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더 진화해서 돌아온 삼양 AF 50mm F1.4 FE II

Dustin Abbott

Photographer from Canada

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I spent my first time with an autofocusing Samyang lens in early 2018, and, ironically, it was a 50mm F1.4 lens for Sony FE. That lens was the predecessor of the Samyang AF 50mm F1.4 FE II which I’m reviewing today.

Since that point, however, I’ve reviewed a LOT of Samyang autofocusing lenses (about eleven), and my excitement for the direction of the company has steadily grown.
I’ve witnessed a growing maturation in both autofocus and lens design. Samyang’s development on full frame has split between two tracks – the compact “Tiny” series (compact lenses with a maximum aperture of F1.8 or less) and the larger “pro series” lenses (the F1.4 type options). I was excited when I heard that Samyang was developing a Mark II version of the 50mm F1.4, as I knew that they were capable of making a much more compelling option than the one that I’d previously reviewed.

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And the AF 50mm F1.4 FE II is that. It is better optically, has much better autofocus, and now has more modern features like a focus hold button, custom switch to give more physical control on the lens, and weather sealing. This is now a much more compelling alternative to the first-party Sony options.

Image Quality

The first generation Samyang AF 50mm F1.4 employed an optical formula with 9 elements in 8 groups. This included three aspherical elements. We’ve got a new optical formula here with 11 elements in 8 groups, which includes more special elements like 2 Ultra-precision Aspherical elements, 3 High Refractive optic elements, and 1 Extra-Low Dispersion element. Bottom line is that we’ve got twice as many exotic elements that result in a better-looking MTF (and real world) performance.

Vignetting

Surprisingly I didn’t find the vignette very obvious in real-world shots in the snow, either. You can see from this snowy shot of some dried remnants of last fall sticking up that the corners don’t look particularly dark. I’m not sure if some kind of correction is being embedded in the RAW file or if the vignette is gradual enough that it doesn’t look obvious,
but either way I didn’t see much that needed correction in my real-world shots.

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LENSES AF 50mm
F1.4 II
CAMERA SONY
ILCE-7M4
DIAPHRAGM F1.4
SPEED 1/2000 sec
ISO 200
EXPOSURE Aperture
priority
PHOTOMETRY 50mm
BRIGHTNESS -
PHOTOMETRY Multi
segment

Chromatic Aberration

So how about chromatic aberrations? I found only small traces of lateral chromatic aberrations along the edge of the frame, and some mild longitudinal chromatic aberrations (LoCA) can be seen as purple and green fringing before and after the plane of focus at wide apertures. I didn’t really feel like I saw enough fringing to ever be objectionable.
I’ve long noted that a slight bit of uncorrected CA often produces slightly softer bokeh.

Resolution and Contrast

That’s a pretty awesome result. Everywhere looks nice and crisp save the final few percentage points of the extreme corner even at high magnification of a 50MP image.
The image looks pretty flawless at 100% magnification.

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LENSES AF 50mm
F1.4 FE II
CAMERA SONY
ILCE-1
DIAPHRAGM F1.4
SPEED 1/250 sec
ISO 100
EXPOSURE Aperture
priority
PHOTOMETRY 50mm
BRIGHTNESS -
PHOTOMETRY Multi
segment

Real world images are nice and crisp even at F1.4, as you can see from this shot.

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LENSES AF 50mm
F1.4 FE II
CAMERA SONY
ILCE-7M4
DIAPHRAGM F1.4
SPEED 1/400 sec
ISO 100
EXPOSURE Aperture
priority
PHOTOMETRY 50mm
BRIGHTNESS -
PHOTOMETRY Multi
segment

By F2.8 the lens is extremely sharp across the frame. By F4 it is pretty close to flawless, with excellent performance everywhere you look.

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LENSES AF 50mm
F1.4 FE II
CAMERA -
DIAPHRAGM -
SPEED -
ISO -
EXPOSURE -
PHOTOMETRY 50mm
BRIGHTNESS -
PHOTOMETRY -

Blurred Background

A 50mm F1.4 at closer focus distances has the ability to really obliterate backgrounds at wide apertures, and that’s certainly true here. Look at how this decoration quickly disappears to complete blur.

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LENSES AF 50mm
F1.4 FE II
CAMERA SONY
ILCE-1
DIAPHRAGM F1.4
SPEED 1/250 sec
ISO 3200
EXPOSURE Aperture
priority
PHOTOMETRY 50mm
BRIGHTNESS -
PHOTOMETRY Multi
segment

I’ve yet to see a bad situation for the bokeh rendering here, which handles everything quite effectively. Here are a few more bokeh shots to show off the lens’ chops.

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LENSES AF 50mm
F1.4 II
CAMERA SONY
ILCE-1
DIAPHRAGM F1.4
SPEED 1/100 sec
ISO 400
EXPOSURE Aperture
priority
PHOTOMETRY 50mm
BRIGHTNESS -
PHOTOMETRY Multi
segment
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LENSES AF 50mm
F1.4 II
CAMERA SONY
ILCE-7M4
DIAPHRAGM F1.4
SPEED 1/640 sec
ISO 200
EXPOSURE Aperture
priority
PHOTOMETRY 50mm
BRIGHTNESS -
PHOTOMETRY Multi
segment

Bokeh

Here’s a look at the shape of the bokeh circles at F1.4, F2, and F2.8. The geometric shape is pretty nice, and the bokeh circles are nice and soft. There’s no busyness in the bokeh circles, though you can see a light green fringing around the edges. Not enough to be distracting, but not completely neutral, either.

LENSES AF 50mm
F1.4 II
CAMERA SONY
ILCE-1
DIAPHRAGM F1.4
SPEED 1/250 sec
ISO 3200
EXPOSURE Aperture
priority
PHOTOMETRY 50mm
BRIGHTNESS -
PHOTOMETRY Multi
segment
LENSES AF 50mm
F1.4 II
CAMERA SONY
ILCE-1
DIAPHRAGM F2.8
SPEED 1/100 sec
ISO 3200
EXPOSURE Aperture
priority
PHOTOMETRY 50mm
BRIGHTNESS -
PHOTOMETRY Multi
segment
LENSES AF 50mm
F1.4 II
CAMERA SONY
ILCE-1
DIAPHRAGM F1.4
SPEED 1/50 sec
ISO 3200
EXPOSURE Aperture
priority
PHOTOMETRY 50mm
BRIGHTNESS -
PHOTOMETRY Multi
segment

Flare

I was also pleasantly surprised by the AF 50mm F1.4 FE II’s ability to handle flare. This is normally not a strength for wide-aperture prime lenses, but this seems to be the exception. In the first shot in this series, I took the image at F1.4, and even then contrast holds up with very little ghosting. The second shot in the series shots the same scene at F11, and things have not gotten worse. Shot #3 was a real-world shot in extremely bright (Arctic bright!) conditions (the temperature was nearly -30C with the wind chill).
The sun was right in the frame and I wanted got the bright light coming through the cattails. I expected some flare issues, but, as you can see, got basically nothing.

LENSES AF 50mm
F1.4 II
CAMERA SONY
ILCE-1
DIAPHRAGM F1.4
SPEED 1/20000 sec
ISO 100
EXPOSURE Aperture
priority
PHOTOMETRY 50mm
BRIGHTNESS -
PHOTOMETRY Multi
segment
LENSES AF 50mm
F1.4 II
CAMERA SONY
ILCE-1
DIAPHRAGM F 11
SPEED 1/500 sec
ISO 100
EXPOSURE Aperture
priority
PHOTOMETRY 50mm
BRIGHTNESS -
PHOTOMETRY Multi
segment
LENSES AF 50mm
F1.4 II
CAMERA SONY
ILCE-7M4
DIAPHRAGM F1.4
SPEED 1/8000 sec
ISO 100
EXPOSURE Aperture
priority
PHOTOMETRY 50mm
BRIGHTNESS -
PHOTOMETRY Multi
segment

Short M.O.D

Early Samyang AF lenses didn’t excel when it came to minimum focus distance and magnification, but recent ones have been better. Here we have a minimum focus distance of 40cm (same as the Sony GM lens) and a magnification figure of 0.16x.

LENSES AF 50mm
F1.4 FE II
CAMERA SONY
ILCE-1
DIAPHRAGM F1.4
SPEED 1/250 sec
ISO 100
EXPOSURE Aperture
priority
PHOTOMETRY 50mm
BRIGHTNESS -
PHOTOMETRY Multi
segment

Build Quality

As noted, the AF 50mm F1.4 FE II is a reflection of Samyang’s growing design evolution. It actually takes most of its design clues from their most recent APS-C lens – the AF 12mm F2 E. That lens was the first to highlight the new diamond pattern texture of the focus ring and to transition Samyang’s red ring to the new “hidden ring” design where the red is only visible from the front of the lens as it is somewhat hidden in the front fascia of the lens barrel. The resulting lens design is clean and modern, and scales up nicely to a slightly larger lens like this one.

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Compact & Lightweight

But that’s only slightly larger, as this is a surprisingly compact and light lens for a high-performing 50mm F1.4 optic. The AF 50mm F1.4 FE II is 80.1mm (3.2″) in diameter and 88.9mm (3.5″) in length and weighs a very light 420g. That’s a full 20mm shorter than other brand option, and about 360g lighter. I was surprised to find that it is actually shorter even than the competitor’s FE 35mm F1.4 lens. The other brand’s lens at similar price rate to the Samyang, but that’s more than twice the weight and about 40% longer.
Samyang has even managed to produce a smaller lens relative to the original AF 50mm Samyang lens, which is 73.5 x 97.7 mm and weighs 585g. That’s impressive when you consider the MK II lens is better optically, has weather sealing and actual features, and sports a superior autofocus system.

This is a really nicely executed lens if you value the “smaller and lighter” ethos. It manages to pack a nice feature set and good handling into a noticeably smaller and lighter package. I own a lot of great lenses of various sizes and weights, but I’ll freely confess that there are often situations where I reach for the lighter lens even though I have a better lens (that also happens to be larger and heavier) in my kit. The smaller size and weight of the AF 50mm F1.4 FE II might be the difference between it getting brought along or left behind.

Weather Sealing

Speaking of those features…I’ve watched Samyang grow in their lens design over the past 3-4 years as they steadily debuted new features. This started with weather sealing as a part of the design with the AF 85mm F1.4 and continues here. I count six seal points from this diagram, including at various transition points in the lens
(front and rear element, either side of the focus ring, and at the switches).

I consider weather sealing to be a must if you want to market your lens as a premium or professional lens, and Samyang has smartly recognized that many photographers feel the same. They’ve definitely embraced weather sealing as a part of lens design, which does help inspire confidence when the weather turns during a photo shoot.

Convenient Buttons

We’ve also got a couple of newer features for Samyang which have debuted over the past two years. One is a custom switch that gives you some options for how the focus ring will be used. You can tweak the options via the Samyang Lens Station (I definitely recommend as it also allows you to quickly update the firmware.) This might help with some improvement to performance and also will keep your investment “future-proofed”). My preferred setup is that the M1 position has the ring focus as an aperture ring and the M2 position automatically enables manual focus. This gives you the functionality of an aperture ring and an AF/MF switch in one. There’s also now a focus hold button which can be programmed to a variety of functions from within the camera just like on a Sony lens.

Focus Ring

The manual focus ring is nice and wide and has that new textured surface (with a rubberized finish). I like the tactile feel of the “micro pattern” (as Samyang calls it) and feel like it offers good grip. The damping of the focus ring is fairly heavy, though it moves smoothly overall. The focus action appears to be linear (non-speed dependent), which is good for repeatability, though the focus throw is too long for major video focus throws. You need about 5 normal focus rotations to travel the extremes of the focus range, and I estimate the whole focus throw at somewhere near 380°. So, while the feel of the focus action isn’t bad, I feel like it could be more precise and easier to make focus changes on.
On a positive note, the automatic magnification of the active focus area is engaged with the lens, which helps make the manual focus process more intuitive and accurate.

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Autofocus Performance

The Samyang AF 50mm F1.4 II employs a Linear STM focus motor. This is a much smoother and quieter focus motor than what I encountered in the first-generation lens.
I was pleasantly surprised by how stable the lens was when tracking my face during the 3-4 video episodes I filmed with it during my review. I saw no hunting or loss of focus;
it stayed solidly locked onto my eye/face without any pulsing. I was also very pleased with my focus accuracy when shooting stills, where even very narrow depth of field situations returned very consistently good focus results on my Sony Alpha 1.

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LENSES AF 50mm
F1.4 II
CAMERA SONY
ILCE-7M4
DIAPHRAGM F1.4
SPEED 1/2000 sec
ISO 100
EXPOSURE Aperture
priority
PHOTOMETRY 50mm
BRIGHTNESS -
PHOTOMETRY Multi
segment

Low-light Performance

That larger maximum aperture (F1.4) does help the AF 50II focus in low light compared to lenses with a smaller maximum aperture. I did a number of low light tests of my pets and got good eye detection and well-focused results even in very gloomy conditions (1/50th second, F1.4, ISO 3200).

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LENSES AF 50mm
F1.4 II
CAMERA SONY
ILCE-7M4
DIAPHRAGM F2.5
SPEED 1/100 sec
ISO 100
EXPOSURE Aperture
priority
PHOTOMETRY 50mm
BRIGHTNESS -
PHOTOMETRY Multi
segment
zoom
LENSES AF 50mm
F1.4 II
CAMERA SONY
ILCE-1
DIAPHRAGM F1.4
SPEED 1/50 sec
ISO 3200
EXPOSURE Aperture
priority
PHOTOMETRY 50mm
BRIGHTNESS -
PHOTOMETRY Multi
segment

Eye AF

Eye AF works very well whether a human or animal is the subject. Here’s a shot of Loki at F1.4, and the crop shows great focus precision.

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zoom
LENSES AF 50mm
F1.4 II
CAMERA SONY
ILCE-1
DIAPHRAGM F1.4
SPEED 1/640 sec
ISO 400
EXPOSURE Aperture
priority
PHOTOMETRY 50mm
BRIGHTNESS -
PHOTOMETRY Multi
segment

Likewise, this casual shot of my daughter on a Zoom meeting shows great precision on her eyelashes even though her head was down and she wasn’t looking at the camera at all.

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zoom
LENSES AF 50mm
F1.4 II
CAMERA SONY
ILCE-1
DIAPHRAGM F1.4
SPEED 1/2000 sec
ISO 100
EXPOSURE Aperture
priority
PHOTOMETRY 50mm
BRIGHTNESS -
PHOTOMETRY Multi
segment

I had my assistant, Craig, do a portrait session at a variety of focus distances and through a variety of foreground objects to test autofocus accuracy.
He was using the new Sony a7IV for the very first time, but Eye AF makes it all pretty easy these days. I went through all the results with a careful eye and didn’t find any misfocused results. There were some discards for eyes being closed and my generally looking stupid sometimes, but none that were discarded for technical reasons.
Out of about 45 results, all were well-focused. Here’s one at F1.4

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zoom
LENSES AF 50mm
F1.4 II
CAMERA SONY
ILCE-7M4
DIAPHRAGM F1.4
SPEED 1/250 sec
ISO 100
EXPOSURE Aperture
priority
PHOTOMETRY 50mm
BRIGHTNESS -
PHOTOMETRY Multi
segment

So, other than the lens lacking a bit of torque in some situations, I felt like the autofocus performance was generally very good.
This is a huge improvement over the first-generation lens. I shot with both the high-end Sony Alpha 1 and the more moderately priced a7IV with good results on both.

Conclusion

I was delighted to see Samyang revisit the 50mm F1.4 formula and give us a new and updated lens, as frankly there still aren’t a lot of 50mm F1.4 options on Sony FE.
The compact and lightweight design of the Samyang AF 50mm F1.4 II while also providing a nice build and a good list of features is a winning combination in my mind.
I had good autofocus performance, loved the physical design and presence of the lens, and found the optical performance to be pretty competitive with some of the best 50mm options I’ve ever tested. This is an unquestionable value, and I see no reason why this lens should not become a favorite among many users.

시뮬레이터 구매하기

삼양이 제안하는 최적의 표준화각 알아보기

사람과의 관계 그리고 아름다운 공간 연출을 위한 소품들을 진열할 때도 적절한 간격과 거리는 꼭 필요합니다.
그렇다면 그림이나 사진 작품을 제대로 감상하기 위해 우리는 얼만큼의 거리를 두고 보는 것이 좋을까요?

정답은 바로 "작품 프레임의 대각선 길이" 정도의 거리입니다.

표준화각 자료 이미지
표준화각 자료 이미지

작품의 전체를 충분히 시야에 담고 감상하기 위해서는 작품의 대각선 길이만큼 거리를 두고 감상하는 것이 좋습니다. 너무 가까운 거리에서 작품을 본다면 사람의 눈이 집중할 수 있는 시야각인 50도보다 넓어져 그림을 제대로 감상할 수 없기 때문입니다. 최적의 감상, 최적의 시선을 위해 필요한 이상적인 거리는 사진술에서도 적용됩니다. 정지화상을 찍는 사진술에서는 촬상면의 대각선 길이와 같은 초점거리의 렌즈를 표준 렌즈로 정의합니다.

최적의 감상, 최적의 시선을 위해 필요한 이상적인 거리는 사진술에서도 적용됩니다. 정지화상을 찍는 사진술에서는 촬상면의 대각선 길이와 같은 초점거리의 렌즈를 표준 렌즈로 정의합니다. 디지털 카메라의 풀프레임 센서 크기는 36x24mm이고, 그 대각선 길이는 약 43.26mm 이기 때문에 표준 렌즈는 몇 mm여야 하는가에 대한 최선의 답은 “43.26mm에 근접한 값”이라 할 수 있고, 현재까지 표준렌즈의 대명사로 여겨지는 “50mm”라고 단정짓기는 어렵습니다.

과거에는 필름의 대각선 길이와 비슷한 45mm 화각의 렌즈가 흔하게 존재했지만, SLR 카메라가 크게 성공함에 따라, 미러가 들어갈 공간을 확보하기 위해 50mm 렌즈가 표준으로 여겨졌습니다만, 최근 미러리스 카메라의 저변이 크게 확대되면서, 플랜지 백이 짧은 미러리스 카메라의 특성을 고려하여 보다 정확하게 표준렌즈의 화각을 45mm로 재해석 해야 할 필요가 있다는 문제의식에서 AF 45mm F1.8 FE에 대한 개발은 시작되었습니다. 삼양의 AF 45mm F1.8 FE는 35mm 화각 렌즈보다 더욱 최소화된 왜곡, 55mm 화각보다는 더 넓은 이미지를 촬영할 수 있어 인물, 풍경, 건축물, 반려동물 등 다양한 주제의 촬영에서 만족스러운 결과물을 확인하실 수 있습니다.

DSLR / Full Frame
1D X Mark Ⅱ
1D X
1Ds Mark Ⅲ
1Ds
5DsR
5Ds
5D Mark Ⅳ
5D Mark Ⅲ
6D Mark Ⅱ
6D
DSLR / APS-H
1D Mark Ⅲ
1D
Mirrorless / APS-C
M6
M5
M10
M3
M2
DSLR / APS-S
7D Mark Ⅱ
7D
80D
70D
60D
30D
D60
D30
77D (9000D)
760D (8000D / Rebel T6s)
1300D (Kiss X80 / Rebel T6)
1200D (Kiss X70 / Rebel T5)
200D (Kiss X9 / Rebel SL2)
800D (Kiss X9i / Rebel T7i)
700D (Kiss X9i / Rebel T7i)
100D (Kiss X7 / Rebel SL1)
650D (Kiss X6i / Rebel T4i)
600D (Kiss X5 / Rebel T3i)
550D (Kiss X4 / Rebel T2i)
500D (Kiss X3 / Rebel T1i)
1000D (Kiss F / Rebel XS)
450D (Kiss X2 / Rebel X냐)
DSLR / Full Frame
D850
D5
D810A
D4S
D810
D750
Df
D610
D4
D800
D800E
D600
D3s
D3x
D700
D3
DSLR / APS-C
D7500
D3400
D500
D5600
D7200
D5500
D3300
D7100
D5300
D5200
D7000
D300s
D300
DSLR / Full Frame
Z6
Z7
D810A
D4S
D750
D810A
DSLR / APS-C
D7200
D500
D3300
D5500
D5600
D3400
D7500

* 2019년부터 5년 이내 발매된 카메라 바디 기준

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