50mm Sony Full Frame

[Najla Ondik]

The AF 50mm F1.4 E II is the smallest (88.9mm/3.5in length) and lightest (420g/14.8oz weight) among all the large-aperture standard 50mm focal length lenses compatible with the Sony E mount, so it's even a perfect match to compact Sony mirrorless cameras with a gimbal.

Optimum resolution is achieved through the 6 special glasses (2 U-ASP, 3 HR, and 1 ED) among the optical design of 11 elements in 8 groups. Combined with Sony's full-frame image sensor, this lens delivers superior sharpness and contrast in all areas of the image.

The AF 50mm F1.4 E II uses a large-diameter aperture to provide smooth background blur. It effectively separates the subject from the background, using a shallow depth of field and adding drama to the scene. Also, it is equipped with UA (Ultra-precision Aspherical) lenses, so you can enjoy the natural and refined bokeh. Using this smooth bokeh, you can freely create photos highlighting your subject!

Tracking the subject accurately and quickly, the AF also operates quietly and smoothly when shooting video. Rokinon's Linear STM (Stepping Motor) satisfies both photographers and videographers with quieter and more accurate control of the focusing lens groups.

The optical design minimizes focus breathing, which is especially advantageous for video recording. There is almost no change in the angle of view when adjusting the focus from close focus to infinity, so you can experience professional cinematic effects during shooting video with the subject moving forward or backward, or focusing from the front or back.

The minimum focusing distance is just 0.40m (1.31ft), so it is versatile and possible to produce a unique perspective close to the subject. This makes it easier to take close-up and dramatic shots of food, portraits, and nature.

The usability of the AF 50mm F1.4 E II lens has been developed and enhanced, taking into consideration not only the design but also the user's shooting environment. It has a micro-patterned rubber focus ring, so feels great to operate and weather-sealing also protects the lens from light rain, snow, and dust. The matte finish and the subtle red ring (dependent on viewing angle) give it a modern feel.

Focus Hold Button
Pressing this button on the lens will keep the lens locked to that focusing distance. You can assign functions such as Eye AF in settings on the camera body.

Custom Switch
There is a custom switch, which can be set to allow adjustment of the aperture silently by rotating the focus ring. Using the optional Lens Station, you can set up the mode to suit your own preference*.
*More functions will be added through firmware updates in the future.

Because I mostly shoot landscape photography and environmental and photojournalistic wedding photography, I seem to use my 35mm more. However, there are some advantages to the 50mm prime lens that earns it a place in my camera bag.

This makes both the 35mm and the 50mm great starter lenses for photographers. The 35mm and 50mm are fantastic lenses that are focal lengths that are fairly close to what the human eye sees in the natural world. Whether you see 35mm vs 50mm depends a little on your peripheral vision as the 35mm is a wider lens. 50mm is a bit narrower frame but the two focal lengths are similar.

It can be nice to shoot at a focal length that results in an image with a perspective similar to what a person sees. The image will feel comfortable and familiar. Obviously, the 35mm focal length is wider than the 50mm focal length but the result is similar to an untrained eye.

It can make more sense to have two prime lenses rather than one zoom lens. Some people benefit from a fixed focal length because they get lazy with a zoom lens. It can be a bad habit to just zoom in and out rather than make an intentional decision with your composition.

When we talk about creativity we often talk about putting constraints or limitations on ourselves so that we can push ourselves by taking away options. Prime lenses force this fact by restricting your creativity to what the lens is capable of. This requires you to problem solve within that limitation.

The ability to shoot at faster shutter speeds reduces the risk of image blur resulting from hand movements or moving subjects, making a fast lens particularly useful in challenging lighting situations. Moreover, these lenses are often sharper and produce higher-quality images due to their simpler, high-quality construction.

These apertures also allow for a shallower depth of field, a technique where the subject of the photograph is sharply focused while the background is beautifully blurred. This capability not only adds a professional look to your images but also allows for significant control over what parts of the image are emphasized, offering more creative freedom in directing viewer attention.

Overall, using a 35mm or 50mm prime lens promotes a deeper understanding of photographic principles and compels photographers to engage more thoughtfully with their environment. In addition, fast lenses support quicker shutter speeds and enhance performance in low-light situations. By embracing constraints and utilizing advantages, you can unlock a new level of precision and creativity in your photography.

One of the standout features of 35mm and 50mm prime lenses is their compact size. Unlike bulkier zoom lenses, prime lenses are designed to be small and easy to handle. This makes them a favorite among photographers who prefer not to be weighed down by heavier equipment.

Both the 35mm and 50mm lenses are notably lightweight. This feature is especially beneficial for photographers who travel or spend long hours on shoots. The reduced weight minimizes fatigue and makes it simpler to shoot for extended periods without discomfort.

Best All Around: My favorite 35mm prime lens is the Sony 35mm f/1.8 because it is the perfect balance of quality, price, and performance. This lens is a good compromise because the sharpness and image quality are excellent and the price is less than $800.

Highest Quality: If you want the best in quality, definitely check out the Sony 35mm f/1.4 GM. This lens was recently released and it has superb quality. At around $1400 new, this lens is not cheap. It will give you slightly more bokeh and better low light performance but the difference between f/1.4 and f/1.8 is minimal.

With a fast 50mm lens, you get a little compression which brings the subject and background closer together. This can make images a little more dynamic when you can create a more interesting scale such as making a mountain or building behind a subject appear looming in full frame, rather than way off in the distance.

With the fast aperture of a 50mm lens, you can also get a bokeh effect which is that background blur that you get with a shallower depth of field. This is great for separation between your subject and the background if you want to draw your subject to focus by having it be sharper than everything around it.

If you want the best bang for your buck, shop the Rokinon 50mm f/1.4. This lens is basically a knockoff of the above lens at less than half the price. You get what you pay for with a prime lens but this will be less painful on the wallet.

The 50mm lens provides an excellent working distance that is neither too close nor too far from the subject. This is crucial in portrait photography as it allows the photographer to engage effectively with the subject. They can easily communicate and direct while maintaining a comfortable space, ensuring both intimacy and respect for personal boundaries.

While the 50mm lens might not offer the extreme compression seen in longer telephoto lenses, it strikes an excellent balance that can be more flattering and natural for portraits. The bokeh (background blur) produced is pleasing yet not overly distracting, making sure that the subject still relates harmonically with the background.

In conclusion, the 50mm lens is not just suitable but exceptional for portrait photography. It provides a flattering focal length, ensures an ideal distance from the subject, and balances focus between the subject and their environment. These features make the 50mm a versatile and reliable choice for photographers aiming to capture deep, engaging portraits.

I think the 35mm is more versatile in the sense that you can use it in tight spaces, however, the 50mm is more versatile in terms of depth of field. Either focal length is a great choice depending on what you need the lens to be able to do.

When I can only bring one lens I tend to lean towards my 35mm lens because of the wider focal length. As I mostly shoot environmental portraiture or landscapes that is the right fit for me but if you focus more on people or subjects you might want the 50mm lens.

I like the 35mm lens for landscape photography because the wider focal length allows me to capture more in my scene. In fact my 16-35mm is my go to for landscape photography. However, the 50mm can be a nice addition to your kit because it adds variety to your images and allows you to create compression.

On this day of 27th November 2013 I introduce my new Sony A7 mirrorless full frame camera complete with the legendary Canon 50mm f/0.95 lens. The unique thing about this combo is that up until the Sony A7 and A7R there was only one choice to use this lens on a full frame camera and that was the Leica M240. You cannot mount the lens on a mirrored DSLR due to the distance between sensor and back of the lens.

For those of that shoot TS lenses then the A7 is a formidable force to be able to accurately view focus in the viewfinder with far greater accuracy than you can with an optical TTL view and so much easier than using the rear screen held out in front of you. And of course there is no AF to think about with the TS lenses. Equally if you have ever struggled to focus fast glass on a DSLR even after changing screen then the A7 offers a really great solution with the EVF. I can easily focus a 1.2 lens without magnification or focus peaking.

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