Viltrox has announced the launch of the AF 50mm F1.4 Pro FE, a full-frame autofocus prime lens designed for Sony E-mount cameras. The new lens targets professional photographers and videographers who need high-resolution optics, fast autofocus, and reliable performance in a wide range of shooting conditions.

Viltrox AF 50mm F1.4 Pro FE Specifications

The AF 50mm F1.4 Pro FE uses a complex optical formula with 15 elements in 11 groups. The setup includes one ultra-precision aspherical element, three extra-low dispersion elements, and eight high-refractive elements. Viltrox claims this design delivers edge-to-edge sharpness even at the maximum F1.4 aperture while minimizing chromatic aberration and distortion. The lens produces clean images with minimal fringing, even in high-contrast scenes.

The large F1.4 aperture allows more light to reach the sensor, enabling faster shutter speeds and lower ISO settings in low-light environments. The shallow depth of field creates a soft background blur that isolates subjects effectively. Viltrox has also reduced focus breathing, making the lens suitable for video use where consistent framing is critical.

The lens uses Viltrox’s Dual HyperVCM motor for autofocus. The system supports fast, silent, and accurate focusing, with compatibility for Sony’s face and eye detection tracking. The minimum focusing distance is 0.45 meters, which allows for close-up shots without sacrificing image quality.

Viltrox has built the lens body from high-strength forged aluminum alloy. The design includes full weather sealing to protect against dust, moisture, and splashes. The front element has a water- and smudge-resistant coating.

The lens also features a physical AF/MF switch, a customizable function button, and a click/de-click aperture ring switch. Additionally, the USB-C port on the barrel allows users to update firmware, and the company recommends upgrading to version 1.14 to improve autofocus performance.

Pricing and Availability

The Viltrox AF 50mm F1.4 Pro FE is available now through the company’s official website and the Amazon US store. European stock is expected to arrive in early November. The lens is priced at $549 in the US, €619 in Europe, and £525 in the UK.

In related news, Viltrox also recently introduced two new ultra-wide pocket primes priced under $200, the 9mm F2.8 Air and 14mm F4.0 Air.

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Viltrox has unveiled two lightweight ultra-wide autofocus primes in its Air series: the AF 9 mm F2.8 Air for APS-C cameras and the AF 14 mm F4 Air for full-frame systems, aimed at creators who want wide views without bulky gear.

Specifications

The AF 9mm F2.8 Air is compatible with Sony E, Nikon Z, and Fujifilm XF mounts. It features a 113.8° field of view, which is equivalent to 13.5mm on full-frame. The lens has a fast F2.8 aperture that supports low-light shooting and subject separation.

The optical design includes 13 elements in 11 groups, with 3 ED elements, 3 high-refractive index elements, and 2 aspherical elements. The lens weighs just 175 grams and supports a minimum focusing distance of 0.13 meters.

The AF 14mm F4.0 Air supports Sony FE and Nikon Z mounts and is aimed at full-frame users. It delivers a 112.6° field of view and features a 12-element, 9-group optical layout.

Viltrox used 4 ED elements, 2 high-refractive index elements, and 2 aspherical elements in the design. The lens weighs 170 grams for FE mount and 185 grams for Z mount. It also supports close focusing at 0.13 meters and delivers 0.23x magnification.

Both lenses use STM autofocus motors for fast and quiet focusing. They support face and eye detection for photo and video shooting. Viltrox has included a standard 58mm filter thread, weather sealing, and a USB-C port for firmware updates. The front elements feature a coating that resists water and dust.

Pricing and Availability

Viltrox has priced both the AF 9mm F2.8 Air and AF 14mm F4.0 Air at $199 / €229 / £190. The lenses are now available globally through authorized dealers and the official Viltrox online store.

In related news, Viltrox recently introduced the AF 56mm F1.2 Pro lens for Sony E and Fujifilm X-mount APS-C cameras, along with the AF 15mm F1.7 Air, a lightweight wide-angle prime for APS-C systems.

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Viltrox has launched its new AF 56mm F1.2 Pro lenses for Sony E-mount and Fujifilm X-mount APS-C camera systems. The new portrait-focused primes feature a large F1.2 aperture and a pro-grade optical design aimed at photographers and videographers who want high resolution and shallow depth of field in a compact form factor.

Viltrox AF 56mm F1.2 Pro Specifications

The lenses use a 13-element, 8-group construction that includes one aspherical element (UA), one ED element, and three high-refractive elements to reduce chromatic aberration and improve edge-to-edge sharpness. Viltrox applies its HD nano coating to suppress glare and maintain clarity in high-contrast environments.

The 56mm focal length delivers an 85mm full-frame equivalent field of view, which is considered ideal for portrait photography. The F1.2 aperture allows for a shallow depth of field and strong subject-background separation. Viltrox says the lens maintains consistent image quality across the frame, even at wide open aperture.

Viltrox equips both versions of the lens with its patented Dual HyperVCM autofocus motor. The system supports fast, accurate, and nearly silent focusing. The autofocus design also minimizes focus breathing, which helps maintain stable framing in video recordings.

The lens body is made of forged aluminum alloy and is fully weather-sealed. It includes protective coatings to resist scratches, smudges, and moisture. The E-mount version features a dedicated function button, an AF/MF switch, and a de-click switch for aperture adjustment. Both versions include a USB-C port for firmware upgrades.

Pricing and Availability

The lenses support a minimum focusing distance of 0.5 meters and use a standard 67mm filter thread. Viltrox lists the MSRP at $580 in the US, €599 in Europe, and £530 in the UK.

In related news, Viltrox recently launched the AF 15mm F1.7 Air, a compact and lightweight wide-angle prime lens for APS-C cameras. We also recently reviewed the Viltrox AF 135mm F1.8 LAB FE, examining whether it could rival Sony’s top portrait lenses.

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Viltrox has officially launched the AF 15mm F1.7 Air, a compact wide-angle lens designed for APS-C mirrorless cameras. The lens is available for Sony E, Nikon Z, and Fujifilm X mounts and is priced between $227 and $239, depending on the mount. It weighs just 180 to 195 grams, making it a lightweight option for creators who need portability without sacrificing optical performance.

Viltrox AF 15mm F1.7 Air Specifications

The AF 15mm F1.7 Air provides an 84.9° field of view, equivalent to 22.5mm on a full-frame camera. This makes it suitable for shooting landscapes, street photography, vlogging, and interiors. The bright F1.7 aperture supports low-light performance and enables subject separation with smooth background blur.

Viltrox has equipped the lens with an STM stepping motor for fast and silent autofocus. The autofocus system supports face and eye detection, allowing for accurate subject tracking in both stills and video. The lens also performs well in video shooting scenarios with minimal focus breathing and low distortion.

The optical structure includes 12 elements in 10 groups. This setup features three extra-low dispersion (ED) elements, three high-refractive index (HR) elements, and two aspherical elements. Viltrox says the combination reduces chromatic aberrations, improves sharpness across the frame, and controls distortion. The lens also uses advanced coatings to suppress flare and ghosting when shooting in challenging lighting conditions.

The AF 15mm F1.7 Air continues the design approach of the Viltrox Air series. It features a compact metal body, a standard 58mm filter thread, and a USB-C port for firmware updates. The front element includes splash-resistant and anti-fouling coatings, and the lens ships with an upgraded lotus-style hood.

Viltrox positions the lens as an affordable wide-angle tool for both beginners and experienced creators. It is now available for purchase through the official Viltrox store and Amazon, with local shipping from warehouses in the US and EU.

Just today, we published our review of the Viltrox AF 135mm F1.8 LAB FE, exploring whether it could be the Sony portrait lens killer. Be sure to check it out.

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When I first heard that Viltrox was making a high-end 135mm f/1.8 prime lens for Sony full-frame, I had two reactions. One: wow, that’s ambitious. And two: it’s probably going to cut corners. Turns out I was only half right.

I’ve been testing the Viltrox LAB 135mm f/1.8 FE for a little over a month now, through sweltering humidity, erratic lighting, and my usual desk-bound tech photography workflow. This monsoon season in India has been relentless, and the lens has lived either on my Sony α7 IV or my ZV-E10 for most of that time.

Viltrox sent it to me recently for testing, though the lens originally launched back in 2024. I wasn’t drawn to it as a portrait shooter, but as someone who regularly photographs gadgets. And yet, this lens nudged me toward taking more portraits than I usually do.

It didn’t take long to realize this isn’t just another budget-friendly fast prime. Viltrox is clearly trying to prove something with this one.

What’s in the Box

Viltrox ships the LAB 135mm f/1.8 with a straightforward yet premium kit. Inside the box, you get the lens itself, a thick plastic lens hood with a felt-lined interior and rubber bumper, front and rear caps, and a soft leather-style pouch.

The hood snaps into place with authority and doesn’t wiggle or rotate unintentionally. The packaging doesn’t scream luxury, but it does everything right.

Design and Build Quality

Calling the Viltrox LAB 135mm f/1.8 FE “big” doesn’t quite do it justice. It’s imposing. This isn’t a lens you casually toss into a sling bag or mount one-handed while on the go. It’s wide, it’s heavy, and it takes up space, physically and visually. But once it’s in your hand, that bulk feels intentional. This is a lens that’s been built to make a statement, and thankfully, it backs that up with thoughtful engineering.

Starting from the rear, you’re greeted with a solid metal mount wrapped in a rubber gasket for environmental sealing. The gold-plated electronic contacts ensure smooth communication with Sony bodies, easily missed unless you’re looking for it. There’s a USB-C port discreetly placed near the lens base. This is for direct firmware updates. It’s simple, it works, and it’s the kind of feature that quietly says Viltrox is paying attention to long-term usability.

The lens barrel is all metal, with a smooth matte-black finish that resists fingerprints better than most. Everything is weather-sealed, at least on paper, and while Viltrox doesn’t make any IP claims, I’ve been shooting this in India’s suffocating monsoon humidity and it hasn’t skipped a beat. No fogging, no condensation inside the elements, and no sticky focus rings, even after stepping from an AC room into 90% humidity.

Now, about those controls. Viltrox really went all out here. On the left side of the barrel, there’s a three-position AF range limiter switch, which lets you toggle between the full 0.7m to ∞ range, a close-range lockout (0.72m to 2m), and a far-range lockout (1.5m to ∞). Right below it is a click/de-click switch for the aperture ring, a rare luxury at this price, and a nod to video shooters. The aperture ring itself is unmarked. It’s designed to be fully digital and customizable via your Sony camera.

Just forward of the aperture ring sits a generously wide manual focus ring. It’s fly-by-wire, but beautifully damped and well-textured. Manual focusing with peaking enabled felt satisfying, almost mechanical, despite being entirely electronic. Below that, there’s the usual AF/MF switch, and just ahead of that, two focus hold buttons, one near your thumb in landscape orientation, and another that lines up perfectly when shooting vertical. These buttons are fully customizable via Sony’s menu system.

Then there’s the color LCD screen on the top of the barrel. It’s compact but clear, showing live readouts of your current aperture and focus distance.

Optically, Viltrox packed 14 elements in 9 groups, including four ED (Extra-low Dispersion) and two high-refractive index elements. There’s HD Nano multi-layer coating to suppress flare and ghosting, and the front element is treated with a water- and oil-repellent coating, which genuinely helped during a light drizzle.

The filter thread is 82mm, which means filters won’t be cheap, but the front element is so massive it practically demands that size. The included lens hood is large, petal-shaped, plastic, and flocked on the inside, a small detail, but it helps cut internal reflections. There’s even a rubber ring around the outer edge to protect the hood when placing the lens face-down.

Weight-wise, it’s not going to win any portability contests. It comes in around 1300 grams with the hood, and while it balances well on the full-frame Sony α7 IV, it turns the ZV-E10 into a front-heavy beast. I’d never handhold it on the ZV for long, but for static shots on a tripod, it was still manageable. And again, despite this bulk, I never once worried about its durability or sealing, even while constantly swapping locations between humid balconies and cool interiors.

This isn’t just a well-built third-party lens; it’s built like a flagship. From the buttons to the rings to the physical presence, it feels like Viltrox is trying to break out of the budget-brand box entirely.

Performance

I didn’t plan to rely on this lens, but it’s quickly become essential for my product photography.

Let’s start with autofocus. It’s driven by a dual VCM (voice coil motor) system, and while that sounds like marketing fluff, the results are real. On my α7 IV, Eye AF locks in fast and tracks confidently, even when I’m shooting wide open at f/1.8 with razor-thin depth of field. For portraits, it rarely misses. On the ZV-E10, it performs fine, not quite as snappy, and tracking in video isn’t as reliable, but still usable with a bit of patience.

Manual focus, thanks to that wide, damped ring, is smooth and accurate. Combined with focus peaking, it’s enjoyable. I also tested A-B focus pulls; the transitions were smooth and silent, very usable for controlled video shots.

Image quality is where this lens really flexes. Center sharpness at f/1.8 is excellent. Edges soften a bit wide open, but this isn’t a landscape lens; it’s built for isolation, and it excels at it. By f/2.8, sharpness across the frame improves considerably. Contrast is punchy even at wide apertures, and microcontrast gives skin and materials a real sense of depth. Chromatic aberration is impressively well-controlled, even when shooting backlit subjects. There’s a hint of longitudinal CA if you pixel peep, but it’s mild.

Flare resistance is good, not perfect, but better than expected. I shot under streetlights and backlit windows, and while there was some contrast drop and minimal ghosting, it never ruined a shot. Distortion is basically zero, and vignetting at f/1.8 adds a subtle, flattering frame to portraits. It clears up around f/2.8.

Then there’s the bokeh. It’s creamy, clean, and almost cinematic. Light sources blur into soft-edged orbs without onion-ring patterns or nasty edges. Backgrounds melt, especially at mid- to close-range. The 11-blade diaphragm keeps things round even stopped down a bit, and the fall-off from sharp to soft is smooth and natural. For a lens that costs less than half of Sony’s GM, this rendering is remarkable.

Sample Images

I mostly shoot gadgets, but for this lens, I made an effort to test it in a wider range of scenarios. I shot plenty of product photos, miniatures, both indoors and outdoors.

Even in simple setups, like a product placed near a window or outside with some greenery in the background, the lens delivered strong subject separation and smooth background blur that added depth to the images.

I also took it out for portraits, capturing friends, a few strangers, and even some self-portraits in natural light during the monsoon. The results felt clean and natural, skin tones looked accurate, and the background fall-off made the subjects stand out without looking overly processed.

I spent time photographing everyday scenes too, trees, buildings, and textures, and the lens handled it all with sharp detail and pleasing contrast.

Sony α7 IV Samples (Full Frame):

Sony ZV-E10 Samples (APS-C):

Here’s the Dropbox link to the original files.

Should You Buy It?

If you’re even thinking about buying a 135mm f/1.8 lens for portraits, product isolation, or creative depth-of-field work, you should absolutely be looking at this Viltrox.

Is it perfect? No. It’s heavy. It’s big. The autofocus isn’t GM-tier, and the weight makes it tricky for casual handheld work, especially on smaller camera bodies.

But here’s the thing: for under $900, this lens delivers performance that comes dangerously close to lenses twice its price. It’s not a “good third-party alternative”, it’s just good. Full stop. You’re getting fast autofocus, sharp wide-open rendering, beautiful bokeh, pro-level control layout, and features like firmware updates over USB-C, an LCD screen, and A-B focus pulls, all in one package.

As a casual photographer who mostly shoots gadgets and only dabbles in portraits, this lens pulled me outside of my comfort zone. It made me want to take portraits. It made my product photos look more professional. And it gave me zero headaches in the process.

This isn’t just Viltrox’s best lens, it’s the lens that makes you stop calling Viltrox a budget brand.

Pricing and Availability

The Viltrox LAB 135mm f/1.8 FE is priced at $899 and is available on Amazon and the official Viltrox Store. You can find it for less during sales.

We also recently reviewed the Viltrox AF 25mm f/1.7 Air, an affordable prime that delivers pro-level results. Don’t miss it.

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Viltrox just dropped a full-frame lens that punches way above its price class—and it’s aimed squarely at creators who want cinematic visuals without blowing the budget. The newly announced AF 35mm F1.2 LAB FE is the company’s boldest autofocus prime yet, combining a ridiculously bright F1.2 aperture, pro-grade autofocus, advanced optics, and intuitive controls, all packed into a weather-sealed magnesium alloy shell. Oh, and it costs under $1,000.

Specifications

At the heart of this lens is Viltrox’s Quad HyperVCM autofocus system, a serious step up from conventional motors. It uses a floating focus design that’s not only silent and fast but can shift from near to far in 100ms—something video shooters will really appreciate. It also handles close-ups with surprising precision, focusing as close as 13.4 inches with sharpness across the frame.

On the optics front, it’s no slouch either. The lens is made up of 15 elements in 10 groups, including 5 ED, 3 high-refractive, and 2 ultra-aspherical elements. This design tackles chromatic aberration and “onion-ring” bokeh with finesse, delivering creamy, smooth backgrounds and crisp detail, even wide open at F1.2. The Nano-Hydrophobic coating keeps flare and ghosting at bay, making it reliable in tough lighting.

But Viltrox didn’t stop at image quality. The lens is built for real-world use, with dual Fn buttons, a multi-function ring, and a 0.96-inch customizable LCD screen. You can tweak focus ring behavior, control aperture in steps or smoothly, and sync everything with the Viltrox Lens App for more granular control.

Pricing and Availability

The Viltrox AF 35mm F1.2 LAB FE is now available for purchase at a surprisingly aggressive price point—$999 in the US, €1099 in Europe, and £959 in the UK. It can be ordered through Viltrox’s official store or via Amazon US and Amazon Germany.

In related news, Viltrox recently launched the AF 50mm F2.0 Air full-frame lens for Sony E and Nikon Z mounts, along with the AF 25mm F1.7 Air—a compact prime ideal for travel and street photography.

We’ve also gone hands-on with the 25mm lens—don’t miss our in-depth review of the Viltrox AF 25mm F1.7 Air lens.

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Viltrox has introduced the AF 50mm F2.0 Air, a compact and lightweight full-frame lens designed for Sony E (FE) and Nikon Z mount cameras. Priced at $199 and currently available for $183.08, the lens offers a versatile 50mm focal length and brings several high-end features to a budget-friendly package.

Viltrox AF 50mm F2.0 Air Specifications

The lens features a solid optical construction of 13 elements in 9 groups, including 3 ED (extra-low dispersion) elements, 4 high-refractive index elements, and 1 aspherical element. It also comes with an HD nano multi-layer coating, which helps reduce glare and ghosting while enhancing contrast and color accuracy.

It sports a fast F2.0 maximum aperture, allowing for excellent subject isolation, smooth bokeh, and better performance in low-light conditions. The aperture is formed by 9 rounded blades, ensuring a pleasing out-of-focus rendering.

Despite its full-frame coverage, the lens weighs just 205 grams (FE mount) and 220 grams (Z mount), making it ideal for handheld shooting, street photography, and travel. It also features a minimum focusing distance of 0.51 meters, offering flexibility for closer shots and tighter compositions.

Autofocus is powered by a quiet STM motor paired with a lead-screw mechanism, enabling fast and accurate focusing. It supports features like eye and face detection and offers minimal focus breathing, making it a dependable choice for both photography and video work.

The Viltrox AF 50mm F2.0 Air comes equipped with a durable metal mount, a USB-C port for firmware updates, and EXIF data transmission support. The front element also features a waterproof and anti-fouling coating, while the lens accepts standard 58mm filters and includes an upgraded smooth cylindrical hood for added protection and flare control.

Earlier this month, Viltrox also introduced its new 25mm F1.7 Air lens, an excellent choice for travel and street photography. We’ve already reviewed it—be sure to check it out!

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As someone who reviews a lot of tech products and constantly takes photos of gadgets both indoors and occasionally outdoors, I’m always looking for great lenses that can keep up with my workflow.

I’m a tech reviewer and a casual photographer currently using the Sony ZV-E10, and I got the Viltrox AF 25mm f/1.7 Air for review in its Sony E-mount version. It promises bright optics in a featherweight body.

After a few weeks of real-world use—from shooting product shots on my desk to capturing scenes outside for context—I can confidently say this lens punches way above its price tag.

What’s in the Box?

Unboxing the Viltrox 25mm f/1.7 Air is a pretty straightforward affair. Here’s what you get in the box:

• AF 25mm f/1.7 lens
• Plastic bayonet-style lens hood
• Front lens cap (Viltrox branded)
• Rear lens cap (Viltrox branded)
• Soft storage bag
• User manual
• Warranty card

Design and Build Quality

Right out of the box, the Viltrox 25mm f/1.7 Air lives up to its name. It feels almost toy-like at first, tipping the scale at just around 170 grams. As someone who is used to using heavier lenses, handling this lens feels like a bit of an adjustment.

But after an afternoon spent moving between review setups and casual shooting outside, I realized just how liberating that weight reduction can be. My shoulder thanked me. The barrel is mostly plastic, and while it doesn’t exude luxury, the construction feels solid enough. The metal mount adds confidence that this isn’t a throwaway piece of kit.

One trade-off that quickly becomes apparent is the lack of weather sealing. You must be careful when using it in extreme weather conditions. Another quirk is the missing aperture ring. It threw me off initially—I kept reaching for something that wasn’t there. But after a day, using the camera’s command dials became second nature.

The lens hood? Basic plastic. It does the job, though attaching it can feel a bit fiddly. More interesting is the built-in USB-C port on the lens barrel for firmware updates. Viltrox gets major points here—no fiddly docks or rear-cap contraptions.

Autofocus Performance

Autofocus on this lens is crisp and responsive. It locks onto subjects quickly during both product shoots and quick outdoor sessions. In tricky indoor lighting, like inside my review setup with LED panels, it holds its own. Of course, it’s not a super-premium lens, so there are moments when it hunts slightly before locking focus.

The focusing motor is generally quiet, but if you’re extremely close to the lens, you can hear it working. Step back a little, and that sound disappears, making it unobtrusive in most real-world situations. Eye and face detection on my Sony ZV-E10 worked seamlessly, and capturing quick moments felt smooth and effortless.

Image Quality and Rendering

Image quality is where this lens becomes more than just a budget-friendly pick. At 25mm on APS-C (roughly a 38mm full-frame equivalent), it straddles the line between wide and standard, making it incredibly versatile. I used it not only for product and lifestyle shots but also for capturing landscapes and street scenes during casual photo walks.

Wide open at f/1.7, center sharpness is excellent. My shots of gadgets under studio lighting came out crisp and vivid. The corners are softer wide open, especially noticeable when photographing flat lay setups. But stop down to f/2.8 or f/4, and things tighten up nicely.

What really caught my eye was the color rendering and contrast. There’s a modern, slightly punchy look to the images—vivid without going over the top. Shooting toward bright product lighting or studio LEDs, I saw minimal flare or ghosting, thanks to the lens’s multi-layer coatings. There’s some mild pincushion distortion, but it’s subtle and easily corrected. Vignetting is present at f/1.7, but by f/4 it’s mostly gone.

The bokeh? Surprisingly good for a lens this compact. The 9-blade aperture creates pleasingly round highlights, and busy backgrounds—whether it’s a cluttered desk or a park scene—melt away without distracting harsh edges. While it’s not in the same league as a 50mm or 85mm lens for dreamy portraits, for an almost-standard prime, it delivers better-than-expected subject separation.

I am attaching more samples below.

Here’s the Dropbox link to the original files.

Video Capabilities

For video, the Viltrox 25mm f/1.7 Air doesn’t disappoint. Paired with my Sony ZV-E10’s stabilization, I captured smooth product b-roll and walk-and-talk footage outdoors. The autofocus transitions were silent and fluid. Focus breathing was minimal—rack focusing from a product in the foreground to the background didn’t cause any noticeable jumps. On a small gimbal, the lens’s featherweight build made balancing a breeze.

Value

Now, let’s talk value. At around $176, this lens offers tremendous bang for the buck. Compared to first-party Sony lenses that retail for much more, the Viltrox holds its own surprisingly well. The official Sony alternatives may win on build quality and additional features like custom switches and full weather sealing, but in terms of everyday shooting performance, the Viltrox keeps up—and sometimes even outperforms.

Final Thoughts

After weeks of use, the Viltrox 25mm f/1.7 Air has become my go-to lens for product photography and casual video shoots. It’s the lens I reach for when I just want to quickly shoot tech reviews or grab content outdoors without overthinking gear choices. Sure, it’s missing features that lens snobs might crave. But if you’re after a lightweight, affordable prime that delivers sharp images, smooth autofocus, and solid video performance without breaking the bank, this lens is hard to beat.

In a world where camera gear prices seem to climb higher and higher, the Viltrox AF 25mm f/1.7 Air feels refreshingly accessible. It’s not just a budget lens; it’s a smart, considered piece of kit that enhances your shooting experience.

Whether you’re new to the E/Z-mount system, a content creator who needs a reliable lens for product shots, or someone who values portability without sacrificing quality, this lens deserves a serious look. I didn’t expect to fall for it as hard as I did, but here we are. For less than $200, it’s proof that good things really do come in small, affordable packages.

You can purchase this lens from Viltrox’s official website for $176.00, but it’s currently available at a discounted price of just $149.60.

We’ve also recently reviewed the Cuktech 15 Ultra Power Bank as well as the Xiaomi Pad 7 Pro. Be sure to check them out too.

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Viltrox is gearing up to unveil a new camera lens in the Chinese market in April, teasing photography enthusiasts with the promise of something fresh under its Air product lineup. While the company has remained tight-lipped about specifics, early leaks suggest that the upcoming release will likely be the AF 50mm F2.0 Air — a lightweight, full-frame autofocus lens.

What the leaks are telling us

According to images shared by a well-known Weibo tipster, the suspected lens sports a sleek, compact design and weighs just 203.3 grams, making it a highly portable choice for photographers who prioritize both quality and convenience. The lens will reportedly come in both Sony E-mount and Nikon Z-mount versions, catering to a wide user base.

The tipster also revealed that the lens offers a minimum focusing distance of 0.51 meters, allowing for decent close-up shots, particularly useful for portraits and still-life photography. It is equipped with an STM (stepping motor) autofocus system, designed to deliver quiet, smooth, and precise focusing — ideal for both photography and video recording. Additionally, the optical construction includes ED (Extra-low Dispersion) elements, which help reduce chromatic aberration and contribute to sharp, clear images with accurate color rendering.

This potential launch follows Viltrox’s recent global debut of the AF 25mm F1.7 Air earlier this month. The AF 25mm F1.7 Air is designed for APS-C mirrorless cameras and is available in Sony E, Fujifilm X, and Nikon Z mounts. Weighing just 170 grams, it’s one of the most compact lenses in its class, featuring a durable metal mount and a clean design with aperture settings controlled via the camera body.

The lens offers a full-frame equivalent focal length of 38mm and a bright F1.7 aperture, delivering impressive low-light performance and smooth, pleasing bokeh. Autofocus is handled by an STM motor, ensuring accuracy and silent operation with support for eye and face detection. Priced at $176 globally, the lens has been well-received for its balance of performance, portability, and affordability.

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(Source 1,2, Via)

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Viltrox has unveiled the AF 25mm F1.7 Air, a compact, featherweight prime lens designed for APS-C cameras. Available in Sony E, Fujifilm X, and Nikon Z mounts, this lens strikes a compelling balance between portability, performance, and affordability, catering to both photography enthusiasts and content creators.

Viltrox AF 25mm F1.7 Air Specifications

Viltrox is leaning hard into the concept of “lightweight without compromise.” Weighing just 170g, the AF 25mm F1.7 Air is barely heavier than a smartphone, making it an easy choice for on-the-go shooters. The design ditches unnecessary bulk while maintaining a solid metal mount, giving it a sturdy yet travel-friendly build. The absence of an aperture ring keeps the operation streamlined, with settings controlled directly via the camera body.

With an effective 38mm full-frame equivalent focal length, this lens sits in a sweet spot between standard and wide-angle views. The large F1.7 aperture provides strong low-light performance and creamy bokeh, courtesy of its nine-blade diaphragm. Internally, the lens features a 12-element, 10-group construction, including extra-low dispersion and high-refractive index elements, reducing chromatic aberrations and ensuring sharp, high-contrast images.

Viltrox has equipped the AF 25mm F1.7 Air with a stepping motor (STM) that delivers smooth, silent, and accurate autofocus. It supports eye and face detection autofocus, making it particularly useful for street photography, portraits, and vlogging. The autofocus system is snappy on supported camera bodies, tracking subjects with ease in both photo and video modes.

For video shooters, minimal focus breathing is a huge plus, preventing distracting shifts in framing during focus pulls. Combined with in-body stabilization from compatible camera bodies, this lens offers smooth, handheld shooting without excessive jitter. The near-silent autofocus also ensures clean audio capture during recording.

Price and Availability

The Viltrox AF 25mm F1.7 Air is now available for purchase at an MSRP of $176 / €189 / £165.

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The post Viltrox just dropped a 25mm F1.7 lens that’s perfect for travel and street photography appeared first on Gizmochina.

7Artisans has announced the upcoming release of its new Sprite series lens, set to launch on July 31st. The lens will feature a versatile 24-96mm focal length with a constant T2.9 aperture, offering photographers a wide range of shooting possibilities.

The constant aperture means consistent light intake across the complete zoom range

A 24-96mm focal length is considered a popular choice for photographers due to its versatility. It covers a range from wide-angle to medium telephoto, making it suitable for various subjects, including landscapes, portraits, and street photography. The constant aperture ensures consistent light intake across the entire zoom range, providing consistent image quality.

While specific details about the lens are still limited, the announcement has generated excitement among photography enthusiasts eager to learn more about this new lens.

(Via)

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Sony has announced a setback for photography enthusiasts, delaying the release of its highly anticipated 85mm f/1.4 GM II lens from late June to late August. While this news might disappoint many, it also hints at the possibility of additional product launches from Sony within the same timeframe.

The α7M5 model has been confirmed to not launch in 2024

Rumors suggest a potential successor to the FX9 movie camera and a new FE 24-70mm f/2.0 GM lens as possible additions to Sony’s product lineup. However, the FE 24-70mm f/2.0 lens is more likely to be unveiled in September.  

Despite anticipation for a new α7 series full-frame camera, reliable sources have confirmed that the α7M5 model will not be released in 2024.

Photography enthusiasts will have to wait until the end of August for the release of the 85mm f/1.4 GM II lens and stay tuned for potential announcements of additional Sony products.

(Via)

The post <strong>Sony Delays 85mm f/1.4 GM II Lens, Teases New Products</strong> appeared first on Gizmochina.

Chinese lens manufacturer 7artisans has some exciting news for photographers with the announcement of an upcoming APS-C autofocus lens. The lens, which is positioned as a “first large aperture lens for young people,” promises a 35mm focal length and a wide f/1.4 aperture.

The lens is expected to be priced under 899 Yuan ($124)

While specific details remain scarce, the company has hinted at a compact and lightweight design, weighing approximately 180 grams. The use of a stepping motor for autofocus suggests potentially quiet and precise focusing performance.

Priced competitively for enthusiasts, the lens is expected to retail for under 899 yuan, with an additional 100 yuan launch discount. This aggressive pricing strategy aligns with the company’s focus on providing accessible optics for younger photographers. 7artisans has previously released the 85mm F1.8 full-frame E-mount autofocus lens, demonstrating its commitment to the autofocus market. The upcoming APS-C lens is anticipated to expand the company’s catalog, reaching a wider audience of photographers.

(Via)

The post Chinese Lens Manufacturer 7artisans Announces an Affordable 35mm APS-C Autofocus Lens appeared first on Gizmochina.

Sigma has announced the upcoming release of their new 28-45mm F1.8 DG DN | Art lens in China, available starting June 18th at a price of 9,797 yuan. This lens boasts the title of the world’s first full-frame F1.8 zoom lens, offering photographers exceptional low-light performance and background blur control throughout the zoom range.

The lens is comprised of 15 groups and 18 elements, including 3 aspherical lenses

The Sigma 28-45mm F1.8 DG DN | Art lens features a constant F1.8 aperture, ideal for capturing sharp images in low-light conditions and achieving beautiful bokeh effects. The internal zoom structure ensures the lens maintains its overall length while focusing, promoting better balance when handling the camera. Additionally, the close focusing distance of 30cm allows for capturing captivating close-up shots.

Optically, the lens is comprised of 15 groups and 18 elements, including 5 SLDs and 3 aspherical lenses. This combination contributes to exceptional image quality by minimizing chromatic aberrations and ensuring sharp renderings throughout the frame. To further enhance image quality, Sigma has incorporated nano-porous coating and super multi-layer coating technology to reduce flare and ghosting, especially when shooting in backlit environments.

For quiet and smooth autofocus performance, the lens utilizes an HLA high-speed linear motor. Photographers who prefer manual focus will appreciate the inclusion of a bidirectional drive focus ring for precise control. The Sigma 28-45mm F1.8 DG DN | Art lens prioritizes creative control by featuring an aperture ring, an infinite aperture switch, and an aperture lock switch. It also boasts two customizable AFL buttons for assigning specific functions based on photographer preference.

A locking petal-shaped lens hood is included to minimize stray light from entering the lens and potentially affecting image quality. The lens itself is built with a dust-proof and splash-proof construction, allowing photographers to capture compelling images even in challenging weather conditions. Finally, the front lens group features a water and oil-repellent coating, making it easier to clean and maintain.

(Via)

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Sigma has shaken up the world of full-frame lenses with the release of their brand new 28-45mm F1.8 DG DN Art lens. This innovative lens boasts several firsts, making it a highly attractive option for both professional and enthusiast photographers. Here’s a closer look at what makes this lens so special:

The lens has an internal zoom mechanism to eliminate lens creeping

The Sigma 28-45mm F1.8 DG DN holds the title of the world’s first full-frame zoom lens with a constant f/1.8 aperture. This impressive feat allows for exceptional low-light performance and beautiful background blur (bokeh) throughout the entire zoom range. Imagine capturing stunning portraits with a dreamy background at any focal length, from wide-angle to slightly telephoto. The constant f/1.8 aperture also rivals the performance of many high-quality prime lenses, offering exceptional image quality without the need to switch lenses for different lighting conditions.

Despite its impressive capabilities, Sigma hasn’t compromised on portability. The lens utilizes an internal zoom mechanism, ensuring the overall length remains constant while zooming. This eliminates the “lens creep” experienced with some zoom lenses and makes it ideal for travel or street photography. Additionally, the focusing distance remains a fixed 30cm throughout the zoom range, simplifying focusing calculations for close-up shots.

The Sigma 28-45mm F1.8 DG DN incorporates a sophisticated 18-element, 15-group lens structure. This complex design incorporates 5 SLD (Special Low Dispersion) elements and 3 aspherical lenses to effectively minimize chromatic aberrations and other optical distortions. These elements work together to deliver sharp, clear images across the entire frame, even at wider apertures. Furthermore, Sigma’s nano-porous coating and super multi-layer coating technology further enhance image quality by reducing flare and ghosting, especially when shooting in backlit situations.

Sigma hasn’t skimped on professional-grade features either. The lens utilizes a high-speed HLA linear motor for fast and quiet autofocus, ensuring you never miss a fleeting moment. The bidirectional drive focus ring allows for precise manual focus adjustments, perfect for situations demanding meticulous control. The lens also boasts a variety of physical controls, including an aperture ring, an infinite aperture switch, an aperture lock switch, two customizable AFL buttons (for assigning specific functions), and a locking petal-shaped lens hood.

Built to withstand the rigors of professional use, the Sigma 28-45mm F1.8 DG DN features a dust-proof and splash-proof lens body. The front lens group also comes equipped with a water and oil-proof coating, making it suitable for shooting in challenging environments. Whether you’re braving the elements or navigating dusty locations, you can be confident your lens will perform flawlessly.

With its exceptional image quality, constant fast aperture, and versatile zoom range, the Sigma 28-45mm F1.8 DG DN Art lens offers a all-in-one package for a wide range of photographers. Portrait photographers will appreciate the beautiful bokeh and low-light capabilities, while landscape and street photographers will benefit from the versatile zoom range and exceptional sharpness.

(Via)

The post Sigma Launches the World’s First 28-45mm Full Frame F1.8 DG DN Art Lens appeared first on Gizmochina.

Sigma is rumored to be releasing a second-generation 24-70mm F2.8 lens on May 16th. Leaked images from SonyAlphaRumors point towards the fact that the lens will be available in E/L mount options.

The current iteration of this Sigma lens was released in November 2019

This new lens is expected to boast improvements over the first generation, including better optical quality, a more compact and lightweight design, and enhanced focusing and tracking capabilities.

The current Sigma 24-70mm F2.8 DG DN lens, released in November 2019, features 19 elements in 15 groups (including 6 FLD lenses, 2 SLD lenses, and 3 aspherical lenses) for impressive image quality. It has a constant f/2.8 aperture, minimum aperture of f/22, 11 aperture blades, and a minimum focusing distance of 18-38cm. The filter size is 82mm and it weighs 830g (E mount) or 835g (L mount).

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(Via)

The post Sigma 24-70mm F2.8 II Lens Images Leaked, Promises Upgrades in Focusing & Tracking, Optical Quality appeared first on Gizmochina.

Panasonic’s new LUMIX S 28-200mm F4-7.1 MACRO OIS lens is official, and it claims the world’s smallest and lightest title in its high-magnification zoom lens category. The lens is available for purchase now at 6,298 yuan ($958 USD), but for a limited time during the first two days you can grab it for a special price of 4,998 yuan ($759 USD).

The lens also has macro capabilities for close up shots with 0.5x magnification

Here’s a closer look: the LUMIX S 28-200mm F4-7.1 MACRO OIS lens is ultra-compact, measuring φ77.3 x 93.4 mm and weighing only 413 grams. Despite its size, it offers an impressive zoom range covering wide-angle to telephoto (28mm-200mm). Macro capabilities allow for close-up shots with 0.5x magnification and a minimum focus distance of 14cm.

Optically, the lens is equipped with 17 elements in 13 groups, including specialized elements to ensure clarity and minimize distortion. A 9-blade aperture provides smooth control over bokeh for attractive background blur.

Image stabilization is a major perk. The lens features built-in OIS and is compatible with Panasonic’s 5-axis dual IS 2 system, ensuring sharp results even when shooting handheld.

The LUMIX S 28-200mm F4-7.1 MACRO OIS lens is built to withstand the elements with its dust-proof, splash-proof, and freeze-proof design, making it a great travel companion for photographers who prefer a single-lens solution for various shooting scenarios.

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(Via)

The post Panasonic’s New LUMIX S 28-200mm MACRO OIS Lens is Now Available for Purchase at a Discount, Starting at 4,998 Yuan ($690) appeared first on Gizmochina.

Japanese photography brand Nikon is rumored to be launching a new Nikkor Z 28-400mm f/3.5-6.3 zoom lens on March 26th or 27th, according to NikonRumors. This exciting addition to the Nikon Z lineup will provide impressive versatility in a surprisingly compact and lightweight design.

The lens is expected to be at a good balance of affordability and capability.

While exact specifications remain under wraps, one thing’s clear: this new lens won’t belong to Nikon’s high-performance S series. This suggests a price point balance between affordability and capability, making it a potential all-rounder for many photographers’ lens bags.

But what exactly is a telephoto lens? Unlike standard lenses, telephoto lenses use clever optics to magnify distant objects, bringing them closer in your frame. Imagine capturing stunning wildlife shots from afar, or zooming in for tight portrait compositions without needing to physically get closer to your subject. Telephoto lenses excel at these tasks, making them ideal for nature photography, sports photography, and portraiture.

Nikon already boasts a range of well-received zoom lenses, like the Z 24-200mm f/4-6.3 VR. This new 28-400mm offering promises even more reach, allowing you to capture everything from wide landscapes to telephoto close-ups with a single lens. With more information expected to be revealed on March 26th or 27th, stay tuned as we provide coverage about the exciting new Nikkor Z lens and its potential to level up your photography.

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(Via)

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Sony is gearing up to launch a groundbreaking “super standard” zoom lens, the FE 24-70mm F2 GM, according to the latest rumors. This lens boasts an unprecedented combination of features, marking a first in the history of photography. Foreign media sources predict a release within the next few months, with a price tag exceeding $3,000 USD – putting it up there with the rest of the expensive photography equipment. Let’s dive into some surface details of this alleged zoom lens.

This lens will offer first-in-class features, offering more focal length than Canon’s lens

The Sony FE 24-70mm F2 GM is rumored to be similar in size to the Canon RF 28-70mm F2 lens. However, it surpasses the Canon offering by boasting a wider focal length, starting at 24mm instead of 28mm. This wider range is particularly noteworthy. Furthermore, impressive image quality is promised even at the widest aperture of F2. This suggests exceptional low-light performance and the ability to achieve beautiful background blur (bokeh) effects.

This lens launch seemingly marks the beginning of a new series of ultra-large aperture lenses from Sony. With the FE 24-70mm F2 GM paving the way, photography enthusiasts can expect to see more such high-performance lenses emerge in the future.

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(Via)

The post Sony may Launch the World’s First 24-70mm f/2.0 Full-Frame Lens Soon, Rumors Hint appeared first on Gizmochina.

Nikon has unveiled the NIKKOR Z 600mm f/6.3 VR S, a new addition to their camera lens lineup. This launch comes after the recent debut of the Nikon Z f Full-Frame Mirrorless Camera.

With this new lens, Nikon is addressing a long-standing challenge in photography: the balance between performance and weight. The NIKKOR Z 600mm f/6.3 VR S, weighing just 3 pounds and measuring 11 inches in length, is the lightest in its class.

What makes this lens special is its design, which places the center of gravity closer to the camera body. This makes it easy to track fast-moving subjects in sports or wildlife photography.

The Phase Fresnel (PF) lens element keeps the lens compact and also reduces color issues. You can use it with 1.4x and 2x teleconverters to extend your reach to 840mm and 1200mm without adding extra weight.

If you wish to use the lens for videography, the lens helps minimize focus nouse and focus breathing. It’s a durable lens that’s resistant to dust and drip, meaning that the internal components are protected from moisture. It offers Normal VR and Sport VR modes to suit your needs.

Price & availability

The NIKKOR Z 600mm f/6.3 VR S will hit the shelves in late October, with a price tag of $4,799.95.

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(Source, via)

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Known analyst, Ming-Chi Kuo, has just revealed interesting details regarding Apple‘s plans for future iPhones and their camera modules. Apparently, the company will not be offering any major upgrades to its handset camera lenses till the iPhone 15.

According to a PhoneArena report, Kuo noted that the Cupertino based giant doesn’t plan on upgrading its iPhone camera lenses till the launch of the iPhone 15 series. In other words, we would reportedly not see any major upgrade on iPhone lenses till the year 2023. Back in 2020, Apple included a 7P lens with the wide camera on its new iPhone 12 lineup, which was an improvement over the 6P lenses used on the iPhone 11 series from 2019. This enabled the company to bring the aperture on the current models to f/1.6 from f/1.8 on the 2019 phones.

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As per Kuo, Apple suppliers Largan and Genius Electronics are currently competing to acquire a higher share of Apple’s lenses supply chain. This would have both firms likely compete by lowering prices to win over the iPhone maker. Kuo further added that “Our latest survey pointed out that Largan will increase the average capacity utilization rate of 1H21 from 50-55% to more than 70%, and will further bargain the ASP of mid-to-high-end iPhone lenses by about 15-25%. We believe that this price war will have a direct negative impact on Genius’ 1H21 order proportion, capacity utilization rate, and gross profit margin.”

Notably, the report also says that a new supplier is expected to join the lenses supply chain for Apple. This firm is Sunny Optical, which will provide 5P lenses for 2021 iPad and 7P lenses for 2021 iPhone models. At the moment, it is said that Sunny Optical will hold a 10 percent share for iPad lens supply and 15 to 20 percent for the iPhone lenses. This would add further strain on both Largan and Genius.

The post Apple won’t upgrade iPhone camera lenses till the iPhone 15: Ming-Chi Kuo appeared first on Gizmochina.

As the United States government continues to impose sanctions against Chinese companies, Apple is now looking to diversify its production and supply chain to reduce its dependence on the Chinese market.

In line with that, a new report coming from Korea claims that Samsung Electro-Mechanics has joined the list of suppliers of Apple for the camera parts. This seems like a major win for the Korean company, which counts Samsung Electronics as its core customer.

The report says that the reason behind Apple selecting Samsung Electro-Mechanics as a new camera lens supplier is to stabilize its supply chain and to reduce the cost. So far, Apple has sourced lenses from Lagan Precision and Genius Electronics.

It’s noteworthy that Samsung Electro-Mechanics has been supplying Laminated Ceramic Capacitors (MLCC) and Flexible Printed Circuit Boards (RF-PCB) to Apple, so the company isn’t totally new to Apple’s supply chain. But for the first time, it will be supplying lens to the company.

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The report further goes on to add that LG Innotek, which has been supplying camera modules to Apple, is also looking to expand its position within Apple Camera SCM as the company is looking for diversification of suppliers.

The development comes after the U.S. Department of Commerce puts sanctions on 11 Chinese companies for suppressing ethnic minorities in China, including O-Film Tech which provides iPhone camera modules. Apple is now expected to shift orders from Ofilm Tech to LG Innotek, which is making camera modules in factories in Gumi and Vietnam.

Apple has recently started producing iPhone 11 in India through Foxconn’s facility near Chennai. It is also being reported that the next-generation AirPods, as well as 2021 AirPods Pro, will be made in Vietnam. The company has already shifted the production of AirPods Pro to Vietnam.

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With the launch fo the Huawei Mate 40 series edging closer, more rumors and reports regarding the flagship lineup are surfacing. The latest one reveals information regarding the premium grade handset’s camera technology, which features a 9P FreeForm lens.

According to Lin En-Ping, CEO of Largan Precision, the company has finished the development of FreeForm lens and 9P (nine plastic lens pieces) camera modules. Additionally, the shipments will for the former is expected to start from Q4 of 2020, with the latter being adopted by clients at the beginning of the final quarter as well.

For those unaware, Largan Precision is a Taiwan based supplier of camera lens modules, which are used in smartphones, tablets, digital cameras, and more. Notably, Largan Precision is being conservative about business operations in Q3 of 2020. Despite the period being a booming season, the Coronavirus pandemic has seen its clients cut orders. Thus, shipments for the third quarter are currently uncertain and the fact that US sanctions against Huawei are also affecting Largan doesn’t make things easier for the company.

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We had previously reported on the known analysts Ming-Chi Kuo’s report regarding a FreeForm lens for the Mate 40 series back in April 2020. To explain the FreeForm camera technology, it is a digital lens that has its curvature generated and not molded. This improves the overall sharpness of the images and reduces noise in the shot and blurriness as well. In other words, pictures clicked with this lens should offer a more precise capture than conventional lenses.

Furthermore, the addition of the 9P lens will also help in improve camera performance. The 9P lens enables better light intake for the image sensor, which is especially useful during low light scenarios. FreeForm lens technology will also help reduce distortion in wide angle lenses, which is a inherit since wide angle lens has the fish eyed effect that is noticeable on the edges of an image.

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(Via,Source)

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Huawei is known to launch multiple flagships in a year. These premium grade handsets are also updated annually. The Huawei P40 series has already been launched, and now the anticipation for the Mate 40 series has begun. Although the announcement is still a while away, a renowned analyst, Ming Chi-Kuo, has revealed that the device will feature the HiSilicon Kirin 1020 alongside a new FreeForm lens technology.

According to the international analyst, the Huawei Mate 40 will see the debut of the company’s proprietary chipset, the Kirin 1020. It has been codenamed as Baltimore and will be manufactured on a 5nm process, with improvements across the board regarding the CPU and GPU. Reportedly, the 5nm process will bring 15 percent high performance while reducing power consumption by 30 percent. It is said to be based on the Cortex A77 or even the A78 architecture.

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Another interesting inclusion in the report from Ming Chi-Kuo is the FreeForm lens technology. The new camera technology can potentially reduce distortion in wide angle lenses. Distortion being the fisheye effect or the slight blurring on the edge of a captured image. According to the company behind this technology, “the freeform lenses are optimized only across a cellphone’s rectangular image field rather than the conventional circular image field.”

Furthermore, “the designs enable zero chromatic aberration and zero vignetting.” In other words, a clearer picture with the benefit of optimizations specifically for smartphones and their wide angle lens. Unfortunately, Huawei has yet to confirm any of the reports, but since its from a reliable source, there is a good possibility of the company adding these features.

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Smartphones and their components have become increasingly more complex and difficult to manufacture. Each individual component, especially the lens, requires advanced hardware with precise software to manufacture. Furthermore, it is estimated that the demands from smartphone OEMs for camera lenses will increase even further by 2020. This is due to various companies adopting the new triple or quad camera modules on their smartphones, Chen explained.

Chen further stated that smartphone makers are expected to consistently upgrade lens module specifications; and GSEO hopes this can lead to a hike of its overall gross profit margin. Currently, GSEO specializes in mid range and high end smartphone’s camera lens modules and declines orders with low gross margins. Kuo Ying-Li, President of GSEO, also added that the company has been developing lens modules like waterdrop notch, black-coated, under-screen, OIS (optical image stabilization), periscope and ToF models that offer high gross margins.

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Notably, the company also reported on developing automotive cameras, but certification for such products is time-consuming and shipments might not begin until the second half of 2021 or 2022. In other words, we might also be seeing a new breed of smartphone cameras in the near future.

Kuo also stated that the popularity of camera modules with 10MP or higher sensors have been increasing and now account for almost 47 percent of its entire business operations comprising of NT $8.265 billion for the first three quarters of 2019 (or roughly 271 million USD).

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(Via)

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According to a new report, the demand for Lens is expected to rise for many Chinese smartphone manufacturers. This surge in demand is speculated due to many brands such as Huawei, Oppo, Vivo, Xiaomi and more seeing high units being shipped in the year 2020.

Huawei, the Chinese tech giant, is reportedly stated to ship approximately 200 million units in 2020 alone. On the other hand, the various other brands like Oppo, Vivo, and Xiaomi are expected to ship 100 million units at the very least respectively. This new rise in demand is being accredited to more and more smartphone OEMs adopting triple camera setup or even quad-camera modules.

Due to this, a single popular Chinese brand is reported to order anywhere between 400 to 500 million optical lenses in 2020. Furthermore, the smartphone lens module specs are becoming increasingly more complicated and require more sophisticated hardware and software integration. This also makes it harder for OEMs to find appropriate suppliers.

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Owing to their capabilities, companies like Largan Precision, Sunny Optical Technology, Ofilm Tech, Q Technology and Truly Opto-Electronics to name a few will be sharing most of these lens orders by Chinese smartphone vendors in 2020. These names include Chinese and Taiwanese based companies as well, that are set to expand their production capacities to meet the upcoming surge in demand.

Additionally, popular brands like Huawei, Vivo, Oppo, Xiaomi, and Apple were the top five smartphone manufacturers in terms of the Chinese smartphone market share in the third quarter of 2019. These companies combined shared 95 percent of all total shipments. Hence, looking at the massive numbers of unit shipments the rise of lens demand is to be expected.

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(Via)

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