50mm 1.4 Canon Best Buy
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The best 50mm lenses are an essential addition to the camera bag of any serious photographer. These lenses, also referred to as 'standard' lenses or 'nifty fifties', capture a perspective that's roughly equivalent to the field of the view the human eye can see, making them an ideal choice for capturing imagery with a naturalistic feel.
In my experience, 50mm is perfect for portrait photography, but it can also work for street photography, landscape photography, and much more. Most 50mm lenses also have a large maximum aperture, which makes them great for low-light shooting.
The lens feels robust, and the metal mount provides a secure connection to your RF camera. The build is on the heavier side, and the RF 50mm f/1.2 is certainly bulkier than the f/1.8 budget option (shared below), but you can still comfortably use it handheld.
The AF motor is incredibly quiet and you should be able to focus on objects quickly, even in low-contrast situations. For beginners with a Canon DSLR, this is our top 50mm pick, and with the appropriate adapter, you can use it on RF cameras, too.
Alternatively, if you want to take professional-grade portraits and street photos, the Canon RF 50mm f/1.2L USM and the Canon EF 50mm f/1.2L USM offer superior optics, autofocusing, and better maximum apertures for low-light images.
If you're just beginning with the full-frame EOS RP, the RF 24-105mm F4-7.1 IS STM zooms in to cover telephoto scenes and portraits. Its aperture is pretty narrow, so you need a decent amount of light for the best results. But it delivers sharp, detailed photos and isn't at all expensive.
Creators starting with an APS-C camera have a couple of kit zooms to pick from, the basic RF-S 18-45mm and midrange RF-S 18-150mm. Neither is a stunner for wide-angle coverage or picture quality, but they're both capable.
The Extender RF 2x works with the same lenses as the 1.4x edition, but goes further, effectively doubling the focal length of the attached lens. It cuts incoming light by two f-stops, so it's best used on bright days.
These lenses are often smaller than zooms, too. Canon has a few that qualify, including the RF 35mm, a wide prime with macro focus, and the affordable RF 50mm F1.8. Some premium primes have f-stops that open up wider to F1.2 and are a lot bigger. Even those are still more compact than a quality zoom.
The best news is that Nifty Fifty lenses are accessible to photographers on any budget, whether you make your living from photography or you have just purchased your first camera. Sure, the faster pro-spec versions will hit the wallet harder, but more modest 50mm optics can be bought for around the 100 mark, making them excellent value for money.
In the world of photography and on the other side of the globe in Japan, Canon introduced the 50mm f/1.4 Leica Thread Mount (LTM) lens. It was then, and remains now, a jewel of a lens; a timeless and compelling photographic tool despite our ever-changing world.
Leica`s first version Summilux was made for just three years, from 1959 to 1961. Its re-engineered second version was produced in 1961 and continued until 2004. One could argue that Leica`s desire to re-engineer their 50mm f/1.4 Summilux so soon after it debuted was a direct result of the increasing quality of Japanese lenses.
It's big, heavy, and expensive, which means it might not appeal to beginners or even enthusiasts who are more interested in portability and \"good enough\" image quality. But for users who want nothing but the best, it's basically going to come down between this lens and the $4,000 Zeiss Otus 55mm f/1.4.
That puts the Sigma in an interesting spot. On the one hand, it benefits from the Otus's ridiculously high price and lack of autofocus. On the other hand, if you're the kind of shooter who just wants the best image quality in the world, maybe you don't care about price or autofocus. Still, we think there are plenty of enthusiasts who will find this lens fits just right.
The Sigma 50mm f/1.4 DG HSM Art has developed a reputation as one of the sharpest lenses ever made, so when we got it into our labs we expected magic. To push it to its limits, we tested it on three bodies, the 22.3-megapixel Canon 5D Mark III, the 36.3-megapixel Nikon D810, and the 50.6-megapixel Canon EOS 5DS (a beta unit).
In the real world, the 50mm f/1.4 Art was just as impressive, producing some of the best bokeh we've seen from a normal lens. You'd likely still opt for a longer focal length if you are interested in portraits, but it'll capably get the job done in the absence of an 85mm or 105mm prime. As an all-around lens for street photography, reportage, and casual snaps, it has few peers.
Whether it's worth it to you will depend entirely on your personal goals. While you have to respect what Sigma has accomplished, this lens probably provides more raw performance than most people really need from a 50mm f/1.4. Would most beginners and enthusiasts be just as happy with the $329 Canon EF 50mm f/1.4 USM or the $419 Nikon 50mm f/1.4G Almost certainly.
In our lab tests, the Sigma 50mm f/1.4 DG HSM Art essentially pitched a perfect game. It's sharp at nearly every aperture across the entire frame and, when mounted on the 36.3-megapixel Nikon D810 or the 50.6-megapixel Canon EOS 5DS, it out-resolved every other lens we've tested to date. It also virtually free of visible chromatic aberration and produces very little distortion. While it's a touch soft in the corners at f/1.4, that's just about the only negative we can come up with.
The Sigma 50mm f/1.4 DG HSM Art performed extraordinarily well in our lab tests. We actually tested it three times: once on the Canon 5D Mark III, once on the Nikon D810, and once on a beta version of the Canon EOS 5DS. The 5D Mark III results are sensor-limited, but interestingly enough the 50-megapixel 5DS and the 36-megapixel D810 are both very similar.
On all three of our test bodies, the Sigma 50mm f/1.4 produced minimal chromatic aberration. Even at f/1.4 it's not an issue, only cropping up in high-contrast scenes and only toward the extreme edges of the frame. You can find it if you go hunting, but in everyday use it'll be essentially nonexistent. What little fringing there is can be easily corrected in post.
The bokeh from the Sigma 50mm f/1.4 is, for the most part, absolutely lovely. There are a few minor issues, including some \"onion ring\" effect and busy-looking backgrounds under specific circumstances, but for the most part you're going to get extremely creamy-smooth backgrounds with beautifully rounded specular highlights. It's hard to ask for more from a fast fifty.
Don't know about the 50mm f/1.4, haven't got it. From a collectors point of view (not photographic, I have enough stuff...) I am thinking (just a tiny bit) about a MC rokkor 58mm f/1.4 instead of the 50mm MD Rokkor f/1.4.
This is one of my favorite hidden gems of the film world and can routinely be found with a Yashica 50mm lens for $100 or less. It uses the Contax Yashica (C/Y) bayonet mount, which means it can utilize all of the extremely excellent Contax Zeiss lenses, many of which still hold their own even on high-resolution digital cameras. In fact, some of the lenses were so good that their designs exist to this day in the Zeiss Classic and subsequently the Zeiss Milvus series.
There are a plethora of great Minolta lenses available at very reasonable prices; there is also the renowned 58mm f/1.2 Rokkor which is a nice chunk of glass that produces nice, dreamy images wide-open. Even that lens can be found at a modest cost. Your regular 50mm f/1.8 or 50mm f/1.7 Minolta lenses are dirt cheap, and 50mm f/1.4 or 55mm f/1.4 lenses are incredibly affordable as well.
First introduced in the Nikon FA and later the F4, Nikon created what is today the most commonly used exposure mode. Other cameras of the time had a spot or center-weighted meter, which can be tricky to use under some circumstances. Matrix metering (also known as evaluative, multi, et cetera) uses a microprocessor to analyze a scene, compare it to similar scenes in its library of computer knowledge, and choose an exposure based on what it believes is best for that scenario. Taken for granted today, it was incredibly remarkable technology when first introduced and only improved over time.
Biggest problem is the 50 1.2. I never shoot below 2.8 because it will just be pointless, won't ever give me a clear shot. I feel thats ridiculous. The 70-200 2.8 is better, but still not as crisp as I feel it should be. The 24-70 2.8, I just about cringe anytime I have to put that lens on the camera. Now why would all of my lenses be giving me problems! I had the camera and the 70-200 sent in for servicing in January by geek squad because I purchased them through best buy. I don't feel like it did anything.
If I were to ask you, what do you rate your level of photography knowledge, what would you tell me. I really need to know this before I, or anybody, can offer and meaningful advice. It is best to observe but not poossible on a web forum. I do hope I can help.
I hate to say this, it hurts, but you may be better off with the EF 50mm f1.4 or even, as some say the best there is, Sigma 50mm f1.4 Art. It is incredibly sharp. I had it and sold it to buy the EF 50mm f1.2 knowing full well I was losing sharpness. But when you want f1.2, you want f1.2. Otherwise there is no good reason to have this lens. If you continuely shoot at f2.8 does this not make sense I am considering buying the EF 85mm f1.2 ($2000!) for the same reason. It is a f1.2 lens. And to boot I have the Sigma 85mm f.4 which will have to go. This knowing full well the Sigma wins the sharpness battle. But it doesn't have f1.2.
I have rented the sigma art 50mm before and did notice it focused quicker and was sharper. I have been debating on actually purchasing it, I am just annoyed that I can't get that with the 1.2 I think its ridiculous!
Here is an image I shot with a canon 50 1.4 I rented not too long ago to test out if I would get a better result with the 1.4 It was a full length shot of her that I zoomed in to see if her eyes were in focus. Not even close. 59ce067264