Canon EF 40mm f/2.8 STM

Canon’s first EF pancake prime

Type of lens: Standard prime Year: 2012 Weight: 130g

We’ve grudgingly got used to the increasingly large and hefty nature of most modern lenses, but this is something completely different. Although it’s full-frame compatible, it squeezes a standard focal length and fairly fast f/2.8 aperture into a slim-line ‘pancake’ design that’s incredibly light. The similar EF-S 24mm f/2.8 STM for APS-C format DSLRs followed a couple of years later; they’re both refreshingly affordable. Price when new: £190/$179

Buy it second-hand at MPB: bit.ly/100mpb5

A sensor format that’s smaller than full-frame, measuring 23.5 x 15.6mm. Cameras with these sensors can accept ‘digital only’ lenses or full-frame compatible optics.

Glass elements in the lens system that do not form part of a sphere. These are designed to reduce the effects of spherical aberration for superior edge performance.

A bending of lines within an image, which makes the lines appear to bulge at the centre of the frame. It is the opposite effect to pincushion distortion.

Coloured fringing along high-contrast edges within an image, caused by different light wavelengths being differentially converged by the lens at the same point.

A reduction in sharpness, which is induced by light rays being deflected by the aperture diaphragm blades at high f-numbers (small opening).

The distance between the rear element of a lens and the sensor position, which is required for accurate focusing. This differs between lens mounts.

A chemical element sometimes applied as a coating to the front element of a lens. Fluorine has anti-static properties that repels dirt and water.

A chemical component often applied to lens elements as a coating. Fluorite has low-dispersion optical properties, which provide reduced chromatic aberration.

A sensor measuring 36 x 24mm, requiring a larger lens image circle. Full-frame lenses are usually larger and heavier due to the physical requirements of the glass elements.

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ou often need to choose between a fast wide-angle zoom with a wide aperture or a ‘slower’ alternative that has optical stabilisation. This lens has both, with a constant f/2.8 aperture rating and an image stabiliser with no less than five-stop performance. Build quality and handling are typically excellent for one of Canon’s L-series RF lenses; the Nano USM autofocus system is rapid yet near-silent; and image quality is a dream.

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he perfect next step up from the RF 15-35mm in Canon’s ‘trinity’ RF-mount zooms, the 24-70mm f/2.8L is similarly impressive. Aspherical and UD (Ultra-low Dispersion) elements combine to deliver superb sharpness and contrast, while Air Sphere Coating limits ghosting and flare. Further similarities include five-stop optical stabilisation (lacking in Canon’s 24-70mm f/2.8 lens for DSLRs), fast and accurate Nano USM autofocus and a customisable control ring.

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ne major advantage of any crop-sensor camera system is that telephoto lenses tend to be much smaller and lighter than their full-frame counterparts. This premium Fujifilm ‘red badge’ lens competes with 70-200mm f/2.8 full-frame zooms, but is little more than half the weight. It’s impeccably turned out, with no fewer than five ED elements and one Super ED element, plus a super-fast triple linear motor autofocus system and highly effective optical stabiliser.

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ull 1:1 magnification macro lenses aren’t exactly ten a penny, but they’re certainly widely available. This Laowa lens is more of a rarity, doubling up on macro power with 2x magnification at its shortest focus distance. Suffice it to say that it captures almost microscopic levels of fine detail. Slightly different versions of the lens are available: one in Canon EF and Nikon F mount options, the other for Sony, Canon and Nikon mirrorless cameras.

Ff you feel the need for speed, this Summicron lens has the trademark f/2 aperture rating, beating the 28mm f/2.8 lenses that Leica has been making since the 1930s. As you’d expect for this sort of money, it’s immaculately engineered and finished, with enormous optical prowess. It’s scary-sharp, and all negative aberrations are so minimal that they’re completely negligible.

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ikon has made a number of DX-format standard zooms for its APS-C format DSLRs over the years, but this latest model is undoubtedly the best. It has a generous zoom range – equating to 24-120mm in full-frame terms – an electromagnetically controlled diaphragm and highly effective optical stabilisation. It has virtually pro-grade build quality, and beats all its predecessors for image quality.

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riginally launched in 1971, the pre-AI (Automatic

Indexing) and AI-S version of this lens was so good it became an instant classic. The subsequent AI version, released in 1977, was optically identical, delivering excellent sharpness and beautiful bokeh. It was arguably the most coveted portrait lens on the market for three decades, and a real favourite of pro photographers all around the world. It’s an absolute classic.

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e make no apology for the number of Nikon Z-mount lenses that have found their way into our Top 100 list. The simple truth is that this new breed of mirrorless full-frame lenses simply deliver such spectacular image quality that they justify switching from a DSLR. This 35mm optic is no exception, and makes a perfect everyday prime.

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he most inexpensive lens in our entire top 100, this Olympus has an incredibly minimalist design. As its name suggests, it’s so thin that it looks more like a body cap than a lens – and indeed works as one, with a built-in cover. It has a fixed aperture of f/8 and a rudimentary focus lever, with click steps at the shortest focus distance of 0.2m, the hyperfocal distance and infinity. The lens is ultra-simple, but great fun to use.

This Micro Four Thirds zoom offers the equivalent to using a 24-80mm f/2.8 lens on a full-frame camera thanks to its crop factor, but it is much smaller and a fraction of the weight. It has a push-pull focus ring that reveals a distance scale in manual focus mode. The customisable Lens Function button is literally a nice touch. Image quality is exemplary, despite the compact build.

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entax has spent most of its digital years locked into the APS-C format, for which this K-mount lens is exclusively designed. As such, it’s relatively compact and light, further helped by having a clever retractable mechanism. The generous 85-460mm effective zoom range takes it into super-telephoto territory. Optical quality is boosted by ED glass and HD coatings, while autofocus, based on a ‘pulse’ motor, is quick and quiet.

Preat for both full-frame and APS-C format Pentax K-mount bodies, this 70-200mm f/2.8 lens combines a classic telephoto zoom range with a fast, constant aperture. It’s typically versatile, as well as being very robust and well-built. The DC autofocus motor is quick and whisper-quiet, while also featuring Pentax’s ‘Quick-Shift’ mechanism for instantly swapping to manual focus. It’s the lens to beat for telephoto shooting with Pentax DSLRs.

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igma’s 50mm f/1.4 EX lens was pretty good, but the replacement Art edition puts in in the shade, in every way. It towers above the older lens in size and weight, with no concession to compactness in its all-out quest for optical excellence. One thing it does inherit from the older design, however, is that it’s available in a wide range of mount options, now including Canon EF, Nikon F, Sony E, Sony A, Sigma and Leica L.

Sn all of our lab testing and field trials, this Sigma Sports lens outperformed the current top-flight Canon and Nikon 70-200mm f/2.8 zooms. Build quality is epic, based on a magnesium alloy barrel complete with comprehensive weather seals. Handling is a joy with advanced customisable setups, autofocus is super-fast, and image quality is exceptional. You get all this at around half the price of the own-brand competitors.

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ompared with Sigma’s 35mm and

50mm f/1.4 Art lenses, the 85mm was a long time coming, but well worth the wait. Like the 50mm prime, it’s uncommonly large and weighty for its class, but the emphasis is on superlative image quality rather than weight-saving. Available in Canon EF, Nikon F, Sony E and Leica L mount options, it’s a cracker of a lens that’s perfect for portraiture.

Cilled as the ‘light bazooka’, this lens is typical of Sigma’s Contemporary line-up in being refreshingly compact and light. Originally launched in Sigma, Canon EF and Nikon F mount options, it’s now also available for Sony E and Leica L mount cameras. Despite being relatively small for such a powerful telephoto lens, it’s certainly not lacking in features, with a host of advanced on-board controls.

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