canon ef 50mm f/2.5 compact macro
Canon EF 50mm f/2.5 Compact Macro
EF 50mm f/2.5 Compact Macro
Lekki i kompaktowy obiektyw, doskonały jako uniwersalny obiektyw makro lub jako elastyczny obiektyw standardowy.
- Standardowy kąt widzenia 46°
- Minimalna odległość ogniskowania: 23 cm
- Odwzorowanie obrazu w skali 1/2 rzeczywistego rozmiaru
- Układ autofokusa AFD
- Rozmiar filtra: 52 mm
- Powłoki Super Spectra zmniejszają efekty zjawy i odbicia światła
Przyjrzyj się dokładniej produktowi Canon EF 50mm f/2.5 Compact Macro
Uniwersalny obiektyw makro
Lekki i kompaktowy obiektyw makro do fotografowania z małej odległości w powiększeniu 0,5x (połowa rzeczywistego rozmiaru). Ruchoma konstrukcja układu optycznego umożliwia skuteczną pracę niezależnie od ustawienia ogniskowej. Duży otwór przysłony f/2,5 pozwala uzyskać piękne rozmycie tła. Ten uniwersalny obiektyw jest doskonały do portretów i innych zastosowań oprócz makrofotografii.
Duży otwór przysłony f/2,5
Maksymalny otwór przysłony wynoszący f/2,5 umożliwia szybkie fotografowanie bez użycia lampy błyskowej w warunkach słabego oświetlenia, a dodatkowo oferuje doskonałą kontrolę głębi ostrości.
W pełni elektroniczny uchwyt obiektywu
Należący do uznanej rodziny EF obiektyw jest wyposażony we wbudowany silnik AF, który zapewnia szybkie i bezpośrednie działanie funkcji AF. Obiektyw ma także elektromagnetyczną przysłonę (EMD), która umożliwia niewiarygodnie precyzyjną regulację i gwarantuje dokładność i stałość ustawionej przysłony przy każdym zdjęciu.
Powłoka Super Spectra
Powłoki Super Spectra pomagają uzyskiwać dokładny balans kolorów i wysoki kontrast, a ponadto redukują odbicia światła i efekt zjawy poprzez pochłanianie światła, które może odbijać się od wewnętrznych elementów obiektywu lub cyfrowych matryc EOS.
Dane techniczne produktu
Więcej informacji o produkcie Canon EF 50mm f/2.5 Compact Macro, jego cechach i możliwościach.
Canon EF 50mm f/2.5 Macro Lens Review
The Canon EF 50mm f/2.5 Macro Lens is Canon’s shortest (in both focal length and physical length) macro lens.
Although designated and classified as a macro lens, the 50 macro natively offers only 1:2 (.5x) magnification (vs. 1:1 (1x) in most true macro lenses). Coupled with the expensive (it costs about as much as the lens itself) optional accessory Canon Life Size Converter EF, the 50 macro can focus down to 1:1 lifesize.
Build quality for the 50 macro is mid-level for Canon. The mount is metal — the focus ring is a bit loose. The front element extends a bit during focusing but does not rotate.
Pictured above from left to right are the 50 macro, the 50 macro extended and the Canon 24-70mm f/2.8L USM Lens.
The Canon EF 50mm f/2.5 Macro Lens does not feature USM (Ultrasonic Motor) focusing. The result is somewhat noisy and medium-fast focusing. FTM focusing is not part of the feature set.
Canon does not provide a lens hood for the 50 macro, but it is not so important for this lens as the front element is recessed deep into the lens. As it is, the 50 macro shows good resistance to flare.
Distortion is very well controlled even with close subjects (important in a macro lens).
The Canon EF 50mm f/2.5 Macro Lens is very slightly soft wide open, sharp at f/3.2 and very sharp after f/4-5.6. Color and contrast are very good. Full frame body users will see some vignetting wide open.
In addition to macro application use, the 50 macro can be used as a normal 50mm lens. Compared to Canon’s other 50mm lenses, the 50 macro is slightly longer/narrower/lighter than the Canon EF 50mm f/1.4 USM Lens, and both are larger/heavier/have better bokeh quality than the Canon EF 50mm f/1.8 II Lens. The 50 macro has a 6-blade aperture while the 50 f/1.4 has an 8-blade aperture.
If you are in the market for a 50mm normal lens, my personal recommendation is to spend a little more money and get the Canon EF 50mm f/1.4 USM Lens. I think the additional f-stops (nearly 2) the f/1.4 lens provides are very worthwhile and add versatility to your 50mm. The f/1.4’s somewhat better (slightly faster, quieter) focusing motor is worth something to me as well.
If you are in the market for a macro lens, I recommend the Canon EF 100mm f/2.8 USM Macro Lens. The extra working distance this lens affords is very nice. Of course, the Canon EF 180mm f/3.5L USM Macro Lens is really nice if your budget can handle it.
If you need both (50mm normal and macro) in one lens — the Canon EF 50mm f/2.5 Macro Lens is for you! If 1:2 macro is good enough, the 50 macro is a good value lens. Image quality is very good.
There are many uses for this lens, but semi-close-up photography is a good candidate. Product photography is one example. Small non-living items such as jewelry, fashion accessories, documents . are more examples.
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Canon ef 50mm f/2.5 compact macro
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On smaller sensor cameras this almost entirely goes away, even in this test, because they only use the middle of the image. See Crop Factor.
On my full-frame 5D I can use four regular 52mm screw-in filters with no vignetting.
Five filters vignette at infinity and work fine at close distances.
There’s no need to worry about filter vignetting even with a full-frame camera. Smaller sensor cameras are even less subject to it (see Crop Factor).
This is a dangerously blinding California midday sun exposed two stops more than I would for daylight, against a deliberately dark growth of bushes. Only an idiot would do this, and the flare is still minimal. I’m not going to worry about flare; I’m going to worry about my eyesight!
Crap Tree. 50mm Macro, Canon 5D, f/5.6 @ 1/125, ISO 50.
Even at the closest focus distance of a few inches I get no shadows from the built-in flash of my Rebel XTi.
The XTi’s built-in flash exposes as well at close distances as it does at far.
The biggest problem in macro is that for everything to be sharp, everything has to be flat, since there is no depth-of field. Most macro pros shoot everything at f/32 with strobes. The shot above was at f/10, hand-held, so only the yellow is reasonably in focus.
It goes to half life size. That means the photo will cover double the dimensions of your film or image sensor.
at closest focus, full image on a 30D.
100% crop from above, no extra sharpening. f/6.3 @ 1/250, ISO 100, 30D.
These snaps are from a 1.6x 30D. You won’t be able to get as close an image with a 1.3x or full-frame or film camera. (see Crop Factor.)
The serial number is on the bottom rear of the barrel, engraved and filled with white paint.
Sharpness is always excellent, as you’d expect for a macro lens.
When I compared it directly to the f/1.4 at infinity on a 5D Mark II, this inexpensive macro is clearly superior.
When shot on the 5D Mark II, it’s always sharp in the center.
At f/2.5, the sides can be a little lower in contrast due to a tiny bit of coma, but they improve at f/2.8, improve even more at f/4, and are perfect at f/5.6 and at f/8. The sides are sharp, even at f/2.5, which is a lot better than the 50mm f/1.4 if you’re counting pixels.
By f/11 and smaller, this lens is so sharp that diffraction is the limiting factor.
Most older models have 5-bladed diaphragms, and beget 10-pointed sunstars on bright points of light.
The current model has a 6-bladed diaphragm, and makes 6-pointed sunstars.
Survivability performance top
It feels pretty tough, but it’s not sealed against the elements.
I suspect what will kill this lens is ingress of dirt and grit.
TIP: In dim light, fire several shots and pick the sharpest. Blur is a random event, so if you fire enough shots, you’ll eventually get a sharp one even at speeds of 1/4 second!
I shot this f/2.5 macro directly against the 50mm f/1.4 USM at the test range on a 5D Mark II. The f/1.4 lens is much softer at every aperture, especially from f/2.5 — f/8. At 100% on-screen, the f/1.4 lens looks broken by comparison at the larger apertures.
This less expensive macro was much sharper at large apertures. By f/11, the f/1.4 lens improved to be about as good as this macro, where most lenses have the same sharpness due to diffraction anyway.
This macro also had much less distortion, and of course could focus much more closely. The macro had a slightly larger angle-of-view than the 50mm f/1.4.
If you split pixels, this inexpensive lens is clearly superior to the f/1.4 version.
The 50mm f/1.2 L might be about as sharp, but has much more distortion.
The Canon 50mm f/2.5 Compact-Macro is a superb choice as an all-around 50mm lens. it is the sharpest and the least distorting of any Canon 50mm lens.
It may not be expensive, but this is Canon’s best 50mm lens optically.
It’s not the fastest, but with the high ISOs of DSLRs, still works great in low-light, and gives a much deeper depth-of field and often higher AF accuracy than Canon’s faster lenses.
As a standard lens, this lens also focuses immediately to any close distance you might want; you never hit a stop at 1.5 feet (0.45m) as you do with Canon’s other 50mm lenses.
For dedicated macro use, longer lenses are far more practical since you won’t be so close that you’ll bloch your light or annoy your subjects, as you are apt to do with any 50mm lens. For serious macro use, I’d get a Canon 100mm f/2.8 or Canon 100mm f/2.8 L IS instead, just to open up the distance between the front of my lens and the subject.
I first published this review on 06 December 2006, and rewrote it on 29 April 2010 with new data from a newer sample of this lens on the 5D Mark II.
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