Review: Sirui 40mm T1.8 Anamorphic Autofocus for Sony E
A definitive review of the Sirui 40mm T1.8 Anamorphic Autofocus lens for Super35/APS-C Cameras.
Intro
For decades, anamorphic lenses were the domain of high-end cinema. They were large, expensive, and designed for use with full camera rig setups, follow focus systems, and a dedicated crew. These lenses were out of reach for the hobbyist, solo shooter, or independent filmmaker.
That changed when Sirui, a Chinese manufacturer known for camera support gear like tripods and monopods, entered the lens market. Over the past five to six years, Sirui has released a range of budget-friendly manual focus anamorphic lenses that proved incredibly capable in the hands of the right indie cinematographer. They kicked off 2025 with another landmark innovation, the first autofocus anamorphic lens, the Sirui 40mm T1.8 AF 1.33x Anamorphic.
Specs
Focal Length: 40mm (Horizontal FF equivalent of 42mm)
Mount: Sony E (Crop Sensor); also available for Fuji X, Nikon Z, Leica L, and Micro-Four Thirds.
Minimum Focus Distance: 60cm (0.6m)
Maximum Aperture: T1.8
Minimum Aperture: T22
Optical Construction: 16 elements in 12 groups; 11 diaphragm blades
Weight: 614g
Dimensions (Diameter x Length): 64mm x 54.5mm (2.5" x 2.1")
Filter Size: 77mm (Fits 80mm Matte Boxes)
Weather Sealing: Water & Dust Resistant
Price: $699 on B&H
Build Quality
The core body of the Sirui 40mm T1.8 Anamorphic AF lens is built from solid metal, with rubberized buttons and plastic switches. The focus and aperture rings feature standard cine-style gearing, allowing easy integration with follow focus systems for manual operation. Controls include an AF/MF toggle, an aperture de-click switch, and a autofocus lock button. The lens also features a rubber gasket at the mount for added sealing, along with a USB-C port to support future firmware updates.
The lens feels solid in the hand yet remains lightweight and easy to manage, making it well-suited for handheld shooting throughout a full day of filming. One limitation is the focus ring, which lacks hard stops and uses an electronic, acceleration-based system. This makes precise, repeatable focus pulls more challenging. A thoughtful design feature, however, is the ability to lock the aperture ring into the automatic “A” position, allowing aperture control directly from the camera body.
The front of the lens features a 77mm filter thread, making it compatible with standard filters like variable NDs or polarizers. Additionally, the 80mm outer diameter of the front barrel supports clamp-on matte boxes, offering more flexibility for rig-based setups.
The optical design of the lens features a complex internal structure, with 16 elements arranged in 12 groups. This includes one aspherical element to help control spherical aberration and five cylindrical elements responsible for creating the anamorphic squeeze and signature cinematic look. The amount of glass movement inside also depends on strong focus motors in order to achieve accurate and quick focus, which we’ll discuss in the next section…
Performance
The Sirui 40mm T1.8 is a solid performer, but in my experience, the image it produces doesn't fully embody the classic cinematic anamorphic aesthetic we associate with Hollywood films. It lacks some of the signature characteristics that draw filmmakers to anamorphic glass, things like distortion, strong character, and expressive optical quirks that give a shot its unique image.
To be clear, the Sirui delivers a very clean image. But "clean" isn’t always the goal, especially for indie filmmakers working on narrative projects. Many cinematographers specifically seek lenses that bring unique visual traits: swirly bokeh, rich color, highlight roll-off, textured flaring, or a dramatic squeeze factor. In comparison, the Sirui’s image feels closer to a spherical photo lens that's been cropped to a 2.35:1 aspect ratio rather than something born from a true anamorphic lens.
One particularly unusual image characteristic is the hexagonal bokeh. While many anamorphic lenses traditionally produce the classic oval-shaped bokeh, the Sirui renders out-of-focus highlights as hexagons. A look down the barrel reveals why. The anamorphic iris is shaped like a hexagon rather than an oval, which likely contributes to the polygonal look of defocused elements. It's a unique design decision, but one that may not satisfy those seeking that unmistakable anamorphic character. The Sirui has a slight pincushion distortion which causes the image to very slightly warp inwards. I prefer barrel distortion where the peripheries of the image bend outwards.
The anamorphic flare on the Sirui 40mm T1.8 is well controlled and should satisfy filmmakers looking for the classic horizontal streak. The lens is available in two coating options: one that produces the familiar blue flare reminiscent of JJ Abrams' style, and another with a neutral coating that adapts to the color temperature of the light source for a more naturalistic look.
While I’ve already touched on the underwhelming "anamorphic character" of the image, the lens still performs well as a cinema lens overall. It delivers a sharp image with strong flare resistance and offers a surprisingly large image circle. I tested it on my Sony A1 in both crop mode and full-frame. In full-frame, there’s a slight vignette, but if you punch in using Active Stabilization or a digital crop, it’s very possible to achieve a clean, true full-frame image, even though Sirui doesn’t officially market this lens for full-frame use.
Autofocus Performance
Autofocus anamorphic lenses are still a new frontier in filmmaking, and as expected, the performance is inconsistent. Out of the box, the autofocus ranges from average to below average by today’s standards. The internal motors tend to overcorrect, and there's a noticeable and audible noise during focusing.
I tested the lens on a snowy day in New York, and it clearly struggled with focus hunting as snowflakes passed in front of subjects. However, after updating the firmware, I used the lens on my Sony FX30 for a corporate talking-head interview, and it performed reliably. Though the focus motor was still audible when the subject was moving. This is something to keep in mind if you’re shooting in environments that demand silent operation or if you're working with scenes that have a lot of unpredictable motion.
One important caveat is that if you’re using this lens in the anamorphic desqueeze modes on the Sony FX30 and FX3, you’ll lose autofocus ability. I don’t believe this is a limitation coming from the lens, but rather Sony camera bodies don’t know how to process autofocus on an anamorphic image.
Competitors
The only other autofocus anamorphic lens currently available to the public comes from Blazar, who coincidentally launched their Apex 50mm T1.8 Anamorphic AF lens around the same time as Sirui’s announcement. While both brands claim to have released the first autofocus anamorphic lens, from what I’ve seen, Sirui was the first to actually get their lens into the hands of consumers. My full review of the Blazar 50mm T1.8 will be live on my website soon, but in the meantime, here are a few comparisons between the Sirui and the Blazar.
Autofocus
As I mentioned earlier, the Sirui’s autofocus performance is a mixed bag. The internal motors struggle to keep up with the camera body’s rapid commands. This mismatch causes the lens to overcorrect and jitter as it hunts for focus. In contrast, the Blazar lens takes a different approach. While it's noticeably slower to lock focus, it does so in a much more organic and deliberate way. The result feels like a focus puller gradually dialing into critical focus with a follow focus system. Personally, I prefer the Blazar’s natural and cinematic focusing behavior over the more erratic performance of the Sirui.
Lens Construction
Both the Sirui and Blazar lenses deserve credit for their solid metal construction. I’ve used them in challenging weather conditions, and both held up well, showing reliable weather and water resistance.
That said, there are some design choices that may bother certain users. The Sirui features standard cine-style geared rings on both the focus and aperture rings, which is great for rig setups. The Blazar, however, only includes gearing on the focus ring. On the plus side, the Blazar’s focus ring has hard stops, which makes manual focus pulling far more repeatable and tactile, something the Sirui lacks due to its 360-degree, fly-by-wire-style focus rotation.
One drawback I experienced with the Blazar is its aperture ring. It’s permanently de-clicked and very easy to turn by accident, so you might unintentionally shift your exposure without realizing it until later. It also lacks the automatic aperture "A" mode found on the Sirui, meaning aperture can only be adjusted manually on the lens body. To make matters more difficult, the aperture ring is quite thin and has no gear teeth, which makes it a hassle to access, especially if your camera is built out with a cage or rig.
The Sirui definitely takes the win in terms of design functions. The Sirui also might be more favorable if you’re not trying to attract too much attention. Its minimal all-black color scheme is clean, professional, and discreet. Ideal for shooters who prefer to keep a low profile on set or in public spaces. In contrast, the Blazar features a metallic silver and orange finish that stands out visually, which might not appeal to those who want their gear to stay under the radar.
Image
Anamorphic image quality is ultimately subjective, and preferences will vary depending on the look you're after. Filmmakers who favor a clean, controlled image will likely appreciate what the Sirui has to offer. On the other hand, those seeking a more traditional anamorphic aesthetic with character-rich visuals with oval bokeh and painterly background separation, will gravitate toward the Blazar.
Out-of-focus rendering from the Blazar Apex 50mm T1.8
Personally, I prefer the look of the Blazar. Its oval bokeh and beautifully soft out-of-focus rendering evoke the classic anamorphic image that many indie filmmakers chase. The Blazar also produces a pleasing anamorphic flare, though it does have a tendency to create double flares depending on the angle of incoming light. In contrast, the Sirui handles flare with more precision and control, effectively minimizing artifacts like double streaks.
One final advantage in Sirui’s favor is its larger image circle. This makes it a more versatile option for filmmakers using full-frame cameras, as it allows for wider framing and more flexibility in post. In contrast, the Blazar has a true Super 35/APS-C image circle, which limits it to smaller sensor formats and tighter framing. For those working in full-frame workflows, the Sirui will offer a noticeable edge in coverage and composition.
Final Thoughts
Overall, I put the Sirui 40mm T1.8 Anamorphic Autofocus lens through a wide range of shooting scenarios, and it proved to be an impressive first step into the emerging world of autofocus anamorphic glass. I used it in challenging outdoor nighttime street scenes with my Sony A1, as well as in a more controlled corporate talking-head setup on the Sony FX30. Ultimately, I think the Sirui’s versatility, especially its large image circle and autofocus capability, will appeal to filmmakers working across both full-frame and crop sensor platforms.
Pros:
Affordable price for a cinema lens
Lightweight
Above-average sharpness
Lens construction is thoughtful and thorough
Super 35 and Full-Frame image circle
Updates via USB-C
Weather resistance
Comes with a soft-case for storage
Cons:
AF Performance is sporadic
Hexagonal bokeh
Stale and clean image
Rating: 2.5/5
The Sirui 40mm T1.8 Anamorphic Autofocus lens is exciting from a technological standpoint—it marks a major milestone as the first autofocus anamorphic lens available to the public. That innovation alone makes it a noteworthy release. That said, I personally rated this lens a 2.5 out of 5, reflecting my view that it lands squarely in the “average” category.
I don’t want to come off too harsh, because the lens is absolutely usable. It’s capable of delivering clean, sharp images and I’ve used it for paid projects without issue. But usability doesn’t always equate to creative inspiration. The lens has its quirks, such as inconsistent autofocus performance and out-of-focus elements that lack the organic, cinematic charm that many filmmakers look for in anamorphic glass.
At the end of the day, the Sirui delivers a technically competent image—but if you're chasing that distinctive, character-rich anamorphic look, this lens might leave you wanting more.
Providing a B&H Photo Affiliate link if you’d like to purchase the lens so I can use the funds to run my reviews. Thanks!
Review: Viltrox 25mm f/1.7 AIR for Sony E
A definitive review of the Viltrox 25mm f/1.7 AIR lens for APS-C cameras.
Intro
In the past, I generally avoided cheaper lenses for the Sony E-mount system. They typically had poor build quality and noticeably bad image performance. However, the past 3–5 years have seen a shift with the introduction of affordable optics from East Asian companies like Viltrox.
The Viltrox 25mm f/1.7 AIR lens is designed for APS-C (crop sensor) cameras like the Sony A6xxx series or the FX30. It’s incredibly compact, minimalistic, and very lightweight. I tested this lens for over a month using my Sony A7CR in crop mode (equivalent to the 26MP sensor from the a6700) and my Sony A1 for video. Viltrox did not send me this lens. I purchased it with my own money.
This lens kicks off my Budget Lens Review series, where I check out lenses under $200 USD and see if they’re actually usable. I’ll also compare these budget options to more expensive premium lenses to see if spending the extra money is really worth it.
Specs
Focal Length: 25mm (37.5mm full-frame equivalent)
Mount: Sony E (Crop Sensor); also available for Fuji X and Nikon Z Mount
Minimum Focus Distance: 30cm (0.3m)
Maximum Aperture: f/1.7
Minimum Aperture: f/16
Optical Construction: 12 elements in 10 groups; 9 diaphragm blades
Weight: 170g
Dimensions (Diameter x Length): 64mm x 54.5mm (2.5" x 2.1")
Filter Size: 52mm
Weather Sealing: None
Price: $176 USD on B&H
Build Quality
The Viltrox 25 f/1.7 AIR lens is made entirely out of plastic, which I expected at this price point. Honestly, it is better that it is lightweight because it makes for an excellent travel prime lens.
The design is very simple. There is no aperture ring, no custom buttons, and no AF/MF switch. Just a single focus ring that turns easily, although it is not dampened. Most people will be shooting this lens in autofocus anyway, so the minimal design makes sense.
The aperture stops from f/1.7 to f/16, with a progression through traditional one third stops (for example f/2.2, f/2.5, f/3.2). I have no major complaints about the build quality, but two small things stand out. The lens hood is slightly annoying to attach, and the lack of a weather gasket on the mount is disappointing. Adding a basic rubber seal would not have been an expensive upgrade.
The Viltrox 25 f/1.7 AIR lens includes a USB-C port in the mount of the lens. This is becoming standard with Viltrox’s newer lenses and I’m glad this is starting to become a normal practice. I love when manufacturers plan to support lens performance with future updates rather than the lens being technologically frozen in time upon release.
As of April 28, 2025 there are firmware updates for the lens for Fuji X and Nikon Z mount. Oddly enough, there isn’t a Sony E update for the 25 f/1.7. If you plan to own (or already own) any other Viltrox lens, do not download their mobile app to update your lens firmware. Viltrox tries to push users to download their app but it’s basically abandoned and only lists 2-3 lenses. Whether you’re on a Mac or PC, you can still download the firmware through your computer on their website.
The optical design uses 12 elements in 10 groups, with 9 diaphragm blades. For this price it is impressive they fit in this many elements to help with image quality. 12+ diaphragm blades usually help with achieving more circular bokeh balls, but it is not a deal breaker for a budget lens like this. The front filter diameter is 52mm, which isn’t uncommon, but top-end filter manufacturers typically don’t produce this diameter as often as their larger sizes (ex. 67, 77, or 82).
Performance
If you removed the Viltrox branding, I would have easily thought this was a native Sony G lens for APS-C cameras. It really performs that well.
The autofocus is hands down the fastest I have ever used on a budget third-party lens. It is snappy, quickly locking onto subjects without hesitation. Occasionally there is a very small moment of focus hunting when switching between two very different focus planes, but you would need to replay the footage in slow motion to even notice.
Sharpness in the center is tack sharp wide open at f/1.7 and stays consistent across the aperture range. The edges of the frame show some vignetting and slight chromatic aberration, but it is all well within acceptable levels. There is no built-in Lightroom lens profile for this lens yet, but manual corrections are easy enough if you need to clean up any distortion or vignetting.
Viltrox lenses often have a slightly warm color cast, probably due to their lens coatings, and that is true for this lens as well.
MTF Chart
I compared the Viltrox 25mm f/1.7 AIR directly against my Sony 24mm f/1.4 GM, which is easily my favorite and most-used lens for landscapes, astrophotography, video, and everyday street photography. The Sony 24 GM has such a strong reputation that, unlike a lot of other G Master lenses, it still hasn’t needed a second version. It just nails everything so well that Sony never had a reason to update it. It’s not exactly the most fair comparison but I think it’ll be interesting for people to view a similar focal length lens (when shot in crop mode) and see how well a sub-$200 lens stacks up against a $1300 native lens.
All tests were started with the Sony 24 GM at f/1.8 and the Viltrox wide open at f/1.7.
Autofocus:
In terms of still photography, the Viltrox and Sony have good AF performance. Both lenses will lock onto subjects, however, the Viltrox exhibits a half-second focus-hunting adjustment that might be hard to catch in real-time. I’ve slowed it down in a GIF below to exhibit the very quick double-focus adjustment the Viltrox is forced to perform while the Sony 24 GM nails focus without having to adjust.
When it comes to video too, the Sony has a slight edge. On my A7CR, tapping the screen to shift focus points feels just a bit faster and more confident with the Sony compared to the Viltrox.
Tap-To-Focus AF Comparison
Focus Hunting Comparison (Zoomed 500% and Slowed 50%)
Notice the Viltrox taking a small adjustment before locking in focus. It’s very quick and hard to notice in real-time, but when slowed down (dramatically) you can spot the focus hunting. I still think this lens has surprisingly responsive AF and I never found myself thinking this focus adjustment was an issue when using in the real world. I still think this is really impressive AF performance for a budget lens.
Sharpness:
Here is where it gets interesting!
In the center and mid-frame areas, the Viltrox is actually slightly sharper than the Sony, especially wide open. That really caught me off guard. That said, the Sony still wins out when you look at the edges of the frame. It maintains better sharpness across all apertures, whereas the Viltrox does not really clean up the edges until you stop down to around f/8 or f/11. Both lenses show some chromatic aberration around the corners, but again, the Sony handles it better with less vignetting and less color fringing once you start stopping down.
There’s also an obvious color cast on the Viltrox which skews toward a warmer image, while the Sony remains very neutral with a better white balance.
Sony 24 GM @ f/1.8 vs. Viltrox 25 AIR @ f/1.7
Sony 24 GM @ f/1.8 vs. Viltrox 25 AIR @ f/1.7
CENTER
Sony 24 GM @ f/1.8 vs. Viltrox 25 AIR @ f/1.7
CORNER
Bokeh:
When it comes to background blur, you can definitely tell the difference between the two. The Viltrox produces smaller bokeh balls and out-of-focus areas that look a little busy or nervous, especially with cluttered backgrounds, but honestly, that is expected for a sub $200 crop sensor lens. The Sony, on the other hand, delivers much bigger, softer, and more painterly bokeh, especially at f/1.4 and f/1.8. The Viltrox also exhibits some cats-eye bokeh once you go further from the center of the frame. If smooth, dreamy out of focus areas matter to you, the Sony is definitely in a different league. Out-of-focus rendering is definitely one of the Viltrox’s weaker spots.
But I want to clarify that this portion of the test is unfair to the Viltrox 25 AIR since it’s an APS-C lens with a smaller image circle while the Sony 24 GM is a full-frame lens with very large optical elements. No crop sensor lens is going to compete against a premium full-frame lens wide-open.
Sony 24 GM @ f/1.8 vs. Viltrox 25 AIR @ f/1.7
Flaring:
Still needs more testing. I want to shoot directly into some harsher light sources before making any final calls. I will update this section once I get more real-world samples.
Sample Images
Click on the photo to view a larger image.
Final Thoughts
Overall, this lens was a huge surprise. In real-world use, it felt just like a native Sony APS-C lens. Sure, if you pixel peep the edges, the Viltrox can’t match premium lenses, but out in the field, nobody would ever guess your photo came from a plastic $176 lens.
I used this lens for street photography in San Francisco and New York City, as well as at a corporate event, and it never missed a beat. Autofocus was quick, reliable, and paired perfectly with the compact Sony A7CR. Even though the Sony 24mm f/1.4 GM is considered compact for a full-frame lens, it still feels huge compared to the tidy, lightweight design of the Viltrox.
Pros:
Incredibly affordable price
Very fast and reliable autofocus
Excellent sharpness in the center wide open
Lightweight and travel-friendly design
Performs like a native Sony APS-C lens
Cons:
Noticeable edge softness and color fringing until stopped down
Busy and small bokeh rendering
No weather sealing
Cheap and fidgety lens hood
Rating: 4/5
If you are a Fuji or Nikon shooter, you should be excited about Viltrox introducing such competitive lenses at this price point. For Sony users, the arrival of the AIR series feels like a breath of fresh air, especially considering how much Sony has neglected its APS-C camera and lens lineup.
Third-party companies like Viltrox are stepping in and filling the gap that Sony and Zeiss left behind when they moved away from offering more budget-friendly lens options.
If you need an affordable, high-performing crop sensor lens, I would not hesitate to pick up the Viltrox 25mm f/1.7 AIR.
Providing a B&H Photo Affiliate link if you’d like to purchase the lens so I can use the funds to run my reviews. Thanks!
Viltrox 25 f/1.7
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