For nearly four years Ukraine has been under attack resulting in millions of people fleeing the country, some taking their pets with them while others abandoned them to fend for themselves. 

Rescuers, like our hero Krystina, continue to enter bombed villages to save those left behind. 

The war is taking a toll on the stray and abandoned dogs. Researchers have been observing dogs with the help of rescuers, military members, and volunteers near the frontlines since the war began and have discovered they are adapting physically and mentally to survive the harsh conditions.

Photo: Best Friend Shelter

According to a study published in the journal Evolutionary Applications, researchers claim domestic dogs are turning more feral and their bodies are also adjusting to survive in the war zones. 

The collection of data was taken from observing over 700 dogs across nine regions of Ukraine. Animal shelters, vets, military members, and volunteers near the frontlines recorded the data and it was recently compiled to show the changes witnessed in dogs. 

Photo: United for Animals

Over the past few years their height has decreased, and their bodies are leaner, likely due to the lack of food and resources, but it also allows them to move quicker and take coverage in small areas. 

Dogs were also observed living in packs and acting more like wild animals like wolves and coyotes. They younger dogs also have less white fur to help them camouflage into their surroundings. However, these changes are not enough to undo the damage to their environment from the war. 

Photo: United for Animals

Homeless dogs still rely on humans for food as there is not enough for them to hunt or eat in nature. 

That is where you can help these innocent dogs who are trapped in the middle of a war. While their bodies may be adapting to their dangerous surroundings, they are still in need of help. 

Photo: Under the Sun

Military members and rescuers care for these animals and try to find them new homes. 

Donate today to help feed and care for hundreds of rescued dogs living at Krystina’s shelter Under the Sun. She continues to save dogs in need, including the ones who have lost trust in mankind. 

Photo: Under the Sun

As bombings continue, these dogs need your support to get the food and care they need to survive. 

I like to carry minimal gear and travel light when on vacation or a travel photography adventure, and my favorite camera hasn’t changed after 7 years of ownership—it’s the Nikon Z50. Finding the right lens has always been a struggle, though, until I got my hands on Viltrox’s AF 27mm f/1.2 Pro.

Over the years, it’s been a continual search for the perfect lens to pair with this incredible little camera. I’ve used full-frame lenses, tried little vintage lenses, and Nikon’s APS-C kit lenses designed for the Nikon Z50. I shoot in low light when I travel—in restaurants, historic buildings, and on the streets at night. Having a cropped-sensor camera means not cranking up the ISO for fear of degraded image quality, so I’ve always looked for a lens with a wide aperture. An extra stop or two of light can make all the difference when shooting APS-C.

Over the years, I’ve had the best results with little manual-focus lenses. You can find very affordable options, which are great. But there are times when we need autofocus, and those options have been limited. APS-C (DX) lenses from Nikon are few and far between, and I’ve found them to be very plasticky and fragile. They’re not built to last; the two I had quickly broke while traveling.

A few months ago, when I heard Viltrox had released a 27mm f/1.2 autofocus lens designed for Nikon’s APS-C cameras, I was very keen to get my hands on one, having had a really good track record with Viltrox AF 27mm f/1.2 Pro since my full-frame Z-mount cameras.

Why a 27mm APS-C Focal Length?

A 27mm focal length on a lens designed for a cropped-sensor camera gives you a full-frame equivalent of 40mm. This focal length has grown in popularity recently because it can do the job of two essential focal lengths—a 35mm and 50mm—to a degree. A 40mm equivalent field of view is how our eyes see. We can get a natural-looking image with no distortion or compression. It’s the perfect focal length for documentary photography.

If you want a solid refresher on the fundamentals behind choices like this, Photography 101 is a good starting point.

One could argue there are some compromises, but having spent many months with this lens, and having many years of shooting 35mm and 50mm, my opinion is the compromise isn’t as great as one might first expect. It turns out 40mm is the perfect everyday focal length.

This focal length allows you to do what a 35mm can do. You can shoot street, travel, and environmental portraits, and it’s wide enough to show some context. You can also get close to your subject for a more intimate image, similar to using a 50mm.

Viltrox AF 27mm f/1.2 Pro 

The moment you lock this lens onto your camera, you can feel the reassuring quality. The Z50 is a tiny camera, so the lens does look slightly on the large side, but that’s because 15 very sophisticated elements are packed into the metal, weather-sealed casing. It only weighs 560 g, though, and with the camera (including battery) weighing 450 g, that’s a reasonable total weight of a touch over 1 kg. I’m happy to carry that around on my shoulder all day.

This lens provides fabulous separation with an impressive minimum focus distance of about 12 inches. Perfect for isolating your subject, including portraits. One unexpected use for this lens is shooting food in restaurants, which I do a lot on my travels. The out-of-focus areas are creamy smooth. The bokeh boffins will be very happy. There is a little vignetting wide open, but you won’t notice unless you shoot a white wall square-on. Who even does that?

Autofocus is quick, and image quality is impressively sharp even when shooting wide open at f/1.2. Two low-dispersion lens elements designed to reduce color fringing and chromatic aberrations do an excellent job and produce good clarity and color accuracy across all apertures.

I really appreciate the MF/AF switch and the aperture markings on the lens barrel for the times I prefer to shoot manual focus. When taking advantage of the superb autofocus system, I found it locked quickly in the trickiest low-light conditions.

Specs

• Focal Length: 27mm (40mm full-frame equivalent)

• Aperture: Max. f/1.2, Min. f/16

• Lens Mount: Z (also available for X and E)

• Lens Sensor: APS-C (Nikon DX)

• Angle of View: 55.3°

• Minimum Focus Distance: 11 in / 27.9 cm

• Optical Design: 15 elements in 11 groups

• Aperture Blades: 11

• Filter Size: 67mm

• Dimensions: Ø 3.2 x L 3.6 in / Ø 82 x L 92 mm

• Weight: 1.2 lb / 560 g

Verdict

If I were to choose just one perfect lens to pair with my APS-C Nikon, the Viltrox AF 27mm f/1.2 Pro is it. There’s nothing better on the market right now.

The main reason I was drawn to this lens was low-light performance, and it delivered in spades. I found myself shooting on the streets at night and was able to get fabulous and impressive noise-free results when shooting handheld, despite neither the lens nor camera having built-in stabilization.

I’ve tested many lenses this year, and this Viltrox AF 27mm f/1.2 Pro is the best of the bunch. It does everything you want it to, without compromise. The price point is affordable for enthusiasts at $578, and the performance is at the professional level. Great job, Viltrox!

This is the first time I’ve rated anything 10/10.

Look above to watch a video from one of my first test outings for the lens.

Astrophotography places unusual demands on an imaging system. Light levels are extremely low. Signal strength varies across wavelengths. Thermal noise becomes a limiting factor long before resolution does. Conventional mirrorless cameras, even advanced ones, are not designed with these constraints in mind. They prioritise colour accuracy, autofocus speed, and general versatility. As a result, much of the faint astronomical signal never reaches the sensor. The OM System OM-3 ASTRO is a response to this problem. It is not a modified consumer camera, and it is not a dedicated astronomy sensor. Instead, it is a mirrorless camera intentionally engineered to operate closer to astrophotography requirements while retaining the flexibility of a photographic system.

OM System developed the OM-3 ASTRO by adapting the OM-3 mirrorless platform and refining it for night sky imaging. The company did not change the core sensor architecture or processing engine. Instead, it focused on optical filtering, computational tools, and operational reliability. OM System aims to improve astrophotography performance without breaking compatibility with existing photographic workflows. The result is a camera that sits between two worlds and addresses a long-standing gap in the market.

A familiar body with a different target

The OM-3 ASTRO shares its physical and electronic foundation with the standard OM-3. It uses a 20.4-megapixel stacked backside-illuminated Live MOS sensor in the Micro Four Thirds format. The camera pairs this sensor with the TruePic X image processor. This combination delivers fast readout speeds, low rolling shutter distortion, and efficient data handling. These characteristics are already important in conventional photography. They matter even more in astrophotography, where long exposures and repeated imaging cycles dominate.

The body construction remains unchanged. OM System uses a magnesium alloy chassis with extensive weather sealing. The camera meets IP53 standards for dust and splash resistance and remains operational in sub-zero temperatures. Astrophotography often takes place in remote locations under unpredictable conditions. Equipment failure due to moisture, cold, or dust is not uncommon. By keeping the OM-3 ASTRO physically identical to the OM-3, OM System ensures durability without redesigning the mechanical platform.

However, the defining change appears at the optical level. OM System replaced the standard infrared cut filter with a redesigned filter tuned specifically for astrophotography. This filter allows nearly full transmission of hydrogen-alpha light. This single modification fundamentally changes how the sensor responds to astronomical targets.

Hydrogen-Alpha sensitivity and astronomical signal capture

Hydrogen-alpha emission dominates the visible output of many deep-sky objects. Emission nebulae radiate strongly at approximately 656 nm. Standard camera filters suppress this wavelength to maintain colour balance in daylight photography. While that suppression improves skin tones and natural scenes, it severely limits nebular imaging. Photographers often resort to aftermarket sensor modification to bypass this limitation. Such modifications introduce risks, calibration inconsistencies, and autofocus errors.

The OM-3 ASTRO eliminates this compromise at the factory level. By allowing nearly 100 percent transmission of hydrogen-alpha light, the camera records significantly more nebular signal per exposure. This improves contrast and structure in emission regions without relying on artificial colour amplification in post-processing. The camera captures more of the actual photon data reaching the sensor.

This design choice also improves efficiency. With stronger signal capture, astrophotographers can reduce total integration time for certain targets. That matters when imaging windows are limited by weather or moon phase. It also reduces the need to push ISO settings aggressively, which helps control noise.

Importantly, OM System did not remove infrared suppression entirely. The filter still controls unwanted wavelengths to preserve star colour accuracy and optical performance. The balance between sensitivity and colour fidelity reflects a deliberate engineering decision rather than an extreme modification.

Hardware alone does not solve astrophotography challenges. OM System has long invested in computational photography, and the OM-3 ASTRO benefits directly from this strategy. Several software-driven features address practical issues faced by night sky photographers.

Starry Sky AF stands out as one of the most relevant tools. Achieving accurate focus on stars is notoriously difficult. Manual focus often relies on trial and error, magnified live view, or external aids. Starry Sky AF detects point light sources and adjusts focus accordingly. This reduces setup time and improves repeatability, especially when temperatures change during long sessions.

Live Composite mode also plays a significant role. This mode accumulates light over multiple exposures while preventing overexposure of static elements. In astrophotography, this enables controlled star trail imaging and cumulative sky capture without constant monitoring. The photographer can observe exposure progress in real time and stop when sufficient signal accumulates.

The camera also supports high-resolution composite modes. While these modes are not optimised for moving stars, they can be useful for nightscapes that include static foregrounds. By shifting the sensor and combining frames, the camera reduces noise and increases detail. This flexibility allows photographers to adapt a single camera to different night imaging scenarios.

These tools reduce technical complexity. They do not replace astrophotography knowledge, but they lower the operational burden.

Price and availability

The OM System OM-3 ASTRO is priced at $2,499.99 and is available for pre-order.

Pre-Order OM-3 ASTRO at B&H for $2,499.99

Positioning between photography and astronomy

The OM-3 ASTRO does not replace dedicated astronomy cameras. Cooled monochrome sensors with narrowband filters still outperform mirrorless cameras for faint deep-sky imaging. OM System does not position the OM-3 ASTRO as a competitor in that space. Instead, the camera serves as a bridge. It offers astrophotography improvements while remaining usable for general photography. Landscape photographers who occasionally shoot the night sky gain immediate benefits. Astrophotography enthusiasts avoid the risks and costs of camera modification. Travel photographers carry one system instead of two.

This positioning reflects an understanding of how many photographers work. Most do not operate permanent observatories. They shoot under changing conditions, often with limited time. A camera that performs well across disciplines has real value. This also suggests that astrophotography has matured as a photographic discipline. Manufacturers now recognise it as a primary use case rather than a fringe activity.

Clear skies!

---

Instagram account @freyathesiberian shared a video featuring two fluffy cat siblings, Freya and Teddy, showing how each has a different personality from the other. The onscreen title adds context: “The differences between our two cats.” And you can’t figure out the differences in the beginning, as both cats pose side-by-side, looking serious and slightly unimpressed. 

2 cats are wildly opposite of each other

From there, the video explains how one cat’s personality differs from the second one’s through their day-to-day opposites. First up was grooming. The footage shows Freya staring straight ahead with an angry look as a brush comes toward her chest. Meanwhile, the onscreen text reads, “Freya: HATES being brushed, and gets extremely angry.”

The next shot flips the script, with Teddy enjoying as someone brushes him, while the onscreen text reads, “Teddy: Loves being brushed, will purr the entire time.”

Then come the vacuums — Freya sits near a robot vacuum looking nervous and ready to bolt. The caption explains, “Freya: Terrified of vacuums, will run away from them,” while Teddy treats cleaning tools like amusement park rides, as the video notes, “Teddy: Has no fear of vacuums, he enjoys riding them.” One clip even shows him sitting on top of the robovac as it moves across the floor.

Next, during playtime, Freya “always plays gently,” while Teddy “plays rough,” and the shots back it up with the cats bouncing off each other in very different ways.

The final comparison comes as Freya sits calmly by the car window as the text reads, “Freya: Enjoys going on car rides.” Teddy’s close-up tells the other side of that story, showing him meowing and popping his mouth open as the caption reads, “Teddy: Scared of car rides.” 

The video’s caption says what we know by now, noting that Freya and Teddy “are very different.” And viewers loved it. In fact, one commenter went against the video’s theme and pointed out the similarities between the two cats, writing, “Things they have in common: 1, They’re really fluffy. 2, They’re adorable.” And it is true — they are all of these things.

February, the month of love, isn’t just for humans. As Valentine’s Day approaches, and with the UK predicted to spend almost £1.5 billion for the occasion in 20251, it will come as no surprise that owners are also spending a lot of time, and money showing their furry friends how they feel. The animal kingdom may not be able to splash the cash but it’s no different in offering fascinating declarations of bonding and love in the most diverse and heartwarming of ways.

Most domesticated pets wear their hearts on their sleeves (or fur!). But do wild animals express their love so openly? Catrin George, animal wellbeing specialist at Animal Friends Pet Insurance shares some of the differences in the way our furry friends and wild animals show their affections. Catrin says:

“Whilst cats are often seen as aloof, they can still be very affectionate, often showing their love through ‘head boops’, rubbing their head or cheek against you to transfer their scent. This translates as a megaphone message from your cat to others, informing the world that you are their family2. Whilst bringing “gifts” like dead mice may not be as welcome, it is a cat’s way of sharing and showing that they consider you part of their family. Dogs however are well known for their affectionate nature and can show love by following you everywhere you go or heavily leaning against you. By leaning on their humans, dogs are looking for a sense of comfort and a feeling of safety3. Sleeping nearby can also signify that they consider you part of their pack”

As the only pet insurer in the UK founded specifically to give back to animal welfare, Animal Friends not only protect pets but also donates millions to safeguarding vulnerable animals around the world. So, in honour of Valentine’s and World Whale Day (February 16th) and as long-term supporters of charities such as the Whale and Dolphin Conservation Society and Born Free, Catrin is also exploring the unique ways in which whales and other wild animals express their love and affection through some captivating behaviours.

Humpbacks are Whaley romantic

Humans aren’t shy about using romantic music to show their loved ones how they feel, and Humpback whales are no different. Catrin says:

“Humpbacks rely on their whale call to help communicate in water, so it’s known that males have turned to composing and singing their very own love songs to win over the ladies. However, the females are a little more direct in their approach, by fluke and fin slapping on the surface of the water to encourage a male to approach4.

“Humpback affection extends to their young as well. A calf will nurse from its mother for a year, during which time mum will have to educate and protect her young from fierce predators. They have even been observed whispering with each other so that they can stay in contact without prey overhearing them5, and they’ll even bravely defend their young, alone, against entire pods of orcas.”

Orca family ties

It’s not just Humpbacks that flirt through song or display matriarchal signs in their ocean habitat. Catrin explains:

“Many whale species form strong bonds with their offspring, but orcas take it a step further. Mothers and their calves stay together for life, even after the offspring have their own babies. Orca mothers are fiercely protective, staying awake for the first month of their newborn’s life, mirroring the calf’s sleep patterns6.”

A Penguins chosen gift

Gift-giving isn’t exclusive to human romance. Catrin adds:

“Male Gentoo penguins are known to gift their chosen mate a pebble during mating season. This pebble is then used to build the nest in which their eggs will lay4. It’s even said that a male Gentoo is a true romantic, searching high and low to secure the perfect pebble for his lady.”

A trunk full of love on land

Elephants have often been known for their gentle nature and deep connections, Catrin explains further:

“These giant, gorgeous mammals will often demonstrate love to others in their herd through gentle touches like entwining trunks7. They also have incredibly strong bonds with their family, with the matriarchs taking lead of the herds and spending time nurturing and teaching their young.”

These diverse displays of love and affection are a powerful reminder that the drive for connection and nurture is not just specific to humans, but a language that translates across species. The wildly different ways that love is shown truly offers a heartwarming perspective on the animal bond that connects us universally and demonstrates why we need do what we can to protect both our pets and wildlife.

I had a fun shopping day! I even got to help out at the end.

At first when I got there, it was hard to figure out where to start!

So I went to the section that was guaranteed to be fun — the cat toys!

Unfortunately we didn’t get any toys. My human said that I’d probably get bored of anything after a week, and then she’d try giving it to the peach kitty and he’d run away with it.

So we went to the treat section because I needed more treats.

I also needed some food. So while my human was figuring out what to get me, I fooled around on a half-empty lower shelf.

I may have rubbed on a bag or two before we headed for checkout.

Can you believe there was a line at checkout? That almost never happens at the indie pet stores during the times we go. Since the line was in one of the dog aisles, my human put me on one of the higher up displays to keep me safe. Fortunately, we didn’t encounter any dogs while we were waiting.

I even got to help the store employee at checkout. That was fun, even though I didn’t get any treats. I usually get treats at the other store we go to.

What a fun day! I always enjoy my pet store adventures.

The L-Mount Alliance was first unveiled at Photokina 2018. It was positioned as a long-term ecosystem play—one that harmonized multiple brands and prioritized system longevity over short-term competition. For years, the alliance remained relatively compact, dominated mainly by lens options that often leaned toward the premium end of the market, produced by brands that pioneered the alliance, such as Leica, Panasonic, and Sigma. 

With Viltrox joining the alliance as its 10th member in September last year, it aims to broaden the alliance’s lens collection by bringing its technology to deliver quality lens choices that are more accessible to creators using L-Mount cameras. The latest Viltrox AF 16mm f/1.8 L represents Viltrox’s first serious step into this space: a large-aperture, ultra-wide angle lens designed to meet the practical needs of photographers and filmmakers who want performance without the traditional L-Mount price premium.

Speaking of which, the timing of Viltrox’s official entry into the alliance is also a strategic one, coinciding with the recent growth of L-Mount users and the demand for full frame lenses. This allows the brand to have the legal rights to use the mount’s underlying technology when producing lenses. More importantly for end users, this legitimacy allows for the highest level of compatibility, reliability, and firmware integration across camera bodies—something not commonly shared in the camera industry. With that context in mind, I was pleased to see how Viltrox’s first L-Mount offering would perform when tested in a real-world environment, especially in an ecosystem known for its demanding standards.

Build Quality

Picking the Viltrox AF 16mm F/1.8 L right out of the box, the first thing I noticed was how dense this lens feels. Measuring Φ85.2 × 103 mm and weighing approximately 550 g, it features an all-metal barrel construction with an aluminum-alloy mount and rubber gasket, promising extensive weather sealing for a lens in this price range. In fact, it does provide a premium feel in use. I also appreciate that the lens markings appear to be lightly laser-etched onto the barrel rather than merely painted on top, ensuring they will last longer and further reinforcing that premium experience. You can also find a USB-C port at the bottom of the mount for future firmware updates, helping ensure long-term compatibility. Viltrox also claims the lens features a high-grade internal dust-sealing construction, which, when combined with its internal focusing design, should improve durability and provide better protection against dust entering the lens, as there are no external moving parts.

The front element has the typical convex shape found on most wide angle lenses, but thankfully it does not protrude beyond the filter thread, making it possible to use standard 77mm filters. It is coated with a water-repellent, smudge-resistant coating, which helps make cleaning the lens on location easy—an important consideration for landscape photographers working in challenging environments. On the lens barrel, Viltrox includes a generous array of physical controls. You will find a wide, textured metal focusing ring (covering almost 30 percent of the barrel), a small information display in the middle, an AF/MF switch with two Fn buttons on the right, and a de-clickable aperture switch on the left. Personally, I found the two Fn buttons positioned a little too low and somewhat awkward to use; I would have preferred them swapped with the de-clickable aperture switch.

 

The focusing ring is wide enough and provides adequate traction for comfortable manual focusing, though it can feel a little loose if you are accustomed to traditional mechanical focus lenses. The focus-by-wire mechanism is responsive enough that making fine adjustments is not an issue. In terms of focus throw, it takes roughly five to six rotations to move from the minimum focusing distance of 0.27 m to infinity, which I found slightly excessive. The digital focusing scale is divided into 20 equal sections, though the distance from 1.75 m to infinity is compressed into the final two segments, making precise manual focus beyond 1.75 m more difficult at wider apertures. Better spacing here would have been beneficial. That said, this is not a major practical concern, as at f/5.6, anything from approximately 2 m onward falls within the hyperfocal distance. More frustrating is the absence of a hard stop at either end of the focus ring, an unavoidable limitation of the focus-by-wire design.

Having a physical aperture ring with the option to be de-clicked is especially useful for video work. When de-clicked, the ring maintains a satisfying level of resistance, though not enough to fully prevent accidental adjustments. Keeping it in the clicked mode alleviates this issue. The aperture ring clicks in 0.3-stop increments and features a soft stop before entering “A” (auto) mode to be controlled from the camera. It is worth noting that rotating the aperture ring with the camera powered off does not physically change the aperture, as control remains electronic. As a result, users who rely on strict aperture consistency may still encounter some variance during continuous shooting.

The lens also features a 160 × 80-pixel RGB IPS display that shows focus distance, focus mode, depth-of-field scale, aperture value, and Fn button indicators. This is a genuinely useful feature when working in low light, though the screen can appear overly bright in dark environments. An option to disable or dim the display would be welcome. From a design standpoint, some may dislike the flat screen mounted on an otherwise round barrel, as it slightly disrupts the seamless aesthetic. Personally, it did not bother me and instead gave the lens a distinctive visual identity.

Features

The Viltrox AF 16mm f/1.8 L is part of Viltrox’s DF/RBW (Digital Fullframe / Real Beam Waveguide) lens series, referring to lenses designed for full frame cameras that use a specialized multi-coating process to enhance image quality. Optically, the lens employs a complex design consisting of 15 elements in 12 groups, including four extra-low dispersion elements and three aspherical elements. These are combined with Viltrox’s HD nano multi-layer anti-reflection coatings to control chromatic aberration and maintain edge-to-edge clarity—two areas where ultra-wide angle lenses often struggle.

On a full frame camera, the lens offers a 105.6-degree angle of view and, combined with its bright f/1.8 to f/22 aperture range, makes it well suited for landscape, architecture, astrophotography, and immersive environmental work. The nine-blade aperture produces sunstars with double the number of points, which may appear overly complex for some tastes. That aside, the 16 mm focal length strikes a practical balance, allowing for dramatic framing while still keeping perspective distortion manageable with careful composition. Personally, 16 mm is the widest focal length I would regularly choose to use.

Autofocus-wise, it uses a more budget-friendly Stepping Motor (STM) to drive its autofocus, which Viltrox claims delivers fast, accurate and quiet performance. This choice aligns well with the lens’s video-oriented positioning. While STMs are known to be cheap, they are typically also favored in video work for their smoother focus transitions and reduced operational noise. The focus breathing of the lens is also surprisingly low, allowing photographers and videographers to maintain their frames during focus pulls or focus stacking, a rather practical design consideration for creators. 

The Viltrox AF 16mm F/1.8 L also has a minimum focusing distance of 0.27 meters and a maximum magnification of 0.1x, which does sound pretty close, but at 16mm focal length, it is really not much at all, totally logical, as this lens is not designed for close-up work. As we have discussed earlier, while the focus by wire mechanism does pose some challenges when manual focusing, having the ability to utilize the Fn2 button to set up to 2 focus points (A&B) with the combination of digital focus scale display may change your traditional workflow in approaching night landscape photography. Imagine setting up the focus properly before the sky is dark, and all you need to do is wait for the night to fall to shoot your set of focus-stacked photos without second-guessing the focus again. Thankfully, the lens does remember the saved settings even after powering off—a huge plus point. Though do take note that this mode only works in manual focus, and do make sure that there is a green indication on the distance scale indicating a successful save of the focus distance. Besides, you can also customize the extra Fn1 button to whatever you like in your camera—further streamlining your workflow.

Real-World Usage and Examples

Since the Viltrox AF 16mm F/1.8 L is already available on other mounts previously, I do believe to a certain extent that this lens shares the same optical formula with the other versions. The differences would primarily come from the mount integration and firmware behavior. In real-world use, the lens does behave as expected for a fast ultra-wide prime at this price range. If anything, it does seem to punch above its category. Sharpness across the frame is generally good, with excellent center acuity that holds up well even wide open. Performance towards the edges is not as strong, and some post-sharpening is also needed to bring them closer in line—particularly for landscape or architectural work where edge detail matters. That said, once stopped down, corner performance improves noticeably. In my testing, sharpness across the frame looked best between f/5.6 and f/7.1, and it held up reasonably well until around f/11, where diffraction starts to take a visible toll on the overall sharpness for anything past f/16.

Distortion is surprisingly well controlled for a 16mm lens. In fact, it is not something that will immediately draw your attention in real-world shooting—possibly corrected with the pre-loaded lens profile. Straight lines near the edges show slight curvature, but nothing unexpected for a lens at this focal length, and it is easily corrected in post if needed. From my research, laboratory measurements from other mounts show only modest barrel distortion, around -1.1 %, which I would assume is the same as what we have here. Overall chromatic aberration remains well controlled, especially with profiles applied; there is very minimal fringing even in high-contrast edges—though a tiny amount may still be visible toward the extreme corners of the frame in some scenes.

Flare control is decent in most cases, though not outstanding. Especially in certain situations with direct lighting, you are going to get some reddish/magenta ghosting with green flares, possibly from the anti-reflective coating. On the positive side, color and contrast are generally still well maintained on the rest of the frames. Therefore, using the lens hood is highly encouraged, especially when shooting into challenging light sources. Vignetting is something that does not fully disappear on its own. It is quite strong wide open, and while stopping down to around f/4 brings it to its most manageable level, some residual corner shading remains and will need to be addressed in post-processing. I would say the overall image rendering is pleasing. Images are sharp, colors look natural, and contrast holds up well in most scenarios. If I have to nitpick, the out-of-focus rendering in the mid-range can appear a little “nervous”, which I am personally not a fan of, but given the focal length and practicality, this might be the last thing that will bother you.

Autofocus performance via the STM motor is fast, quiet, and in practice does keep up well for both stills and video. Though at 16mm, focusing speed is rarely a limiting factor, as most of the things will be in focus anyway. Focus breathing is minimal, which makes focus stacking easier and is a welcome trait for video shooters who need consistent framing during focus pulls. While it performs well in the autofocus department, the focus scale can be tricky to get precise focus for anything past 1.75 m when you are shooting wide open. Stopping down a little will help, as given how wide this lens is, you will reach hyperfocal distance by f/2.8. 

On the aperture ring. If you prefer to control aperture from the camera body, setting the ring to “A” works as intended. However, I do wish there were a lock mechanism when in this position, as the ring can occasionally slip into a manual aperture setting during transportation.

Finally, something important to take note of. While the excellent mid-frame sharpness did encourage me to try this lens on APS-C L-Mount bodies, I did encounter aperture inconsistency that causes exposure issues when used with my Leica CL. Viltrox has also confirmed this compatibility issue with me and states that it’s not an issue with any full frame cameras, given that this is a full-frame lens. Logically, this behavior should not exist within the L-mount alliance, and I do hope it gets addressed through future firmware updates, but for now, it is something to take note of if you plan to use this lens on APS-C L-Mount cameras.

Summary

What I Liked

• Physical aperture ring with the ability to de-click for video use
• Functional Fn buttons, adding useful custom control on the lens itself
• Digital focus scale display, providing quick visual feedback without relying on the camera body
• Large f/1.8 maximum aperture, expanding low-light and creative shooting possibilities for an ultra-wide lens
• Strong center sharpness that holds up well in real-world use
• Competitive pricing, especially within the L-Mount ecosystem
• Weather sealing adds confidence when shooting in less-than-ideal conditions

 What Could Be Improved

• No hard stop on the focusing ring, limiting precision for manual focus
• Focus throw could be shortened for more responsive manual focus adjustments
• Flare control could be better, particularly in direct or strong backlighting
• Ability to store more focus points, rather than being limited to just two (A and B)
• Option to switch off the digital display when it is not in use, or to dim it in the dark
• Reduction in size and weight would be welcome
• More balanced focus scale, as distances become too compressed from around 1.75 m onward
• Firmware update to fix aperture inconsistency on APS-C L-Mount cameras
• Add a lock for the aperture ring in “A” mode

Final Closing Thoughts

The Viltrox AF 16mm F/1.8 L is a meaningful addition to the L-Mount ecosystem, bringing a combination of accessibility, functionality, and performance that has historically been limited within this system. Even at this price range, it delivers strong real-world image quality where it matters most and doesn’t seem to hold anything back in physical design. While it has some minor drawbacks, it succeeds at what it sets out to do. That said, at $580, the Viltrox AF 16mm f/1.8 L is a lens worth considering for photographers and filmmakers looking for a practical and affordable ultra-wide angle lens.

Star formation begins inside cold molecular clouds, where gravity slowly overwhelms thermal pressure and turbulence. These environments remain difficult to study because dust absorbs visible light and hides the earliest stages of stellar evolution. Space-based telescopes with high spatial resolution and multiwavelength capability, therefore, play a critical role in understanding how stars form and evolve. The Hubble Space Telescope continues to make a decisive contribution in this area.

Two recent Hubble observations focus on nearby star-forming regions within the Milky Way. One image targets the Lupus 3 molecular cloud. The other examines NGC 1333 in the Perseus molecular complex. Although these regions differ in structure and density, both reveal active stellar nurseries. Together, they provide a detailed view of early stellar evolution across multiple stages. These observations resolve circumstellar disks, trace stellar variability, and show how newly formed stars interact with their environment. As a result, they strengthen current models of star formation and help connect theory with observation.

Lupus 3: A nearby laboratory for low-mass star formation

Lupus 3 lies approximately 500 light-years from Earth in the constellation Scorpius. It forms part of the larger Lupus molecular cloud complex. Compared to massive star-forming regions, Lupus 3 appears relatively sparse. However, this apparent simplicity makes it an ideal target for studying low-mass star formation.

Hubble’s image reveals a diffuse cloud threaded with dark dust lanes. Embedded within this structure are numerous young stars. Most belong to the T Tauri class. These stars have already emerged from their natal envelopes but have not yet reached the main sequence. Their ages typically remain below ten million years.

T Tauri stars continue to contract under gravity. At the same time, they accrete material from surrounding disks. This accretion process drives variability in both brightness and spectral output. Hubble resolves these stars individually, allowing astronomers to study them in context rather than isolation.

Meanwhile, illuminated gas highlights regions where stellar radiation interacts with the cloud. In contrast, opaque dust marks areas of higher density. These dense pockets may collapse in the future, extending star formation within Lupus 3. The image, therefore, captures both current activity and potential future evolution.

Photometric variability and the nature of stellar youth

The Lupus 3 observation places particular emphasis on stellar variability. Many of the T Tauri stars in the region show irregular changes in brightness. These variations arise from multiple physical processes acting simultaneously.

First, rotating starspots modulate visible light output. Second, episodic accretion events deposit energy onto the stellar surface. Third, circumstellar material intermittently obscures the star. Each mechanism leaves a distinct observational signature.

Hubble’s stability allows astronomers to measure these effects precisely. Over time, such data improve constraints on stellar rotation rates and magnetic field strength. They also clarify how mass transfer from disk to star proceeds during early evolution.

Importantly, these processes influence disk survival. Strong magnetic activity and stellar winds can erode circumstellar material. As a result, they affect the window of opportunity for planet formation. Lupus 3 provides insight into how young stars shape their own planetary environments.

NGC 1333: Multiple phases of stellar birth

NGC 1333 lies deeper within the Perseus molecular cloud at a distance of roughly 950 light-years. Unlike Lupus 3, this region contains a dense concentration of young stellar objects. Hubble’s image reflects that complexity. Within a single field of view, the observation captures protostars, pre-main-sequence stars, and variable young objects. The most striking feature is a deeply embedded protostar surrounded by a thick circumstellar disk.

This disk blocks direct starlight and casts pronounced shadows into the surrounding nebula. These shadows confirm the disk’s geometry and orientation. They also indicate a substantial mass reservoir feeding the growing star.

At the same time, outflows emerge from the protostar’s poles. These jets clear cavities in the surrounding cloud. Light escapes along these channels and scatters off dust grains. The result is a structured reflection nebula shaped by stellar feedback. This interaction between inflow and outflow defines the protostellar phase. NGC 1333 provides a direct observational window into one of the most critical stages of star formation.

Disks and jets: The regulators of stellar growth

Circumstellar disks play a central role in early stellar evolution. They regulate angular momentum and control accretion. Without them, stars could not form efficiently. The NGC 1333 image highlights these disks through both direct and indirect signatures.

Disk shadows offer one of the clearest indicators. They require a disk thick enough to block light and extended enough to influence the surrounding cloud. Observing these features helps constrain disk mass and vertical structure.

Jets and outflows provide the counterbalance. They remove excess angular momentum and limit stellar mass growth. They also inject energy into the cloud, altering local conditions. In some cases, this feedback may trigger additional star formation nearby.

Hubble’s resolution allows astronomers to disentangle these competing effects. By observing multiple objects within NGC 1333, researchers compare how similar processes unfold under slightly different conditions.

Multiwavelength imaging and the role of dust

Dust governs much of what Hubble observes in these regions. While dust obscures visible light, it also reflects and scatters it. This dual role shapes the appearance of both Lupus 3 and NGC 1333. Hubble combines visible and near-infrared data to overcome these limitations. Near-infrared light penetrates deeper into dusty regions. Visible light traces reflection, nebulosity, and ionized gas. Together, these wavelengths reveal a layered structure.

In Lupus 3, this approach highlights diffuse clouds and exposed young stars. In NGC 1333, it reveals embedded protostars and disk shadows. The same technique thus adapts to different environments.

Observations of nearby stellar nurseries test theoretical models. Simulations predict how clouds fragment, how disks evolve, and how feedback shapes environments. Hubble’s images offer real benchmarks against which these predictions must align. Lupus 3 supports models of low-mass star formation in relatively calm environments. NGC 1333, in contrast, illustrates clustered formation with strong feedback. Together, they show the diversity of star-forming conditions within the same galaxy.

Clear skies!

---