Top 10 Affordable Lenses For Shooting In Extreme Low Light

I’m often asked by other DP’s or shooters, which lenses are best for shooting in ultra-low light conditions. While some of the best lenses for shooting in low-light are course quite expensive (Zeiss Superspeeds for example), there are some fantastic options that are reasonably priced and particularly well suited to shooters that use DSLRs or interchangeable lens camcorders.

My top 10 low-light lens choices have been based on a number of factors including, price, build quality, image quality, and overall value. Please note though that some of the lenses listed below may not work with your camera’s mount. If you’re shooting on a mirrorless camera (like the GH3) you should be able to use just about any of these lenses on your camera, however there are some Micro Four Thirds lenses on here that of course will not be adaptable to Canon DSLR’s or other larger sensor camcorders. And keep in mind, these are by no means the only lenses you can use in low-light situations. There are definitely some other great low-light lenses out there so be sure to do your homework, but regardless here are my personal top 10 picks for affordable low-light lenses in no particular order:

Canon 50mm 1.4 – $339

Canon 50mm

Here’s a lens that a lot of you may already have in your kit. This lens by Canon is not only one of their most popular, but it is also extremely cost-effective given the quality that you’ll get from it. Canon also have a cheaper version of this lens that is an F1.8, but I find this one to be a much better quality lens both in terms of the image it produces, and also the build quality. Canon also has a great 50mm 1.2L lens, but I didn’t include it on this list (although it’s an incredible lens), as from an affordability standpoint, the 1.4 is hard to beat.

Voigtlander 17.5mm 0.95 – $999

Voigtlander 17.5

Arguably one of the most popular and essential low-light lenses for the Micro Four Thirds format. At F0.95, this lens can practically see in the dark and can be a life saver in extreme low light situations. The build quality of the lens is also superb, which is something that’s very important to me when picking a lens as I want to know that it will last. After all, these days your camera body is practically outdated the day you buy it, but your lenses will stay with you for many years. When shooting wide open with this lens, it is a little on the soft side – especially at infinity focus, but nonetheless it isn’t anything that you can’t work around to get your shot.

Sigma 18-35 1.8 – $879

Sigma 18-35

This is the only zoom lens on the list, and it’s here for good reason. It’s the fastest DSLR parfocal zoom lens that you can get, coming in at F1.8. Normally when I’m looking to buy an ultra-low light lens, I’ll look for lenses that are a maximum of 1.4, but in this case I can make an exception, given the fact that it’s a zoom. Having the ability to have an 18-35mm that you can run-n-gun with in low light situations is an absolute dream. If you haven’t already shot with this lens or seen it in person, you’re bound to soon as it’s quickly becoming very popular.

Sigma 30mm 1.4 – $499

Sigma 30mm

Sigma makes some really amazing lenses that often come in at very competitive price points. While there’s no shortage of fast 35mm lenses, many of them can be quite costly especially compared to their 50mm counterparts which are generally more affordable. For those of you looking for a great lens in the 35mm range, but don’t want to spend an arm and a leg, this 30mm from Sigma may be an excellent choice as it produces a beautiful image with very nice bokeh, and is extremely well priced. For you full frame shooters though, note that this is an APS-C lens, so it will vignette on your 5D.

Rokinon Cine 35mm 1.5 – $489


I’m a huge fan of Rokinon’s Cinema lenses. I have nearly all of the lenses in their cinema lineup, but this is my favorite of all of them and the one I use most. Besides the fact that this lens produces a gorgeous image and is fantastic in low light, it’s also of course set up as a cinema lens. While Rokinon also sells a non cinema version of this lens, if you’re shooting video this is the way to go. I absolutely love the smooth de-clicked aperture ring, and not having to worry about adding follow focus gears is a huge bonus. Unlike many fast 35mm lenses, this one is actually quite sharp, even wide open.

Rokinon Cine 85mm 1.4 – $349

Rokinon 85mm

Simply a no-brainer for many shooters, this lens is an absolute steal given the price point. I’ve been shooting with it personally for about a year now and am continually blown away by the quality. When shooting wide open, it can be a touch on the soft side, but nothing to be too alarmed over as by the time you are at f1.8 or so it starts to sharpen right up. Like the 35mm version is housed as a cinema lens, but is also available in a non cinema version if that is appealing to you. In terms of price to performance ratio, this lens may be the best value of any on this list.

Zeiss 50mm 1.4 – $699

Zeiss 50mm

You probably knew a Zeiss lens was going to pop up sooner or later on this list, as after all they do make some of the best lenses in the world. The only reason there aren’t more Zeiss lenses on here (including any from their superspeed line) is simply because of their prices being so high. The 50mm is one of their more affordable lenses and an excellent alternative to the Canon 50mm that I listed earlier. The build quality of Zeiss lenses is second to none, and once you shoot with one it’s really hard to go back to anything else. So while there are loads of fast 50mm lenses on the market, if you need one that will last for many, many years and deliver unprecedented image quality, then it is absolutely worth the investment.

SLR Magic 25mm 0.95 – $799

SLR Magic 25mm

I really love SLR Magic – they are a relatively small lens manufacturer that really are pushing the boundaries of what is possible with modern lenses, not to mention they have an excellent grasp on exactly what shooters like you and I are looking for in a lens these days. This lens perfectly represents what they are capable of as a company as it is simply one of the fastest (if not the fastest) 25mm lens out there.  Most 25mm lenses that are considered fast will at best be an F1.4, which is still great for most situations, but for those situations where you’re shooting in nearly no light at all, this lens will be your best friend. Keep in mind though, this is for Micro Four Thirds cameras, so if you’re on a Canon or Nikon you are out of luck!

SLR Magic 12mm 1.6 -$599

SLR Magic 12mm

This was one of the first lenses I bought for my GH3 and to date one of my favorites. Like other SLR Magic lenses, it is exceptionally well built and truly feels like a cinema lens in every possible way. The image quality is gorgeous, and even wide open it is quite sharp. The colors from this lens are beautiful and it really has a cinematic feel to it. It isn’t a perfect lens optically, which is one of the best things about it. The issue I have with many modern lenses is that they are too clinical looking, and ultimately to get a cinematic look you want to shoot with lenses that have character – and I assure you that this lens does! Like the 25mm above, this one is also built for Micro Four Thirds cameras, so please be aware.

Nikon 50mm 1.4 – $469

Nikon 50mm

I know there are already a couple of 50mm lenses on this list, but this one had to be included as well for one main reason – it’s fully manual. If you love manual glass (I know I do), then the 50mm Canon that I listed at the top of this article may be out of the question for you as it is electronically controlled. And while there are other reasonably priced manual lenses in this focal length (like the Zeiss listed above), this provides an excellent alternative for those that either prefer the Nikon brand or simply are on more of a budget. The lens is incredibly sharp and renders colors beautifully, just like many of the other manual Nikon lenses do.

Wrap Up

Having fast lenses for shooting in low-light situations is as important (or in some cases more important) than having a camera that can shoot cleanly at high ISO’s. Any of the above lenses are fantastic choices for low light shooting, but ultimately your decision on which to purchase should be dictated by asking yourself what you’ll actually be shooting with it and how long you want to keep your lens for. If you want a great all rounder that will last forever, the Zeiss 50mm would be an amazing choice. Or maybe you’re on a tight budget, but it’s still important that you have a cinema housed lens, in which case the Rokinon lenses are probably the way to go. Everyone has different needs, but the purpose of this list is to provide you with a starting point to help you gauge which lenses or brands are the best to meet your needs and budget.

For those of you looking to purchase any of the lenses above, be sure to check out – they’re an affiliate of this site and having extremely good prices on everything!

Be sure to also check out my recent article – 10 Tips For Shooting With Available Light.


About Author

Noam Kroll is an award-winning Los Angeles based filmmaker, and the founder of the boutique production house, Creative Rebellion. His work can be seen at international film festivals, on network television, and in various publications across the globe. Follow Noam on Twitter, Instagram and Facebook for more content like this!


  • […] recommended lens if you want a high quality, wide-angle zoom, especially one that is great down to low light conditions […]

  • Connie

    I want to buy my daughter a new lens to help with her budding photography business. She takes all the usual types (head shots, family, graduation, dance) but she also takes production photos for plays and operas around the valley. She has been borrowing a lens that has worked well but I understand it is very heavy (and I assume expensive). I wanted to surprise her so I didn’t want to ask her the specs. Is there something you could recommend? She has a Canon EOS Rebel T6. Thank you so much. Your article and replies to comments above have been helpful.

    • Hi Connie! I’m not sure of your budget, but the Canon 24-70 lens is a staple, and a great start to any Canon DSLR kit.

  • Vince dre

    Hey, this is a great article, thanks for writing it. I’m having a bit of issue on deciding what affordable lens to purchase for low light videography. I have a Canon 700D (T5i) and currently I’ve been using a Canon EF 16-35mm f4 L IS USM Lens is there any lens you could recommend?

    • Hey Vince – There are definitely a lot of lenses I could recommend. It all depends on your needs and budget, but I would start with the Canon 50mm 1.4. It’s an excellent lens, still quite cost effective and really fast. Rokinon’s Cine DS lenses are a great option too!

  • Sharman

    Thank you so much Noam!

  • sharman Weeks

    Hello! Thank you for the information… I am looking for a low light lens for my Canon EOS Rebel XSI for low light birthing photos. Is there a particular (and affordable!) lens you could recommend for no grain, low lighting photography? Your advice is much appreciated!

    • Hi Sharman! If you don’t already have a 50mm, I would consider the Canon 50mm F1.4. It’s an amazing lens – great in low light and relatively inexpensive.

  • Diane

    Hi! I’m an amateur, shooting with a Nikon D7100. I mostly take pics of my daughter at dance competition.s. The theaters are dark, stage lighting can be a mix, and I need a better lense. I recently rented a Nikon NIKKOR AF-S 70-200mm F/2.8 E ED FL VR Lens and it still wasn’t as clear as I wanted (which may be user error). I am wanting a lense that is easy to adjust and use. I can usually move around in the theater. What lense(s) do you recommend? Thanks.

    • Hi Diane,

      It sounds like the 70-200 might actually be a great choice for your needs! It’s possible that the images aren’t clear enough as a result of your shutter speed. I would always suggest keeping your shutter speed at least at the same value as your focal length (if not higher). So if you are shooting at 200mm, be sure it is set to 1/200 to avoid any motion blur. You will likely need to bump up your ISO a bit, which may add some grain, but your images will be sharp that way (if that is in fact the issue you are having). Hope this helps!

  • Mason

    I’ve read your article about 28 mm lenses for filming, and this article as well; great stuff man. I was wondering if you had any updates on newer lenses you like for filming, and if not, should I buy a 28 mm first, or a Rokinon Cine lens? I’m also looking into a telephoto lens, but I’ll get one of those later.
    I might add that I need it for shooting a bar video in low or very low light, with a Sony Nex 5k. The only lens that I own right now is the one that came with it, a Sony 18-55mm 3.5-5.6 OSS.

    Any recommendations would be appreciated.
    Thanks, Mason

    • Hey Mason! I would still recommend the lenses on this list, along with some newer glass that I’ve been shooting with more recently. Recommending a lens usually comes down to your needs, what kind of material you’re shooting, what camera package, etc. That said, if lowlight is a concern, I would start off by getting a prime (such as the Canon 50mm 1.4 or a Rokinon 35mm 1.4), and then build out your kit from there. As you start having a need for a telephoto lens you can then pick one up and continue to add to your kit as time goes on.

  • Jessyca

    Hey thanks for this post! I photograph dancers and social dancers in clubs and dancing venues that has very little light. What would you recomment for fast, wide aperture that can photograph with available light moving people? Thanks!!

    • Hey Jessyca – thanks for the note! In terms of fast lenses – if you are on a full frame camera (such as a 5D) I would probably recommend something like the Canon 50mm F1.2 (or the F1.4 if cost is an issue).

  • someone

    Hi Noam, I am a fledgling director (former professional photographer) and I used to shoot photos many years ago. I find this list awesome. I completed my first narrative short using a Canon XA20 and was able to simulate using a prime lens scenario by “zooming with the tripod” instead of with the camera. At wide open i was able to get nicely lit low light shots at around f2.8.

    I am seriously thinking for my next film of moving to the BMCC or BMPCC (from Black Magic). Some of my favorite directors (Tarantino Rodriguez) seem to continuously use primes, and only 1 or 2. I cannot think of many times when I saw them zoom on anything. If I was to get two primes, or even three primes and a zoom, what are the most important lengths, I know you said something about a 28mm but that obviously wouldnt be 28 on the BMCC or BMPCC

    I think I could get started with three lens, two primes and a zoom to cover any missing focal lengths. I do not have thousands of dollars to spend, and while I know you probably cannot recommend them I often see either used older lens (manual) or new lens with off brand names for way less then listed here.

    I know you get what you pay for but I have invested so much money in the gear already, and when I sell my XA20 I should be able to make enough to get a BMPCC and a couple “inexpensive” lens.

    Can you lead me in the right direction, or should I just keep saving!

    PS: When I was a photographer I found lots of “off brand” glass that worked just as well as the Zeiss (though obviously they would never compare!)

    • Great questions! To suggest specific lenses, I would need to know the exact camera you would be shooting on so that I could also take into account the crop factor. That said, in Super 35mm terms, I think the 3 best prime lenses to get would be:

      24mm, 35mm, 50mm

      Or alternatively:

      18mm, 35mm, 85mm

      The first option is more standard (in my opinion) and the second will give you more range. If you want to have a zoom in the mix, you might want to consider the Sigma Art or Cinema Zoom lenses. In that case you could do something like this:

      18 – 35mm, 50mm, 85mm

      Hope this helps, and best of luck!

  • Elle

    Hey Noam,
    my boyfriend has really gotten into night photography, specifically trying to take pictures of the moon and stars, and is consistently frustrated with his lens as its not really good for the application he is trying to use it for. He has a Canon EOS Rebel T31 (at least thats whats on the outside of the camera) and I would like to get him a lens that would help him get better photos is low light. The Zeiss you have listed looked like a good option, specifically for its durability. Would you still recommend that lens for this type of application or something else? Also i know absolutely nothing about cameras so all advice appreciated!

    • Hi Elle! One of the best lenses for shooting astral photography is the Rokinon 24mm 1.4 lens. For shots of the stars, you typically want to use a really fast lens with a wide field of view (like the Rokinon which has a fast aperture and is pretty wide at 24mm). This allows you to see as much of the sky as possible with minimal blurring of the stars. I’ve used the Rokinon 24mm a lot for astral photography and highly recommend it!

  • […] wide-angle lens: There are lots of affordable low-light lenses. Look for a low focal length (approximately between 10mm to 28mm) and a low aperture (that's the […]

  • Jason

    Thanks so much.

  • Jason

    Hi there,

    Thx for the great post. Since there’s such brand variety here, I was wondering what your thoughts are on mixing and matching different types of lenses for a project. Like, would you avoid it within a scene, or even within a full short film…maybe narrative vs. non-narrative…?

    Also, if it’s not a pain (or if I didn’t just miss it in the post), I’d love to know what lenses you used for “Brother Sister.”


    • Thanks Jason, glad you enjoyed it.

      Some DP’s hate mixing and matching lenses, but I don’t mind at all unless you’re using a very specific type of lens that really doesn’t match anything else. For the most part, my kit is very eclectic looking. Any slight color shift between the various lenses can be fixed in post quite easily. The only time I would avoid it would be if I were shooting something in more of a television/lifestyle format, where you ideally want the look to be more sterile and identical across the board. For film, I like the stubble differences each lens gives to the look and find the blend of them to work well especially when color graded properly.

      On Brother Sister I only used three lenses – Tokina 11-16mm F2.8, Rokinon Cine 35mm T1.5, and Rokinon Cine 85mm T1.6.


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