Best of 2016: SLR Lenses

2016 was a unique year for SLR shooters, with manufacturers covering a broad variety of different lens types for different systems. Some manufacturers sought to update their classic optics with more up-to-date designs and contemporary materials, while other brands chose to delve into some less-tested territories in the well-worn landscape of SLR lenses. Here’s a look at some of our favorite releases from the past year.

Nikon AF-S NIKKOR 105mm f/1.4E ED

Easily one of the most exciting lenses of the year—for SLRs or not—Nikon’s AF-S NIKKOR 105mm f/1.4E ED is raising the bar in terms of what an exotic short telephoto can be. Ideal for portraiture, the 105mm is a nice, flattering focal length that pairs well with the bright f/1.4 maximum aperture for extensive control over depth of field, as well as extended shooting capabilities in low lighting. Three extra-low dispersion elements are used in the optical design, along with a Nano Crystal Coating to suppress flare and ghosting. All additional specs are pretty standard among premium Nikon lenses, including Silent Wave Motor AF, full-time MF override, fluorine-coated front and rear elements, and an electromagnetic diaphragm, making this is a for-sure prized prime among Nikon fans.

Nikon PC NIKKOR 19mm f/4E ED

Long desired by architecture and interior photographers in the Nikon ecosystem, shooters can finally rejoice with the ultra-wide-angle PC NIKKOR 19mm f/4E ED tilt-shift lens. Besides eking out that extra field of view compared to the previously widest 24mm PC lens, this new 19mm is also the first tilt-shift lens from Nikon that lets you adjust tilt and shift independently. The shift movement of this new lens also does not require locking or unlocking for use, and the PC rotation capability lets you rotate movements up to 90°. Beyond the movements, this lens features the most current optical design of any Nikon tilt-shift lens, with a slew of extra-low dispersion glass and aspherical elements to reduce aberrations and distortions for truly clean image quality.

Sigma 85mm f/1.4 DG HSM Art

Another highly anticipated lens, Sigma finally added a classic portrait-length optic to its popular Art series, with the 85mm f/1.4 DG HSM. After dialing-in the wide-angle portion of its lineup over the past few years, the addition of a fast short tele provides a solid option for portrait and lifestyle photographers to achieve those tighter compositions and shallower-depth-of-field images. Like other Art series lenses, low dispersion glass is used in the optical design to suppress color fringing and aberrations, a Super Multi-Layer coating helps to reduce flare, and a rounded nine-blade diaphragm contributes to smooth bokeh. Additionally, like all Global Vision series lenses, the 85mm f/1.4 is fully compatible with the Sigma USB Dock to fine-tune lens characteristics and update firmware.

Zeiss Milvus 135mm f/2 and 15mm f/2.8

As Zeiss continues to reformulate its ZF.2 and ZE lenses, two former marquee classic series lenses finally got updated status to Milvus this year: the 135mm f/2 and 15mm f/2 lenses. Both of these lenses were two of the most prized focal lengths in the classic series, and are sure to be two of the coveted Milvus optics for years to come. The 135mm f/2 uses the same apochromatic Sonnar optical design as the former 135mm, which was sometimes considered the Otus, before the Otus, due to its impressive rendering abilities, lack of color fringing, and overall sharpness. On the other end of focal length spectrum, the 15mm f/2.8 is currently the widest Milvus lens in the group, and features the same Distagon concept as the former 15mm f/2.8 to realize a broad, dynamic, and rectilinear perspective with minimal distortion. Both of these lenses are manual focus and feature the curved, frosted-anodized metal lens barrel, along with weather-sealed construction.

Canon EF 16-35mm f/2.8L III USM

Canon’s lens releases throughout the year focused on revisions to previous, legacy lenses, with an emphasis on updating a number of models to match the progress in the company’s camera developments. One of the most exciting, and long-awaited, updates that occurred in 2016 was the release of the EF 16-35mm f/2.8L III USM, which steps into being the new top dog of wide-angle zooms in the L-series lineup. Featuring a revamped optical design and updated Subwavelength and Air Sphere coatings, this lens promises to deliver improved corner and edge sharpness and brightness throughout the zoom range, along with controlled distortion and reduced flare. Keeping in line with its predecessor, though, this version-III lens retains its ring-type Ultrasonic Motor for quick, fast autofocus performance and it is weather-sealed along with a fluorine-coated front element to benefit working in trying conditions.

Sigma 500mm f/4 DG OS HSM Sports

The sole super-tele release for SLRs this year, Sigma introduced the new flagship optic of its Sports line of lenses, with the 500mm f/4 DG OS HSM. A big, heavy lens, indeed, this lens mixes its impressive focal length with a relatively quick f/4 maximum aperture to suit wildlife and birding photography, as well as sports and other fast-paced action subjects. Helping to steady working with such a large lens, an Optical Stabilizer system compensates for approximately four stops of camera shake and has a dedicated panning mode to benefit working with laterally moving subjects. The optical design, of course, uses low dispersion glass to reduce color fringing, and a Super Multi-Layer Coating suppresses flare and ghosting. Additionally, the lens is also compatible with optional Global Vision Teleconverters, both 1.4x and 2x, to render 700mm f/5.6 and 1000mm f/8 focal lengths, respectively.

The Runners Up

Missing the spotlight by just a hair, 2016 saw a handful of other notable releases catering to the SLR shooter looking to fill in some gaps in his or her lens lineup. In addition to Nikon’s portrait and tilt-shift standouts, the company also refreshed one of its most popular lenses of all time—the AF-S NIKKOR 70-200mm f/2.8E FL ED VR, which adds the now-common electromagnetic diaphragm and fluorite elements to the versatile lens and, controversially, switches the zoom and focus rings for an updated handling layout.

Besides the excellent primes released by Sigma this year, the manufacturer also released a pair of smart zooms—the 50-100mm f/1.8 DC HSM Art and the 12-24mm f/4 DG HSM Art. The 50-100mm f/1.8 is a unique APS-C-dedicated tele-zoom characterized by its fast constant maximum aperture, and the 12-24mm f/4 fills a coveted spot in many nature and landscape photographers’ bags.

Venus Optics also introduced a couple of unique lenses this year, starting with the Laowa 105mm f/2 Smooth Trans Focus lens, which mixes the short tele focal length with an APD element to generate noticeably smooth bokeh to benefit portraiture applications. On the wide end, the Laowa 12mm f/2.8 Zero-D lens is also worth noting, due to is impressively wide focal length and rectilinear design for reduced distortion to suit architectural and interior shooters.

Finally, Tamron also released a solid trio of lenses in 2016, and began the year with the SP 85mm f/1.8 Di VC USD, which followed in the footsteps of last year’s 35mm and 45mm releases, and a refresh of the classic short tele macro, with the SP 90mm f/2.8 Di Macro 1:1 VC USD. Toward the end of the year, Tamron also released a version 2 of one of its more popular lenses of late, the SP 150-600mm f/5-6.3 Di VC USD G2, which sees an improved optical design, closer minimum focusing distance, and a FLEX ZOOM LOCK mechanism.