First test shots (all handheld)

11.	12.	13.
11. Aperture at f1.4, making this excellent for low light or high shutter speeds (giving it a slang name "fast lens").	12. Aperture at about half, showing the blades do not make a circle, but an octagonal shape, so the bokeh will be only ok.	13. Aperture at f22.
14.	15.	16.
14. Five contact points for communication with the body. All new AF / Alpha lenses have eight contact points. This Minolta 1985 release lens works fine on the Sony A200.	15. Showing focusing window and scale, and the internal lens hood sits flush.	16. The internal lens hood fully extended. You need to manually extend the focusing thread so you can get your thumb nail onto the hood to extend it.

Comments

This lens was bought second hand for 21,000 yen (about USD$200-ish). The Minolta 50mm f1.7 is far cheaper and similarly admired by their users. Though, I think I can guess the differences are to do with slight Chromatic Aberration, slight barrel distortion, sharpness, and bokeh quality.

Specifications: Its minimum focusing distance is 45cm [1], and infinity is just beyond the 3m range, though despite the short focusing distance, it's not a macro (see here for more information on macros). This particular lens is of the 1985 release, the first AF batch from Minolta, so it has 7 aperture blades, but not circular [1]. Circular aperture blades makes for excellent bokeh, a feature of later model top-level Minolta lenses. On this version of the 50mm the filter screw size is 49mm, 6mm smaller than other standard lenses in the Minolta / Sony line up, more said below in "Filters". Both this and the 28mm 2.8 are almost identical in size, shape, and appearance, as well as filter thread. They are also quite small and light, so they back quite nicely in any camera bag, taking the space one regular zoom lens would take. It's fast to focus, see more in "Flexibility".

Made for film: As said, this lens was made for 35mm film format, which means that the surface isn't 'optimised' to transmit light and colour so well to a digital sensor. The updated Sony lenses do have a coating which improves colour transmission to the sensor. Also, this lens will work on Full Format sensors, with normal 50mm perspective. Though, on an APS-C sensor (28mm sized frame), it has an equivalent of about 75mm, giving almost approximately the normal portrait lens focal length [2]. It also takes advantage of the "sweet spot" of the APS-C sensor, so any vignetting is not present, though it may be present on a full frame sensor and film.

Focusing: This is also considered as it can be taken as a sign of build quality. The manual focusing ring is firm, not tight, and can allow for very fine manual focusing. Also, in auto focus mode, it can be pretty quick.

Money Talks: The f1.7 is cheaper, but not as good as this 1.4, apparently [2]. Many folks love the f1.7, but not having tested it, I can't say, but can only acknowledge it. I chose the f1.4 because I often need a critically excellent lens, at a budget price (a second hand Minolta 28-70mm G in Japan can begin at three times the price of this 50mm 1.4). Considering the quality, and the price, it to me makes for an excellent buy.

Flexibility: Being 50mm, it's in the midrange of focal length that you'd need in normal situations. If you need to zoom in, walk forward; to zoom out, walk backwards. Low tech, but you get the exercise. However, for street parades and festivals where there is a crowd line, having the ability to zoom is missed, however, you should be using a 70-200mm zoom in that case, anyway. As said, it's small, light, and packs well with wider-angle counterparts.

Filters: The front screw mount element does not rotate, which is great for mounting filters, especially swiveling polarisers. The manual focus ring is rather narrow, and your fingers could rub against any Lee or Cokin filters. The front screw mount is 49mm [1], where most other front elements are 55mm in the Sony / Minolta range, this means you'd have to have either adapters or a second range of filters.

Quality Controls: It's a great little lens. It can be wonderfully sharp, but not at f1.4, as seen in picture 1, above. Having the extra f stops does allow for great low light ability, as seen in picture 2. However, it was made for film, but now it seems the 24mp Sony A900 can now out resolve film, and so the Minolta 50mm 1.4 seems to lose its legendary crispness [3].

Final Rating: Well, what does a number mean, anyway? I've learnt it's limitations, its weaknesses and strengths, and feel more confident in knowing when to use this lens, and when not. Despite that it apparently tends to be a bit weak on the A900, I still love it.

References

[1] Mhohner.de. Accessed 9 Sept 2009. http://www.mhohner.de/sony-minolta/onelens/af50f14

[2] PhotoZone.de. Accessed 9 Sept 2009. http://www.photozone.de/sony-alpha-aps-c-lens-tests/383-minolta_50_17

[3] Stef, "A900 - Lens IQ Sample Images and Discussion". Accessed 9 Sept 2009. http://www.dynaxdigital.com/index.php/topic,8350.msg66973.html#msg66973