{"id":9281,"date":"2024-02-10T01:52:23","date_gmt":"2024-02-10T06:52:23","guid":{"rendered":"https:\/\/admiringlight.com\/blog\/?p=9281"},"modified":"2024-09-15T19:31:50","modified_gmt":"2024-09-16T00:31:50","slug":"the-best-lenses-in-my-experience","status":"publish","type":"post","link":"https:\/\/admiringlight.com\/blog\/the-best-lenses-in-my-experience\/","title":{"rendered":"The Best Lenses – In My Experience"},"content":{"rendered":"\n

Last updated 2\/10\/24<\/em><\/p>\n\n\n\n

What lens is best? I get asked this all the time, and there’s never really a right answer. “Best for what?” is what I usually reply, as the answer will depend on what the photographer wants to accomplish, what their budget is and what is important to them. Everyone will have a different notion of what constitutes the ‘best’, but I figured I’d put together a list of what I personally consider the best.<\/p>\n\n\n\n

I first wrote this article back in 2019, and I’ve kept it updated, though recent changes to my own gear over the past year or so has seen many of the selections on this list updated quite recently. As such, you’re seeing it now with its new publish date in 2024…same article, just with a fair bit of new information. <\/p>\n\n\n\n

As part of my work on this site, and throughout my over 20 years of photography, I’ve used a lot<\/i> of lenses. I’ve now reviewed well over 100 lenses, and I’ve owned at least 70 other lenses that I did not review. This list features lenses from every system that I’ve owned for my personal shooting, plus some others that I’ve adapted. Note that this will not be a definitive list of the best lenses ever made: I haven’t used them all. Also, it’s a subjective list based on what is important to me in my shooting.<\/p>\n\n\n\n

Sorry Pentax fans: I have never used an autofocus Pentax lens for more than a few seconds…so you won’t see any of those lenses represented here. I started shooting with Canon DSLRs back in 2004, and have extensive experience with Canon EF, Micro 4\/3, Fujifilm X, Sony E mount, Canon RF, and Nikon Z lenses, and have some experience with a few F mount Nikon lenses. I’ve also adapted dozens of manual focus lenses from systems past, though I haven’t come close to using everything for every system. Again, this list is subjective and based on my experience and what is important to me. I’m sure there will be disagreements here, but let’s dive in.<\/p>\n\n\n\n

I’ve selected a winner in each of four zoom categories and five prime categories. If judging the winner was very tight, I’ve also included honorable mention candidates that just missed out on the top spot. If a lens name is linked, it will take you to my review of the lens.  I will continue to maintain this article, replacing any lenses with new top lenses as I discover them.<\/p>\n\n\n\n

Best Ultra-Wide Zoom:<\/h3>\n\n\n\n

Nikon Nikkor Z 14-24mm f\/2.8 S<\/a> <\/h4>\n\n\n\n

Nikon’s 14-24mm f\/2.8 S for their Z mount cameras takes over the top spot in the ultra-wide zoom category, just edging out the previous winner. The Nikon 14-24mm S is an absolutely incredible optic. Capable of extremely high resolution even into the corners at 14mm wide open, and tack sharp corner to corner throughout the range stopped down, the Nikon 14-24mm f\/2.8 S continues its amazing performance with only moderate distortion, exceptional color and contrast, essentially no chromatic aberration and shows almost no flare whatsoever with the sun in frame. It’s also relatively light weight for a lens of this width and aperture, and comes with a special second hood for using 112mm front filters, giving it that extra nod over the Sigma 14-24mm in usability. The Nikon 14-24mm f\/2.8 S is a truly incredible ultra-wide zoom. <\/p>\n\n\n\n

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Great Falls of Tinker’s Creek – Nikon Z8 with Nikkor Z 14-24mm f\/2.8 S @ 14mm, f\/9, 0.5s, ISO 64, 3 shot focus stack<\/figcaption><\/figure>\n\n\n\n

Honorable Mention: Sigma 14-24mm f\/2.8 DG DN Art<\/a><\/h4>\n\n\n\n

Despite being just edged out by our new champion, the Sigma 14-24mm f\/2.8 is a simply stunning lens.  Capable of corner-to-corner sharpness throughout the entire focal range, even on ultra-high resolution sensors, the Sigma 14-24mm is simply spectacular.  Not only is it exceptionally sharp, rivaling the best full frame wide prime lenses at any focal length, but it has outstanding color and contrast, virtually no chromatic aberration, very good flare control and only shows any real distortion at the widest focal lengths. It’s a lens that simply stuns me with its image quality. While optically it and the Nikon are neck and neck, the Nikon gets the nod due to its lighter weight and much more usable filter solution.<\/p>\n\n\n\n

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Cedar Falls – Sony A7R IV with Sigma 14-24mm f\/2.8 DG DN Art @ 19mm, f\/11, 2.5s, ISO 100<\/figcaption><\/figure>\n\n\n\n

Best Standard Zoom Lens:<\/h3>\n\n\n\n

Nikon Nikkor Z 24-120mm f\/4 S<\/a><\/h4>\n\n\n\n

An f\/4 wide-range zoom as the best standard zoom? While there are definitely standard zooms with better pure image quality than the Nikon Z 24-120mm f\/4 S, none I’ve shot with have had the versatility of this lens, combined with outstanding quality. The 24-120mm f\/4 S is a lens that covers super-wide to a longer than usual 120mm short telephoto, yielding impressive versatility over 24-70 and even 24-105mm zooms. And it does so while providing outstanding sharpness throughout the focal range, significantly better than average bokeh, very good close-up performance, excellent flare control and fantastic color and contrast. It’s a jack of all trades lens that excels in essentially everything it does. <\/p>\n\n\n\n

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Pickerington Ponds – Nikon Z8 with Nikkor Z 24-120mm f\/4 S @ 56mm, f\/16, ISO 64 (9 shots – 3×3 HDR + focus stack)<\/figcaption><\/figure>\n\n\n\n

Honorable Mention: Sony FE 24-70mm f\/2.8 GM<\/a><\/h4>\n\n\n\n

The Sony FE 24-70mm f\/2.8 GM is an outstanding zoom lens. With very high sharpness throughout the zoom range, great color and contrast, beautiful bokeh, great control of lens aberrations and a robust build quality. It’s a very big and heavy lens, but it’s eminently impressive.<\/p>\n\n\n\n

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Lower Falls Reflected – Sony A7 II with Sony 24-70mm f\/2.8 GM @ 30mm, f\/16, 2.5s, ISO 100<\/figcaption><\/figure>\n\n\n\n

Best Telephoto Zoom Lens:<\/h3>\n\n\n\n

Canon RF 70-200mm f\/2.8L IS USM<\/a><\/h4>\n\n\n\n

Dethroning the previous winner in Canon’s DSLR 70-200mm lenses are mirrorless lenses that have combined exceptional optics with a massive reduction in size and weight. Just edging out the honorable mention for the top spot is Canon’s RF 70-200mm f\/2.8L IS USM.<\/a> The RF 70-200mm cuts over 400g from the weight of their DSLR lenses, and reduced overall size by a full two inches while sacrificing nothing in optical quality. The touch of extra sharpness wide open, along with robust build quality, slightly better bokeh, and excellent IS unit bring it up into the top spot over the Tamron. It certainly will cost you, though. <\/p>\n\n\n\n

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Running – Canon EOS R6 with Canon RF 70-200mm f\/2.8L IS USM @ 200mm, f\/2.8, 1\/4000s, ISO 200<\/figcaption><\/figure>\n\n\n\n

Honorable Mention: Tamron 70-180mm f\/2.8 Di III VXD<\/a> \/ Nikon Nikkor Z 70-180mm f\/2.8<\/a><\/h4>\n\n\n\n

Tamron has come in to take an honorable mention in this spot, packing very good optical quality into the most compact f\/2.8 telephoto zoom ever made for full-frame cameras. I’ve also thrown the Nikon 70-180mm in as well, as it is the same lens clad in Nikon shrouding. It’s smaller than the typical 70-200mm f\/4 lens, yet is a full stop faster.  Add in excellent sharpness throughout the range, good bokeh, excellent color and a very fast focus motor, and you’ve got a winner. It’s definitely the winner on best value in this range as well, packing similar optical quality and size to that of the Canon at less than half the price. <\/p>\n\n\n\n

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Running – Sony A7R IV with Tamron 70-180mm f\/2.8 @ 180mm, f\/2.8<\/em><\/figcaption><\/figure>\n\n\n\n

Best Supertelephoto Zoom Lens:<\/h3>\n\n\n\n

Fujifilm Fujinon XF 100-400mm f\/4.5-5.6 R LM OIS WR<\/a><\/strong><\/h4>\n\n\n\n

This is a category where I’m sure the super expensive options like the Canon 200-400mm f\/4 (with its built in 1.4x TC) would probably exceed what I’ve used, but among the supertelephoto zoom lenses I’ve used, none top the Fujifilm XF 100-400mm. This is a large lens with the reach of a 150-600mm lens on a full frame body. It’s very sharp throughout the zoom range, has gorgeous bokeh and good control of almost all lens aberrations. Add in truly excellent optical image stabilization to a lens that Fuji knocked out of the park.<\/p>\n\n\n\n

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Morning Moon – Fujifilm X-T1 with Fujinon XF 100-400mm f\/4.5-5.6 @ 100mm, f\/5, ISO 800<\/figcaption><\/figure>\n\n\n\n

Honorable Mention: Panasonic Leica 100-400mm f\/4-6.3 DG Vario-Elmar OIS<\/a><\/h4>\n\n\n\n

This lens has crazy reach, with an angle of view of a 200-800mm lens on full-frame. It’s got very good sharpness, great color and contrast, fantastic build quality and is relatively compact considering the reach. If you are invested in the Micro 4\/3 system and need something for wildlife shooting, it’s really hard to go wrong with this lens.<\/p>\n\n\n\n

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Bald Eagle – Olympus OM-D E-M10 Mark II with Panasonic Leica 100-400mm f\/4-6.3 @ 400mm, f\/6.3<\/figcaption><\/figure>\n\n\n\n

Now let’s move on to the prime lenses: Continue Here<\/a><\/h4>\n\n\n\n\n\n\n\n

Best Wide-Angle Prime Lens:<\/h3>\n\n\n\n

Zeiss Loxia 21mm f\/2.8 Distagon T*<\/a><\/h4>\n\n\n\n

Zeiss has long been known for creating exceptional wide-angle lenses, and the Loxia is the latest incarnation of their legendary 21mm Distagon. While the DSLR versions of the 21mm Distagon are large beasts with a giant flare out to the big front element, the Loxia 21mm is significantly more compact yet delivers exceptional image quality. Razor sharp with perhaps the most striking contrast and color of any lens I’ve used, the Loxia 21mm is a stunner.<\/p>\n\n\n\n

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Cold Columbus – Sony A7 II with Zeiss Loxia 21mm f\/2.8 @ f\/11<\/figcaption><\/figure>\n\n\n\n

Honorable Mention: <\/strong>Fujifilm Fujinon XF 14mm f\/2.8 R<\/a><\/strong><\/h4>\n\n\n\n

Earning a well deserved honorable mention is Fujifilm’s excellent 14mm f\/2.8 for the X mount. Small, lightweight, and sharp to the corners with a lovely rendering and quick autofocus. It doesn’t quite have the bite of the Loxia, but it’s great nonetheless.<\/p>\n\n\n\n

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Sunset over the Gulf of Mexico – Fujifilm X-E2 with Fujinon XF 14mm f\/2.8 @ f\/16, 1sec<\/figcaption><\/figure>\n\n\n\n

Best Normal Prime Lens:<\/h3>\n\n\n\n

TIE: Canon RF 50mm f\/1.2L USM<\/a>, Sony FE 50mm f\/1.2 GM<\/h4>\n\n\n\n

Wait, a tie? I’ve owned and used a lot<\/em> of normal prime lenses. From the outstanding manual focus legends like the Minolta Rokkor 58mm f\/1.2 and Zeiss 50mm Contax\/Yashica lenses to more modern lenses like the Canon EF 50mm f\/1.2L, Panasonic Leica 25mm f\/1.4, Sony FE 55mm f\/1.8, and Nikon Z 50mm f\/1.8 S, plus countless others that aren’t worth mentioning in the discussion of best normal prime lens. <\/p>\n\n\n\n

The RF 50mm f\/1.2L set a new bar for quality at the 50mm focal length, and I didn’t see its equal until I purchased the Sony FE 50mm f\/1.2 GM. The two lenses are so very close in performance that it is essentially impossible to pick between them. Both are blisteringly sharp across the frame right from f\/1.2, with the Canon maybe being just the very slightest bit sharper at the edges. Both have exceptionally creamy bokeh and an amazing rendering, with the Sony having slightly smoother specular highlights. The Sony has faster autofocus and a more compact and more reassuring build, while the Canon’s contrast seems to pop the subject just ever so slightly more. <\/p>\n\n\n\n

The differences are all so small, and each tiny lead by one lens is counteracted by a tiny lead by the other lens in another category, so a tie it is. These two lenses are simply exceptional, and go to show what amazing optical engineering can achieve.<\/p>\n\n\n\n

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Pokemon – Canon EOS R6 with Canon RF 50mm f\/1.2L USM @ f\/1.2, 1\/200s, ISO 400<\/em><\/figcaption><\/figure>\n\n\n\n
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Self-portrait – Nikon Z8 with Sony FE 50mm f\/1.2 GM @ f\/1.2, 1\/60s, ISO 100<\/figcaption><\/figure>\n\n\n\n

Honorable Mention: <\/strong>Voigtl\u00e4nder 50mm f\/2 APO-Lanthar<\/a> <\/h4>\n\n\n\n

A manual focus gem for the Sony E-mount (and Nikon Z and Leica M mount), the Voigtl\u00e4nder 50mm f\/2 APO-Lanthar is an exceptionally sharp lens with almost no chromatic aberration, smooth bokeh, excellent flare resistance and minimal distortion. Clad in a metal exterior with a wonderful manual focus feel, it’s a great lens for landscapes, architecture, or really anything you want to shoot that requires incredible resolution on high-megapixel cameras. <\/p>\n\n\n\n

If this evaluation was on pure image quality alone, without reference to aperture or other features, the Voigtlander 50mm f\/2 would take the top spot in this category, as it’s sharper into the corners than the RF 50mm f\/1.2L and Sony 50mm f\/1.2GM, with lower CA. But those two share the top spot by a hair for maintaining exceptional quality at an ultra-fast f\/1.2 aperture, along with being able to autofocus. <\/p>\n\n\n\n

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Columbus Reflected – Sony A7R IV with Voigtl\u00e4nder 50mm f\/2 APO-Lanthar @ f\/9, 20s, ISO 100<\/figcaption><\/figure>\n\n\n\n

Best Macro Lens:<\/h3>\n\n\n\n

Nikon Nikkor Z MC 105mm f\/2.8 VR S <\/a><\/h4>\n\n\n\n

Choosing a best macro lens is one of the most difficult on this list, as the vast majority of macro lenses are quite excellent. I’ve owned and shot with over a dozen different macro lenses, and all were quite good. A new member at the top of this list is Nikon’s MC 105mm f\/2.8 VR S for the Z system. <\/p>\n\n\n\n

The MC 105mm is blisteringly sharp across the entire frame, from 1:1 to infinity, and even maintains outstanding sharpness into smaller apertures where a lot of macro lenses begin suffering severely from diffraction. It’s got outstanding contrast, is essentially apochromatic, has lovely bokeh, beautiful color response and an excellent optical stabilizer. When looking at images I’ve taken with the MC 105, I have audibly uttered ‘wow’ many, many times. It’s a lens that impresses me on a daily basis. <\/p>\n\n\n\n

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Seashell – Nikon Z8 with Nikkor Z MC 105mm f\/2.8 VR S @ f\/8, 1\/4s. ISO 100 (focus stack of 127 images)<\/figcaption><\/figure>\n\n\n\n

Honorable Mention: Sony FE 90mm f\/2.8 Macro G OSS<\/a><\/h4>\n\n\n\n

The Sony FE 90mm f\/2.8 is now getting a little long in the tooth, but I’d imagine Sony is still in no rush to update this lens. With exceptional sharpness, an absolutely gorgeous rendering, quick autofocus and optical stabilization, it’s simply a wonderful optic. Sony hadn’t yet created the GM tag when this lens was released, but I’d imagine if it were released today, it would carry that G Master badge. It’s a wonderful lens not only for macro work, but it works great for portrait duty and landscape shooting as well. A versatile lens that performs extremely well.<\/p>\n\n\n\n

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Walking Around – Sony A7 II with Sony FE 90mm f\/2.8 Macro @ f\/8<\/figcaption><\/figure>\n\n\n\n

Best Telephoto Prime Lens:<\/h3>\n\n\n\n

Canon RF 85mm f\/1.2 L USM<\/a><\/h4>\n\n\n\n

As with most of the lenses in this list, the telephoto prime lens competition is fierce, with many excellent lenses to choose from in a variety of mounts. Every system I’ve owned has had excellent telephoto primes, from the Canon EF 85mm f\/1.2L and 135mm f\/2L to the Panasonic Leica 42.5mm f\/1.2, Olympus 75mm f\/1.8, the Zeiss Contax G 90mm f\/2.8, the Nikon AF-S 105mm f\/1.4E and Fuji’s outstanding 56mm f\/1.2, which remains one of my favorite lenses to this day. But above them all sits our new champ: the Canon RF 85mm f\/1.2L.<\/p>\n\n\n\n

The RF 85mm f\/1.2L does what should be impossible in a lens – it is an ultra-fast f\/1.2 portrait lens that is staggeringly sharp wide open from corner to corner, yet falls off to absolutely beautiful bokeh. It’s so good at f\/1.2 that I felt perfectly fine using it in APS-C mode to effectively operate as a 135mm f\/1.8, and it’s exceptional there too. The lens pops your subject in a way that shouldn’t be possible. On the whole, it might be the finest overall lens I’ve ever used. <\/p>\n\n\n\n

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Fifth Grade – Canon EOS R8 with Canon RF 85mm f\/1.2L @ f\/1.2, 1\/500s, ISO 100<\/figcaption><\/figure>\n\n\n\n

Honorable Mention: Sigma 135mm f\/1.8 DG HSM Art<\/a><\/h4>\n\n\n\n

Just barely dropping out of the top spot is the Sigma 135mm f\/1.8 Art. If you like a bit longer portrait prime and haven’t tried this lens, you owe it to yourself to go grab one. The Sigma 135mm f\/1.8 Art is almost as close to optical perfection as I have ever seen in a lens. It is absolutely razor-sharp, from full frame corner to full frame corner, wide open. Stopping down to f\/2.8 impossibly makes things even a tiny bit sharper. Add rich color, excellent control of lens aberrations and gorgeous bokeh and it’s simply stunning. Every time I look at images from this lens, I’m astonished by the level of quality, at any aperture.<\/p>\n\n\n\n

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Diva – Sony A7 III with Sigma 135mm f\/1.8 @ f\/1.8<\/figcaption><\/figure>\n\n\n\n

Honorable Mention: Fujifilm Fujinon XF 90mm f\/2<\/a> <\/strong><\/h4>\n\n\n\n

Another 135mm equivalent lens, and another gem of an optic, the Fujifilm 90mm is the best lens in the Fuji X system that I’ve used. Extremely sharp across the frame at any aperture, with great aberration control and flawless bokeh, the 90mm f\/2 is truly exceptional.<\/p>\n\n\n\n

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Red and Yellow – Fujifilm X-T1 with Fujinon XF 90mm f\/2 @ f\/2<\/figcaption><\/figure>\n\n\n\n

Best Supertelephoto Prime Lens<\/h3>\n\n\n\n

First, a caveat: My experience with supertelephoto prime lenses is very limited. I have not shot with any manufacturer’s 400mm f\/2.8 or 600mm f\/4 lenses, or other lenses of the sort, and my experience in this realm is limited to an old Tamron 300mm f\/2.8 for EF mount, the Canon RF 800mm f\/11, some very limited shooting with the Canon 400mm f\/5.6L, and the current winner in this category. With that said, the winner is impressive enough that I felt confident in finally adding this category to the article. I hope to test more supertelephoto primes in the future. <\/p>\n\n\n\n

Nikon Nikkor Z 400mm f\/4.5 VR S<\/a><\/h4>\n\n\n\n

The Nikon 400mm f\/4.5 VR S is a lens that is sort of a white whale for me. Ever since I noticed Canon’s 400mm f\/4 DO, I’ve thought it was one of those lenses that was absolutely a perfect balance of reach, speed and size. I always wanted one, but could never afford it. That lens was much smaller than the gigantic 400mm f\/2.8 lenses, but still reasonably fast for the focal length. Nikon, however, upped the ante in this realm, by creating a lens that’s nearly as fast at f\/4.5, but is HALF the weight of that already light and compact 400mm f\/4 DO, and also costs less than half as much as the current version II of the Canon. <\/p>\n\n\n\n

The Nikkor Z 400mm f\/4.5 delivers optically as well, boasting outstanding cross-frame sharpness right from f\/4.5, beautiful bokeh and minimal chromatic aberration. It also works beautifully with Nikon’s 1.4x Z teleconverter, allowing the lens to pull duty as a 400mm f\/4.5 and a 560mm f\/6.3 and do it competently. Autofocus is fast and accurate, and the whole thing weighs less than the typical 70-200mm f\/2.8. What a great lens. <\/p>\n\n\n\n

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Squirrel – Nikon Z8 with Nikkor Z 400mm f\/4.5 VR S + 1.4x TC @ 560mm, f\/6.3, 1\/500s, ISO 11,400<\/figcaption><\/figure>\n\n\n\n

As I continue to shoot with a variety of equipment, I’m planning to keep this article up to date. If I come across a lens that dethrones one of the champions here, I will update the article. What lenses rank best for you?<\/p>\n","protected":false},"excerpt":{"rendered":"

Last updated 2\/10\/24 What lens is best? I get asked this all the time, and there’s never really a right answer. “Best for what?” is what I usually reply, as the answer will depend on what the photographer wants to accomplish, what their budget is and what is important to them. Everyone will have a […]<\/p>\n","protected":false},"author":1,"featured_media":10397,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"cybocfi_hide_featured_image":"","_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"enabled":false},"version":2},"_links_to":"","_links_to_target":""},"categories":[22],"tags":[395,30,225,257,145,29,6,203,181,250],"class_list":["post-9281","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-shop","tag-best","tag-canon","tag-fuji","tag-fujifilm","tag-lenses","tag-olympus","tag-panasonic","tag-sigma","tag-sony","tag-zeiss"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/admiringlight.com\/blog\/wp-content\/uploads\/2020\/12\/rf50L-1.jpg","jetpack_shortlink":"https:\/\/wp.me\/p28RGq-2pH","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/admiringlight.com\/blog\/wp-json\/wp\/v2\/posts\/9281","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/admiringlight.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/admiringlight.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/admiringlight.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/admiringlight.com\/blog\/wp-json\/wp\/v2\/comments?post=9281"}],"version-history":[{"count":34,"href":"https:\/\/admiringlight.com\/blog\/wp-json\/wp\/v2\/posts\/9281\/revisions"}],"predecessor-version":[{"id":12867,"href":"https:\/\/admiringlight.com\/blog\/wp-json\/wp\/v2\/posts\/9281\/revisions\/12867"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/admiringlight.com\/blog\/wp-json\/wp\/v2\/media\/10397"}],"wp:attachment":[{"href":"https:\/\/admiringlight.com\/blog\/wp-json\/wp\/v2\/media?parent=9281"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/admiringlight.com\/blog\/wp-json\/wp\/v2\/categories?post=9281"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/admiringlight.com\/blog\/wp-json\/wp\/v2\/tags?post=9281"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}