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In practical terms all of these lenses is sharp in the center where we need it, at every aperture. The LEICA SUMMMILUX-M 50mm f/1.4 ASPH and this lens are particularly sharp in the center at f/1.4. however all these f/1.4 lenses become softer towards the sides in the lab at f/1.4. Much of this can be caused by field curvature.
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. It is recommended to have a look at this article first to get an idea how this brightness graph works. optical vignetting The Zeiss Loxia 50mm 2.0 was the first manual focus 50mm lens for E-mount cameras. In some areas it shows a better performance, but I find it a bit overpriced these days. If you want to spend that much money on a manual focus 50mm f/2.0 lens better have a look at the Voigtländer 50mm 2.0 Apo-Lanthar E.
Then we got autofocus SLRs and later DSLRs, and all those focus aids were gone. We did get a brighter viewfinder, but focusing meant turning the ring and thinking which way made the image look sharper. That gets very hard very fast beyond a certain age. So given that this was what viewfinders were like, it's no wonder that MF lenses were few, and the AF lenses had sloppy rings to make things easier for focus motors. It comes with a screw-on metal lens cap which produces an insane amount of noise when you drop it on concrete while trying to be discrete in a quiet Japanese neighborhood. If you find you really like this focal length, the Fujifilm XF 50mm f/2 R WR may be the next step, or upgrade, in your photography gear journey. I have both versions of the KamLan 50mm F1.1. The original (Mark I) is my favorite for everyday shooting. It is small and light, and feels right on my X-E1 camera. I bought it after I bought the Mark II, and I'm glad I did. It looks and feels 95% the same as my LEICA Lenses, and only coast about 8% as much as the LEICA SUMMMILUX-M 50mm f/1.4 ASPH it can replace for people who actually shoot.
It appeared to be in focus, and the focus peaking indicators on my Z6 II would say that it was, but I often saw that the focus was off in the final image. And this wasn’t just at f2; I saw this all the way until f4 even. With every other manual focus lens I’ve used on this camera, even at f1.4, the focus peaking was accurate. Even when the depth of field was shallow, it was always accurate. If it was off, it was either because the subject had moved out of the focal plane or I did. Now at f2, I was willing to blame myself for not being steady enough to nail the focus. But when there was sufficient focal range at apertures like f4, I was stumped over why the focus would be off.
Dustin Abbott
Speaking of the aperture, this lens has 10 aperture blades. They’re double curved, looking a little like the Summilux 50mm f/1.4 aperture blades. It makes for nice looking bokeh even stopped down, but around f/2.8-5.6 the out of focus areas will sometimes have a bit of uneven edges on the specular highlights. When shooting objects on the same focal plane, the TTArtisan doesn’t really sharpen its corners up until about f5.6. One advantage of using L mount cameras + TTArtisan 50mm f0.95 lens is you can use the 7Artisans close focus Leica M-L adapter. This lets you get in closer than the standard 0.7m minimum focus distance (perhaps to 0.3m). This adapter is also fantastic when used with vintage rangefinder lenses that are limited to 1m close focus distance. TTArtisan 50mm f0.95 + Leica SL + 7Artisans M-L close focus adapter
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