Canon 50mm f/1.4 I

Canon 50mm f/1.4 I

Often nicknamed the "Japanese Summilux," the Canon 50mm f/1.4 in Leica thread mount is the most popular of Canon's fast rangefinder fifties, sitting below the exotic 50mm f/0.95 and 50mm f/1.2 but outselling both on the strength of its compact size, balanced rendering, and modest cost [1][3]. Sources note that Canon's f/1.4 predates Leica's first Summilux by roughly two years, so the popular nickname, while a tribute to its quality, slightly understates that the Canon was not a copy of the German lens [1]. Its optical design is a six-element, four-group Double Gauss (Planar or Biotar type), notable because most contemporary f/1.4 fifties of the 1950s and 1960s used seven elements to reach comparable performance; the Canon achieved its results with a simpler formula, helped by then-new high-refractive optical glass and building on the earlier Canon 50mm f/1.8 [2].

The barrel is all metal with engraved, paint-filled markings, and surviving examples generally hold up well mechanically [3]. The aperture ring has distinct, evenly spaced full-stop clicks running to f/22, and the nine inwardly curved blades take on a "ninja-star" outline when stopped down [1][3]. Focus travels roughly 180 degrees to a 1 metre minimum, the front element does not rotate, and the barrel carries an infinity lock of the spring-loaded type seen on some older Leica lenses [3]. As an M39 lens it mounts directly on Barnack and other LTM bodies and couples to the rangefinder; with an M39-to-M adapter it works on Leica M cameras, and with appropriate adapters it is widely used on mirrorless digital cameras, including via the Techart LM-EA9 autofocus adapter [3]. Reviewers note that two-tone chrome and black finish and the unusual 48mm filter thread [3].

Two versions share the same optical formula and differ mainly in their distance scale. The first version carries a smaller scale marked in either metres or feet, while the second version, introduced in 1959, shows both metres and feet together [1][2]. Beyond that the differences are described as essentially cosmetic [1].

Optical qualities

Rendering For its era the lens is regarded as relatively contrasty while retaining a degree of spherical-aberration "glow" wide open, a combination that gives the subject separation its admirers value [1][3]. Sharpness is usable at f/1.4 and improves on stopping down [1][3].

Sharpness At portrait distances around 1.5 metres the lens is soft but usable at f/1.4, with contrast rising noticeably by f/2.0 [3]. At infinity the whole frame is soft wide open; the centre becomes good by about f/2.8 while the midframe lags due to field curvature, and the corners only reach decent performance around f/11 [3]. It is therefore better suited to portraits and general use than to demanding infinity landscape or architecture work [3].

Bokeh and transitions Background blur is often described as smooth and pleasing at mid distances, but complex or high-contrast backgrounds can render busy, with outlining and double-edged structures and some swirl toward the corners [1][3]. Strong optical vignetting truncates out-of-focus highlights into triangular shapes near the edges [3].

Flare resistance Typical of a 1957 single-coated design, flare control is limited: ghosts and even a ring flare can appear wide open, improving when stopped down, and veiling flare is possible with the sun outside the frame [3].

Distortion and vignetting Distortion is mild and fairly uniform, correcting easily [3]. Light falloff is heavy at f/1.4, around 3.4 EV, but drops quickly on stopping down and becomes very low from f/5.6 [3].

Aberrations Coma is strong wide open and largely clears only around f/5.6, and longitudinal chromatic aberration shows green and magenta outlining with noticeable purple fringing near the focal plane, mostly gone by f/2.8; lateral CA is low to moderate [3].

History

Development and Launch The lens was developed as the top of Canon's standard rangefinder fifty line, one of two f/1.4 entries among the many 50mm rangefinder lenses Canon produced between the mid-1940s and mid-1960s [3]. Some references, including Canon's own museum, give a 1957 release, while others place its practical introduction nearer 1959, noting that the V/L cameras of 1957 are more often seen with the 50mm f/1.2 and that a 1958 sales brochure omits the f/1.4 entirely [1][2]. The lens is most commonly encountered on the Canon 7 of 1961 and sometimes on the Canon P [2].

Production Evolution Both versions used the same six-element optical layout, with the change between them being the distance scale, single-unit metres or feet on the first version and combined metres and feet on the second from 1959 onward [1][2]. After Canon left rangefinder production in the early 1970s, the company concentrated on SLRs [1].

Special editions No widely documented factory special editions, military variants, or rare finishes are recorded for this lens in the consulted sources; it is generally found in its standard chrome-and-black trim [1][3].

Collector Notes Reported finish is a black, white, and chrome combination, with a chrome body and black focus-ring and front sections [1]. The matching factory hood is identified as the S-50, with an all-black version said to have been made for the Japanese market [1]. As with many Canon LTM lenses, age-related faults are common, including fungus, balsam separation, haze, and oily aperture blades, some not easy to spot, so buying unseen carries risk [3]. The unusual 48mm filter thread and the 1 metre minimum focus are practical points worth noting before purchase [3]. Measured weights cited by reviewers vary slightly around the mid-240-gram range [3].

Sources

• [1] Casual Photophile. The Canon 50mm f/1.4 LTM, Don't Call it the Japanese Summilux. https://casualphotophile.com/2021/03/22/canon-50mm-f-1-4-ltm-review/
• [2] Klassik-Cameras (Frank Mechelhoff). Canon Rangefinder Cameras and Lenses of the 1950's and 1960's: The 50mm's. http://www.klassik-cameras.de/Canon_Standards.html
• [3] Phillip Reeve (BastianK). Review: Canon 50mm 1.4 LTM. https://phillipreeve.net/blog/review-canon-50mm-1-4-ltm/