifilm X-H2 and the Fujifilm X-T50 to photograph wide star fields and identify the Pleiades, Orion and Taurus. The extra-low dispersion (ED) and super ED elements were good at minimizing chromatic aberration. Although some was still visible in extremely zoomed-in shots, we managed to sustain detail across the whole frame.

The constant f/2.8 aperture across the zoom range offers consistent exposure and depth-of-field control — a significant advantage for those who shoot in variable light. The lens has high optical prowess. However, it may not be suitable for photographers who rely on standard screw-on filters because the convex front element prevents their use.

Despite being large and heavy, the Fujinon XF 8-16mm f/2.8 R LM WR is a cornerstone lens for those who regularly shoot at wide angles. At just under $1,500, this is not a cheap lens, but it offers amazing optical quality and range for APS-C photographers.

Best XF wide prime

The Fujifilm XF 18mm f/1.4 R LM WR impressively combines a fast f/1.4 aperture and strong optical quality, delivering bright images of star fields and capturing faint objects in the night sky. This is equivalent to 27mm on a full-frame system and is a versatile prime lens for a range of photography types.

When we tested the Fujifilm XF 18mm f/1.4 R LM WR for astrophotography, we captured bright star fields featuring the Orion Nebula, Mars, and the Pleiades and Beehive star clusters. We used this lens with a Fujifilm X-T50 and found that there was some chromatic aberration present in the raw image files. However, this was easily fixed by lens correction applied during JPEG formatting in-camera or correction in Adobe Photoshop.

In line with Fujifilm's focus on manual controls, there is an aperture ring that allows for intuitive exposure adjustments and a lock button that prevents the ring from slipping into auto-aperture. It doesn't feature optical image stabilization, but in-body image stabilization in newer Fujifilm cameras compensates for this omission.

The Fujifilm XF 18mm f/1.4 R LM WR is priced just under $1,000, which is more expensive than rival models, such as the Sigma 16mm f/1.4 DC DN and the Viltrox AF 13mm f/1.4. Even with this in mind, there is no denying that this lens is an investment that pays you back in amazing image quality and performance. This lens can upgrade your Fujifilm camera's astrophotography ability. We even tried it on a small Fujifilm X-M5, and it captured the Orion Nebula!

Best 50mm lens

The Fujifilm Fujinon XF 50mm f/2 R WR falls into the portrait and general-purpose telephoto category. It belongs to a series nicknamed "Fujicron" cameras, which are known for their compact size, weather resistance and fast f/2 apertures. It also features an aspherical low-dispersion (ED) element to minimize aberration and deliver sharp details.

We haven't tested this model yet, but we would expect it to be an excellent-value lens that delivers a fast aperture and reasonable astrophotography performance. The stepping motor autofocus is not as blazingly fast as linear motors, but it is still quick and quiet, according to user reviews. Its robust, all-metal construction and weather-resistant sealing make it durable and usable in challenging conditions.

Further user feedback praises the tactile focus ring and clicky aperture ring. Others thought the small size made this lens perfectly balanced on most Fujifilm X-mount bodies. Some users may want a smoother bokeh effect with a wider aperture, but the f/2 aperture on this lens produces a pleasing bokeh effect that isolates subjects.

For photographers seeking a lightweight, sharp and affordable lens for portraits and other general telephoto work, the Fujifilm Fujinon XF 50mm f/2 R WR would be a great choice at just under $400.

Best medium-format wide prime

The Fujifilm Fujinon GF 30mm f/3.5 R WR is a key wide-angle prime lens for Fujifilm's class-leading medium-format system. Offering a 35mm-equivalent focal length of 24mm, it provides a broad perspective while maintaining the exceptional detail and rendering that GFX users expect. The lens contains 13 optical elements, including two aspherical and two low-dispersion (ED) elements to control chromatic aberration and retain sharpness across the sensor.

The general consensus is that this lens lives up to the reputation of the G-mount system for amazing image quality. We haven't tested this lens yet, but based on user reviews, it seems to produce excellent detail and sharpness with a responsive autofocus.

This lens is aimed at professional photographers who need a compact lens that strikes a middle ground between focal length and aperture size. Yes, there are G-mount lenses with wider focal lengths, but the aperture is slower. Yes, there are G-mount lenses with faster apertures, but the focal length is narrower. We think the GF 30mm f/3.5 R WR hits the sweet spot for both, and it comes weather sealed with nine sealing points to protect against dust and moisture.

The GFX lens range isn't as extensive as the X-series range, and you will need to find a lens that fits your needs the best. There is often compromise involved, but never on the optical quality. The Fujifilm GF 30mm f/3.5 R WR is a great balanced lens to optimize your Fujifilm GFX camera.

Best medium-format wide zoom

The Fujifilm Fujinon GF 20-35mm f/4 R WR is a significant addition to the Fujifilm lineup. Released in 2022, it still stands as the best general-purpose zoom lens for the GFX system. It has a 35mm-equivalent focal range of 16 to 28 mm, making it an ideal choice for photographers who need versatility.

As with other GFX lenses, the GF 20-35mm f/4 R WR is made with advanced optical design, including three aspherical, one asperical low-dispersion (ED) and three low-dispersion elements to keep images sharp and aberration-free.

We haven't tested this camera ourselves, but user reviews praise the image quality across the zoom range and at all apertures. The autofocus is quiet and precise, which allows you to capture intricate details in varied environments. Although this is one of the larger lenses from the GFX range, the zoom's versatility may outweigh the size for many photographers.

The f/4 aperture is not the fastest, and those who shoot primarily in low light or who need a superfast prime lens should look elsewhere in the range. However, f/4 seems reasonable when you consider the versatility of the zoom range and would be more than suitable for capturing faint stars at longer exposures.

The GFX series of cameras and lenses are not known for being cheap, and the Fujifilm Fujinon GF 20-35mm f/4 R WR is no exception. With a price just under $2,500, it is a considerable investment. But if you want to give your medium-format camera more versatility, this lens will not disappoint.

Best telephoto zoom lens

The Fujifilm Fujinon XF 50-140mm f/2.8 R LM OIS WR is a telephoto zoom lens that covers a midrange of focal lengths for the APS-C X-series cameras. Its standout features include a fast, constant f/2.8 aperture across the entire zoom range, robust weather resistance and highly effective OIS. The lens design features five low-dispersion and one super-ED element to combat distortion and aberration.

We have not tested this lens yet, but user reviews praise the edge-to-edge sharpness at all apertures and focal lengths. Thanks to the fast f/2.8 aperture, this lens is also capable of producing smooth bokeh and capturing fast-moving subjects in dim conditions. We think it would be a good astrophotography lens for capturing objects up close, but only when used with one of the best star trackers. If you only shoot astrophotography, the rapid linear motor (LM) autofocus and OIS system would be overkill, but it's useful for photographers who also need sharp detail for handheld shooting.

Similarly to other Fujifilm environments, this lens is built for demanding conditions, including dust, light rain and low temperatures. The size and weight are substantial for an APS-C lens, but this is a necessary trade-off for a constant f/2.8 aperture and advanced optical design.

At $1,599, the XF 50-140mm f/2.8 R LM OIS WR is a big investment, but this lens offers great telephoto ability while maintaining a huge f/2.8 aperture. You might need a telephoto lens with a longer focal range, but you will have to accept a slower aperture.

Best Fujifilm lenses FAQs

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How we tested the best Fujifilm lenses

We compare real-world usage with technical specifications to evaluate whether the lens would be good for a certain photography subject. When testing the lenses, we evaluate autofocus quality, image sharpness and chromatic aberration. We primarily test them in low-light conditions with a heavy focus on astrophotography.

During our testing of some of these Fujifilm lenses, we took them to a Bortle Level 4 dark-sky site and used them for astrophotography. We used the XF 18mm f/1.4 R LM WR, XF 8-16mm f/2.8 R LM WR and XF 16-55mm f/2.8 R LM WR II with a Fujifilm X-T50, X-H2 and X-M5. We managed to get good photographs of star fields containing Orion, the Orion Nebula, the Andromeda galaxy, Jupiter, Mars and the Pleiades.

We try to test all of the products in our buying guides, but wherever we don't have hands-on experience, we look at user reviews on merchant sites and analyze the quoted specifications ourselves. Our reviewers are astrophotographers who have good camera experience alongside a strong interest in photographing the night sky.

Popular prime lenses for astrophotography often come in at 24mm or wider to allow for capturing a much wider view of the sky with little ground interest, which makes sense. But when you're incorporating ground elements to act as significant foreground interest, slightly longer focal lengths can be advantageous. This is where 35mm lenses come into play, with the Canon RF 35mm f/1.4L VCM offering a versatile focal length for Canon R-Series camera owners.

What's more, 35mm is a popular focal length for landscape, cityscape, portraiture and street photography alongside astrophotography, so this lens has the potential to be something of a workhorse for many photographers. The fast f/1.4 maximum aperture will also be attractive to many for shallow depth-of-field effects and shooting in low light.

The RF 35mm f/1.4L VCM is also a hybrid lens, designed for photography and video capture, sitting alongside the 35mm f/1.4L VCM and the 50mm f/1.4L VCM with identical dimensions and the same 67mm filter thread. The weights do differ slightly, but this does mean that videographers can swap between the three lenses when using a gimbal, with minimal adjustments.

If you're looking for one of the best cameras for astrophotography, check out our guide, where you may just find the perfect companion for the Canon RF 35mm f/1.4L VCM. But for now, let's take a closer look at this prime lens to discover whether or not it deserves a spot in your kit bag for capturing the night sky.

Canon RF 35mm f/1.4L VCM: Design

• Simple and compact design
• Excellent build quality
• Weather sealed

Like the other two lenses that make up Canon's hybrid prime lens trio, the RF 35mm f/1.4L VCM offers a simple design that's backed up by excellent build quality and weather sealing. This is, after all, a premium L-Series lens. Prime lenses are also traditionally simple, and this lens is no exception, with just a handful of controls available.

Controls include an AF/MF switch, a Custom Function button and a switch to move the manual aperture between the A setting for camera control and manual use of the stepless aperture ring when shooting video. There's also a lens control ring at the front of the lens in front of the manual focus ring that can be programmed in-camera to adjust some camera settings.

The lens control ring is easy to accidentally turn in the dark when manually focusing on stars, so it's best to leave it inactive for astrophotography. The aperture ring is stepless, so there are no clicks to denote a setting and hold the ring at the desired f-stop. Stepless is a video feature for smooth adjustments, and it's a shame that there isn't a switch to allow for clicked or stepless rotation of the aperture.

This lens is just 3.01x3.90 in / 76.5x99.3 mm with a weight of 19.58 oz / 555 g, so although it's not the smallest and lightest Canon lens you can buy, it's still fairly compact and lightweight. Plus, as previously mentioned, it has the same dimensions as the other two hybrid prime lenses, with only a slight variance in the weight of each.

The RF 35mm f/1.4L VCM comes with a rear filter holder that's designed for gel filters to be used. This means that to change filters, you have to remove the lens, which is neither convenient nor practical because dust can enter the camera.

Circular and square filters mounted on the front of the lens via the 67mm filter thread are a better option. Rear-mounted filters are only really necessary for lenses with extremely large or bulbous front elements.

Canon RF 35mm f/1.4L VCM: Functionality

• No optical Image Stabilization
• Fast and silent autofocus
• Precise manual focus

Autofocus is incredibly fast and silent thanks to Nano USM combined with Voice Coil Motor (VCM) technology. This is fantastic for general photography but for astrophotography, it's manual focus that's most important for precise focusing on stars. The minimum focusing distance of the lens is 11 in / 28 cm, which is short and opens up creative possibilities depending on the subject you're shooting.

Being a prime lens, the 35mm f/1.4L VCM doesn’t include Optical Image Stabilisation, which is common for these types of lenses. This feature would increase the size of the lens, and since some R-Series cameras offer In-Body Image Stabilization, its absence isn’t a major problem. Plus, for any type of tripod-mounted photography, you shouldn’t use Image Stabilization anyway.

Just like the 24mm f/1.4L VCM, the manual focus ring provides a pleasing level of resistance that allows for fast and precise manual focus. Manual focus is fly-by-wire, so it's not quite as responsive as traditional manual focus, but this approach causes no issues when shooting inanimate or extremely slow-moving subjects.

Of course, stars don’t move, but the rotation of the earth does create the illusion of movement in the sky. But, it's so slow that it doesn’t negatively affect focusing. We've already covered basic features including the Custom Function button, manual aperture ring and the lens control ring, so let's move on to the optical construction of the lens.

The lens is made up of 14 elements in 11 groups, which include two UD and two GMo Aspherical lenses. The aperture is made up of 11 blades. Lens coatings include Super Spectra to eliminate ghosting and ASC coatings maintain color balance across the frame, while the front element is Fluorine-coated to help repel dirt and make cleaning easier.

If you own an APS-C R-Series camera with a 1.6x crop factor, the 35mm f/1.4L VCM will provide an equivalent focal length of 56mm. This is also a useful focal length for the subjects you might shoot with a 35mm lens. Not to mention, you'll be capturing images with more of the central area of the lens which is typically the sharpest part of any lens.

Canon RF 35mm f/1.4L VCM: Performance

• Fantastic sharpness at f/1.4
• Sharpest at f/8
• Reduction in sharpness from f/11

The image quality and characteristics of the lens are extremely similar to the 24mm f/1.4L VCM, possibly practically identical, and we have also reviewed that lens. The 35mm f/1.4L VCM also exhibits excellent sharpness at f/1.4 with the sharpest aperture overall being f/8.

Sharpness increases gradually up to this setting, but diffraction does begin to come into play at f/11 where sharpness drops slightly and continues up to the minimum f/16 aperture, as we find with almost every lens in existence. For astrophotographers typically shooting wide open, sharpness at f/1.4 is naturally one of the most important points of consideration.

This lens relies heavily on in-camera and in-software lens corrections, with uncorrected images exhibiting barrel distortion and vignetting. The uncorrected results are much better than the 24mm lens, but you still cannot avoid using in-camera corrections when shooting JPEGs and software corrections when shooting in Raw. The main point to make here is that despite the reliance on lens corrections, overall image quality is still great.

Vignetting is strongest at f/1.4, but it's completely removed with lens corrections. All the other aperture settings do suffer from vignetting but this reduces gradually as the lens is stopped down, with f/16 producing the lightest vignette. This may all sound bad, but since fine detail is rendered sharp and the barrel distortion and vignetting are successfully removed, it's not a major issue.

Canon RF 35mm f/1.4L VCM: Price

The Canon RF 35mm f/1.4 L VCM costs the same as the Canon RF 24mm f/1.4L VCM in the US at $1499, while UK photographers will have to pay more at £1679. It's a premium L-Series lens, so it was never going to be budget-friendly. It's also a professional lens aimed at photographers and videographers, so the price is to be expected.

In the bo,x you get the lens, a lens hood, front and rear lens caps, a lens case and a rear filter holder. The rear filter holder is designed for gel filters to be positioned on the rear of the lens, but this probably won’t be the most convenient filter attachment method for most photographers for a couple of reasons.

Canon RF 35mm f/1.4 L VCM: User reviews

Users are overwhelmingly impressed with the Canon RF 35mm f/1.4 L VCM. One owner said, 'I love this lens - it amazes me every time I use it', which is incredibly positive. While other users reported that, 'It is beautifully sharp and renders wonderfully'. With feedback as positive as this, it's impossible to ignore the potential of the lens for astrophotography.

How we tested the Canon RF 35mm f/1.4 L VCM

The Canon RF 35mm f/1.4 L VCM was tested during a clear night paired with the Canon EOS R6 Mark II to assess its low-light performance. Additional testing took place in daylight to asses image quality including distortion, which are more effectively viewed in daylight conditions.

Should you buy the Canon RF 35mm f/1.4L VCM?

35mm is a popular focal length for astrophotography as well as landscape, cityscape, portraiture and street photography, so this is an incredibly versatile lens with the potential to spend a great deal of time attached to your camera. Image quality is great overall, not perfect, but at f/1.4, it does perform well.

Like the Canon RF 24mm f/1.4 L VCM, this is a hybrid lens designed for both photography and video, and the stepless manual aperture is a fantastic feature for video. Build quality is excellent and weather-sealing makes it an appealing choice for outdoor photographers in need of a fast 35mm prime lens.

If this lens isn't for you

The Canon RF 15-35mm f/2.8L IS USM is the best ultra-wide-angle zoom available for Canon R-Series cameras and is ideal for a range of subjects including landscape, cityscape and astrophotography.

The Canon RF 24mm f/1.4L VCM is a wider-angle version of the 35mm and performs similarly in terms of image quality. The main difference is the wider field of view it produces.

The Canon RF 85mm f/1.2L USM lens is a sublime short telephoto with a fast maximum aperture and fantastic image quality. It's not going to be for everyone, but if you need a fast telephoto, this one is the best.

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Dedicated astrophotography cameras are engineered specifically for imaging the night sky, offering superior cooling, low noise, and specialized sensors. This guide explains the unique features and benefits of these advanced cameras, helping you understand why they are a game-changer for serious astrophotographers.

For a better look at other gear that can help perfect your astrophotography practice, explore our guides on the best star trackers, best lenses for astrophotography, and best light pollution filters. We also have a guide on the best cameras for photo and video.

The Quick List

We've rounded up our picks for the best dedicated astrophotography cameras. For more in-depth information on a particular camera, click the read more links.

• Related: Best lenses for astrophotography

Best overall

The ZWO Optical AI 533 Pro is a dedicated astro camera, so while it won't tick all the day-to-day photography boxes, it certainly delivers on astrophotography. The images it generates are clean and noise-free, reducing the need to use any post-processing software. You won't find any amp glow either, which means your raw images are much cleaner than results from other types of cameras.

In our ZWO Optical ASI 533 Pro review, we called this camera an affordable and user-friendly option for anyone looking for a dedicated astrophotography camera. In fact, we struggled to find any real negatives and scored it a full five stars out of five.

With a square 9-megapixel sensor, the ZWO Optical ASI 533 Pro is different to most cameras, but don't let that put you off: it's incredibly capable, even with what seems like a low megapixel count. The images it produces are almost free of noise, complete with beautiful colors, thanks to its 14-bit ADC. With other features such as an 80% Quantum Efficiency and a fast frame rate of 20FPS, it's exceptional at capturing light.

Similar to many other specialized astrophotography cameras, the ZWO Optical ASI 533 requires an external power source to operate its cooling system. If you're aiming for long exposure shots, make sure to set this up beforehand.

The only (slight) criticism we can think of when it comes to the ZWO Optical ASI 533 Pro is that it's only able to shoot in color: if you want a monochromatic astrophotography cameras, this one isn't for you. But when it produces colors this beautiful, we can't really hold that against it.

• Read our ZWO Optical ASI533MC Pro review

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Best for planetary imaging

The Player One Uranus-C shines as a versatile astrophotography camera, blending high sensitivity with a manageable price tag. Its Sony IMX585 sensor delivers crisp, detailed images of planets and deep-sky objects, thanks to a peak quantum efficiency above 90%.

With a 2.9-micron pixel size and 47 fps frame rate, it’s ideal for capturing a wide range of celestial targets. While it lacks cooling, its low read noise keeps shorter exposures clean. Beginners and intermediates will appreciate its ease of use and portability, and it's especially well-suited for imaging the moon and planets.

Best for general deep-sky imaging

The QHY294M Pro is a deep-sky enthusiast’s dream, featuring a cooled Sony IMX492 sensor that tackles noise in long exposures. Its 4/3-inch format and 4.63-micron pixels capture expansive fields with stunning detail, perfect for nebulae and galaxies.

Cooling to -35C below ambient ensures clean images, while the 11.7MP resolution offers flexibility for large prints. Monochrome design demands filters, adding cost but boosting customization. It’s a premium choice for serious astrophotographers prioritizing quality over convenience.

Best all-in-one mono deep-sky camera

The Atik One 9.0 Mono CCD camera is a deep-sky imaging marvel, featuring a 9MP Sony ICX814 sensor for exceptional detail. Its integrated five-position filter wheel simplifies monochrome workflows, while cooling to -38C below ambient ensures noise-free long exposures.

The 3.69-micron pixels excel with binning, offering flexibility across telescope setups. Though its 3 fps frame rate limits planetary use, the argon-filled chamber and USB hub enhance its appeal for serious astrophotographers chasing intricate nebulae and galaxies.

Best pro-level camera system

The Atik 16200 Colour APS-H CCD is a professional’s tool, featuring a massive Kodak KAF-16200 sensor for unparalleled detail. Its 16.2MP resolution and 6-micron pixels excel at wide-field deep-sky imaging, while cooling to -45C ensures noise-free long exposures.

The one-shot color design simplifies processing, though the 1 fps frame rate limits planetary use. Priced at a premium, it’s built for astrophotographers demanding gallery-worthy results and scientific precision.

Best for lunar and solar imaging

The Atik 16200 Colour APS-H CCD is a professional’s tool, featuring a massive Kodak KAF-16200 sensor for unparalleled detail. Its 16.2MP resolution and 6-micron pixels excel at wide-field deep-sky imaging, while cooling to -45C ensures noise-free long exposures.

The one-shot color design simplifies processing, though the 1 fps frame rate limits planetary use. Priced at a premium, it’s built for astrophotographers demanding gallery-worthy results and scientific precision.

Best for beginners

The Celestron NexImage 5 CCD is a beginner’s gateway to astrophotography, offering 5MP resolution at an unbeatable $199. Its 2.2-micron pixels and simple setup suit planetary and lunar imaging, with included software easing the learning curve. The 6.2 fps frame rate is modest, and the lack of cooling means noise in longer shots, but it’s perfect for newbies testing the waters without a big investment.

Best color astro camera

The ZWO Optical ASI 183MC Pro is another excellent full-color astrophotography camera. This dedicated astro camera creates beautifully vivid images with minimum noise.

Weighing only 0.9 lbs / 410 g, the ZWO Optical ASI 183MC Pro is more lightweight than the ZWO Optical AI 533, while remaining extremely capable. It's also compact, measuring just 62 mm in diameter. Despite its small, portable design, it's a powerful piece of equipment. It has a resolution of 20.48MP, a peak Quantum Efficiency of 84% and its read noise is minimal at just 1.63.

Additionally, it comes equipped with a full-color sensor, eliminating the need for extra RGB filters in your photography, simplifying your setup and lightening your gear load. As it's a serious astrophotography camera, you'll need to have experience with dedicated astro cameras to get the most out of it.

In our ZWO ASI183MC review, we found it excels at capturing stunning shots at its maximum resolution, boasting a speed of 19 frames per second (FPS), which is perfect for solar or lunar photography. If you choose a lower resolution, the frame rate shoots up significantly, allowing you to capture hundreds of frames per second! This camera provides versatile options for capturing different types of images.

To use the ASI 183, you'll need a laptop with dedicated software, featuring a USB-A 3.0 port for efficient data transfer. You'll also need a telescope and a 12V power supply to operate the cooling system.

• Read our full ZWO Optical ASI183MC Pro review

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Best dedicated astrophotography cameras: Comparison

User reviews

Online feedback for these cameras is largely positive, with users praising their specialized strengths and I've personally used most of these cameras. On Amazon, one reviewer of the Celestron NexImage 5 wrote, "Perfect for beginners—setup was a breeze, and lunar shots came out crisp for under $200." The Player One Uranus-C earns kudos on High Point Scientific, with one user noting, "Amazing detail on planets for the price, though I wish it had cooling for longer shots."

The QHY294M Pro garners acclaim on forums like Cloudy Nights, where a user said, "Noise control is phenomenal—worth every penny for deep-sky work." Some critique the Atik 16200’s cost, with another Cloudy Nights reviewer stating, "Incredible images, but you’re paying a fortune for that the quality." These insights reflect real-world satisfaction and trade-offs, as there always are with any camera.

Contributing experts

Astrophotography camera FAQ

Update log

How we test

Our testing process for astrophotography cameras focuses on real-world performance under varied conditions based on real-world user experience. A comparison of key metrics such as sensor sensitivity (quantum efficiency), noise levels (read noise and dark current), and frame rate performance, tested across short planetary videos and long deep-sky exposures, forms a key part of the comparison.

Other important considerations such as ease of setup, software integration and price also factor in, as these matter to users at all levels. We compare results from a multitude of sources to derive a balanced conclusion. For this particular piece, the author has considerable direct experience in using some of these models as well as many other similar camera models, adding further credence to the pros and cons of each camera's performance.

When you're looking for a new camera, especially one that offers a great balance of performance and affordability, it can feel like a maze. This guide can help you find the perfect camera under $2000 that fits your needs, whether you are a beginner or an enthusiast looking for an upgrade.

These are cheaper than some of the other models we rave about, but they are still great for photography and recording basic video. They would make a great gift for photographers or stargazers who want to start taking photos of the night sky.

Don't miss our guides on the best cameras and the best cameras for astrophotography. Looking for more specific gear? We have guides for the best lenses for cameras and the best tripods, too.

The quick list

Here are our top picks in a 'quick view' layout. For more information about each camera, click 'read more below'.

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Best cameras under $2000 that we recommend in 2025

Best under $200

The KODAK PIXPRO WPZ2 is a rugged entry-level camera that's waterproof down to 50ft (15m), making it a great option for taking on beach vacations or other outdoor adventures where your phone might get damaged. It's able to withstand drops of up to 2m (6.5ft) and all the elements, including the 4x optical zoom, remain protected by its toughened housing. This is the kind of camera your kids can get their hands on without you having to worry about it.

You can shoot 16MP still images or 1080p HD video with this camera, and can even have fun shooting underwater with it. There's a handy built-in flash, as well as a wrist strap and a loop for attaching it to your belt or backpack when you're on the go. The menus are navigated via the rear 2.7-inch LCD screen, and it comes in a range of bright colors, including yellow, blue and red.

You'll need to purchase a 32GB microSD card separately, but this camera still represents excellent value for money compared with other toughened cameras in this category. The built-in WiFi also lets you easily connect it to your phone and other devices to share your images on social media.

• Check out our guide to the Best cameras for beginners

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Best under $400

GoPro are the market leaders when it comes to action cameras, and the GoPro Hero 12 offers excellent image quality inside a tiny, lightweight package. It's rugged and durable, with waterproofing up to 33ft (10m), meaning that it can be used for a whole range of outdoor pursuits without fear of it getting damaged. Measuring 2.79 x 2.16 x 1.32 inches (71 x 55 x 33.6 mm) and weighing only 154g, it's small enough to be mounted on your sports helmet, bike handlebars or even a drone.

The Hero 12 doesn't skimp on image quality, offering 27MP still images and up to 5.3K video, with slow mo options up to 240fps. GoPro's award-winning HyperSmooth 6.0 image stabilization ensures that your videos remain smooth even when the camera is getting bounced around.

Whilst it's primarily aimed at sports enthusiasts, we think that the GoPro Hero 12 would make a great choice for vacations or days out, since it slips easily into your pocket and can even film underwater. What's more, with the recent release of the GoPro Hero 13, you can bag the Hero 12 for less than $300, which is great value for all the features offered.

• Check out our guide to the Best budget cameras

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Best under $500

If you're looking for an affordable way to upgrade your smartphone photography, then the Canon EOS 2000D may just be the way to go. Although most brands are moving steadily towards mirrorless camera technology, this camera shows that there is still a welcome place for DSLR models among beginners and those shopping on a tight budget.

You won't get all the modern bells and whistles with this camera, but what you will get is a steady and reliable camera that will allow you to learn all the necessary photography techniques without breaking the bank. Anyone moving from a smartphone up to the EOS 2000D will be amazed by the image quality and the ability to produce shots with beautiful bokeh (background blur). It is equipped with WiFi, allowing for remote shooting via the Canon Camera Connect app, and you can also shoot 1080p HD video.

The Canon EOS 2000D fits into the Canon ecosystem, opening up a whole range of APS-C lens options. The older technology makes the price of this camera an absolute steal, as you can regularly find deals on bundles including the camera, a lens and accessories for less than $500.

• Check out our guide to the Best mirrorless cameras

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Best under $700

The Olympus OM-D E-M10 Mark IV is an ideal starting point for those looking to get into the world of mirrorless cameras. This stylish retro camera harks back to Olympus's earlier 35mm film models and features black and silver coloring, manual dials and a chunky hand grip for one-handed use. It also features a tilting and extending rear touchscreen, enabling you to shoot pictures at a range of awkward angles.

Despite its small size, the sensor performs admirably, producing 20MP still images and 4K video, aided by effective 5-axis image stabilization. Whilst this might make it seem appealing to vloggers and videographers, the lack of a mic port will put some people off.

The interface is very intuitive, especially in auto mode, so you should get the hang of things very quickly even if you're a complete beginner. In our Olympus OM-D E-M10 Mark IV review, we found the autofocus to be quick and accurate, and the 15fps burst mode means this camera could be used for sports or wildlife photography. Another big appeal is how compact and lightweight it is. We think this makes it an excellent choice for traveling, since it's easy to tuck into your backpack or a large pocket.

• Read our full Olympus OM-D E-M10 Mark IV review

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Best under $1000

The Nikon Z fc effectively bridges the gap between beginner photographers and serious amateurs, offering room for you to develop your skills and learn and grow with the camera. It has a beautiful retro design that will particularly appeal to anyone who's enjoyed using classic cameras in the past, but it combines this with a range of modern functional features.

The sensor on the Nikon Z fc produces sharp images and we were particularly impressed with its dynamic range during testing. The autofocus does a great job of tracking faces and people, making it particularly suited to street and travel photography. The top features large manual dials to manage the ISO and shutter settings, but there is also a vari-angle touchscreen on the back with a "press to focus" option. We found the screen very responsive and fun to use.

The low-light performance was much better than we had expected in our Nikon Z fc review, and the 4K video on offer is enough to satisfy most content creators. Sports or action photographers would be disappointed with the burst shooting on this camera, but for more general photography it is an enjoyable camera that comes in a lightweight package for carrying around with you.

• Read our full Nikon Z fc review

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Best under $1500

In our Canon EOS R7 review, we were extremely impressed with the images produced by this camera — they come out razor-sharp with beautiful color rendition. If you're looking to take professional-looking images but either you can't stretch your budget to full-frame or you're wanting something smaller to take on your travels, then this may just be the camera for you.

In addition to the stunning image quality, this camera packs in a lot of features that you'd usually only expect to find on full-frame models. You get 7 stops of in-body image stabilization, along with a dual SD card slot. The autofocus is good enough to rival even the best in the field. It offers accurate face and eye tracking, switching seamlessly between the two when the subject turns towards or away from the camera, and it can also track animals and vehicles.

We think this camera would also make an excellent choice for vloggers or videographers. The eye tracking and autofocus work just as well in videos as they do in still images, and we were pleased to see that there's no record limit. The fully articulating rear touchscreen also makes it easy to vlog, shoot selfies or capture images low to the ground. Although it's often used for wildlife photography, this versatile camera could turn its hand to almost any genre.

• Read our full Canon EOS R7 review

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Best under $2000