The optical-, as well as the build quality of the lenses from both companies are amazing. It’s getting better and better. 7artisans makes incredibly well built lenses, of which I currently own the M-mount 75mm f/1.25 as well as the new X-mount 35mm f/0.95 (review here). I will only cover the really obvious alternatives in detail here, but if you ended up here by accident and you are looking for an AF lens may have a look at our Guide to 50mm lenses for Sony E-mount. E-mount Likewise ignore the crazy halo circle effect at f/1.4. I've only seen that in this one image, and it's a chance hitting of some internal part that led to this big reflective flare circle. At f/11 you still get good across frame quality, so I wouldn’t mind using this lens for landscape/architecture scenes with fine details.

Le Samyang a des ronds de Bokeh plus réguliers quand l’ouverture se ferme (ils restent circulaires)

Dustin Abbott

The Samyang 45mm 1.8 is the lightest lens on this list even though it is noticeably bigger than this TTArtisan lens. It shares the issues with corner sharpness at infinity but not with flare resistance and Coma. Instead the loCA correction is noticeably worse and the bokeh plagued by strong onion rings. After doing more reading I see there is also a Leica L mount TTArtisan 50mm f0.95 lens. Again this is APS-C but this is I think the fastest L mount lens you can buy for you Leica CL, TL , TL2 etc. This lens will fit my Leica SL and Lumix S5 L mount cameras but see below with regards to the limitations of APS-C lenses on full frame cameras. APS-C TTArtisan 50mm f0.95 I didn't have my LEICA SUMMMILUX-M 50mm f/1.4 ASPH handy for a direct comparison, but as I recall this TTArtisan lens is about the same. The lens is fully manual, featuring a dedicated aperture ring as well as a focus ring with distance markings. The Micro Four Thirds and L-mount version measures 60mm (2.4”) in diameter by 35mm (1.38”) long and weighs around 190g. the Canon RF, Canon EOS M, Fujifilm X, Nikon Z and Sony E mount versions are slightly larger and heavier, depending on what mount you go with. On APS-C cameras, this will equate to roughly a 75mm lens with the exception of MFT, where it'll be a 100mm full-frame equivalent lens. At f/2.0 we see a general softness caused by spherical aberration all over the frame which clears up on stopping down to f/2.8.

Le Kamlan est le champion de la quantité de flou d’arrière plan avec son ouverture de F1.1 et sa distance de mise au point de 40cm Most of the cheaper lenses like the Brightin Star 50mm f1.4 and Pergear 50mm f1.8 are not as fast and still don’t perform this well, but I would say they have a bit more character, better micro-contrast, more interesting flaring.

Usually evaluating the flare resistance is a complex matter since you can get any lens to look bad if you push it hard enough and a slight change of scenario can affect results a lot, but here the situation is actually not that complex. Sun outside frame Sony A7III | TTArtisan 50mm 2.0 | f/2.0 Indeed this 50mm 2.0 is a bit softer due to undercorrected spherical aberration, stopping down to f/2.8 improves the situation significantly. Flare resistance Sony A7III | TTArtisan 50mm 2.0 | f/2.0 If this 1,200×900 pixel crop is about 6" (15cm) wide on your screen, the complete image would print at 17⅓×26" (44×66 cm) at this same magnification. The midframe starts to look really good at f/4.0, but the corners never reach that level – not that unusual for a pancake lens with low element count and no aspherical elements. At medium distances the bokeh over most of the frame still looks appealing and undistracting, only in the corners we can see some deteoriations (mostly caused by Coma probably) that lead to highlights taking on trapezoidal shapes.