That third picture in the Fred Miranda thread is a wrong use of the lens. I never looked at this lens, because it isn't a lens I'm considering buying, but looking at these reputable sites, I don't expect that lens to be better then the 50mm lenses. The Samyang 35/1.4 - well, Photozone isn't impressed by its bokeh and Kurt Munger considers it harsh wide open. I don't like the bokeh of the MC 58/1.2 either. But if the background is bad, the bokeh is bad. I like the bokeh of both my Minolta MC PG 50/1.4 and my Sony/Minolta 50/1.4 lenses. Also, the background is important, as is the focallength, distance and aperture. Not smooth at all.įor this one I would have wanted the background highlights to melt together better.Įdited by Blutengelnouta - 06 January 2016 at 00:09 But more importantly, if you look in the leaves after the deer but before the highlight balls you can see how busy it looks. While the bokeh balls can't be helped they aren't very nice for this lens in situations like these. Look at the tree to the left on this example of the Minolta 50/1.4 AF. The RX1003 is also a good example of an excellently sharp zoom but very unpleasant bokeh.
I might add that one of the reasons I sold my Sony 55-300 DT and kept the Tokina 60-300 was because of the unpleasant bokeh of the Sony at 55mm. Regarding zooms they can vary so much that there isn't really any generalisation to be done. Indoors this is rarely if ever a problem.Īnother example of the Canon 50/1.2 where the trees look horrible. This kind of busy bokeh shows itself when one is close enough and have wide enough aperture to blur the background decently but so far away that the background is still visible. I might add that if you focus close enough any lens will have smooth bokeh. The discussion about what apertures the photographer had used followed later in that thread and he showed in exif that for example the third picture was indeed shot wide-open at 1.2. So, is this a problem for old 50's? Are there any 40-60 legacy ones at all that doesn't have this problem? The Minolta 58/1.2 is supposed to have a legendary bokeh but from the examples I've seen it also suffers from this problem, just as the Canon 1.2.Īre there any good options for Sony users that doesn't have the Zeiss price tag on it?Įdited by Blutengelnouta - 05 January 2016 at 13:48 And while one might argue that the primes I've tested all use old 6-bladed apertures it shouldn't be a factor wide-open. Just wish that it was brighter.Ĭonsidering that I haven't really found this problem with the Samyang 35/1.4 I guess that bright primes doesn't necessarily have to have this problem. So smooth and perfect bokeh with that lens at 60/4. One of my favorite lenses ever, the Tokina 60-300/4-5.6, I know from experience that it handles these patterned backgrounds beautifully. I did try the Minolta 100/4 macro and there was no problem with this lens. I didn't try many other focal lengths since 40-50mm is what I like to walk around with if I only bring one lens. The Minolta 50/1.4 AF seems to be just as horrible as the PG when looking at examples at Flickr.Īfter trying a bunch of 40-50's from my Konica and Minolta collection all the 50's are pretty bad and the Minolta 45/2 and Konica 40/1.8 are decent. The Canon 50/1.2 lens in the post I linked to is also horrible. I often use my Minolta 50/1.4 PG as a walk-around lens and this is one of the worst sinners I've found in this regards. Backgrounds with many small objects and patterns I guess you can call it.
BOKEH LENS CANON WINDOWS
Even brick walls and buildings with many windows etc can show it. It will most often show itself in patterns like trees, especially with light falling through the leaves, or even fallen leaves on the ground. Just look at the third picture for a very good example. I'm going to look for some good examples of my own later on, but there are some excellent examples of what I mean by busy bokeh in this thread. I made this post in A-mount since I'm very interested in what the options are here, but the discussion is for any lens. Recently I've become more and more annoyed with the busy bokeh of some of my bright primes.
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