Camera Lenses Price Comparison
Compare 905 camera lenses from Canon, Nikon, Sigma and more. Find the best price across top UK retailers, from budget primes to professional zooms.
Camera Lenses price comparison UK
Camera lenses are where most of the optical magic actually happens — and where the real money gets spent. A body depreciates; a quality lens can outlast two or three camera generations. Our catalogue covers 905 lenses, with prices stretching from 180 £ for manual-focus bargains up to 813 £ for professional super-telephoto glass. The spread tells a story: the average sits at 446 £, but the median is noticeably lower, which means a handful of high-end L-series and exotic primes are pulling the average upward.
Canon dominates this category with 159 references — no surprise given how aggressively they've built out the RF mount ecosystem. Nikon follows with 100 products, though their average price is the highest of the major brands, reflecting a catalogue weighted towards serious Z-mount glass. What's genuinely interesting is the rise of the third-party makers: Samyang and Sigma each sit around the same average price point, yet offer very different propositions. Samyang leans into fast primes and cinema-oriented optics; Sigma's Art and Contemporary lines are increasingly hard to distinguish from first-party glass in real-world sharpness tests. TTArtisan, meanwhile, has carved out a niche at the affordable end with manual-focus primes that appeal to street photographers and those shooting on adapted mounts.
Mount compatibility is the single most important thing to get right before anything else. Canon RF, Sony E, Nikon Z, and Leica L are all incompatible without an adapter — and while camera lens adapters can bridge some gaps, they introduce compromises in autofocus speed and reliability. Once you've confirmed your mount, the focal length question opens up: a 24-70mm f/2.8 zoom covers most situations, but a dedicated 50mm prime will almost always outperform it optically at a fraction of the weight. For wildlife and sport, telephoto reach matters more than maximum aperture — a variable-aperture 100-400mm is far more practical than a heavy f/4 fixed-aperture equivalent.
Don't overlook the accessories that make lenses perform at their best. A good lens hood eliminates flare in backlit conditions, and a quality camera lens filter — whether a circular polariser or ND — can transform landscape and video work. These are small investments that protect and enhance glass worth several hundred pounds. During Black Friday and Amazon Prime Day, first-party lenses from Canon and Nikon regularly see meaningful discounts; third-party options from Tamron and Sigma tend to be more consistently priced year-round.
How to Choose the Right Camera Lens
With prices ranging from 180 £ to 813 £ and over a dozen mount systems to navigate, picking the wrong lens is an expensive mistake. The good news: once you understand four or five key variables, the choice becomes much clearer. Here's how we'd approach it.
Mount compatibility — get this right first
Before focal length, before aperture, before anything else: confirm your camera's mount. Canon RF lenses won't fit a Sony E-mount body without an adapter, and even then you'll lose features. The major current mounts are Canon RF, Sony E, Nikon Z, and Leica L (shared with Panasonic and Sigma). Older EF and F-mount lenses can often be adapted to newer bodies with full autofocus, but native lenses will always perform better. If you're shooting on a Canon RF body, Canon's own RF range is the obvious starting point — but Samyang and Sigma now offer native RF-mount options at competitive prices.
Focal length for your primary subject
This is the decision that shapes everything else. Ultra-wide (16-24mm): architecture, interiors, dramatic landscapes. Standard zoom (24-70mm): the workhorse range for travel, events, and general use — the Canon RF 28-70mm f/2.8 IS STM is a strong example. Short telephoto (85-135mm): portraits, where the compression flatters faces. Telephoto (100-400mm+): wildlife, sport, aviation. Resist the temptation to buy a superzoom that covers everything — the optical compromises are real, and you'll likely end up wanting a dedicated lens anyway.
Maximum aperture and what you actually shoot
A fast aperture (f/1.4, f/1.8, f/2.8) lets in more light and produces that shallow depth-of-field background blur that portrait photographers love. It also costs significantly more and adds weight. The honest question is: do you regularly shoot in low light without flash, or do you need subject isolation? If yes, a fast prime like the Canon RF 50mm f/1.8 STM (one of the best-value lenses in the entire catalogue) is worth every penny. If you mostly shoot outdoors in daylight, a variable-aperture zoom at f/5.6-f/6.3 will serve you perfectly well at a fraction of the price.
Optical stabilisation — critical for telephoto and video
Image stabilisation (IS, OIS, or OSS depending on brand) compensates for camera shake and is genuinely transformative on telephoto lenses. At 200mm or beyond, even a 3-stop IS system means the difference between sharp and blurred handheld shots. For video work, stabilisation is almost non-negotiable unless you're shooting on a gimbal. That said, many modern mirrorless bodies include in-body stabilisation (IBIS) — if yours does, you can get away with unstabilised lenses more easily. Check whether your body and lens stabilisation systems work together (Canon's Coordinated IS, for instance, combines both).
First-party vs third-party glass: the real trade-off
Canon and Nikon lenses carry a premium — partly justified by tighter quality control and deeper autofocus integration, partly brand tax. Sigma's Art series and Tamron's SP line genuinely rival first-party sharpness in most real-world tests, often at 30–50% less. Samyang's AF lenses have improved dramatically and are worth serious consideration for primes. The area where first-party still wins clearly is autofocus reliability on fast-moving subjects — sports and wildlife photographers will notice the difference. For portraits, landscapes, and video, the gap has largely closed.
Weight and portability for your shooting style
A 70-200mm f/2.8 is a magnificent lens that will also exhaust your shoulder after a full day's shooting. Lenses under 300g (like the Canon RF 28mm f/2.8 STM or TTArtisan manual primes) slip into a camera bag without a second thought. Heavier telephoto glass (600g–2kg+) demands a tripod or monopod for extended use. Be honest about how you actually shoot: a lighter lens you use every day beats a heavier one that stays at home.
- Entry-level and manual primes (From 180 £ to 312 £) : This bracket covers kit zoom lenses, manual-focus primes from TTArtisan and Samyang, and older-generation autofocus options. Optical quality varies enormously — some TTArtisan primes punch well above their price, whilst some no-name zooms are best avoided. Good starting point for beginners or those experimenting with adapted vintage glass. The Canon RF-S 55-210mm and RF 24-50mm both sit here and offer decent value for APS-C shooters.
- The sweet spot for most photographers (From 312 £ to 419 £) : Where the catalogue gets genuinely interesting. Fast primes from Samyang AF, mid-range zooms from Tamron and Sigma, and Canon's more affordable RF primes all land here. The Samyang AF 50mm f/1.4 FE II sits right at the top of this range and represents exceptional value. For most enthusiast photographers, this bracket offers the best balance of optical performance, autofocus reliability, and build quality.
- Enthusiast and semi-professional glass (From 419 £ to 529 £) : Sigma Art primes, Tamron's constant-aperture zooms, Canon RF L-series entry points, and Nikon Z lenses with weather sealing. Expect full weather sealing, faster and more reliable autofocus, and noticeably better edge-to-edge sharpness. The Canon RF 100-400mm and Canon RF 14-35mm f/4L both sit in this territory. Fujifilm's XF lenses for X-series bodies also feature heavily here.
- Professional and specialist optics (Over 529 £) : Canon L-series, Nikon Z S-line, Sigma Art super-telephotos, and specialist macro or cinema lenses. The Canon RF 24-105mm f/2.8 L IS USM Z and RF 200-800mm live here. These are tools for working professionals and serious enthusiasts who need maximum optical performance, robust build quality, and the fastest possible autofocus. Tokina's cinema lenses and high-end Fujifilm XF glass also feature. Discounts are rare — though Black Friday occasionally brings 10–15% off first-party lenses.
Top products
- Canon RF 50mm F1.8 STM Lens (Canon) : The single best-value entry point for Canon RF shooters. Compact, sharp, and genuinely fast at f/1.8 — the image quality jump over a kit lens is immediately obvious. Not weather-sealed, but at this price that's forgivable.
- Canon RF-S 55-210mm F5-7.1 IS STM (Canon) : A sensible telephoto option for APS-C Canon shooters on a tighter budget. The variable aperture limits low-light use, but image stabilisation and reach make it a practical choice for travel and casual wildlife.
- Samyang AF 50mm F1.4 FE II MILC Standard lens Black (Samyang) : Samyang's best argument against buying Sony's own 50mm. The f/1.4 aperture and updated autofocus make this a compelling portrait and low-light lens for Sony E-mount users — at a price that undercuts the competition.
- Canon RF 100-400mm F5.6-8 IS USM MILC Telephoto lens Black (Canon) : The most practical wildlife and sport lens in Canon's RF lineup for non-professionals. The f/8 maximum at 400mm demands good light, but the reach, IS system, and relatively manageable weight make it a strong all-rounder.
- Canon RF 200-800 mm F6.3-9 IS USM Telephoto Camera Lenses, Black/White (Canon) : Extraordinary reach at a price that would have seemed impossible five years ago. The f/9 maximum aperture at 800mm is a real limitation in anything but bright conditions, but for daytime wildlife and aviation photography this lens is genuinely exciting.
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Frequently Asked Questions
Which camera lens mount do I need?
You need the mount that matches your camera body — there is no universal standard. Canon mirrorless cameras use RF mount; Sony mirrorless uses E mount; Nikon mirrorless uses Z mount. If you're shooting on an older DSLR, Canon uses EF and Nikon uses F mount. Check your camera's manual or the manufacturer's website if you're unsure. Using the wrong mount without a compatible adapter will mean the lens physically won't attach, or autofocus won't function correctly.
Is a 50mm prime lens worth buying if I already have a kit zoom?
Yes — almost always. A 50mm prime at f/1.8 will outperform a kit zoom optically, produce far better low-light results, and cost less than most zooms. The Canon RF 50mm f/1.8 STM is one of the most recommended first upgrades for Canon RF shooters precisely because the image quality jump over a kit lens is immediately visible. The trade-off is that you'll need to physically move rather than zoom, which changes how you shoot — most photographers find this a positive discipline.
What does 'weather sealing' actually mean on a camera lens?
Weather sealing means the lens has rubber gaskets and internal seals that resist dust and moisture ingress — but it does not mean the lens is waterproof. A weather-sealed lens (typically found on Canon L-series, Sigma Art, and Nikon Z S-line optics) can handle light rain and dusty environments without damage, provided the camera body is also sealed. Unsealed lenses used in wet conditions risk internal fogging and electrical damage. If you shoot outdoors regularly, weather sealing is worth paying for.
Are third-party lenses like Sigma and Tamron as good as Canon or Nikon's own glass?
For most photography, yes — the gap has largely closed. Sigma Art primes and Tamron's constant-aperture zooms regularly match or exceed first-party sharpness in independent tests from Which? and TechRadar. The area where Canon and Nikon still hold an edge is autofocus tracking speed and reliability on fast-moving subjects, which matters for sports and wildlife. For portraits, landscapes, street, and video, a Sigma or Tamron lens at a lower price point is a genuinely smart choice.
What focal length should I buy for wildlife photography?
For wildlife, you need at least 300mm of reach — ideally 400mm or more. The Canon RF 100-400mm f/5.6-8 IS USM is a practical and relatively affordable starting point for RF-mount shooters. The variable aperture (f/8 at 400mm) means you'll need good light or higher ISO settings, but the reach and image stabilisation make it a capable wildlife lens. If budget allows, a 500mm or 600mm prime will deliver better results for distant or fast-moving subjects, but the price and weight increase significantly.
Should I avoid buying very cheap lenses from unknown brands?
Treat sub-312 £ lenses from unrecognised brands with caution. The main risks are inconsistent optical quality (soft corners, heavy chromatic aberration), unreliable autofocus, and no manufacturer support if something goes wrong. TTArtisan and 7Artisans are the exception — these manual-focus brands have built a genuine reputation for quality at low prices and are well-reviewed by the photography community. For autofocus lenses, stick to established names: Samyang, Sigma, Tamron, Canon, Nikon, Panasonic, or Fujifilm.
In 2026, is it still worth buying EF or F-mount lenses for older DSLRs?
It depends on whether you plan to stay on a DSLR long-term. Canon EF and Nikon F lenses retain strong second-hand value and optical quality hasn't changed — but the DSLR ecosystem is winding down, with both Canon and Nikon focusing development on mirrorless. If you're likely to upgrade to a mirrorless body within the next few years, investing heavily in EF or F-mount glass is less sensible unless you plan to use an adapter. Native RF or Z-mount lenses are the more future-proof choice.