50mm Shootout - Which Lens is the Best?
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- čas přidán 2. 08. 2024
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In this episode, we compare Canon's four most popular 50mm lenses.
The Lenses we will be comparing are:
50mm F1.8
50mm F1.4
Canon L Series 50mm F1.2
Canon 50mm Cinema Lens T1.3
#1, I definitely can tell the difference in the price
The first three were designed as autofocus lenses for still photography. The first two predate digital cameras (pretty much). The 1.8 is used as an autofocus 99.9% of the time. It's amazing that it's as good as its is.
This test shows wonderfully that yes, the Cinema & L series 1.2 are the best lenses. But also IMPORTANTLY that nobody should EVER by the 350$ 1.4, which loses to the cheapest 1.8 in almost every category. Also the 1.8 can focus MUCH closer than the 1.4 making close-ups very nice with it. So if you're shooting video, and want to get a cheap 50mm, the 1.8 is the no brainer. It's also very nice with portraits, shooting people and skin tones. But if you can afford a better lens, the L series might be a good choice, because the cinema lens certainly is no sharper, and like was said on the video, only provides functionality when using a cinema setup & personnel. Thanks for this nice shoot-out & comparison! Nice work!
You will see the difference between 1.8 and 1.4 lenses when you zoom in. The 1.4 will be better up to around f2.2. Both of them suck at respective extremes.
@@joaomarveloso1049 Thanks for commenting. Even if the 1.4 on paper should be a bit sharper, in my tests it didn't have anything the 1.8 had, but lacked the short focus range and nice soft look in portraits. All in all, I would never recommend the 1.4. If sharpness and quality is what you want, get the 1.2L or a Sigma 50mm Art.
@@navacla I own all three 1.8, 1.4 and 1.2. I have many years of experience on using all three and still have a usage for all three of them. 1.8, of course is the best value for money and being the lightest makes a big plus for me. In my experience though I found 1.4 to give more 'professional' results. This is taking everything into account sharpness, contrast, bokeh , color, purple fringe etc, etc. It also comes down to individual taste. There are also slight differences in certain copies of the same types of lenses. I have returned my first 1.4 copy because it had focusing issues. Also worth mentioning I think is that all of these lenses are a bit different on a cropped and full frame body. Anyway, I have seen spectacular photos taken with the 1.8 and terrible ones with 1.2 :)
@@joaomarveloso1049 Sorry, I forgot to mention that I'm only talking about video work. I still forget to mention this often. So yes, of course my opinion covered just the video side of it, I'm shooting with a GH5 and Metabones XL. In still photography the situation is entirely different. And I'm sure you're right, the 1.4 is a better deal in still photos for sure...
@@navacla oh yes..video is a different situation :) ..would love to try that cine lens T1.3 for photos. I wonder if anybody did that?..would look a bit ridiculous holding that monster though, and manual focusing :) thank you for the shootout.
the lack of purple fringing on the 1.8 compared to the other lenses was surprisingly impressive during the "flare test". look at the edge of the light
You know there is a much newer ef 1.8 that does have a metal mount and a still plastic but nicer built.
I bought mine like 3 years ago and it also has a metal mount.
Hard stops in Auto focus lenses actually eventually creates the potential for damage to the lens; When it slams into the hard stop, it 1. creates a spot for a stress break to start. 2. Creates a spot where if the stop breaks or distorts enough from impact it can skip PAST the stop (It is cheap plastic) and jam. 3. enough impact can eventually have the lenses themselves decolumnize and move out of alignment enough to negatively impact picture quality. How Likely is this? Not super likely. But there's a reason more expensive auto focus lenses don't have hard stops like that.
The 1.8 STM has a T-stop of 1.9, the Mark II 2.1
the 1.4 has 1.6
the 1.2 has 1.5 (and the RF 1.2L too)
Funnily enough, the 50mm 1.8 is the one with the less chromatic aberrations. You can see it at 11:04
The chromatic aberration is actually there, but from another chroma. The 50mm 1.8 have a green aberration, the other ones blue/purple. The green hides pretty perfectly with the light but is pretty visible in other environments
Can you remake the video with the 1.8 STM instead?
It’s the newer version of the 1.8 II.
Enzdude For me the STM version is definitely better in most ways compared to this particular 1.8 v2 for sure.
That's what I was saying. When I saw this lens on this review I thought. Oh this must be a very old video. Nope. 2019. Stm is much improved. I owned both.
@@apjgraphix Totally agree. Dare I say a REALLY big difference in quality between the STM and earlier on stm version.
I wouldn't have bought the all plastic f1.8. I like the STM quite a bit, though.
The STM is great, but It's a full-frame lens so anyone buying it for the Pocket 4k or any APSC sensor, it's now an 80mm lens...it's also a loud lens when focusing even on manual mode so it's not that ideal for video
I place my finger on the screen where the frame of the picture sits when its in focus on the entire lens breathing test and they are basically identical.
True
As many others here, I wonder *why II instead of STM* ? The optics are actually the same on all three (original, II and STM), but the latter is so nice overall (0.35m MFD, STM, metal mount, size...) that I bought it even having the 1.4! And I don't regret.
there's a new version (it's been 2 years now that I have it) of the 50m that has metal and is better why do all CZcamsrs still use this old version that is full plastic? you don't make the nifty 50 justice!
New nifty fifty is alright, but it still won't outperform CN-E or L, so it doesn't matter.
The reason why the canon f1.8 was a slightly darker than the other lenses is because F stops are measured theoretically and in the meantime the T stops are measured Practically so F Stops are not as precise as the T Stops and T Stops are perfectly calibrated and with perfect examination.. So that's why we can't say actually tell the difference between T Stops and F Stops... So I hope you got my point... For example the Canon 70 to 200mm f 2.8 isn't actually 2.8 its rated as f3.6 when it comes to T Stop while the Temron 70 to 200mm f 2.8 has a much better T Stop value at f 3.4...
For me the cinama lens is the 1.2L rebadged with a better housing and oriented for filming. I'm pretty sure it's the same optic formula. The lens breathing, lens flare, sharpness, background blur are identical! I proceeded by pair to identify the lens I knew the L and the cinema would be not really similar if not identical, the 1.8 would be the least desirable and the last would be the 1.4 and I got right every time.
great test with actual side by sides that make sense
It is what is in the head of the photographer as a creative mind and his technical knowledge that make the difference. An average good lens with 1.8 and of course 1.4 is a good tool to make great pictures. We are hypnotised by the fétichisme of merchandise with a price tag, the higher price appeals to us as superior yet we come back to what is said at the start, mind and technical knowledge is what makes a difference in most situations.
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I stupidly forgot my login password. I appreciate any help you can give me!
@Calvin Joziah instablaster =)
@Zahir Russell Thanks so much for your reply. I found the site thru google and im trying it out now.
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@Calvin Joziah you are welcome :D
Sadly discontinued, but Canon used to make a 50mm 1.0 in the EF autofocus mount. It was even more expensive than the four grand cine lens, but wow! It was fast, like Leica Noctilux fast! I'd love to see how It fares compares to the other lenses.
I found myself picking the f/1.8 out of the list without question. I wasn't sure which were the f/1.4, but I found that I picked out the cinema lens and the f/1.2 L series (although I generally had them swapped).
Really, the only one that looked "bad" was the f/1.8.
The 50 mm 1.8 has a t stop at 1.8 of t2.1. That results in that darker image. If you compare it to the newer version with the metal mount the 50mm 1.8 usm. That one has a 1.9 t stop.
Believe it or not I guessed them all right in the brick wall comparison. Maybe I just got lucky, but #2 and #4 I was 100% confident. Big fan of the 50mm, own the 1.8 myself. Great video explaining the difference and showing the close up differences of the aperture rings while explaining them, I liked that. As a beginner, it really helps to see the visuals while the explanation is happening and you nailed it.
Darker f/1.8 has a lower T-number compared to the others. The T number is the measured amount of light passing through the lens as it is stopped down.
I feel like this is not a fair comparison since the f1.8 lens clearly produce an image that is darker which is why people dont like that. The goal should be to try to get the same image out of the cameras (similar brightness, exposure and color levels) and then to see if there are any differences. Not saying that f1.8 is a better lens or not but the comparison is not justified well.
I like how do you explain and compare and discuss and talking
Agree with All that up there
Great job man
Thank you for the webinar. I just watched this video 15 minutes before it started.
In the sharpness test I actually guessed 2 > 4 > 1 > 3, which is exactly as expected. I think the differences are quite obvious to be honest, especially when looking at the corners.
I thought #2 looked more cinematic for realz totally thought that was the expensive one glad it was the cheep one and defiantly getting your course and learning while saving for next camera thank you great content on channel got me back into Photography
Excellent video! I've enjoyed it. Thank you
Awesome video. Thank you for making it. I watched another video that said buy the 1.4. I bought it on Amazon. Now I wish I had at least bought the 1.4 lens. There is a big difference in the image quality. Awesome video. Thank you!
Guessed the cheapest one everytime. Even besides the darkness. The F Series lense stood out to me, I would be happy with it.
Outstanding video! You explain so clearly and you are easy on the eyes!🤗 Thank you from Norfolk, VA.
the 4k lens is TOTALY worth it - i ´ve used it and can tell you the sharpness makes your images so much better and cinematic!
As a filmmaker I can tell the difference:
real film lens vs photo lens
precise numbers vs assumed numbers
long throw vs short throw
matching filter diameter/gears vs whatever crap
high quality coating vs cheap coating (if at all)
matching color coating vs whatever crap
sharpness till edges vs mostly sharp till edges
no motor/auto focus vs motor/auto focus (this has an effect on smoothness when manuel focussing)
ect
Sound more like a scientist
@@supjay3945 Not at all. These are all practical things you use and feel everyday you work with it. I once had to use a zoom photolens filming a open air concert from the FOH which the company who hired me didn't said upfront. I was supposed to do interviews and on spot they changed their opinion and I'm sorry but if I get hired to do a particular job I do not pack up ALL my equipment. So I had to use their photo zoom lens and it was hell! Getting focus right with probalby 2-4 millimeter throw had been a pain. Manual focusing while manually zooming also was war. No filtern availeble to dodge sunlight. The edges didn't looked nice as well. Always had to pay attention not to get to close on the musicians. ect Using photolenses for film is war. ;)
the best for looking sharpness is side by side in zoom (still images) then the lens is really challenged
backsampling to a lower resolution doesnt challenge the lens so much
the bokeh yea some lenses dont make round aperature blades but they could do, i dont know why they make non round blades
ghosting/flare is not neccesary wanted or the lens looking milky or bad in contrast when under heavy light
Man...that's a LOT of work put into this video.
Thank you so so so very much =)
I'd recommend the Rokinon brand for the above choice in focal length. The glass, as well as the focus and aperture rings play a major part too.
Rokinon has a cinema style body, but the glass quality is nowhere close to the cinema, especially if you shoot 4K.
Great video, quick explanations and straight to the points.
Idk if you realise, but the 50mm T1.3 is the 50mm f/1.2 repackaged as a cine lens. Same goes for 35mm T1.5 which is the 35/1.4 and the 24mm T1.5 which is the 24/1.4
Very good presentation. (I have f1.8 & f1.4) will watch your other films.
I have a Russian lens that I bought on ebay that has a really low fstop of 1.2 estimated. Paid $85 shipped for it and needed a special adapter just to use it, but it has the best Bokeh I have ever seen in a sub $250 lens. It even beats my Nikon Prime lens that has a Fstop of 1.4.
Your videos are seriously legit and have taught me so much stuff thank you so much
I think that lens breathing can be very nice effect in cinematography and if i am going to use something very light where i also need to pull focus just by my hand that old 50 mm 1.8 is very good for that! That lens is also darker at 1.8 because of pretty heavy vignetting at that fstop, so i personally would stop it down to f2.5 or lower to get sharper image and get rid of that vignetting. Now if you have newer cameras with dual pixel af there is stm version that improves sharpness and shape of bokeh a little plus that you have that metal mount, but that lens is not that good in manual focusing because of that focus by wire thing. That being said i been working with that whole Canon cinema kit couple years ago and it was pure joy to use them and images captured from that lens just looks perfect.
The 1.8 has "hard stops" on the focus ring because the internal focusing parts are directly coupled to it.
It's actually exactly the same on every manual focus lens, except this one is motorized. It's an old design, but it's not strange.
On the 1.4 and 1.2 the focus ring is coupled by friction, so when you go beyond the focusing range, it just slips.
The comparison would have been more fair with the 50mm 1.8 STM instead of the 30 years old 1.8 II. The newer is still cheap, and it's a better lens on every aspects.
For your image quality test, you should show samples with equivalent exposure.
If you do the same test by underexposing the cinema lens, almost no-one will say it looks the best, I guarantee it ;-)
I'm not saying that the 1.8 isn't the worst or the cinema lens isn't the best, but the comparison is unfair, as the cinema lens footage are better exposed every time.
Yes, I had to laugh when he said it has stops at either end "for some reason" no idea how its built, and no appreciation for how good it is for its price.
The lenses with ultrasonic motors don’t have focus stops.
6:00 yep ARRI cine lenses do, it has to be a mini zoom counteracting thee breathing.
Its interesting - when you showed the last few shots - the 50 1.8 lens, to my eyes, was more pleasing looking - like, it appeared more "cinematic" looking in how everything was rendered.
I agree
Could barely tell the difference in the corners between #2 and #4 for the pictures, but it was noticable for the others. When you moved on to video it was pretty obvious for all of them, but besides the cheapest 50mm they are all useable. Makes me happy I'm putting this prime off upgrading and focusing on the zooms.
In a Cine lens, other than going for a different aesthetic, by removing the requirement of reducing lens flare as much as possible, does that in and of itself make it easier to design a lens to do other things better?
I own the 50mm f1.2L and the CN-E 50mm T1.2 and I have to say, the Cinema Version has a cinematic touch, very unique and wonderful. It is build for cinema. I would say the 50mm f1.2 is the equivalent version for photography. Image quality is superb!
The CN-E is the same lens, repackaged as a cine lens
To lense breathing: the arri cinema prime lenses have a little zoom integrated which counteracts the zoom effect of the focus. This deletes lense breathing 100%. And it looks so weird but so satisfying.
I don't know, I kinda like the lens breathing! Probably really annoying for cinematographers, but I think it looks kinda calming...
@@alexwr well good for you i personally think they are really bad since they can throw your composition off
i hope some day i can buy the Arri Master Primes which pretty much anti lens breathing
Thank u. U definitely help me out the best after hours of research.
I Have always wondered about that since we shoot with all of these lenses. All for film.
What camera are you using to film your taking part. It looks excellent! Colors are on point!
F stops are not scientific measurements. They don't account for the loss of light through all the glass elements. T stops on the other hand measure the final amount of light coming through the other end. So, if you get a series of T stop lenses they will all give you the same exposure across all the lenses at a given T stop. This may be why the F 1.8 is darker than the others.
blankbrian yes, exactly.
Yes i can see a difference. I got all the bricks pictures right. Theres deformity also on the cheap lenses.
i liked the 2nd one everytime, thought it wsa the cinema lens. So yeah. im happy with my plastic fantastic haha
So did I,,, It looked more cinematic to me
You just need a lighting guy to make sure your subject isn't dark... which you should do anyway.
thank you very much, good information.
For the still images you showed I though either the L series or the 1.4 looked the best. For the moving film or cinema images I liked the images from the cinema lens the best. Although I guess it makes sense that if the primary goal is still photography the lenses made for that would be better.
The question is not “do I need?” Neither “do I want?” The question is “can I afford? 🤣
I'm going with vintage lenses, adds more character and it's cheap. Great for the stories i wanna tell. can't afford the rest anyway
Can I afford a cheap lens I will probably end up ditching sooner than later in my career? No, I can't, that's too expensive. Better save up for a good lens that will sit with me for years to come, cheaper in the long run :). The 1.4 is good enough meanwhile you're saving for that good 50mm (whether to you that's the cinema or the stills that's up to you), but there's never a reason to buy the cheapest one.
The real question is will I increase my wealth more quickly with my desired choice, can I get financing if I do not have the cash on hand.
I actually clicked out of full screen to check the date of the upload when I noticed that the 50mm 1.8 wasn't the STM version. Nope, it's not 5 years old.
The new version of the 1.8 has a metal mount.
Lens breathing you talked about.
You can't get rid of that.
Here's reason
Because lens has moving parts and to make it moving parts. We need one part Small by .0005 thousands of inch.
Example 1 inch diameter hole you can't fit 1inch diameter shaft. Either shaft has to be .9995 daimeter size or hole has to be 1.0005inches to work.
That much play called backlash. All the lenses has backlash therefore lens breathing is there.
What a great video men....loved it!!
When you are moving the rings in AF every lens will be doing much more noise, change it to MF and it will be more quite.
So what affects the quality of the different lenses? Like why would the $4000 lens look so much better than the $100 1.8? As I understand lenses, they are groups of glass that open or close to let in different amounts of light.
What about the lens would change in order to bring about a change in image quality from lens to lens?
From what I understand, it's all to do with the interior construction. The way the glass is cut, the quality of the glass, the mechanism that moves the elements closer and further from the sensor for focus, and of course the number of blades on the iris are all factors. I'm not sure how exactly, but they cut corners in the cheaper lenses that they won't cut in the expensive ones. Also, the plastic mechanisms tend to be more clunky, while the metal ones are more sturdy and precise.
I'd love a video about adapters to use older & ancient lenses. A $10k hd lens from eons back is scrap price, yet is built better than most new junk. Just a thought.
I wasn’t going to buy the cine or the plastic fantastic. I’ve used the L lens on multiple shoots. What surprised me was the 1.4 it was much higher quality than I expected and was far closer to the L quality than the 1.8
While lens flares, while desired by filmmakers as a "traditional look" kind of thing, are a lens artefact. lens coatings are applied to avoid it, and i'm sure even the sine lens applies some of that otherwise internal reflections (="flares") would overwhelm everything and ruin contrast.
Lens design is based on engineering compromises, involving cost, performance (aperture, sharpness, contrast, colour reproduction, ...), handling (weight size, waterproof, ...), and other design goals. When they design the cine lens and decide not to optimise for flare suppression they can add a bit more emphasis on colour for example.
I had a Canon f1.8 (first the FD 1.8-50 II i bought in circa 1985, then much later a EF1.8/50, don't think the optics changed a lot between these. The latest iteration has improved focussing but the glass performs still the same: which is a lot better than your average kit lens by the way.
Well... Actually you can get rid of the lens breathing. But that's a pretty complexe thing to do. Some of the last cine lenses like Arri's Signature Prime do that buy adding a mechanism that slightly zooms in and out in adequation with the focusing.
Yeah, 1.8 is literally just a starting lens, just to get to know the basics and I'd just jump to Cinema or 1.2, if any money issues, because 1.2 would still open up more.
My ideal, though, is the ultrafast that goes below 1
I liked the way you are speaking. And I also liked everything else. 🙂
F Stop denotes how much light the lense allows to enter. Hence at f1.8 all lenses will let in same light but light output would be different.
Cinema lenses measures light output and not input hense T Stop. There T1.2 will give same output throughout all cinema lenses in the world.
10:49 wow i saw some magenta on the edge of the light bulb from expensive lens
Uhh...the 50mm 1.8 that you have seems to be the first generation. There's a second gen that came a couple years ago with a metal mount...it's still cheap, but to me, it's better quality than the first gen.
Actually, it was the mkii. The first iteration had a metal construction. The STM is the latest one.
@@eighteenfiftynine I own the first edition, and although it has a metal mount I think the rest is plastic. But it has a focus window. Optically it's no better than the mrk ii, though, and nowhere near as good as the STM.
I'd be buying the 1.8. Thought the 1.4 was sometimes equal or better, BUT I would want that metal attachment. Only in a few cases did I notice the difference between lenses. But I'm just a hobbyist, and not a pro.
really really like the EF L lens! its not the sharpest but damn does it looks magical
The FD 50mm is amazing
About getting rid of lens breathing. You can't get rid of it, but you can compensate. ARRI has done that in their signature primes. WHen focus is pulled your moving a glass element i the lens, that bends light and it "zooms", you make it invisable by adding another element that moves in the opposite way and compensate for the "zoom" of the focus and that happens in perfect sync. I think ARRI signature primes have less than 1% breathing and is one of many reasons why they probably cost 40k+
The cinema lens isn't designed to be used without a follow focus.
With a follow focus, you can focus at the full range with just one wheel rotation.
Thanks for the comps.
Im watching in a imac 5k 27 and i really can tell the difference of sharpeners on the brick samples the 1.2 wins by far.
I thought the Cine would come last in Focusing BC it does not have AF :D
Thank you very much for this video.
The new 1.8 stm version does have a metal lens mount and a slightly better , albeit still plastic, build.
Buy Vintage.
great vid, but I don't consider round circles "cinematic." Cinematic bokeh is usually oval from the anamorphic lenses.
Sir may I ask what is the brand of microphone you are using in this video? Thanks a lot! It sounds truly amazing!!!
great review, thanks
To the newcomers, simply watch Christopher Frost's lens review vs this video.
Can we get an updated comparison where you use the most recent 50mm f/1.8 lens from Canon? The plastic mount shows that you're using the very first one that they made. There's a second edition and then an entirely new model with a metal body which is around $15 more expensive than the $125 model (which is discontinued)
Also, if you do make an updated comparison, I would recommend adding IS to the comparisons? That's an area that will differ very much between cheap and high end lenses. Get a motorized gimbal where you can configure the rotation speed and and test all 4 lenses at 1/2/3 stops of motion.
Your results on the first $125 50mm are very unstable. It's darker yes which means it's slower than f/1.8 or your other lenses are faster than f/1.8 at f/1.8 but either way, that lack of sharpness is down to a lack of image stabilization which all 3 other lenses have. Being slower than f/1.8 doesn't help matters. you'd need to amplify sensor data and match brightness to get an accurate comparison, but that'll drive the noise levels up, which I suspect is the primary difference between all of these lenses. How far you need to go to take a shot that isn't converted to grain by the sensor.
I have a 50mm f1.8 stm.
Where the lens mount is metal not plastic and works fine.
Wonderful review. Thank you!
Interesting video. Well presented. It could be that the 1.8 is actually a 2. I really did not see all that much difference between the lenses. Good information on the bokeh and number of blades. Best always.
Isn't the T-stop the amount of light that the same f-stop would give you if there was no loss of light at all? And wouldn't that mean, that the T-stop would always be lower (higher number) than the f-stop?
Yes, T-stop is F-stop divided by the percentage of light transmission. For example F1.8 divided by 0.95 (95% Light transmission) equals T1.8947 so around T1.9. So the T-stop can never be lower than the F-stop because it‘s physically impossible to build a lens with 100% transmission.
Isn't the answer, the one that gets you paid? The average 50mm planar (or summilux) should suffice. Nokton's are fun, but not necessary.
the reason why some lenses give a darker image is bcs they let less light threw (measured in T stops) so the cheap f1.8 would probably have a high T stop for how wide the apurture can go like lets say 2.2. Hope it helps someone 16:45
Yes I definitely could tell the difference
maybe if you change the shutter speed for the 50mm f1.8 it would match the others why #2 dark is it because you dont like the canon 50mm f1.8
The new 50mm f/1.8 STM is the newer (2015) version of the 'original' 50mm f1/8 ii. It's quieter, it has a metal mount, is sharper, etc. Still $125
Just subbed man. Hope to learn a lot from you.
Thanks for explaining…
I used to have 2 canon 50mm F1.4 and they both got a knock and it ended up costing me over £100 to get them repaired here in LONDON so I decided I get the 50mm. F 1.2L canon and is a good investment
I would be interested to know what an audience's perception would be if they were to see the identical shots spaced out by several minutes, rather than one after another. I doubt the differences would appear to be so obvious 😊