Overview of 7Artisans 50 / 0.95

For the opportunity to compare the 7Artisans 50 / 0.95 lens with the lens LEICA NOCTILUX-M 1: 1.2/50 ASPH. (new price is about 8000$) huge thanks to the store of photographic equipment ProFotoSale.

7Artisans 50 / 0.95

7Artisans 50 / 0.95 (for APS-C, 7Artisans FireFly series, for Sony E mount) and LEICA E49 NOCTILUX-M 1: 1.2 / 50 ASPH. (inscription on the case: LEICA CAMERA WETZLAR MADE IN GERMANY, Full Frame, for Leica M mount, lens code in catalog and on body 11686). increase.

Navigation

  1. In short
  2. History
  3. All 7Artisans lenses
  4. Main Specifications
  5. Assembly
  6. What is the actual aperture ratio (T-stop) at f / 0.95?
  7. Focusing
  8. Image quality
  9. Sample photos (with sources)
  10. My experience
  11. Alternatives
  12. All Sony APS-C E-mount cameras
  13. All original lenses for Sony APS-C E
  14. Price
  15. Comparison with LEICA NOCTILUX-M 1: 1.2 / 50 ASPH.
  16. Video review
  17. Results
  18. User Comments
  19. Add your review or question on the lens

Please note that 7Artisans 50mm 1: 0.95 is available in different mounts. This review shows the 7Artisans 50mm 1: 0.95 version for mirrorless cameras Sony E with APS-C sensor... At the same time, 7Artisans 50mm 1: 0.95 is also available with bayonets Canon EF-M, Canon rf (not a joke), Nikon Z, Fujifilm x и Micro 4 / 3 (for some reason not for Leica lalthough under Leica l there is a film version of 7Artisans 50mm T1.05).

7Artisans 50mm 1: 0.95

7Artisans 50mm 1: 0.95

In short

7Artisans 50mm 1: 0.95 - modern manual (manual focus only) particularly fast fixed focal length lens for mirrorless cameras with APS-C or Micro 4/3 sensor. These lenses are most often referred to as'fifty dollars'because of the 50 mm focal length. First of all, 7Artisans 50mm 1: 0.95 is aimed at creative shooting, well suited for some areas of portrait photography.

7Artisans 50mm 1: 0.95 is interesting for its very low price (this is the cheapest lens of this kind with F / 0.95), very high-quality assembly, a large number of aperture blades and a maximum aperture of 1: 0.95. Separately, it should be noted that the 1: 0.95 aperture ratio is 'fair' and gives light transmission in the T / 1.0-T / 1.1 region (that is, the real aperture lens, expressed in T-stops, matches well the stated maximum aperture of F / 0.95). In addition, sharpness at F / 0.95 is quite enough, for example, for some directions of tailoring.

This lens belongs to the 7Artisans line Firefly ('Firefly', this name is most likely a reference to the high aperture of the lens). This series includes only three solutions: 25/0.95, 35/0.95 and 50 / 0.95 (from this review). 7Artisans claims that the 7Artisans 50mm 1: 0.95 optical design uses two low-dispersion elements from HOYA.

Among the disadvantages are the standard optical problems inherent in such inexpensive high-aperture optics, first of all, strong chromatic aberration and very low resolution at the corners and edges of the frame at close focusing distances.

Aperture F / 0.95 more than five steps wider aperture F / 5.6, which is used in some 'dark' stock lenses. Each stage gives a twofold increase in aperture ratio: 1 -> 1.4 -> 2 -> 2.8 -> 4 -> 5.6. In numerical terms, this means that 7Artisans 50mm 1: 0.95 should be 35 times lighterthan stock lens Sony 16-50mm f / 3.5-5.6 PZ OSS, which at a 50 mm focal length can use a maximum aperture of only 1: 5.6. The calculation in the difference in relative apertures (count the luminosity) is simple: (5.6 * 5.6) / (0.95 * 0.95) = 35.

7Artisans 50mm 1: 0.95

7Artisans 50mm 1: 0.95

History

7Artisans has several fast lenses for mirrorless cameras with an APS-C sensor (or less) with a focal length of 50-55mm:

UPDATED: Movie version released on November 24, 2021 7Artisans 50mm T1.05 for cameras Canon EOS, Micro 4 / 3, Fuji Film FX, Sony E и Leica l.

7Artisans 50mm 1: 0.95

7Artisans 50mm 1: 0.95


All 7Artisans lenses:

For mirrorless cameras with APS-C or Micro 4/3 sensor:

  1. 7Artisans 7.5 mm F / 2.8 Fish-Eye (review) [EF-M, E, X, M4 / 3, versions 2017 и 2019, scheme 11/9]
  2. 7Artisans 7.5 mm F / 2.8 Fish-Eye II (announcement) [EF-M, E, X, Z, M4 / 3, scheme 11/10]
  3. 7Artisans 12 mm F / 2.8 (review) [EF-M, E, X, M4 / 3]
  4. 7Artisans 18 mm F / 6.3 UFO (Announcement) [EF-M, E, X, M4 / 3]
  5. 7Artisans 25 mm F / 1.8 (review) [EF-M, E, X, M4 / 3, black / silver]
  6. 7Artisans 25 mm F/0.95 (announcement) [EF-M, Z, E, X, M4 / 3, RF, L]
  7. 7Artisans 35 mm F/0.95 (overview) [EF-M, Z, E, X, M4 / 3]
  8. 7Artisans 35 mm F/1.2 (overview) [EF-M, E, X, M4 / 3, black / silver]
  9. 7Artisans 35 mm F/1.2 II (announcement) [Z, EF-M, E, X, M4 / 3, other optical design]
  10. 7Artisans 35 mm F / 1.4 II (announcement) [Z, EF-M, E, X, M4 / 3]
  11. 7Artisans 50 mm F / 1.8 (ali) [EF-M, E, X, M4 / 3]
  12. 7Artisans 50 mm F/0.95 (overview) [EF-M, Z, E, X, RF, M4 / 3]
  13. 7Artisans 55 mm F / 1.4 (review) [EF-M, E, X, M4 / 3, Leica L, black / silver]
  14. 7Artisans 55 mm F / 1.4 II (announcement) [EF-M, E, X, Z, M4 / 3]
  15. 7Artisans 60 mm F / 2.8 Macro (review) [EF-M, RF, Z, E, X, RF, M4 / 3]
  16. 7Artisans 60 mm F / 2.8 Macro II (Announcement) [EF-M, Z, E, X, RF, M4 / 3]

For mirrorless full frame cameras (Full Frame):

  1. 7Artisans 10 mm F / 2.8 Fisheye ED [RF, Z, E, L]
  2. 7Artisans 28 mm F / 1.4 [Leica M only]
  3. 7Artisans 35 mm F / 1.4 [EF-M, Z, E, X, M4 / 3]
  4. 7Artisans 35 mm F / 1.4 [Leica M only, different optical design]
  5. 7Artisans 35 mm F / 2 (review) [E, X, black / silver]
  6. 7Artisans 35 mm F / 2 [Leica M only, different body design]
  7. 7Artisans 35 mm F / 5.6 wen [Leica M + E, Z, L, RF, black, black & gold, silver & black, silver & gold]
  8. 7Artisans 50 mm F/1.05 APO (overview) [RF, Z, E, L]
  9. 7Artisans 50 mm F/1.1 (overview) [Leica M only, black / silver + 'Limited Gold'+'RED DRAGON SPECIAL EDITION']
  10. 7Artisans 75 mm F/1.25 [Leica M only]

There are still lenses for drones (Sony E, APS-C), for example, 7Artisans DJ-OPTICAL 35mm F5.6 or 7Artisans DJ-OPTICAL 25mm F5.6.

Cinema Lenses [RF, E, L, X, M4 / 3]:

  1. 7Artisans 25mm T1.05
  2. 7Artisans 35mm T1.05
  3. 7Artisans 50mm T1.05

Mounts:

  • EF-M: Canon EF-M
  • E: Sony E / FE
  • X: Fujifilm X
  • M4 / 3: Micro 4/3
  • RF: Canon RF
  • Z: Nikon Z
  • L: Leica L, Panasonic L, Sigma L

These lenses are easiest to find on Aliexpress at Authorized Dealer 7Artisans.

List of all lenses T.T.Artisan you can see here.

7Artisans 50mm 1: 0.95

7Artisans 50mm 1: 0.95

Main technical characteristics of 7Artisans 50mm 1: 0.95

Review Instance Name On the case: 7Artisans 50mm + serial number 13182

'E-Mount' bayonet side

Basic properties
  • The lens uses a Sony E mount and is suitable for Sony mirrorless cameras with an APS-C sensor
  • Manual focus only
  • Metal mount, metal body
  • Multi-Enlightened Optics
  • HOYA ULD (Ultra-LOW Dispersion) - low dispersion elements from HOYA in the optical circuit
  • FIREFLY (Firefly) - 7Artisans FIREFLY lens series (25, 35, 50mm at f / 0.95)
  • Timetable MTF
Front Filter Diameter 62 mm
Focal length 50 mm

Zoom ratio 1 X (this is a fixed lens, it does not have a zoom)
Designed by Option from the review for cropped mirrorless Sony cameras.

This lens exists with mounts:

Number of aperture blades 13 rounded petals
Labels
  • bayonet mount mark
  • focusing distance scale in meters (white 'm' marks) and feet (red 'ft' marks). Values ​​in meters are available: 0.45, 0.5, 0.6, 0.7, 0.8, 1, 1.4, 2, 4 and infinity mark (a row of numbers 1, 1.4, 2, 4 can be confused with aperture values)
  • depth of field scale for f / 4, 8, 11, 16
  • aperture scale on aperture ring
Diaphragm F / 0.95 to F / 16, controlled by aperture control ring.

There are labels for F / 0.95, 1.4, 2, 2.8, 4, 5.6 (dot), 8, 11 (dot), 16.

The aperture control ring rotates without clicking, smoothly. Any intermediate value can be set.

MDF 0.45 meters, maximum magnification ratio of approximately 1: 8 (measured, 19 centimeters fits horizontally on MDF)
The weight
  • 416 grams (according to the official site)
  • 420 grams (lens only, version for Sony E, measured)
  • 453 grams (dual-cap lens, Sony E version, measured)
Optical design 7 elements in 5 groups.

Optical design includes 2 low dispersion elements from HOYA (shown in red, HOYA Ultra-LOW Dispersion Glass)

7Artisans 50mm 1: 0.95The optical design is clickable for magnification.

Lens hood Must be screwed into the front filter thread; marking unknown
Manufacturer country Made in China (there is no data on the country of manufacture on the lens itself)
Period From August 2021. In November 2021 the film version of 7Artisans 50mm T1.05 with mounts was released Canon EOSMicro 4 / 3Fuji Film FXSony E и Leica l.
Price View on Aliexpress from an authorized 7Artisans Official Store dealer at this link

The creative potential of such a lens can hardly be overestimated. Photo enthusiasts often use it as a portrait lens. Many people just want a fast prime to complement their kit lens. Of autofocus solutions to 7Artisans 50mm 1: 0.95, the closest is Fujifilm 50 / 1.0 for FujiFilm X mount. The difference between 1: 0.95 and 1: 1 is insignificant and amounts to about 11%. Most likely F / 0.95 instead of F / 1 is more used for a psychological / marketing effect, and it also refers to one of the most expensive fifty-dollar lenses of our time: LEICA NOCTILUX-M 1: 0.95 / 50 ASHP. E 60.

7Artisans 50mm 1: 0.95

7Artisans 50mm 1: 0.95

Assembly

The lens came to the review completely new, in sealed box... The box contains the lens itself with front and rear caps and a small manual. In the middle of the box there are very large and soft foam holders. The design of the box is stylish and beautiful. Initially, the box is surrounded by an additional beautiful cardboard wrap that serves as a seal.

Additional shop sent a kit for cleaning optics'7Artisans Professional Camera Cleaning and Photographic Kit', fabric case '7Artisans' gray for transporting the lens and nozzle '7Artisans' on focusing ring for easy focusing. The cleaning kit additionally included a small USB SD and MicroSD card reader.

In general, the lens very well assembled... 7Artisans 50mm 1: 0.95 has metal mount for bayonet, and the lens case itself is completely made of metal, anodized aluminum is used.

Important: lens mount also painted black (dark brown)which makes the 7Artisans 50mm 1: 0.95 design complete and pleasant enough. Usually these lenses have a metal mount without color. True, the red color of the marks is shifted closer to pink, which is a little strange and unusual. A stricter red would look much better.

All marks and labels on lenses engraved.

The front lens cap is metal, without latches, just fits snugly against the body frame. There is a special fabric seal on the inside of the lid. The cover is fixed tightly. Removing and installing the cover is pleasant.

The weight of the 7Artisans 50mm 1: 0.95 lens itself is just over 400 grams. In the hands, the lens feels like a solid thing.

The filter diameter is 62 mm. By itself, the 7Artisans 50mm 1: 0.95 is quite compact, well suited for small Sony cameras with an APS-C sensor.

The diaphragm consists of 13 (thirteen!) petals and forms a round hole at any values, while in the photographs in the out-of-focus area, rather round discs of confusion are obtained at any aperture values. Strange, but the cheaper model 7Artisans 55 / 1.4 14 petals are used. The diaphragm can only be controlled manually using a special ring. The diaphragm ring rotates smoothly, no clicks and fixed values, you can set any intermediate value in the range of F / 0.95-F / 16, which is very useful during movie shooting.

It's important: Unlike other lenses, where the aperture ring clicks and the transition between any pairs of f-numbers has the same pitch, the pitch between pairs of 7Artisans 50mm 1: 0.95 numbers is always different. It shrinks from f / 0.95 to f / 16. This makes it difficult to conveniently and quickly set values ​​from F / 1.4 to F / 16. And for the marks F / 5.6 and F / 11 there was no place on the scale at all (instead of the numbers F / 5.6 and F / 11, dots are used).

It's important: aperture control ring is located from the front of the lens, behind the focus ring. This arrangement of the aperture ring is quite convenient. On other lenses, such as 7Artisans 35 / 1.2, the aperture control ring is close to the mount and it is not always convenient to rotate.

The lens easily transferred work at -11° C for half an hourwhile the focusing ring did not become tight.

7Artisans 50mm 1: 0.95

7Artisans 50mm 1: 0.95

What is the actual aperture ratio (T-stop) at f / 0.95?

The light transmission of the lens is expressed 'T' steps... It is this value that is considered to be the 'real' indicator of the lens aperture ratio. Typically, T-stops (T-feet) are interconnected with aperture stops (F-stops). Quality lenses have fairly close numbers around 'T' and 'F'. For example, a quality lens with a maximum aperture ratio of 1: 1.4 (f / 1.4 aperture) has a light transmission of T / 1.5-T / 1.6. Lenses with F / 2.0 at T / 2.1-T / 2.2, F / 2.8 at F / 2.9-F / 3.0 and so on and so forth. The light transmission of 7Artisans 50mm 1: 0.95 at f / 0.95 is in the region T / 1.0-1.1which is very, very good. It is safe to say that the 1: 0.95 relative aperture of this lens is fair (unlike its brother 7Artisans 35 / 0.95).

My observations of the behavior of the 7Artisans 50mm 1: 0.95 lens:

  1. 7Artisans 50mm 1: 0.95 at f / 0.95 is about 1.6 times brighter than a modern full-frame lens LEICA E49 NOCTILUX-M 1: 1.2 / 50 ASPH. (LEICA CAMERA WETZLAR MADE IN GERMANY, announced January 28, 2021) at F / 1.2. This suggests that 7Artisans 50mm 1: 0.95 uses a real aperture ratio of 1: 0.95.
  2. 7Artisans 50mm 1: 0.95 at f / 0.95 is about 2 times brighter than a classic manual lens SMC PENTAX 1: 1.4 / 50 at F / 1.4.
  3. 7Artisans 50mm 1: 0.95 at f / 0.95 is about 3.5 times brighter than a classic manual lens SMC TAKUMAR 55 / 1.8 at F / 1.8.
  4. when going from F / 0.95 -> 1.4 -> 2.0 -> 2.8 -> 4 -> 5.6 (mark point) -> 8 -> 11 (mark point) -> 16 drop exposure is not happening correctly. When going from F / 0.95 aperture to F / 1.4 aperture Exposition the picture should be reduced by about 2 times. To be precise, the difference should be (1.4 * 1.4) / (0.95 * 0.95) = 2.17 times. This fall corresponds to about one notch exposure (to be precise, one step with a small tail). During operation with a 7Artisans 50mm 1: 0.95 lens with aperture maneuver from f / 0.95 to f / 1.4 Exposition decreases by about only half a step... Which contradicts the calculations outlined above. The fall exposure I tracked with my camera's exposure meter Sony a3500, in different shooting modes, as well as the histogram of the received images. I have done many tests with focus at infinity and on MDF, with different shooting conditions, at different ISO and / or calibration values. excerpts.
  5. the f / 1.4 aperture mark on the aperture control ring gives an exposure that does not match exposure f / 1.4 aperture with lens SMC PENTAX 1: 1.4 / 50installed on Sony a3500 with a simple adapter Pentax K -> Sony E / NEX (adapter without microprocessor contacts). This is a manual full-frame aperture fifty-kopeck piece that I had at hand. exposure at f / 1.4, the 7Artisans 50mm 1: 0.95 is about 1/3 stop higher than the SMC PENTAX 1: 1.4 / 50 at the same f / 1.4 aperture.
  6. maneuvering the aperture from F / 0.95 to F / 16 changes the exposure by about 60-70 times, which corresponds to about 6 stops. As a result, the f / 16 value of the 7Artisans 50mm 1: 0.95 corresponds to the real f / 8 value. This is also confirmed by comparison with SMC PENTAX 1: 1.4 / 50 at F / 8.
  7. I measured the pupil of the 7Artisans inlet 50mm 1: 0.95 and it is approximately 50 mm, which gives a relative aperture in the region of 1.0 (50/50 = 1). True, the focal length of the lens is actually slightly less than 50 mm and is in the range of 45-48 mm, which ultimately gives a relative aperture of about 1: 0.95 (47/50 = 0.94).
  8. On November 24, 2021, the 7Artisans 50mm T1.05 version of the lens was released, designed for filming. Most likely he is actually using a value close to T / 1.05.
  9. during focusing from infinity towards MDF, the exposure of 7Artisans 50mm 1: 0.95 drops by about 1/4 stop (this is the normal behavior of exposure on MDF)

What follows from all this?

  1. Aperture F / 0.95 has light transmission in the region T / 1.0-T / 1.1... This light transmission really corresponds to a lens with an aperture ratio of 1: 0.95. All is fair.
  2. But labels 1.4 -> 2.0 -> 2.8 -> 4 -> 5.6 (label point) -> 8 -> 11 (label point) -> 16 do not correspond to real values

Shown below are approximate f-numbers based on a comparison of the exposure readings of the 7Artisans 50mm 1:0.95 lens with lenses SMC PENTAX 50 / 1.4SMC TAKUMAR 55 / 1.8, Nikon Nikkor 50 / 1.8G, LEICA NOCTILUX-M 50 / 1.2. CANON FL 58/1.2, CANON FD 50/1.2, SMC PENTAX-M 50/2 и SMC PENTAX-A 50/1.4.

  • 0.95 <-> 0.95
  • 1.4 <-> 1.2
  • 2 <-> 1.8
  • 2.8 <-> 2.2
  • 4 <-> 3.2
  • 5.6 <-> 3.5
  • 8 <-> 4.5
  • 11 <-> 6.3
  • 16 <-> 8 (here the difference is already 4 times)
7Artisans 50mm 1: 0.95

7Artisans 50mm 1: 0.95

Focusing

The focus ring is wide enough, metal, ribbed. The ring rotates approximately 90 degrees (about 1/4 of a full turn). The focus ring is poorly stretched from 1 meter to infinity. Focusing is smooth and pleasant, the focus ring can be rotated with one finger.

This time, the package included an additional original holder from 7Artisans for the focusing ring - a rubber protrusion that is glued to the focusing ring using a self-adhesive base, looks like this... With this protrusion, it is very easy and convenient to rotate the focusing ring with just one finger.

It's important: after successful focusing, when trying to set the desired aperture value, you can easily touch the focusing ring, which rotates very easily, and thereby knock down precise focusing.

During focusing, the trunk of the lens runs forward but does not spin... Together with the trunk, the diaphragm control ring also comes out. Focusing is performed by moving the entire lens unit. Most likely, the lens does not have a system for correcting image quality at close focusing distances.

On the ring there is a scale with a focusing distance in meters and feet and a depth of field scale. The minimum focusing distance is 45 cm and the maximum magnification ratio is approximately 1: 8 (measured).

7Artisans 50mm 1: 0.95 has weak 'Focus Breathing' effect (changing the angle of view during focusing). When focusing towards the MDF, the angle of view decreases slightly. I was pleasantly surprised by the weak 'Focus Breathing' effect.

Focus Shift (shift focus, change in focusing distance due to aperture) is missing.

Hard stop (hard infinity mechanical stop) for fast and accurate infinity aiming under all operating temperatures no. The sample from the review has a small infinity flight in the extreme position of the focusing ring.

Focus picking with Sony a3500 и Sony NEX-6 at F / 0.95 it works well even if low peaking is enabled.

7Artisans 50mm 1: 0.95

7Artisans 50mm 1: 0.95

Image quality

7Artisans 50mm 1: 0.95 is pretty good, although it has obvious serious problems. At F / 0.95, the lens does not deliver high optical performance, but still surprises with passable sharpness in the center of the frame at medium and long focusing distances.

Sharpness

  1. the resolution is highly dependent on the focusing distance... Lens optimized for medium to long focusing distances
  2. on MDF, the corners of the frame bounce back only at F / 16 (in the range of F / 0.95-F / 11, the far edges of the frame are always very bad)
  3. at long focusing distances at F / 0.95, the resolution in the center of the frame is low, but quite suitable for comfortable work in many directions of photography, while the corners of the frame do not sag much
  4. at close focusing distances at F / 0.95, the resolution in the center of the frame is very low, while the corners of the frame are just awful
  5. only after f / 1.4 good resolution is achieved in the center of the frame
  6. there is a very strong coma (example)

Distortion

  1. there is a noticeable barrel-shaped distortion
  2. easily fixable in the editor and almost invisible in the pictures

Vignette

  1. a little vignetting at F / 0.95 (which was very, very surprised)
  2. vignetting decreases with focus towards MDF. Most noticeable when focusing on infinity
  3. vignetting almost completely disappears at values ​​after F / 2
  4. vignetting easily fixable in the editor

Aberration

  1. strong chromatic aberration all over the frame
  2. few spherical aberrations at f / 0.95
  3. chromatic aberration decrease significantly after closing the aperture to f / 2.8
  4. the strongest chromatic aberration traceable at the corners and edges of the image
  5. strong milling
  6. there is also blooming (an explosive growth of aberrations on highly contrasting elements, example)

Rest

  1. on very closed apertures, it is difficult to get the effect of the rays of a star. Usually it turns out something this is, rarely this is
  2. from bright light sources you can get a lot of glare (Example 1, Example 2). But in general, there are no special problems with backlight and side light, in order to get a large amount of glare, you need to try
  3. bokeh is pleasant in many cases (example), but often it deteriorates due to coma ('bokeh comatose', example). Discs of confusion to the edges and corners of the frame turn into pronounced 'lemon' (example)

Important: at the time of writing this review, there was no 7Artisans 50mm 1: 0.95 profile for popular RAW converters. You can create a profile yourself or wait for its release.

7Artisans 50mm 1: 0.95

7Artisans 50mm 1: 0.95

Sample Photos

All photos in the review are shown without processing. Camera used Sony a3500 (20MP Sony Exmor APS-C HD CMOS sensor) and Sony NEX-6... (16MP Sony Exmor APS-C HD CMOS sensor). All photos are JPEG captured in camera. In order not to make a mistake with the aperture and accidentally knock down the set value, I had to fix the aperture control ring with adhesive tape (example). Each photo in the gallery has a correctly specified EXIF.

It's important: electronic front curtain shutter Sony a3500 severely spoiled bokeh at open apertures and shutter speeds shorter than 1/1000 of a second, the causes of this problem are described here... The lens is not to blame, purely a shutter feature Sony a3500. I Sony NEX-6 this problem can be avoided by using a fully mechanical shutter.

It's important: 7Artisans 50mm 1: 0.95 paired with Sony a3500 when the aperture is closed, the color rendition changes significantly. At full aperture, the image is tinted slightly pink / pinkish purple. Auto white balance sometimes copes well with this feature, but with manual installation white balance this effect is significant. Sometimes automatic white balance strongly mistaken (see the 'turned blue at F / 0.95' cat in the gallery). Closing the aperture down to f / 1.4-f / 2.0, color rendition bounces back (example). Approximately the same gives Sony a3500 and with lens LEICA NOCTILUX-M 1: 1.2 / 50 ASPH., but the effect is slightly smaller (example). Perhaps on some other cameras the lens will behave in a similar way. Once again: similar behavior - this is the problem of the camera Sony a3500on which the lens was tested. I assume that this is a spurious reflection of the rays coming from the sensor itself Sony a3500 rear lens back to the sensor (sensor and external camera filter Sony a3500 visually shimmer with pink-purple and green shades), perhaps the reason is in something else. This effect is vigorously discussed on the social networks of Radozhiva: here (Facebook), here (VK) и here (Youtube). I Sony NEX-6 there is no such problem.

Thanks to the model, fitness trainer and nutritionist for help with the review. Valeria, don't forget to subscribe to her Instagram valeria_sporty.

Original images in JPEG ('.JPG', 200+ files) can be viewed / downloaded from this link (Yandex.Disk) or by this link (Google Drive)... Original RAW images (Sony '.ARW', 100+ files) can be view / download this link (Yandex.Disk). Each file in its name carries the values ​​of the aperture at which this or that picture was taken.

7Artisans 50mm 1: 0.95

7Artisans 50mm 1: 0.95

My experience

7Artisans 50 / 0.95 was purchased by me specifically to create this review here... Real aperture ratio 1: 0.95 for only $ 250! Chinese manufacturers sometimes know how to surprise.

7Artisans 50 / 0.95 is an absolutely fun lens with a bunch of subtleties, tricks and tricks. 7Artisans 50 / 0.95 can deservedly be called a creative solution.

I guess the 7Artisans 50mm 1: 0.95 was the answer to a very successful lens TTArtisan 50 / 1.2 (September 2020). I should note that the stamps 7Artisans и T.T.Artisan are different and not related in any way.

7Artisans 50mm 1: 0.95 - hot pie, take it and take it off! Per 250 dollars this is just an amazing find for amateur photographers. Do you know a cheaper lens with a real f / 0.95?

Getting into sharpness at F / 0.95 is not that difficult, perhaps my long-term hobby for manual optics helps me. The number of faults due to incorrect focus is not that great. For example, from 1400 shots from studio (portrait) shooting, about 800 shots had no problems getting into focus.

The EGF of such a lens on cameras with an APS-C sensor corresponds to 75 mm, which is quite suitable for portrait photography. And the equivalent aperture in terms of depth of field is f / 1.425. In fact, this lens corresponds to class 75 / 1.4 lens (viewing angles and depth of field) when used on a full-frame camera.

The optical design of 7Artisans 50mm 1: 0.95 resembles that of a 7/5 lens Nikon Nikkor 85mm 1: 1.4 and 8/6 lens layout KamLan 50 / 1.1 II.

In 7Artisans 50mm 1: 0.95, I am not satisfied with the small step of the focusing ring, the aperture is without fixed values ​​(for example, a similar TTArtisan 50 / 1.2) and a non-bayonet type lens hood (which is not included in the package).

In general, I would recommend an inexpensive autofocus Viltrox 56 / 1.4 (available for all popular mounts: Canon EF-M, FujiFilm X, Nikon Z, Sony E). At times Viltrox 56 / 1.4 can be found on sale for just the same 250 dollars.

7Artisans 50mm 1: 0.95

7Artisans 50mm 1: 0.95

Alternatives for EF-M, Z, E, X, M4 / 3:

7Artisans 50 / 0.95 is available for bayonets Canon EF-M, fujifilm x, Nikon Z, Sony E, Micro 4 / 3 and Canon RF. Therefore, such high-aperture lenses for cropped cameras will act as autofocus alternatives:

  1. Sony 50 / 1.8 OSS (E)
  2. Yongnuo 50 / 1.8 (E)
  3. Sigma 56 / 1.4 (E, Ef-m, L, M4 / 3)
  4. Viltrox 56 / 1.4 (X, E, Ef-m, Z)
  5. Tokina 56 / 1.4 (X, E)
  6. Fujifilm 50 / 1 (X)
  7. Fujifilm 56 / 1.2 (X)
  8. Fujifilm 56 / 1.2 APD (X)
  9. Fujifilm 50 / 2 (X)
  10. Olympus 45 / 1.2 (M4 / 3)
  11. Olympus 45 / 1.8 (M4 / 3)
  12. Panasonic 42.5 / 1.2 OIS (M4 / 3)
  13. Panasonic 42.5 / 1.7 OIS (M4 / 3)

I did not include macro lenses with a similar focal length in the list, since they have a much smaller aperture.

Of these manual alternatives, first of all, you should pay attention to:

  1. TTArtisan 50 / 1.2 (E, X, Ef-m, Z, M4 / 3,L)
  2. KamLan 50 / 1.1 II (E, X, Ef-m, M4 / 3)
  3. 7Artisans 55 / 1.4 (E, X, Ef-m, M4 / 3,L)
  4. 7Artisans 55 / 1.4 II (E, X, Ef-m, Z, M4 / 3)
  5. 7Artisans 50 / 1.8 (E, X, Ef-m, M4 / 3)
  6. Brightin Star 50 / 1.4 (E, X, Ef-m, M4 / 3)
  7. PERGEAR 50 / 1.8 (E, X, M4 / 3)
  8. Mitakon 42.5 / 1.2 (M4 / 3)
  9. Voigtlander Nokton 42.5 / 0.95 (M4 / 3)
  10. Voigtlander Nokton 60 / 0.95 (M4 / 3)
  11. many extra high-aperture solutions can be found here
7Artisans 50mm 1: 0.95

7Artisans 50mm 1: 0.95


All Sony E-mount cameras with APS-C sensor

7Artisans 50mm 1: 0.95

7Artisans 50mm 1: 0.95


All Sony E lenses for APS-C

  1. 16mm f / 2.8
  2. 20mm f / 2.8 (black / silver)
  3. 24mm f / 1.8 ZEISS ZA
  4. 30mm f / 3.5 Macro
  5. 35mm f / 1.8 U.S.S
  6. 50mm f / 1.8 U.S.S (black / silver)
  7. 10-18mm f / 4 U.S.S
  8. 16-50mm f / 3.5-5.6 PZ U.S.S  (black / silver)
  9. 16-55mm f / 2.8 G
  10. 16-70mm f / 4 U.S.S ZEISS ZA
  11. 18-50mm f / 4-5.6
  12. 18-55mm f / 3.5-5.6 U.S.S (black / silver, Japan / Thailand)
  13. 18-105mm f / 4 G PZ U.S.S
  14. 18-110mm f / 4 G PZ U.S.S
  15. 18-135mm f / 3.5-5.6 U.S.S
  16. 18-200mm f / 3.5-6.3 U.S.S
  17. 18-200mm f / 3.5-6.3 U.S.S LE
  18. 18-200mm f / 3.5-6.3 PZ U.S.S
  19. 55-210mm f / 4.5-6.3 U.S.S (black / silver)
  20. 70-350mm f / 4.5–6.3 G U.S.S

Third-party autofocus lenses for Sony E APS-C:

Many interesting manual solutions are provided by Chinese manufacturers and brands. 7Artisans, TTartisanMeike, Neewer, PerGear, Kamlan, Brightin starMitakon ZhongyiVenus laowa, Andoer, Kaxinda, lightdow, risespray other. Autofocus Speed ​​Boosters are also interesting Viltrox Canon EF -> Sony E 0.71X и Metabones Canon EF -> Sony E 0.71X... List of full-frame cameras and lenses Sony FE (Full Frame E) here

7Artisans 50mm 1: 0.95

7Artisans 50mm 1: 0.95

Price

7Artisans 50mm 1: 0.95 costs around $ 200-300. The easiest way buy 7Artisans 50mm 1: 0.95 at Aliexpress.comfor example official seller 7Artisans Store here at this link.

7Artisans 50mm 1: 0.95

7Artisans 50mm 1: 0.95.

7Artisans 50mm 1: 0.95 (2021, $ 250) versus LEICA NOCTILUX-M 1: 1.2 / 50 ASPH. (2021, $ 8000)

I got a rare lens under my arm LEICA E49 NOCTILUX-M 1: 1.2 / 50 ASPH. (inscription on the case: LEICA CAMERA WETZLAR MADE IN GERMANY, catalog number 11686, used with protective light filter LEICA CAMERA WETZLAR E49 UVa II), which was announced not so long ago - on January 28, 2021. Rare, because only 1757 of these lenses will be produced (100 in a silver case). This lens uses a 6/4 optical design with two aspherical elements and is built on the basis of the legendary original NOCTILUX 1: 1.2 / 50 LEITZ WETZLAR (LENS MADE IN GERMANY), produced from 1966 to 1975. Cost LEICA E49 NOCTILUX-M 1: 1.2 / 50 ASPH. at the time of this review is about $ 8000 (screen from the site bhphotovideo.com, and in a silver case - about $ 16000, while they are all already sold out). For the lens, a huge gratitude to the store of photographic equipment profotosale.com.ua.

If we put the lenses on an equal footing, then 7Artisans 50mm 1: 0.95 and LEICA NOCTILUX-M 1: 1.2 / 50 ASPH. at the maximum open apertures, these sets of shutter speeds are given:

  • 1/1250 <-> 1/800
  • 1/1600 <-> 1/1000
  • 1/2000 <-> 1/1250
  • 1/4000 <-> 1/2500

For this set of exposures, the difference in the aperture ratio of about 1.6 times is clearly traced, which is confirmed by theoretical calculations for the relative aperture: (1.2 * 1.2) / (0.95 * 0.95) = 1.5955 times. As a result, 7Artisans 50mm 1: 0.95 2/3 notches lighterThan LEICA NOCTILUX-M 1: 1.2 / 50 ASPH..

Below are paired shots with LEICA NOCTILUX-M 1: 1.2 / 50 ASPH. and 7Artisans 50mm 1: 0.95. The aperture scale of the 7Artisans 50mm 1: 0.95 lens does not have an F / 1.2 value, and therefore I set this value approximately (the aperture control ring rotates smoothly, without fixed values), focusing on the exposure of the images taken with LEICA NOCTILUX-M 1: 1.2 / 50 ASPH. at F / 1.2. On camera Sony a3500 lens LEICA NOCTILUX-M 1: 1.2 / 50 ASPH. used with a simple adapter Fotga Leica M -> Sony E.

pairs: Leica 1.2-> 2, 7Artisans 0.95-> 1.2-> 2

pairs: Leica 1.2, 7Artisans 0.95-> 1.2

You can download or view the original JPEG / RAW at this link (Google Drive galleries, divided into folders).

Comparison results:

  1. it goes without saying that these lenses are not competitors, they are cannot be compared, the small comparison given here serves only fun... First of all LEICA NOCTILUX-M 1: 1.2 / 50 ASPH. Is a full frame lens for rangefinder cameras, collection premium solution... But 7Artisans 50mm 1: 0.95 is budget lens for cropped mirrorless cameras.
  2. LEICA NOCTILUX-M 1: 1.2 / 50 ASPH. (version 2021) - in modern twilight, optically mediocre at F / 1.2, this is due to the old optical scheme. First of all, at F / 1.2, spherical aberrations are strongly influenced by the image. This weakness can be extolled as'tribute to the classic drawing ' и a reference to the original NOCTILUX 1: 1.2 / 50 1965 year. With aperture, spherical aberrations are rapidly reduced and the lens becomes similar to other similar fifty dollars.
  3. At long focusing distances, the 7Artisans 50mm 1: 0.95 is pretty much nothing at f / 0.95 in the center of the frame, and at an equivalent aperture of f / 1.2 it is noticeably better in terms of resolution than LEICA NOCTILUX-M 1: 1.2 / 50 ASPH. True, at close focusing distances 7Artisans 50mm 1: 0.95 at f / 0.95 is worse than LEICA NOCTILUX-M 1: 1.2 / 50 ASPH at F / 1.2. At close focusing distances, the 7Artisans 50mm 1: 0.95 at f / 1.2 is only slightly better than LEICA NOCTILUX-M 1: 1.2 / 50 ASPH. at an equivalent aperture of F / 1.2.
  4. Viewing angle y LEICA NOCTILUX-M 1: 1.2 / 50 ASPH. slightly larger and the effect of 'Focus Breathing' ('breathing of focusing', the change in the angle of view depending on the focusing distance) is more pronounced, due to which at close focusing distances the angle of view of LEICA NOCTILUX-M 1: 1.2 / 50 ASPH. significantly shorter (it seems that the focal length is much longer) than that of 7Artisans 50mm 1: 0.95. Real focal length of 7Artisans 50mm 1: 0.95 closer to 45-48 mmthan to 50 mm.
  5. MDF y LEICA NOCTILUX-M 1: 1.2 / 50 ASPH. 2 times more than that of 7Artisans 50mm 1: 0.95 and is as much as 1 meter. Such a large MDF is due to the possibility of pairing with the rangefinder of Leica cameras. 7Artisans 50mm 1: 0.95 can focus from 45 cm. Shooting small objects with the 7Artisans 50mm 1: 0.95 is much easier.
  6. of course, 'noble bokehLEICA NOCTILUX-M 1: 1.2 / 50 ASPH. from a full frame will always be 'more interesting' than the Chinese 7Artisans 50mm 1: 0.95 with a 'crop'. Moreover, the bokeh of 7Artisans 50mm 1: 0.95 can be very 'comatose'.
  7. aspherical elements у LEICA NOCTILUX-M 1: 1.2 / 50 ASPH. practically do not give concentric onion circles, which is very, very good and which confirms the high-quality manufacture of optics.
  8. while working with these lenses I didn't have any feeling of 'premium' LEICA NOCTILUX-M 1: 1.2 / 50 ASPH., slight lag / play of the diaphragm control ring at LEICA NOCTILUX-M 1: 1.2 / 50 ASPH. seemed strange and inappropriate. Perhaps this aperture control ring is a reference to the old NOCTILUX 1: 1.2 / 50. Although there are clicks on the aperture control ring, LEICA NOCTILUX-M 1: 1.2 / 50 ASPH., this ring rotates too easily, you can accidentally touch it and knock the selected aperture value. Focus ring at LEICA NOCTILUX-M 1: 1.2 / 50 ASPH. tighter, more faceted, not as comfortable and smooth as in 7Artisans 50mm 1: 0.95. In general, 7Artisans 50mm 1: 0.95 in circulation seemed to me more pleasant.
  9. There is a particular difference in the roundedness of the confusion discs when using 16 aperture blades in LEICA NOCTILUX-M 1: 1.2 / 50 ASPH. and 13 petals in 7Artisans 50mm 1: 0.95 I did not notice.
  10. The lenses are similar in weight when used adapter Leica M -> Sony E the sizes of the lenses also become similar. True, yet LEICA NOCTILUX-M 1: 1.2 / 50 ASPH. looks more elegant, primarily due to the small diameter of the filters.
  11. Subjective sensations: I shot a little on LEICA NOCTILUX-M 1: 1.2 / 50 ASPH. for myself, for the soul. I should note that this lens gives very nice, 'light' color reproduction with 'balanced' contrast. Color reproduction and contrast in 7Artisans 50mm 1: 0.95 are more 'coarse'. This difference is easy to feel in a large sample of photographs, where it has an accumulative character.
  12. Leaving photos with 7Artisans 50mm 1: 0.95 in pink / pink-purple tint at F / 0.95 is a camera problem Sony a3500 (the reasons are described in the section 'sample photos').

 

7Artisans 50mm 1: 0.95

7Artisans 50mm 1: 0.95 and classic manual fast SMC PENTAX 1: 1.4 / 50 ASAHI OPT. CO., JAPAN

7Artisans 50mm 1: 0.95 and classic manual fast SMC PENTAX 1: 1.4 / 50 ASAHI OPT. CO., JAPAN

7Artisans 50mm 1: 0.95 and classic manual full-frame fast SMC PENTAX 1: 1.4 / 50 ASAHI OPT. CO., JAPAN

7Artisans 50mm 1: 0.95

7Artisans 50mm 1: 0.95 and DSLR full frame SMC TAKUMAR 1: 1.8/55 ASAHI OPT. CO., JAPAN... By the way, the difference in aperture ratio of F / 0.95 and F / 1.8 is 3.6 times or almost 2 stops (to be exact, 1.84 stops)

7Artisans 50mm 1: 0.95

7Artisans 50mm 1: 0.95 and manual lenses for full frame DSLR cameras SMC PENTAX 1: 1.4 / 50 ASAHI OPT. CO., JAPAN и SMC TAKUMAR 1: 1.8/55 ASAHI OPT. CO., JAPAN

7Artisans 50mm 1: 0.95

7Artisans 50mm 1: 0.95 and manual lenses for full frame DSLR cameras SMC PENTAX 1: 1.4 / 50 ASAHI OPT. CO., JAPAN и SMC TAKUMAR 1: 1.8/55 ASAHI OPT. CO., JAPAN... Visually noticeable how much larger the lens size is with the lens at F / 0.95

7Artisans 50 / 0.95 (for APS-C, 7Artisans FireFly series, for Sony E mount) and LEICA E49 NOCTILUX-M 1: 1.2 / 50 ASPH. (lettering on the case: LEICA CAMERA WETZLAR MADE IN GERMANY, Full Frame, for Leica M mount).

7Artisans 50 / 0.95 (for APS-C, 7Artisans FireFly series, for Sony E mount) and LEICA E49 NOCTILUX-M 1: 1.2 / 50 ASPH. (inscription on the case: LEICA CAMERA WETZLAR MADE IN GERMANY, Full Frame, for Leica M mount).

7Artisans 50 / 0.95 (for APS-C, 7Artisans FireFly series, for Sony E mount) and LEICA E2021 NOCTILUX-M 01: 50 / 1 ASPH. (lettering on the case: LEICA CAMERA WETZLAR MADE IN GERMANY , Full Frame, for Leica M mount).

7Artisans 50 / 0.95 (for APS-C, 7Artisans FireFly series, for Sony E mount) and LEICA E49 NOCTILUX-M 1: 1.2 / 50 ASPH. (inscription on the case: LEICA CAMERA WETZLAR MADE IN GERMANY, Full Frame, for Leica M mount).

Video review


Results

7Artisans 50mm 1: 0.95 is a very interesting creative tool. Record low cost, record high aperture... At F / 0.95, it blurs the foreground and background very much. Good / very good at closed apertures. Working with F / 0.95 is not that difficult.

10 main advantages

  1. low price... For 2021-2022 it is the cheapest lens for APS-C at f / 0.95
  2. high aperture (relative to t aperture 1: 0.95 with real aperture within T / 1.0-T / 1.1)
  3. good build quality: the lens body is completely made of metal, the optical system uses low-dispersion elements from HOYA
  4. very smooth focusing ring, pleasant to use, weak Focus Breathing effect
  5. there is a depth of field scale and focusing distances
  6. 13 diaphragm blades that always give a rounded hole
  7. the aperture ring rotates smoothly, without intermediate values ​​(important for movie shooting)
  8. the aperture control ring is located in front of the lens, which is very convenient
  9. at f / 0.95 is not as bad as you might expect, especially at medium to long focusing distances
  10. the lens blurs the foreground and background very much at f / 0.95

10 main disadvantages

  1. incorrect marking of the aperture control ring (F / 16 is actually closer to F / 8, the marks F / 1.4-F / 11 do not correspond to reality)
  2. no CPU pins to form the correct EXIF
  3. a threaded (non-bayonet) hood should be used; no hood is included in the scope of delivery
  4. small non-linear step of the aperture control ring between F / 2-F / 16 values, the focusing ring rotates only a quarter of a full turn
  5. the angle of view is slightly wider than the classic fifty and approximately corresponds to the focal length in the region of 45-48 mm
  6. there is no lens profile for popular RAW converters, the lens is not 'hardwired' into modern cameras
  7. critically weak corners and edges of the image at close focusing distances in the range of F / 0.95-F / 11
  8. strong chromatic aberration
  9. strong glare / ghosting possible in strong back and side light
  10. + - for the same price you can find an autofocus Viltrox 56 / 1.4 for bayonets XEEf-mand Z

Let me remind you that LEICA NOCTILUX-M 1: 1.2 / 50 (which appeared in this review) is a rare toy, and the used version. for sale on profofotosale for only 6.000 $.

Comments on this post do not require registration. Anyone can leave a comment. For the selection of a variety of photographic equipment, I recommend E-Catalog и AliExpress.

Material prepared Arkady Shapoval... Look for me on Youtube | Facebook | VK | Instagram | Twitter.

Add a comment:

 

 

Comments: 28, on the topic: Review of 7Artisans 50 / 0.95 (E, X, EF-M, Z, RF, M4 / 3). $ 250 for real f / 0.95 aperture. Comparison with the $ 50 Leica Noctilux-M 1.2 / 8000

  • Jury

    “Let me remind you that LEICA NOCTILUX-M 1: 1.2 / 50 (which appeared in this review) is a rare toy, and the used version. is sold on profofotosale for only $ 6.000. ”- We urgently need to buy before“ left ”:)

  • Oleg

    The review is super. A watering can, as it were, a more plastic drawing, so to speak

  • in

    The portraits at the end of the gallery pleased me, at 0.95 even excessive sharpness, I did not expect this from the Chinese. Still bokeh like Leica!

  • Victor

    Excellent overview. I am glad for the Chinese that they released such a budgetary and very good glass. The difference with the watering can is definitely not $ 5800.

    Thanks for the aperture names in the file names.

    • Arkady Shapoval

      Inexpensive, primarily due to the fact that it is for the crop. The same 7Artisans 50mm F / 1.05 APO (which is actually not F / 1.05, but F / 1.2) already costs around $ 500.

      • Arkady Shapoval

        Watering can-like bokeh can be obtained inexpensively from a full-frame TTArtisan 50 / 1.4 M ASPH. (which immediately went under the Leica M)

  • nickname

    Apparently, the author of the review liked the lens ... F16 is actually F8, 90-degree focusing ring ... You don't have to read any further. Thrown out 250 USD IMHO, of course. And you can buy two for this money! fifty dollars, say Minolta RF 1.4 / 50 and Pancolar 1.8 / 50, completely different in design and very interesting, and with F16 so F16! And those that will last another 100 years and lose little in value over the years ... And what about Chinese luminium on a helicode in a year, and the front cover when the fabric is worn off?

    • Arkady Shapoval

      Let's order.

      1. Rather Minolta RF 1.4 / 50 is not RF, but PF. Last year I worked with a similar MINOLTA MC ROKKOR-X PG 1: 1.4 f = 50mm and even with the most legendary MINOLTA MC ROKKOR 1: 1.2 f = 58mm, not to mention MC PANCOLAR 1,8 / 50 CARL ZEISS JENA DDR... You need to understand that these are mirror solutions that require an adapter for modern mirrorless cameras. With such an adapter, the aesthetic appearance is lost, the size of the ligament increases significantly. If you buy two lenses (Minolta + Pancolar), you will need two adapters, for example, MD-> E, M42-> E. The same 7Artisans 50 / 0.95 comes immediately with any mount for popular modern mirrorless systems. Due to the absence of an adapter, the 7Artisans 50 / 0.95 + camera bundle will be more compact and will look more beautiful.

      2. Minolta 50 / 1.4 and Pancolar 50 / 1.8 are old developments of 50 years ago, on old optical circuits, which at equivalent apertures cannot compete with 7Artisans 50 / 0.95. Roughly speaking, in the center of the frame 7Artisans 50 / 0.95 at F / 1.4 in the case of the Minolta 50 / 1.4 and at F / 1.8 in the case of the Pancolar 50 / 1.8 will be much sharper. 7Artisans 50 / 0.95 has a place to cover the diaphragm, in the case of a maneuver from 0.95-> 1.8 it is almost 2 stops. And I know what I'm talking about, in my review at the same time as 7Artisans 50 / 0.95 were wonderful similar to Minolta 50 / 1.4 and Pancolar 50 / 1.8 -> SMC PENTAX 1: 1.4 / 50 и SMC TAKUMAR 1: 1.8 / 55.

      3. I would have no doubts about the mechanical qualities of 7Artisans 50 / 0.95. In general, horror stories about mechanically weak Chinese lenses have a place to be, but usually this refers to plastic toys of the type YONGNUO EF 50mm 1: 1.8... All-metal products like the same 7Artisans 50 / 0.95 are very good. I will do more a nod to old Kennywho does not like Chinese products, but admits that Chinese 50/1.4 for $ 300 in everything better than the legendary LEICA 50 / 1.4 (both mechanical and optical).

      4. The focus ring really rotates a meager 90 degrees. But it is worth noting that it has just a wonderful smooth oil stroke, which, well, cannot be achieved with the aforementioned Minolta 50 / 1.4 and Pancolar 50 / 1.8. This is the attachment included in the delivery kit for the focusing ring (horns, in this photo) under the thumb allows you to have no special focusing problems. I will say more - it gives a new and exciting experience of working with the focus ring “one finger”. And for a reason, I noted that 7Artisans 50 / 0.95 works easily in the cold. Some old manual lenses, however, tend to “tan” in the cold.

      5. As for the cover, I am also sure that there are not and will not be any special problems with it. As an example, I will give my HELIOS-81N 2/53 1983 with a similar lid, for which nothing happened in 40 years. It should also be mentioned that part of the Pancolar 50 / 1.8 lenses came with a similar front original cover without latches. I will also add my experience: the 7Artisans 50 / 0.95 all-metal cover without latches, with a smooth fit on the lens, can feel much more pleasant than a plastic one with latches.

      6. It should be mentioned once again that the old manual fifty dollars are still old. They cannot be bought new in their packaging. For many users, this is also an important factor. Even well-preserved specimens have a number of scuffs and a heap of dust, no one knows what they have told in their lifetime and how long they will last. 7Artisans 50 / 0.95 can still be obtained brand new, with a perfect appearance.

      7. Yes, 7Artisans in almost all of their lenses overestimates the real performance of the F numbers. But I would not say that this is a direct decisive factor in the choice. In our digital age, such lenses are most interesting when used at open apertures (the same applies to the same Minolta 50 / 1.4 and Pancolar 50 / 1.8). The same whale Sony 16-50mm f / 3.5-5.6 PZ OSS closes the aperture by 50mm up to f / 36, but that doesn't solve anything. In addition, it is worth remembering the same diffraction threshold.

      8. We can recall the little things: 7Artisans 50 / 0.95 still gives a real F / 0.95, which no old mirror lens can boast of (mirror like Minolta has a limit of 1.2). It turns out that F / 0.95 is a kind of exclusive, limiting value. Seriously, there are no old F / 0.95 SLR lenses at all (and only one of the new ones is and that chinese). In addition, 13 aperture blades are not pathetic 6 for the Minolta 50 / 1.4 and Pancolar 50 / 1.8. And the 7Artisans 50 / 0.95 aperture adjustment is smooth (you can set any value with a smooth stroke, although I personally love classic clicks).

      • Victor

        Let's be honest, with the advent of such lenses as the TT 50 / 1.2, the meaning of the Minolta 50 / 1.4, Takumar and the like on cropped mirrorless cameras has disappeared altogether.

        And nothing will happen to “Chinese aluminum” either in 10 years or 20.

        • in

          A friend shoots a partisan at 55 / 1.4, can't get enough of it, before that there was Helios through an adapter, completely different sensations

      • Human

        I wonder what the old 60s Minolta film eventually evolved into? Are these f1.2 and f1.4 rockers? In theory, they were supposed to make some interesting decisions for Minolta AF on their basis, but as if further development did not go anywhere and stopped.

        • Arkady Shapoval

          Evolved in AF 50 / 1.4, on the same optical scheme. It is standard practice for almost all manufacturers to simply add autofocus. At the dawn of the first AF cameras, 1.2 was too extreme for autofocus to work, so only Canon was able to implement it at 1.0. The rest pulled AF with only 1.4. Then these planar-like schemes acquired 1-2 aspherics, and later evolved into optical multi-lens monsters with a completely different layout. The same new Sony FE 1.2 / 50 GM has as many as 14 elements in 10 groups.

  • nickname

    Yes, Minolta PF, of course, I'm sorry. If the target is F0.95, then you are right, there are no alternatives. But F0.95 apparently means shooting with a small grip, or is there something I don't understand? It's just that if you don't bother with a special selection of scenes, where a small grip is necessary and aesthetically suitable, then you may not often have to pull out such a lens. Really Portrait, miniatures. It's just that I myself often take the specified Minolta on trips, I get it only very rarely. Plus, with some skill - and in my opinion you wrote about this somewhere, it turns out, if necessary, to blur the background and from F4 to the same 50mm. I'm probably just offended - the Chinese, right? And I wanted to say that the price is not entirely adequate in a practical sense, since if F0.95 is not an end in itself, then you can spend money on significantly DIFFERENT optical drawings. If the target is F0.95 you are, of course, right. As far as the mechanical reliability of old mechanical lenses is concerned, with some skill they can easily be moved around in the home workshop. In addition, the mechanics of Europe and Japan carry the aura of its creators - touching it seems quite interesting to me. It is good that you honestly described everything - and +. Merry Christmas and Christmas Eve!

    • Arkady Shapoval

      Thank you, happy holidays too

    • "Joe"

      > it turns out, if necessary, to blur the background and from F4 to the same 50mm
      You can also apply blur on a mask in a graphic editor, if you wish.
      But this does not replace aperture ratio.
      > As far as the mechanical reliability of old mechanical lenses is concerned, with a little skill they can easily be moved in the home workshop.
      Lenses are most often bought for direct use for their intended purpose (for photography), and not as a designer, which must be disassembled and assembled for use.
      > In addition, the mechanics of Europe and Japan carry the aura of its creators
      Could you specify how often and in what conditions you observe the aura of the creators of mechanics?

      • nickname

        And you google “ray of pancolar” - here you have an aura ...

    • Rodion

      Well, yes, the two planars - the minolta and the pancolar, of course, the notorious drawing is radically different)))) (sarcasm).

      • Victor

        Man feels the aura of the creators, which is to say about the difference in the drawing. I would take your word for it.

      • nickname

        Arkady gave links ... The optical schemes are DIFFERENT. And with the same schemes, the image is different. And the time has not passed when the copies of the lens of the same model differed from each other.
        And now, by the way, I remembered Adams in the first book. Reducing the aperture number by half (not a stop!) Gives a halving of the grip. Here on the forum recently flashed a grip for a full-height portrait of 30cm for a 35mm lens. So be it. Let it be 50 cm for 40mm. Then calculate the difference between F1.4 and F0.95: 1.4 / 0.95 = 1.47 Then we get the grip 1.47 times less than 40 / 1.47 = 27,21 The difference is 13 centimeters. That is, the decrease in grip when moving from F1.4 to F0.95 will be 1.5 times. That's all. By the way, let me remind you that changing the focal length by half, as well as the shooting distance by half, gives a decrease in the grip by a factor of FOUR. Can you calculate how much you need to go a little bit with F1.4 to get the result of a grip with F0.95?

        • Rodion

          Different. But the essence is the same. The differences are minimal in fact - both are comatose planars, which do not differ in sharpness due to poor correction of SfA and CA even in the center. They both have a design with a dull diaphragm. Flare and other pancolar rays are present in all lenses; flare is the easiest to imitate and is of dubious value as a characteristic of the lens. Probably, not all lenses have beautiful flares, but for many, yes: for example, zenitar 50 / 1.2s or 7Artisans 50 / 1.1. Both lenses work better in backlight than the ancient fifty dollars, and much more.
          Aperture is needed for aperture - this is the way to increase the luminous flux, and not just bokeh, grip, and so on. There are many applications where aperture is needed. The Kubrick planar was not created to separate the object from the background.
          In general, you are simply romanticizing the old optics, attributing to it what it does not have.

  • Vasya

    The lens is the bomb! The model is just the mother of all bombs! Baldezh! As they say, imagine yourself as an oligarch for a second! Excellent review, Arkady!

  • Max

    What's so cheap then?

    • Arkady Shapoval

      1. Without aspherics
      2. Under the crop
      3. Without autofocus
      4. Chinese manufacturers make optics cheaper than eminent Japanese / German brands

  • Zheka

    I would buy

  • Dim

    Maybe I'm fantasizing, but it seems that the article is more about LEICA NOCTILUX-M 1: 1.2 / 50 ASPH. There is a feeling of disappointment, maybe I'm just mixing it with mine on a similar occasion. I remember everywhere - where the sighs don't go, there are real German lenses, ZEISS can only be West German lenses, etc. It was not possible to buy a representative sample of a thousand lenses of the same brand :), only 3-4 motley ones. Well, yes, they differ from the Soviet ones, well, they were sold in a different market segment even at that time. At the expense of the Chinese - I bought a Viltrox speed booster, the workmanship is quite at the level.

  • koba

    In China itself, it costs $ 170, I think that they will find many buyers. Chinese companies have released a lot of new lenses, but this lens is definitely among the best, and also the best price for a similar lens.

    • Alexey

      You can order at a lower price if you decide to buy on sale. I bought this for aliexpress for $ 157, taking into account coupons. Already at customs, I'm really looking forward to it, I hope it won't disappoint.

      • Arkady Shapoval

        160 dollars for real 0.95, the Chinese continue to amaze. Subscribe when you test

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