Ever since I started capturing 35mm movie throughout my undergrad days simply over a decade in the past, my most well-liked commonplace lens for portrait work has at all times been 50mm. Not as restrictive or tight because the extra standard portrait-oriented 85mm, 50mm allowed me to include extra of the atmosphere, plus the massive apertures usually discovered on this focal size allowed for extra flexibility in dimly-lit scenes. As such, I used to be at all times looking out for actually stellar 50mm lenses.
In these days, I used to be utilizing my first mechanical SLR, a Nikon F, which sparked the acquisition of a full assortment of cameras from all 5 of the large Japanese manufacturers. For me, Canon was the oddball. I’m undecided why I had a bias towards the model. In any case, they’re probably essentially the most profitable digital camera producer of all time. However maybe it stemmed from that very recognition. However when my girlfriend needed to study movie images, I sought a newbie digital camera for her that she might develop with, and nearly to my very own shock, ended up with the Canon AE-1 Program. From what I’d learn, the Program could be dependable sufficient, assist her study, and supply room to develop. However earlier than giving the Canon as a birthday reward, I needed to give it a strive myself.
I had a New FD 50mm f/1.8 lens from the Canon AL-1 that I beforehand reviewed, and whereas I admit to gazing down from my ivory tower of Nikon/Leica fanboyism, that humble, low cost, plastic lens helped make some phenomenal footage. It exceeded my expectations on efficiency, picture high quality, really feel, and value. Humorous sufficient, quickly after gifting that lens and the AE-1 Program to my girlfriend, I discovered myself questioning what else Canon had up their sleeve.
I acquired an AT-1, the handbook exposure-only model of the immensely standard Canon AE-1, and its connected FD 50mm f/1.4 S.S.C. After a few months capturing a dozen rolls by way of, I can safely say I used to be fallacious about you, Canon.
Let’s dive proper into my experiences with this lens (it is a lens evaluate, in spite of everything).
Specs and Pricing
- Optical formulation: 7 parts in 6 teams
- Optical Coatings: Canon S.S.C. (Tremendous Spectra Coating) Canon’s early multi-coating tech
- Aperture: f/1.4 to f/16, with 8 blades for a properly rounded iris
- Closest focus: 0.45 meters (a few foot and a half)
- Most magnification: 0.145× – not a macro lens, however shut sufficient for element photographs
- Filter thread: 55mm
- Measurement: 66mm extensive by 49mm lengthy
- Weight: 370g – hefty for a fifty, however strong within the hand
The Canon FD 50mm f/1.4 S.S.C. lens I’m reviewing was the second mannequin inside Canon’s 50mm f/1.4s. The Canon FD-mount is a breech-lock model lens mount the place all the lens stays stationary throughout the mounting course of, with a locking ring that’s turned to lock the lens in place. Lenses produced after 1978, often called New FD or nFD, mounted equally to bayonet mount cameras, the place all the exterior lens barrel is rotated throughout mounting however inner lens barrel and glass parts nonetheless remained stationary. Some critics say that the breech-lock mount is slower, however I’ve not discovered any distinction to be fairly trustworthy. Line up the 2 crimson dots, give it a push into the digital camera physique, and the lens really has a spring-loaded locking ring that initiates the locking flip, earlier than turning the ring to tighten. That’s it, and I’ve discovered it fairly cool.
In line with the Canon Museum web site, the Canon FD 50mm f/1.4 S.S.C comprises 7 parts in 6 teams; fairly commonplace for many 50mm f/1.4s from different producers as effectively. Aperture vary is from f/1.4 to f/16 with 8 aperture blades. Minimal focusing distance is 0.45 meters or roughly 1.5 toes; additionally fairly commonplace on the time. At 350 grams, it’s the heaviest 50mm lens I’ve ever owned, however this lens, being the older breech-lock model, was constructed fairly properly.
This lens boasts Canon’s Tremendous Spectra Coating, or S.S.C., which was Canon’s multi-coating formulation for his or her lenses, designed to scale back flare and enhance distinction. The S.S.C coatings proved to be distinctive in producing cleaner photos and distinction, and this lens was no exception. The perfect half? This lens could be had for lower than $100. I’m no stranger in searching for out nice discount offers on images gear, as referenced in my “ultra-wide on a finances” evaluate of the Tokina 19-35mm, however I even shocked myself when I discovered my 50/1.4 for a mere $50.
My Experiences
TL;DR: I really like this lens. Briefly, it’s an unbelievable performer for its value, and even beats many lenses which price fairly a bit extra.
It places the rather more costly 50mm f/1.2 or 55mm f/1.2 variations of their place. Whereas these sooner, extra outwardly fascinating lenses inevitably yield smooth and admittedly one-dimensional photos when shot extensive open, the f/1.4 is definitely usable at full aperture. It’s an ordinary do-everything lens. Broad open, the lens reveals creamy easy bokeh that tickles my Leica/Zeiss glass-loving soul. To not point out, a dreamy smooth classic glow with out sacrificing a lot on sharpness.
Frequent with massive aperture, classic lenses, the lens does vignette fairly a bit extensive open, however the Canon lens handles it fairly effectively in comparison with different 50mm f/1.4s I’ve used. I personally don’t thoughts it, as it may be used fairly artistically (or simply alter the scans in publish). Stopping down the lens minimizes vignetting.
Stopped down beginning at f/2.8, the lens sharpens up significantly and micro-contrast brings out the small print effectively, nearly in addition to my Zeiss Planars.
Flare resistance is effectively managed to a minimal, due to the S.S.C. multi-coating. Nonetheless capturing into direct daylight will seemingly trigger flares and ghosts, which current as reflections of the aperture diaphragm. Solar stars can occur when stopped down, nevertheless it’s not essentially the most dramatic lens for creating these pinpoints of sunshine.
Regardless of being my heaviest commonplace lens for my Japanese cameras, at 350 grams, the lens nonetheless feels well-balanced on each the entry-level AT-1 and the skilled F-1. The main target ring is well-dampened and easy, in contrast to the newer FD lenses that may really feel a bit tough or free, relying on how they’ve been dealt with and saved over the past thirty years. This criticism applies to the aperture ring as effectively. Although perhaps subjective, I’ve discovered that within the discipline these older FD lenses are quieter whereas capturing than the New FD lenses – might be simply me. Although the lens barrels are plastic, this lens’ construct high quality is high notch and evokes rather more confidence than the New FD lenses.
Last Ideas
I’ve nothing destructive to say about this lens – I merely find it irresistible and its character simply makes me need to create extra work with it. To my countless shock, I like this lens greater than my Nikkor counterparts (I solely want Canon movie our bodies felt as nice within the arms as Nikon our bodies do).
FD glass has been growing in worth in more moderen occasions, largely in a part of cinematographers adapting Canon FD lenses for video. The Canon FD 50mm f/1.4 S.S.C. stays a largely underrated, strong performer that represents a strong discount in efficiency and value. The truth that excellent examples price about $100, and affected person consumers can discover them for as little as $50, makes it much more fascinating. It has expanded my horizons and destroyed my earlier misconceptions concerning the Canon FD system.
I extremely advocate this lens to photographers of all totally different talent ranges; it merely won’t disappoint.
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