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. In this article we take a look at the lenses with the largest-opening 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 also 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 Nokton 50mm f/1.0 Aspherical MC is designed for M-mount cameras such as Leica’s venerable rangefinders.
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 Micro Four Thirds 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.
SLR Magic
SLR Magic makes the 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's super-fast glass is the 35mm f/0.95 lens for APS-C Nikon Z-mount cameras.
KIPON’s Ibelux
KIPON’s exotic fast glass is the Ibelux 40mm f/0.85 III lens for Leica L (APS-C), Micro Four Thirds, FUJIFILM X, Canon EF-M, Canon EOS R (APS-C), Nikon Z (APS-C), 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 and Laowa Argus 45mm f/0.95 FF lenses 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. And, for Micro Four Thirds photographers and videographers, the 50mm-equivalent Laowa Argus 25mm f/0.95 MFT APO is your wide-aperture Venus Optics option.
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. 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 also acknowledge the newest Noctilux, the Noctilux-M 75mm f/1.25 ASPH., even though it missed my f/1.2 cutoff.
Fast f/1.8 Lenses — 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/1.2s 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 whose maximum aperture is 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 are some legendary lenses that have long been 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 NIKKOR 50mm f/1.2 is my desert island lens.
Apparently only one Nikon NIKKOR-O Auto 58mm f/1.0 was ever created; selling for record prices at an auction in 2022.
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!
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SMC Pentax-A 50mm f/1.2
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SMC Pentax-K 50mm f/1.2
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Carl Zeiss N-Mirotar 210mm f/0.03
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Mt. Prospect 90mm f/1.0
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Kowa 62mm f/0.75
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Rodenstock TV-Heliogon 68mm f/1.0
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Rodenstock XR-Heliogon 42mm f/0.75 (Focus: ~2cm)
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Canon FL 50mm f/1.2
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AstroBerlin 65mm f/0.75 C Tachon Lens
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X-FUJINON 50mm f/1.2 EBC DM (Also branded as a Porst lens)
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Contax 85mm f/1.2 Planar T* Lens (50-year and 60-year Anniversary Models)
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Contax Planar T 55mmf/1.2 MM (100th Anniversary- only 1000 units made)
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Handevision IBELUX 40mm f/0.85 (now KIPON... see the description above)
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Konica M-Hexanon AR 57mm f/1.2 Lens
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Konica M-Hexanon 50mm f/1.2 Lens
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Olympus OM-Zuiko 55 f/1.2
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Olympus OM-Zuiko 50 f/1.2
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Canon 50 f/0.95 Dream Lens
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Zenitar 50mm f/0.95
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MINOLTA MC-Rokkor 58mm f/1.2
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Olympus 17mm f/1.2
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Olympus 25mm f/1.2
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Olympus 45mm f/1.2
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Leica Noctilux-M 50mm f/1.2 ASPH
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Konica Hexanon 50mm f/1.2
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Canon FL 58mm f/1.2
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Mitakon Speedmaster 85mm f/1.2
Did we miss any faster-than-f/1.2 glass past or present? Let us know in the Comments section, below!
