The photo world has changed tremendously over the last two decades. From compact cameras to DSLRs, to mirrorless, and now compact cameras again, we have seen the rise and fall of many formats. But the one thing that persists is the need for brighter lenses. While the market is flooded with ample options like f1.2, f1.4, and f1.8, which are helping those who want extra bokeh and the ability to shoot in the dark. However, there is still a massive gap in those that push boundaries, and as the title suggests, we need more options like that today. Why? Let’s dive in.
Before camera manufacturers delved into getting the highest megapixel cameras, they were fighting with each other over the biggest aperture lenses. For instance, Leica’s Noctilux-M 50mm f0.95 ASPH was one of the first (and most popular) fast lenses that gave images a dreamy look. Then, later, Canon also decided to launch its own version, with EF 50mm f1.0 L USM, a legendary lens that changed the way Canon users shot portraits. However, it came with its own challenge, that of size and weight. But hey, back then, that didn’t matter as much. Canon did something unique again with a telephoto lens, which resulted in another icon, the Canon 200mm f1.8 L USM. Yes, I know the article says under f1.2, but you have to remember that this lens was introduced in 1988, making it a worthy contender. Cut to more recent years, Nikon announced their own version of their 1977 lens, the Z 58mm f0.95 S Noct. Designed for mirrorless cameras, the lens is huge and comes with just as big a price tag.
However, while camera manufacturers did try to push their boundaries in the film and SLR age, they seem to have stopped doing so now. Lenses feel like a second thought, more than being at the forefront of cameras. While third-party lens manufacturers have a few options, the only issue is that they are, again, just a few in number. For example, Mitakon Zhongyi Speedmaster 50mm f0.95 III, Voigtländer Nokton 29mm f0.8, and 7Artisans 35mm f0.95.
So, what makes these lenses unique today? F1 or f0.95 have been quite rare, as seen above, but they are nothing short of innovative. They offer a specific visual style, allowing you to get the cinematic shallow depth of field that others are unable to capture. In some cases, the colors also come out punchier, giving your images a distinct look that you only get to see in some high-production fashion shots. In fact, street photographers, architecture photographers, and astrophotographers get the chance to capture images that are anything but mundane. For those who shoot the starry sky, the light gathering capability is just out of this world. And if you can pair such a lens with cameras that provide real-time LUT, like the Panasonic, you are bound to get something that stands out.
However, today, with higher megapixel cameras, these lenses can achieve a lot. In fact, they require time and effort to make, something that seems to have taken a backseat in 2025. Of course, these lenses are expensive, but this is all the more reason for brands like Canon and Nikon to take it as an opportunity and release lenses that are not just different but also affordable. If third-party creators can find a way, why not first-party manufacturers?
There is also a lack of diversity, since these lenses are largely 50mm. So why not go ultra-wide with an f1? Or, a telephoto lens, which wildlife photographers can enjoy? Sure, these lenses could result in technical difficulty, but so was the idea of a compact medium format camera. Yet, we have it today. As long as there is vision, I believe one can find a way to win against the odds. In a time like this, I just want to see companies try something other than the same repeated formula. The cameras have reached a plateau, and with third-party lens manufacturers, so have the lenses. There is not a single camera or lens that takes “a bad” photo. So, why not push a little?
