Episode 239: Lens Mounts and Designations, Part 2

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Today, I am covering Part 2 of camera lens mounts and designations and what they mean. You’re listening to the Liam Photography Podcast, Episode 239 for Thursday April 7, 2022, and I am your host, Liam Douglas.

Continuing our discussion on lens mounts and designation, I wanted to circle back to another two mounts that I did not cover last week and those are the Pentax K mount and the Leica L mount.

The K-mount

Pentax introduced the K-mount in 1975 and it is the mount that they still use today on ALL Pentax camera, whether they are film or digital. Over it’s 40 year history, the K-mount has gone through several enhancements to allow for new camera features and technology. Even though these enhancements have been made, your Pentax lens from 1975 will still fit and work on a modern Pentax camera body! Pentax shooters are not only loyal to their system, but they also have one of the largest selections of legacy lenses today.

The K-mount is a bayonet lens mount (the type employed by all modern lenses) which replaced the original M42 screw mount, thus making changing lenses must faster.  While the screw mount requires three complete revolutions of the lens in order to mount tightly, the K-mount only needs a twist of about 60 degrees. The diameter of the K-mount is also larger than that of the M42 making faster lenses and more robust optical designs possible.

Exceptional backward/forward compatibility has been retained over the years meaning that K-mount lenses, old and new alike, will work on nearly all Pentax SLR/DSLR cameras. This is a significant advantage of the Pentax K-mount. There are only very few exceptions to the any lens/any camera compatibility and they are primarily related to some low-end SLR bodies from the late 1990s where certain lenses can be mounted fine but the camera will refuse to fire. Refer to our Lens/Camera Compatibility Table for details or use our Lens Compatibility Checker tool, if you wish you check whether or not a given lens/camera pair are compatible.

In daily speak, “K-mount” refers to all of the variants of the mount described below, not solely to the original version. We will in this article call the original mount the “K” mount and use “K-mount” as the generic term for any variant.



DSLR Usage

As a rule of thumb, an older Pentax lens will always work on a newer Pentax camera body.

All the lens types listed above can be mounted and used on all Pentax DSLRs with no optical limitations.  No adapters are ever required.

Pentax KAF4 lenses are only fully supported by the Pentax K-1, K-S1, K-S2, K-3, K-3 II, K-70, KP and newer. Earlier models cannot operate the aperture mechanism due to the lack of a firmware update, and thus aperture adjustments are not possible.

Pentax KAF3, KAF2, and KAF lenses support autofocus and full exposure automation on all Pentax DSLRs.  Exception: the *ist D series, K100D, and K110D will not autofocus with KAF3 (or KAF4) lenses, and cannot manually focus lenses that “focus by wire” such as the HD and SMC DA 18-50mm RE.

Pentax KA lenses support full exposure automation on Pentax DSLRs.  Manual focusing is required.

Pentax K and KF lenses require stop-down metering on Pentax DSLRs and can only be used in M exposure mode.  Manual focusing is required.  Metering instructions can be found here.

The Original “K” Lens Mount as Introduced in 1975

The original version of the K-mount had two mechanical links between lens and camera body:

Aperture control lever (i): The camera pushes  down on this lever during exposure to stop the lens down to the aperture set on the aperture ring.

Aperture simulator (ii): Indicates to the camera  how much the lens is stopped down with the aperture ring. It moves in unison with the aperture ring.

On the original version of the K-mount the camera cannot determine the actual aperture value set, but only how much the lens is stopped down (“three stops from fully open” to take an example). That information is sufficient to allow for open aperture metering. It explains why a camera can only display F– in the view finder and on the monitor when a lens with the original K-mount is used.

A few lenses (such as the smc Pentax 1000mm F8) do not have the aperture control lever and the aperture must be stopped down manually for each shot (open up to focus, close down to measure the exposure and shoot). Pentax reflex lenses (the smc Pentax smc Pentax 2000mm F13.5 Reflex for example)  do not even have an aperture ring (their aperture is fixed). The aperture simulator is then set to a fixed position. The mount is still considered a “K” mount.

Exposure modes supported: Av and M

Focusing modes: Manual

Example of a lens with the “K” mount: smc Pentax-M 50mm F1.4

The “KF” Mount (1981)

This was the first Pentax autofocus mount and it was designed for lenses with a built-in focusing motor. There is no mechanical link involved in the autofocus operation. The mount is a “K” mount with one addition (iii):

Aperture control lever (i): The camera pushes  down on this lever during exposure to stop the lens down to the aperture set on the aperture ring.

Aperture simulator (ii): Indicates to the camera  how much the lens is stopped down with the aperture ring. It moves in unison with the aperture ring.

Autofocus contacts (iii): The camera controls the focusing operation through these contacts.

The mount was ahead of its time with its all-electrical autofocus coupling, but the implementation was not successful: The motor in the lens required so much juice that four batteries were needed. The batteries were placed in the lens which therefore became quite bulky and heavy.

Only one lens, the smc Pentax-AF 35-70mm, was produced in this mount and only one camera could autofocus with it: the Pentax ME F. On all other cameras this lens works as if it just had the original “K” mount. The “KF” mount was abandoned and did not form the basis for the newer mounts.

Exposure modes supported: Av and M

Focusing modes: Autofocus (with the Pentax ME F camera), manual focus

The only lens with the “KF” mount: smc Pentax-AF 35-70mm.

The “KA” Mount (1983)

In 1983 Pentax introduced a new line of cameras that had Tv (shutter speed priority) and Program exposure modes in addition to Av and M. This required that the camera be able to set the aperture on the lens and therefore the “KA” version of the K-mount was created with two new features: a redesigned aperture control lever (i) and lens information contacts (iv).

Aperture control lever (i): It looks the same as on the “K” mount but it is now calibrated differently and can stop the lens down very accurately by fractions of F-stops as determined by the camera’s meter.

Aperture simulator (ii): Unchanged from the “K” mount. Indicates to the camera how much the lens is stopped down manually in M and Av exposure modes. It moves in unison with the aperture ring.

Lens information contacts (iv): One to six electrical contacts. The contact marked “A” is always present. It was originally a pin that would move out and establish contact to the camera when the aperture ring was set to the “A” position. It would be retracted otherwise. On teleconverters and in later versions of the mount it became an electrical contact that is either shorted or open.

The other contacts tell the camera what the minimum aperture of the lens is (F22 for example) and how many F-stops the lens can be opened up (six for example). Usually on “KA” mount lenses only those contacts that are open are present as is evident on the image of the “KA” mount above. Besides the “A” contact we only see two other contacts (the left most one and the rightmost one) – click image to enlarge. The contacts on most “KA” mount lens are effectively just a drilled hole filled with a grey mass of insulating material. The metal mount acts as a short circuit in the places where the contact should otherwise be a short.

The image to the right is of the “KA” mount of a teleconverter and it has all contacts present and is therefore a better reference for understanding the contact layout.

The encoding of this information is described in the table at the end of this article.

Exposure modes supported: P, Tv, Av, and M

Focusing modes: Manual

Example of a lens with the “KA” mount: smc Pentax-A

The “KAF” Mount (1989)

In 1989 Pentax re-introduced autofocus, now based on the “KAF” mount, which was a “KA” mount with the addition of a digital information contact (v) and an autofocus drive shaft (vi).

Aperture control lever (i): Works the same as on the “KA” mount. It stops the lens down very accurately by fractions of F-stops as determined by the camera’s meter.

Aperture simulator (ii): Unchanged from the “K” mount. Indicates to the camera how much the lens is stopped down manually in M and Av exposure modes. It moves in unison with the aperture ring if the lens has one. Otherwise it is fixed in the position of the “A” setting of the aperture ring had there been one.

Lens information contacts (iv): Up to six electrical contacts. Refer the “KA” mount description for details.

Digital information contact (v): A seventh contact was added to the mount.

Autofocus drive shaft (vi): A motor in the camera can autofocus the lens by turning this drive shaft.

With the introduction of budget priced DA L lenses in 2008 Pentax introduced the “KAF” mount in plastic as shown to the right. One of the contact pins is replaced by a metal “tongue” to ensure solid ground contact between lens and camera since a mount of plastic in itself cannot provide ground contact.

From the “KAF” mount onward one or more of the “KA” lens information contacts are always “real” contacts, not just a drilled hole filled with with epoxy or a short. Some of our users speculate that these contacts carry more information when the lens is mounted on an autofocus camera. Data is not available from Pentax regarding this.

The bottom line is that the “KAF” mount allows the camera to read various types of information from the lens: the current focal length (will vary for zoom lenses), a code identifying the lens model, distance to subject, current maximum aperture (may vary as a zoom lens is zoomed), and possibly additional information.

Some of today’s lenses with the “KAF” mount have no aperture ring. In that case the aperture simulator lever (ii) is fixed in a position corresponding to the “A” setting of the aperture ring had there been one. This ensures compatibility with older camera bodies.

Exposure modes supported: P, Tv, Av, and M

Focusing modes: Autofocus (screw drive), Manual focus

Example of a lens with the “KAF” mount: smc Pentax-F 50mm F1.7

The “KAF2” Mount (1991)

The “KAF2” mount was introduced in 1991 and added provision for power zoom to the lens mount by augmenting the mount with two power contacts (vii). On today’s lenses with the KAF2 mount these contacts are for powering the in-lens autofocus motor (SDM/DC autofocusing).

The mount originally came in two flavors: With power contacts and without power contacts. To reduce confusion Pentax has recently renamed the “KAF2” mount without power contacts to “KAF”. As an example, the smc Pentax-FA 31mm F1.8 Limited was said to have a “KAF2” mount when it was introduced. Today Pentax calls it a “KAF” mount even though its mount hasn’t changed! The new terminology is used inconsistently, but should it prevail it would be a less confusing way of naming the mounts.

A “KAF2” mount with power contacts is shown to the right. It is physically a “KAF” mount with the addition of the power contacts (vii). For power zoom lenses additional information about the lens is transmitted to the camera, hereunder the aperture where the lens is physically at its shortest. This allows the camera to retract the zoom on power down.

Aperture control lever (i): Works the same as on the “KA” mount. It stops the lens down very accurately by  fractions of F-stops as determined by the camera’s meter.

Aperture simulator (ii): Unchanged from the “K” mount. Indicates to the camera how much the lens is stopped down manually in M and Av exposure modes. It moves in unison with the aperture ring if there is one. On lenses with no aperture ring the tab is fixed in the position of the “A” setting of the aperture ring had there been one.

Lens information contacts (iv): Up to six contacts. Refer the “KA” mount description for details.

Digital information contact (v): The seventh contact that was introduced with the “KAF” mount.

Autofocus drive shaft (vi): A motor in the camera can autofocus the lens by turning this drive shaft.

Power contacts (vii): When originally introduced these contacts provided power for power zoom lenses (how these lenses work is explained here). Today the power contacts provide juice for in-lens focus motors (SDM or DC autofocus). High end Pentax DSLRs support some power zoom functions in addition to the SDM/DC autofocus support.

The “KAF2” mount retains the drive shaft (vi) for screw drive autofocus even if the lens has a built-in autofocus motor. All “KAF2” mount lenses will thus autofocus even on autofocus enabled cameras that lack power contacts.

Most of the current lenses with a “KAF2” mount have no aperture ring. In that case the aperture simulator lever is fixed to a position corresponding to the “A” setting of an aperture ring had there been one.

Exposure modes supported: P, Av, Tv, M

Focus modes: Autofocus (all lenses have screw-drive, some also SDM/DC), Manual focus

Example of a lens with a “KAF2” mount: smc Pentax-DA* 300mm F4

The “KA2” Mount (1997)

The “KA2” mount is a KAF2 mount without the autofocus drive shaft and without the power contacts. No Pentax lenses have this mount, but it was used on the manual focus Pentax MZ-M/ZX-M film camera.


The “KAF3” Mount (2007)

The “KAF3” mount is the second most recently introduced variant. It has no autofocus drive shaft, but is otherwise like a “KAF2” mount with power contacts. This means that lenses with the “KAF3” mount all have a built-in autofocus motor and that autofocus is not available with cameras predating the Pentax K10D/K100D Super.

Aperture control lever (i): Fixed in the position corresponding to the aperture ring being in the “A” position had there been one.

Aperture simulator (ii): Fixed in the position of the “A” setting of the aperture ring had there been one.

Lens information contacts (iv): Up to six contacts. Refer the “KA” mount description for details.

Digital information contact (v): The seventh data contact introduced with the “KAF” mount.

Power contacts (vii): These contacts provide juice for in-lens focus motors (SDM or DC autofocus).

Exposure modes supported: P, Av, Tv, M

Focus modes: Autofocus (no screw drive), Manual focus

Example of a lens with a “KAF3” mount: smc Pentax-DA 18-135mm F3.5-5.6

The “KAF4” Mount (2016)

The KAF4 mount made its debut in mid-2016 with the HD Pentax-DA 55-300mm F4.5-6.3 ED PLM WR RE lens.

This mount is identical to KAF3, except that the aperture control level (i, above) has been removed.  Instead, the aperture diaphragm is electronically controlled by an electromagnetic actuator in the lens itself.  The camera gives the command to stop down the lens.

As a result, this mount only supports cameras whose firmware has been updated to control the aperture.  As of its launch, the KAF4 is only compatible with the Pentax K-70, K-S2, K-S1, K-1, K-3, K-3 II, KP and newer bodies.  On other cameras, the lens will always shoot wide-open, and aperture control will not be possible.

KAF4 also debuts a new type of autofocus: PLM, or the Pulse Motor, optimized for continuous video autofocus.

Exposure modes supported: P, Av, Tv, M

Focus modes: Autofocus (no screw drive), Manual focus

Smoother aperture adjustments thanks to electromagnetic actuator

Example of a lens with a “KAF4” mount: HD Pentax-DA 55-300mm F4.5-6.3 ED PLM WR

Weather Sealing

Many current K-mount lenses have weather sealing. Seals are placed within the lens so that dust and moisture cannot get inside the lens, and there is also a rubber gasket on the mount itself.

The mount seal is black on star lenses (i.e. DA*) and red on other lenses.

Third Party Variants of the K-mount

Pentax made the original “K” mount available for other camera manufacturers to adopt. The goal was to create a universal standard bayonet mount much like the M42 screw mount had been. Ricoh, Chinon, and others produced cameras and lenses with the “K” mount. Unfortunately, with the introduction of the “KA” mount, Pentax reversed the decision with the result that the other manufacturers either abandoned the “K” mount or developed their own, somewhat incompatible, enhancements. Several third party lens manufacturers produce or has produced lenses with a K-mount. There are no issues with current third party lenses in K-mount, but for older lenses there are two traps to watch out for:

The infamous “Ricoh pin”. Where Pentax created the “KA” mount in order to support Program and Tv exposure automation, Ricoh had to create their own variant, which has a protruding pin placed in a somewhat unfortunate location, namely in the exact spot where Pentax years later placed the autofocus drive shaft. Such a Ricoh lens will get stuck when mounted on a Pentax autofocus body – the Ricoh pin will get lodged in the drive shaft and prevent the lens from being removed without deployment of finesse, patience and tools.

The other trap is the shield that protects the aperture stop down lever. The image to the left shows what the shield should look like and does look like on a genuine Pentax lens. Some older third party lenses have a much larger shield which prevents mounting the lens on a Pentax DSLR. Current third party lenses (Sigma, Tamron, Rokinon, etc.) have correctly shaped shields (or no shields) and pose no problem.


The “Crippled” K-mount

This is not a lens characteristic, but a camera “feature”, or rather a lack thereof: all Pentax DSLR bodies lack the tab that would otherwise read the position of the aperture simulator (lever (ii) in the pictures of the mounts above). Certain low-end film SLR bodies lack this tab as well. As a result, original “K” mount lenses must be used in manual exposure mode with the stop-down metering method (“green button” metering) on these cameras.

Flange Distance (Register)

The distance form the film plane or sensor to the mount flange on the camera body is 45.46 mm. This is the same distance as was used with the M42 screw mount. Pentax (Takumar) screw mount lenses dating back to 1957 can therefore be used on a K-mount camera with a simple adapter that sits flush with the K-mount.

This distance is shorter than what Nikon uses (46.5 mm) and longer than what Canon uses (44 mm). This means that K-mount lenses can be adapted to a Canon camera without loss of infinity focus, but not to a Nikon.

Decoding of the Lens Information Contacts

The “KAF” and later mounts have 7 lens information contacts. The first six (numbered 1 through 6 on the image to the right) are also found on the “KA” mount and will be explained below. The 7th contact is a digital data/control contact where exact way of working hasn’t been published by Pentax, but we know it facilitates communication of detailed information about the lens to the camera (like identity of the lens, focal length, distance to subject, aperture as it varies during zooming, MTF lens quality data, etc.).

The functioning of the first six contacts in connection with a “KA” mount like the one below to he right is well understood, however:

Pins 1, 5, and 6: Conveys the aperture range of the lens in half F-stops.

Pins 2 and 4: Conveys the minimum aperture of the lens.

Pin 3: Shorted if the aperture ring is set to “A”, or if there is no aperture ring. Open if the aperture ring is set manually to some F-stop.

Example: an smc Pentax-A 50mm F2.8 lens has a range of 6 stops (from F2.8 to F22). This is represented as follows: Pin 1: open, pin 5: shorted, pin 6: open, and the minimum aperture of F22 is represented as pin 2 open and pin 4 open.

The possible settings are as follows, where “o” means open contact (or an insulated spot) and “s” means a shorted contact (or blank mount).


It is remarkable that so many Pentax lenses, from the original “K” lineup to the latest “KAF4” releases, can be used on modern Pentax SLRs without the need for an adapter.  With only a handful of exceptions, Pentax engineers have chosen to keep their iconic lens mount backward-and-forward-compatible by improving the mount incrementally without ever redesigning it.

Controls, features and changes

Rubber-sealing on the back of the DA 50-200mm 1-4-5.6 ED WR (red, right) compared to the non-WR version of the lens (left). There are further seals on the inside of the lens that are not externally visible.

Image Stabilisation

Unlike Canon and Nikon, Pentax provides “shake reduction” (SR) functionality within the camera, instead of inside each lens to be purchased. This is advantageous as any lens can be used with full SR functionality, and the lenses are more economical to manufacture as they do not require any shake reduction equipment inside.

Weather Sealing

Many Pentax lenses, like their medium- to high-end camera bodies, are weather-sealed, allowing for their continued use in poor weather and wet locations. Lenses marked as WR bear a “simplified weather-resistant construction […] which makes it difficult for water to enter the lens” compared to the DA* and AW lenses, which are “dust-proof and water-resistant”.[20] Pentax currently provides weather-sealed premium lenses up 560 mm. The largest lens produced by Pentax was the Reflex 2000mm, with non-mirrored lenses available up to the A* 1200mm. As with most manufacturers, telephotos of this range are no longer in production. Pentax provided premium focal lengths well beyond 1200mm, such as their 3800mm through the Pentax telescope division.

Full Manual Focus

First Introduced at Pentax 2003 with the DA 16-45mm, the Quick-Shift focus system made it possible that the focus ring don’t move during autofocus operations. Also after focusing using the autofocus, the focus ring can be turned to allow immediate focus adjustment for manual focus without the need for an AF/MF switching operation.

Powered Zoom

Some FA and FA* lenses did come with an integrated motor and two additional electronic contacts for power zoom functionality. This allows to change the focal length with a small twist of the zoom ring at three different speeds. Most Pentax digital SLRs today do support the first two basic functions of Power Zoom lenses.

Supersonic Drive Motor (SDM)

The Pentax-developed SDM autofocus systems, with SDM standing for “Supersonic Drive Motor”, departs from the previous Pentax system which utilizes a screw-drive autofocus motor inside the camera body. Instead, SDM lenses incorporate an autofocus micro-motor as part of the lens itself. All current production Pentax Digital SLR bodies are compatible with SDM lenses. However the DA* 55mm, DA 17-70mm and DA 18-135mm lenses are not compatible with some older Pentax digital SLR’s such as the K110D, first version K100D and earlier models (The K100D Super is compatible, provided it has up to date firmware).

The SDM mechanism is claimed to provide smoother and quieter focusing.[23] The first Pentax cameras to support SDM lens were the K10D (firmware 1.30 or later) and K100D Super. These and subsequent Pentax DSLR bodies support both SDM and in-camera screw-driven AF.

Leica L-Mount

The Leica L-Mount is a bayonet mount developed by Leica Camera AG for interchangeable-lens autofocus digital cameras.

The L-Mount has an inner diameter of 51.6 mm and a flange depth of 20.0 mm. The L-mount exists in two versions, an APS-C version (TL) and a full-frame version (SL). The two versions are mechanically and electronically compatible. TL lenses mounted on full-frame cameras will cause the camera to use a crop mode from the center of the sensor, corresponding to the APS-C coverage of the lens. SL lenses mounted on TL cameras function normally, providing a 1.5x crop field of view, as is typical with APS-C cameras.

In 2018 Leica formed the L-Mount Alliance, licensing Sigma and Panasonic to use an upgraded version of the mount for their own products, opening the way for a more extensive system of fully compatible cameras and lenses.

T-Mount to L-Mount

It was introduced in April 2014 with the Leica T (Typ 701) camera. At the time of introduction, it was called the “T-mount”, but this was changed to “L-mount” with the release of the Leica SL, a full-frame sensor camera using the same mount. The Leica T was renamed to the Leica TL at this time,[4] to permit marketing clarity for the L-mount lens line: TL lenses would cover APS-C sensors, while SL lenses would cover full-frame sensors.

The mount is used by the Leica TL (discontinued), TL2, Leica CL (2017) and Leica SL systems. The L-Mount is a registered trademark of Leica Camera AG.

L-Mount Alliance

On 25 September 2018, the L-Mount Alliance between Leica, Panasonic and Sigma was announced, enabling the partners “to make use of the L-Mount standard developed by Leica for their own developments and to offer both cameras and lenses utilising this lens mount” with full compatibility between the three companies’ products.

According to Sigma CEO, Kazuto Yamaki, the “L-mount system is not exactly the same as the existing one. We updated it a little bit to work better with such lenses through lens adapters.”

On the same day, Panasonic announced its S1R and S1 full-frame L-Mount cameras and three L-Mount lenses, with seven more lenses to be launched by 2020.

Sigma announced that it will launch a full-frame camera in 2019, using the L-Mount and the company’s Foveon sensor, as well as a range of L-mount lenses and adapters for Sigma SA and Canon EF lenses.

Six cameras and 39 native lenses are confirmed for the L-Mount by 2020.

Leica has an existing range of fifteen L-Mount lenses.

Panasonic committed to releasing a total of ten lenses for the L-mount by the end of 2020, beginning with the 50mm F/1.4 prime and the two zooms listed below; stating that they would provide details at Photokina 2019.

Sigma plans to release a wide range of lenses. 14 primes from Sigma’s ‘Global Vision’ range, primarily designed for reflex cameras with short flange depths and currently available for the mirrorless Sony E-mount, will also be released in L-Mount from 2019. These will be followed by a range designed specifically for mirrorless parameters.

Lens adapters

Leica R-Adapter L

Leica S-Adapter L

Leica M-Adapter L

Leica PL-Adapter L

Novoflex SL-EOS Adapter

Novoflex SL/NIK Adapter

Sigma MC-21 SA-L

Sigma MC-21 EF-L Sigma-manufactured ‘Global Vision’ EF-mount lenses are fully supported and compatible; although non-Sigma EF-mount lenses remain unguaranteed

Tokina Lenses

Tokina is a third-party lens maker that builds and sells lenses for most of the major mounts on the market today. Here is the history of Tokina lenses, starting in 1950.


Tokyo Kouki manufacturing enterprise is founded in this year. The company main specialty is in glass polishing and in the mass production of lenses for film projectors. However, due to the development of the Pacific military conflict, the new born company experiences financial difficulties and has to cease its activities.


After its restoration, the company resumes all its businesses in glass polishing and SLR lens assembly for other companies.


In the sixties, the company starts up the production of its own lenses under Tokina brand. The company thus establishes itself as a manufacturer of optical lenses for SLR cameras. The first representative lens models to enter the market are Tokina 300mm f/5.5, 200mm f/4.5 and 135mm f/2.8.


In this year, the company debuts at Photokina international exhibition. In the same year, the Olympic Games are held in Tokyo.


Tokina 90-200mm f/4.5, that is Tokina’s first zoom lens was marketed this year.


The company changes its name in Tokina Kougaku Co., Ltd.


Tokina Macro Zoom Lens series starts to be one of the main productions from Tokina brand.


In this year, Tokina macro lenses sales significantly increased.


With the increasing popularity and demand of Tokina optics for SLR cameras, Tokina can secure its position on the market and thus releases the new Tokina 80-200mm f/4 and 35-105mm f/3.5-4.5 lens models, with an explosive effect on the global photography market. In this year, Tokina 80-200mm f/4 lens is a million seller all over the world.


A high-quality new series of AT-X lenses for professional photographic equipment was born in this year. Representatives of this series are some models such as Tokina 80-200mm f/2.8, 35-70 f/2.8, 24-40mm f/2.8, 90mm f/2.5 Macro, 35-200mm f/3.5-4.5, 28-135mm f/3.5-4.5, 100-300mm f/4 and 300mm f/2.8. Thus, Tokina enters the market of fast zoom lenses with a high magnifying power and registers the highest profit in the history of the company.


With the release of Minolta α7000, Tokina lenses are provided with a built-in autofocus motor.


The photography market unleashes the competition between Minolta and Canon, which in this year announces the EOS 630 and 650 lens models with built-in AF motor. Tokina seeks to enter the market with its own under development autofocus system.


Tokina launches Tokina 28-70mm f/3.5-4.5 and 70-210mm f/3.5-4.5 (Canon EOS mount) lens models with built-in auto focus motor.


Tokina AF 28-70mm f/3.5-4.5, AF 70-210mm f/4-5.6 I&II, AF 20-35mm f/3.5-4.5, AT-X 17mm f/3.5, AT-X 100mm f/2.8 Macro, AF 75-300mm f/4.5-5.6 and AT-X 400mm f/5.6 lend models are available for sale.


In 1994 the company is absorbed by Kenko Company as a subsidiary company, and renames itself as Tokina Co., Ltd.

In the period of 1994-1996, Tokina also develops and launches a new series of AT-X PRO lenses (1994-2000): AT-X 270 AF PRO (28-70mm f/2.8), AT-X 828 AF PRO (80-200mm f/2.8), AT-X 840 AF (80-400mm f/4.5-5.6), AT-X 235 AF PRO (20-35mm f/2.8), AT-X 280 AF PRO (28-80mm f/2.8) and AT-X 242 AF (24-200mm f/3.5 -5.6). Moreover, a new series of lenses comes out with the EMZ 28-80mm f/3.5-5.6, 100-300mm f/5.6-6.7, 28-210mm f/3.5-5.6 and 100mm f/3.5 Macro lens models.


A Tokina subsidiary branch is founded in Changchun (China) for the production of CCTV lenses and quality control lines in factories.


With the advent of DSLR cameras, Nikon D100 and Canon D30 DSLR cameras are sold at an affordable price for amateur photographers, resulting in average incomes. Tokina thus begins researching on the development and production of lenses for digital cameras.


In November 2004, Tokina AT-X 124 PRO DX (12-24mm f/4) lens model is launched and becomes the first-ever model for APS-C size digital cameras with APS-C. It is sold at a more affordable price compared to the Nikon 12-24mm f/4 model, and its high quality features make this model instantly popular in the global market. In the photography market, this lens will hold a leading position until 2010.


The new Tokina AT-X M100 PRO DX (100mm f/2.8 Macro) lens model is launched in the April of this year.


The company moves to a new head office in the Saitama Prefecture.

Tokina AT-X 107 DX Fisheye (10-17 f/3.5-4.5) lens model is launched in September and Tokina  AT-X 535 PRO DX (50-135mm f/2.8) lens model in the October of the same year. Compared to 2005, the company’s sales increase by 1.5 times.


Tokina AT-X 165 PRO (16-50mm f/2.8) lens model is launched in March and Tokina AT-X M35 PRO DX (35mm f/2.8 Macro) lens model in the December of the same year.


Tokina acquires TSS manufacturing company for the manufacture of rotary position platforms for security systems. Tokina also acquires SUN ENGINEERING Company and founds a base in Fukaya (Saitama Prefecture) for the production of components for video surveillance systems.

In the February of the same year, Tokina announces another hit and “strong suit” in its line: the Tokina AT-X 116 PRO DX (11-16mm f/2.8) lens model. This wide-angle aperture lens for APS-C size cameras becomes popular in Japan and especially abroad, where video recording begins to be taken off by DSLR cameras. The lens fits nicely into a new market niche.

In November 2008, the upgraded AT-X 124 PRO DXII (12-24mm f/4) lens model comes with a built-in autofocus motor for Nikon mid-range and entry-level cameras.


In May, Tokina launches Tokina AT-X 16.5-135mm F3.5 wide angle to telephoto lens model.


In August, Tokina ATX 16-28 F2.8 PRO FX lens model, Tokina first lens for full-frame DSLR cameras, is launched.


Tokina AT-X 17-35 PRO FX, the second model for full-frame DSLR cameras, is launched.


In June, Tokina Company merged with Kenko Company, resulting in the company changing its name into Kenko Tokina Co., Ltd., and the total annual revenue from sales is increased up to 20 billion Japanese yen.

A month before this event, the company announced the start sales of the Reflex 300mm F6.3 MF Macro mirror lens for the “Micro 3/4” system. Tokina AT-X 116 PRO DX (11-16mm f/2.8) lens model is also apgraded to AT-X 116 PRO DXII (11-16mm f/2.8) lens.


In April, Tokina AT-X 12-28 F4 PRO DX new lens model for APS-C size cameras is released.


Tokina AT-X 70-200 F4 PRO FX VCM-S lens, the first model for full-frame DSLR cameras with optical stabilization system, is launched.


Tokina AT-X 11-20 F2.8 PRO DX new lens model for APS-C size cameras and Tokina AT-X 24-70mm F2.8 PRO FX lens model for full-frame DSLR cameras are launched.


Tokina AT-X 14-20 F2 PRO DX wide zoom lens for APS-C size cameras is released.


Tokina FíRIN 20mm F2 FE MF-first Tokina lens for full frame mirrorless cameras lens is released.


Tokina releases FíRIN 20mm F2 FE AF for mirrorless cameras and opera 50mm F1.4 FF for top class DSLR cameras.


Tokina announces opera 16-28mm F2.8 FF for top class DSLR cameras, FíRIN 100mm F2.8 FE MACRO for mirrorless cameras and improved atx-i 11-16mm F2.8 CF and atx-i 100mm F2.8 FF MACRO lenses.

Tokina lens designations

FX is a mount type build for 35mm equivalent bodies. Similar to Canon’s EF and Nikon FX mounts.

DX is a mount type build for APS-S sensor sized bodies. These lenses will not be compatible with full frame bodies. Similar to Canons EF-S and Nikon’s DX mounts.

AT-X Pro is a line of lenses created with extra attention to quality for professionals.

AT-X is a line of lenses created for typical consumers. Lenses with this indication are usually lighter and cheaper.

IF indicates a presence of Internal Focusing system.

FE indicates a presence of Floating Element system. This technology improves focusing by correcting astigmatism from minimum focus distance to infinity.

AS stands for Aspherical Optics. This technology corrects for aspherical aberration as well as light quality and distortion.

F&R indicates Advanced Aspherical Optics, which provides even illumination in the corners and correction of spherical aberration throughout the entire image.

SD indicates super low dispersion which eliminates chromatic aberration.

HLD stands for High-Refraction and Low Dispersion which helps to eliminate chromatic aberration in wide-angle lenses.

MC stands for Multi-Coating. This feature helps to eliminate lens elements’ surface reflections improving image quality.

FC stands for Focus Clutch. This mechanism allows for switching the lens between auto focus and manual focus modes.

Zeiss Lenses

Zeiss is like the 800 pound gorilla in the room when it comes to photography lenses and they have been around for a long time not only making lenses for other camera systems, but even making their own cameras as well.

ZEISS lenses are used wherever excellent image quality, reliability, and outstanding results are required. For example, the photos from the first moon landings in 1969 were taken with ZEISS lenses, as well as numerous Oscar-winning films like Barry Lyndon, the Lord of the Rings trilogy, and the James Bond movie Skyfall were also shot with ZEISS lenses.

In addition to founder Carl Zeiss, it was physicist and mathematician Ernst Abbe who played a particularly important role in the company’s history. He was responsible for some of the fundamental and groundbreaking insights into the understanding of optical systems that still form the basis for state-of-the-art, high-performance optics. Even today, the Abbe sine condition must be fulfilled by all high-performance lenses in order for them to produce sharp images of objects. In this tradition, ZEISS has continuously perfected its calculation methods for the manufacture of lenses and is now the global leader in optical design.

Carl Zeiss, who was originally from Weimar, Germany, founded a workshop for precision mechanics and optics in Jena in 1846. Initially, microscopes were almost exclusively manufactured there. Physicist Ernst Abbe became a partner and put the company’s lens production on a scientific footing. In 1890, he began to expand the product range and started developing photographic lenses and binoculars.

Types of glass with significantly improved optical properties, which chemist Otto Schott had first produced in the 1880s, opened up entirely new possibilities. With the invention of the first anastigmatic, distortion-free imaging lens (later named Protar) by scientist Paul Rudolph, ZEISS ushered in a new era in the development of camera lenses. The company began to develop models of lenses with unprecedented speed. 

Milestones in Lens Development at ZEISS

Even the first camera lenses made by ZEISS in the 1890s stood out thanks to their ability to correct spherical aberrations, outstanding color reproduction, and their minimal distortion. These anastigmatic and achromatic lenses, which also corrected field curvature and astigmatism in addition to offering comparatively good light transmission, owe their development to the achievements of the optical designers and the innovative glass developed by Otto Schott. He achieved this by combining high refractive power with low color dispersion (“heavy crown glass”).

In 1896, ZEISS introduced the Planar lens. Its minimal field curvature produces a flat image (“plan” in German), which gave the Planar lens its name. The Planar lens type remains the basis of professional optical tools for all photography on earth and in space today.

In 1902, ZEISS applied for a patent for an invention that would become the most famous and most copied camera lens of all time: the Tessar. It allowed the user to achieve a previously unattainable level of image sharpness with astonishingly little effort, while still being compact. With this model of lens, ZEISS paved the way for the miniaturization in camera design that continues to this day. Millions of lenses used in high-quality cameras and smartphones are modeled on the Tessar design. Today’s modern lenses also incorporate surfaces that are now mostly aspherical and therefore much more advanced, offering even greater image quality.

In the early 1930s, ZEISS developed Sonnar, the fastest light transmission lenses of their time, for the Contax 35 mm camera from Zeiss Ikon. This new standard of lenses significantly increased the 35 mm cameras’ range of uses.

Another groundbreaking process invented by ZEISS in 1935 allowed users to begin capturing images of unparalleled clarity: the antireflective coating, marked as T* on today’s lenses. A coating vapor-deposited onto the glass surface of the lens increases light transmission and reduces unwanted reflections and stray light in the camera. Thanks to this technology, optical systems today can be highly complex and extremely fast at the same time. 

1937, ZEISS developed the Arriflex 35 movie camera in partnership with manufacturer of camera systems ARRI – a milestone in the history of film. For the first time ever in a cinema camera, it was possible to see the image in full quality and directly through the lens in the viewfinder while filming. Since then, countless films have been produced using ZEISS lenses, including many successful Hollywood blockbusters.

In 1943, ZEISS was the first lens manufacturer to develop a method for measuring a lenses’ image quality using MTF (modulation transfer function) curves. Numerous manufacturers still use this for quality control today. ZEISS also played a pioneering role in optical design using computer technology. CAD-supported lens development replaced manual design in 1961, and has since made it possible to achieve a much more complex structure and better interaction between the elements within the lens housing.

In 1950, a handshake between Victor Hasselblad, the founder of the company of the same name, and ZEISS’ head of research at the time, Dr. Hans Sauer, marked the beginning of a decades-long partnership to manufacture and develop professional lenses that have been used by generations of professional photographers. Among other products, this partnership led to the development of the Distagon lens model, which is still used today as the basis for high-performance lenses with impressive color correction, speed, image field flatness, and distortion correction.

On July 20, 1969, a dream became reality: humans landed on the moon for the first time. ZEISS played a key role in this ambitious project – camera lenses specially developed for space enabled the astronauts to capture images of this monumental event and many other missions. Further information on ZEISS’ contribution to the lunar missions is available at www.zeiss.com/moon.

At the end of the 1960s, advances in the design of camera lenses made it possible for ZEISS to create another family of state-of-the-art optical products: lithography optics for semiconductor production. Learn more at www.zeiss.com/smt.

In 1987, Hollywood honored ZEISS’ extremely fast camera lenses for the first time with one of the coveted Academy Awards from the Academy of Motion Picture Arts and Sciences in the Science and Engineering category. Two more followed for the concept and optical design of the ZEISS/ARRIFLEX Variable Prime Lenses in 1999 and the ARRI/ZEISS Master Prime Lenses in 2012.

Over the past 25 years, partnerships with Sony and Nokia have led to the widespread use of ZEISS lenses. Sony has been installing them in its compact cameras and camcorders since 1996. This was followed by interchangeable Sony/ZEISS lenses produced for the Alpha series of cameras. ZEISS optics have also been available in Sony smartphones since 2020. Nokia smartphone users have been able to take pictures with built-in ZEISS lenses since 2005.

ZEISS has grown to develop its own photography lens families like ZEISS Loxia, Touit, and Batis for the Sony Alpha, and Fuji X series of cameras as well as the ZEISS Milvus and high-end ZEISS Otus lenses for DSLR cameras. ZEISS also continues to lead the film industry with superb line of ZEISS Supreme Prime and Supreme Prime Radiance lenses for feature film production.

In 2020, the company released the ZEISS ZX1, its statement on photography and the associated workflow in a connected, digital world. The 35 mm lens used in the ZEISS ZX1 is based on the Distagon lens design and is tailored to the specially developed ZEISS sensor. Read more about the history of cameras from ZEISS and its subsidiaries in the background article “Cameras from ZEISS? A Look at the History of Cameras”.

So, what is it that gives ZEISS its legendary status? The experience of multiple generations of design, maximum manufacturing precision, and an uncompromising passion for optical systems? Absolutely. But even more important are the stories that photographers and filmmakers have been telling with the help of its lenses for 130 years. With personality, creativity, and a flair for spotting the right moment, they help others discover the world anew.

For more information, please visit: www.zeiss.com/consumer-products.

Viltrox lenses

Viltrox is a company that has been around since 2009 and they started out making photography accessories such as lighting equipment, camera cages, video monitors and the like. More recently, Viltrox has branched out into making lenses as well and currently offer lenses for Fujifilm X mount, Sony E mount, Canon EOS-M Nikon Z and Leica L.

Recently they released a total of five lenses for the X mount including a 13mm, 23mm, 33mm, 56mm and an 85mm with all of them sporting a wide aperture of F/1.4 except for the 85mm which is an F/1.8. In addition to these regular lenses, they also offer a collection of the 23/33/and 56mm in a Red edition in limited quantities.

I personally own the Viltrox 33mm which is 50mm in full frame and I am very happy with the lens, the only thing they lack is weather sealing but for pricing of $279-$329 USD, I certainly cannot complain and their quality is very nice with very fast and accurate AutoFocus. It will be interesting to see if going forward they will start offering lenses for the Canon RF mount at some point as well.

In addition to their other products Viltrox also started making lens adapters such as EF to RF which I had the honor of reviewing for them on my Youtube channel, you can find the review here. I was quite impressed with the performance and it seemed to work every bit as well as the genuine Canon adapters do, which is very impressive!


7Artisans is a group of Chinese camera enthusiasts who came together for a dinner in Summer of 2015. They discussed their passions over the dinner table. Some were interested in optical design while others were more skilled at running factory production lines, and one was an avid Leica lens collector. Everyone who participated came to same conclusion:“If we involve our skills and work together, we can create new high quality original camera lenses.” That is how the 7Artisans Project began.

During the early stages, many different people joined the project, gradually forming the initial team. The road to fulfilling their goals was a long and laborious one. That story began with testing prototypes and identifying problems, improving on designs, as well as streamlining assembly and identifying further issues. We harnessed these problem solving opportunities to strengthen our existing ideas, and come up with entirely new ones. The cycle of trial and error never ceased.

Years passed since our initial prototype. By September 2016 we reached a total of 100 mass production unit samples of the 50mm f/1.1 lens. We originally started with many members, but part of them left the project due to the long product development cycle. By the time production completed, only 7 members remained.

And now each production packaging of the 50mm f/1.1 lens says, “7Artisans (Chinese: Seven Craftsmen)”. This is in honour of the members who believed in the project from the beginning and embodied the spirit of “Craftsmen”. For this confidence and determination, we are named 7Artisans.

7artisans currently offer lenses for Cinema, APS-C and Full Frame cameras as well as drones and filters as well as adapters for your photography needs. Although they are a bit of a newcomer to the lens making game, they have been making rather large splashes In the industry and many photographers LOVE their lenses.


Is another of the newer kids on the block and they currently offer lenses for Full Frame, APS-C as well as adapter rings and even have their own line of light meters for photography as well. Their lenses sport a sleek and beautiful design and are well made of all metal construction and come in both standard black as well as some models being available in a grey/silver finish. Besides their current line up of all Manual lenses, they are starting to release AF models as well.


Samyang Optics is a South Korean manufacturer of camera lenses for several major brands of third-party mounts for still photography and video cameras. The company was founded in 1972 and has about 150 employees. Samyang exports to 58 countries through 39 overseas agents and distributors.

Samyang products are also sold under a wide variety of different brand names. Some examples are Rokinon, Bower, Opteka, Vivitar, Phoenix and Quantaray.


Under their various names, Samyang/Rokinon makes lenses for ASP-C, Full Frame as well as Cinema cameras and they offer both AF models as well as Manual Focus and Premium Manual Focus lenses. While shooting Canon and now Fujifilm I have used a variety of their lenses and have been extremely impressed with their precision manufacturing and the quality of their optics. I currently use the Rokinon 12mm F/2.8 for my main real estate lens on my X-E4 and I have no complaints with their quality at all. I have even had them reach out to me to do lens reviews for their products for the Canon mounts and even had them share out of reviews on their social media channels.


Last, but certainly not least is another newcomer to the lens game and that is Lensbaby. Lensbaby is a line of camera lenses for DSLR and mirrorless cameras that combine a simple lens with a bellows or ball and socket mechanism for use in special-effect photography. A lensbaby can give effects normally associated with view cameras. The lenses are for use in selective focus photography and bokeh effects.


Lensbaby lenses can be used with most cameras that accept interchangeable lenses, mainly DSLR, SLR, mirrorless, 35mm film and PL mount motion cameras.[4][5]

The focus front standard can be manipulated off axis to move the sharpest area of Focus (called the “sweet spot”) to almost anywhere in the frame. This allows the important part of the subject to be rendered fairly sharp with everything else out of focus, even if it is the same distance from the camera. The Lensbaby naturally focuses at approximately 2 feet; closer focus is achieved by pushing the front of the lens out, and infinity focus is achieved by pulling the front of the lens toward the base of the lens. There is extreme spherical and some chromatic aberration outside the central “sweet spot”.[6] Lensbaby lenses have no electronic components, disabling auto-focus when mounted on modern cameras. The use of auto-focus is further undermined by the spherical aberration in the lens. In most cases Lensbaby lenses require aperture priority or fully manual mode. The Lensbaby can also be used for infrared photography, but does not include an index mark for infrared photography.


Craig Strong, a professional photographer from Portland Oregon, invented the first Lensbaby lens by combining a vacuum cleaner hose body and a large format speed graphic lens. Strong redesigned the original prototype. He then partnered with entrepreneur Sam Pardue to form Lensbabies, LLC. The Original Lensbaby was launched in 2004 at the WPPI tradeshow. Images taken with the Original Lensbaby featured a ‘sweet spot’ of sharp focus surrounded by directional blur. This effect was achieved through the use of a single element lens. The Original Lensbaby used interchangeable drop-in apertures held in by a rubber o-ring.

In 2005 Lensbaby released the Lensbaby 2.0 an upgrade to the Original Lensbaby which featured a sharper, brighter optic, creating greater contrast between areas of blur and sharpness. The Lensbaby 2.0 used interchangeable aperture disks that levitated in front of the optic using magnets.

In 2006 Lensbaby introduced the Lensbaby 3G which used a threaded rod system in combination with a locking mechanism to allow the flexible lens body to be locked into place for repeatable results.

In 2007, the Lensbaby 3GPL was launched, allowing cinematographers to use Lensbaby lenses on motion picture cameras.

Optic swap introduction and multiple lens bodies

In 2008, Lensbaby released three lenses, the Composer, Muse and Control Freak that worked in combination with interchangeable optics. The Muse featured flexible bellows and was similar in design to the Lensbaby 2.0. The Control Freak was an update on the Lensbaby 3G. The Composer introduced a new ball and socket design, which allowed the user to swivel the lens to move the sweet spot. Concurrently, four interchangeable optics were released to be used in conjunction with the Composer, Muse and Control Freak.

In 2010, Scout, the first straight-bodied Lensbaby lens, was released. It featured a 12mm Fisheye optic.

In 2011, Composer Pro, an upgraded version of the Composer was released. Composer Pro was sold with the Sweet 35 optic, a “sweet spot” selective focus optic. Sweet 35 was the first Lensbaby optic to feature internal apertures. It was followed in 2012 by another optic with internal apertures, the Edge 80 optic. The Edge 80 optic produced a slice of sharp focus surrounded by smooth blur, similar to the effect created by a tilt-shift lens.

In 2015, the company introduced the Velvet 56. https://www.dpreview.com/products/lensbaby/lenses/lensbaby_velvet56/overview This lens featured a singlet-doublet-singlet optical design the company claimed evoked the optical imperfections of lenses manufactured in the mid-1900s.

In a departure from its previous mount-plus-optic model, in 2014 Lensbaby introduced the Circular Fisheye lens, which was a complete, stand-alone lens in a single unit. In 2015 Lensbaby introduced another complete lens, the Velvet 56, a 56mm lens capable of 1:1 macro and, by incorporation intentional spherical aberration, more at larger apertures and less as the lens is closed down, the lens also provides a soft focus effect.


Lens bodies

Lensbaby lenses mount directly onto SLR or mirrorless camera bodies. They have interchangeable drop in optics. Currently the lineup of lenses come with an optic installed.

Composer Pro
The Composer Pro lensbody operates on a ball and socket and allows photographers to use selective focus on a tilted plane.[7][8] This lens body comes with either a 50mm multi-coated optical glass doublet with drop in aperture,[9] 35mm 4 multi-coated glass optic with 12-blade adjustable aperture[10] or with Edge 80 Optic with 80mm focal length.

Lensbaby Spark

The Spark is the newest iteration of the Original Lensbaby. It contains a fixed 5.6 aperture optic and uses selective focus to create a center of focus surrounded by gradually increasing blur. It comes in either a Canon EF or Nikon F mount.[11]

The Muse has a design similar to the Original Lensbaby and the 2.0. Its simple design consists of an interchangeable optic attached to a flexible tube bellows. The user both focuses and moves the area in focus by squeezing and bending the lens. It does not hold position and requires the photographer to maintain the focus manually.[12] The Muse is available with a multi-coated glass optical doublet installed, and comes with f/2.8, f/4, f/5.6, and f/8 aperture disks. It is compatible with 35mm cameras and PL mount.

The Scout does not have selective focus control and is intended for use as a traditional fisheye lens with a very close minimum focus distance


Lensbaby produces 8 different interchangeable drop in optics. Each optic has a varied effect, ranging from a sharp slice of focus, soft focus to pinhole photography.

Edge 80
The Edge 80 is an 80mm drop-in optic with adjustable aperture. Its aperture ranges from f/2.8-f/22 and it has a flat field of focus. The minimum focusing distance of this optic is approximately 17 inches when the optic is extended forward and fully tilted. Its maximum focusing distance is infinity. The Lensbaby Macro Converters screw on in between the optic and lens, it is incompatible with current 37mm Lensbaby accessories.

Sweet 35
The Sweet 35 is a 35mm drop in optic with adjustable aperture. Its aperture ranges from f/2.5−f/22 with a selective spot of focus. It focuses approximately 7.5″ to infinity from the front of the optic. The Lensbaby Macro Converters screw on in between the optic and lens, it is incompatible with current 37mm Lensbaby accessories.[16]

Soft Focus
The Soft Focus is a 50mm drop in optic with swappable aperture disks that range from f/2 up to f/22.

The Fisheye is a 12mm drop in optic with swappable aperture disks that range from f/5.6 to f/22. This optic has a 160 degree of view and focuses from .5″ from the front of the optic to infinity.

Double Glass
The Double Glass is a 50mm drop-in optic with magnetic swappable aperture disks. The lens glass is a low dispersion, high refractive index, multi-coated optical glass doublet.

Optic Kit
The Optic Kit contains three separate drop-in optics with four separate effects.

Single Glass


Pinhole/Zone Plate

Ok, so, whew, we got through all of these lenses, their mounts and designations over the last two weeks and I am sure there are other makers out there, but these are the really BIG makers that are currently in the photography world. I highly recommend checking out all the makers and the products they offer. Many of these companies offer lenses that are of fairly high quality and inexpensive as well so you can always find a lens for your camera system that won’t break the bank, especially if you are a hobbyist, amateur or student and have a limited budget to get the lenses that you need most. Remember, if you opt to go pro at some point you can always upgrade to a higher quality model down the road!

Also be sure to join the Liam Photography Podcast Facebook Group https://www.facebook.com/groups/liamphotographypodcast/ You can reach the show by call or text @ 470-294-8191 to leave a comment or request a topic or guest for the show. Additionally you can email the show @ liam@liamphotographypodcast.com and find the show notes at http://www.liamphotographypodcast.com.

You can find my work @ https://www.liamphotography.net on and follow me on Instagram, Facebook and Twitter @liamphotoatl. If you like abandoned buildings and history, you can find my project @ http://www.forgottenpiecesofgeorgia.com. and http://www.forgottenpiecesofpennsylvania.com.

Please also stop by my Youtube channels Liam Photography

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