TTArtisan DJ-OPTICAL 50/2. Full-frame review by Rodion Eshmakov

Lens material TTArtisan 50 / 2 specially for Radozhiva prepared Rodion Eshmakov.

This lens was purchased in the official TTArtisan store on Aliexpress especially for this article.

TTArtisan 50/2 lens and factory packaging.

TTArtisan 50/2 lens and factory packaging. increase.

TTArtisan 50/2 was introduced relatively recently - July 15, 2022, the lens is positioned by the manufacturer as "Small and Portable, Carry Freely" - that is, as a compact everyday staff member for full-frame cameras. TTArtisan is available for most modern mirrorless systems - Sony E, Leica L, Nikon Z, Canon RF, Canon EOS M, Fujifilm X and Micro 4/3 - for a mind-blowingly low price of around $60, making it the most affordable new lens for full-frame mirrorless cameras.

Technical specifications

Optical design - 6 elements in 5 groups, 2 high refractive glass elements;

The curves of the frequency-contrast response (TCH, MTF) of the lens and the image of the optical circuit diagram, taken from the official website of the manufacturer. See section "Optical properties" below.

The curves of the frequency-contrast response (TCH, MTF) of the lens and the image of the optical circuit diagram, taken from the official website of the manufacturer. See section "Optical properties" below.

Focal length - 50 mm;
Relative hole - F / 2;
Field of view angle - 45° (full-frame sensors), 32° (APS-C matrices);
Aperture - 10 blades;
Aperture limits - F / 2-F / 16, control ring with clicks;
Focusing method - manual focus only;
Minimum focusing distance (MDF) - 0.5 m;
Hard stop for precise focusing to infinity - absent;
Thread diameter for filters - 43 mm;
Weight - ~ 200 g.

Design features

The TTArtisan 50/2 lens comes in a beautifully designed large (in comparison with the lens) box made of foam-filled hard cardboard. In addition to the lens inside the box, you can find an instruction manual and an envelope with branded wipes for cleaning the optics. By the way, the brand name “TTArtisan” is deciphered on the manual as “The Thinking Artisan” - “thinking artisan”. What exactly the Craftsman thinks about - draw your own conclusions based on the results of the review.

View of the lens in the original packaging.

View of the lens in the original packaging.

The front cover of the lens is made of metal and threaded, which is not very convenient due to the duration of twisting and twisting. The bayonet lid has no fixation problems and is made of plastic like typical lids from Aliexpress.

The TTArtisan 50/2 is concisely and beautifully executed in a classic manner: an all-metal body with black anodizing, a chrome-plated mount and a set of controls and scales typical of manual lenses.

The type of lens mount is indicated by an engraving on the mount, in this case you can find the inscription "E-mount".

The type of lens mount is indicated by an engraving on the mount, in this case you can find the inscription "E-mount".

And yet, so that the user does not forget that he uses a Chinese lens, and not Leica, the manufacturer carefully wrote a strange “DJ-OPTICAL” (and what kind of music does an “optical DJ” play?) On the title ring. This inscription is also found on the lens of another brand, 7artisans 50 / 1.1. Most likely, this is the designation of the company that developed and / or manufactures the lens.

View of the lens from the side of the front lens.

View of the lens from the side of the front lens.

TTArtisan 50/2 is a very small lens: its length on the camera does not exceed 35 mm when focusing at infinity, which makes it more compact than, for example, Soviet rangefinders Jupiter-8 50/2 и Industar-26m 50 / 2.8.

Side view of TTArtisan 50/2 when focusing on infinity.

Side view of TTArtisan 50/2 when focusing on infinity.

When focusing on MDF = 0.5 m, the length of the lens increases by 5 mm. In this case, the focus ring rotates by ~ 120 °, which is acceptable to ensure a balance of accuracy and focusing speed, although for old manual lenses, the ring travel is usually about 180 ° with such an MDF.

Side view of TTArtisan 50/2 when focusing on MDF.

Side view of TTArtisan 50/2 when focusing on MDF.

Of course, a half-meter minimum focusing distance does not contribute to convenient shooting of small objects, but the old MDF rangefinder fixes have twice as much if you do not use additional devices (for example, the Leica M-NEX helicoid adapter). It is also important to note that the distance scale on the TTArtisan 50/2 is rather symbolic. So, the extreme position of the focusing ring at infinity does not correspond to focusing at infinity - the lens significantly "runs" beyond it. The manufacturer even specifically indicated this on their website. This was done in order to simplify and speed up the assembly of the lens for different mounts. The absence of a hard stop for focusing on infinity makes quick shooting at “hyperfocal” impossible, which is a big minus of the lens. At 7artisans 50 / 1.1 there is no such drawback for the Leica M mount.

The 7artisans 50/1.1 focusing mechanism is better than the TTArtisan 50/2, but the 50/1.1 rangefinder lens has a large MDF and requires an additional helicoid (for example, LM-NEX) for ease of use.

The 7artisans 50/1.1 focusing mechanism is better than the TTArtisan 50/2, but the 50/1.1 rangefinder lens has a large MDF and requires an additional helicoid (for example, LM-NEX) for ease of use.

Of the pluses - when focusing, the lens block of the lens does not rotate, but only moves forward, which simplifies the use of polarizing filters. However, so that life does not seem like a holiday, the lens was threaded for filters not 40.5 mm (the standard for old rangefinder lenses), not 49 mm (the standard for many old optics from SLR cameras), but 43 mm. I also noticed that the lens block of the lens moves along two very thin guides - their thickness is not more than 1 mm. I suspect that the impact of the lens mechanics may not survive.

View of the lens when focusing on MDF from the side of the rear lens. At 10 o'clock of the conditional dial, a brass part with a thin guide is visible along which the lens block of the lens moves.

View of the lens when focusing on MDF from the side of the rear lens. At 10 o'clock of the conditional dial, a brass part with a thin guide is visible along which the lens block of the lens moves.

A nice feature of the TTArtisan 50/2 is the round ten-blade diaphragm. Petals have a matte black finish and rounded geometry. Thanks to this design, the disks in the bokeh retain their almost round shape when apertured, and ten-ray stars appear from ~F / 5.6 from bright point sources of illumination.

View of the TTArtisan 50/2 aperture at F/16 from the side of the front lens.

View of the TTArtisan 50/2 aperture at F/16 from the side of the front lens.

The aperture control ring moves with clicks, and in the range from F / 2 to F / 5.6, you can select intermediate values. However, there are complaints about the aperture scale: the markup, apparently, does not correspond well to reality and F / 2.8 corresponds rather to F / 2.5, if you focus on the camera's exposure meter and histogram. The manufacturer does not report such a “feature”, which is characteristic of almost all modern Chinese brand lenses (7artisans, TTArtisan and others). What it is - an attempt to make the communist F / 2.8 lighter than the capitalist F / 2.8, or something else - I do not know. Given the fact that the ring has a ratchet, it remains only to put up with such a drawback.

View of the entrance pupil of the lens with the aperture open.

View of the entrance pupil of the lens with the aperture open.

The pupil of the lens with a covered aperture remains almost perfectly round.

The pupil of the lens with a covered aperture remains almost perfectly round.

But to the aperture ratio of the lens (that is, the size of the pupil) in this case (unlike 7artisans 35 / 0.95) there are no questions - it corresponds to the declared F / 2 (pupil diameter ~ 25 mm).

The difference between F / 2 and F / 1.1 is clear.

The difference between F / 2 and F / 1.1 is clear.

Optics TTArtisan 50/2 has an anti-reflective coating in pink-violet shades, which looks noticeably simpler than 7artisans 50/1.1. However, you can't rely solely on the color of the highlights when evaluating the quality of the coating, so I measured the transmission spectrum of the lens in the range from near UV to near IR.

TTArtisan 50/2 lenses are cast in pink and purple colors.

TTArtisan 50/2 lenses are cast in pink and purple colors.

In the course of measurements, I did not determine the light transmission coefficient of the lens, therefore the recorded spectrum provides information purely for assessing color reproduction and determining the type of antireflection coating.

Light transmission profile of TTArtisan 50/2 obtained using a laboratory spectrophotometer.

Light transmission profile of TTArtisan 50/2 obtained using a laboratory spectrophotometer.

By its appearance, the transmission profile is rather closer to the spectra of lenses with single layer illumination. However, one can observe the features of the curve in the regions of 400 and 550 nm: the spectrum of TTArtisan 50/2 is mentally decomposed into a combination of two with transmission peaks in the blue and green regions, which generally corresponds to the observation of red-pink and violet glare from the objective lenses. It can be assumed that the TTArtisan 50/2 uses a simple two-layer antireflection coating of the lenses, which was used, for example, by the MC Helios-44M-4 lenses (which also have a very similar transmission spectrum). Currently, photographic lenses usually use coatings with at least 3 layers.

It turns out that the TTArtisan 50/2 is an ordinary budget lens in terms of design. It is well-made enough not to fall apart in the hands when shooting, beautiful enough to be pleasant to install on the camera, but has serious drawbacks in the form of "Chinese" numbers on the aperture scale, the lack of the possibility of quick focusing to infinity, unpopular filter threads and dubious markings.

Optical properties. Comparison with 7artisans 50/1.1 and Industar-26m 50/2.8

The TTArtisan 50/2 lens uses a simple and compact six-element optical design similar to Sonnar lenses. The manufacturer notes that the last two lenses are made of highly refractive optical glass. It should be noted here that in "Sonnar" type lenses, these two lenses are in principle always made of highly refractive glass.

Communication between optical schemes TTArtisan 50/2 and Carl Zeiss Sonnar 50/1.5 ZM.

Communication between optical schemes TTArtisan 50/2 and Carl Zeiss Sonnar 50/1.5 ZM.

It became interesting for me to investigate the qualitative composition of the optical glass used in the lens, and I recorded the spectra x-ray fluorescence from the front and rear lenses of the objective using the Bruker M1 Mistral.

The rear component contains a strong signal from niobium (Nb), barium (Ba), and lanthanum (La) atoms. The glass does not contain lead (RoHS compliance) and rather belongs to the CDGM H-ZLaF group of Hoya glass analogues of the NBFD series (Niobium Flint, Dense). These glass grades are characterized by a refractive index from 1.8 to 1.84 and a relatively low dispersion (Abbe number from 33 to 45). In the IPZ and LZOS catalogs, such glass is TBF-10, which belongs to the group of heavy barite flints, but it contains a large amount of lead and, because of this, has a yellowish color in itself.

The XRF spectrum of the rear lens of the objective detects the presence of large amounts of Nb, Ba, La, which corresponds to the composition of a heavy niobium flint.

The XRF spectrum of the rear lens of the objective detects the presence of large amounts of Nb, Ba, La, which corresponds to the composition of a heavy niobium flint.

According to the data of X-ray fluorescence analysis, the front lens of the objective is rather made of heavy lanthanum crown, the main components of which are oxides of lanthanum, zinc, zirconium, yttrium and niobium - that is, the glass rather belongs to the CDGM H-LaK family and has a refractive index of about 1.7-1.75 and Abbe number 50-60. Analogues in the IPZ and LZOS catalogs are glass of the STK brand. Interestingly, in addition to large amounts of zirconium, an admixture of hafnium, an element chemically very similar to zirconium, is also detected. This suggests that in China, zirconium dioxide unpurified from hafnium is used for glass melting. Lead was not found in this glass either.

The XRF spectrum of the front lens of the objective shows the presence of large amounts of Zn, Zr, Y, Nb and La, which corresponds to a heavy lanthanum krone.

The XRF spectrum of the front lens of the objective shows the presence of large amounts of Zn, Zr, Y, Nb and La, which corresponds to a heavy lanthanum krone.

The optical design of the lens itself is not at all new. It has already been used in the 7 50artisans 1.8 / 2018 lens, designed for cameras with APS-C sensors. Previously, the use of high-refractive glass was not announced: neither 7artisans nor TTArtisan indicated these elements in any way on the diagram, so, probably, the same brands of glasses were in the 7artisans 50 / 1.8 lens. It turns out that the TTArtisan 50/2 uses a scheme that was not originally intended for a full frame, which casts some doubts about its quality. At the same time, the manufacturer shows with MTF graphs that the image quality at the edge of the full frame is quite tolerable. But there are the same graphics for the old 7artisans 50/1.8 (APS-C). Let's take a look at what has changed when converting a cropped lens to a full frame lens.

Comparison of optical diagrams and MTF graphs of 7artisans 50/1.8 and TTArtisan 50/2 lenses. The MTF graphs are completely indistinguishable, but they have different labels along the image height axis, which is a fraud on the part of the manufacturer!

Comparison of optical diagrams and MTF graphs of 7artisans 50/1.8 and TTArtisan 50/2 lenses. The MTF graphs are completely indistinguishable, but they have different labels along the image height axis, which is a fraud on the part of the manufacturer!

And here we can observe an amazing trick! Not only the optical schemes look the same, but the MTF graphs themselves look exactly the same - and this despite the fact that the lenses have different aperture and a different angle of view! That is, the manufacturer literally drew new numbers on the image height axis (horizontal axis) of the 7artisans 50/1.8 MTF chart. Naturally, this is a serious deception of the consumer, since these graphs greatly exaggerate the image quality at the edge of a full-frame sensor. There is no guarantee that this case is the only case of fake MTF lenses from Chinese manufacturers, so henceforth one should be careful about their statements. China used to counterfeit iPhones, now China has learned to counterfeit optical quality "parrots" as well.

Of course, after these observations, it is extremely interesting to evaluate the optical quality of the lens yourself, using understandable comparison samples. These were full-frame 7artisans 50 / 1.1 and the old Soviet rangefinder fifty dollars - the best fifty dollars of all times and peoples - Industar-26m 50 / 2.8. Perhaps it would be worth taking Jupiter-8 50/2, but I did not have it.

The tests were carried out in the far field, I set the aperture value according to the marks on the rings (in the case of Chinese lenses, this can give an error of the order of 1/3-1/2 stops). No resize. Camera used is full frame mirrorless Sony A7s.

Below are the shots on 7artisans 50/1.1:

TTArtisan 50 / 2

and Industar-26m.

Further, for the convenience of photograph analysis, 100% crops from the central regions and from the edge of the frames are shown.

Crops of the central area of ​​the frame from 7artisans 50/1.1, TTArtisan 50/2 and Industar-26m 50/2.8 lenses at apertures from F/1.1 to F/2.8.

Crops of the central area of ​​the frame from 7artisans 50/1.1, TTArtisan 50/2 and Industar-26m 50/2.8 lenses at apertures from F/1.1 to F/2.8.

Crops of the central area of ​​the frame from 7artisans 50/1.1, TTArtisan 50/2 and Industar-26m 50/2.8 lenses at apertures from F/4 to F/11.

Crops of the central area of ​​the frame from 7artisans 50/1.1, TTArtisan 50/2 and Industar-26m 50/2.8 lenses at apertures from F/4 to F/11.

Frame edge crops from 7artisans 50/1.1, TTArtisan 50/2 and Industar-26m 50/2.8 lenses at apertures from F/1.1 to F/2.8.

Frame edge crops from 7artisans 50/1.1, TTArtisan 50/2 and Industar-26m 50/2.8 lenses at apertures from F/1.1 to F/2.8.

Frame edge crops from 7artisans 50/1.1, TTArtisan 50/2 and Industar-26m 50/2.8 lenses at apertures from F/4 to F/11.

Frame edge crops from 7artisans 50/1.1, TTArtisan 50/2 and Industar-26m 50/2.8 lenses at apertures from F/4 to F/11.

The test results show that TTArtisan 50/2 and 7Artisans 50/1.1 at equal aperture values ​​have similar optical quality in the central part of the frame, Industar-26m is inferior to both of them at F/2.8.

A different situation with quality at the edge of the frame. 7artisans 50/1.1 coped with the test the worst of all, TTArtisan 50/2 showed itself somewhat better. With both lenses, even at F / 11, ideal sharpness at the edge of the frame (not even in the corner) is unattainable. TTArtisan 50/2 demonstrates pronounced chromatic aberration and to whom. At the same time, the Soviet four-lens staffer, designed in 1946 without the use of any specific brands of glass, already after F / 4 confidently outperforms both Chinese lenses in image quality at the edge of the frame and becomes very good at F / 8-F / 11.

Moreover, the TTArtisan50/2 has a pronounced pincushion distortion, while the Industar-26m has almost none. The distortion of the TTArtisan 50/2 becomes very noticeable when shooting architecture and portraits.

An illustration of the pincushion distortion of the TTArtisan 50/2, which is greater than that of the Industar-26m. Red overlay with photo taken on I-26m superimposed on photo taken by ttArtisan 50/2. The blue lines emphasize the divergence of vertical lines in photographs taken with different lenses, due to the high level of distortion of the TTArtisan 50/2.

An illustration of the pincushion distortion of the TTArtisan 50/2, which is greater than that of the Industar-26m. Red overlay with photo taken on I-26m superimposed on photo taken by ttArtisan 50/2. The blue lines emphasize the divergence of vertical lines in photographs taken with different lenses, due to the high level of distortion of the TTArtisan 50/2.

In addition, I found that the camera was incorrectly detecting white balance when shooting with Chinese lenses, while when shooting with Industar-26m, there was no problem. Perhaps this is due to the peculiarities of the transmission spectra of the lenses.

Thus, the TTArtisan 50/2 actually turned out to be not the best lens option for full-frame cameras, since at a moderate aperture it does not allow achieving high image quality across the entire field even with a strong aperture. The sharpness in the central region of the image in TTArtisan 50/2 is high already from an open aperture, but is limited by the manifestation of spherical and chromatic aberrations. The spherochromatism of the lens also manifests itself at covered apertures. The edges of the image within the APS-C frame are corrected to F/4-F/5.6, but on the 36×24mm frame the resolution is drastically reduced by chromatism and coma. Moreover, TTArtisan 50/2 has vignetting that does not disappear with aperture, which is associated not only with a short back focal length, but also with incorrectly calculated lens diameters (most likely intentionally, due to technological limitations on the edge thickness of the lenses), as indicated by the shape of the bokeh disks at the edges of the frame.

The applied antireflection coating does not really save the lens from a drop in contrast in the backlight. The feeling was that you were using the Soviet Helios, and not a new lens.

The artistic properties of the lens are controversial. The lens forms a neutral (even boring) image in the central area of ​​the frame. The bokeh of the lens at the edges of the frame is spoiled by the irregular shape of the disks, which is due both to mechanical vignetting and the nature of the field aberrations of the lens. Drawing lenses such as Jupiter 8 or 7artisans 50 / 1.1 looks much, much more interesting, and all these lenses - and 7artisans 50 / 1.1, and Jupiter-8, and TTArtisan 50/2 - have related optical designs.

Below are sample photos taken with the Sony A7s full-frame mirrorless camera.

All TTArtisan lenses 

For mirrorless full frame and medium format cameras:

  1. TTArtisan 11 / 2.8 Fisheye (announcement) [Leica M+E, Z, RF, L+ GFX, scheme 11/7]
  2. TTArtisan 21/1.5 (announcement) [Leica M Black/Silver + E, Z, RF, L]
  3. TTArtisan 28/5.6 (announcement) [Leica M Silver/Gold]
  4. TTArtisan 32/2.8AF (announcement)  [RF, EF-M, X, Z, E]
  5. TT Artisan 35/1.4 (overview) [Leica M Black/Silver + '24K GOLD SKIN Limited']
  6. TTArtisan 35/2 (announcement) [Leica M]
  7. TT Artisan 50/2 (overview) [Z, E, L, RF + EF-M, X, M4/3 Black/Silver]
  8. TTArtisan 50/1.4 (announcement) [Leica M+E, Z, RF, L+X+M4/3]
  9. TTArtisan 50 / 1.4 TILT (announcement) [E, L, R, Z + X + M4/3]
  10. TTArtisan 50 /0.95 (announcement) [Leica M Black/Silver + 'Silver Black'+'Red Ox 2021 Limited']
  11. TTArtisan 90 /1.25 (announcement) [Leica M+E, R, Z, L+ GFX, X1D]
  12. TTArtisan 100 / 2.8 Macro 2x Tilt-Shift (announcement) [E, R, Z+X]
  13. TTArtisan 500/6.3 (announcement) [E, R, Z, L]

For SLR full frame:

For mirrorless cropped cameras:

  1. TTArtisan 7.5 / 2.0 Fisheye (announcement) [E, X, EF-M, M4 / 3, L, RF]
  2. TTArtisan 10/2.0 (announcement) [E, X, Z, RF, M4/3]
  3. TTArtisan 17/1.4 (announcement) [E, X, EF-M, Z, L, RF, M4/3, black/silver/titanium grey]
  4. TTArtisan 23/1.4 (announcement) [E, X, EF-M, Z, L, M4 / 3, black / striped]
  5. TT Artisan 25/2 (overview) [E, X, EF-M, Z, L, RF, M4/3]
  6. TTArtisan 27/2.8AF (announcement) [E, X, Z, black/yellow]
  7. TTArtisan 35/1.8AF (announcement) [E, X, Z]
  8. TT Artisan 35/1.4 (overview) [E, X, EF-M, Z, L, RF, M4/3, black/silver/titanium gray ]
  9. TTArtisan 35 /0.95 (announcement) [E, X, EF-M, Z, RF, L]
  10. TTArtisan 40 / 2.8 Macro (announcement) [E, X, EF-M, Z, RF, M4/3]
  11. TTArtisan 50 /1.2 (overview) [E, X, EF-M, Z, L, RF, M4/3, black/silver/titanium gray ]
  12. TTArtisan 50 /0.95 (announcement) [E, X, EF-M, Z, RF, M4/3]

Anamorphic cinema lenses:

  1. TTArtisan 25mm T2 1.33 times Anamorpot (announcement) [E,X]

These lenses are easiest to find at official dealer of TTArtisan on Aliexpress.

Conclusions

TTArtisan 50/2 is a good lens, but only with a clarification - "for their money' or 'when nothing else is available'. It harmonizes with the camera, does not have any flaws that prevent it from being used for its intended purpose. However, there are many complaints related to the quality of workmanship, and the manufacturer resorts to outright deception when promoting the lens. As an artistic lens, the TTArtisan 50/2 is rather "uninteresting", it can be found an even more budgetary and more "interesting" alternative among Soviet rangefinder lenses.

You will find more reviews from readers of Radozhiva here.

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Comments: 28, on the topic: TTArtisan DJ-OPTICAL 50/2. Full-frame review by Rodion Eshmakov

  • Sergei

    Phillipreeve.net has a detailed review of this subject in English
    https://phillipreeve.net/blog/review-ttartisan-50mm-2-0-return-of-the-nifty-fifty/

    • Rodion Eshmakov

      Yes, a very good article in which almost all the problematic points of the lens were identified. I was guided by the PhillipReve data when I planned this review, and I was able to explain it.

  • Sandro

    There was a question on the method of testing the sharpness of the lens.
    Do you only look when focusing on infinity? Is it possible that on MDF, or on 1 meter there will be a different result?

    • Rodion

      Yes, of course it's possible. But photo lenses are always corrected for infinity unless it's a macro lens. At the same time, real differences in behavior can be detected at a shooting scale of about 1:3 or more. With MDF 0.5 m, there is nothing much to compare. In preliminary tests, I did not see the point in separately looking at the image quality at 0.5 m.

  • Andrei

    An excellent article, even somewhere there are too many chemical terms, and it turns out that there are ways not to destroy the lens, and to learn everything about it! Quite fit for a PhD level during my student years!

  • Ukrainian

    Rejoicing with a cynical ass, which continues to splurge on my creatures, as if they don’t give a fuck, sho katsapi drive in yogo spivgromadyan, so in the future I continue to sway with these soul-killers ... the land of dovboєbіzma. And do not try to pizdit, sho this creativity. There are no good Russians. What kind of sense, why do you help ZSU, why do you rub your feet on them with such spivprations?

    • Arkady Shapoval

      Ukrainian:
      https://radojuva.com/uk/2022/12/ttartisan-dj-optical-50-2-review-test/
      And yes, I care, I don't know why you think so. I have a clear and unequivocal position on this matter and I did not hide behind and without hiding behind any creativity. This content generates profit, which ultimately goes to the very help, including the Armed Forces of Ukraine.

      • B. R. P.

        Such “characters” did not want to think. Don't miss the other options. For them, "the party thinks." And such, sorry, we have a lot of them.

      • Alexander

        Are you still making excuses for them? )) I am a resident of Kiev, Kyiv NEVER spoke, he spoke. And this despite the fact that in the USSR all the signs were on the Move, it was taught in schools, otherwise how would the patriots know it now? Fortunately, in addition to the inflamed fantasies of the salo-eaters, there is a photo of the old real Kyiv - language is everywhere. But Kyiv spoke, speaks and will speak. And it will survive any slag that comes in large numbers. It would be better if the serfs kept the factories - or remind them of the Arsenal, Quantum, Antonov, Rosinka, etc.? But for some reason the serfs are not interested in this. They prefer to live away from Ukraine and there "to love the fatherland". I'm sure you will delete this comment. Bend under them and further.

        • B. R. P.

          For Kharkov, what then to say? The factories where the loot is cut (large) have been preserved. Knowledge of several languages ​​has always been and is a sign of a cultured person who wants to develop. And focusing on one thing is marking time and, in the end, degradation. This will never be said in propaganda, no matter what flag it is under.

        • Arkady Shapoval

          What?

    • Erema

      Arkady frightenedly justifies himself to the Nazi and continues to feed him, and Rodion faces a real prison term for financing the armed formations of Ukraine (

      • Arkady Shapoval

        don't worry, I only feed volunteers and I still donate funds to the shelter from time to time :)

        • Erema

          National battalions and regiments of Nazis are in the structure of the VFU, in Marik they were filtered like this - by tattoos - Hitlers, swastikas, etc. In 2014, the Nazis had to be brought to the Donbass and armed, since the soldiers of the Armed Forces of Ukraine had not yet fired on civilians, and the landing force went over to the side of the DPR. Now that the Armed Forces of Ukraine, that Azov are the same eggs, only on the side, 8 years of the Nazis in power were not in vain. Moreover, your side in the civil war is understandable, you are wrong, but your hands are not covered in blood (yet), transfer earnings wherever you want, but Rodion seems to live in the Russian Federation, he cannot finance the Armed Forces of Ukraine in any way ... Neither directly nor indirectly. Well, you can, but the break in the reviews threatens to be a long one ...

          • Arkady Shapoval

            Please, in more detail, we don’t have time to write down ... although stop, they messed up something, and it’s not new manuals with biolaboratories, fighting mosquitoes, infected geese and dirty bombs that arrived, but ancient and old manuals from the spring of 2022 with the Nazis?

    • David

      People like you should be kept in a cage, and the author of this excellent review, although unsolicited, has advice - do not feed the APU and similar characters, because you will be the first to suffer from their activities.

  • Dmitry V.G.

    For Canon, it makes no sense at all, it's easier to buy a used plastic 50 f1.8 for $50-60, but with autofocus. In the secondary market, their darkness is dark.

    • Rodion

      So this is a mirrorless lens, and what a pancake, what kind of plastic is science fiction 50 / 1.8?

      • B. R. P.

        Maybe he meant through an adapter to Canon RF?

        • Viktre

          But still, ef 50 1.8 with an adapter does not look like a pancake at all, on the contrary :)

      • Dmitry V.G.

        Above is correct. Is it a problem to put the EF 50mm 1.8f on a mirrorless camera? Yes, not a "pancake", but with autofocus (and without it, "glass" is not interesting for 80% of users, let's be realistic).
        I also understand - to be killed by the size of the "glass" on some miniature cameras, like the Canon m100 or Olympus Pen. But on RF, what is the point of the system ?? A couple of centimeters of the length of the lens definitely do not play a role there.

        • Viktre

          For someone, even these three centimeters of length will play a role. And someone will be scared away by the “plastic-fiction” design. In general, not everything is so clear-cut. If its someone

  • BlackProfessor

    With Leica L mount, you say? Well, it certainly won't "open up" a 61-megapixel Sigma fp L sensor.
    The review is chic, I am very impressed with the academicism and simplicity of presentation, but the lens itself is past.

    • Arkady Shapoval

      completely covered for 24mp cameras like Leica SL, Panasonic Lumix S1 or the same Sigma fp

      • BlackProfessor

        “On a completely covered for 24mp cameras…”
        Unfortunately, the matrix of my Sigma fp L has 61 megapixels.
        Therefore, one has to focus on Macroplanars and Feuchtlanders (the latter are selective, among them there are both “pearls” and frankly passing models).

        • Arkady Shapoval

          Well, how, on the open are all the “pixels sharp”?

          • BlackProfessor

            Which are unsharp - I pick out those from the matrix)

  • Nebelknot

    By the way: the problem of running over infinity is easily fixed at home by loosening the three screws on the frame of the focus ring and shifting it by the desired amount.

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