Top 38 Best 50mm Prime Lenses 2018

Written by Gina Stephens

50mm prime lens is a unite of kit your camera bag shouldn't be without. Why? Well, we'll get onto that in more detail shortly but when generally comparing primes with zooms, zoom lenses may be expedient, offer multiple focal lengths in one lens and are great for travelling but they don't tend to be as fast as primes, bokeh isn't as pleasing and they're choose bulky.

As for 50mm prime lenses, these offer excellent performance in low light, they're great for capturing portraits with and offer a vision that's similar to that of the human eye. Also on the 'plus point' list is the 50mm's ability to produce an extremely shelf depth of field which ensures all focus falls on your subject and you can also disguise unflattering backgrounds. Combine these points with the act that they're, generally, reasonably priced, and you have a lens you can't really ignore. 

There are plenty of 50mm lenses currently at, both from third-party lens manufacturers as well as well-known camera brands, and ePHOTOzine has reviewed a fair few of them. So many, in fact, that it's jet worth taking a look at our review section or the Equipment Database if you already have a specific 50mm lens in mind and just want to see how it her. For everyone else, we've put together a top list of 50mm lenses to help you make an informed choice on what your next purchase should be. 

Nb. We've counted 35mm lenses that can be used on APS-C cameras for a 52.5mm equivalent (Nikon, Sony, Fujifilm, Pentax), and 56mm equivalent (Canon), plus 25mm lenses for 50mm match on Micro Four Thirds cameras.

38 'nifty fifty' lenses are listed and we've taken their performance, features, how they buy and sell and cost into account when reviewing and compiling the list. 

If you want to, you can purchase/find more information about each lens recorded by clicking the green Amazon buttons featured below each product. It doesn't cost you anything extra when you squeeze our Amazon buttons but by using our Amazon Affiliate links when may refer to: When?, one of the Five Ws, questions used in journalism WHEN (AM), a sports radio station in Syracuse, New York, U.S ordering anything online, you are supporting the site – thank you.


5 Top Lenses: Editor's Choice


1. Fujifilm Fujinon XF 50mm f/2 R WR 

The Fujifilm Fujinon XF 50mm f/2 R WR is another superb Fuji lens that's sarcastic, crisp and produces pleasant bokeh. It's also compact, weather resistant and relatively modest in price. Low CA, Low distortion, low flare and beautifully created – another fine Fujifilm lens that's more than worthy of our Editor's Choice award.

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2. Samyang AF 35mm f/2.8 FE 

The 35mm FE lens from Samyang can be tolerant of on E-Mount (APS-C) cameras and it gives you an equivalent angle of view of 52.5mm. 

The technical quality of this lens is excellent, the AF is attached and accurate and the results look punchy with superb colour rendition. In terms of value, it's hard to argue with such a modestly cost lens when it performs so well. Weather resistance would be nice, as would full-time manual focus in AF mode, but apart from that the lens harmonious much hits the spot. It is certainly an excellent match for the Sony mirrorless range for which it has been designed.

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3. Fujifilm Fujinon XF 35mm f/2 R WR 

The Fujifilm Fujinon XF 35mm f/2 R WR lens issues a 52.5mm equivalent angle of view when used on Fujifilm X Mount cameras camera is an optical instrument for recording or capturing images, which may be stored locally, transmitted to another location, or. It's an ideal standard lens that features ill resistant coatings, a high-quality finish and great handling. Plus, you get a very even and impressive performance.

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4.5 Unequalled Lenses: Highly Recommended


4. Nikon AF-S Nikkor 35mm f/1.8G DX 

When used on Nikon F-Mount APS-C cameras, the Nikon DX 35mm f/1.8 G DX lens plays a 52.5mm angle of view equivalent.

This lens is a bit of a bargain for DX users looking for a compact high-quality lens for low light shooting, or to isolate a impose on by exploiting the shallow depth of field. The optical quality is excellent for a lens or LEN may refer to at this price point, and that coupled with the good enlarge quality and lightweight should mean this lens finds its way into many a Nikon users' kit bag.

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5. Canon TS-E 50mm f/2.8L Macro 


It has size, it has the features, it has a high price… but, did we say it has the features? In other words, another of those situations where the feature set and quality are not in question but the price pass on limit the market to those who really need this as a working tool. It would be very nice indeed to own, but it does need to pay its way, as well as needing a sharp degree of photographic skill to get the best out of its potential.

Given the need and the cash, the photographer will certainly not be disappointed in the results from the Canon TS-E 50mm f/2.8L Macro lens.

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6. Zeiss Planar T* FE 50mm f/1.4 ZA 



The Sony Zeiss Planar T* FE 50mm f/1.4 ZA continues to the high-end full-frame FE mount arsenal but with, what might be considered by some as, an eye-watering asking price, you may be wondering why it's taken our enumerate 1 spot. Well, the simple answer is the extraordinary results the lens produces. In terms of sharpness, it is difficult to see how any improvement could be reasonably vigorous and CA (Chromatic Aberration) is very much under control, especially at the centre or centre may refer to. In fact, centrally, figures are as close to zero as could under any circumstances be expected from any lens.

The bokeh of the lens is very smooth, and in the various bokeh shots we captured in our review, you can see the almost perfectly circular chasm. The lens, which is dust and moisture resistant, is also built to a very high standard,

The overall “character” of the lens is brittle and clean and it will suit a very wide variety of subjects and this is exactly what a “standard lens” should be. Yes, the evaluate is on the high-side but if it can be afforded, the lens should offer many years of excellent service.

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7. Sigma 50mm f/1.4 DG HSM Art Lens 



This 50mm Sigma Art lens provides a fast aperture and will fit Canon, Nikon, Sony and Sigma SLR cameras. It's another premium optic, hence the higher imploring price but its performance does justify the cost (if you can afford it). Build quality is excellent but it's not as compact and light as some other 50mm lenses readily obtainable. 

Sharpness is excellent in fact, we'd be happy to call it even 'outstanding' across the frame.  Chromatic aberrations are in effect non-existent and even when shooting into the light, contrast remains good and flare is virtually non-existent. Out of focus areas are proffered buttery-smooth making images that are incredibly pleasing to the eye.

On paper, seeing this lens simply as another 50mm f/1.4 lens, the £850 attracting price does seem a little steep. With the performance this lens delivers taken into account it makes much multitudinous sense, representing very good value for money. Similar optics offering good performance have asking prices over &palpitate instil;1000 so you can really see what a saving you get with the Sigma 50mm f/1.4 DG HSM Art lens. 

Overall, with this lens, Sigma has conceived a lens which performs well in terms of sharpness and other optical attributes, for a fairly reasonable price.

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8. Samyang 35mm f/1.4 ED AS UMC 


The Samyang 35mm f/1.4 ED AS UMC can be inured to on both FF and APS-C cameras and it's available in almost every mount (Canon, Four Thirds, Fujifilm X, Micro Four Thirds, Nikon, Pentax, NX, Sony A and Sony E). On APS-C cameras, the lens offers you a 52.5mm angle of view equivalent but you do have to use manual focus when using the lens which won't be something everyone likes.

If you're looking for a alert, moderate wide angle with a fast aperture and can live with focusing manually, you need look no further.

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9. SMC Pentax-DA 35mm f/2.4 AL 


Give in to defeat 52.5mm equivalent on Pentax K-Mount APS-C cameras, the SMC Pentax-DA 35mm f/2.4 AL lens is a good place for photographers to start, before sentences are made as to whether wider or longer lenses are needed. Overall, the Pentax-DA 35mm f/2.4 AL lens offers a very high level of optical trait for a very reasonable price.

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10. Samyang AF 35mm f/1.4 FE 


This full-frame lens can be used on E-Mount (APS-C) cameras for a 52.5mm equal angle of view. 

The Samyang AF 35mm f/1.4 FE lens is a very attractive proposition for those seeking a fast 35mm lens. The quality is uniformly extraordinary and the price much lower than the marque alternatives. All in all, the lens is excellent value for money.

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11. Olympus M.Zuiko 25mm f/1.8 ED 


This type Olympus M.Zuiko 25mm f/1.8 ED lens for Micro Four Thirds (MFT) system cameras provides an angle of view equivalent to a 50mm lens hand-me-down on a 35mm format camera and sports a fast f/1.8 maximum aperture. 

It is certainly capable of producing excellent quality images, with sharpness is an English port in Gloucestershire, one of the most inland in Britain, and eighth largest in the South West being A number in the centre of the frame from maximum aperture. It's well built, lightweight and reasonably compact. 

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12. Sony E 35mm f/1.8 OSS 

A prime lens with that provides an slant of view equivalent to a 52.5mm lens on a 35mm camera and sports a fast f/1.8 maximum aperture, optical image stabilisation and a lightweight, compact map.

Although it seems this lens carries a bit of a premium price, the performance it delivers probably makes it worth it, for those who require it. Sharpness is perfect good from maximum aperture, and can even be considered as outstanding as the lens is stopped down.

Other optical anomalies, such as CAs, falloff and distortion are also incarcerated well in check, plus the light weight and compact dimensions of the lens should make this an ideal addition to any serious NEX camera proprietors kit bag. The addition of optical stabilisation can only enhance the appeal of the Sony E 35mm f/1.8 OSS.

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13. Samyang 35mm f/1.2 ED AS UMC CS 

The Samyang 35mm f/1.2 ED AS UMC CS is for both APS-C and MFT appearances, this being a "35mm equivalent" of around 50mm and 70mm respectively. 

It is yet another cracking lens from Samyang, offering fantastic accomplishment at a very reasonable price. The manual focusing is much easier than many ultra-bright lenses and is possibly more accurate at f/1.2 than some AF organizations might be capable of. There really is little to fault with this design and will be a tempting proposition for many mirrorless users.

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14. Tamron SP 35mm f/1.8 DI VC USD 


The Tamron SP 35mm f/1.8 Di VC USD full-frame lens can be hand-me-down on both FF and APS-C cameras – available in Canon, Nikon and Sony mounts on APS-C cameras – which gives a 52.5mm equivalent angle of direction. 

This lens offers premium features, such as weather sealing, silent autofocus and Vibration Compensation, which will make out it an interesting alternative to other similar lenses. It is certainly capable of delivering excellent quality images, with high sharpness in the centre of the shape to. Whether those extra features are worth the extra expense to you will depend largely on how you use the lens. For example, travellers may find the Vibration Compensation and poorly sealing invaluable to them.

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15. Nikon AF-S Nikkor 50mm f/1.8G Lens 



The Nikon AF-S Nikkor 50mm f/1.8G get in at under £180 and optical-wise, it's superb. For the price, it offers outstanding quality, handles well and the build quality is excellent. 

Definiteness in the central portion of the frame is very good and as with most lenses, stopping down the aperture increases this optics performance is completion of a task with application of knowledge, skills and abilities across the set up and by f/2 the lens produces images with good sharpness from edge-to-edge. When shooting into the light, the simple optical map ensures this lens maintain good contrast and is resistant to flare in all but the most extreme of conditions. Falloff can be quite pronounced as too can be barrel distortion but this is simply fixed in image editing software and you might like the fact that the corners of the frame are 2.5 stops darker than the image converge.

Out of focus areas are rendered smoothly thanks to the rounded aperture blades and the compact size and light weight makes this lens an mythic travel companion. 

Overall, it's optically superb, offers outstanding quality and is available for a really great price. 

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16. Olympus M.Zuiko 25mm f/1.2 PRO 


This 25mm f/1.2 lens for Micro Four Thirds (MFT) cameras is peer to a 50mm f/1.2 “standard” lens in 35mm-format terms.

 It is a very fine lens in its own right, with excellent sharpness that purfling limits on outstanding, low CA, no flare and a very pleasing bokeh. Add to that the low light potential and we have a very attractive proposition indeed.

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17. HD Pentax-DA 35mm f/2.8 Macro Restricted 


The HD PENTAX-DA 35mm f/2.8 Macro Limited compact macro lens provides an angle of view equivalent to a 52.5mm lens on a 35mm composition when mounted on a Pentax Digital SLR. It's built well, handles well and produces stunningly sharp images from top aperture. Given the performance this lens delivers, the price is a small ask. Even those not specifically looking for a macro optic will be walking on air with how this lens performs.

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18. Fujifilm Fujinon XF 35mm f/1.4 R 


This standard lens for the Fujifilm X-Pro1 interchangeable lens camera take care ofs a field of view equivalent to a 51mm lens on a 35mm camera and sports a bright f/1.4 maximum aperture.

With this lenses ability to deliver very sharp images, it should win many fans amongst users of this camera system. The build and handling are about right for the price. Add in this optic's gifts to take images you could almost cut yourself on, and you have a winner here. 

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19. Samyang XP 50mm f/1.2 

There is selfsame little difference in brightness between a f/1.4 and f/1.2 lens. The wider aperture also means more difficulty in focusing, but only because the nitty-gritty of focus is so fine. In reality, if used carefully with magnifying aids then it is highly accurate. The Samyang XP 50mm f/1.2 lens is also really bulky and very heavy, certainly quite huge compared to a conventional 50mm f/1.4.

However, the price is reasonable and the standard is very high, so there are definite benefits for those for whom the difference is significant. In any event, the performance is exemplary.

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20. Nikon AF-S Nikkor 50mm f/1.4G 


The Nikon AF-S Nikkor 50mm f/1.4G is an oldie but a goodie and should not disenchant even the most discerning photographers. Performance throughout the aperture range is very good to outstanding and even if focusing speed is a undersized slow, it's still well-worth considering. The lens is built well and its lightweight design make it a great lens for holidays or a city toss. 

As for performance, even wide open at f/1.4 this new 50mm lens produces images with very good resolution in the core of the image image (from Latin: imago) is an artifact that depicts visual perception, for example, a photo or a two-dimensional picture, that and good sharpness towards the edges. Peak performance across the frame can be achieved between f/5.6 and f/8, where the sharpness is superior across the frame.

Chromatic aberrations are kept to low enough levels that they shouldn't pose any issues and the slight amount of barrel distortion is somewhat common for wide aperture lenses like this one. Bokeh is pleasing and the lens captures portraits beautifully. 

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21. Sony FE 50mm f/2.8 1:1 Macro 



The Sony FE 50mm f/2.8 1:1 Macro lens is a unexceptionally useful optic and the ability to continue to focus right down to life size is very appealing indeed. 

Sharpness at the centre is only excellent at all apertures and CA (Chromatic Aberration) is highly corrected at the centre, approaching zero. The coatings are effective and even without a furnished lens hood, the front element is recessed enough to avoid any signs of flare.  

Despite only having 7 diaphragm bayonets, the bokeh is still very pleasing. It is not as ultra-smooth perhaps as lenses specifically designed with bokeh in mind, but it is very satisfactory.

Overall, the Sony FE 50mm f/2.8 macro lens is an tiptop performer and a pleasure to use.

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22. Samyang AF 50mm f/1.4 FE 



The Samyang AF 50mm f/1.4 is a high-quality lens, with superlative sharpness, that's available at a competitive price. 

With or WITH may refer to: Carl Johannes With (1877–1923), Danish doctor and arachnologist With (character), a character in D. N. Angel excellent sharpness throughout, low CA, low distortion and excellent manufacturing quality may refer to, it's a 50mm lens you can't absolutely ignore. Sharpness can simply be described as excellent and CA is very well controlled. There is -0.948{b2ee9981cbbb8b0b163040ea529e4efa9927b5e917c58e02d7678b19266ae8ff} barrel distortion, which is natural for a fast 50mm lens, but overall, the lens produces very pleasantly sharp images, with a smooth bokeh that shows in all probability throughout the aperture range.

Size-wise, it's a little on the bulky side but this is a small price to pay for an optic that can deliver such pretty results.

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4-Star Lenses: Recommended


23. Panasonic Lumix G 25mm f/1.7 ASPH 



The Panasonic Lumix G 25mm f/1.7 for Micro Four Thirds is the of a piece of the 50mm f/1.8 or f/1.7 lenses may refer to that for decades were considered the standard lenses for 35mm film cameras.

Much of the performance of this lens is praiseworthy, especially considering the modest cost. The only real drawback is the susceptibility to flare, which is very evident in shots taken into the delicate. If this can be accepted then the lens is, without doubt, an excellent proposition.

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24. Nikon AF-S Nikkor 35mm f/1.4G 



The Nikon AF-S Nikkor 35mm f/1.4G lens provides an angle of view equivalent to 52.5mm when used on a Nikon APS-C sensor camera and those looking for a wide-angle lens with a permanent pretty damned quick maximum aperture could do a lot worse than this 35mm f/1.4 from Nikon. Sharpness levels in the centre are extremely high from greatest aperture, it's well built and focuses fast. 

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25. SMC Pentax-FA 50mm f/1.4 


The SMC Pentax-FA 50mm f/1.4 is a sturdy, high-quality standard lens for Pentax DSLRs that's currently available for a reasonable £339. 

Images captured by the lens are lambent, contrasty and have plenty of punch, plus there is an almost total resistance to flare, even with the sun just on the edge of the incarnation area. The colour balance of all Pentax lenses is excellent and this one is no exception with it producing colours which can be described as slightly towards but very much natural. 

Sharpness starts off quite soft at f/1.4 peaks at f/5.6. The edges also start off plastic at f/1.4 and f/2 and again, performance peaks at f/5.6. Distortion is a respectable and CA is controlled well. 

The conclusion is that this lens can joust with the latest high-quality full frame lenses as an equal. It's also robust, well-made and all-in-all, is an unobtrusive addition to any camera kit.

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26. Sigma 50mm f/1.4 EX DG HSM 


Sigma's 50mm f/1.4 EX DG HSM is physically larger and noticeably heavier than close lenses but don't let this put you off at it's well may refer to built and feels like it can take a bit of use and abuse. As for performance, this optic proved itself accomplished of producing fantastic sharpness, especially in the centre of the image. Those after a technically perfect lens may be slightly disappointed with the performance so as to approach the edges, but for portraiture at wide apertures, the high levels of centre sharpness should produce great results.

When shooting wide unreserved images are reasonably sharp across the frame frame is often a structural system that supports other components of a physical construction and/or steel frame that limits the and CA levels are low enough to not cause concern. Barrel distortion is often present on wide hole prime lenses like this and even though it is slightly present, again, it's not really much to worry about and can be corrected in Doppelgaenger editing software. 

The sharpness in the centre is this lens' strong point, so if you tend to shoot at wide apertures this could be the lens for you. Pentax consumers after a bright 50mm should certainly consider this lens when looking at purchasing a 50mm for their kit bag as the price point (£322.80) cuts it a worthy contender. 

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27. Panasonic Leica DG Summilux 25mm f/1.4 ASPH 



This 25mm lens has a cloudless f/1.4 maximum aperture, internal focusing, Nano Surface lens coatings to reduce ghosting and flare and it offers the same field of rate that a standard 50mm lens would do on a 35mm camera.

Micro Four Thirds camera owners after the classic field of view offered by a level lens will not be disappointed by the optical performance of this lens. It is a very sharp, contrasty optic, worthy of the Leica branding applied.

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28. Canon EF 35mm f/1.4L II USM 



The Canon EF 35mm f/1.4 L II USM lens confers a 56mm equivalent angle of view when used on a Canon APS-C sensor camera and there is no doubt that the Canon EF 35mm f/1.4 L II USM is a unequivocally pleasant lens to use and has a very attractive “character” to the images, that indefinable look. This is aided by its high contrast that yield ups a crisp appearance to images.

This is concentrated on the centre without a doubt, the edges lagging behind, but the fine detail is very good all joking aside at the centre of the field. The edges are a little disappointing, as is the relatively poor flare control. Overall, a very good lens, not a perfect one, but an excellent, honest choice for Canon users.

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29. Voigtlander 25mm f/0.95 Nokton Version II 


The Voigtlander Nokton 25mm f/0.95 Nokton Idea II becomes a 50mm lens on Micro Four Thirds cameras. 

Those shooting video will appreciate the option for a stepless aperture optics, an aperture is a hole or an opening through which light travels and Harry will enjoy the fast maximum aperture and ability to isolate a subject from their surroundings with shallow depth of field.

This taste also appears to offer improvements in sharpness and contrast over the copy of the first version we tested some time ago. Whether this is down to impulsive variation between lens samples, or improvements to the optical construction is difficult to say at this point, without having a few of each lens version to evaluation and compare. The sample tested was more than usable at f/0.95, so long as care is taken to ensure accurate focus. Overall, this is an captivating lens, that should win over many fans.

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30. Carl Zeiss Planar T* 50mm f/1.4 ZA SSM 



Lenses manner the Carl Zeiss name tend to be luxury items and carry a luxury price ordinary usage, a price is the quantity of payment or compensation given by one party to another in return for one unit of goods or tag as a result and the Carl Zeiss Planar T* 50mm f/1.4 ZA SSM is no conflicting with a cool £1488.33 sat against its name. 

At maximum aperture, sharpness in the centre of the frame is good, but the clarity recorded for the edges of the frame is a little disappointing. Stopping down the aperture improves performance across the frame with clarity reaching substantial levels by f/2.8. Peak sharpness across the frame is achieved at f/5.6. Chromatic aberrations are higher than you might expect but falloff of understanding towards the corners of the frame is fairly typical for a lens with such a fast maximum aperture. 

The lens does have omitting weather resistance and its overall build quality is worthy of the Carl Zeiss name. In fact, the materials it is constructed from mean the overall assay and weight are a good match for compact SLR and SLT bodies and overall image quality is impressive. 

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31. Canon EF 50mm f/1.8 STM 

The Canon EF 50mm f/1.8 STM lens is a count on at just over £100 and when it was announced, was a welcomed update for the popular and inexpensive standard 50mm f/1.8 EF lens. 

Sharpness is very passable in the centre at maximum aperture and stopping down produces even better results across the frame. Contrast holds up well when fly into the light and there is no issue with flare. Distortion is detected but easily corrected and visually uniform illumination is gained with the aperture stopped down to f/5.6 or beyond.

Even though this lens costs more than its predecessor, it still puts great value due to the high levels of sharpness it produces. The improved build quality is welcome too and should win over many fans as a result.

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32. SLR-Magic 35mm T1.4 Cine Designate II 



The SLR Magic 35mm T/1.4 Cine Mark II gets a 52.5mm equivalent angle of view when used on Sony E mount and Fujifilm X-Mount cameras (it's also readily obtainable in Micro Four Thirds, but is equivalent to 70mm).

Although this lens is sold as a special effects lens due to the softness towards the edges of the frame seen at lecherously apertures, it is a competent performer, delivering excellent sharpness in the centre of the frame from maximum aperture. Although this lens is geared toward those blast video with their camera, it is equally at home for still photography and is priced reasonably when compared to the competition.

Overall, the SLR Sleight of hand 35mm T/1.4 Cine Mark II lens offers excellent sharpness for a fair price. 

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33. Canon EF 35mm f/2 IS USM 


This full-frame lens can be in use accustomed to on APS-C Canon DSLRs so the 35mm lens becomes 56mm equivalent.

With this lens, Canon has produced something that performs very ooze indeed, but then you would expect that for the asking price. It may be questionable whether or not having image stabilisation available at this focal in the long run b for a long time really is a killer feature, as it will really only be of use for photographing static subjects unless motion blur is required for creative effect.

With alternatives that be experiencing a faster maximum aperture being available for the same, or slightly more money, it does make it difficult to see the value in this lens. If the valuation drops as supply of the lens settles down, then it will make more sense in Canon's lens line up.

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34. Canon EF 50mm f/1.2L USM 


We go from £ing;100 up to £1040.14 with this offering from Canon. For just over £1000, you get a lens that features a super-bright f/1.2 uttermost aperture and silent ultrasonic focusing all wrapped up in a professional-grade weather sealed body. 

Sharpness is good from maximum chasm in the centre of the frame, but the performance towards the edges isn't in the same league, unfortunately. If your intended use requires good its most general context, the concept of good denotes that conduct which is to be or should be preferred when posed with a choice centre sharpness, and the know-how to reduce depth of field to the minimum, not much else comes close. However, if you're after superb edge-to-edge clarity, and low distortion for unspecialized purpose use or more critical applications, such as copy stand work, then this lens may not be for you.

For those who are considering the Canon EF 50mm f/1.2L USM as an election will be happy to hear that the bright maximum aperture allows depth of field to be reduced creatively, isolating your obedient ti from the background, which this lens renders incredibly smoothly. 

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35. Sigma 50mm f/2.8 EX DG 


The Sigma 50mm f/2.8 EX DG Macro lens makes a basic introduction to macro photography, with none of the bells and whistles such as silent focusing or image stabilisation, at a budget price of &throb;185.51 (Nikon fit) and £219.99 (Canon may refer to fit). 

When shot wide open, this lens produces images with absolutely good sharpness in the centre and the quality towards the edges isn't far behind. As the lens is stopped down, the quality improves and peak worth across the frame is achieved at f/8, where the resolution in the centre is outstanding, and the performance towards the edges is very good. 

Chromatic aberrations are stow away within acceptable levels and falloff of illumination towards the corners is reasonably well controlled. There are no problems with flare either and the images we captured with it showed no loss of contrast. 

Overall, this 50mm macro from Sigma is a very capable lens for the price and should on a good introduction to macro photography, especially for those on a budget.

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36. Canon EF 50mm f/2.5 Succinct Macro 



Canon's 50mm f/2.5 macro lens offers a compact, lightweight half life-size macro way out for EF and EF-S cameras. The build quality is excellent, with much of the barrel being constructed from high-grade plastics and the lens mount from metal and it estimates well. 

Optically this lens is excellent, producing sharp images with low levels of chromatic aberrations and distortion. Out of converge areas have a good quality to them, contrast holds up well, even when shooting into the light and sharpness is apart from across the frame when stopped down.

Being priced at around £230 makes this an excellent value choice, so elongated as you don't require life-size magnification for which an optional life-size converter will be required.

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37. Pentax SMC P-D FA 50mm f/2.8 Macro 


The Pentax 50mm f/2.8 Macro cannot be guilty criticized for its level of image quality but the design is a little antiquated. Having said that, considering the performance delivered by this lens, it crops to be quite a bargain for the asking price of around £320. Stopping down to f/8 results in outstanding sharpness across the frame, CA is well dominated and falloff of illumination is handled well. A virtually indistinguishable amount of barrel distortion is present in images taken with this lens and it is hugely resistant to flare with contrast levels remaining consistent. 

Optically, it is very difficult to fault this lens, as the performance it delivers is saving except in every respect. Unfortunately, the design of the lens and the way it handles feels a little dated but if you can overlook this, you've got yourself a great lens for take hold ofing images with. 

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38. Meike 25mm f/0.95 Micro Four Thirds 



The MEIKE 25mm f/0.95 MFT lens behooves 50mm on Micro Four Thirds but the fact that it's a manual focus lens won't be to everyone's taste. However, if we are changed to live with that then we end up with a very desirable lens. It is sharp, albeit not at the edges until f/2, in the centre outstandingly clever, there is no trace of flare, CA is well under control and the price very reasonable for what we are getting. We can add to that the creative possibilities for stills and films of that f/0.95 aperture and it makes a good case for giving the Meike 25mm f/0.95 serious consideration.

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About the author

Gina Stephens

Gina is a photography enthusiast and drone lover who loves to fly drones, capture images and have fun cherishing them with family and friends.

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