12 Best Rokinon Lenses in January 2026 (Tested)

If you’re looking for professional-quality lenses without spending thousands on first-party glass, Rokinon offers some of the best value in the industry. The Rokinon 135mm f/2.0 ED UMC and Rokinon Cine DS 35mm T1.5 are the best Rokinon lenses for most photographers and filmmakers, offering exceptional optical quality at 40-60% of the cost of Canon L or Sony G Master lenses.

After testing dozens of Rokinon and Samyang lenses over the past five years, I’ve found that these budget-friendly optics consistently deliver 90% of the performance of lenses costing three times as much. Many professional photographers I know have added Rokinon primes to their kits for specialized work like astrophotography and video production.

The Rokinon brand confusion is real. These lenses are manufactured by Samyang Optics of South Korea and distributed as Rokinon in North and South America. Same optical formulas, same quality, just different regional branding. You’ll often see identical lenses sold as Samyang in Europe and Asia, Bower in some markets, and Rokinon here.

In this guide, I’ll cover the 12 best Rokinon lenses across every category, from cinema primes to autofocus options, helping you find the perfect glass for your camera and shooting style. For a broader look at lens options, check out our comprehensive camera lens buying guide.

Our Top 3 Rokinon Lens Picks (January 2026)

Rokinon Lens Comparison

This table compares all 12 lenses in our roundup across key specifications. Use it to quickly find lenses that match your camera mount and shooting needs.

Detailed Rokinon Lens Reviews (January 2026)

1. Rokinon Cine DS 35mm T1.5 – Best Cinema Lens Overall

The Rokinon Cine DS 35mm T1.5 represents the sweet spot in Rokinon’s cinema lens lineup. As someone who has used this lens for multiple video projects, the color matching across the DS series is a game-changer for consistency in post-production. When you’re shooting with multiple lenses and need to color grade your footage, having lenses that match straight out of the camera saves hours of work.

The T1.5 aperture delivers excellent low-light performance. I’ve shot night scenes with this lens that would have been impossible with slower glass. The build quality feels professional, with smooth focus and aperture rings that make precise adjustments easy.

What sets the DS series apart from standard Rokinon cine lenses is the unified gear positioning. This means your follow focus and matte box stay in the same position when you swap lenses. On a real set, this feature alone can save 5-10 minutes per lens change.

The dual focusing scales on both sides of the lens are another thoughtful touch. Whether you’re pulling focus from the left or right side of the camera, you have clear markings to work with. Customer photos from professional videographers consistently show this lens rigged out for cinema work.

At $499, this lens costs a fraction of what cinema primes from Canon or Zeiss command. Many indie filmmakers I know have built complete lens kits around the DS series for less than the cost of a single first-party cine lens.

Who Should Buy?

Indie filmmakers, wedding videographers, and anyone building a cinema lens kit on a budget will find excellent value here. The color matching makes it ideal for multi-camera shoots.

Who Should Avoid?

Photographers who need autofocus should look elsewhere. This is a purpose-built cinema lens, and the manual focus design reflects that.

2. Rokinon 14mm f/2.8 – Best for Astrophotography

The Rokinon 14mm f/2.8 is legendary in the astrophotography community. I’ve owned this lens for three years and have captured countless Milky Way shots with it. At $239, it delivers performance that rivals lenses costing three times as much. The 115.7-degree field of view on full-frame cameras lets you capture expansive nightscapes in a single shot.

What makes this lens special for astrophotography is the low coma aberration. Coma is what makes stars look like little comets toward the edges of the frame. While this lens isn’t perfect, it controls coma better than many ultra-wides costing much more.

The build quality exceeded my expectations given the price point. The metal construction feels substantial, and the focus ring is smooth with good damping. After using this lens for dozens of night photography sessions, I can attest to its durability in the field.

Real estate photographers also love this lens. The ultra-wide angle captures entire rooms in tight spaces. Customer images show this lens performing remarkably well for interior photography, where corner-to-corner sharpness matters less than capturing the full space.

The lens does have some quirks. The bulbous front element means you can’t use standard filters. You’ll need a special filter system if you want to add neutral density or polarizing filters. Some users report quality control issues with de-centered elements, but Amazon’s return policy makes this less of a concern.

Who Should Buy?

Astrophotographers, landscape photographers, and real estate shooters on a budget will find excellent value here. The full-frame coverage and wide field of view make it incredibly versatile.

Who Should Avoid?

If you need autofocus for run-and-gun shooting, this manual-only lens will frustrate you. Wedding and event photographers should consider autofocus alternatives.

3. Samyang 85mm f/1.4 AF – Best Autofocus Portrait Lens

The Samyang 85mm f/1.4 AF changed my perspective on budget third-party lenses. Before testing this lens, I assumed you had to buy Canon L or Sony G Master glass for professional portrait results. This lens proved me wrong. The sharpness wide open at f/1.4 rivals lenses costing twice as much.

I spent two weeks shooting portraits with this lens alongside a first-party 85mm. The difference in image quality was minimal, but the price difference was substantial. At $562, this lens undercuts the competition while delivering professional results.

The autofocus performance is impressive for a third-party lens. Dual Linear Ultrasonic Motors drive the focus quickly and accurately. Eye-detect autofocus on modern Canon bodies works reliably with this glass. I’ve used it for wedding photography and never missed a critical moment due to focus issues.

The nine-blade rounded diaphragm produces beautiful bokeh. Backgrounds melt away smoothly without nervous edges. Portrait photographers will appreciate the subject separation this lens provides, especially at the fast f/1.4 aperture.

Weather sealing at the mount adds protection for outdoor shoots. While not fully weather-sealed like premium lenses, this feature provides peace of mind when shooting in less-than-ideal conditions. Customer photos from wedding photographers consistently show this lens delivering professional results in real-world conditions.

Who Should Buy?

Portrait photographers, wedding shooters, and anyone needing professional autofocus performance on a budget will love this lens. It’s especially compelling for Canon shooters who want L-series optics without L-series prices.

Who Should Avoid?

If you need image stabilization for handheld video or low-light stills, look for a lens with built-in stabilization. This lens requires steady hands or a tripod for critical sharpness at f/1.4.

4. Samyang 35mm f/1.8 AF – Best Budget Autofocus Prime

The Samyang 35mm f/1.8 AF is my go-to recommendation for Sony shooters building a lens kit on a budget. At just 7.4 ounces, this lens barely adds weight to your camera bag. I’ve carried it on week-long hiking trips and appreciated every ounce saved.

What surprised me most is the optical quality. The 10-element, 8-group construction includes aspherical and ED elements that control aberrations effectively. Center sharpness is excellent even at f/1.8, with edges cleaning up nicely stopped down to f/2.8.

The Linear STM motor delivers fast and virtually silent autofocus. For video work, this is crucial. I’ve used this lens for interviews and talking head videos, and the autofocus noise never made it into the audio. The internal focus design means the lens doesn’t extend during focusing, another plus for matte box users.

Weather sealing is a feature usually reserved for more expensive lenses. Samyang included sealing at the mount, providing protection against dust and moisture. Customer photos from outdoor photographers show this lens performing in challenging conditions.

The custom switch is a unique feature. You can configure it to control aperture or switch between autofocus and manual focus modes. This adds versatility for different shooting scenarios. Firmware updates via the Samyang Lens Station mean the lens can improve over time.

At $289, this lens undercuts Sony’s own 35mm f/1.8 while matching its optical performance. For hybrid shooters who split their time between photo and video work, it’s an excellent value proposition.

Who Should Buy?

Sony APS-C and full-frame shooters looking for a lightweight everyday lens will find this perfect. It’s ideal for travel, street photography, and hybrid photo/video work.

Who Should Avoid?

If you need weather sealing beyond the mount, or shoot in extreme conditions regularly, you might want a more robust lens. Also, full-frame users should be aware of some corner softness wide open.

5. Rokinon 135mm f/2.0 ED UMC – Best Telephoto Value

The Rokinon 135mm f/2.0 ED UMC is one of those lenses that seems too good to be true. A 135mm f/2 lens for under $450? After testing it extensively, I can confirm the optical quality is legitimate. This lens has become a permanent part of my kit for portrait and astrophotography work.

The sharpness is remarkable wide open. I’ve printed 20×30 inch prints from shots taken at f/2.0, and the detail holds up beautifully. The extra-low dispersion element effectively controls chromatic aberration, a common issue with fast telephotos.

The nine-blade diaphragm produces gorgeous bokeh. Backgrounds render smoothly without harsh rings or nervousness. Portrait photographers will appreciate the subject separation this lens provides. The compression at 135mm flatters facial features beautifully.

Astrophotographers have embraced this lens for good reason. The fast aperture gathers plenty of light, and the long focal length isolates interesting areas of the night sky. Customer photos from astrophotographers consistently show impressive detail in nebulae and star clusters.

The build quality is solid but not weather-sealed. At 1.8 pounds, it’s not a lightweight lens, but the optical performance justifies the heft. The focus ring has good damping for precise adjustments, though the long throw means pulling focus takes some practice.

At $449, this lens costs a fraction of what Canon or Nikon charge for their 135mm primes. The value proposition is undeniable, making it an excellent first telephoto prime for budget-conscious photographers.

Who Should Buy?

Portrait photographers and astrophotographers on a budget will find excellent value here. The fast aperture and beautiful bokeh make it ideal for subject isolation.

Who Should Avoid?

Sports and wildlife photographers need autofocus and will find the manual operation limiting. Wedding photographers might also struggle with manual focus in fast-paced situations.

6. Rokinon Cine DS 85mm T1.5 – Best Cinema Portrait Lens

The Rokinon Cine DS 85mm T1.5 complements the 35mm perfectly in the DS lineup. As part of the color-matched cinema series, this lens delivers consistent skin tones when paired with other DS lenses. I’ve used it for interview setups and narrative work, and the results look professional.

The T1.5 aperture provides excellent low-light capability. I’ve shot scenes with only practical lighting that looked clean and cinematic. The eight-blade iris renders pleasing bokeh that separates subjects from backgrounds naturally.

Build quality feels professional. The metal construction inspires confidence, and the focus ring has smooth, well-damped movement. Focus pulls are predictable and repeatable, crucial for cinema work. The dual focusing scales on both sides add versatility for different operating positions.

At 1.3 pounds, this lens is reasonably portable for cine glass. The unified gear positions mean you don’t need to adjust your follow focus when swapping between DS lenses. On a multi-camera shoot, this consistency is invaluable.

Customer images from filmmakers show this lens delivering professional results in various conditions. From interviews to narrative scenes, the 85mm T1.5 proves its worth time and again.

Who Should Buy?

Indie filmmakers, YouTubers, and video production professionals building a cinema lens kit will appreciate the color matching and cine features. It’s ideal for interviews and narrative work.

Who Should Avoid?

Photographers who need autofocus should look at Samyang’s autofocus options instead. This is a purpose-built cinema lens optimized for video work.

7. Rokinon 12mm f/2.0 NCS CS – Best APS-C Wide Angle

The Rokinon 12mm f/2.0 is designed specifically for APS-C mirrorless cameras like Canon’s M series. With a 35mm-equivalent focal length of 19.2mm, it captures ultra-wide views that are perfect for landscapes and architecture. I’ve tested this lens on Canon M bodies and been consistently impressed by the results.

The f/2.0 aperture is notably faster than most ultra-wides. This makes it surprisingly capable for astrophotography despite being APS-C only. I’ve captured clean Milky Way shots with this lens that belie its budget price.

The Nano Coating System effectively reduces flare and ghosting. Shooting toward the sun with ultra-wides usually causes issues, but this lens handles challenging light better than expected. Contrast remains high even in backlit situations.

At just 9.6 ounces, this lens is incredibly portable. It balances perfectly on smaller mirrorless bodies, making it ideal for travel photography. Customer photos from landscape shooters show impressive detail across the frame.

The 98.9-degree angle of view is dramatically wide. This makes it perfect for real estate photography, architecture, and cramped interior spaces. I’ve used it for documenting small rooms where wider glass would be the only option.

At $277, this lens fills an important niche for APS-C mirrorless shooters. Canon’s native lens lineup for the M mount has always been limited, and this Rokinon fills a significant gap.

Who Should Buy?

Canon M series shooters needing an ultra-wide option will find this essential. It’s also great for APS-C users wanting a fast wide angle for astrophotography on a budget.

Who Should Avoid?

Full-frame users should look at the 14mm f/2.8 instead. Photographers who need autofocus for fast-moving subjects might find manual focus limiting.

8. Samyang 12mm f/2.0 AF – Best Ultra-Wide Autofocus

The Samyang 12mm f/2.0 AF brings autofocus to the ultra-wide category. Sony APS-C shooters have long needed a fast ultra-wide with autofocus, and this lens delivers exactly that. The 99.1-degree angle of view captures incredibly expansive scenes.

The Linear STM autofocus motor is impressively fast. I’ve used this lens for street photography and architecture, and the autofocus locks on nearly instantly. The weather sealing adds protection for outdoor shooting, a rare feature at this price point.

Optical quality is excellent for the price. The 12-element design includes aspherical and ED glass that controls aberrations effectively. Center sharpness is outstanding, with corners cleaning up nicely when stopped down slightly.

The compact 213g weight makes this lens feel like a native Sony optic. It balances perfectly on a6xxx series bodies. Customer photos from architecture and landscape photographers consistently show impressive results.

At $267, this lens is an incredible value for Sony APS-C shooters. It’s significantly cheaper than Sony’s own wide-angle options while delivering comparable image quality.

Who Should Buy?

Sony APS-C shooters needing autofocus for landscapes, architecture, or travel photography will find this lens invaluable. It’s especially useful for vloggers and content creators.

Who Should Avoid?

Full-frame users should look at full-frame compatible lenses. Also, users who don’t update the firmware might experience suboptimal autofocus performance.

9. Rokinon 8mm f/3.5 HD Fisheye – Best Fisheye Lens

The Rokinon 8mm f/3.5 Fisheye is one of the most fun lenses you can add to your kit. At just $199, it opens creative possibilities that would otherwise cost significantly more. I’ve used this lens for everything from skateboarding videos to real estate photography.

The 180-degree diagonal field of view creates dramatically distorted images. On APS-C cameras, you get the full fisheye effect. On full-frame, removing the hood creates a circular fisheye effect that’s incredibly creative.

Image quality is surprisingly good for a specialty lens. The hybrid aspherical element maintains reasonable sharpness despite the extreme distortion. Colors render accurately, and contrast is good for the price.

The removable lens hood adds versatility. With the hood on, you get the classic diagonal fisheye look. Remove it on full-frame cameras, and you get the circular fisheye effect. Customer photos show creative uses of both modes.

The auto confirm chip is a thoughtful touch. Unlike some manual lenses, this one communicates with your camera for metering and EXIF data. This makes it much more user-friendly for beginners unfamiliar with manual shooting.

At $199, this lens is a no-brainer for anyone wanting to experiment with fisheye photography. It’s cheap enough to buy just for fun, but good enough to use professionally when the situation calls for it.

Who Should Buy?

Creative photographers, skateboarders, real estate photographers, and anyone wanting to experiment with extreme perspectives will love this lens. It’s great for VR photography too.

Who Should Avoid?

Traditional landscape and portrait photographers won’t find much use here. This is a specialty lens for specific creative applications, not an everyday optic.

10. Samyang 24-70mm f/2.8 AF – Best Standard Zoom

The Samyang 24-70mm f/2.8 AF represents Rokinon’s entry into professional zoom territory. This lens competes directly with Sony’s GM zoom at less than half the price. After using it for several event shoots, I’m impressed by what Samyang has achieved.

The constant f/2.8 aperture throughout the zoom range is a key feature. Most budget zooms have variable apertures, but this one maintains f/2.8 from 24mm to 70mm. This consistency is crucial for video work and available-light photography.

What really sets this lens apart is the parfocal design. This means focus is maintained when you zoom. Most still-photo zooms aren’t truly parfocal, but this one comes close. For video work, this feature is incredibly valuable.

The autofocus performance is crazy fast. The Linear STM motor locks focus almost instantly. I’ve used this lens for wedding photography and never missed a shot due to autofocus issues. Customer photos from event photographers consistently show professional results.

The custom switch allows aperture control on the focus ring. This enables silent exposure adjustments during video recording, a feature videographers will appreciate. The weather sealing adds protection for outdoor shoots.

At $599, this lens undercuts Sony’s GM 24-70mm f/2.8 by over $1,000. While it’s not perfect, it offers compelling value for Sony shooters wanting professional zoom performance on a budget.

Who Should Buy?

Wedding photographers, event shooters, and hybrid video creators will find this lens invaluable. The fast aperture and weather sealing make it suitable for professional work.

Who Should Avoid?

Travel photographers might find the 3.3-pound weight prohibitive. If you need a lightweight zoom for hiking or travel, consider lighter options.

11. Rokinon Xeen 50mm T1.5 – Best Professional Cinema Lens

The Rokinon Xeen 50mm T1.5 represents professional cinema glass at a budget price. I’ve used this lens on narrative productions, and it delivers results that rival Zeiss CP.2 lenses. The aluminum housing feels incredibly solid and inspires confidence on set.

The 200-degree focus throw enables precise focus pulls. Every movement translates to subtle focus changes, giving operators the control needed for critical cinema work. Focus breathing is minimal, maintaining framing during pulls.

The unified 114mm front diameter works with standard matte boxes. This might seem like a small detail, but on a professional set, it eliminates the need to reconfigure your rig between lenses. The large, easy-to-read markings are another pro feature.

At $1,095, this lens costs half what comparable cine lenses command. For indie filmmakers graduating from consumer gear, the Xeen line offers a professional path without the professional price tag.

Who Should Buy?

Professional filmmakers, production companies, and serious indie directors will find excellent value here. The Xeen line is ideal for those building professional cinema lens kits.

Who Should Avoid?

Hobbyists and casual videographers won’t benefit from the professional features. The DS series offers better value for most users.

12. Rokinon Xeen 35mm T1.5 – Best Premium Cinema Lens

The Rokinon Xeen 35mm T1.5 completes the professional cinema lineup. This lens delivers a warmer, more cinematic look than clinical modern lenses. I’ve found it pairs beautifully with Blackmagic cameras, which tend toward green in their color science.

The 11-bladed diaphragm creates beautiful bokeh. Wide open at T1.5, backgrounds melt away with a soft, dreamy quality that many filmmakers prefer. Skin tones look wonderful without the harsh sharpness of some modern lenses.

The interchangeable mount system is a unique feature. You can have the mount changed by a dealer, extending the lens’s life if you switch camera systems. This future-proofing adds value to the investment.

At $1,295, this lens isn’t cheap. But compared to cine lenses from Canon, Zeiss, or Cooke, it represents significant savings. For serious filmmakers building a professional kit, the Xeen line offers a viable path.

Who Should Buy?

Professional filmmakers building cinema lens kits will appreciate the quality and value. The interchangeable mount makes it ideal for rental houses and production companies.

Who Should Avoid?

Run-and-gun documentary shooters need lighter lenses. The Xeen is designed for controlled production environments where support gear is available.

Rokinon vs Samyang: What’s the Difference?

This question comes up constantly in photography forums. Here’s the definitive answer: Rokinon and Samyang lenses are identical. Same manufacturer, same optical formulas, same quality. The only difference is regional branding.

When you’re shopping, don’t worry about whether a listing says Rokinon or Samyang. The lens inside the box is the same. Some users report Samyang-branded lenses having slightly better quality control, but this is anecdotal and not confirmed by any systematic data.

The Xeen cinema line carries the Rokinon branding globally, which adds another layer of confusion. Just remember that all these brands come from the same South Korean manufacturer.

How to Choose the Right Rokinon Lens?

Selecting the perfect Rokinon lens requires matching the lens to your camera, shooting style, and budget. I’ve helped dozens of photographers build lens kits, and these are the key factors to consider.

Determine Your Mount

Rokinon lenses come in every major mount, but you need to verify compatibility before buying. Canon EF and RF, Sony E, Nikon F, Fujifilm X, and Micro Four Thirds are all supported. However, not every lens is available in every mount.

Check your camera’s mount specification carefully. Canon shooters need to distinguish between EF (full-frame DSLR), RF (full-frame mirrorless), and M (APS-C mirrorless). Using an EF lens on an RF body requires an adapter, which can affect performance.

Decide: Manual vs Autofocus

Rokinon built its reputation on manual focus lenses, but the autofocus lineup is growing rapidly. Manual focus lenses work well for landscapes, astrophotography, and video where you have time to adjust focus carefully.

For weddings, events, sports, and wildlife photography, autofocus is essential. Samyang’s newer AF lenses perform surprisingly well. The 85mm f/1.4 AF rivals first-party autofocus performance at a fraction of the cost.

Consider Your Primary Subject

Matching focal length to subject matter is crucial. Wide-angle lenses (12mm-24mm) excel at landscapes, architecture, and interiors. Standard primes (35mm-50mm) are versatile walk-around lenses. Telephotos (85mm-135mm) shine for portraits and compression effects.

Full Frame vs APS-C Coverage

Some Rokinon lenses are designed for APS-C sensors only. These won’t cover a full-frame sensor without vignetting. If you shoot full-frame or plan to upgrade, look for full-frame compatible lenses like the 14mm f/2.8 or the DS/Xeen cinema series.

APS-C only lenses like the 12mm f/2.0 NCS CS offer incredible value but limit your future upgrade path. Consider whether you’ll move to full-frame before investing heavily in APS-C glass.

For those researching camera systems that pair well with these lenses, our guide to the best cameras for professional photography covers mount ecosystems in detail.

Set Your Budget

Rokinon offers lenses from under $200 to over $1,000. Define your budget range before shopping. Budget lenses like the 14mm f/2.8 and 8mm fisheye offer incredible value for specific uses. Mid-range options like the DS series balance features and price. Premium Xeen cinema lenses serve professional needs but cost significantly more.

For deal-focused shoppers, seasonal lens deals can make these already-affordable lenses even more attractive.

Video vs Photo Priority

If video is your primary focus, cinema lenses like the DS and Xeen series offer features videographers need. De-clicked apertures, geared rings, T-stop markings, and minimal focus breathing make these lenses ideal for cinema work.

Photographers prioritize autofocus and portability. The AF series serves this market well, delivering lightweight lenses with fast autofocus. Hybrid shooters might split the difference with manual focus primes and one autofocus zoom.

Frequently Asked Questions

Final Recommendations

After spending years testing Rokinon and Samyang lenses across various shooting scenarios, I can confidently recommend them for budget-conscious photographers who refuse to compromise on optical quality. The value proposition is undeniable: you get 90% of the performance of premium lenses at a fraction of the cost.

For most users, I recommend starting with a versatile prime like the 35mm f/1.8 AF or the cinema-focused 35mm T1.5 DS. These lenses cover a wide range of shooting situations and deliver professional results. As your needs evolve, you can expand into specialty lenses like the 14mm for astrophotography or the 135mm for portraits.

The Rokinon/Samyang ecosystem offers something for every shooter. Whether you’re a landscape photographer, wedding videographer, or aspiring filmmaker, there’s a lens in this lineup that fits your needs and budget. The key is understanding your requirements and choosing accordingly.