Sirui’s Aurora line goes wide with a 15mm f/1.6 and a 24mm f/1.4

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Sirui built its Aurora full-frame autofocus line from the portrait end in, and the wide half of the bag has been sitting empty ever since.

That changes today. The Sirui Aurora 15mm f/1.6 and the Aurora 24mm f/1.4 are on sale for Sony E and Leica L mount, at $599 and $499.

It’s the same formula the first two ran. The Aurora 35mm f/1.4 and 85mm f/1.4 opened the line with metal barrels, full control sets and stickers that undercut the equivalent first-party glass by hundreds of dollars. These two keep every part of that pattern intact, and they fix the line’s one obvious hole. Nikon Z and Fujifilm X versions follow in the first quarter of 2027, so two mounts shoot today and two mounts wait a season.

The timing fits the fall Sirui is having. We covered its compact Swift primes in October, a lightweight travel pair built around the same buyer. The Aurora additions run that play at the wide end: fast apertures for dark rooms and night skies, aperture rings with real stops for stills and a de-click lever for video, and prices that leave room in the budget for the filters, cards and batteries a working kit actually consumes.

Aurora 15mm f/1.6: the filter-friendly ultra-wide

Start with the fix I appreciate most: the front of this lens takes standard 77mm screw-in filters.

Price: $599
Where to buy: Sirui

A 15mm usually means a bulbous front element, a petal hood you can’t thread anything onto and a rear gel holder you have to apologize for. Sirui skipped that routine entirely, so the ND and polarizer already in your bag fit this ultra-wide the way they fit everything else you own.

Distortion decides an ultra-wide’s fate on buildings, and Sirui rates this one at about 1.4%, which is the number architecture and interior shooters should test first when samples land. The 17-element, 12-group design leans on three aspherical elements, three ED elements and three high-refractive elements to hold lines straight out to the corners of a 109.3-degree diagonal view. Focus gets as close as 0.3 meters. That’s near enough to work inside car cabins and small rooms where stepping back isn’t an option.

Weight runs 542 grams in E mount and 550 grams in L mount over a body 106.4 millimeters long, and the 11-blade aperture keeps highlights round when the f/1.6 top speed turns the lens toward night skies. Video shooters get low focus breathing and a stepping motor that runs quietly enough for on-camera microphones. A vlogger walking a small apartment gets the whole room in frame at arm’s length. That’s the entire reason this focal length exists in the first place.

Aurora 24mm f/1.4: the one that stays on the camera

The 24mm plays a different role: it’s the lens that stays on the camera.

Price: $499
Where to buy: Sirui

It frames a person and the room around them at the same time, without the stretched faces an ultra-wide leaves at the frame edges, and f/1.4 keeps indoor light workable most days.

Inside, 14 elements sit in 11 groups, with three aspherical, four ED and three high-refractive elements, and minimum focus reaches 0.26 meters at 0.15x magnification. That’s close enough to lean into a plate of food or a product detail on a market stall and still keep the setting in frame behind the subject. The 62mm filter thread keeps the screw-on routine identical to its sibling’s.

Street shooters will read the spec sheet a different way: 82.9 degrees of diagonal view, an aperture ring with real stops, and a body 106.6 millimeters long that doesn’t announce itself.

Video work gets equal billing here. The aperture ring de-clicks for smooth pulls, focus breathing stays low, and the STM drive works with the eye-detection and subject tracking your body already offers. At 550 grams in E mount and 560 in L mount, the 24mm also rides a gimbal without turning the rig into a chore. This is where a fast 24 proves itself on a travel shoot: one lens, stills and video, morning market to night street.

What both lenses share

Both barrels carry the same controls, and the list is generous for the money: an AF/MF switch, a click switch for the aperture ring, an iris lock that pins the ring at A or a manual setting, and a customizable function button you can assign from the camera body. Nothing here needs a menu dive mid-shoot.

Firmware updates arrive over a USB-C port in the mount. The bodies are metal, and sealing guards against dust and splashes when the weather turns. One footnote for owners of older Sony bodies: Sirui marks a few early models, the a6000 among them, as partially compatible in video mode, so check the chart before you count on one for filming.

Each box holds the lens, a pouch, the petal hood and both caps, and Sirui backs both lenses with a three-year replacement warranty for failures the owner didn’t cause.

Run the numbers the way a buyer does, because the gap is the story here. Sigma’s 24mm f/1.4 DG DN Art costs $879, Sony’s FE 24mm f/1.4 GM sits at $1,498 and its 14mm f/1.8 GM runs $1,598, while Sirui sells its 24mm at $499 and its 15mm at $599. The pair together totals $1,098, which undercuts either Sony on its own and leaves change for the trip you bought them for.

If the wide end of your bag has stayed empty because fast wide glass costs what it costs, that excuse expired today.

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