I bet you’ve always wanted to hold the crispiest glass yourself. Kai Wong is here with his selection of the ultimate lenses for Nikon full-frame cameras. Well, we have a couple of lists ready to compare Wong’s choices with some other usual suspects. This is some expensive glass, and perhaps not surprisingly, most of the lenses in this list are prime lenses in the 50-100mm focal range. However, we’ve also compiled a list of our top choices according to your subject. But let’s start by checking out Kai Wong’s latest video. [More…]
Review of the Mitakon Speedmaster 50mm f/0.95 Pro II (The Dark Knight), for Sony FE-mount, for my a7s. Plus a short film, shot entirely at f/0.95. Aperture and bokeh is INSANE – perfect for film look and photography.
• Test film: https://www.youtube.com/watch?v=9KqEaOZzOyM
• My channel: https://www.youtube.com/exkild
• Instagram: EskildFors
• Andyax: https://www.youtube.com/andyax
• Nikoline Bangen: https://www.facebook.com/missbangen/?fref=ts
• Photos in Flickr: https://www.flickr.com/photos/53587535@N05/
As mentioned in the video, this is an amazing lens! The huge aperture gives you some truly dreamy, creamy images and beautifull bokeh. Maybe not as technically perfect as the Leica Noctilux 50mm f/0.95, but at 1/10 of the price, it’s still a lot of value for your money. Perfect for portraits and street photography.
WHAT IS APERTURE?
Aperture is a measurement of the opening in the lens through which light travels. This is measured in increments of full f-stops, and for each f-stop, the opening in the lens becomes twice as big. One f-stop refers to a factor of roughly 1.41, which you have to multiply or divide to get the next one. (Though in your camera, it’s usually represented with 1/3 f-stop at the time.) This means that f/2.8 is twice as fast as f/4.0 = 4.0 / 1.41 ≈ 2.8. This means that f/0.95 is more than 1 full f-stop bigger than f/1.4. Get it? 😉
Now, is there a visible difference? Absolutely. Is it worth it? That’s entirely up to you. As I mention in the video, f/1.4 is usually more than enough. And in terms of t-stops (how much light the lens lets in) it’s not big of a difference. But the reason you’d choose a lens like this is due to the bokeh and depth of field, in which this lens excels! If this is what you’re looking for, it’s absolutely worth it! =)
All short film footage is filmed at f/0.95 review, with the Sony a7s. I used picture profile 5, 25fps, 1080p with the XAVC-S codec.
Compared to another (relatively) cheap 50mm f/0.95: http://3d-kraft.com/index.php?option=com_content&view=article&id=164:the-50-095-shootout-mitakon-zhongyi-speedmaster-slr-magic-hyperprime&catid=40:camerasandlenses&Itemid=2
This is a lens you either love, or hate. Personally, I love it. Let me show you, why.
The depth of field, and bookeh of this lens, is simply amazing!
This is due to the crazy huge aperture.
Here’s a quick explanation of what this means:
Aperture, or f-number – indicates how much light the lens let’s in your camera. The smaller the number, the bigger the opening in the lens.
This obviously gives you a brighter image.
But what it also creates, is more depth of field. This enables you to focus on one thing, while everything else becomes blurry.
And that is indeed what is so exceptional about this lens!
Most fast lenses “only” goes to f/1.4, and some really big and expensive ones go to f/1.2.
And to be honest, in most cases, this is more than enough.
But this Mitakon goes way beyond that, and creates incredibly dreamy, creamy images, unlike any other lens I’ve ever tried.
So what else do I Iove?
The first thing you’ll notice is the build-quality. You can feel the weight of all that glass and metal.
The aperture control is steples, which is an advantage when filming.
The focus ring is also really tight and smooth – which really helps with the manual focus, especially at at 0.95.
And I actually didn’t find it that hard to focus wide open. I’m used to focus manually when filming, and you can zoom inn and use focus peaking to help you.
In addition, I really like that it’s an FE-mount, to the full frame Sony.
So, why would anyone not like this?
Well, is this razor sharp wide open? No.
There’s also vignetting, less contrast, and a risk of some awful chromatic aberration.
(Though this is mostly fixed in editing.)
Also, it’s pretty expensive. 850$ is a steep price for a single lens. But considering how considering how unique it is, I actually don’t think it’s that bad. Especially if you compare it the classic Leica 50mm 0.95, which cost over 9600 dollars!
And if you want more sharpness, you can always just stop it down. But then there wouldn’t be any point of buying this anyway. In other words, it’s not technically perfect.
(Then again, which lens is?)
But that’s not why you would buy this.
This is the kind of lens, that’s loads of fun.
This is the type of lens which makes you want to go just outside, and take pictures.
This is the kind of lens, that creates art.
That’s why I love it, and highly recommend it.
As a final bonus, I’ve made a short test film, shot entirely in f/0.95.
Warren and Lok see how a $US4,000 Zeiss 50mm Cine compares against Canon’s $125 nifty fifty and the $1,450 50mm f/1.2 L.
Canon EF 50mm f/1.2L USM: http://bit.ly/1Fjch3t
Carl Zeiss Compact Prime CP.2 50mm/T1.5 T*: http://amzn.to/1OobNF2
Two of the more expensive 50mm lenses available on the market. One is a Cine, and the other is for DSLRs. Is the Cine lens necessarily better for video, and vice versa?
Canon EF 50mm f/1.2L USM
Large f/1.2 aperture
Super Spectra coatings
Circular aperture for excellent background bokeh
Provides distance information for the E-TTL II flash system
Zeiss Compact Prime CP.2 50mm/T1.5 T*
Great flare suppression through T* anti-reflex coating and internal light traps
Calibrated lens scales
Standard focus and iris gear positions
Robust and reliable cine style housing
Kai walks you through which 50mm lens is for you.
We’ve covered the 50mm lens(http://bit.ly/Prime-50mm) in plenty of videos, whether it be reviews, battle of the bokeh, giving you reasons why you need one. But we still get people sending us questions asking which 50mm lens should they get. In this video, we aim to make that buying decision a little bit easier.
Leica M 240 – Hands-on Review
5 Reasons Why You Need a 50mm lens