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The Canon EF 50mm F1.8 II is also one in every of the most affordable lenses currently on the market, however its optics belie its lowly worth. As befits a classic customary prime lens, it's extremely sharp when stopped down (especially within the centre), shows minimal chromatic aberration, and has comparatively low distortion; APS-C users will get pleasure from extraordinarily low vignetting. In most regards it comes terribly shut indeed to its far more expensive larger brother, the EF 50mm F1.4 USM, lagging marginally behind in corner sharpness at any specific aperture. the sole real blight in imaging terms is that the lens's bokeh, or rendition of out-of-focus backgrounds, that is something however sleek with a definite tendency to render bright highlights as obvious pentagons (it's a pity Canon did not prefer to use a diaphragm with seven or eight blades rather than 5).
Of course obtaining nice optics for comparatively very little cash means corners ought to be cut somewhere along the road, and during this case it's within the build quality. The 50mm F1.8 II might not be the foremost flimsily-constructed lens ever created, however i am unable to think about another currently on the market which might rival it for a sheer impression of plasticity-ness. This alone can delay some potential purchasers, who can doubtless gravitate towards the better-made F1.4 lens instead, however in reality it's simply fine for everyday amateur use. after all the flip facet of this is often that it's very light-weight, and will not add a lot of strain on your shoulder carrying it around all day, thus it is a nice choice to give your bag for low-light shooting when traveling.
The other slight fly within the ointment is that the autofocus; the micro-motor system may be a very little slow and thus not a perfect selection for moving subjects. A lot of problematically, focusing is inconsistent and inaccurate in low light-weight, one thing which will be most blatant when shooting at giant apertures. There is conjointly no full-time manual focus override for those users who don't love to trust their camera's AF system; once more these problems are all reason to contemplate the F1.4 lens instead.
Given the price, it seems reasonable to assume that this lens will overwhelmingly be used on APS-C bodies, and in this context it's worth pointing out that it's sharper than any of the EF-S lenses we've tested so far (the 18-55mm F3.5-5.6 IS, 18-200mm F3.5-5.6 IS or even the 17-85mm F4-5.6 IS USM, which is at its best at 50mm). We suspect full-frame users will on the whole be buying more expensive optics, but to overlook this budget option completely would be a mistake, as it can demonstrably perform very well even on the 21Mp EOS-1Ds Mark III (and therefore also 5D Mark II) at its optimum apertures. That F1.8 maximum aperture lets in more than four times as much light as a typical kit zoom, and so allows shooting in low light while keeping shutter speeds relatively high; this therefore provides a useful alternative to IS when the aim is to keep moving subjects sharp. It also enables the user to experiment with selective focus techniques impossible with slow zooms.
So ultimately this is a lens which we'd encourage any Canon DSLR owner currently shooting with 'kit' zooms to try. The overall image quality when stopped down a bit is very impressive indeed, and the fast maximum aperture offers creative options which are well worth exploring (while sharpness, particularly in the corners, may not be the best wide open, the point is that you can get to F1.8 at all). It's a pity about the build quality and harsh bokeh, but ultimately this lens hits a price:performance ratio that's very difficult to beat.
For more information about the Canon EF 50mm f/1.8 II Camera Lens, CLICK HERE.
Pros
Excellent image quality when stopped down
Essentially no lateral chromatic aberration
Extremely low-cost
Cons
Extremely cheaply designed
Harsh and distracting bokeh thanks to pentagonal aperture
Vignetting at wide apertures on full frame (which solely disappears at F3.5)
Inconsistent autofocus in low light-weight (most problematic when using giant apertures)
The Canon EF 50mm F1.8 II is also one in every of the most affordable lenses currently on the market, however its optics belie its lowly worth. As befits a classic customary prime lens, it's extremely sharp when stopped down (especially within the centre), shows minimal chromatic aberration, and has comparatively low distortion; APS-C users will get pleasure from extraordinarily low vignetting. In most regards it comes terribly shut indeed to its far more expensive larger brother, the EF 50mm F1.4 USM, lagging marginally behind in corner sharpness at any specific aperture. the sole real blight in imaging terms is that the lens's bokeh, or rendition of out-of-focus backgrounds, that is something however sleek with a definite tendency to render bright highlights as obvious pentagons (it's a pity Canon did not prefer to use a diaphragm with seven or eight blades rather than 5).
Of course obtaining nice optics for comparatively very little cash means corners ought to be cut somewhere along the road, and during this case it's within the build quality. The 50mm F1.8 II might not be the foremost flimsily-constructed lens ever created, however i am unable to think about another currently on the market which might rival it for a sheer impression of plasticity-ness. This alone can delay some potential purchasers, who can doubtless gravitate towards the better-made F1.4 lens instead, however in reality it's simply fine for everyday amateur use. after all the flip facet of this is often that it's very light-weight, and will not add a lot of strain on your shoulder carrying it around all day, thus it is a nice choice to give your bag for low-light shooting when traveling.
The other slight fly within the ointment is that the autofocus; the micro-motor system may be a very little slow and thus not a perfect selection for moving subjects. A lot of problematically, focusing is inconsistent and inaccurate in low light-weight, one thing which will be most blatant when shooting at giant apertures. There is conjointly no full-time manual focus override for those users who don't love to trust their camera's AF system; once more these problems are all reason to contemplate the F1.4 lens instead.
Given the price, it seems reasonable to assume that this lens will overwhelmingly be used on APS-C bodies, and in this context it's worth pointing out that it's sharper than any of the EF-S lenses we've tested so far (the 18-55mm F3.5-5.6 IS, 18-200mm F3.5-5.6 IS or even the 17-85mm F4-5.6 IS USM, which is at its best at 50mm). We suspect full-frame users will on the whole be buying more expensive optics, but to overlook this budget option completely would be a mistake, as it can demonstrably perform very well even on the 21Mp EOS-1Ds Mark III (and therefore also 5D Mark II) at its optimum apertures. That F1.8 maximum aperture lets in more than four times as much light as a typical kit zoom, and so allows shooting in low light while keeping shutter speeds relatively high; this therefore provides a useful alternative to IS when the aim is to keep moving subjects sharp. It also enables the user to experiment with selective focus techniques impossible with slow zooms.
So ultimately this is a lens which we'd encourage any Canon DSLR owner currently shooting with 'kit' zooms to try. The overall image quality when stopped down a bit is very impressive indeed, and the fast maximum aperture offers creative options which are well worth exploring (while sharpness, particularly in the corners, may not be the best wide open, the point is that you can get to F1.8 at all). It's a pity about the build quality and harsh bokeh, but ultimately this lens hits a price:performance ratio that's very difficult to beat.
For more information about the Canon EF 50mm f/1.8 II Camera Lens, CLICK HERE.
Pros
Excellent image quality when stopped down
Essentially no lateral chromatic aberration
Extremely low-cost
Cons
Extremely cheaply designed
Harsh and distracting bokeh thanks to pentagonal aperture
Vignetting at wide apertures on full frame (which solely disappears at F3.5)
Inconsistent autofocus in low light-weight (most problematic when using giant apertures)
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