Now in its third version, the Sony E-mount Speedmaster 50mm f/0.95 III from Mitakon-Zhongyi is an exceptionally fast normal-length prime with enhanced flare resistance. Obviously distinguished by its f/0.95 maximum aperture, this lens excels in low-light situations and affords impressive control over depth of field. Its optical design incorporates one high refractive index element along with five ultra-low dispersion elements to produce well-corrected imagery void of spherical and chromatic aberrations. The lens's manual focus design permits working with subjects as close as 1.6' away and an 11-blade diaphragm contributes to a pleasing bokeh quality.
- Full-Frame | f/0.95 to f/16
- Fast Normal-Length Prime
- Manual Focus Design
- Depth of Field and Distance Scales
Mitakon Zhongyi Speedmaster 50mm f/0.95 III Overview
Mitakon Zhongyi Speedmaster 50mm f/0.95 III Specs
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Mitakon Zhongyi Speedmaster 50mm f/0.95 III Reviews
My special purpose lens with a signature look
If you're looking for maximum image quality and technical precision, I would look elsewhere. But just like an electrical guitar sounds great BECAUSE of it's distortion, not in spite of it, the imperfections of this lens is what, to my eyes, makes it a great photographic lens. There is an element about this lens that is purely about keeping the lens open in order to reduce the ISO settings or faster shutter speeds. This is particularly helpful, in the right conditions, of making it possible to get hand held photos with available dim light. When combined with in-camera image stabilization, it is fairly common for me to get hand-held images at 1/30th at 400 ISO using available lighting in a bar at night. Handy. However, what really sets this lens apart is using selective focus techniques at F/2 or wider. And using the loss of edge sharpness to your advantage. If you shoot this wide open, forget about getting a sharp focus outside your rule of thirds crash points. Won't happen. It's soft enough that my Sony A7IV is incapable of getting a reliable focus assist confirmation on the edges. Which I find very pleasing way of focusing attention back to the areas that do have sharpness. That said, step down to about F1.4 or F1.8, and the edges becomes about as sharp as a base 50/1.8 kit lens you may have bought with your camera. Focus ring very nicely dampened. I LOVE having the depth of field markings on lens barrel. I really wish all fixed lenses had these. If you are somebody with Tamron lenses, you'll be pleased to see the 67mm lens filter thread. Regarding Autofocus........ my default pattern is that if I'm going to shoot at F2 or wider, I'll use this lens. If I'm going to shoot at F/2.5 or more closed, then I'll switch to my 50/1.8 with autofocus lens. By the time I step this lens to about F2.8, I do see some difference between this and Sony 50/1.8. But it isn't enough to make a difference in how the general public looks at my resulting image. Nor is it enough to affect my decision making and work flow as I'm shooting. So I'll switch to the 50/1.8 in order to get my autofocus. While ending up with a rig that is much more nimble. If I had to pick a true negative for this lens, the closest I would come is that given it's size, this is a VERY heavy lens. It's almost like having a mini-Coke can sized solid chunk of glass stuck to your camera body. Even with my Sony A7IV with vertical grip attached, my camera is unmistakably front heavy when this is on. Not a problem for the shoots I do. But if you like effortless run and gun style shooting, you'll probably prefer a 50/1.8. Or even 50/1.4 lens. But put it all together, this is consistently in the top three lenses that are attached to my A7IV at any time.
Nice lens for the price.. while it lasted... Bad Tech Suppor
Image is nice but was expecting a more shallow depth of field. The lens split in two while adjust focus. I tried several times to reach tech support from the Manufacturer (since the lens was under warranty), but they NEVER got back to me
