This latest Samyang 85mm F1.4 AS IF UMC Aspherical Lenses also feature new UMC (Ultra Multi Coatings) which aid the very high level of light transmission, and adds further resistance to flare and ghosting. The 85mm F1.4 lenses are manual focus primes, designed to give exceptional results at wide apertures. At F1.4 great images can be obtained, which is perfect for portraiture and low light shooting. Lateral (or transverse) CA (Chromatic Aberration) refers to the unequal magnification of all colors in the spectrum. The Canon lens uses 82mm filters vs. 77mm and features a focus limiter switch, control ring, better AF system, and better build quality. In the image quality comparison, the Rokinon lens appears slightly sharper in the center of the frame, A fast 85mm lens is a wonderful beast, the viewfinder image showing superb clarity and snapping very cleanly in and out of focus. There is one small point that is inherent in the overall design of the Canon R system and that is that when the camera/lens combination is placed on a flat surface it wobbles from side to side. This means that using such a surface as a camera support is not an effective technique. It is a consequence of the small size of the camera body and the very wide, chunky barrel of the lens.

The color separation showing at wider apertures is rather strong, and the out-of-focus specular highlight rendering is not great. The spherical aberration color halo shows little size change as the lens is defocused, and stopping down one to two stops generally removes this aberration.An aperture control motor and CPU chip is installed within 85mm F1.4 AS UMC Canon AE lens to assist Auto Exposure(AE) for Canon cameras. The aperture can be controlled from camera body thanks to the motor and chip. Also the appropriate focus is guided with indicator light. Another area that impressed me about this lens was the image quality. This lens also has character to it– something most modern lenses are missing. The best standpoint from which to appreciate the full view of a subject is the distance of the diagonal length of the subject frame. This wider angle is superior to standing closer at a 50 degree angle to get a more detailed view. Astigmatism is seen as points of light spreading into a line, either sagittal (radiating from the center of the image) or meridional (tangential, perpendicular to sagittal).

MPB puts photo and video kit into more hands, more sustainably. Every month, visual storytellers sell more than 20,000 cameras and lenses to MPB. Choose used and get affordable access to kit that doesn’t cost the earth. The AF 85mm F1.4 RF’s optical design minimizes optical aberrations while maximizing the image quality from corner to corner. Its detailed rendering results in exceptional image quality, even on the latest high-resolution full-frame cameras; and its bright maximum aperture means you can enjoy this excellent performance even when shooting indoors or in darker conditions. The Rokinon AF 85mm F1.4 Lens vs. Canon RF 85mm F2 Macro IS STM Lens comparison shows the Canon lens modestly smaller and slightly lighter. Above: And finally, let’s compare them all at their maximum apertures, showing the greatest potential for blob size without the aperture blades getting in the way. While all three share similar rendering styles as well as oval-shaped blobs in the corners, it’s unsurprisingly the RF 1.2 on the left that’s delivering the largest blobs when wide-open. I expected the f2 and 1.8 models to be very similar here, but the older EF model is delivering visibly bigger blobs. Again do you have a preference? Here is another example. I have the 24-105 f4. It is a great general purpose lens. However, I run into low light situations often, and I wish I had the 24-70 f2.8 instead. However, I can't exactly justify having them both. So... I already know that eventually I will own the 28-70 f2 as well. I was just waiting for an IBIS body, and I have other lens buying priorities.Above: The rendering of a lens designed for portraiture is very important, so in my next test I’m going to compare the three lenses for bokeh blobs. For this test I positioned the camera at the closest distance that all three lenses could focus on the star ornament. Both the RF 85 1.2 and old EF 85 1.8 share a similar minimum distance of 85cm, so that’s what I’ve used here – oh and I manually focused the EF lens here to be sure. The RF 85mm f2 can get much closer, focusing down to 35cm and I’ll be showing much more of that in a moment. The Rokinon AF 85mm F1.4 Lens vs. Sigma 85mm f/1.4 DG DN Art Lens comparison shows the Sigma very slightly smaller and heavier.

This lens is fully weather-sealed to help protect it against dust, light rain and snow, a commendable design decision given the low price tag that it commands. Above: In the spirit of fairness, here’s all three again, all closed to f2.8 to compare the impact of aperture blades. Here the octagonal shape of the old EF 85mm’s aperture blades becomes quite apparent, while the RF 1.2’s nine blades are a little more discrete, but impressively I’d say the RF f2 retains the roundest shape. Lateral chromatic aberration is reasonably well controlled at f/1.4 but can be rather noticeable at narrower apertures. It’s rather worse than in most competing 85mm prime lenses. Distortion: 1.16 This lens produced very few flare effects even at narrow apertures in our standard sun in the corner of the frame flare test.

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The Canon RF mount version of the Rokinon AF 85mm F1.4 Lens is compatible with all Canon EOS R-series cameras. The aperture remains fairly well-rounded when stopping down a little, thanks to the 9-blade diaphragm (Image credit: Matthew Richards) Samyang MF 85mm f/1.4: Build and Handling Samyang has already set the bar high with its manual-focus MF 85mm f/1.4 RF for the Canon full-frame mirrorless mount, so the AF lens is already facing a bit of an in-house challenge. It doesn’t disappoint, especially in the context of the affordability factor. Bright light reflecting off lens elements' surfaces may cause flare and ghosting, resulting in reduced contrast and sometimes interesting, usually destructive visual artifacts.

Above: Next let’s have a look at image stabilisation. Canon claims the IS alone is good for five stops, enhanced to eight alongside IBIS on the R5 or R6. On the R5 I managed four to six stops in practice. I also tried it on the RP which doesn’t have IBIS and managed three stops with optical IS alone. For comparison, with the RF 85mm f1.2L on the R5, I achieved four stops of compensation using IBIS alone, but needed a fast shutter on the unstabilised RP. As for the EF 85mm f1.8, I achieved four stops of compensation with the R5, and of course again needed a fast shutter on the RP. So while I experienced less compensation than quoted for the RF 85mm f2, the built-in IS still allowed it to deliver steadier results than the two unstabilised lenses whether using a body with IBIS or not. The AF 85mm F1.4 RF features a total of 11 glass elements; the ED (Extra-Low Dispersion) elements have been incorporated into its precise achromatic design. This design corrects chromatic aberrations, and creates quality results, with peripheral softness also being well-controlled. Most modern lenses have correction profiles available (including in-camera), and distortion can easily be removed using these. The 77mm front filter thread matches many of the popular RF lens offerings so it will allow you to swap polarizers or variable ND filters easily. And you also have to see that the sony 85 is a great lens for the price.The sony is even cheaper than a tamron 85 1.8. If you compare the sony/canon 85 1.4 with the zeiss 85 1.8 in terms of price, then it's much easier to justify the 1.4 price difference. If I had to choose between the Zeiss 85 1.8 or the Sony 85 1.4, then it would be a much harder decision.By f/2, the corner shading reduces significantly to about 2 stops, to under one stop by f/2.8, and to under 0.5 stops at f/4. Its complex optical construction is comprised of 11 glass elements, among which are special High Refractive (HR) glass, which successfully allows both a compact size and high image resolution. The achromatic design, incorporating Extra-Low Dispersion (ED) glass, effectively corrects chromatic aberrations and minimizes peripheral softness, creating lively images in vivid colours.