RSS
 

Posts Tagged ‘f/1.8’

Canon’s Exciting New RF Lenses: The 70-200mm f/4 and 50mm f/1.8

09 Nov

The post Canon’s Exciting New RF Lenses: The 70-200mm f/4 and 50mm f/1.8 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Last Tuesday, Canon announced two new RF lenses:

The Canon 70-200mm f/4L IS USM and the Canon 50mm f/1.8 STM.

Canon's new RF lens, the 50mm f/1.8 STM
The Canon RF 50mm f/1.8 STM

Both of these lenses will ship in the first half of December, though they’re currently available for preorder ($ 1599 USD for the 70-200mm f/4L IS and $ 199.99 USD for the 50mm f/1.8).

The new lenses will undoubtedly appeal to the many Canon photographers who have already embraced the EOS R system, especially those who are looking for cheaper alternatives to the existing RF 70-200mm f/2.8 IS and the RF 50mm f/1.2. 

Canon's new RF lens, the 70-200mm f/4L IS
The Canon 70-200mm f/4L IS

In fact, the 70-200mm f/4 and the 50mm f/1.8 have already garnered something of a reputation, thanks to their top-notch EF equivalents. The EF 70-200mm f/4L IS, for instance, is a high-quality, reasonably-priced option for landscape photographers, amateur portrait photographers, and more – while the EF 50mm f/1.8 STM is just about the handiest Canon lens you can own, combining optical prowess with affordability and compactness. 

And while the RF 70-200mm and the RF 50mm f/1.8 won’t be quite as cheap as their EF counterparts, they’re certainly cheap enough to draw Canon photographers of all stripes, including a mix of professionals and hobbyists (for the 70-200mm f/4), as well as amateurs (for the 50mm f/1.8).

Plus, Canon has added several significant upgrades to these RF lenses. The 70-200mm f/4L IS, for instance, will offer up to 5 stops of image stabilization, which expands to 7.5 stops when combined with in-body image stabilization. It’s also Canon’s “shortest and lightest 70-200mm f/4 zoom lens to date,” making it an even more compelling option for landscape photographers who hike for hours on end.

Canon's new RF lens, the 70-200mm f/4L IS

As for the RF 50mm f/1.8:

You get the ultra-useful 50mm focal length for just $ 200 USD, not to mention the Canon RF lens control ring (which you can use to tweak camera settings on the fly). And the lens will be both compact and light – in other words, perfect for a casual photographer, or even a street photographer, looking to fire off shots without attracting much attention.

Canon's new RF lens, the 50mm f/1.8 STM

So if you’re after an affordable, high-quality lens with a wide maximum aperture and great ergonomics, check out the Canon RF 50mm f/1.8 STM, which is available for preorder for just under $ 200 USD. 

Alternatively, if you’re hoping to capture gorgeous landscapes, portraits, or even outdoor event photos without breaking the bank, you can preorder the Canon 70-200mm f/4L IS USM here for $ 1599 USD.

The post Canon’s Exciting New RF Lenses: The 70-200mm f/4 and 50mm f/1.8 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


Digital Photography School

 
Comments Off on Canon’s Exciting New RF Lenses: The 70-200mm f/4 and 50mm f/1.8

Posted in Photography

 

Review – Viltrox 85mm f/1.8 Lens for Fujifilm

09 Apr

The post Review – Viltrox 85mm f/1.8 Lens for Fujifilm appeared first on Digital Photography School. It was authored by Suzi Pratt.

Viltrox 85mm f/1.8 Lens for Fujifilm Review

It used to be that photographers were wary of third-party camera lens makers because they often sacrificed quality for a cheaper price. However, that’s no longer the case today. In fact, third-party lens makers such as Tamron and Sigma are now creating viable lens alternatives that even professional photographers are turning to. Relatively new to the game is Viltrox, a Chinese camera accessory manufacturer. They recently put out the Viltrox PFU RBMH 85mm f/1.8 STM and I tested it out with my Fujifilm X-T3. Here are my thoughts.

Viltrox 85mm f/1.8 for Fujifilm
Viltrox 85mm f/1.8 lens for Fujifilm

Lens specs

The Viltrox 85mm f/1.8 lens is a fixed autofocus lens available for both Fujifilm X-Mount and Sony E-Mount cameras. It’s interesting to note that this is a full-frame lens as it works with both Sony FE and crop-sensor camera bodies; if Fujifilm made a full-frame mount, it would likely work with that as well.

This is a hefty lens, weighing in at 1.4 lbs (636 grams). It is an all-metal body that, unfortunately, is not weather-sealed. However, it would likely be able to hold up well over time, given its hard exterior.

The lens is simple with no buttons or controls on the body, which made for an interesting usability experience (more on that below). It comes with both a lens hood and front and rear caps.

Viltrox 85mm f/1.8 for Fujifilm
Viltrox 85mm f/1.8 for Fujifilm with the included lens cap and lens hood.
  • Filter size: 72mm
  • Focal length: 85mm (roughly 127.5 mm on a crop-sensor)
  • Aperture range: F1.8-F16
  • Optical structure: 10 Elements in 7 Groups
  • Aperture Blades: 9
  • Focusing distance: 0.8m~?
  • Flange distance: 17.7mm
  • Object distance image ratio: 1:8
  • Image stabilization (IS): No IS or vibration reduction
  • Weight: 636g (1.4lb)
  • Price: $ 399 USD

Comparable lenses

One of the biggest selling points of this lens is its price: US$ 399 for an f/1.8 short prime lens is a pretty good deal.

Looking at Fujifilm’s native lens library, your closest other choices are the XF80mm f/2.8 for US$ 1,199.00 and XF90mm f/2 for US$ 729.99.

When compared to these two lenses, the Viltrox 85mm f/1.8 seems like a steal at its price point, plus it is the fastest lens of the bunch.

Viltrox 85mm f/1.8 for Fujifilm
Viltrox 85mm f/1.8 for Fujifilm compared in size to the Fuji 18-55mm.

Usability

Part of the joy of shooting with a Fujifilm camera is the experience. Most cameras, including the Fujifilm X-T3 and X-H1 that I use, have dedicated buttons and dials for setting details such as shutter speed and ISO.

All official Fujifilm lenses are built to integrate well with this shooting experience as they include a dedicated aperture ring used to control your F-stop. This little tidbit is where shooting with the Viltrox 85mm f/1.8 took some getting used to.

The Viltrox lens has no buttons or dials on it, and no aperture ring for adjusting the aperture. Instead, the front dial on your Fujifilm camera becomes the default way of changing your aperture. For long-time Fujifilm shooters, this is a strange thing to get used to.

Viltrox 85mm f/1.8 for Fujifilm
Viltrox 85mm f/1.8 for Fujifilm on the Fuji X-H1.

Camera lens balance

Another thing to get used to is the weight of this lens.

Fujifilm mirrorless cameras are typically quite lightweight and compact compared to many of their full-frame competitors. As a result, which camera body you choose to pair with this lens can make a big difference in how you shoot with it.

When attached to my Fujifilm X-T3, the camera was harder to hold due to the shallow grip on the X-T3. In comparison, the Viltrox felt better balanced when paired with the Fujifilm X-H1, which has a more solid body with a deeper handgrip.

However, don’t forget that you can enhance the grip of most cameras like the X-T3 by using the optional battery grips or adding an L-bracket.

Autofocus

The autofocus is a mixed bag. While the autofocus mechanism is accurate once you secure focus, it does quite a bit of hunting when you first begin framing your subject. This is also not a very quiet lens, and you can hear the focus mechanism as it works to find focus. It’s not necessarily a dealbreaker unless you shoot a lot of fast-moving subjects, or really need dependable autofocus. But you get what you pay for.

Image quality

Image quality is spot on and in line with what you would expect from a Fujifilm camera. Sharpness, color, and contrast are all great at various apertures, but the best feature is the bokeh. When shooting wide open at f/1.8, you get bokeh that is insanely smooth and gorgeous.

Review - Viltrox 85mm f/1.8 Lens for Fujifilm
Fujifilm X-H1 with Viltrox 85mm f/1.8 – 1/12 sec, f/1.8, ISO 200

In conclusion

Is the Viltrox 85mm f/1.8 lens worth it? It depends on your budget and expectations for quality.

Many features from solid build quality, respectable integration with the Fujifilm system, and overall image quality are on-point. However, autofocus is not as reliable as it would be on a native Fujifilm lens.

Then again, you’ll be paying a lot more money for a similar Fujifilm lens, so if the cost is an issue, you really can’t go wrong with this lens given its price point.

Review - Viltrox 85mm f/1.8 Lens for Fujifilm
Fujifilm X-H1 with Viltrox 85mm f/1.8 – 1/5000 sec, f/1.8, ISO 1000
Review - Viltrox 85mm f/1.8 Lens for Fujifilm
Fujifilm X-H1 with Viltrox 85mm f/1.8 – 1/4000 sec, f/1.8, ISO 1600
Review - Viltrox 85mm f/1.8 Lens for Fujifilm
Fujifilm X-H1 with Viltrox 85mm f/1.8 – 1/2200 sec, f/2.5, ISO 200
Review - Viltrox 85mm f/1.8 Lens for Fujifilm
Fujifilm X-H1 with Viltrox 85mm f/1.8 – 1/60 sec, f/5, ISO 200
Review - Viltrox 85mm f/1.8 Lens for Fujifilm
Fujifilm X-H1 with Viltrox 85mm f/1.8 – 1/5000 sec, f/1.8, ISO 3200
Review - Viltrox 85mm f/1.8 Lens for Fujifilm
Fujifilm X-H1 with Viltrox 85mm f/1.8 – 1/4000 sec, f/1.8, ISO 400
Review - Viltrox 85mm f/1.8 Lens for Fujifilm
Fujifilm X-H1 with Viltrox 85mm f/1.8 – 1/4000 sec, f/1.8, ISO 800
Review - Viltrox 85mm f/1.8 Lens for Fujifilm
Fujifilm X-H1 with Viltrox 85mm f/1.8 – 1/4000 sec, f/1.8, ISO 1600
Review - Viltrox 85mm f/1.8 Lens for Fujifilm
Fujifilm X-H1 with Viltrox 85mm f/1.8 – 1/950 sec, f/1.8, ISO 200
Review - Viltrox 85mm f/1.8 Lens for Fujifilm
Fujifilm X-H1 with Viltrox 85mm f/1.8 – 1/2200 sec, f/1.8, ISO 200
Review - Viltrox 85mm f/1.8 Lens for Fujifilm
Fujifilm X-H1 with Viltrox 85mm f/1.8 – 1/300 sec, f/5.6, ISO 200
Review - Viltrox 85mm f/1.8 Lens for Fujifilm
Fujifilm X-H1 with Viltrox 85mm f/1.8 – 1/800 sec, f/1.8, ISO 200

The post Review – Viltrox 85mm f/1.8 Lens for Fujifilm appeared first on Digital Photography School. It was authored by Suzi Pratt.


Digital Photography School

 
Comments Off on Review – Viltrox 85mm f/1.8 Lens for Fujifilm

Posted in Photography

 

News: Inexpensive Canon RF Lenses are in the Works, Including a 50mm f/1.8

24 Jan

The post News: Inexpensive Canon RF Lenses are in the Works, Including a 50mm f/1.8 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

 

news-Inexpensive-Canon-RF-Lenses

Earlier this month, Canon announced its intention to produce RF lenses over EF lenses. A Canon Europe spokesperson indicated that the imaging giant would continue to support the EF mount, but that we can expect to see only new RF lenses for the foreseeable future.

For longtime Canon users who haven’t jumped on the mirrorless bandwagon, this is a blow. But for Canon’s mirrorless users, this is excellent news. One of the main reasons to switch to a company like Sony over Canon is the mirrorless lens lineup; Sony’s mirrorless lens development has had a big head start over Canon’s, and Sony now offers dozens of full-frame and APS-C mirrorless lenses.

But with Canon focusing on its RF lenses, we might get to see it close the mirrorless gap.

In fact, it looks as if Canon is already making good on its commitment to the RF mount, especially in the budget lens category. Up until now, Canon has offered very few cheap RF lens options.

Over the twelve months, we might see that change.

According to Canon Rumors, we can expect to see several new low-priced RF lenses announced in the near future, including “at least one…this year.”

This should include some type of pancake lens with an f/2.8 maximum aperture, as well as the possibility of an RF 50mm f/1.8.

While it’s unlikely that Canon’s 50mm f/1.8 could rival the price of the current EF 50mm f/1.8 STM, its good to know that we might have some strong options for consumers.

Thus far, anyone looking for a 50mm lens option (which is great for shooting portraits, street images, and more) would have to settle for the Canon RF 50mm f/1.2L, which currently costs over $ 2000 USD.

But with a cheaper 50mm option, the Canon RF lens lineup should feel much more accessible, even for beginners.

And with some luck, we should see both these new RF lenses before the year is out.

The post News: Inexpensive Canon RF Lenses are in the Works, Including a 50mm f/1.8 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


Digital Photography School

 
Comments Off on News: Inexpensive Canon RF Lenses are in the Works, Including a 50mm f/1.8

Posted in Photography

 

Sony FE 135mm F/1.8 GM Lens Review

29 Mar

The post Sony FE 135mm F/1.8 GM Lens Review appeared first on Digital Photography School. It was authored by Anabel DFlux.

Sony is here to turn your photography world upside down with its absolutely incredible technology and equipment. A name that is now leading much of the industry, Sony’s G-Master series of lenses have become big contenders in the photography game. As such, Sony has released approximately 30 G-Master lenses for their full-frame cameras. The newest addition to the collection is the Sony FE 135mm F/1.8 GM lens, which is now arguably the sharpest lens in the collection! I had the pleasure of testing this lens out fully at the Wedding and Portrait Photographers International (WPPI) show in Las Vegas late last month before the lens is even released to the public.

1 - Sony FE 135mm F/1.8 GM Lens Review

Image courtesy of Sony

To get the basics out of the way, the Sony FE 135mm F/1.8 GM is intended for full-frame cameras and is only mountable on the E-mount cameras. This lens has similar specifications to the other lenses in the G-Master line such as the Sony patented XD linear motor, Super ED glass, and Sony Nano AR (all of which we will get into later).

My primary experience with this lens was taking it for a test run at the WPPI convention in Las Vegas at the end of February and it was a pleasure to try it out before the general public.

Lens build

Upon first glance, I was immediately smitten with the aesthetic of this lens. Clean, sharp, and a beautiful black – this lens looks phenomenal (as even noted by a few of my photography clients). This lens measures at about 3 5/8th inches long and 5 inches tall, and is a very decent and comfortable size for its focal length – even when held by someone like me (small hands, yikes). The lens isn’t very heavy either, clocking in at only 33 ounces (2 pounds).

For a master telephoto lens, this one is quite easy to take on travels! Comprised of magnesium alloy, the lens is lightweight yet durable. The build feels incredibly solid, and I would not hesitate to bring it to difficult or uncomfortable shooting situations such as live concerts or the beach on a windy day. The lens is rather wide, which may be a downside to some, however, you must keep physics in mind. The lens must be wide to accommodate the F/1.8 aperture.

2 - Sony FE 135mm F/1.8 GM Lens Review

Image courtesy of Sony

The Sony FE 135mm F/1.8 GM features excellent weather sealing to help prevent wind, rain, dust, and dirt from entering important mechanical components. Alongside this, the lens is touted to be dust and moisture resistant. The lens glass has a pretty impressive build in its own right too. The glass has a fluorine coating on it to resist fingerprints, dust, water, oil, and other contaminants. If these do end up on the lens, cleaning is easy. That said, I do still suggest purchasing a glass filter – being resistant to fingerprints is not beneficial to dropping or a significant bump!

Aperture ring & additional lens features

3 - Sony FE 135mm F/1.8 GM Lens Review

Image courtesy of Sony

All of the buttons on this lens made me a very happy photographer. Designed with professionals in mind, this lens features manual buttons and features such as the aperture ring, an aperture ring silencer, the focus range limiter switch, custom focus hold buttons, and an AF to MF finger switch.

As an avid Canon DSLR and EF lens user who had recently added a Sony mirrorless to the collection, the aperture ring was something a bit new to me. Intended to be beneficial during cinema work, instead of adjusting the aperture on the camera body, you have the option of adjusting its width on the lens. This ring can be adjusted to either be silent or make little clicks to indicate it is turning – very useful for silent shooting. For those that prefer to adjust the aperture on the camera body itself, you can set the dial ring to ‘A’ for automatic.

The focus ring features Linear Response MF, which gives you instantaneous and sensitive response (a big bonus if you’re brave enough to use manual focus to capture something that moves)!

A nice added feature to the Sony GM 135mm F/1.8 is the focus range limiter switch which restricts the range of distance your lens can focus. I use this feature myself when I photograph dog agility shows to ensure the lens doesn’t focus on any obstacles near me but remains locked on a running dog that is far away.

Alongside this, the lens also has customizable focus hold buttons on the side and top which let you control focus via buttons on the lens rather than just the camera. Extremely useful in low light situations where lenses tend to naturally ‘hunt’ for focus.

Focus

4 - Sony FE 135mm F/1.8 GM Lens Review

Where the Sony line particularly shines in the mirrorless game (if not the camera game as a whole) is in its Autofocus. For many of their mirrorless cameras, advanced algorithms provide high AF precision, and infrared technology allows autofocus to be achieved even in extremely low or difficult lighting situations. As well, various autofocus features such as “Eye Tracking” makes these kits superb pieces of machinery. Pair this with the autofocus of the lens, and you have a masterpiece.

This lens has two unique actuators called Extreme Dynamic (XD) Linear motors. These motors not only silence the autofocus but also allow the lens to focus significantly faster than many other motors.

5 - Sony FE 135mm F/1.8 GM Lens Review

The autofocus is speedy and constant. I can attest to this as a sports photographer. When continuous autofocus is enabled in the camera, the lens holds onto the subject of your choosing like its life depends on it. The lens won’t hunt very much (if at all) and can keep following even a spontaneously and erratically moving subject.

When I took this lens out for a spin at WPPI, I can attest that the focus was incredibly fast and sharp, and was able to follow a human subject throughout the entire range of movement, regardless of the obstacles in front or behind. Even when the subject walked into a crowd of people, the lens was able to figure out who I was photographing.

Sharpness

The sharpest lens in the G-Master lineup. Hands down. A bold statement, but I stand by it!

For most lenses, they are only very sharp in the center. Sony GM 135mm F/1.8 is sharp everywhere. From the corners to the center, allowing you the versatility of any composition under the sun.

6 - Sony FE 135mm F/1.8 GM Lens Review

The sharpness is also very consistent from shot to shot. I have had many instances in which I capture a sequence in a portrait and only the first or second shot is very sharp and the rest drop off a bit. Of course, to most photo viewers, this discrepancy isn’t very noticeable. However, the photographer’s eye can see it glaringly.

Another big bonus is that this lens does not have a vignette, which can be a common problem with wide apertures.

There is absolutely no reason to add sharpening in post-processing either.

The clarity and colors this lens produces are impressive. I found the images required significantly less retouching too.

Depth of Field

7 - Sony FE 135mm F/1.8 GM Lens Review

Image courtesy of Sony

“Wide aperture” is my favorite phrase to hear. Truly. My photographic aesthetic dwells heavily on shallow depth of field. With my work as a concert photographer, the low light capability brought forth by wide apertures is a must-have. The F/1.8 aperture of this lens is terrific (although my obsession with my Canon 50mm F/1.2 L lens makes me wish this lens was an F/1.2). Even if you’re not one to shoot shallow, my rule of thumb is to always invest in lenses with a lower aperture number, so you have the option to shoot at all ranges.

The bokeh produced by this model is right on par with Sony’s unique look to out of focus areas. This is thanks to the unique lens build. To start, the XA element in the glass is developed using an exclusive glass molding process which makes it smoother than conventional aspherical lenses. Conventional lenses are rougher, which can cause rings to appear on your shallow depth of field (a pain to Photoshop out, though Gaussian Blur can do the trick if you mask it right). Secondly, Sony’s camera system aids in creating effortless-looking subject isolation. Third and final, the 11 circular aperture blades inside of the lens create a circular bokeh that maintains its shape no matter what.

8 - Sony FE 135mm F/1.8 GM Lens Review

Image courtesy of Sony

I find the depth of field (DOF) looks more dreamy and a bit artificial from other similar lenses, but it has an authenticity and liveliness to it. The shallow DOF has a subtle, calmer rotation that creates a very natural look to the images (or in the least, as natural as this shallow of a field can be).

Pair that with the fact that this lens has a focal length of 135mm and you have some great subject separation. There is a typically unmentioned benefit to telephotos used for portraits. Because of the length of this lens, there is a nice separation of subject from the background and foreground. This happens because of the compression inside the lens.

Flare resistance

As someone who photographs live concerts often, I find that flare resistance is an important factor in deciding whether to purchase a lens or not. Although some prefer the stylistic look, many of my music clients don’t want an image that is heavily washed out by colored light and lacks contrast. Flare resistance tends to stem from the glass coating of lenses, and some are better resistant than others.

9 - Sony FE 135mm F/1.8 GM Lens Review

Lucky for all of us, Sony’s patented Nano AR Coating is applied to reduce flare. Most of the time you can just shoot directly into the sun and you will neither have problems with a huge loss of contrast nor ghosting. This is brilliant for natural light photographers, especially during the beloved golden hour.

As previously mentioned, my primary experience with this lens was at the WPPI convention. Despite the lighting conditions being very difficult in the convention center, this lens outperformed many of the other lenses that I had tested on the same week- notably the flare resistance and overall quality. There was no real issue with the glaring back lights on any subject I had photographed.

Chromatic aberration

Chromatic aberration, also known as ‘color fringing’ or ‘purple fringing,’ is a common optical problem that occurs when a lens is either unable to bring all wavelengths of color to the same focal plane, or when wavelengths of color are focused at different positions in the focal plane. This issue plagues fast lenses the most, as the shallow depth of field tends to bring the optical problem forth. With this lens being an F/1.8, many are concerned about fringing issues in backlit portraits (when the light source is behind the subject).

10 - Sony FE 135mm F/1.8 GM Lens Review

Sony’s Super ED element reduces chromatic aberration. Some aberration does exist – it isn’t foolproof – but luckily this issue tends only to affect the off-center portions of the frame. They are very minor in comparison to similar lenses and is easy to remove in post-processing programs such as Lightroom or Photoshop.

In comparison to my other Sony lenses, this one has the least chromatic aberration (as I found my 85mm was plagued with it, unfortunately). However, the Canon L lenses I have seem to have significantly less chromatic aberration all around.

Pros and Cons of the Sony FE 135mm F/1.8 GM Lens

11 - Sony FE 135mm F/1.8 GM Lens Review

Pros:

  • Wide aperture at F/1.8.
  • Professional lens build.
  • Lighter than most alternatives.
  • Very accurate autofocus, especially paired with the mirrorless autofocus system.
  • Sharp throughout the entire frame, not just the center.
  • Silent autofocus due to the XD linear motor.
  • Convenient features physically built into the lens, such as the aperture ring, an aperture ring silencer, the focus range limiter switch, custom focus hold buttons, and an AF to MF finger switch.
  • Weather sealing and dust resistance.
  • Flaring and ghosting resistance Sony Nano AR coating on the glass.
  • Reduced chromatic aberration due to Super ED element.

Cons:

  • Pricey investment.
  • The lens is quite wide in physical build. Understandable for the wide aperture.  

Conclusion

This lens is a bit of a hefty financial investment, clocking in at about $ 1,900. However, considering the build quality, features, and incredible final output, I’d consider the value of this lens to be worth its asking price. I am also predicting that the lens will not depreciate much overtime.

12 - Sony FE 135mm F/1.8 GM Lens Review

In conclusion, this lens is a stunner in its own right. For those that find a use for the 135mm (like myself), I’d go as far as to say this may be a must-have on the mirrorless list.

We had a fun jest at the WPPI show stating that you can just purchase the 24mm G-Master, 85mm G-Master, and this 135mm G-Master lens and that’s all you need for your kit! Arguably the absolute sharpest lens in the lineup, the 135mm is worth every penny for the immense amount of features included in this great lens.

The post Sony FE 135mm F/1.8 GM Lens Review appeared first on Digital Photography School. It was authored by Anabel DFlux.


Digital Photography School

 
Comments Off on Sony FE 135mm F/1.8 GM Lens Review

Posted in Photography

 

Review: Yongnuo 50mm f/1.8 lens for Canon – At just US$50 could this be the most affordable “nifty fifty”?

18 Mar

The post Review: Yongnuo 50mm f/1.8 lens for Canon – At just US$ 50 could this be the most affordable “nifty fifty”? appeared first on Digital Photography School. It was authored by Kunal Malhotra.

The 50mm f/1.8 lens, or as we call it, the ‘Nifty Fifty,’ is one of the most widely used lenses in the market. This is usually the first lens a modern digital camera owner desires to purchase after the kit lenses.

The reasons why this is the most popular lens are fairly simple – the first being affordability, and the second, the ability to produce pleasing bokeh.

In terms of affordability, the Yongnuo 50mm f/1.8 lens is ideally the cheapest Nifty Fifty. Priced at less than US$ 50, this is less than half of the Canon variant and works on APS-C as well as full-frame cameras.

However, the Yongnuo lens for Nikon costs around US$ 70 as it includes the focus motor. I recently bought one for my Canon 5D Mark iii, so I thought of sharing my views about this lens.

Build quality and ergonomics

The Yongnuo 50mm f/1.8 lens looks exactly like the Canon 50mm f/1.8 lens (discontinued version). The plastic used in the Yongnuo lens feels a bit cheaper though. Surprisingly, the rubber grip is smooth, and the ‘AF and MF’ switch is similar to Canon.

The construction of the lens consists of 6 elements in 5 groups and has 7 diaphragm blades – the same as the Canon variant. This Yongnuo lens is light to carry as it weighs only 120g – 40g lighter than its competitor. Overall the lens looks and feels good at this price point.

Focus speed and accuracy

I have been using this for almost a month now, during the day as well as night time. The focus speed is a bit slow as the lens hunts for focus, especially in low light conditions. If you are shooting stationary subjects, then it is fine, but if you want to nail the focus swiftly, then you might be disappointed.

Though the focus speed is not that fast, the accuracy is fairly good. It takes time to focus but when it does the focus is accurate. I would not recommend this lens for video shooters as it messes a lot with the focus. However, if you are a hobbyist and casually shoot portraits or still objects, this lens can do the job.

Sharpness and Image Quality

Before clicking photos using the Yongnuo 50mm f/1.8, I had much less expectation from this lens. To my surprise, this lens produced amazing sharpness and image quality. I did not compare it side by side with its competitor lens, but I am sure it is on par with it.

The few image samples that you see are all shot at an event during the sunset/evening time. The images are tad sharp, and the colors also look natural. I had done a test on vignetting performance, and at f/4 it was almost gone. This lens worked for me when I was shooting stationary subjects as well as when shooting performing artists at an event.

For me, the bokeh shape was a bit unpleasant at f/1.8, and I’m not sure exactly why. I used this lens at f/2.8 and achieved sharp and crisp images with minimum vignetting and shallow depth of field effect.

Conclusion

This lens by Yongnuo is for someone who has just started with photography or has a tight budget but still wants to achieve the f/1.8 look at 50mm. The focus speed is something that might irritate you, but once it focuses the image quality is quite impressive. I would suggest this lens to someone who shoots still subjects or portraits without much movement. If you are a wedding, event or a professional portrait photographer, you might be disappointed.

Have you used this lens? What are your thoughts?

The post Review: Yongnuo 50mm f/1.8 lens for Canon – At just US$ 50 could this be the most affordable “nifty fifty”? appeared first on Digital Photography School. It was authored by Kunal Malhotra.


Digital Photography School

 
Comments Off on Review: Yongnuo 50mm f/1.8 lens for Canon – At just US$50 could this be the most affordable “nifty fifty”?

Posted in Photography

 

Going Back to Basics – My Week With a Canon EF 50mm f/1.8 II Lens

12 Dec

The post Going Back to Basics – My Week With a Canon EF 50mm f/1.8 II Lens appeared first on Digital Photography School. It was authored by Megan Kennedy.

The demise of my first Canon EF 50mm f/1.8 II lens was an unfortunate one.

First, I dropped it – which is OK.

It happens. Still recoverable, I know.

Until, clumsily, I stood on it too.

And, just to be sure it was finished, what was left of the lens then rolled down a small hill. When I caught up, I scooped it up in my hands, all scratches and broken glass. It was my first, and I was gutted.

Nevertheless, after what seemed like an appropriate period of mourning, I did what any photographer would. I bought something newer, and shinier.

I decided to graduate to a Canon EF 24-105mm f/4L IS USM. From there it was all systems go, zooming in and out of those hard to reach spots and enjoying the freedom that a versatile medium-range workhorse affords. And despite the occasional bashing here and there, its been my go-to lens ever since.

Recently, however, I acquired another Canon EF 50mm f/1.8 II. Just like my old one, but much less crunched. So I decided to see what going back to a prime lens would be like. Especially after relying so heavily on the reach of the Canon EF 24-105mm f/4L IS USM. Here’s a quick rundown on my week with the Canon EF 50mm f/1.8 II and why a break from your old favorite can be surprisingly beneficial.

Suddenly lighter

The first difference I noticed after clicking the Canon EF 50mm f/1.8 II into place was the weight, or should I say, the lack thereof? The bulk of the Canon EF 24-105mm f/4L IS USM was enormous compared to the little ‘plastic fantastic’ (as the Canon EF 50mm f/1.8 II has come to be known). Photographing with the Canon EF 50mm f/1.8 II, I had a lot less neck pain, which meant I could stay out shooting for longer without needing some painkillers.

Ditching the weight of the Canon EF 24-105mm f/4L IS USM had another benefit too. Without swinging around a heavy lens, I was able to move a lot more freely. I could crouch, jump up and down, do some parkour…

Okay, I’m not that athletic.

However, being able to move allowed me to line up shots with more ease.

A lighter lens meant I could easily sneak my camera under this umbrella for a photograph

Slowing it down

The technical differences between Canon EF 24-105mm f/4L IS USM, and the Canon EF 50mm f/1.8 II took some getting used to – zoom being one of the most pronounced. Instead of getting closer to a subject in-camera, I needed to reassess what I wanted to achieve. This meant strategically positioning my body to get the shot. Sure, I walk around seeking out subjects to photograph all the time. But, with the Canon EF 50mm f/1.8 II, I needed to be just a little more active to get the image I was after.

Sticking with the Canon EF 50mm f/1.8 II got me thinking about the physical and mental elements that come together to create a successful shot. It made me slow down and appreciate the machinations of photography and the tactility of the image-making process.

Lots of light

One of the biggest differences between the Canon EF 24-105mm f/4L IS USM and the Canon EF 50mm f/1.8 II is written in the name of the lenses themselves. It’s aperture. While the Canon EF 24-105mm f/4L IS USM can manage a valiant F/4, it doesn’t quite cut the mustard compared to the Canon EF 50mm f/1.8 II, opening up to an aperture of f/1.8.

What does this all mean? Basically, the Canon EF 50mm f/1.8 II can allow a lot more light to pass through to the camera’s sensor. That’s a big deal in low lighting conditions. For example, shooting at night with the Canon EF 24-105mm f/4L IS USM may require a much slower shutter speed or higher ISO value to achieve the same exposure the Canon EF 50mm f/1.8 II can at a faster shutter speed and a lower ISO. This means that the Canon EF 50mm f/1.8 II can produce much better image quality in low light.

Photographing in darker environments can be challenging. But the Canon EF 50mm f/1.8 II allowed me to experiment at different times of the day without having to worry about available light. Of course, its a consideration when calculating exposure, but I was a lot less concerned about clogging up my images with insane amounts of noise than I would be with the Canon EF 24-105mm f/4L IS USM in the same conditions.

The f/1.8 aperture of the Canon EF 50mm f/1.8 II allowed me to take this shot with a lot less noise and a faster shutter speed

Extension tubes

Another benefit of the ample aperture of the Canon EF 50mm f/1.8 II is its versatility when coupled with a set of extension tubes. Extension tubes physically move your lens away from the focal plane. This makes the minimum focusing distance (the shortest distance at which a lens can focus) smaller, meaning you can get closer to your subject while still maintaining focus. It’s a way to shoot macro photography without an expensive dedicated lens.

However, extension tubes do have their drawbacks. One of them being diminishing the available light in a scene. With the addition of each extension tube, less light is able to reach the camera sensor. This drop in light can be difficult to contend with if you don’t have a tripod and a perfectly still subject. A fast lens like the Canon EF 50mm f/1.8 II is ideal in this situation. Even on a terribly overcast day, I was able to get some nice, sharp shots at a decent shutter speed. It meant that I could hand-hold my camera to take macro shots that may have required a tripod with the Canon EF 24-105mm f/4L IS USM.

Bokeh

One aspect of the Canon EF 50mm f/1.8 II lens that I was eager to experiment with was its capacity for bokeh. A Japanese word meaning ‘blur’or ‘blurry’, bokeh refers to the quality of the out of focus parts of an image. The term is often used to describe how unfocused bright points in a scene are rendered as disks of light in a photograph.

While all lenses are capable of bokeh effects, zoom lenses tend to smooth a background over rather than shape it. Prime lenses, on the other hand, deliver a more defined disk-like bokeh result. In addition, bokeh requires the lowest possible aperture value to take full effect. This makes the maximum f/1.8 aperture of the Canon EF 50mm f/1.8 II ideal for some sweet bokeh magic.

Seeking out opportunities for bokeh made me re-evaluate my surroundings. I had to quickly develop an eye for points of light that I could use to disperse into globes of color. But with the ease that a small camera lens affords, the little ‘nifty fifty’ produced some really fascinating results with little effort on my part.

Testing bokeh out on a rainy night in the city

Conclusion

There are plenty of other comparisons to explore between the Canon EF 50mm f/1.8 II and the Canon EF 24-105mm f/4L IS USM. I know, a week isn’t a very long time to truly get accustomed to a new piece of equipment, but challenging myself to a week of prime-lens-only photography was a lot less difficult than I thought it would be.

In fact, it was pretty fun!

Up until now, I’ve been a one-camera-one-lens kinda gal.

But playing around with the Canon EF 50mm f/1.8 II made me think twice about my equipment repertoire. And with the weight and maneuverability of a small mammal, captivating bokeh and such a tight performance in low light conditions, I think I might just add it to the camera bag too. Just in case.

Without stepping on it this time.

 

Do you use the nifty fifty? What are your thoughts?

The post Going Back to Basics – My Week With a Canon EF 50mm f/1.8 II Lens appeared first on Digital Photography School. It was authored by Megan Kennedy.


Digital Photography School

 
Comments Off on Going Back to Basics – My Week With a Canon EF 50mm f/1.8 II Lens

Posted in Photography