![]() I just haven’t tested them yet.Bokeh effect Mode or Background blur can easily achieve in the dual camera smartphones such as Honor 8 pro, Samsung Note8, Oneplus 5, iPhone 7, or 8 and so on. I’ve not tested all of the 50mm lenses in the world, so there are bound to be some lenses that might produce creamier bokeh. With a mind-bending maximum aperture that apparently out-resolves the human eye, this has incredibly shallow depth-of-field when shot wide open. You buy this lens to shoot it wide-open and you won’t be disappointed. When you do get it properly in-focus, you get some classy performance, even when focused at close distance thanks to the rear floating element. Focusing it accurately with the rangefinder isn’t an easy task. With a mind-bendingly ridiculous maximum aperture that apparently out-resolves the human eye (whatever that actually means), this has incredibly shallow depth-of-field when shot wide open. When f/1.0 isn’t enough, there’s the Leica Noctilux. ![]() ![]() Undoubtedly one of the craziest lenses ever made. Taken with Canon 50mm f/1.2L 1.Leica Noctilux-M 50mm f/0.95 ASPH And the Canon 50mm f/1.2 is one L-of-a lens (alright, no more lame puns). Both lenses are far from perfect when it comes to image quality but this is about bokeh. An ultimate bokeh pairing would be this and the 85mm f/1.2L. Monster weight, monster size, monster bokeh. Taken with Leica Summilux-M 50mm 2.Canon 50mm f/1.2L Perhaps not as much quirky, swirly bokeh as the 1st version of the 50mm Summilux but it’s far easier finding a ASPH without mould. I’ve owned them all and I think the new ‘lux is the best: it’s incredibly sharp but the bokeh just melts away. Some might argue that the pre-ASPH Summilux has better bokeh but they’d be wrong. But if you bought a Leica M then you’re less likely to be thrifty with purchasing pricey fifties. The Summilux is as good as is it is expensive. Taken with Sigma 50mm f/1.4 ART 3.Leica Summilux-M 50mm f/1.4 ASPH If you can overlook the cheesy build quality you’ll be reward with some sumptiously-rich bokeh. It’s unreasonably large for a fast-fifty and the Sigma 50 feels a little cheap but it’s still a phenomenal lens. Taken with Zeiss Loxia 50mm f/2 Planar 4.Sigma 50mm f/1.4 ART A great lens to use with the Sony a7 series. The 50mm f/1.4 Planars for DSLRs have hugely disappointing bokeh when shot wide-open, but this Loxia lens renders luscious bokeh at f/2. The Zeiss Loxia 50mm f/2 Planar is superb. ![]() We’ve handled a great number of 50mm lenses, some good, some bad, some ugly. In photography when one is talking about good bokeh it’s to do with how pleasing the out of focus elements look, it is not defined by how shallow the depth-of-field is. In photography when one is talking about good bokeh it’s to do with how pleasing the out of focus elements look, it is not defined by how shallow the depth-of-field is.In photography when one is talking about good bokeh it’s to do with how pleasing the out of focus elements look, it is not defined by how shallow the depth-of-field is. To continue with the tenuous cheese metaphor, bokeh is either smooth or rough, a bit like how cheese is either creamy or…erm…less creamy, and the bokeh with these lenses are super creamy.įor those who don’t know what bokeh is (let alone “bokehlicious”) – bokeh is derived from a Japanese word that mean’s “blur”, “haze” or can mean “moron”. But these bokehlicious lenses aren’t so much about which one has better bokeh, it’s about 5 lenses that appear to have the softest bokeh around. What you find incredibly palatable may spontaneously induce a dry-heave with another. Talking about bokeh and trying to define what is “better bokeh” is like trying to pick the ultimate cheese.
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