Classic review: MINOLTA MAXXUM AF 50mm 1: 1.7 (22) AF LENS 50 (1985-1990)

For provided lens MINOLTA MAXXUM AF 50mm 1: 1.7 (22) AF LENS 50 many thanks the store FOTIKA, where can I find many similar used lenses for SLR cameras Sony / Minolta / Konica-Minolta.

MINOLTA MAXXUM AF 50mm 1: 1.7 (22) AF LENS 50

MINOLTA MAXXUM AF 50mm 1: 1.7 (22) AF LENS 50. increase.

Browse Navigation:

  1. In short
  2. History
  3. Appearance
  4. Main Specifications
  5. Assembly
  6. Focusing
  7. Image quality
  8. Sample Photos
  9. My experience
  10. Results
  11. User Comments
  12. Add your review / comment or question on the lens

In the review, I will call the MINOLTA MAXXUM AF 50mm 1: 1.7 (22) AF LENS 50 in abbreviated form - Minolta AF 50 / 1.7.

Very important: Minolta AF 50 / 1.7 was produced in two main sub-versions, which externally differ from each other. There is already a review on Radozhiv Minolta AF 50 / 1.7 first version from the reader... But Minolta AF 50 / 1.7 is an unshakable classic, which is why I decided to prepare the 'classic review from Radozhiva' of the first version once again and supplement it with examples of photos with cropped cameras.

MINOLTA MAXXUM AF 50mm 1: 1.7 (22) AF LENS 50

MINOLTA MAXXUM AF 50mm 1: 1.7 (22) AF LENS 50

In short

Minolta AF 50 / 1.7 is a fifty-kopeck lens for full-frame film cameras. Works well on DSLRs or mirrorless cameras too. A very famous and popular model, almost an iconic lens from Minolta. Optically has problems, but in general it is a classic that does not become obsolete.

The overwhelming majority of all budget fifty-kopeck lenses of those years had a maximum aperture ratio of 1: 1.8. Among other similar lenses, Minolta AF 50 / 1.7 stands out with a maximum aperture ratio of 1: 1.7.

Classic spoiler for fifty dollars: The creative potential of such a fifty-kopeck piece (lens with a focal length of 50 mm) can hardly be overestimated. It is suitable for a wide range of photographic tasks. Amateur photographers often use it as a portrait lens. The fast prime is an excellent addition to any standard kit lens. Aperture F / 1.7 more than three steps wider f / 5.6 aperture, which is used in 'dark' kit lenses at the long end. In numerical terms, this means that Minolta AF 50 / 1.7 is approximately 11 times brighter whale mirror lens Sony DT 3.5-5.6 / 18-55 SAM or mirrorless Sony 16-50mm f / 3.5-5.6 PZ OSSwhich use a maximum relative aperture of only 50: 1 over a 5.6 mm focal length. The calculation of the difference in the relative aperture (count the aperture) is performed elementarily: (5.6 * 5.6) / (1.7 * 1.7) = 10.85, which is rounded to the value '11'.

MINOLTA MAXXUM AF 50mm 1: 1.7 (22) AF LENS 50

MINOLTA MAXXUM AF 50mm 1: 1.7 (22) AF LENS 50

History

Minolta AF 50 / 1.7 lens was introduced in 1985 yearIn 1989-1990 was updated cosmetically and produced right up to 2006.

Version Minolta AF 50 / 1.7 1985-1990 shown in this review.

New version Minolta AF 50 / 1.7 1990-2006 years of release is often referred to as'N (NEW) 'or'RS (Rit's fromSign) '. It differs from the previous one by a rubberized focusing ring, a different depth of field scale, the absence of a mark for the infrared spectrum, a redesigned case and the absence of the 'MAXXUM' inscription near the front lens.

It's important: the first versions of the Minolta AF 50 / 1.7 lens in their name had crossed the letters 'X' in the spelling of the word 'Maxxum'. These lenses are often referred to as'Minolta Maxxum Crossed XX', they are no different from subsequent lenses with the usual inscription' Maxxum ', but are more appreciated by collectors.

Minolta AF 50 / 1.7 has no direct descendant. Of modern solutions, the lens is closest to the Minolta AF 50 / 1.7 Sony DT 1.8 / 50 SAMdesigned for cropped DSLR cameras and announced in May 2009. Sony DT 1.8 / 50 SAM and Minolta AF 50 / 1.7 use a similar 6/5 optical design.

A similar lens has been produced since March 2016 - Sony FE 1.8 / 50 (SEL50F18F)designed for full frame mirrorless cameras, which is all based on the same 6/5 optical scheme.

Appearance

In the gallery below, the Minolta AF 50 / 1.7 lens is shown on camera Sony a700.

The Minolta AF 50 / 1.7 was one of the first autofocus lenses. Minolta is the first company on the market to introduce the full-fledged Minolta A autofocus system for the general public. Along with the first autofocus camera Minolta A7000, 11 autofocus lenses were presented at once, one of which was the Minolta AF 50 / 1.7. The other ten: 24 / 2.8, 28 / 2.8, 50 / 1.4, 50 / 2.8, 135 / 2.8, 300 / 2.8, 28-85 / 3.5-4.5, 28-135 / 4-4.5, 35-70 / 4, 35 -105 / 3.5-4.5, 70-210 / 4,

MINOLTA MAXXUM AF 50mm 1: 1.7 (22) AF LENS 50

MINOLTA MAXXUM AF 50mm 1: 1.7 (22) AF LENS 50

Main technical characteristics of Minolta AF 50 / 1.7:

Review Instance Name Near the front lens: 'MINOLTA MAXXUM AF 50mm 1: 1.7 (22) ø49 mm '

On the lens barrel: 'Minolta AF LENS 50 JAPAN 1717036'

Basic properties
  • The lens is designed for film DSLR cameras with a full-frame sensor
  • AF - automatic focusing by means of the focusing motor built into the camera
  • Multi-Enlightened Optics
  • Built-in retractable hood
  • Small weight and small dimensions
Front Filter Diameter 49 mm
Focal length 50 mm; EGF for Sony cameras with APS-C sensor is 75 mm
Zoom ratio 1 x (this is a fixed lens)
Designed by for film cameras with Minolta A mount
Number of aperture blades 7 rounded petals
Labels
  • window with a scale of focusing distance in meters and feet
  • bayonet mount mark (red raised dot)
  • depth of field scale for f / 4, 8, 16, 22
  • infrared label
Diaphragm F / 1.7 to F / 22
MDF 0.45 m, maximum magnification ratio 1: 6.7
The weight 170 grams
Optical design 6 elements in 5 groups:

optical design MINOLTA MAXXUM AF 50mm 1: 1.7 (22) AF LENS 50Image of optical circuit clickable

Lens hood Built-in, retractable
Manufacturer country JAPAN (Lens made in Japan)
Production period From 1985, in 1990 received a redesign, was produced until 2006. There is a subversion with different spellings of the word 'MAXXUM'
Price About $ 60. Prices for modern Sony lenses can be viewed here.

The difference in aperture ratio between F / 1.8 and F / 1.7 is only 12%. In practice, it is very difficult to notice it. But the difference between F / 2.0 and F / 1.7 is already 2/3 steps, which is quite significant.

MINOLTA MAXXUM AF 50mm 1: 1.7 (22) AF LENS 50

MINOLTA MAXXUM AF 50mm 1: 1.7 (22) AF LENS 50

Assembly

The assembly was carried out only in Japan. The lens is very pleasant to the touch.

Minolta AF 50 / 1.7 uses small 49 mm filters, Minolta AF 50 / 1.7 itself is a fairly compact lens. Minolta AF 50 / 1.7 is one of the smallest fixes from Minolta.

Plastic thread for light filters. Narrow plastic focusing ring.

Lens uses metal bayonet and has built-in retractable plastic hood... The hood is rather difficult to pull out when focusing to infinity. The most convenient way to get it is while focusing the lens on the MDF. The hood is hidden between the focusing ring and the lens barrel. The same hood design is used by the MINOLTA MAXXUM AF 28mm 1: 2.8 (22) AF LENS 28 (which later became Sony 28 / 2.8).

The diaphragm consists of 7 rounded blades and forms a regular heptagon.

In general, the build quality is typical of inexpensive fifty kopecks of the past era. There are no significant defects in the assembly.

Interesting nuance: On Minolta / Sony A mount lenses captured with the camera, the aperture is always closed. But the original back cover has a special protrusion for the aperture driver, and when it is installed, the lens aperture opens. It looks pretty interesting.

MINOLTA MAXXUM AF 50mm 1: 1.7 (22) AF LENS 50

MINOLTA MAXXUM AF 50mm 1: 1.7 (22) AF LENS 50

Focusing

There is a noticeable noise during autofocus.

The focusing motor is located in the camera. Minolta AF 50 / 1.7 will automatically focus on all DSLR cameras from Sony or Konica Minolta:

APS-C (with cropped sensor):

Full Frame (with full frame sensor):

For autofocusing on Sony E-mount mirrorless cameras, the Minolta AF 50 / 1.7 lens must be used via the original adapter. For cropped mirrorless cameras, you can get by with the Sony LA-EA2 adapter. For full frame mirrorless cameras, an adapter must be used Sony LA-EA4 or Sony LA-EA5. It's important: Sony LA-EA1 and Sony LA-EA3 adapters will not allow autofocus with this lens.

Sony E, APS-C (cropped):

Sony E, Full Frame (with full-frame sensor):

The autofocus speed of the lens is average, closer to high. The focusing speed is sufficient for comfortable work in most photographic tasks. Focusing speed may vary slightly depending on the camera or adapter used.

On camera Sony a700 I didn't have any particular problems with autofocus.

The focus ring rotates approximately 135 degrees (3/8 of a full turn). When the end positions are reached, the ring abuts. In auto focus mode, the focus ring rotates and cannot be touched.

During focusing, the lens trunk extends forward but does not rotate. Focusing occurs by moving the entire internal lens unit.

The lens has a window with a focusing distance scale in meters and feet. The number of values ​​on the scale is small, the scale itself is not very useful. There are values ​​only for 0.45, 0.5, 0.55, 0.6, 0.7, 0.8, 1, 1.2, 1.5, 2, 3, 5 meters and an infinity mark. The depth of field scale is present for F / 4, 8, 16, 22. There is also a mark for working in the infrared spectrum.

The minimum focusing distance is 45 cm and the maximum magnification ratio is 1: 6.7, which is the standard value for many fifty dollars.

Focus Features:

  1. Minolta AF 50 / 1.7 does not have a focus mode switch. To switch the lens to manual focus mode, use the focus mode switch located near the camera mount.
  2. Important: The quality of focusing of the Minolta AF 50 / 1.7 in Live View mode strongly depends on the camera and / or adapter used.
  3. The Minolta AF 50 / 1.7 has a pronounced 'Focus Breathing' effect (changes in the angle of view during focusing). When focusing towards the MDF, the angle of view decreases.
  4. Focus Shift (shift focus, changing the focus distance due to iris) is missing.
  5. The lens has hard stop (hard infinity mechanical stop), which allows you to accurately and quickly focus the lens to infinity under any external temperature conditions.
MINOLTA MAXXUM AF 50mm 1: 1.7 (22) AF LENS 50

MINOLTA MAXXUM AF 50mm 1: 1.7 (22) AF LENS 50

Image quality

Minolta AF 50 / 1.7 creates a sharp image at closed apertures, but at F / 1.7 only the center has good sharpness, sharpness sags significantly towards the edges and corners.

Unfortunately, the coating of Minolta AF 50 / 1.7 is not optimized for digital camera sensors; nevertheless, Minolta AF 50 / 1.7 does nothing wrong with color.

When talking about the quality of the image obtained with the Minolta AF 50 / 1.7, you must always remember that this is a development from 1985 and it will be difficult to achieve outstanding results at F / 1.7 on modern cameras with sensors with high pixel density.

Substantial chromatic aberration, including coma. There is noticeable backlighting. The distortion is small.

The drawing is very similar to other class 50 / 1.7 / 1.8 lenses in the 6/5 layout.

MINOLTA MAXXUM AF 50mm 1: 1.7 (22) AF LENS 50

MINOLTA MAXXUM AF 50mm 1: 1.7 (22) AF LENS 50


Sample photos on Sony a700

Examples on Sony a700 (APS-C, CMOS 12 MP). During shooting was used safety filter 'HAZE 49mm'.

Original RAW photos ('.ARW' 12-bit uncompressed) can be download from this link (20 photos, 300 MB). Some photos in the gallery have been slightly modified, I delayed the review and missed the good autumn days

MINOLTA MAXXUM AF 50mm 1: 1.7 (22) AF LENS 50


MINOLTA MAXXUM AF 50mm 1: 1.7 (22) AF LENS 50 with extended lens hood on the camera Sony a700

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Sample photos on Sony a58

Examples of photos on Sony a58 (APS-C, CMOS 20 MP) and Minolta AF 50 / 1.7 photographer shared Irina Linnik (500px).

Original RAW photos ('.ARW' 12-bit) can be download from this link (10 photos, 200 MB)

MINOLTA MAXXUM AF 50mm 1: 1.7 (22) AF LENS 50

MINOLTA MAXXUM AF 50mm 1: 1.7 (22) AF LENS 50

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Examples on Sony a850 (Full Frame)

Sample photos from full frame Sony a850 from Sergey Dorodnykh can be viewed in his review of the Minolta AF 50 / 1.7.

MINOLTA MAXXUM AF 50mm 1: 1.7 (22) AF LENS 50

MINOLTA MAXXUM AF 50mm 1: 1.7 (22) AF LENS 50

My experience

Minolta AF 50 / 1.7 is a striking representative of its time. It is very similar to the lenses of its era, primarily on Nikon AF Nikkor 50mm 1: 1.8, MKI versions (1987-1990) and SMC PENTAX-F 1: 1.7 50 (1987-1991). Almost all old autofocus fifty-kopecks were built according to the same 6/5 optical scheme, which is why they have a similar character and image quality. The same optical scheme is often used in our time, but more and more often significant changes are made to it to achieve a better image. A bright modern representative of the modernization of the 6/5 scheme - new CANON LENS RF 50mm F1.8 STM.

Working with Minolta AF 50 / 1.7 is pleasant enough, it is a good old lens. The easiest way for beginners to start getting acquainted with fixes is with the Minolta AF 50 / 1.7.

Fifties are the lenses on which love and recognition of a particular system are largely built. The Minolta AF 50 / 1.7 is a lens that will last forever.

MINOLTA MAXXUM AF 50mm 1: 1.7 (22) AF LENS 50

MINOLTA MAXXUM AF 50mm 1: 1.7 (22) AF LENS 50

Results

The fifty is an important lens in the bag of many photographers. Minolta AF 50 / 1.7 is old but hard working. The lens is still popular today, primarily due to its availability and high aperture ratio.

10 main advantages:

  1. low cost in the secondary market (about $ 60)
  2. slightly enlarged aperture in comparison with other analogs (F / 1.7 in Minolta AF 50 / 1.7 and F / 1.8, for example, in modern Sony FE 1.8 / 50)
  3. good build quality, metal mount
  4. reasonably high autofocus speed (slightly depends on the camera)
  5. light weight, compact size
  6. small diameter front filter
  7. scale of distances in the form of a window, scale of depth of field, mark for work in the infrared spectrum
  8. focus ring rotates 135 degrees
  9. built-in retractable hood
  10. good resolution at closed apertures

10 main disadvantages:

  1. during focusing, the lens trunk extends forward
  2. during focusing, the focusing ring rotates and cannot be touched
  3. thin plastic focusing ring, not very comfortable
  4. automatic focus is noisy ('screwdriver' type of focus)
  5. no continuous manual focus control, no AF / MF switch
  6. retractable hood ineffective
  7. old optical design
  8. significant backlit artifacts
  9. enlightenment is not optimized for digital cameras
  10. significant drop in sharpness in the corners and edges of the frame at F / 1.7

For provided lens MINOLTA MAXXUM AF 50mm 1: 1.7 (22) AF LENS 50 many thanks the store FOTIKA, where can I find many similar used lenses for SLR cameras Sony / Minolta / Konica-Minolta.

Comments here on the site do not require any registration. In the comments, you can ask a question on the topic, or leave your feedback, or describe your experience. For the selection of photographic equipment, I recommend E-Catalog. Many little things for the photo can be found on AliExpress.

The material was prepared by Arkady Shapoval. My Youtube channeland Radozhiva's group on Facebook и VK.

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Comments: 39, on the topic: Review of the classics: MINOLTA MAXXUM AF 50mm 1: 1.7 (22) AF LENS 50 (1985-1990)

  • Vsevolod

    About the baptized X's, it is worth considering this information.
    “Sometimes I come across junior halves, Maxxums and non-maxums for washing the diaphragm. When disassembling, it can be seen that the inner part of the helicoid, which drives out / drives in and to which the lens blocks are attached, is made of matte black plastic.

    One day I came across a junior Maxxum half with crossed X's. So his helicoid was metal, made of duralumin. This is the only Maxxum crossed XX that I had to disassemble, I have not yet come across another.

    The bottom line is that early versions of the lenses came with a metal helicoid. That is, buying an XX lens, you get a greater chance that you will have duralumin filling. Whether it is good and whether it is important at all - everyone decides for himself.

    • Arkady Shapoval

      To use the lens for its intended purpose - most likely it does not affect anything at all.

      • Vsevolod

        probably, but looking at your personal examples of photos in the article, the question arises - did I remember it too good for myself, or you have a defective copy, but I have such a successful XX. I'll look / make examples and try to upload them here with default conversion.

        • Arkady Shapoval

          Send, we'll see

          • Vsevolod

            This is an example on a77 and aperture 2.5 is approximately

          • Vsevolod

            Crop parts

          • Vsevolod

            this is further - a72 by 1.7 and the cropped parts on which I focused

            • Vsevolod

              not attached = \

            • Vsevolod

              resize

            • Vsevolod

              again..

            • Vsevolod

              crop

            • Vsevolod

              resize2

            • Vsevolod

              crop2

            • Vsevolod

              resize3

            • Vsevolod

              crop3

          • Vsevolod

            well, and a standard test table (the first picture on it for a full frame)

          • Vsevolod

            Arkady, please delete the two empty messages above. What are your thoughts on this? Is there a chance that the one you have is simple with shaky mechanics? It seems to me that plastic, no matter how modern polymer it is, is not so stress-resistant and vandal-resistant, roughly speaking, the metal inside survives drops and friction of elements better - in 35 years, after all, both lenses must have traveled kilometers back and forth.

            • Arkady Shapoval

              The one I have on review is in very good condition

  • Vsevolod

    But as for the lens as a whole, I would like to add that I have never met any complaints about it about problems with getting into focus or some kind of misses. There is a front / back focus on a specific camera, but usually it is in it. In comparison with competitors, even modern ones (under the mirror, of course), it pleases with excellent sharpness, if the light is in order. I do not recommend considering option 1.4, if you are not a fan of specifically minolta - for 1.4 it is not working, and with 2.0 - 2.2 they are about the same.

  • Sergei

    The author made an inaccuracy in the description of the focusing features of this lens.
    Clause 4 states that the lens does not have a hard stop.
    And in paragraph 5 it says that there is a hard stop.

    • Arkady Shapoval

      Fixed

  • Alexey

    Tell me, take this lens or a little more expensive sony 50 1/4?
    I understand that 1.4 lathers on an open hole?

    • Vsevolod

      Sony's enlightenment is certainly better, so in the back it will work better. But 1.4 is really very blurry almost everywhere except the very center itself, and even there one can say only “sufficient sharpness”. It's up to you, if you often miss these half a stop and want a small fifty dollar - take Sony. Otherwise - m1.7. If the size is not important and there is $ 30 more - I would fish at a flea market Sigma 50 1.4 ex hsm, a completely different level of glass.

      • Alexey

        Avito is not. And art is too expensive

        • Vsevolod

          I don't know where you are from, but upon request sony + sigma + 50 + 1.4 finds at least 5 pieces in Moscow

          • Alexey

            On sony ah?

            • Alexey

              Found. THX

  • UstasFritZZZ

    Thanks for the review!
    Great classic lens, great examples of photos.
    Arkady, as always, is on top!

  • Mishanya

    35-70 F4 I am taking a photo on the FUJI X-TRA 400 and it’s a good idea to beat at least 50mm f5 ?! Chi є sense 1000 outbid for fix witdavati ...

  • Alexander

    I suspect that with a good mirrorless adapter (E, FE) this lens is no longer a price competitor to newer counterparts.

    • Arkady Shapoval

      This Minolta + is like Nikon 50 / 1.8 AF, AF-D open. Of course, it will be inferior to any modern counterparts that were considered for small-pixel sensors.

    • Vsevolod

      Above, I threw off the examples on a 24MP crop matrix and a 24MP full-frame matrix (via the la-ea4 adapter) plus crops of them in 100% scale. Of course, if you take an adapter only for this lens, then there is no point. But if you want, for example, to assemble a park of budgetary beautifully drawing optics for AF minolta, or, even more so, if you had one, this is an excellent solution, since the lenses themselves, due to their screw-driver ability and the relatively low demand for this system in the post-Soviet space, are becoming cheaper. For example, a set of 24 + 50 + 19-35 + 35-70 + 70-210 can be collected for just over $ 200. The only problem is the small number of focusing points, which, in this particular case, given the very narrow DOF (especially at distances close to the MDF), causes some difficulties.

      • Arkady Shapoval

        70-210 is generally a legend.
        And la-ea5 seems to go without a translucent mirror and all points of mirrorless cameras work

        • Vsevolod

          alas, all points are only with the latest generation, i.e. a7siii, a7r4 and a6600 (I'm not sure about the latter): (so without hesitation I would buy Zeiss 135 1.8

  • B. R. P.

    Thanks for your review. Fotika is back in business. Tse is kind.

    • Arkady Shapoval

      They and Tamron 18-200 VC recently tested

      • B. R. P.

        Oops ...

  • Vasya

    Arkady, do you plan to do paid consultations via skype in the future as Mike Toptygin (https://www.miketoptygin.com/)?

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