I’m back with another Yongnuo (YN) review. I was interested in covering their most recent lens on the strength of what I’ve seen from the 11mm F1.8 WL Pro I’ reviewed on Sony and the 50mm F1.8 DSM Pro that I reviewed on Fuji. 33mm is a very important focal length on APS-C, giving you roughly 50mm (49.5mm) full frame equivalent angle of view once you add in the 1.5x APS-C crop. Add a fast maximum aperture of F1.4, a host of features, and a good optical performance, and you’ve got an interesting lens. The Yonguo 33mm F1.4S DA SAM WL Pro can be had for well under $300, and it arguably adds a lot more features and versatility than any other lens that it competes with. Should this be your new “normal lens” for your Sony E (tested here), Nikon Z, or Fuji X-mount camera? You can find out my full thoughts by watching the video review below, reading the text review, or enjoying the photos in the galleries below.
Thanks to Yongnuo for sending me a review sample of this lens. As always, this is a completely independent review. *The tests and most of the photos that I share as a part of my review cycle have been done with the APS-C mode (26MP) of my Sony a7RVcamera.
As noted, this is a fast “normal” lens. Normal lenses are so called because they cover an angle of view similar to what your eye sees, thus the kinds of images you can get look “normal” or easily relatable, which is why the 50mm focal length is so popular.
The YN 33mm (as we’ll call it for brevity) is a very feature rich lens, as we’ll see, but one of those innovations requires purchasing an inexpensive (under $25) remote control unit that leverages a 2.4gz wireless module built into the lens. Far from just being a basic remote control unit, this remote control allows you to remotely control focus, do aperture racking, set up A-B focus pulls, and more basic functions like take photos, start video, and do whatever you have the function button programmed to do. It’s a very clever little device particularly for video functions as you can do some of these key movements without touching the lens and introducing vibration.
The 11mm F1.8 was the first of a new series of lenses from Yongnuo that they call the “Commander Series”, and this 33mm will be joined by a 23mm and 56mm F1.4 lens.
If you don’t speak Yongnuo, let me break down what those letters mean in the 33mm F1.4S DA DSM WL Pro lens designation. In many ways this follows the Fuji naming convention which puts a list of features right in the name.
S = Sony, or Sony E-mount
DA = APS-C
DSM = Digital Stepping Motor
WL = Wireless control
Pro = upscale build, additional features
The YN 33mm has a lot going for it, including a great focal length, great functionality, and fairly strong image quality.
There are also a few weaknesses along with many strengths, which you can discover in the reviews…or just enjoy the photos.
Keywords: Yongnuo, YN, 33mm, F1.4, Yongnuo 33mm F1.4, DSM, WL, F1.4, Pro, APS-C, Review, Sony a6700, a6000, a6400, Sony a7RV, Wireless, Review, Hands On, Dustin Abbott, Real World, Comparison, Sharpness, Bokeh, Flare Resistance, Autofocus, Image Quality, Sample Images, Video, Photography, let the light in, weathersealing, #letthelightin, DA
DISCLAIMER: This article and description contains affiliate links, which means that if you click on one of the product links, I’ll receive a small commission. As an Amazon Associate I earn from qualifying purchases.
I’m back with another Yongnuo (YN) review. I was interested in covering their most recent lens on the strength of what I’ve seen from the 11mm F1.8 WL Pro I’ reviewed on Sony and the 50mm F1.8 DSM Pro that I reviewed on Fuji. 33mm is a very important focal length on APS-C, giving you roughly 50mm (49.5mm) full frame equivalent angle of view once you add in the 1.5x APS-C crop. Add a fast maximum aperture of F1.4, a host of features, and a good optical performance, and you’ve got an interesting lens. The Yonguo 33mm F1.4S DA SAM WL Pro can be had for well under $300, and it arguably adds a lot more features and versatility than any other lens that it competes with. Should this be your new “normal lens” for your Sony E (tested here), Nikon Z, or Fuji X-mount camera? You can find out my full thoughts by watching the video review below…or reading on.
Thanks to Yongnuo for sending me a review sample of this lens. As always, this is a completely independent review. *The tests and most of the photos that I share as a part of my review cycle have been done with the APS-C mode (26MP) of my Sony a7RVcamera.
As noted, this is a fast “normal” lens. Normal lenses are so called because they cover an angle of view similar to what your eye sees, thus the kinds of images you can get look “normal” or easily relatable, which is why the 50mm focal length is so popular.
The YN 33mm (as we’ll call it for brevity) is a very feature rich lens, as we’ll see, but one of those innovations requires purchasing an inexpensive (under $25) remote control unit that leverages a 2.4gz wireless module built into the lens. Far from just being a basic remote control unit, this remote control allows you to remotely control focus, do aperture racking, set up A-B focus pulls, and more basic functions like take photos, start video, and do whatever you have the function button programmed to do. It’s a very clever little device particularly for video functions as you can do some of these key movements without touching the lens and introducing vibration.
The 11mm F1.8 was the first of a new series of lenses from Yongnuo that they call the “Commander Series”, and this 33mm will be joined by a 23mm and 56mm F1.4 lens.
If you don’t speak Yongnuo, let me break down what those letters mean in the 33mm F1.4S DA DSM WL Pro lens designation. In many ways this follows the Fuji naming convention which puts a list of features right in the name.
S = Sony, or Sony E-mount
DA = APS-C
DSM = Digital Stepping Motor
WL = Wireless control
Pro = upscale build, additional features
The YN 33mm has a lot going for it, including a great focal length, great functionality, and fairly strong image quality.
There are also a few weaknesses along with many strengths, and we will break down it all in our review.
Build and Handling
The 33mm focal length has been a fairly popular one over the past few years, with a variety of releases from first party brands (Fuji) and third party brands like Viltrox, Tokina, and Meike. The YN 33mm shows well in this class, however, with the lowest price and more features. This does come at the cost of some weight, however, as the Yongnuo is the heaviest lens at 370g (13oz), though the Fuji lens is a close second at 360g. The Viltrox and Tokina lenses seem to essentially be twins, and have identical dimensions and weight (270g).
The extra weight is due to have a little extra girth and length. The YN 33 is 69mm in diameter (2.7″) x 87mm (3.4″) in length, which is over 13mm longer than the Fuji 33mm lens. The front filter threads are a common 58mm size.
You’ll note the “Wi-Fi” radio signal logo next to the lens designation. Yongnuo continues to be the only company I know of utilizing this, though I have seen Bluetooth in a few Viltrox lenses.
That extra length is at least well used. The other three lenses I’ve been mentioning have an aperture ring (as does this lens), but the Yongnuo adds several other features, including the ability declick the aperture, a custom/function button, and a two mode-custom switch that allows you tweak the behavior of the ring.
As noted, this is a very feature rich little lens. We have a function/focus hold button on the left side of the barrel. That function can be assigned from within the camera.
There’s also a custom switch that allows for a few different functions. In one mode, it serves a an AF | MF switch, with mode I being AF while mode II will switch to MF.
The manual focus ring has a nice feel to it overall, though the weight is on the lighter side. There is no obvious stepping, however, so focus moves fairly smoothly as I use the MF ring. You can program the custom switch to this function by turning the camera off, setting the position to II, and then holding the custom button down. Then power the camera back on, and you will feel a click in the lens.
To use the optional remote control, turn the camera off, set the switch position to I, and then hold down the function button while turning on the camera. Now position “I” will mean that wi-fi is turned on for remote communication while position “II” will mean that it is turned off. I would recommend keeping it in the off position when it is not in use. I haven’t noticed a battery drain issue, but you can essentially assure that this won’t be an issue by turning it off.
The YN 33mm also has a robust approach to aperture control. It has an aperture control ring with one third stop detents between F1.4 and F16 along with an automatic position that can be accessed past F16 (there is a firmer detent there to keep from accidental switches between the two). The feel of the clicks is good, with clear delineation of each position but without being rough.
There is also a declick option with a switch on the right side of the barrel. Click that switch and you can smoothly rack through the aperture, which is particularly useful for video work.
The aperture iris itself has 9 rounded blades to help ensure circular specular highlights when stopped down.
The lens barrel is made of metal, and it has a nice, anodized black satin finish. The lens design is very clean and modern.
A petal-shaped lens hood is included. While it isn’t anything particularly special, it is sturdier than some and bayonets into place with a reasonably precise feel.
There is a USB-C port for firmware updates covered by a small rubber gasket. Be careful when pulling it out, as it is small and wouldn’t be hard to lose. It’s also nearly impossible to pry out unless you have a small prying tool, like a very small flat screwdriver.
The USB-C port will allow for quick and easy firmware updates, which is a smart move by Yongnuo considering that they are a third party lens maker, so they may have to rely on firmware updates to maintain compatibility with cameras in the future. The lens does include a USB-C cable in the box in case you don’t have one.
There is a metal lens mount with a weather sealing gasket attached. Yongnuo also claims a fluorine coating on the front element to resist fingerprints and moisture.
A number of these lenses all share a rather poor minimum focus distance, with only the Fuji 33mm allowing for a closer 30mm distance. The Tokina and Viltrox are both 40cm, with the Yongnuo right under that. That will give maximum magnification figure of right over 0.10x, which is not very good.
The remote control has a small LCD screen and is primarily controlled through the main knob that can be clicked to switch through various functions and rotated to control those functions. There are two buttons for programming A and B focus pulls (just set the focus position, hold down the corresponding button for one second, and either “A” or B” where appropriate will light up. There’s a power switch on the side and also a custom button on the side that corresponds to the custom button on the lens. Clicking it will enable whatever function is programmed to that button on the lens.
Using the remote isn’t always intuitive, but if you’ll spend a few minutes with the included user manual it becomes easy enough to use. Range is up to 30 meters, which definitely gives you some flexibility for controlling off camera.
The fact that the Yongnuo is both the cheapest ($268 USD) and most feature rich lens in the bunch is pretty impressive, though it is also the biggest and heaviest. This is all relative, however, as the lens isn’t abnormally large or anything.
Autofocus and Video
Yongnuo has equipped the 33mm F1.4 with what they call a “digital stepping motor” (DSM). I’m not entirely sure how a digital stepping motor varies from a typical stepping motor, so I suspect this is mostly their own marketing language. My copy of the lens (prerelease) did need a firmware update to ensure full compatibility, but after the firmware update has functioned well. Focus speed is pretty good, and I’ve gotten good accuracy even in narrow depth of field situations.
There is almost no noise to be heard even if I put my ear next to the lens barrel. There is the slightest buzz from the motor, but so quiet as to be nearly undetectable. Focus speed is good, too, with near instant transitions from one focus point to another either indoors or out. This is one of the speedier STM motors that I’ve tested, which is great for a third party lens from a smaller brand.
I found that real world precision was good, whether I was shooting a human subject:
…or with a simple subject like these lingering red leaves late in November.
It’s worth noting with the shot above that I was testing the Megadap ETZ21 Pro adapter with my Nikon Z8 and using the Sony FE 50mm F1.4 GM (one of my favorite lenses) on it. I was a little frustrated as the Megadap combo was being reluctant to focus on the foreground subject and kept sticking on the background even though, for the most part, autofocus was quite good. I also had the YN 33mm mounted on my a7RV, and so I took the same shot (the one above) right after that, and was amazed at how effortlessly the YN 33mm grabbed the right subject and focus properly on it.
I did a series of available light portraits, and was really pleased by how effectively the lens focused. I used a lot of foreground branches for natural frames, but autofocus was consistently good.
If we zoom into that last photo, for example, we can see that focus is accurate and that the lens produces very usable sharpness even at F1.4:
As with most third party lenses, if your goal is tracking fast action, you might want to go with a Sony lens (not that there are many in this focal range), but for most people in most situations, autofocus for stills was pretty great.
Video AF
On the video front I found mostly good results. Focus pulls were smooth with minimal steps. Focus breathing is definitely present, but it isn’t egregious.
The YN 33mm did mostly fine with my “hand test” as well, where I alternately block the view to my face with my hand and then remove it. Focus transitioned nicely from my hand to my face, though there was a time or two when it didn’t move from my face to my hand.
Video footage generally looked good, though, and having fairly confident focus helps to keep details crisp when operating at large apertures. Here’s a freeze frame from one of my clips:
I also had fairly good results with video clips where I slowly moved the camera to force change from one subject to another at varying depths of field. Focus transitions were fairly well damped, and overall autofocus feels pretty capable.
Yongnuo 33mm F1.4 Image Quality Breakdown
The YN 33mm has an optical design of 11 elements in 9 groups. The majority of these are exotic elements, including high refractive elements and ultra low dispersion elements. A lot of fancy glass for an inexpensive lens!
The MTF chart shows a very consistent performance with a nearly flat performance across the frame. The F8 graph levels out some of the dips and rises, but only offers a few percentage points of improved performance. That speaks to a pretty great wide open performance.
The biggest practical negative I saw was some fringing in certain situations, but overall I was pretty impressed with the general optical performance.
Now, interestingly, in this particular image I felt like fringing was pretty well controlled, with minimal amounts of green fringing on a few of the textures. In other images, however, I saw much more pronounced LoCA, or Longitudinal Chromatic Aberrations that come before and after the plane of focus. Here, for example, you can see fringing in the lettering on the lens, on edges of the SLR, and then green fringing around the specular highlights.
That fringing was evident on my chart as well, so just be aware that this is probably the most significant optical issue with the YN 33mm.
Lateral chromatic aberrations (LaCA) were not at all an issue, with nice and clean transitions from black to white near the edges of the frame unmarred by fringing.
For those hoping to get some kind of stealth full frame lens, prepare to be disappointed. You can see that a lot of the full frame image circle is mechanically obscured by the lens.
This is an APS-C lens, period. It will still work fine in APS-C mode on Sony cameras for either stills or video, however. As is almost always the case, you would be better served by buying a full frame lens if you want full frame coverage.
There’s a bit more barrel distortion than I expected in a normal lens along with some vignette.
I used a +9 to correct the barrel distortion. It was fairly linear in correction, so even with a manual correction I could get a good result. The vignette is moderate, requiring a +57 to correct, or in the two stop range. Both of these are well within the range of easily correctable.
So how about resolution and contrast? My tests have been done on a 26MP APS-C mode of my Sony a7RV. Here’s the test chart:
Here are F1.4 crops at roughly 200% from across the frame (center, mid-frame, and lower right corner).
On a flat chart like this, the sharpness results are good but not exceptionally good at F1.4. I’m actually more impressed with real world results, which is good news for the real people who shoot real subjects.
In this real world shot, there is a tangle of dead branches that has coverage near the edge of the frame as well, and we can see that while contrast isn’t top notch, there is plenty of detail across the frame.
But field curvature shouldn’t be as much of an issue when shooting at infinity, and in real world results I noticed the corners being softer (as noted).
For portrait work I felt that there was plenty of sharpness. Even a fairly deep crop at F1.4 shows nice detail.
There’s a mild contrast boost at F1.8 that grows a bit further by F2:
There’s a more obvious bump from F2 to F2.8. where contrast and detail are obviously improved.
If we swap back to a real world subject, we can see at least part of the reason. The aberrations that produce fringing (and thus reduce contrast) are vastly reduced, allowing the native sharpness of the lens to shine a little more obviously.
There is a bit more to be gained at F4, and then another jump at F5.6. Now even the corners are looking pretty crisp.
Real world landscape shots from F4 to F8 will look nice, with good detail across the frame.
Sharpness peaks around F5.6, with F8 being very close to the same. Diffraction will start to soften the image after that, with a mild amount at F11 but a more obvious amount by F16:
Often the tradeoff for a bit of uncorrected fringing is softer bokeh. I wouldn’t consider the bokeh quality to be absolutely top shelf, but it is pretty nice overall.
Here’s another shot with a nice, soft rendering.
Here’s a shot where the subject is further, so nothing is completely blurred out, but it shows how you can still create some subject isolation at this distance.
Flare resistance is mostly good. I had good results where the sun was very brightly right out of frame.
You can see some ghosting in this landscape shot, as the sun hit the elements at obviously a more difficult angle for them.
My review period landed in a season in November when the sun was rather shy. A lot of grey days, so I didn’t get a lot of bright sun to contend with. I did take a quick peek at Christopher Frost’s review, however, and it seems like he had a fairly decent flare outcome, so I feel like what I did see was representative of the overall performance.
Yongnuo’s optical glass is fairly good but not top notch. Colors were mostly good, however, though not quite as special as what you’ll get from higher end lenses.
But it’s important to remember that this is a lens that costs under $270. I would say that the overall rendering is pretty great for the money. When compared to other lenses in this price class I think the optics are competitive and the feature set is clearly much more robust than what competing lenses offer. If you’d like to see more image samples, check out the image gallery here.
Conclusion
The Yongnuo 33mm F1.4S DA DSM WL Pro is a pretty attractive option if you’re looking for a 50mm equivalent lens on your APS-C camera. It is a feature rich, focuses well, has weather sealing, and delivers a pretty strong optical performance, too.
It certainly bests the competition that I’ve seen from Viltrox and Tokina, and prices in much lower than any competing first party lens that I can think of.
Although I was shooting in a difficult season of the year (in between autumn and winter), I felt like I didn’t have a hard time getting images that I liked. I’m pretty amazed by how good budget lenses are these days. In 2016 I reviewed a Samyang 21mm F1.4 fully manual lens that had zero features, and that lens cost $450 at the time. Flash forward eight years and all the inflation that we’ve seen, and you’re still getting a lens with autofocus, weather sealing, a declickable aperture, a custom button, the ability to wirelessly control the lens…and paying nearly $200 less. That’s really pretty astounding when you stop and think about it. That makes the Yongnuo YN 33mm F1.4 well worth consideration.
Pros:
Nice looking lens with nice build
USB-C port for firmware updates
Good manual focus ring and experience
Very feature rich
Weather sealed
Declickable aperture
Wireless remote control
Custom button
Autofocus motor is quiet and fast
Good sharpness wide open
Excellent sharpness stopped down
Fairly good bokeh
Great price to performance ratio
Cons:
Some fringing issues
Gasket for USB-C is hard to remove and easy to lose
Keywords: Yongnuo, YN, 33mm, F1.4, Yongnuo 33mm F1.4, DSM, WL, F1.4, Pro, APS-C, Review, Sony a6700, a6000, a6400, Sony a7RV, Wireless, Review, Hands On, Dustin Abbott, Real World, Comparison, Sharpness, Bokeh, Flare Resistance, Autofocus, Image Quality, Sample Images, Video, Photography, let the light in, weathersealing, #letthelightin, DA
DISCLAIMER: This article and description contains affiliate links, which means that if you click on one of the product links, I’ll receive a small commission. As an Amazon Associate I earn from qualifying purchases.
I spent some time earlier this year reviewing the Yongnuo 11mm F1.8S DA DSM wide angle on Sony E-mount. I was impressed with some of the truly unique features and strong performance of the lens. It was enough to give me a positive feeling about the brand, so when Yongnuo reached out to me about a new lens for Fuji X-mount, I happily agreed to spend some time with it. I’ve had about six weeks with the Yongnuo YN 50mm F1.8X DA DSM Pro lens, and in many ways it is a very impressive little lens. It’s got a lot going on for a price tag of about $300 USD, and provides an interesting alternative to the 56mm options on the market with a few more upscale features. You can find out my full thoughts by watching the video review or by reading the text review.
Thanks to Yongnuo for sending me a review sample of this lens. As always, this is a completely independent review. *The tests and most of the photos that I share as a part of my review cycle have been done with the 40MP Fujifilm X-H2 camera.
This is an APS-C design that I’ve tested in Fuji X-mount. While there are other versions of this lens available on Sony E-mount or Nikon Z-mount, the Fuji version is the only one to get the unique “Pro” designation due to having some upscale features. It should be noted that there is also a non-Pro 50mm F1.8X DA DSM lens available for Fuji X-mount. That lens is smaller, cheaper, a different optical formula, and has far few features. I’m going to share Yongnuo’s own comparison chart to help you avoid some confusion between these two lenses.
Basically everything about YN 50mm Pro, from the size, feature set, housing material, optical design, and even the angle of view. Still, it’s a little confusing that they have two 50mm F1.8 lenses on X-mount. These lenses are also very different optically, however, with the YN 50mm Pro being superior optically.
That’s extremely important on Fuji, particularly when using it on one of Fuji’s monster 40MP APS-C sensors like the one found in the X-H2 I’m using for the review. Lenses have to be very sharp to look credible on that sensor, but fortunately the YN 50mm Pro does a pretty excellent job of that.
If you don’t speak Yongnuo, let me break down what those letters mean in the 50mm F1.8X DA DSM Pro lens designation. In many ways this follows the Fuji naming convention which puts a list of features right in the name.
X = Fuji X-mount
DA = APS-C
DSM = Digital Stepping Motor
Pro = Higher end performance and features.
I had a few early quirks between the lens and my X-H2, but fortunately a firmware update completely cleared all of that up and allowed the lens to function fairly close to flawlessly on my camera. I had a lot of fun with the YN 50mm Pro due to a great mix of sharpness and nice bokeh.
There are also a few weaknesses along with many strengths, and we will break down it all in the reviews. Enjoy the photos!
Keywords: Yongnuo, YN, 50mm, F1.8, F1.8, DA, DSM, Pro, Yongnuo 50mm F1.8X DA DSM Pro, Yongnuo 11mm F1.8, DSM, WL, F1.8S, APS-C, Review, Sony a6700, Fuji, Fujifilm, X-H2, X-T5, X-T50, Review, Hands On, Dustin Abbott, Real World, Comparison, Sharpness, Bokeh, Flare Resistance, Autofocus, Image Quality, Sample Images, Video, Photography, let the light in, weathersealing, #letthelightin, DA
DISCLAIMER: This article and description contains affiliate links, which means that if you click on one of the product links, I’ll receive a small commission. As an Amazon Associate I earn from qualifying purchases.
I spent some time earlier this year reviewing the Yongnuo 11mm F1.8S DA DSM wide angle on Sony E-mount. I was impressed with some of the truly unique features and strong performance of the lens. It was enough to give me a positive feeling about the brand, so when Yongnuo reached out to me about a new lens for Fuji X-mount, I happily agreed to spend some time with it. I’ve had about six weeks with the Yongnuo YN 50mm F1.8X DA DSM Pro lens, and in many ways it is a very impressive little lens. It’s got a lot going on for a price tag of about $300 USD, and provides an interesting alternative to the 56mm options on the market with a few more upscale features. You can find out my full thoughts by watching the video review below…or reading on.
Thanks to Yongnuo for sending me a review sample of this lens. As always, this is a completely independent review. *The tests and most of the photos that I share as a part of my review cycle have been done with the 40MP Fujifilm X-H2 camera.
This is an APS-C design that I’ve tested in Fuji X-mount. While there are other versions of this lens available on Sony E-mount or Nikon Z-mount, the Fuji version is the only one to get the unique “Pro” designation due to having some upscale features. It should be noted that there is also a non-Pro 50mm F1.8X DA DSM lens available for Fuji X-mount. That lens is smaller, cheaper, a different optical formula, and has far few features. I’m going to share Yongnuo’s own comparison chart to help you avoid some confusion between these two lenses.
Basically everything about YN 50mm Pro, from the size, feature set, housing material, optical design, and even the angle of view. Still, it’s a little confusing that they have two 50mm F1.8 lenses on X-mount. These lenses are also very different optically, however, with the YN 50mm Pro being superior optically.
That’s extremely important on Fuji, particularly when using it on one of Fuji’s monster 40MP APS-C sensors like the one found in the X-H2 I’m using for the review. Lenses have to be very sharp to look credible on that sensor, but fortunately the YN 50mm Pro does a pretty excellent job of that.
If you don’t speak Yongnuo, let me break down what those letters mean in the 50mm F1.8X DA DSM Pro lens designation. In many ways this follows the Fuji naming convention which puts a list of features right in the name.
X = Fuji X-mount
DA = APS-C
DSM = Digital Stepping Motor
Pro = Higher end performance and features.
I had a few early quirks between the lens and my X-H2, but fortunately a firmware update completely cleared all of that up and allowed the lens to function fairly close to flawlessly on my camera. I had a lot of fun with the YN 50mm Pro due to a great mix of sharpness and nice bokeh.
There are also a few weaknesses along with many strengths, and we will break down it all in our review.
Build and Handling
50mm isn’t quite as popular on APS-C as it is on full frame, as when you apply the 1.5x crop factor on Fuji to the focal length, you end up with a full frame equivalent of 75mm. I have seen more 75mm lenses in recent years, but obviously the more popular focal length is 85mm, or a 56mm lens on APS-C. There are far more 56mm options on Fuji, though there are a couple of 50mm lenses as well, including the Fujinon XF 50mm F2 WR and the extremely expensive XF 50mm F1.0 WR lenses. Both Fuji options are more expensive than the Yongnuo lens, with the 50mm F2 costing $150 more and the F1.0 lens costing a whopping $1200 more!
You can see from the specifications above that the 50mm F2 lens is smaller and lighter than the YN 50mm Pro, but also lacks its more advanced features.
I keep notes files on my phone to record random field observations when using various gear, and one of the notes I had was that the build of the lens reminded me of a Zeiss Batis lens. This was in part due to the upscale metal construction (an aircraft aluminum alloy) and also the integration of a small LCD screen on the top of the lens.
While the YN 50mm Pro doesn’t have a traditional aperture ring, it does utilize the LCD screen in conjunction with one of the custom settings via a switch on the left side of the barrel to allow the manual focus ring to function as an aperture ring. The LCD readout will show aperture changes in real time to allow you to select your desired aperture.
This feature is perhaps less necessary on a more advanced camera like my X-H2, as that features an LCD readout on top of the camera where I can quickly see the current aperture value (you can see the redundant figures above), but it will be much more useful on the vast majority of Fuji’s cameras which lack a top mounted LCD.
It would have been nice to see this also function as a distance scale when manually focusing (like the Batis lenses).
The size is 68mm in diameter (2.67″) and 85mm (3.34″) in length. The lens weighs in at 387g or 13.65 oz. Up front we have a common 58mm front filter thread.
The lens barrel is made of metal, and it has a nice, anodized black satin finish. The lens design is very clean and modern.
A lens hood is included. While it isn’t anything particularly special, it is sturdier than some and bayonets into place with a reasonably precise feel.
There is a USB-C port for firmware updates covered by a small rubber gasket. Be careful when pulling it out, as it is small and wouldn’t be hard to lose.
The USB-C port will allow for quick and easy firmware updates, which is a smart move by Yongnuo considering that they are a third party lens maker, so they may have to rely on firmware updates to maintain compatibility with cameras in the future. The lens does include a USB-C cable in the box in case you don’t have one. I definitely needed that firmware update to help eliminate a few instabilities in my review copy (these included aperture resets to F16 and the inability to shoot more than one shot in a burst). After the firmware update the lens has operated in a very stable fashion.
There is a metal lens mount with a weather sealing gasket attached. Yongnuo also claims a fluorine coating on the front element to resist fingerprints and moisture.
There is a custom switch that allows for a few different functions, in theory, but in reality only really serves one. In mode 1, it sets the control of ring to aperture control. This works well enough, though the wide, lightly weighted focus ring is fairly easy to bump and cause you to inadvertently change the aperture. I will also note that for some reason the manual aperture change doesn’t seem to work in video mode on my X-H2. I have to control aperture from within the camera.
Putting the switch into Mode II in theory instructs the ring to function as a focus ring, though this does not automatically switch to manual focus. Fuji’s own lenses never have an AF | MF switch, so the whole system is designed for this function to be controlled from the camera, often via a lever. Putting the lens into Mode II means the ring will function as a manual focus ring, but only after you have selected MF from within the camera.
The manual focus ring has a nice feel to it overall, though the weight is on the lighter side. As per usual, I find manual focus a little frustrating on Fuji cameras, as it takes many, many rotations to make major focus changes.
Take a closer took inside and you can see 9 rounded aperture blades, which is a higher blade count than the 7 on the non-Pro model. The aperture shape stays reasonably circular as the lens is stopped down.
The sunstar looks reasonably clean with the aperture stopped down (here at F11), but you can also see from this shot that this is a very flare prone lens.
The minimum focus distance is 45cm and gives a maximum magnification figure of 0.15x, which is good enough to be useful and matches what the XF 50mm F2 offers. Here’s what MFD looks like:
Up close results still look pretty good.
Recent 56mm F1.7/F1.8 lenses from Viltrox and TTArtisan undercut the price tag of the YN 50mm Pro (which can typically be had for under $300), but neither of those lenses are close to matching the build and features of the Yongnuo lens. This is a very nice little lens that feels pretty upscale in the build and handling.
Autofocus and Video
Yongnuo has equipped the 50mm F1.8 with what they call a “digital stepping motor” (DSM). I’m not entirely sure how a digital stepping motor varies from a typical stepping motor, but the end result is a mostly quiet, fast, and accurate focus experience, though with some of the typical Fuji quirks and frustrations. The last time I did a Yongnuo review, it was on Sony, and autofocus is almost always much better there than on Fuji.
Focus noise is quiet, with very little to be heard at a typical shooting distance. If I put my ear right up against the barrel I hear a bit of high pitched whirring and a little clicking.
Focus speed is relatively quick, though particularly in lower light I saw some obvious steps and pulses. Outdoors and in good light autofocus was fairly snappy. For ordinary shots like casual portraits, nature, landscapes, fairly still subjects, I saw very nice accuracy. This shot of Ferrari is a good case in point. You can see note only that the photo is well focused; you can also see that this lens is pretty fantastically sharp.
I was able to shoot narrow depth of field shots with good precision.
I got some good shots at a dog competition, but I got them by prefocusing on the area where the jump would take place rather than trying to just acquire the dogs in movement towards it.
In situations where I tried to track persistent action, I found that focus would move around a bit and was often a little behind where it should be (mid-body rather than face).
The YN 50mm Pro isn’t quite ready for any kind of demanding action.
For most other applications, however, I didn’t have any issues with focus.
Things were (as usual for Fuji) much worse on the video front. As is often the case, I found it nearly impossible to do my focus pull test by touching the point I wanted focus to move to on the screen. Rather than going back and forth, I had to touch the place where I wanted to go and wait…and wait…and sometimes focus would change, though with obvious steps and adjustments. Very frustrating.
The YN 50mm Pro did a little better in my hand test, where I alternately block the camera’s view of my face with my hand and then remove it, but here too focus changes were slow…or just didn’t happen. It was better than the focus pull test, but far from satisfying. I noticed that focus was not consistently on the right place even when focused, however, with some microadjustments. There is also some obvious focus breathing.
Video AF of more typical subjects and movements was better. I tracked a sailboat moving through a harbor fairly well, coneflowers blowing in the wind, and my video footage of a ride on a gondola down a mountain was reasonably good. Video is better reserved for those types of shots rather than trying to track action or make dynamic focus changes.
You need to have reasonable expectations about what this lens can and cannot do on Fuji cameras.
Yongnuo 50mm F1.8X Image Quality Breakdown
The YN50mm Pro has an optical design of 11 elements in 8 groups. Six of these elements are exotic, including low dispersion, high refractive, and aspherical lenses. A lot of fancy glass for an inexpensive lens! The MTF chart shows a consistently sharp performance across the frame with strong contrast that only dips a bit in the corners. This MTF chart also shows an F8 report, and there we see even more sharpness across the frame and consistently high contrast.
I was repeatedly impressed with the great results both wide open and stopped down. I’ve come to expect this 40MP sensor to make lenses look a bit disappointing, so when a lens is able to look good on it, I know it is a pretty special optical instrument.
What’s more, the lens isn’t overcorrected, so I find the rendering of the bokeh pretty nice as well.
The lens performed well in my tests of vignette and distortion, showing minimal distortion and a moderate amount of vignette.
I only had to use a -2 to correct the tiny bit of pincushion distortion, and a +41 cleaned up the vignette. Both of these figures a very low for this type of lens. The slightly larger size of the lens shows its worth here, as they made a larger lens that is better corrected.
The lens is not completely corrected for fringing, showing a bit of LoCA before and after the plane of focus in the form of mild magenta before and slightly more prominent greenish fringing after the plane of focus.
There isn’t much of the lateral style of fringing, however, which you find near the edges of the frame in high transition areas.
So how about resolution and contrast? My tests have been done on the 40MP Fujifilm X-H2. Here’s the test chart:
Here are F1.8 crops at roughly 200% from across the frame (center, mid-frame, and lower right corner).
Results here look really quite good. Not quite in the upper echelon of a handful of lenses that just look amazing on this sensor, but near the top of the next tier. What’s more, this is a nicely consistent performance where the results are good right into the corners.
I thought that many of my real world results showed very nice detail and contrast.
This is great when shooting in dim lighting conditions, as you don’t need to stop the lens down to get sharp results.
Stopping down just 1/3rd stop to F2 does give a bit of a contrast boost, so it will be worth doing when you want just a bit more performance.
Stopping on down to F2.8 provides a bit more boost across the frame.
By F5.6 even the corners are razer sharp.
That means that landscape style shots will shot a lot of detail, and if you are shooting with a high resolution body, you will have a lot of flexibility for cropping.
Sharpness peaks around F5.6, with F8 being very close to the same. Diffraction will start to soften the image after that, with a mild amount at F11 but a more obvious amount by F16:
A common tradeoff for leaving a bit of the aberrations uncorrected is a nicer bokeh rendering, which I think is the case here. This lens definitely has nicer bokeh than a number of competing lenses.
The blur is generally quite soft and creamy.
Here’s another that I like:
What isn’t good, however, is the flare resistance. This is not a lens that copes well with bright lights…particularly if they are in the corner of the frame.
Flare was generally worse with the lens stopped down, and a little better at larger apertures, though you can definitely see some flare artifacts in the upper right corner of the grass image above. You will need to be careful with your composition even when using the fairly deep hood. My experience with a couple of Yongnuo lenses this year tells me that they need some work with their lens coatings to help improve this area of lens design.
What was generally good, however, were the colors. I got a lot of great looking images and was mostly happy with the color consistency so long as the lighting wasn’t too harsh.
I got plenty of images that I was very happy with, however.
When compared to other lenses in this price class, I would say that Yongnuo has found a nice balance between sharpness and rendering. I don’t have a lot to complain about here outside of some vulnerabilities to flare. $300. If you’d like to see more image samples, check out the image gallery here.
Conclusion
I agreed to test the Yongnuo 50mm F1.8X DA DSM Pro based on what looked like a good blend of build, features, and performance, and that has largely proven to be the case. The YN 50mm Pro is very nicely made, handles fairly well, and delivers really great looking images.
As per usual on Fuji, it was the autofocus that probably most left me wanting (particularly on the video side of things), but at the same time I was able to get the photos that I wanted in just about every situation save fast action.
Since Fuji has opened up X-mount, there are now plenty of alternative lenses, both more and less expensive, though I don’t think any of them offers up a better value when examine the build, features, and performance of the YN 50mm Pro. It’s a very nice lens, and I think is a solid choice if you are looking for a short telephoto capable of delivering excellent results for under $300.
Keywords: Yongnuo, YN, 50mm, F1.8, F1.8, DA, DSM, Pro, Yongnuo 50mm F1.8X DA DSM Pro, Yongnuo 11mm F1.8, DSM, WL, F1.8S, APS-C, Review, Sony a6700, Fuji, Fujifilm, X-H2, X-T5, X-T50, Review, Hands On, Dustin Abbott, Real World, Comparison, Sharpness, Bokeh, Flare Resistance, Autofocus, Image Quality, Sample Images, Video, Photography, let the light in, weathersealing, #letthelightin, DA
DISCLAIMER: This article and description contains affiliate links, which means that if you click on one of the product links, I’ll receive a small commission. As an Amazon Associate I earn from qualifying purchases.
The Viltrox AF 56mm F1.7 is not an unknown commidity to me. I reviewed in on Fuji X-mount earlier this year, which is, frankly, the most challenging platform that I review lenses on for two reasons: 1) Fuji’s 40MP APS-C sensor is extremely demanding due to having the highest resolution currently available on APS-C and 2) Fuji’s autofocus is well behind other companies, meaning that AF performance (particularly for video) of lenses often doesn’t look fantastic. The Viltrox AF 56mm F1.7 (which we’ll call the 56mm F1.7E for both brevity and to distinguish it from the X-mount version of the lens) will have an easier time all around on Sony. The 26MP resolution level currently available on Sony is much easier to resolve, and Sony’s autofocus system on their cameras is much, much better. I had the good fortunate to get this lens at the same time as having the Sony ZV-E10 II compact camera, and it was a great match for that compact body.
This new lightweight series began with the very useful AF 20mm F2.8 full frame lens (which I reviewed here), an extremely light, extremely inexpensive, but surprisingly strong optical instrument. That was followed (for full frame) with the 40mm F2.5 STM full frame lens, a lens that I’ve reviewed on Nikon Z and that will soon be released on Sony as well. That first APS-C lens in this particular series, however, is this Viltrox AF 56mm F1.7 STM. This Viltrox lens will retail for under $180 USD (buy from Viltrox and use the code DUSTINABBOTT to get 8% more off!). That makes it an attractive option for those who want this focal length but have a tight budget. Is it worth checking out? Find out my thoughts by watching the video review, reading the text review, or just by enjoying the photos in the galleries below.
Thanks to Viltrox for sending me a review copy of this lens. As always, this is a completely independent review. *The tests and most of the photos that I share as a part of my review cycle have been done with the Sony a7RV in its 26MP APS-C modealong with the the Sony ZV-E10 II which I reviewed here.
Viltrox already has an existing autofocusing 56mm F1.4 APS-C lens (my review here) that they released in 2020, but that lens is heavier (290g) and more expensive ($299 USD) relative to this new lens. The Viltrox AF 56mm F1.7E has a slightly slower aperture (one half stop), lacks an aperture ring, but compensates in part by being extremely sharp. In fact, if you look at this chart I’ve made comparing the MTF from the two lenses, you can see that I’ve put a line through the 80% level. None of the performance of the older lens (at least at 30LPmm) reaches that threshold, while there is only the tiniest part of the image of the 56mm F1.7 E-mount that fall below that.
There is 15% more image sharpness in the center of the frame and and more than 20% more in the midframe. The corners are more like 40% sharper! This is going to be a very sweet bargain portrait lens. 56mm on Sony’s 1.5x crop APS-C sensor translates to 84mm, a prime portrait focal length.
This tells us all we need to know about who this new lens is for: much like Samyang’s “Tiny series”, this lens is for those who don’t care about bells and whistles and just want a lightweight, high performing lens. And this lens is incredibly compact – look how compact it is when compared to the Fuji XF 56mm F1.2 WR and the TTArtisan AF 56mm F1.8 (another impressive little lens!)
I’ll foness that I end up reaching for these little Viltrox lenses more often than expected. Very often the idea of a throwing a small, light, tough, and high performing little prime into my bag is very, very attractive. Enjoy the photos below!
Image of the Viltrox AF 56mm F1.7 E-mount
Images taken with the Viltrox AF 57mm F1.7 E-mount
Keywords: Viltrox, Viltrox AF 56mm, Viltrox 56mm, AF, 56mm, F1.7, f/1.7, STM, APS-C, Review, Sony a6700, Sony ZV-E10 II, Sony a7RV, Review, Hands On, Dustin Abbott, Real World, Comparison, Sharpness, Bokeh, Flare Resistance, Autofocus, Image Quality, Sample Images, Video, Photography, let the light in, weathersealing, #letthelightin, DA
DISCLAIMER: This article and description contains affiliate links, which means that if you click on one of the product links, I’ll receive a small commission. As an Amazon Associate I earn from qualifying purchases.
The Viltrox AF 56mm F1.7 is not an unknown commidity to me. I reviewed in on Fuji X-mount earlier this year, which is, frankly, the most challenging platform that I review lenses on for two reasons: 1) Fuji’s 40MP APS-C sensor is extremely demanding due to having the highest resolution currently available on APS-C and 2) Fuji’s autofocus is well behind other companies, meaning that AF performance (particularly for video) of lenses often doesn’t look fantastic. The Viltrox AF 56mm F1.7 (which we’ll call the 56mm F1.7E for both brevity and to distinguish it from the X-mount version of the lens) will have an easier time all around on Sony. The 26MP resolution level currently available on Sony is much easier to resolve, and Sony’s autofocus system on their cameras is much, much better. I had the good fortunate to get this lens at the same time as having the Sony ZV-E10 II compact camera, and it was a great match for that compact body.
This new lightweight series began with the very useful AF 20mm F2.8 full frame lens (which I reviewed here), an extremely light, extremely inexpensive, but surprisingly strong optical instrument. That was followed (for full frame) with the 40mm F2.5 STM full frame lens, a lens that I’ve reviewed on Nikon Z and that will soon be released on Sony as well. That first APS-C lens in this particular series, however, is this Viltrox AF 56mm F1.7 STM. This Viltrox lens will retail for under $180 USD (buy from Viltrox and use the code DUSTINABBOTT to get 5% more off!). That makes it an attractive option for those who want this focal length but have a tight budget. Is it worth checking out? Find out my thoughts by watching the video review below…or just keep reading.
Thanks to Viltrox for sending me a review copy of this lens. As always, this is a completely independent review. *The tests and most of the photos that I share as a part of my review cycle have been done with the Sony a7RV in its 26MP APS-C modealong with the the Sony ZV-E10 II which I reviewed here.
Viltrox already has an existing autofocusing 56mm F1.4 APS-C lens (my review here) that they released in 2020, but that lens is heavier (290g) and more expensive ($299 USD) relative to this new lens. The Viltrox AF 56mm F1.7E has a slightly slower aperture (one half stop), lacks an aperture ring, but compensates in part by being extremely sharp. In fact, if you look at this chart I’ve made comparing the MTF from the two lenses, you can see that I’ve put a line through the 80% level. None of the performance of the older lens (at least at 30LPmm) reaches that threshold, while there is only the tiniest part of the image of the new lens that fall below that.
There is 15% more image sharpness in the center of the frame and and more than 20% more in the midframe. The corners are more like 40% sharper! This is going to be a very sweet bargain portrait lens. 56mm on Sony’s 1.5x crop APS-C sensor translates to 84mm, a prime portrait focal length.
This tells us all we need to know about who this new lens is for: much like Samyang’s “Tiny series”, this lens is for those who don’t care about bells and whistles and just want a lightweight, high performing lens. And this lens is incredibly compact – look how compact it is when compared to the Fuji XF 56mm F1.2 WR and the TTArtisan AF 56mm F1.8 (another impressive little lens!)
I’ll foness that I end up reaching for these little Viltrox lenses more often than expected. Very often the idea of a throwing a small, light, tough, and high performing little prime into my bag is very, very attractive. So let’s dive into the details together.
This review is a mix of elements from my previous review (on Fuji) though updated with all of the specific Sony details and many new photos taken on Sony.
Viltrox AF 56mm F1.7E Build and Handling
The first thing to note is the slightly unusual maximum aperture value. Similar lenses are going to be F1.8, not F1.7, but I like this move as it sets the lens apart and gives it a small but real advantage over F1.8 lenses. F1.8 is 2/3rds of a stop slower than F1.4, while F1.7 is 1/2 half stop slower. When swapping between this F1.7 lens and another lens with a maximum aperture of F1.8, I found that the Viltrox produced a 1/35th second shutter speed vs 1/30th second for the F1.8 lens. That’s not a lot of extra light gathering but it is something.
As noted, the Viltrox AF 56mm F1.7 eschews the heavier metal casing typically used for Viltrox lenses and embraces a more conventional, lightweight design in polycarbonates (engineered plastics). I wouldn’t call the build high grade here, but what I can say is that nothing about the plastics feel flimsy. It doesn’t have the feel of the early Samyang Tiny series lenses but instead feels tough and durable; its the kind of lens that feels like it could survive some falls (not that I intentionally dropped it!)
The new AF 56mm F1.7 is extremely compact, only 65mm in diameter (2.6″) and 54.7mm in length (2.15″). It weighs only 171g (6oz). You can see that this is an easy match even for a very compact camera like the ZV-E10 II.
Up front we have a 52mm filter thread, which is a small but relatively common filter size. The front of the lens fascia has a variety of information imprinted on it and has a classic profile. I’m a fan of having some lens information on the front fascia, as I feel it adds character to the lens. This lens presents a very nice face for an inexpensive lens.
There is a very slim lens hood included that bayonets into place but without as much precision and confidence as I would like. It doesn’t feel like it really “clicks” into place and locks particularly well. A lens pouch is also included. The pouch doesn’t add a lot of protection value, but, like the hood, at least it is included. There are many more expensive lenses that include neither a pouch or a hood.
This inexpensive series is set apart from most of Viltrox’s lenses in that there is no aperture ring in the design. There are no switches, either. The only feature on the lens barrel is a wide manual focus ring. The manual focus ring has a nice amount of damping and moves fairly smoothly. All manual focus aids (including automatic magnification of the focus area) will work with the Viltrox, though major focus changes will take a lot of rotations, so manual focus is better reserved for fine tuning.
The Viltrox AF 56mm has 9 blades in its aperture iris. The blades do a very reasonable job of maintaining a circular shape as the aperture is stopped down. When stopped down far enough, an 18 bladed sunstar will emerge, though it isn’t particularly well defined.
We have an important Viltrox standard in the form of a USB-C port on the metal lens mount that allows you to connect the lens to a computer and update the firmware directly. The firmware update process is very simple; just unzip the upgrade folder, drag the firmware update file to the folder that shows up when the lens is attached to the computer, and the update is done in seconds.
The Viltrox AF 56mm has a minimum focus distance of 55cm, which unfortunately isn’t particularly close and only produces a 0.11x magnification, which is a little lower than average for the class…on paper. In practice, however, the Sony version seems to manually focus down to 50cm and produce a higher magnification level than I saw on Fuji.
In fact, when I compared it in the real world to another 85mm (full frame) lens that I was testing at the time (I can’t yet reveal which), the Viltrox clearly has a much higher magnification even though that lens claims to have a 0.12x magnification.
While some Viltrox lenses have started to come with weather sealing, this inexpensive 56mm lens does not have it. It does have a HD Nano multilayer coating with water-resistant and antifouling coating on the front element.
Though short on bells and whistles, the Viltrox AF 56mm F1.7E does excel in one key area: it is very compact and lightweight. And while there aren’t any special features, the lens feels sturdy and well made. As I noted in the intro, this is a lens designed for a specific market, and I feel like Viltrox has made the right choices in order to give us a functional lens that at the same time is extremely inexpensive.
Viltrox AF 57mm F1.7 STM Autofocus
In a thoroughly unsurprising turn of events, autofocus is much improved on Sony as compared to the Fuji X-mount version of the lens. The Viltrox AF 56mm F1.7 STM utilizes a lead-screw type stepping focus motor (STM) that makes fast and definitely quiet focus changes. Focus felt silent unless I put my ear up next to the barrel, where I could hear some very light whirring during major focus changes. Focus speed is much faster than on Fuji, with both indoor and outdoor focus changes coming near instantly. I was much more confident shooting action on the E-mount version than I ever was on X-mount.
I was able to track Nala successfully though an extended burst sequence. This isn’t fast movement, but the persistent movement of coming towards the camera seems to be quite challenging for certain lenses. In this sequence of 40 images I had consistently good focus right through to the final frame.
I was able to successfully nail focus on bees even when in flight.
I also had easier success tracking birds in flight, particularly gulls soaring around Wasaga Beach, Canada.
Bottom line is that the E-mount version is much more flexible in terms of the types of subjects that you can take on with lens. Where I didn’t feel like the X-mount was well suited for action, the E-mount version (and Sony’s superior AF system) makes action much more of a possibility.
Clearly autofocus for less challenging subjects is pretty effortless. Point and shoot.
I tested low light focus on the ZV-E10 II at its maximum of ISO 32,000, and while I wasn’t overly impressed by the amount noise in the JPEG image, I can attest that the autofocus was no problem.
Video focus pulls were 100% better on Sony, with smooth and positive focus transitions from one subject to another even in a challenging situation. Focus breathing is fairly low as well.
My hand test went great, as transitions from my hand to my eye and back were smooth and confident, and the speed of focus pulls was much better on Sony.
Real world focus transitions in video were solid. Focus was fairly solid and stable, and transitions from one subject to another weren’t jumpy or abrupt, though they weren’t particularly cinematic, either. Here’s a still from one of those transitions.
Bottom line is that autofocus performance was pretty fantastic for a lens that costs well under $200.
Viltrox AF 57mm F1.7 Image Quality
The Viltrox AF 56mm F1.7 has an optical design of 11 elements in nine groups. What’s surprising in such an inexpensive lens is how many of these are exotic elements. There are four ED (extra-low dispersion) elements along with an additional 3 HR (high refractive index) elements, leaving just four of those elements being ordinary ones. We’ve previously noted how good the MTF chart for this bargain lens looks:
All of this adds up to a lens that is punching above its weight class optically, and thus has no issues handling the 26MP resolution limit currently available on Sony E-mount APS-C cameras. The 56mm F1.7E has no problem filling the frame with detail.
This shot was taken on the 26MP APS-C mode of the full frame a7RV, and you can see that even if we sample the lower corner that the image is full of detail.
The fact that E-mount lenses can also be used on full frame cameras allows to take a look at how much of the full frame sensor this lens covers. This is not a “stealth” full frame lens; you will see a lot of hard, mechanical vignette where the full frame sensor is not covered.
That being said, when I cropped out the hard, mechanical vignette, I did have about 36MP of resolution left over, so you can get a little extra flexibility there if you don’t mind doing a few additional steps.
We’ll work through the chart results by first looking at distortion and vignette. The lens clears this hurdle largely unscathed, as there is minimal distortion, and (as is typically the case), there is less distortion on Sony than on Fuji (for some reason!)
I used a-2 to correct a tiny bit of pincushion distortion, though for portrait work you probably don’t want to correct that (a bit of pincushion distortion is flattering). Vignette required a +41 to correct (2 stops, or about one less than on Fuji), though it is fairly linear and largely “works” for portraits, creating a natural vignette that draws the eye to the subject. You can see in this comparison that the left side is profile corrected and the right is uncorrected. I personally favor the uncorrected result.
The 56mm F1.7 shows very low amounts of longitudinal chromatic aberrations. Fringing is well corrected, leaving very little fringing on either my test results:
…but more importantly on real world results. On this bright white blossom there is minimal fringing on the edge transitions or in the defocused areas.
Lateral Chromatic Aberrations usually show up along the edges of the frame as fringing on either side of high contrast areas (like bare branches framed at the edge of images), but that doesn’t seem to be an issue here. You can see a nice, neutral transition from black to white on the corners of my test chart.
I also didn’t spot any issues in real world results.
So how about resolution and contrast? All chart tests done on the APS-C mode on my a7RV (26MP) using a tripod and a two second timer. Here’s a look at my test chart:
And here are the crops (at 200% magnification) from the center, mid-frame, and extreme corner at F1.7:
We see here what the MTF chart suggested. Peak sharpness is actually slightly off center (more in our mid-frame image – the blue bill), while corner results are unusually good for this type of lens. This is a remarkably even performance in a way that I rarely see in lenses and almost never in budget lenses. To put that edge performance in perspective, here’s a look at the Sirui Sniper 56mm F1.2 stopped down to F1.8 on Fuji:
And the Viltrox AF 56mm F1.7E has no problems in the real world, either. Here’s an F1.7 shot with a 100% crop that shows great detail.
I suspected that this lens would look great on 26MP after I tested it at the 40MP level on Fuji, and that proves very true. Real world images have a lot of punch and detail and feel like they have come off a much more expensive lens.
Stopping down to F2 showed slightly more contrast, with a bit more coming at F2.8.
I also found that centering was excellent, with equal results in all four corners…and those results are excellent.
Stopping on down to landscape apertures doesn’t increase detail much further, but that’s only because it is already excellent by F2.8. Landscape images look great, however.
As per usual, diffraction will start to show up by F11 and will become more pronounced even on this lower resolution point by the minimum aperture of F16:
Skin tones are warm but natural, creating nice looking portrait results. While the difference isn’t obvious, I did prefer shooting at F2 to F1.7 for portrait work as I felt there was more variation in the highlights and shadows on my subject’s faces due to that slight improvement in contrast.
If you’re looking for a budget portrait lens for APS-C E-mount, this is clearly a nice contender.
I also found that colors in general looked good.
Landscape colors looked great, too. That’s huge, as my chief objection to early Viltrox lenses is that I didn’t love the colors from their optical glass. They have grown so much as a lensmaker, and it is apparent even in these budget lenses.
Obviously the amount of sharpness this inexpensive lens is capable of is nothing short of impressive.
I was also fairly pleased with the quality of bokeh. On the negative front, you can see that there is some of the typical deformation of the circular shape of specular highlights near the edges of the frame (lemon shape):
I did find that there was more outlining than on high end lenses, but overall the quality of the bokeh was pretty decent.
I found that bokeh at portrait distances was generally favorable – soft and without any hard edges to grab the attention.
The subject isolation isn’t going to match an F1.2 or F1.4 lens, obviously, but the quality of the blur is nice.
At close focus distances, the Viltrox AF 56mm F1.7 produces lovely, blurred backgrounds, like in this shot of its attractive competitor – the TTArtisan AF 56mm F1.8:
Flare resistance was also fairly good for a short telephoto lens. I saw so mild ghosting artifacts when point right at the sun, but nothing significant. I also tried moving around to get some veiling at large apertures, and the final result is the worst result I could get…and it’s not bad!
This inexpensive lens houses some very impressive optics. There aren’t too many flaws here.
If you’re on a tight budget and want a portrait lens, look no further. The bang for the buck here is fantastic. This lens feels as compelling as many lenses that I’ve reviewed costing 2-3 times as much. You can see more beautiful images by visiting the image gallery here.
Conclusion
I’ve been surprised by how engaging I have found these budget Viltrox lenses. I love their new higher end lenses with the amazing optics and premium feature set, but there’s also a lot to be said for lightweight, inexpensive lenses that exceed your expectations for their performance. These lenses have tapped into the same fondness I feel for lenses like Samyang’s Tiny series in that there is always a bit more than meets the eye there.
The Viltrox 56mm F1.7E was a very nice match for a compact camera like the ZV-E10II, adding very little weight or bulk, but I also liked it as a lightweight telephoto to throw in the bag with a full frame camera to get that 85mm angle of view with a very small lens.
Because the lens is sharp from corner to corner wide open, it was also a great little lens to carry when the sun went down. You can shoot with impunity at F1.7, and still get sharp, high detailed images. And because I had a clear idea of what to expect in the build, I have no disappointments there. While there’s nothing fancy here, the lens feels tough and well made. The optics exceeded my expectations in just about every way, and on Sony the autofocus is now excellent. But this is a LOT of lens for the price of under $180 USD, and I think this is a great budget portrait option for Sony shooters who don’t want to spend a lot. It’s also one of the sharpest budget lenses I’ve ever tested. That’s impressive, and is just one more reason why Viltrox as a brand may be the biggest disrupter that the lens market has seen in a long time.
Keywords: Viltrox, Viltrox AF 56mm, Viltrox 56mm, AF, 56mm, F1.7, f/1.7, STM, APS-C, Review, Sony a6700, Sony ZV-E10 II, Sony a7RV, Review, Hands On, Dustin Abbott, Real World, Comparison, Sharpness, Bokeh, Flare Resistance, Autofocus, Image Quality, Sample Images, Video, Photography, let the light in, weathersealing, #letthelightin, DA
DISCLAIMER: This article and description contains affiliate links, which means that if you click on one of the product links, I’ll receive a small commission. As an Amazon Associate I earn from qualifying purchases.
What do people want in a small, portable camera? A fixed prime lens and a camera high on style, like Fuji’s X100VI that I reviewed earlier this year? Or Sony’s own ZV-1 II camera with a fixed zoom lens? But Sony also has the third option covered, and that is a compact vlogging oriented camera with a more typical interchangeable lens mount. The Sony EV-10 II is Sony’s second generation vlogging specific interchangeable lens APS-C mirrorless camera. The main improvements are the upgrade to the 26MP sensor found in the a6700 (from the 24M sensor of the original EV-10), improved autofocus, much more robust video specs, and an upgrade to the common NP-FZ100 battery found in most of Sony’s better cameras. Does all of this add up to a camera worth considering? Find out my full thoughts in my video review below , read my full text review, or just enjoy the photos in the galleries below.
Thanks to Sony for sending me a review loaner of this camera. As always, this is a completely independent review. All thoughts and opinions are my own.
And what are the main things that are missing that people will be looking for?
No viewfinder
No IBIS
Bottom line: at a price tag of right under $1000 for the camera alone ($1100 with the PZ 16-50mm lens), this is the cheapest camera to get Sony’s new 26MP sensor and updated AF system. My experience says that you can get cheaper CAMERAS from other brands, but if you are interested in using more than one or two lenses, nothing beats Sony E-mount for lens selection and thus lower costs in the long run.
Keywords: Vlog, Sony, EV-10 II, EV, 10, II, Sony EV-10 II Review, APS-C, Video, YouTube, Review, Hands On, Dustin Abbott, Real World, Comparison, Sharpness, Bokeh, Flare Resistance, Autofocus, Image Quality, Sample Images, Video, Photography, let the light in, weathersealing, #letthelightin, DA
DISCLAIMER: This article and description contains affiliate links, which means that if you click on one of the product links, I’ll receive a small commission. As an Amazon Associate I earn from qualifying purchases.
What do people want in a small, portable camera? A fixed prime lens and a camera high on style, like Fuji’s X100VI that I reviewed earlier this year? Or Sony’s own ZV-1 II camera with a fixed zoom lens? But Sony also has the third option covered, and that is a compact vlogging oriented camera with a more typical interchangeable lens mount. The Sony EV-10 II is Sony’s second generation vlogging specific interchangeable lens APS-C mirrorless camera. The main improvements are the upgrade to the 26MP sensor found in the a6700 (from the 24M sensor of the original EV-10), improved autofocus, much more robust video specs, and an upgrade to the common NP-FZ100 battery found in most of Sony’s better cameras. Does all of this add up to a camera worth considering? Find out my full thoughts in my video review below or read on in my text review.
Thanks to Sony for sending me a review loaner of this camera. As always, this is a completely independent review. All thoughts and opinions are my own.
And what are the main things that are missing that people will be looking for?
No viewfinder
No IBIS
Bottom line: at a price tag of right under $1000 for the camera alone ($1100 with the PZ 16-50mm lens), this is the cheapest camera to get Sony’s new 26MP sensor and updated AF system. My experience says that you can get cheaper CAMERAS from other brands, but if you are interested in using more than one or two lenses, nothing beats Sony E-mount for lens selection and thus lower costs in the long run.
Build and Handling
The ZV-E10 II is a very compact and lightweight camera, though it has grown a little bit since the original ZV-E10. The dimensions are 114.8 x 67.5 x 54.2 mm (w x h x d), or 4.5 x 2.7 x 2.1″. The width is the same as the first generation camera, but the height has grown by 3mm and depth by 5.5mm. This is mostly to accommodate a very positive change – the swap from the smaller NP-FW50 battery (1080mAh) to the larger NP-FZ100 battery (2280mAh) employed in their better cameras.
The weight of the camera with the battery and memory card inserted rises a bit, from 343g to 377g (13.3oz). There are always two perspectives about this kind of change, as for some people their absolute priority is to go as small and light as possible. But this change increases the rated number of shots from the ZV-E10’s 440 shots and 80 minutes of actual video recording to 610 shots and (perhaps more important in a vlogging camera!) 130 minutes of actual video recording time in the ZV-E10 II. That’s an additional 50 minutes of video recording, and while it is often fairly easy to swap batteries when shooting stills, having to swap batteries during long format video recording can be disastrous. Having a spare battery or two is still a good idea, but there’s no question that you’re better off with this level of battery life if you were going out for a day in a new city while traveling or vlogging. It’s much more likely that 130 minutes of recording time would get you through the day if you just had a camera on a strap around your neck than 80 minutes.
The secondary takeaway from this is that you get a much more robust grip than you did on the ZV-E10. You can see that the original grip is rather small, while the ZV-E10 II has a more accommodating grip that gives more space for the fingers to wrap around it. I found that the camera still wasn’t tall enough to accommodate my hands (my pinky has to wrap underneath), but my other fingers were comfortable on the grip.
You can see from the comparison image above that the extra grip space has allowed for a minor restructuring of controls. The Powerzoom controls remain at the front of the camera, but the ON | OFF lever has moved from a separate switch mid camera to a position to the right of the shutter button. I found that I did sometimes hit the Powerzoom control when trying to turn off the camera due to not having the muscle memory initially, but the advantage of having the power toggle there is that it is much easier to control the camera one handed.
The video record button and the C1/Background Defocus button are in the same location as before, but the mode control has changed from a button selector to a three position switch (STILLS | VIDEO | S&Q).
This is a better system, as it gives quick and direct control as opposed to having to interact with the LCD screen.
The C1/Background Defocus button is unique to this type of camera, and it’s native purpose is to open the aperture to the widest option to defocus the background. That’s only going to have limited effectiveness with a slower lens like the kit zoom, as this doesn’t actually magically make backgrounds more defocused. I did note that (as expected) that this feature will not work with a lens with an aperture ring unless you have the aperture ring in A (auto) mode. If you have an aperture preset and hit the button, you will get this message:
I personally wouldn’t find this function particularly useful, as I’m always aware of aperture and can quickly switch it to my preferred aperture setting anyway, but those who want to operate as simply as possible might appreciate this function. This also serves as the C1 button, however, which means “customizable”, so you can assign many other values to it instead if you don’t want or need a Background Defocus option.
The ZV-E10 cameras have a unique and more robust built in microphone. This three-capsule microphone is more robust than most on-board microphones, with better pickup and noise reduction performance (a wind reduction muff is included). You have the option of choosing Auto recording or choose from Front, Rear or All Directions settings to match your shooting environment or priorities. This might allow you to prioritize getting sound from in front of the camera, or recording your voiceover behind the camera, or mixing the environmental sounds with your voice. Further expanding your options is the fact that the “hotshoe” is Sony’s MI-shoe, or multi-interface shoe. This will allow you to record digital audio through a compatible microphone.
The bottom of the camera is mostly the same, though the battery door is oriented a little differently to accommodate the larger battery.
The font view is largely the same. The slightly taller body of the ZV-E10 II makes the LCD screen look a bit smaller, but both are a 3″ fully articulating touchscreen LCD. The resolution is slightly higher at 1.036 million dots rather than .921m dots on the older model. Sony’s touch capabilities have improved over the past few years, and are now more responsive and allow for full menu navigation and many other options.
I have zero complaints about the LCD screen itself, though…
There is no viewfinder in this design, and (due to muscle memory) there were many time that I pulled the camera up to my eye only to then remember that there was no viewfinder. I did find that in bright sunny conditions that I really missed having a viewfinder, as seeing the LCD screen in some lighting was difficult.
The right side view is mostly the same, though the difference in the thickness of the camera is very apparent from this angle. The grip material is a bit different than the typical grip on, say, the a6xxx series. It’s largely a series of raised microdots.
A bigger change is found on the left side of the camera, as (thankfully!) the single UHS-II rated SD card slot has been relocated to the side of the camera instead of in the battery compartment on the bottom of the camera. I vastly prefer the side location, as bottom locations will often be interfered with if you are using a QR plate or something similar. This change means that there is a slightly different organization of the ports located there, though it adds up to the same thing.
The USB-C and microphone input are located in the top compartment, with the micro-HDMI and headphone monitoring jack located in the bottom compartment. The new SD card slot falls in the middle of the two.
The rear view is pretty much identical, though with a minor change to the top plate and a little sculpting to allow easier access to flipping out the screen and for accessing the top wheel. All other button and dial positions are the same.
The controls are adequate, and between the two wheels it is easy enough to control most functions.
The Powerzoom controls have two functions. If you have a Powerzoom lens attached (like the E 16-50mm F3.5-5.6 PZ OSS II lens), you can directly access the Powerzoom function in a much easier way than by the controls on the tiny lens itself. A secondly application is in video mode, however, and it will allow you to control the Clear Image Zoom or Digital Zoom function. It’s very welcome to have the ability to smoothly control zoom and be able to get smoother results for video.
The ZV-E10 II can be bundled with the Sony E PZ 16-50mm f/3.5-5.6 OSS II lens. The lens retails for $298 when sold separately, but only adds $100 when sold in a bundle with the camera. It’s worth getting the lens in kit, as you aren’t going to find a better zoom lens for $100. This is the MK II version of the lens, and offers both improved OSS (Optical Steady Shot) for more stability and faster autofocus. Optically it is the same as the previous generation lens.
There are more exciting lens options out there, but it does provide a decent general purpose lens for either video or stills use, and the PowerZoom function is definitely useful in certain applications.
The other big thing that the 16-50mm PZ adds is optical stabilization, allowing you to get stable results for your video and vlogging captures. For just $100 it is well worth adding to the kit.
So other than the missing viewfinder (which I do miss!), the Sony ZV-E10 II is a good handling little camera that is easy to use.
Autofocus and Bursts
This is another area of key upgrade to the formula. The previous generation EV-10 had an older generation AF system inherited from a camera like the a6400, which had 425 Phase Detect autofocus points backed up with a Contrast AF system. The EV-10 II inherits the more advanced AF system from the a6700 which touts 759 Phase Detect points over a 495 point Contrast AF system. It has intense coverage across the frame.
It has the updated Bionz XR processing unit that allows for more processing speed for a variety of camera function, including autofocus.
What the a6700 has than the EV-10 II lacks is the AI processing unit to give more advanced tracking. The EV-10 II does have the ability to track subjects, though the categories are limited to Human, Animal, and Bird. Frankly serious tracking (in my eyes) needs a viewfinder, as it is very difficult to properly frame a fast moving subject when you can’t block out ambient light.
We still have an excellent focus system here, however, easily able to track action and deliver well focused results.
I was able to put the camera in the hands of a stranger with an 85mm lens attached (128mm full frame equivalent) and got perfectly focused results of our group of hikers due to the excellent face recognition (and despite the narrow depth of field).
I was also able to get very nice focus results even at F1.4 of a snake I spotted along the trail. Eye AF in animal grabbed the proper focus even though the scene was very complicated (lost of branches, grasses, and leaves in the way).
I also had zero problems grabbing shallow depth of field shots. The one below is at F1.2 taken with the excellent Viltrox Pro AF 27mm F1.2 (an amazing lens!)
I don’t really have any complaints about autofocus for stills. I was able to get well focused images in a variety of situations and don’t really have any complaints.
What is unique here is a shift to a purely electronic shutter. Rather than a hybrid mechanical/electronic shutter, Sony has gone all in on the electronic shutter. That shows some confidence with this processing unit and that they anticipate the readout to be fast enough to having less rolling shutter issues. The advantage is that we now have a max shutter speed of 1/8000th rather than 1/4000th, but the dark underside of the switch is that the max flash sync speed is only…gulp…1/30th second. Don’t buy this camera for studio work!
Max burst rate is 11 frames per second, which is pretty good, though the buffer depth will be the issue if you are shooting anything other than JPEGs. Now, to be fair, the buffer depth has actually improved. Extra fine JPEG depth has moved from 99 frames to 143, and full RAW (uncompressed) has grown from 46 to 59 frames. Where I got trapped is that Lossless Compressed RAW is now an option (it wasn’t before), which reduces the buffer depth to 22 frames. But because I was shooting a prerelease camera, Lightroom currently can’t open the RAW images from the camera, so I also needed to shoot JPEGs. Lossless Compressed RAW + JPEG drops to 17 frames, which meant that on my rope swing burst sequences, I actually ran out of frames before the big splash.
But if you want a deep buffer, you do have the option of choosing Fine JPEG (rather than Extra Fine), where you can get over 1000 frames before the buffer fills. That should be enough for you! Overall these specs are actually pretty good for this class, and considering that the storage medium is only UHS-II SD, that tells me that the processor is doing a great job of moving information.
Video
Obviously video is a very important aspect of a vlogging oriented camera, and there are a number of ways where Sony has improved the video recording capabilities.
Before hitting that, however, I do want to quickly comment on the microphone capabilities. As noted previously, there are three different microphones in the system and three options for how sound is recorded. I definitely found that selecting the right mode made a big difference, with the “Front” priority for vlogging do a great job of getting my voice and not sound from behind the camera. Sound quality isn’t at the level of having a separate mic system, but definitely sound better than the average audio from a camera.
Video recording in the original ZV-E10 was rather bland. It was limited to 8 bit internal video recording with a limit of 4K30. The new ZV-E10 II is much more robust. It starts with 10 bit internal recording and resolution as high as 4K60. And there isn’t a big crop for that recording, either, with 4K30 being a full sensor and 4K60 only having a very mild 1.1x crop. The footage is downsampled from a full pixel 5.6K readout and looks highly detailed. There is now a much wider variety of resolution, codec, and bit-rate options available. Here’s a quick look at them:
Also of note is that Full HD recording is available up to 120FPS for true slow motion capture.
I like the quick CineVlog option on the touchscreen that switches to the S-Cinetone color profile and shoots a widescreen 2.35:1 look with black bars top and bottom that is recorded at 24FPS for a cinematic look. It’s a nice touch for those who are looking for quick and easy cinematic looking footage.
Bitrates are as high as 600Mb/s. Gamma curve options include HDR-HLG, Sony S-Log 2, Sony S-Log 3. The camera includes S-Cinetone and S-Log 3 color, which make for better grading control and full utilization of the 14-stop dynamic range. You can also assign LUTs or use the Creative Looks mode to apply preset color effects to your footage while shooting. There is no RAW video output via HDMI, however. In camera footage looks pretty fantastic (this is a screenshot from a video clip).
Video AF did a great job of tracking my face/eye during vlogging segments and also of tracking for other video shots, including those with some action involved.
I’ve mentioned the background defocus option previously, and there is also a Product Showcase option that emphasize any product moved towards the camera rather than staying locked on the eye. This mode seems to work well and be quickly accessed from the on-screen options that can accessed by touch. The camera also receives Sony’s Focus Breathing Compensation corrections that will help eliminate or reduce focus breathing on any Sony lens.
While we aren’t into any truly high resolution options available on high end cameras, there’s no question that this is a MUCH more robust video camera than the previous generation, and if you are buying the ZV-E10 II for its intended purpose, this is well worth the price premium of $300 over the previous generation camera.
Image Quality Breakdown
As noted in the intro, the ZV-E10 II inherits the APS-C-format 26MP Exmor CMOS found in either the FX30 or a6700 cameras. This increases the resolution from 24 to 26MP and also increases both the dynamic range (nearly a half stop) and ISO capabilities (slightly) of the camera. The Bionz XR processor further helps with this. The ZV-E10 II is capable of producing great looking images with great color, detail, and dynamic range.
Unfortunately I was limited in being able to torture test this sensor due to Lightroom/ACR being unable to open the RAW images yet because of this being a prerelease review. All of the images shown in this review are all out of camera JPEGs. I will revisit this section when I have a chance to review the sensor on either this camera or the a6700.
According to Photons to Photos, dynamic range has increased from 10.53 stops to 10.95 stops, high enough to beat all of the APS-C competitors from Canon, Fuji, or Nikon. Low light performance manages to top the ZV-E10 despite the resolution bump as well, which is impressive.
In camera JPEGs look very good, capable of beautiful color:
…and also of great detail:
Skin tones look good in my shots as well:
Even with JPEG images I was able to recover a few images that didn’t meter the way I personally wanted even if technically correct. I’ve added nearly two stops into the recovered result here.
The native ISO range is from 100-32,000, though in the case of shoting JPEGs, I prefer to keep it at ISO 12,800 or less, as noise reductions gets a little aggressive above that. I can tolerate shots in color at ISO 12,800:
…but above that find only B&W tolerable. Here’s an ISO 32,000 JPEG:
That aside, the tests of others tell me that the High ISO performance here is about as good as you’ll find on an APS-C sensor, so overall this is a great little camera in terms of sensor performance.
I’ve used the Sony ZV-E10 II for big hikes, in the golf bag for beautiful moments that might pop up there, in a waist carrier on cycling trips, and at family events for a lightweight carry-along camera. I’ve also shot some B-roll footage for my channel with it, and, though I don’t actually Vlog, I have shot some Vlog sequences with it for intros. This is a very competent compact camera, though I do miss having a viewfinder…particularly in bright conditions.
There’s a far more robust suite of video options, a bigger battery to allow you to capture it all, and a great new sensor that affords more flexibility for both video and stills.
So is there a fly in the ointment? Perhaps. The ZV-E10 II has received a pretty significant $300 price hike, and while I think you can pretty easily make the argument that the various improvements are worth that increase, the $1000 price point moves it into contention with far more cameras. Sometimes people in this zone are looking at the price of competing cameras and wondering if a Sony is worth the additional cost. But as I mentioned in the intro, I think the value of Sony cameras is when you consider the lower cost of the whole ecosystem. There are dozens of reasonably priced compact lens options on Sony, either APS-C specific or full frame compatible, and there just isn’t any other brand that can match the sheer amount of available options. So if you’re interested in going deeper than just the kit lens, I think Sony just might be worth spending a bit more on the camera. Vlog away!
Pros:
New grip for larger battery is more comfortable
Battery life is much improved
Some handling and control improvements
Having zoom controls on camera is useful
Upgraded LCD resolution
Improved autofocus system
Deeper buffers
New sensor has higher resolution and better performance
Vastly improved video specs
4K60 mode has minimal crop
3 Capsule microphone offers better sound and more flexibility
Cons:
I miss having a viewfinder
No IBIS
Flash sync speed only 1/30th second
$300 price increase from EV-Z10 brings more cameras into contention
Keywords: Vlog, Sony, EV-10 II, EV, 10, II, Sony EV-10 II Review, APS-C, Video, YouTube, Review, Hands On, Dustin Abbott, Real World, Comparison, Sharpness, Bokeh, Flare Resistance, Autofocus, Image Quality, Sample Images, Video, Photography, let the light in, weathersealing, #letthelightin, DA
DISCLAIMER: This article and description contains affiliate links, which means that if you click on one of the product links, I’ll receive a small commission. As an Amazon Associate I earn from qualifying purchases.
Yongnuo YN 33mm F1.4 DA DSM WL Pro Review 
Neewer NW-ETZ vs Megadap ETZ21 Pro | Sony E to Nikon Z Adapter Showdown 
Neewer NW-ETZ Sony E to Nikon Z Adapter Review 
Megadap ETZ21 Pro Sony E to Nikon Z Adapter Review 
Yongnuo YN 33mm F1.4 DA DSM WL Pro Gallery 
