Table of Contents
Introduction
In Nepal, the demand for the lens is growing. Fueled by a growing interest in photography, videography, and content creation.
There are different kinds of lenses that you can check out. The brands you can find are from both original and third-party manufacturers. They are Sony, Canon, Nikon, Sigma, Tamron, etc.
These provide mounts such as Canon EF/RF, Nikon F/Z, Sony E, Fujifilm X, and many more.
Whether you’re a portrait photographer seeking that perfect bokeh or an event photographer documenting life’s precious moments.
The right lens can completely transform your photography game.
Whether to shoot casually or professionally. These lenses got you covered. Here, we will discuss updated camera lens prices in Nepal, types, and who they are intended for in 2025.
Camera Lens Price in Nepal Table
Canon Lenses Price in Nepal
| Brand | Model | Type | Max Aperture | Mount(s) | Typical Price (NPR) |
| Canon | EF 50mm f/1.8 STM | Prime | f/1.8 | EF | 18,000–33,000 |
| Canon | RF 50mm f/1.8 STM | Prime | f/1.8 | RF | 30,000–65,000 |
| Canon | EF 85mm f/1.8 USM | Prime (portrait) | f/1.8 | EF | 40,000–85,000 |
| Canon | RF 85mm f/1.2L USM | Prime (pro) | f/1.2 | RF | 300,000–650,000 |
| Canon | EF 24-70mm f/2.8L II/III | Zoom (pro) | f/2.8 | EF | 160,000–360,000 |
| Canon | RF 24-70mm f/2.8L | Zoom (pro) | f/2.8 | RF | 220,000–450,000 |
| Canon | EF 70-200mm f/2.8L IS II/III | Zoom (tele) | f/2.8 | EF | 220,000–420,000 |
| Canon | RF 70-200mm f/2.8L IS | Zoom (tele) | f/2.8 | RF | 260,000–480,000 |
| Canon | EF 16-35mm f/2.8L III | Wide zoom | f/2.8 | EF | 140,000–300,000 |
| Canon | RF 15-35mm f/2.8L | Wide zoom | f/2.8 | RF | 200,000–380,000 |
| Canon | EF 24-105mm f/4L IS II | Zoom | f/4 | EF | 80,000–180,000 |
| Canon | RF 24-105mm f/4-7.1 IS | Zoom | f/4–7.1 | RF | 80,000–160,000 |
| Canon | EF 100mm f/2.8L Macro IS | Macro | f/2.8 | EF | 120,000–260,000 |
| Canon | RF 85mm f/1.2L (DS) | Prime (portrait) | f/1.2 | RF | 320,000–700,000 |
| Canon | EF 35mm f/1.4L II | Prime (wide) | f/1.4 | EF | 120,000–260,000 |
| Canon | RF 28-70mm f/2L USM | Zoom (pro) | f/2 | RF | 300,000–650,000 |
| Canon | EF 50mm f/1.4 USM | Prime | f/1.4 | EF | 40,000–110,000 |
| Canon | TS-E 24mm f/3.5L II (tilt-shift) | Specialty | f/3.5 | EF | 220,000–420,000 |
| Canon | EF-S 17-55mm f/2.8 IS USM | APS-C zoom | f/2.8 | EF-S | 60,000–140,000 |
| Canon | RF 85mm f/2 Macro IS STM | Prime/Macro | f/2 | RF | 90,000–180,000 |
| Nikon | AF-S NIKKOR 50mm f/1.8G | Prime | f/1.8 | F | 18,000–34,000 |
| Nikon | AF-S NIKKOR 85mm f/1.8G | Prime | f/1.8 | F | 35,000–80,000 |
| Nikon | NIKKOR Z 50mm f/1.8 S | Prime | f/1.8 | Z | 80,000–160,000 |
| Nikon | NIKKOR Z 85mm f/1.8 S | Prime | f/1.8 | Z | 90,000–180,000 |
| Nikon | AF-S 24-70mm f/2.8G ED | Zoom (pro) | f/2.8 | F | 120,000–280,000 |
| Nikon | NIKKOR Z 24-70mm f/2.8 S | Zoom (pro) | f/2.8 | Z | 200,000–350,000 |
| Nikon | AF-S 70-200mm f/2.8E FL ED VR | Zoom (tele) | f/2.8 | F | 180,000–420,000 |
| Nikon | NIKKOR Z 70-200mm f/2.8 VR S | Zoom (tele) | f/2.8 | Z | 240,000–450,000 |
| Nikon | AF-S 14-24mm f/2.8G ED | Wide zoom | f/2.8 | F | 140,000–300,000 |
| Nikon | NIKKOR Z 14-24mm f/2.8 S | Wide zoom | f/2.8 | Z | 180,000–360,000 |
| Nikon | AF-S 35mm f/1.8G | Prime | f/1.8 | F | 30,000–75,000 |
| Nikon | AF-S 105mm f/2.8G IF-ED VR Micro | Macro | f/2.8 | F | 80,000–170,000 |
| Nikon | AF-P 70-300mm f/4.5-5.6E ED VR | Tele zoom | f/4.5–5.6 | F | 70,000–150,000 |
| Nikon | NIKKOR Z 24-200mm f/4-6.3 VR | All-in-one zoom | f/4–6.3 | Z | 90,000–200,000 |
| Nikon | AF-S 24mm f/1.4G ED | Prime (wide) | f/1.4 | F | 90,000–200,000 |
| Nikon | AF-S 50mm f/1.4G | Prime | f/1.4 | F | 45,000–120,000 |
| Nikon | PC-E Micro NIKKOR 45mm f/2.8D ED | Tilt-shift macro | f/2.8 | F | 150,000–320,000 |
| Nikon | AF-S 20mm f/1.8G ED | Prime (wide) | f/1.8 | F | 60,000–130,000 |
| Nikon | NIKKOR Z 35mm f/1.8 S | Prime | f/1.8 | Z | 70,000–140,000 |
| Nikon | AF-S 17-35mm f/2.8D IF-ED | Wide zoom | f/2.8 | F | 70,000–160,000 |
| Sony | FE 24-70mm f/2.8 GM | Zoom (pro) | f/2.8 | Sony E | 200,000–420,000 |
| Sony | FE 70-200mm f/2.8 GM OSS | Zoom (tele) | f/2.8 | Sony E | 220,000–450,000 |
| Sony | FE 85mm f/1.8 | Prime | f/1.8 | Sony E | 55,000–95,000 |
| Sony | FE 50mm f/1.8 | Prime | f/1.8 | Sony E | 27,000–48,000 |
| Sony | FE 35mm f/1.4 GM | Prime | f/1.4 | Sony E | 150,000–300,000 |
| Sony | Batis 25mm f/2 (Zeiss) | Prime (wide) | f/2 | Sony E | 120,000–260,000 |
| Sony | FE 24-105mm f/4 G OSS | Zoom | f/4 | Sony E | 110,000–240,000 |
| Sony | FE 16-35mm f/2.8 GM | Wide zoom | f/2.8 | Sony E | 160,000–360,000 |
| Sony | FE 55mm f/1.8 ZA | Prime | f/1.8 | Sony E | 60,000–130,000 |
| Sony | FE 20mm f/1.8 G | Prime (wide) | f/1.8 | Sony E | 70,000–150,000 |
| Sony | FE 135mm f/1.8 GM | Prime (tele) | f/1.8 | Sony E | 220,000–480,000 |
| Sony | FE 85mm f/1.4 GM | Prime (portrait) | f/1.4 | Sony E | 180,000–420,000 |
| Sony | FE 14mm f/1.8 GM | Prime (ultra-wide) | f/1.8 | Sony E | 200,000–420,000 |
| Sony | FE 35mm f/1.8 | Prime | f/1.8 | Sony E | 45,000–100,000 |
| Sony | FE 24mm f/1.4 GM | Prime (wide) | f/1.4 | Sony E | 150,000–320,000 |
| Sony | FE 70-300mm G OSS | Tele zoom | f/4.5–5.6 | Sony E | 90,000–200,000 |
| Sony | FE 100-400mm GM OSS | Tele zoom | f/4.5-5.6 | Sony E | 300,000–700,000 |
| Sony | FE 50mm f/1.4 ZA | Prime | f/1.4 | Sony E | 120,000–260,000 |
| Sony | FE 24-240mm OSS | All-in-one | f/3.5-6.3 | Sony E | 120,000–300,000 |
| Sony | FE 28-70mm f/3.5-5.6 OSS | Standard zoom | f/3.5-5.6 | Sony E | 40,000–110,000 |
| Fujifilm | XF 35mm f/1.4 R | Prime | f/1.4 | Fujifilm X | 55,000–130,000 |
| Fujifilm | XF 23mm f/1.4 R | Prime | f/1.4 | Fujifilm X | 60,000–140,000 |
| Fujifilm | XF 56mm f/1.2 R | Prime (portrait) | f/1.2 | Fujifilm X | 150,000–320,000 |
| Fujifilm | XF 18-55mm f/2.8-4 | Zoom (standard) | f/2.8–4 | Fujifilm X | 40,000–110,000 |
| Fujifilm | XF 16-55mm f/2.8 R LM WR | Zoom (pro) | f/2.8 | Fujifilm X | 120,000–300,000 |
| Fujifilm | XF 50-140mm f/2.8 R LM OIS WR | Tele zoom (pro) | f/2.8 | Fujifilm X | 160,000–360,000 |
| Fujifilm | XF 10-24mm f/4 R OIS | Wide zoom | f/4 | Fujifilm X | 90,000–200,000 |
| Fujifilm | XF 90mm f/2 R LM WR | Prime (portrait) | f/2 | Fujifilm X | 85,000–200,000 |
| Fujifilm | XF 18-135mm f/3.5-5.6 R LM OIS WR | All-in-one | f/3.5–5.6 | Fujifilm X | 80,000–190,000 |
| Fujifilm | XF 23mm f/2 R WR | Prime | f/2 | Fujifilm X | 35,000–80,000 |
| Fujifilm | XF 35mm f/2 R WR | Prime | f/2 | Fujifilm X | 30,000–75,000 |
| Fujifilm | XF 27mm f/2.8 | Pancake prime | f/2.8 | Fujifilm X | 15,000–40,000 |
| Fujifilm | XF 56mm f/1.2 APD | Special portrait | f/1.2 | Fujifilm X | 150,000–320,000 |
| Fujifilm | XF 16mm f/1.4 R WR | Prime (wide) | f/1.4 | Fujifilm X | 80,000–180,000 |
| Fujifilm | XF 50mm f/2 R WR | Prime (portrait) | f/2 | Fujifilm X | 35,000–80,000 |
| Fujifilm | XF 18mm f/2 R | Prime (wide) | f/2 | Fujifilm X | 30,000–70,000 |
| Fujifilm | XF 60mm f/2.4 R Macro | Macro | f/2.4 | Fujifilm X | 45,000–100,000 |
| Fujifilm | XF 200mm f/2 OIS WR (super-tele) | Prime (tele) | f/2 | Fujifilm X | 600,000–1,200,000 |
| Fujifilm | XC 15-45mm OIS PZ (kit) | Zoom (kit) | f/3.5-5.6 | Fujifilm X (XC) | 15,000–45,000 |
| Fujifilm | XF 8-16mm f/2.8 | Ultra-wide zoom | f/2.8 | Fujifilm X | 200,000–450,000 |
| Panasonic/Leica | Lumix G 12-32mm II (kit) | Zoom (kit) | f/3.5-5.6 | MFT | 12,000–40,000 |
| Panasonic/Leica | Lumix G 12-60mm f/3.5-5.6 | Zoom | f/3.5-5.6 | MFT | 35,000–90,000 |
| Panasonic/Leica | Lumix 12-35mm f/2.8 II | Zoom (pro) | f/2.8 | MFT | 80,000–160,000 |
| Panasonic/Leica | Lumix 35-100mm f/2.8 II | Tele zoom (pro) | f/2.8 | MFT | 120,000–260,000 |
| Panasonic/Leica | Leica DG Nocticron 42.5mm f/1.2 | Prime (portrait) | f/1.2 | MFT | 150,000–320,000 |
| Panasonic/Leica | Leica DG Vario-Elmarit 12-60mm | Zoom | f/2.8-4 | MFT | 70,000–180,000 |
| Panasonic/Leica | Leica SL 50mm Summilux-SL | Prime (pro) | f/1.4 | L | 400,000–1,200,000 |
| Panasonic/Leica | Leica M 50mm Summilux-M | Prime (rangefinder) | f/1.4 | M | 600,000–2,000,000 |
| Panasonic/Leica | Panasonic 25mm f/1.7 | Prime | f/1.7 | MFT | 15,000–45,000 |
| Panasonic/Leica | Panasonic 20mm f/1.7 II | Prime (pancake) | f/1.7 | MFT | 25,000–60,000 |
| Panasonic/Leica | Lumix S Pro 50mm f/1.4 | Prime (full-frame L) | f/1.4 | L | 200,000–500,000 |
| Panasonic/Leica | Lumix S 24-105mm f/4 Macro OIS | Zoom | f/4 | L | 120,000–300,000 |
| Panasonic/Leica | Leica DG Macro-Elmarit 45mm f/2.8 | Macro | f/2.8 | MFT | 30,000–80,000 |
| Panasonic/Leica | Panasonic 42.5mm f/1.7 | Prime | f/1.7 | MFT | 25,000–60,000 |
| Panasonic/Leica | Leica 28mm Elmarit-M | Prime | f/2.8 | M | 250,000–700,000 |
| Panasonic/Leica | Lumix S 70-200mm f/4 OIS | Tele zoom | f/4 | L | 180,000–400,000 |
| Panasonic/Leica | Leica SL 24-90mm f/2.8-4 | Zoom | f/2.8-4 | L | 300,000–900,000 |
| Panasonic/Leica | Panasonic 8-18mm f/2.8-4 | Wide zoom (MFT) | f/2.8-4 | MFT | 60,000–150,000 |
| Panasonic/Leica | Leica Noctilux-M 50mm f/0.95 | Prime (special) | f/0.95 | M | 1,800,000+ |
| Panasonic/Leica | Lumix 45mm f/2.8 Macro | Macro | f/2.8 | MFT | 20,000–55,000 |
| Sigma | Sigma 14-24mm f/2.8 DG HSM Art | Wide zoom | f/2.8 | Canon EF / Nikon F / Sony E (via L) | 120,000–300,000 |
| Sigma | Sigma 24-70mm f/2.8 DG OS HSM Art | Zoom | f/2.8 | Canon EF / Sony E / L | 120,000–280,000 |
| Sigma | Sigma 35mm f/1.4 DG HSM Art | Prime | f/1.4 | Canon EF / Sony E / L | 98,000–210,000 |
| Sigma | Sigma 50mm f/1.4 DG HSM Art | Prime | f/1.4 | Canon EF / Sony E / L | 80,000–200,000 |
| Sigma | Sigma 85mm f/1.4 DG HSM Art | Prime | f/1.4 | Multiple mounts | 90,000–220,000 |
| Sigma | Sigma 70-200mm f/2.8 DG OS HSM Sport | Tele zoom | f/2.8 | Canon EF / Nikon F / Sony E | 180,000–420,000 |
| Sigma | Sigma 24-105mm f/4 DG OS HSM Art | Standard zoom | f/4 | Multiple | 80,000–180,000 |
| Sigma | Sigma 105mm f/2.8 EX DG OS HSM Macro | Macro | f/2.8 | Multiple | 70,000–160,000 |
| Sigma | Sigma 100-400mm f/5-6.3 DG OS HSM Contemporary | Tele zoom | f/5-6.3 | Multiple | 90,000–220,000 |
| Sigma | Sigma 20mm f/1.4 DG HSM Art | Prime (wide) | f/1.4 | Multiple | 100,000–260,000 |
| Sigma | Sigma 14mm f/1.8 DG HSM Art | Ultra-wide prime | f/1.8 | Multiple | 150,000–350,000 |
| Sigma | Sigma 135mm f/1.8 DG HSM Art | Prime (tele) | f/1.8 | Multiple | 160,000–360,000 |
| Sigma | Sigma 24mm f/1.4 DG HSM Art | Prime | f/1.4 | Multiple | 100,000–260,000 |
| Sigma | Sigma 30mm f/1.4 DC HSM Art (APS-C) | Prime | f/1.4 | APS-C mounts | 30,000–80,000 |
| Sigma | Sigma 17-50mm f/2.8 EX DC OS HSM (APS-C) | Zoom | f/2.8 | APS-C | 40,000–110,000 |
| Sigma | Sigma 40mm f/1.4 DG HSM Art | Prime | f/1.4 | Full-frame | 90,000–220,000 |
| Sigma | Sigma 70mm f/2.8 DG Macro Art | Macro | f/2.8 | Multiple | 90,000–220,000 |
| Sigma | Sigma 150-600mm f/5-6.3 DG OS HSM Contemporary | Super-telezoom | f/5-6.3 | Multiple | 160,000–420,000 |
| Sigma | Sigma 85mm f/1.4 DG DN (mirrorless) | Prime | f/1.4 | Sony E / L | 90,000–220,000 |
| Sigma | Sigma 24-35mm f/2 DG HSM Art | Zoom (fast) | f/2 | Multiple | 140,000–320,000 |
| Tamron | Tamron 17-28mm f/2.8 Di III RXD | Wide zoom (mirrorless) | f/2.8 | Sony E / other mounts | 60,000–140,000 |
| Tamron | Tamron 28-75mm f/2.8 Di III G2 | Standard zoom | f/2.8 | Sony E / Canon RF / Nikon Z | 65,000–140,000 |
| Tamron | Tamron 24-70mm f/2.8 Di VC USD G2 | Standard zoom | f/2.8 | Canon EF / Nikon F | 120,000–280,000 |
| Tamron | Tamron 70-180mm f/2.8 Di III VXD | Tele zoom (mirrorless) | f/2.8 | Sony E / others | 110,000–230,000 |
| Tamron | Tamron 35-150mm f/2-2.8 Di III VXD | Standard zoom | f/2–2.8 | Sony E | 140,000–320,000 |
| Tamron | Tamron 18-200mm Di II VC | All-in-one | f/3.5-6.3 | APS-C | 45,000–120,000 |
| Tamron | Tamron SP 90mm f/2.8 Di MACRO 1:1 VC USD | Macro | f/2.8 | Multiple | 60,000–150,000 |
| Tamron | Tamron 10-24mm f/3.5-4.5 Di II VC HLD | APS-C wide | f/3.5-4.5 | APS-C | 40,000–100,000 |
| Tamron | Tamron 24-200mm Di III VC | All-in-one (mirrorless) | f/4-6.3 | Sony E | 90,000–220,000 |
| Tamron | Tamron 70-300mm f/4-5.6 Di LD Macro | Tele zoom | f/4-5.6 | Multiple | 45,000–110,000 |
| Tamron | Tamron 20mm f/2.8 Di III OSD M1:2 | Prime | f/2.8 | Sony E | 35,000–80,000 |
| Tamron | Tamron 35mm f/2.8 Di III OSD M1:2 Macro | Prime/Macro | f/2.8 | Sony E | 40,000–90,000 |
| Tamron | Tamron 45mm f/1.8 Di VC USD | Prime | f/1.8 | Canon EF / Nikon F | 60,000–150,000 |
| Tamron | Tamron 10-24mm Di II | APS-C wide | f/3.5-4.5 | APS-C | 35,000–90,000 |
| Tamron | Tamron 24-70mm f/2.8 Di III RXD (for mirrorless) | Standard zoom | f/2.8 | Sony E | 120,000–280,000 |
| Tamron | Tamron 35-150mm (earlier version) | Zoom | f/2-2.8 | Canon / Sony E | 120,000–300,000 |
| Tamron | Tamron 17-50mm f/2.8 (APS-C) | Zoom | f/2.8 | APS-C | 35,000–90,000 |
| Tamron | Tamron 100-400mm Di VC USD | Tele zoom | f/4.5-6.3 | Multiple | 160,000–420,000 |
| Tamron | Tamron 24-300mm Di VC PZD | All-in-one | f/3.5-6.3 | Multiple | 80,000–220,000 |
| Tamron | Tamron 35-80mm (older) | Zoom | f/4-5.6 | Multiple (used) | 8,000–30,000 |
| Samyang/Rokinon | Samyang/Rokinon 14mm f/2.8 | Prime (ultra-wide) | f/2.8 | Multiple mounts | 20,000–70,000 |
| Samyang/Rokinon | Samyang AF 35mm f/1.4 FE | Prime (AF) | f/1.4 | Sony E | 88,000–125,000 |
| Samyang/Rokinon | Samyang AF 50mm f/1.4 FE | Prime (AF) | f/1.4 | Sony E | 70,000–140,000 |
| Samyang/Rokinon | Samyang 85mm f/1.4 | Prime | f/1.4 | Multiple | 70,000–140,000 |
| Samyang/Rokinon | Rokinon 24mm T1.5 Cine | Cine prime | T1.5 | Multiple | 120,000–320,000 |
| Samyang/Rokinon | Samyang 35mm f/1.4 AS UMC | Prime (manual) | f/1.4 | Multiple | 25,000–75,000 |
| Samyang/Rokinon | Samyang 12mm f/2.0 NCS CS | Wide prime | f/2 | APS-C | 20,000–60,000 |
| Samyang/Rokinon | Samyang AF 85mm f/1.4 FE | Prime (AF) | f/1.4 | Sony E | 90,000–180,000 |
| Samyang/Rokinon | Samyang 100mm f/2.8 ED UMC Macro | Macro | f/2.8 | Multiple | 40,000–110,000 |
| Samyang/Rokinon | Samyang 24mm f/1.4 | Prime | f/1.4 | Multiple | 35,000–90,000 |
| Samyang/Rokinon | Samyang 8mm Fisheye | Fisheye | f/3.5 | Multiple | 20,000–70,000 |
| Samyang/Rokinon | Samyang/Rokinon 35mm T1.5 Cine | Cine prime | T1.5 | Multiple | 100,000–260,000 |
| Samyang/Rokinon | Samyang 16mm f/2 | Prime (wide) | f/2 | APS-C | 18,000–55,000 |
| Samyang/Rokinon | Samyang 50mm T1.5 Cine | Cine prime | T1.5 | Multiple | 90,000–240,000 |
| Samyang/Rokinon | Rokinon 85mm T1.5 Cine | Cine prime | T1.5 | Multiple | 120,000–300,000 |
| Samyang/Rokinon | Samyang 45mm f/1.8 (APS-C) | Prime | f/1.8 | APS-C | 15,000–45,000 |
| Samyang/Rokinon | Samyang XP 85mm f/1.2 | Prime (high-end) | f/1.2 | Multiple | 140,000–360,000 |
| Samyang/Rokinon | Samyang 35mm XP | Prime (high-end) | f/1.2 | Multiple | 120,000–300,000 |
| Samyang/Rokinon | Samyang AF 24mm f/2.8 FE | Wide AF prime | f/2.8 | Sony E | 40,000–90,000 |
| Samyang/Rokinon | Samyang 14mm T3.1 Cine | Cine wide | T3.1 | Multiple | 90,000–220,000 |
| Zeiss | Zeiss Otus 55mm f/1.4 | Prime (pro) | f/1.4 | Canon EF / Nikon F | 220,000–700,000 |
| Zeiss | Zeiss Batis 85mm f/1.8 | Prime (portrait) | f/1.8 | Sony E | 120,000–300,000 |
| Zeiss | Zeiss Batis 25mm f/2 | Prime (wide) | f/2 | Sony E | 120,000–260,000 |
| Zeiss | Zeiss Loxia 21mm f/2.8 | Prime (manual) | f/2.8 | Sony E (Loxia) | 120,000–300,000 |
| Zeiss | Zeiss Loxia 35mm f/2 | Prime (manual) | f/2 | Sony E | 80,000–200,000 |
| Zeiss | Zeiss Milvus 50mm f/1.4 | Prime | f/1.4 | Canon EF / Nikon F | 140,000–360,000 |
| Zeiss | Zeiss Milvus 85mm f/1.4 | Prime | f/1.4 | Canon EF / Nikon F | 160,000–380,000 |
| Zeiss | Zeiss 21mm f/2.8 Distagon | Prime | f/2.8 | Multiple | 120,000–360,000 |
| Zeiss | Zeiss Touit 12mm f/2.8 (APS-C) | Wide prime | f/2.8 | Fujifilm X / Sony E (APS-C) | 60,000–150,000 |
| Zeiss | Zeiss 24-70mm f/2.8 (ZE) | Zoom | f/2.8 | Canon EF / Nikon F | 200,000–420,000 |
| Zeiss | Zeiss Otus 85mm f/1.4 | Prime (pro) | f/1.4 | Canon EF | 220,000–700,000 |
| Zeiss | Zeiss Apo Sonnar 135mm f/2 | Prime (tele) | f/2 | Canon EF / Sony E (via adapter) | 220,000–550,000 |
| Zeiss | Zeiss Planar T* 50mm f/1.4 | Prime | f/1.4 | Multiple | 120,000–320,000 |
| Zeiss | Zeiss 35mm f/1.4 | Prime | f/1.4 | Multiple | 140,000–360,000 |
| Zeiss | Zeiss 18mm f/2.8 | Prime (wide) | f/2.8 | Multiple | 120,000–300,000 |
| Zeiss | Zeiss 100mm Macro | Macro | f/2 | Multiple | 140,000–360,000 |
| Zeiss | Zeiss 25-70mm Distagon (high-end) | Zoom | f/2.8 | Multiple | 300,000–800,000 |
| Zeiss | Zeiss 55mm f/1.4 (Batis/ZF) | Prime | f/1.4 | Multiple | 120,000–320,000 |
| Zeiss | Zeiss 21mm f/2.8 CP.3 (cine) | Cine prime | f/2.8 | Cine mounts | 220,000–600,000 |
| Zeiss | Zeiss 35mm CP.3 (cine) | Cine prime | f/2.8 | Cine mounts | 200,000–560,000 |
| Viltrox | Viltrox AF 85mm f/1.8 II | Prime | f/1.8 | Sony E / Fuji X | 40,000–70,000 |
| Viltrox | Viltrox AF 56mm f/1.4 | Prime | f/1.4 | Sony E / Fuji X | 45,000–90,000 |
| Viltrox | Viltrox AF 35mm f/1.8 | Prime | f/1.8 | Sony E | 30,000–70,000 |
| Viltrox | Viltrox AF 23mm f/1.4 | Prime | f/1.4 | Fuji X | 35,000–80,000 |
| Viltrox | Viltrox 24mm f/1.8 | Prime | f/1.8 | Sony E | 30,000–70,000 |
| Viltrox | Viltrox 85mm f/1.8 (Mark I) | Prime | f/1.8 | Sony E | 35,000–70,000 |
| Viltrox | Viltrox 20mm f/1.8 | Prime | f/1.8 | Sony E | 30,000–70,000 |
| Viltrox | Viltrox AF 33mm f/1.4 | Prime | f/1.4 | Fuji X | 40,000–90,000 |
| Viltrox | Viltrox AF 23mm f/1.4 II | Prime | f/1.4 | Sony E | 45,000–95,000 |
| Viltrox | Viltrox 75mm f/1.2 (manual) | Prime | f/1.2 | Multiple | 30,000–80,000 |
| Viltrox | Viltrox 35mm f/1.2 | Prime | f/1.2 | Sony E | 60,000–140,000 |
| Viltrox | Viltrox 23mm f/1.4 (APS-C) | Prime | f/1.4 | APS-C mounts | 25,000–70,000 |
| Viltrox | Viltrox 24-70mm f/2.8 (native) | Zoom | f/2.8 | Sony E / Others | 120,000–300,000 |
| Viltrox | Viltrox 85mm f/1.8 STM | Prime | f/1.8 | Canon EF (adapted) | 30,000–70,000 |
| Viltrox | Viltrox AF 50mm f/1.0 (special) | Prime | f/1.0 | Fuji X / Sony E | 80,000–220,000 |
| Viltrox | Viltrox 33mm f/1.4 II | Prime | f/1.4 | Sony E | 45,000–95,000 |
| Viltrox | Viltrox 20mm f/1.8 II | Prime | f/1.8 | Sony E | 30,000–70,000 |
| Viltrox | Viltrox 24mm f/1.8 II | Prime | f/1.8 | Sony E | 30,000–70,000 |
| Viltrox | Viltrox 56mm f/1.4 II | Prime | f/1.4 | Sony E / Fuji X | 45,000–95,000 |
| Viltrox | Viltrox AF 85mm f/1.8 III | Prime | f/1.8 | Sony E | 40,000–80,000 |
Note: Prices are based on current market research and may vary depending on the retailer and availability. Always verify current pricing with authorized dealers.
What are the types of Camera Lenses?
1) Wide-Angle Lenses (10-35mm)
Wide-angle lenses have shorter focal lengths ranging from 10-35mm. It captures a broader field of view than what the human eye can see. It allows photographers to include more of the scene in a single frame.
Some of the popular sub-categories of wide-angle lenses are:
Standard Wide-Angle (24-35mm)
Standard wide-angle lenses typically have a focal length between 24mm and 35mm. These lenses are ideal for capturing landscapes and architecture.
It provides a wider field of view than standard lenses without significant distortion. The wider your field of view, the more of the scene you’ll be able to see in the frame.
Its Features are:
- Perfect for landscape photography
- Excellent for environmental storytelling
- Include significant contextual elements around subjects
- Ideal for group photography and architectural exteriors
Ultra-Wide Lenses (10-16mm APS-C / 14-24mm Full-Frame)
It is a lens whose focal length is shorter than that of an average wide-angle lens, providing an even wider view.
Anything between 24 mm and 14mm is considered an ultra-wide-angle lens. It provides a large depth of field, even when using relatively large apertures.
These lenses capture wide fields of view, around 180 degrees. Making them ideal for expansive landscapes and creative perspectives.
Its Features are:
- Capture an almost 180-degree field of view
- Create dramatic perspectives and exaggerated depth
- Best for Real Estate, Landscape, and Interior photography
- Can create strong leading lines and dynamic compositions
Advantages and Disadvantages of a Wide-angle Lens
| Advantages | Disadvantages |
| Capture expansive scenes in a single frame | Edge distortion and barrel distortion effects |
| Greater depth of field keeps more of the scene in focus | Objects at frame edges appear stretched or warped |
| Create dramatic perspectives | Requires careful composition to avoid cluttered images |
| Excellent for architectural and interior photography |
2) Telephoto Lenses (85-600mm+)
Telephoto lenses have longer focal lengths ranging from 85-600mm+. It can magnify distant subjects, compress perspective, and provide shallow depth of field.
Some of the popular sub-categories of Telephoto lenses are:
a) Medium Telephoto
Medium telephoto lenses typically have a focal length between 85-135mm. They enable you to make close-up shots at a moderate distance from the subject. It also captures significant details while creating blurred backgrounds.
Its Features are:
- Portrait photographers’ favorites
- Flattering perspective and background separation
- Excellent for isolating subjects from busy backgrounds
- Minimal distortion of facial features
- Fast maximum apertures (often f/1.4 to f/2.8)
- Compact and lightweight design
- Handheld shooting capability
- Natural subject compression
- Affordable compared to longer telephotos
b) Long Telephoto Lens
Long telephoto lenses range from 200-600mm. These are designed to magnify distant subjects while bringing them closer.
Its Features are:
- Essential for wildlife photography
- Perfect for sports photography from the sidelines
- Significant magnification capabilities
- Strong background compression effects
- Image stabilization
- Weather sealing in professional models
- Internal focusing systems
- Tripod collar compatibility
- Variable aperture in zoom versions
c) Super-Telephoto (600mm+)
Super-telephoto is the pinnacle of magnification capability. It is designed for specialized photography. It is used to reach subjects that are typically inaccessible.
Its Features are:
- Extreme wildlife photography capabilities
- Advanced optical image stabilization
- Fast constant aperture (f/2.8 or f/4)
- Professional weather sealing
- Drop-in filter systems
- Multiple focus limit switches
Advantages and Disadvantages of a Telephoto Lens
| Advantages | Disadvantages |
| Excellent subject isolation with shallow depth of field | Larger, heavier, and more difficult to handle |
| Safe working distance from wildlife and dangerous subjects | More expensive than wide-angle and standard lenses |
| Beautiful background compression and bokeh effects | Beautiful background compression and bokeh effects |
| Perfect for capturing distant subjects with detail | Camera shake is more noticeable due to magnification |
| Flattering perspective for portrait photography | Often require tripods or stabilization for sharp images |
| Ideal for sports and action photography from the sidelines | The limited field of view makes the composition challenging |
| Superior reach without physically moving closer | Weather sealing is less common in budget models |
| Creates dramatic perspective compression effects | Minimum focusing distance limits close-up versatility |
3) Prime Lenses
Prime lenses have a fixed focal length that can’t be changed. It requires photographers to physically move to make a composition.
Prime lenses offer superior optical quality and are available in many apertures.
Some of the focal lengths they come in are 24mm, 35mm, 50mm, 85mm, 100mm, and 135mm. Each one of them serves a specific photographic purpose.
Some of the popular prime lenses are:
a) 35mm Lenses
Its Features are:
- Excellent for environmental portraits
- Perfect for street photography and documentary work
- Slightly wider than natural vision for context inclusion
b) 50mm Lenses (“Nifty Fifty”)
Its Features are:
- Natural perspective closest to human vision
- Legendary focal length with fast aperture capabilities
- Versatile for everyday photography and learning
- Popular models: Canon EF 50mm f/1.8 STM, Sony E 50mm f/1.8 OSS
- Forces photographers to move and think compositionally
c) 85mm Lenses
Its Features are:
- Ideal compression for classic portrait work
- Beautiful background separation (bokeh)
- Flattering perspective for subjects without distortion
Advantages and Disadvantages of Prime Lens
| Advantages | Dis-advantages |
| Superior image quality | Fixed focal length requires the photographer to physically move for composition |
| Wider maximum apertures (often f/1.4 to f/2.8) | Need multiple prime lenses to cover different focal lengths |
| Better low-light performance and shallow depth of field | Less convenient for situations requiring quick focal length changes |
| Generally, more budget-friendly than professional zoom lenses | Can miss shots due to inability to quickly adjust framing |
| lighter and more compact than | Limited versatility |
4) Zoom Lenses
Zoom lenses feature variable focal lengths that can be adjusted manually. It allows you to change the field of view and magnify the subject with a single lens.
Some of the popular sub-categories of zoom lenses are:
a) Standard Zoom (24-70mm)
Standard Zoom Lenses are perfect for travel photography. It covers a wide to short telephoto range.
It is ideal for situations where lens changes aren’t practical. And covers commonly used focal lengths in one lens.
Features:
- Variable aperture typically f/2.8-f/4
- Image stabilization in most modern versions
- Fast and accurate autofocus systems
- Weather sealing in professional models
- Compact design compared to multiple prime lenses
b) Telephoto Zoom (70-200mm)
Telephoto zoom lenses are excellent for wildlife, sports photography. Its flexibility to shoot while maintaining distance can help you achieve various compositions.
Features:
- Constant f/2.8 aperture in professional versions
- Advanced image stabilization technology
- Internal focusing for consistent length
- Tripod collar for stability support
- Superior build quality for demanding conditions
Advantages and Disadvantages of Zoom Lens
| Advantages | Dis-advantages |
| Incredible versatility covering multiple focal lengths | Generally larger and heavier |
| Ideal for documentary and wedding photography | Variable aperture models have slower maximum apertures |
| Reduces the need to carry multiple lenses | More expensive than other lenses |
| Faster shooting in changing conditions | Moving parts can be prone to mechanical failure |
5) Macro Lenses
Macro lenses are specially designed for extreme close-up photography. Capable of focusing at very short distances to achieve high magnification ratios.
Advantages and Disadvantages of a Macro Lens
| Advantages | Dis-advantages |
| Extreme close-up photography with exceptional detail and 1:1 magnification | Very shallow depth of field makes focusing extremely challenging |
| Excellent sharpness across the entire frame with minimal distortion | Limited working distance can disturb subjects (insects, flowers) |
| Versatile – can be used as excellent portrait lenses at normal distances | Slower autofocus performance compared to standard lenses |
| Flat field correction provides edge-to-edge sharpness | More expensive than equivalent focal length standard lenses |
| Perfect for scientific, commercial, and artistic applications | Hand-holding becomes difficult due to magnification and camera shake |
6) Fish-eye Lenses
Fish-eye lenses are ultra-wide-angle lenses that create distinctive barrel distortion and spherical perspective. It ranges from 8-16mm.
Advantages and Disadvantages of Fish-eye Lens
| Advantages | Dis-advantages |
| Extremely wide field of view (up to 180+ degrees) captures entire scenes | Heavy barrel distortion creates unnatural curved perspective |
| Creative artistic effects and unique perspectives for experimental photography | Limited practical applications in conventional photography |
| Excellent for immersive action sports and underwater photography | Subjects appear distorted and unrecognizable near frame edges |
| Perfect for virtual reality and 360-degree content creation | Difficult to compose traditional landscapes or portraits |
| Dramatic visual impact that immediately captures viewer’s attention | Expensive specialty lens with limited resale value |
What to check when buying a camera lens?
Does it fit your camera?
Make sure the lens connects to your specific camera brand and model. Check if it works with your camera’s sensor size.
Picture quality
Look at sample photos to see if they’re sharp and clear. Check if colors look weird at the edges or if images are blurry in the corners.
Physical condition
Check for scratches, dents, or damage on the outside. Make sure the focus ring turns easily. Look inside the glass for dirt, mold, or cloudiness. Also, check serial numbers and verify authenticity
Basic functions work
Test that the lens focuses properly. Both automatic and manual focusing. Make sure the aperture changes when you adjust settings.
Special features
Test image stabilization. Make sure it turns on and works without strange sounds.
What’s included
See if it comes with lens caps, hood, box, and instructions.
Fair price
Compare prices online to make sure you’re not overpaying. Have proper warranty documentation and VAT bills for after-sales service.
Return Policy
Confirm the return and exchange policy in case of defects or compatibility issues
Tips Before Buying a New Lens
1) Know Your Camera Mount System
Understand your camera’s mount compatibility before purchasing.
Canon DSLRs use EF/EF-S mounts while their mirrorless cameras use RF mount. Sony cameras utilize E-mount. Nikon uses the F-mount for DSLRs and the Z-mount for mirrorless systems. And Fujifilm uses X-mount for their cameras.
2) Define Your Photography Purpose
Different photography styles demand specific lens characteristics:
a) Portrait Photography
You can use 35mm, 50mm, 85mm, or 135mm prime lenses. It has got wide apertures for beautiful background blur and natural subject rendering.
b) Landscape Photography
It requires wide-angle lenses (16-35mm) to capture expansive views and dramatic foregrounds.
c) Street Photography
It works best with 35mm or 50mm lenses. It provides a natural perspective similar to human vision.
d) Wildlife Photography
Wildlife photography demands telephoto lenses (70-200mm, 100-400mm). It helps you to get distant subjects into your frame.
e) Macro Photography
You need dedicated macro lenses designed for extreme close-up work. These lenses have high magnification ratios.
f) Travel Photography
Here, you require versatile zoom lenses like 24-70mm or 18-135mm. It helps you to cover multiple focal lengths without changing lenses.
3) Understand Your Camera Sensor
Full-frame cameras can use any lens designed for their mount system.
APS-C (Crop Sensor) Cameras multiply the focal length by approximately 1.5x (Canon) or 1.6x (Nikon/Sony). This affects your field of view.
Example: A 50mm lens on an APS-C camera behaves like a 75-80mm lens on full-frame.
4) Set your budget
High-quality lenses are pretty expensive. But, can offer excellent value for money.
5) Research Thoroughly
Study reviews, watch comparison videos, and examine sample images online. Focus on real-world performance rather than impressive specifications.
6) Match your Gear
Having a $3,000 professional lens won’t instantly improve your photos if your camera body is basic. And vice versa.
7) Consider Size and Weight
A 200mm+ lens might seem appealing, but it can be too heavy or bulky for regular carry. So, you may have to invest in a tripod as well.
8) Don’t chase the newest releases
Don’t go for a new lens if you have a limited budget. Previous-generation lenses also deliver the best performance for the price.
Unless you need specific features, older models don’t have.
9) Test before buying
If possible, test the lens in-store or borrow from a friend.
Feel the lens in your hands and try some angles you may use during actual shooting.
You can also rent the lens. Many camera shops offer lens rentals. Spending a little to test can prevent you from buying a costly lens.
10) Have Accessories
If you are buying a lens. Make sure it has a lens hood and caps.
These prevent unwanted flare, prevent dust accumulation, and provide crucial physical protection.
Conclusion
FAQ
What is the average price of a camera lens?
Camera lenses typically cost anywhere from $200 to $700 for most photographers, though professional ones can go much higher.
What is the price of the Sony 70 200 lens?
The Sony 70-200mm lens runs around $2,200-2,600 USD currently.
What 3 lenses does every photographer need?
As for essential lenses, most photographers eventually want a 50mm prime for portraits, a 24-70mm zoom for everyday shooting, and a 70-200mm telephoto for distant subjects.
What camera lens should I buy first?
For your first lens, I’d suggest either a 50mm f/1.8 if you’re budget-conscious or a 24-70mm zoom if you want more versatility. It really depends on what you plan to photograph most often.