鏡頭評測 福倫達50mm f1 nokton鏡頭評測 | 佳能eosr

Hi, I'm Gordon from CameraLabs, and this is my review of the Voigtlander 50mm f1 Nocton, a lens that may have a standard focal length, but anything other than a standard aperture. Yep, f1 is a whole stop brighter than f1.4, and capable of some very shallow depth of field effects. Originally launched in early 2022 for the Leica M mount, Voigtlander and parent company Casina later announced native mirrorless versions for Nikon Z and Canon RF mounts. Yes, you heard that right, a third-party lens with a native RF mount for Canon EOS R mirrorless cameras, thanks to it being manual rather than autofocus. So, there's no adapters required, and the lens will even support some body features to aid focusing. The Canon RF version arrived towards the end of 2023, and that's the model that I'm reviewing here, mounted on an EOS R5 body running firmware 1.9.0, although most of my results should also apply to the other two mounts, as they appear to share a similar optical design. All three versions cost around $1800, or around £1650, and many thanks to Robert White in the UK, who loaned me the lens for my tests. And remember, it's a native lens, so there's no need for any adapter. For such a large aperture lens, the 50mm f1 Nocton is impressively compact, measuring 79mm in diameter, 64mm long, and weighing a very reasonable 615g, making it solid but not heavy. Mounted on a body, it feels very manageable, unlike the considerably heftier Canon RF 50mm f1.2 L, and especially the giant Zeiss Otus 55mm f1.4. For comparison, the Canon RF 50mm f1.2 L is 90mm in diameter, 108mm long, and weighs 950g, although, as you know, it's an autofocus lens. Meanwhile, the manual focus Otus 55mm f1.4 measures 92mm by 118mm long, and weighs 970g. So, the 50mm f1 Nocton is almost half the length and two-thirds the weight of these two models, while boasting a brighter aperture than either. The build quality of the 50mm f1 Nocton is excellent, with a metal barrel and all the numbers and lettering etched into it rather than being painted, including a depth-of-field scale that's closest to the lens mount. There isn't a rubber grommet at the mount end, nor any mention of specific weather sealing, but I did use the lens in light drizzle without any issues. As a manual focus lens, the 50mm f1 Nocton has a pretty simple design, with just two control rings for focus and aperture. The focusing ring feels buttery smooth in operation. It's perfectly damped, with a generous throw of around 180 degrees, extending the barrel by about a centimetre. This allows incredibly precise adjustments for photo or video, and it's a traditional mechanically linked design too, rather than the fly-by-wire motorised systems of most modern mirrorless lenses. This in turn gives it a feeling of engagement that I feel is lacking on modern autofocus lenses. There's hard stops at both ends of the focusing range, from the closest distance of 45cm to infinity, and I was also pleased to see the focusing ring allowing a little wriggle room beyond the infinity marker to accommodate, say, thermal expansion, manufacturing variances, or perhaps for infrared imaging use. Note the Nikon and Leica M versions have different grips on their manual focusing rings, and the Nikon version has its focusing direction reversed to match other lenses in that system. I should also mention that while the optical formula does look similar between the three versions, the original Leica M mount model had a minimum focusing distance quoted as 90cm versus 45cm for the Canon and Nikon versions. Meanwhile, the aperture ring is positioned at the end of the barrel, running between f1 and f16. There's no auto position for body control, so you'll be adjusting the aperture using this ring alone. If the white dot at the end of the lens barrel is facing upward, the aperture ring is clicked at one-third increments. Pushing this outermost ring inwards allows you to rotate it by 180 degrees, though, to declick the aperture ring for smooth adjustments. In this configuration, a yellow dot now faces up at the end of the barrel. At the end of the lens is a 67mm filter thread, and the lens is supplied with a metal hood that screws on. The hood also includes its own thread, though, to allow both it and the filter to be fitted at the same time. Looking at the mount end of the lens, you'll notice electrical contacts. This may be a manual focus lens, but it will communicate with Canon EOS R bodies, relaying EXIF data, working alongside any IBIS in the body to deliver up to three stops of compensation, as well as supporting manual focus assistance modes. I recorded the HDMI output from the EOS R5 to show how the focusing aids work in practice. First, I'm just racking the focus, with the aperture wide open in the full image view. Note that the aperture may have a ring icon next to it on the screen here, but there's no body-based control for this lens. So the first thing you can do to aid focusing is to simply magnify the image, which on the R5 starts at six times. You can see this makes nailing the precise focus much easier, although you'll also notice some coloured fringing here, which I'll talk about later. The R5 also offers an even greater 15 times magnified mode if desired. Next is focus peaking, which outlines the area in focus in a choice of colours. Sadly,I can't show it here, as the R5 disables peaking over the HDMI output, assuming that you're going to be using a field monitor or recorder instead. But I did use peaking a lot with this lens and found it invaluable. The third manual focusing assistance mode on the R5 is the focus guide, which displays three triangles above or below the current focusing area, which you can move using the joystick or touchscreen as normal. As you focus the lens, you'll see the two outer triangles begin to rotate towards or away from each other. Get them to line up in the middle though, and they'll turn green to confirm whatever's in the focusing box is now sharp. Remember,everything you're seeing here is fully manual focus, with the aperture wide open at an unforgiving F1.0, but the various aids make nailing a sharp image surprisingly quick and easy, and dare I say it, fun too. How about photographing people? Let's first manually position the focusing area of my eye using the joystick, before then using the focus guide graphics to adjust it. This can work well, but remember, you can also magnify the view for a closer look, first at six times, then 15 times on the EOS R5 that I'm using here. Sorry for all the blinking. Where it gets clever though is if you select face and eye detection from the focus area menu on the R5. Now notice how the camera automatically moves the focusing box over my eye as soon as the image is sharp enough for it to recognise a human face. With the box now automatically positioned over the eye, you can then use the focus guide graphics or peaking to adjust it as required. Sadly,the R5 doesn't also support a magnified view when using face and eye mode, but I still found the guide and peaking made portrait photography much quicker and easier than you might expect for a manual focus lens. All right,let's have a look at some photos I took, mostly at F1.0, where the Nocton delivers great looking images with sharp details, attractive rendering of colours and contrast and of course plenty of opportunity to obliterate defocused areas. It's a corny and often overused description, but the images have an almost 3D pop to them at times. They're also lacking the clinical look of many modern mirrorless lenses with a lot more personality to them as a result. Now this is a double-edged sword, as the best Canon RF lenses, such as the RF 50mm 1.2L, will outperform the Nocton technically, at least when comparing my own sample images. The Canon lens could deliver pinsharp results in the middle and even towards the corners wide open at F1.2, whereas my images from the Nocton that I tested looked a little bit soft in comparison at F1.0 and didn't begin to deliver similar crispness to the Canon lens until it was closed to around F2 or smaller. At first I thought this could be down to focusing errors, as F1.0 can certainly be unforgiving, but I repeated the tests again and again with similar results. The Nocton can certainly bite when closed to F2 or smaller, but at F1.0, don't expect razor sharp details if you're pixel peeping. Vignetting or darkening in the corners is also unsurprisingly apparent on the Nocton at F1.0, albeit something that you can easily improve in post. A thornier issue though is quite evident longitudinal chromatic aberration, or LOCA for short, which means you may see coloured fringing on either side of the plane of focus. This can be particularly evident on say branches against a white sky, or with shiny objects. To be fair, this isn't uncommon on very large aperture lenses, and Voigtlander even mentions it on the info sheets for this lens, but it is something to be aware of. It is also important though to mention that the lens isn't employing any software corrections as far as I'm aware. Instead, you're looking at pure optical results here, and as such, it's a refreshing alternative to the highly corrected lenses, which chase perfection, but often leave you cold as a result. Indeed, once I'd completed my formal tests, I'd just stopped pixel peeping with the lens, and enjoyed it for what it is, flexible standard coverage, with beautiful rendering, and a potential for substantial blurring. I mean, just look at my bokeh blob test here, with the lens positioned close to its minimum focusing distance of 45cm, and with the aperture wide open. Those are textbook blobs right there, smooth, no onion ringing, or outlining to mention, just a lovely bokeh waiting for you at the end of the aperture ring. As you close the aperture, you'll see the effect of the 12-bladed diaphragm system resulting in geometric shapes, which you may or may not like. You're looking at closing it to around F4, before those cat-sized shapes in the corners are rendered as more consistent circles, but to be honest, I just love the look at F1. Note that you may notice some focus shifting as the aperture closes, so it's best to focus the lens after you've set the desired aperture. That bokeh also makes for great-looking portrait images, even if the individual veins on the eyeballs aren't pin sharp. Again,the eye detection option on the R5 makes it quick to get a lock onto the important area of the frame, before a small twist of the focusing ring brings it into focus. My test period also coincided with bonfire season here in my home of Sussex in the UK, and had a great time shooting with it at the annual Lewis Bonfire Parade. Here,people are marching past, lit by flaming torches, making for dramatic photos, but there's little chance of focusing on them in motion with a fully manual lens. It's just a bit too hard. So instead, I'd pre-focus on a position say a couple of metres away, and simply wait for the subject to approach it. Then as they passed through the plane of focus, I'd fire off a burst using the fastest speed the R5 allows with a third-party lens. There were inevitably a lot of misses, but a handful of hits, which at F1 really allowed the main subject to stand out against the parade and the chaos around them. Now,I've used autofocus lenses at this challenging event before, and honestly, I found the manual approach proved almost as effective on hit rate. The lens also proved to be fun for video, where again, the razor-thin depth of field can deliver very dramatic results. Sometimes, I left the lens pre-focused to a fixed distance, and either rocked back and forth to concentrate on certain areas, or in the case of the bonfire parade, simply waited for people to walk through the plane of focus. The rendering and pop of the image also worked well for slow motion, such as the Lewis bonfire itself here, with the flames and embers dancing evocatively in the night. You wouldn't hear me describing many lenses like that. Ultimately, the Voigtlander 50mm f1 Noctune proved to be one of the most satisfying and enjoyable lenses that I've used in a very long time. It may not match the ultimate sharpness or correction of the best mirrorless lenses available, especially wide open, but more than makes up for it with character. Photos from the lens simply look fabulous, with beautiful colours, contrast and rendering. Plus, if you are willing to stop down a little, you can enjoy very crisp results across the frame from f2 onwards. So,pixel peepers, just close it a bit. Perhaps the biggest surprise, though, was how easy and fun it was to use the manual focus. I often approach testing large aperture manual lenses with some trepidation, but the combination of a buttery smooth focusing ring with the electronic aids on bodies like the EOS R5 made the process surprisingly painless and even enjoyable. In an attempt to make things foolproof, the modern photographic experience can often feel a bit detached and clinical. In contrast, the mechanical focusing of the 50mm f1 Noctune felt more engaging than any gear that I've tested in a long time, invariably putting a smile on my face. It's just the right balance of being sufficiently hands-on to feel like you're in control, with enough hand-holding to make it truly easy. And at a time when many new lenses are getting larger and heavier, the Noctune f1 is satisfyingly compact and manageable. This is a lens I'd be truly happy to leave on my camera for most situations, and one that I can highly recommend for those who are left cold by high-tech alternatives. Personally speaking, I would sooner have it than an adapted Zeiss Otis 55 f1.4 or a Canon 50mm f1.2 L, even if both of those models can be sharper, with fewer aberrations when wide open. So let me know what you think. Do you appreciate Voigtlander's approach to a modern 50mm lens here? Or do you prefer the convenience of autofocus and the chance to pixel-peep the sharpest glass, even wide open? Thanks for watching, and thanks again to Robert White for the loan. See you next time. Bye-bye.