The Fastest Glass Money Can Buy

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Leave it to the world of photography to confuse size and speed. In lens-speak, the term “fast glass” refers to lenses with large apertures. The aperture is the opening of a lens. The aperture’s size is expressed as a number that shows the ratio of the opening to the lens’s focal length. This number is referred to as an f/number, f/stop, focal ratio, f/ratio, or relative aperture.

What Does a Fast Lens Give You?

These large-aperture lenses are referred to as “fast” because they allow cameras to take photos at relatively fast shutter speeds for a given amount of ambient light. A fast lens might make it possible to take photos handheld in low light. Faster shutter speeds offer greater options for freezing action and can minimize camera shake, both of which can cause blur in your images, no matter how bright the scene. A large aperture means that you can photograph with very shallow depth of field.

Why Would You Want a Fast Lens?

If you ever do off-tripod low-light photography, maybe at a concert or night club, you will want a lens that can open wide to maximize light gathering. Wedding photographers often find themselves in less-than-ideal lighting scenarios at the church or reception and need larger apertures, too. Street photographers working at dusk or dawn may benefit from more light striking the sensor or film. Finally, sports photographers working to freeze action and isolate subjects will appreciate large apertures.

Glass is heavy, which leads to an increase in weight when a lens is built with larger glass elements. More significantly, optical elements are also the most expensive part of a lens, so fast glass usually arrives with a premium price tag.

What Defines a “Fast Lens?”

How big of an aperture opening gives you truly “fast glass?” Shall we talk numbers?

In “professional” zoom lenses, the aperture of f/2.8 is generally regarded as fast. When it comes to prime lenses, depending on your level of lens snobbery, what is truly fast starts between f/2.0 and f/1.4 with many “professional” lenses featuring f/1.4 maximum apertures.

Today, that has shifted a bit…

f/1.2 is The New f1/.4

When I first wrote this article, lenses faster-than-f/1.4 were the exotics of the 35mm format optical world, with only about a dozen faster-than-f/1.4 lenses on the market. Lenses with f/1.2 maximum apertures were expensive and fairly rare. Lenses with apertures larger than f/1.2 were exceptional.

Now, it seems like the f/1.4 “standard” has been replaced by the f/1.2 aperture because there are dozens of f/1.2 lenses in the field, and some manufacturers are no longer supplying photographers with f/1.4 lenses—having apparently shifted to f/1.2 as “pro” glass options.

The Fastest of the Fast

Are you ready to dream with me as we look at the truly fast lenses of today’s photographic world—lenses with maximum apertures greater than f/1.2? Here we go!

Nikon’s NIKKOR Noct

Reviving the storied “Noct” designation from Nikon’s past (enjoy your Web search!), the insanely fast NIKKOR Z 58mm f/0.95 S Noct lens for Nikon Z mirrorless cameras is a manual-focus behemoth with a gaping 82mm front filter size.

FUJIFILM’s Fastest Fujinon

FUJIFILM’s XF 50mm f/1.0 R WR lens is currently the largest-aperture lens that features autofocus. Designed for the FUJIFILM X-Mount camera system, it gives the 35mm equivalent field of view of a 76mm lens—ideal for portraiture and some general-purpose shooting.

Voigtländer’s Super Nokton and Noktons

If you want super-fast glass for the Micro Four Thirds System, German lens manufacturer Voigtländer has created the largest aperture lens currently available new—the Voigtländer Super Nokton 29mm f/0.8 Aspherical Lens. Yes, you read that correctly: f/0.8!

The company also offers five Nokton lenses that clock in at f/0.95. The Nokton 10.5mm f/0.95, Nokton 17.5mm f/0.95, Nokton 25mm f/0.95 Type II, Nokton 42.5mm f/0.95, and the Nokton 60mm f/0.95 give Micro Four Thirds shooters a range of fast primes to choose from with exotic maximum apertures. Several other Voigtländer lenses get the “Nokton” designation, but none have apertures as large as the Super Nokton’s f/0.8 or the Nokton f/0.95 lenses designed for the MFT system.

Mitakon Zhongyi’s Speedmasters

Mitakon Zhongyi builds the wide-aperture Speedmaster 17mm f/0.95 and the Speedmaster 25mm f/0.95 for Micro Four Thirds cameras. The Speedmaster 50mm f/0.95 III full-frame-capable lens is available for Canon RF, Nikon Z, and Sony E cameras. For APS-C shooters, the Speedmaster 35mm f/0.95 Mark II lens is available for Canon EF-M, FUJIFILM X, and Sony E mounts.

There is also a Speedmaster 50mm f/0.95 lens for Canon EF DSLR shooters—the only DSLR lens on this list.

7Artisans

7Artisans has several super-fast lens options. For cropped-sensor cameras, there is the Photoelectric 25mm f/0.95 for FUJIFILM X, Micro Four Thirds, Nikon Z (DX), and Sony E (APS-C), the Photoelectric 35mm f/0.95 lens for Canon EF-M, FUJIFILM X, Micro Four Thirds, Nikon Z (DX), and Sony E (APS-C) cameras, and the Photoelectric 50mm f/0.95 lens for Canon EF-M, FUJIFILM X, Micro Four Thirds, Nikon Z (DX), and Sony E (APS-C).

7Artisan’s full-frame-friendly 50mm options are the Photoelectric 50mm f/1.05 for Canon RF, Leica L, Nikon Z, and Sony E mounts and, for rangefinder shooters, the Photoelectric 50mm f/1.1 will attach to your Leica M-mount camera.

SLR Magic

SLR Magic makes the Cine 50mm f/1.1 and Cine II 50mm f/1.1 for Sony E-mount video work or stills. Note: there are other cine lenses with apertures larger than f/1.2, but this SLR Magic lens is the only faster-than-f/1.2 cine lens option listed that has an f-stop instead of a t-stop.

TTArtisan

TTArtisan super-fast glass is the 50mm f/0.95 lens for Leica M rangefinders.

KIPON’s Ibelux

KIPON’s exotic fast glass is the Ibelux 40mm f/0.85 lens for Leica L (APS-C), Micro Four Thirds, and Sony E (APS-C).

Venus Optics

Known more for wide-angle and macro offerings, Venus Optics presents its Laowa Argus 35mm f/0.95 FF lens for full-frame Canon RF, Nikon Z, and Sony E mirrorless cameras. For APS-C shooters, its stablemate is the apochromatic Laowa Argus 33mm f/0.95 CF APO lens for Canon RF, FUJIFILM X, Nikon Z (DX), and Sony E (APS-C) cameras.

Zenit

Lens maker Zenit has created the Zenitar 50mm f/0.95 for Sony E full-frame.

Leica’s Noctilux

Did you think I would write about fast glass and not mention the Noctilux? Ha! When the term “fast glass” escapes one’s lips, the lens that comes to the forefront of most photographers’ minds is the legendary Leica Noctilux-M 50mm f/0.95 ASPH lens; according to Leica, it is “the world’s fastest aspherical lens.” Many consider this gorgeous optic to be the world’s premier 50mm lens, and no respectable discussion of “fast glass” can happen without a nod to the Noctilux.

The Noctilux f/0.95 is the third 50mm in the Noctilux family, following the original Noctilux 50mm f/1.2 and the Noctilux-M 50mm f/1.0—both mythical lenses themselves. I should give a nod to the newest Noctilux, the Noctilux-M 75mm f/1.25 ASPH., even though it missed my f/1.2 cutoff.

Fast Glass Need Not Break the Bank

To be clear, this article features only lenses with maximum apertures wider than f/1.2. However, if you have clicked on some of the lenses above (or modern f/1.2 glass), you may have experienced some sticker shock—even with lenses made by lesser-known brands. Big glass usually equals big money. All is not lost, however. For fast glass on a budget, the f-stop you need to know is: f/1.8.

While not exotically fast, the difference between f/1.8 and f/1.4 is less than one stop, or exposure value of light. If you compare prices between, for example, the Nikon AF-S NIKKOR 50mm f/1.8G lens and the Nikon AF-S NIKKOR 50mm f/1.4 lens, you will see the value placed on that extra light-gathering power, with little to no gain in sharpness, color rendition, or distortion control. In fact, there are even a few f/1.8 lenses that outperform their f/1.4 (and f/1.2) counterparts in some specific areas.

Also, if you are used to the variable f/3.5-f/5.6 aperture of a kit lens, the nearly two-stop gain of an f/1.8 lens might drastically expand your photographic adventures by allowing you to shoot in much dimmer light and/or significantly shorten your depth of field for portraits and still life photos. For more poetic waxing on the "Nifty Fifty," click here.

Respect For The f/1.2’s of The World

With the shift to f/1.2 apertures being the new professional prime standard, it is important to acknowledge that the f/1.2 lens used to be semi-rare in the 35mm photography world. Canon’s flagship prime glass clocked in at f/1.2. For years, Nikon’s widest-aperture lens was a manual focus 50mm f/1.2. Sony and Sigma joined the f/1.2 party in 2021. Perhaps the most legendary Micro Four Thirds lens is a Panasonic that clocks in at f/1.2, and another f/1.2 Micro Four Third lens from Olympus has (what I believe to be a record) 19 glass elements in a prime lens.

The f/1.2 lenses mentioned earlier deserve a respectful nod and shout-out, along with the other f/1.2 optics out there, because they still represent truly fast glass—even in today’s world.

Here are links to B&H’s current f/1.2 (and greater) maximum aperture lenses for DSLRs, mirrorless cameras, and rangefinders.

The Legendary—and Mythological—Fast Glass

In the realm of fast glass, there have been some legendary lenses that are long since out of production. If you have some spare time between reading B&H blog articles and shopping the B&H SuperStore, you can have some fun researching the following lenses.

Carl Zeiss Planar 50mm f/0.7 was designed to capture images on the dark side of the moon during the Apollo missions. Film director Stanley Kubrick bought two.

Canon made the Canon 65mm f/0.75 for its manual focus FD mount; the EOS line briefly saw the Canon 50mm f/1.0; and the Canon 50mm f/0.95 was made for rangefinder cameras.

The Nikon 58mm Noct-NIKKOR f/1.2 commands premium prices on the second-hand market. Its aspherical element was designed specifically to reduce sagittal coma flare when shot wide open—reproducing points of light as points of light, instead of blobs.

Discontinued in 2021, the manual focus Nikon 50mm f/1.2 is my desert island lens.

Minolta shooters enjoyed the Minolta 58mm f/1.2 MC Rokkor and Minolta 50mm f/1.2 MD Rokkor-X.

And don’t forget the legendary Carl Zeiss Super-Q-Gigantar 40mm f/0.33!

Keep an eye out for some of these fast lenses, with the exception of the Super-Q-Gigantar (it’s a myth), at the B&H Used Store.

From Our Readers

This article gets updated at least annually, and our readers have dropped comments below to tell us about some fast glass that they like with apertures at or greater than f/1.2. Have fun looking for these lenses on the Internet or at the B&H Used Store!

  • SMC Pentax-A 50mm f/1.2
  • SMC Pentax-K 50mm f/1.2
  • Carl Zeiss N-Mirotar 210mm f/0.03
  • Mt. Prospect 90mm f/1.0
  • Kowa 62mm f/0.75
  • Rodenstock TV-Heliogon 68mm f/1.0
  • Rodenstock XR-Heliogon 42mm f/0.75 (Focus: ~2cm)
  • Canon FL 50mm f/1.2
  • AstroBerlin 65mm f/0.75 C Tachon Lens
  • X-FUJINON 50mm f/1.2 EBC DM (Also branded as a Porst lens)
  • Contax 85mm f/1.2 Planar T* Lens (50-year and 60-year Anniversary Models)
  • Contax Planar T 55mmf/1.2 MM (100th Anniversary- only 1000 units made)
  • Handevision IBELUX 40mm f/0.85 (now KIPON... see the description above)
  • Konica M-Hexanon AR 57mm f/1.2 Lens
  • Konica M-Hexanon 50mm f/1.2 Lens
  • Olympus OM-Zuiko 55 f/1.2
  • Olympus OM-Zuiko 50 f/1.2
  • Canon 50 f/0.95 Dream Lens

Did we miss any faster-than-f/1.2 glass past or present? Let us know in the Comments section, below!

Items discussed in article

126 Comments

I think you're missing the Canon FL 58mm f1.2 and the Mitakon 85mm f1.2 

Hi Francesco,

Thanks for the note! A few weeks ago I shifted the criteria for this article from wider than f/1.4 to wider than f/1.2 as it looks like f/1.2 is the new f/1.4 and many manufacturers are building f/1.2 lenses. Maybe I need to kick the f/1.2 lenses off the "classics" list at the end of the article as well.

Having said that, I did not know there was a 58mm Canon FL f/1.2!

Thanks for reading!

Best,

Todd

Nice article.

However, Voigtlander is NOT a German lens manufacturer. The C in CV stands for Cosina...

Hi Rolfe,

Thanks for the kind words on the article.

Voigtlander is headquartered in Germany and Cosina, in Japan, does their manufacturing and marketing (since 1999).

The world is flat and the web is tangled these days!

Thanks for reading!

Best,

Todd

There is also the newly released Leica Noctilux F1.2 ASPH.  I am also  a big fan of the Konica M-Hexanon 50mm F1.2 and was able to purchase one in Japan. Its a limited edition of 2000 units that Konica released in the year 2000.

Hi Stefan,

Thanks for the note. I will update the article soon to add the Leica and  your Konica!

Thanks for reading!

Best,

Todd

Funny. Want cheap -real- fast glass?  Fast glass isn't about what's entering a lens in the front element. It's about T-stops ("T" for "transmission") the amount of light that exits the rear element and makes it to the film plane or sensor. You can have a .95 max aperture but have a piece of drywall as a lens element. It's still a .95 max aperture or "fast lens", no? Max aperture is simple a ratio. It's virtually meaningless. So. What is TRULY a fast lens? The old Nikon 50mm/F1.4 D. Max aperture 1.4. T-rating 1.5. This Nikon has the same max t-stop as the vaunted Canon 50mm 1.2L. Let me repeat that. This old Nikon D-series lens that you can get for a couple hundred bucks is AS FAST in REAL metrics, t-stop, as that $$$$ Canon 1.2 lens -- 1.5. Don't believe me? Look it up on DXOMark. This old Nikon has the best Max Ap/t-stop ratio of any 50mm lens. I have no idea how Nikon did this. Without going into wonkiness, this is not insignificant. Light, which is carrying your picture information, is being lost in other lenses. All those unnecessary corrective elements that correct for meaningless nonsense are absorbing a lot of information for the sake of stupid "extreme edge sharpness" at non-working apertures. Perhaps this is why this old 50/1.4 Nikon D lens images just pop. 3D effect in spades. Check it out for yourself. But Shhh. Don't tell anyone. The Nikon 50/1.4 D is among the best 50's ever made, and that includes the Cron. It is AS FAST as the Canon 50/1.2L. It costes a couple hundred clams. Let that be our little secret. 

Hey Nick,

Good stuff!

Yes, a milky lens at f/0.1 won’t be letting too much light in!

Interesting points about T-stops. I will have to look into it. 

Speaking of the Nikon 50mm f/1.4…I never had a good copy of that lens as my f/1.8’s always out-performed it. I do now have the 50mm f/1.2 and that is an incredible lens. If you haven’t tried it, I highly recommend it.

And, your secret is safe with me! I won’t tell a soul. :)

Thanks for reading, Nick!

Best,

Todd

Voigtlander Nokton 50mm f/1.2 for Sony E ?

Good catch, Paolo! When I first came out with this article, there were only a handful of larger than f/1.2 lenses...now there are dozens! Everyone is coming to the party!

Thanks for reading!

Best,

Todd

A Nikkor 55mm 1.2 has a pretty soft focus and is great at rendering buttery smooth skin.  One of my favorites for women’s portraiture.

Thanks, David! Great lens, indeed!

Best,

Todd

Consider Rokinon 50mm F/1.2.

Hi M'Ceek M,

Yep...I do mention that lens in the article. Good stuff!

Thanks for reading!

Best,

Todd

Old school slr film shooters (original interchangable lens users) coveted fast glass for two reasons, to see/focus in dim light, and to obtain action stopping shutter speed with ordinary speed films. Shallow DOF was a side benefit. Today a mirrorless shows a bright image in the view finder regardless of lens speed, and adjustable ISO with sensor stabilization gives good shutter speeds regardless of aperture. Plus you can imitate any level of blurred background in software, including bokeh. So the utility of fast lenses is not what it used to be, and many people might find the weight + cost a deal killer.

Hi c k,

Interesting thoughts on the subject there. I agree with your points, but I also like not having to simulate blur/bokeh in post-processing.

Another counterpoint...I use my Nikon 50 f/1.2 for astrophotography. At f/1.2 it is way too soft to shot stars, but clicking it to f/2 brings everything super sharp. If it was an f/2 lens, I might have to step down to f/4 for the same benefit.

The utility is not what it used to be, but there is still some utility. :)

Thanks for reading!

Best,

Todd

The history of photography technology is as important as you make it in your own shooting. My view is that new learners in the art area do better when they understand that photography is in essence a low technology medium that has been buried in technology that actually stifles creativity.

This point is put across with 1. a camera obscura demonstration, which can be a tiny hole in a window shade and some tracing paper. 2. A view or field camera demonstration to put across lens/sensor plane relationships ie the geometry of a camera. 3. Light readings first explained as incident, to put subject reflectance in proper perspective. 4. Exposure should be shown to be reasonably guessed within a stop in day light by the 1/ISO @ f1 method6 (sunny 16 rule) without a meter. 5. Focus should be learned manually, including following a moving object like a hockey player.

THEN introduce technology. When teaching is done tech first, you don't get photographers, you get camera operators.

Hey c k,

You make a great point there, but, the reality of today's world is that folks are starting off with high-tech digital and don't have any relationship with "old-school" photography. This is true with so many things today like driving cars (automatic transmissions) and even doing laundry without taking your shirts to the local stream with a washboard!

For what its worth, I had to create a camera obscura in my first class in my master's program. :)

Thanks for your thoughts!

Best,

Todd

Wikipedia has a nice list of the fastest lenses (not only for normal photography purposes): https://en.wikipedia.org/wiki/Lens_speed

Grrrr...beat to the punch by Wikipedia....again!

Thanks for sharing the link, Stephan, and thanks for reading!

I will resist the temptation to cut-and-paste the Wikipedia list and hope that our customers and readers continue to populate our list!

Best,

Todd

Don't overlook that you may know as much as the person who edited the Wiki, and you are free to contribute or improve it! I am rather sure the collective experience at BH meets or exceeds most other sources. In fact I encourage BH to assign some staff to put their imprint on all the Wikipedia photography pages.

Thanks again, c k! :)

I've adapted a Voigtlander Nokton 40mm f/1.2 to my Panasonic mirrorless bodies and find the results amazing.  I love the focus fall-off, colors and contrast.  It's a spendy play lens, but definitely motivates me to get out and shoot more.    

Hey Ronald,

Good stuff! Adapting lenses is the true boon of mirrorless photography.

Thanks for reading and sharing your experience!

Best,

Todd

The NIKKOR 50mm f/1.2 is actually still listed on the BH site with "more on the way". Perhaps you could link to it, a fantastic lens at a great price also available in mint used condition. The Nikon 50mm "replacements" are much more expensive and heavy vanity projects.

HI Alan,

Sorry for the delay in replying. I have some folks looking into this mystery on our end to get a good answer for you. I saw announcements about the discontinuation of the lens on various news feeds and an official Nikon Japan website lists the lens as discontinued, but we might have different information here.

Please stand by and I will get back to you here with the official info.

Thanks for reading!

Best,

Todd

Hi Alan,

My trusted source near the B&H vaults told me that we have some more of these lenses on the way, but they have been discontinued. Hopefully the order makes it to B&H and, if it does, now is the best time to get one of these 50mm lenses (if you don't already have one)!

Best,

Todd

I haven't read all of the comments yet, but the f/stop rating is the ratio of the lens opening diameter to the "focal length."  Thus a lens with a 50mm focal length has a nominal maximum diameter opening of 50mm also if it is rated at f/1.0.  An f/2.0 50mm lens would have a maximum opening of 25mm and so on.

Hi David,

You are correct. I should probably tweak that text a bit. As I state in my article, Aperture in Photography Defined: "The formula used to assign a number to the lens opening is: f/stop = focal length / diameter of effective aperture (entrance pupil) of the lens."

Sorry if I caused any confusion there!

Best,

Todd

Canon FL 55 f1.2.  The 50 was mentioned but not the 55mm

Hi Dennis,

Thanks for catching that omission!

I will have it added to the list!

Happy New Year!

Best,

Todd

Hi Todd.

I have to disagree somewhat with the following statement of yours (sorry to be so late to the party): "Its size is expressed as a number that shows the ratio of the opening to the size of the lens." when speaking about what the f/stop is.  It's a ratio all right, but not the size of the lens, but, more precisely to the width of the glass part of the lens.  To me, if you're talking about a lens, that includes not only the glass parts but the housing as well.  What I know you meant--I'm a literalist--is that the f/stop is a ratio between the focal length and the width of the glass.  (I assume that width is measured at its widest part, but I don't know that for sure.) 

Hey Henry,

Good evening and happy holidays! No worries about coming late to the party. We are still partying!

You are correct, Sir. I guess I could have been more specific to avoid possible confusion. I hope I haven't sent a legion of photographers out there doing the math based on the lens barrel size!

I will submit an edit to our copy editor!

Thanks for dropping by the shindig!

Best,

Todd

SLR Magic 25mm .95 is one not on the list... 

Hi Mark,

You are correct, Sir. However, the SLR Magic lens comes up in my searches as a cine lens and I wanted to keep this article focused on photo lenses. There are a lot of cine lenses with larger than f/1.2 apertures for sure!

If they made a non-cine version, please let me know!

Thanks for reading!

Re: fast lenses.
There is also from Carl Zeiss the:
CONTAX Planar T 55mm F1.2 MM 100Anniversary, only 1000 units made.
There is one for sale on eBay right now:
eBay item number: 352875257214 .
Greetings,
Joe

Hi JOSEF! I shall add that to the list. Thank you!

And thanks, in advance, for buying it for me! :)

I recently came across the Kaxinda 25mm f/0.95 for various mirrorless APS-C mounts or smaller like the E-mount, M43, EF-M and X-mount. I was hoping anyone here who tried it could share their opinions on this lens. TIA

Thanks for sharing, Philip! I wonder if we will start to sell those lenses at B&H.

The number of inexpensive lenses coming from the Western Pacific these days is interesting—some are very very good.

No mention of the Kamlan 50mm f/1.1 for mirrorless cameras? It originally came out for E-mount but I believe they have them in M43, EF-M and maybe X-mount too.

No mention...we don't sell Kamlan at this time and I, honestly, didn't scour the web for stuff that we aren't currently selling. Sorry!

Perhaps I somehow missed it, but I'm curious as why I didn't see any of the Sigma f/1.4 Art lenses on your list.  These are superb lenses.

Because his cutoff was a max aperture of f/1.2 or faster. He made an exception for 1 lens, a f/1.25 lens, but that's it. f/1.4 is too slow to make this list. There was a small side article on budget fast glass (f/1.8) but f/1.4 glass is usually too expensive to make it into the budget section.

Thanks for having my back, Philip!

Hi Michael,

Philip is correct. f/1.4 didn't make the cut for this article even though the Art lenses are awesome. If I included f/1.4 and below, this article would be much, much longer!

Thanks for reading!

Back in the '70s, Konica made a Hexanon 57mm f/1.2 for their SLRs

Thanks, Asyouknow! I will add that one to the list!

I'm lucky enough to own the Minolta Rokkor 58/12 and Fuji 56/1.2  mentioned in the article. Both are wonderful lenses. With care, the Minolta can be adapted to the EF bayonet - its rear element will impede mirror movement if it's focused at infinity. It's also a heavy brute. Used up close, the Minolta can deliver a sharp 3D feel to images.

I recall three other fast lenses that I've owned or used. My favourite would be the OM-Zuiko 55/1.2 from the early 1970's. Wide open, this lens is never really sharp but the residual spherical and chromatic aberation can produce a very interesting glow. Its more modern cousin, the OM-Zuiko 50/1.2 from the mid 80's is smaller and considerably sharper - in a digital world it produces a reasonably crisp image to feed a processing engine.

My final offering is the Canon 50/0.95 Dream Lens that was designed for the Canon 7 (late 1960's). It's a rare bird which I've used sparingly - connected to an image intensifier of all things. A friend in HK modified his to suit a Leica M-mount so I assume it could be attached to other mirrorless cameras. The image quality is - well - dreamy.

Hey Bruce,

Great stuff! Thanks for sharing the information about those classic lenses. What kind of mount did that Canon have?

It may be time for an update to include the new Zenitar lenses - there's a 50mm f/1.2 for APS sensors and a 50mm f/.095 for mirrorless  

Hey Richard,

Unfortunately, we don't carry the Zenitar lenses at this time. I guess I could add them to the article, but let me sleep on it! I wonder if we will carry them some day. Thanks for the heads-up and thanks for reading!

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