The Not-So-Nifty Fifty Canon FD 50mm f/1.8 - The Plastic Fantastic That… Isn’t So Fantastic

Cost: $15 (average cost around $20)

Every camera system has its entry-level “nifty fifty” — the lightweight, affordable, do-it-all 50mm that ends up glued to every beginner’s camera. For Canon’s FD system, that role went to the Canon FD 50mm f/1.8. It was the kit lens of choice for millions of Canon AE-1s and A-1s, and can still be found plantifull at flea markets, thrift stores, and camera bags.

On paper, it’s everything you could want: compact, bright, and cheap. In practice… well, let’s just say it’s a reminder that even Canon had bad days.

Build and Handling

There are several versions of this lens, from the early chrome-nose metal one to the later “New FD” model made mostly of plastic. The newer one is feather-light (around 170 grams) and about as confidence-inspiring as a disposable coffee cup. But credit where it’s due — Canon knew how to design compact gear. It balances nicely on both film and mirrorless bodies, and the focus ring, while a bit narrow, is smooth and reasonably precise.

The aperture ring clicks through half stops, the mount mechanism is reliable, and mechanically it still feels functional decades later. It’s not luxurious, but it gets the job done.

Optical Design

The FD 50mm f/1.8 uses a 6-element, 4-group double-Gauss design — a classic formula found in countless standard lenses. It’s simple, effective, and cheap to produce. Unfortunately, this particular version is a lesson in how design elegance doesn’t automatically translate to great results.

Optical Performance

At f/1.8, the lens is visibly soft across the frame. The center is mushy, contrast is low, and the edges look like they’ve been smeared with a faint layer of Vaseline. Stopping down to f/2.8 or f/4 brings some improvement to the center, but the corners never quite catch up — even at f/8, edge sharpness remains more of a rumor than a reality. If you’re after clinical sharpness, this isn’t it. But if you like a bit of “vintage glow” (let’s call it character), it has plenty of that.

On Chromatic Aberration, here’s where things get colorful — literally. High-contrast edges, especially toward the borders, show purple and green fringing that would make a peacock blush. Both longitudinal and lateral chromatic aberration are present and persistent across all apertures. It’s fixable in post, but not subtle.

At f/1.8, vignetting is heavy — around 1.5 stops of darkening in the corners. By f/4, it’s better, but never disappears entirely. Depending on your artistic sensibilities, you might call it “moody” or “annoying.”

Color rendition is… fine. Slightly warm, typical Canon tones, but nothing spectacular. Contrast is low wide open and improves when stopped down. In digital post-processing, a gentle contrast boost and some sharpening can bring life back to the images, but it’s not a lens that naturally pops.

With just five straight aperture blades, the bokeh isn’t exactly dreamy. Highlights quickly turn pentagonal when stopped down, and the out-of-focus areas can get a little busy. At wider apertures, the rendering has that hazy, slightly glowing look that screams “1970s lens test.”

Real-World Use

Adapting the FD 50mm f/1.8 to digital is easy, and the small size makes it a great companion for mirrorless cameras. It’s light, discreet, and easy to carry anywhere. The challenge is that manual focusing is a bit of a tease: even when you think you’ve nailed it, the softness makes it hard to be sure.

For portraits, it can lend a flattering, gentle look (translation: it hides wrinkles and fine detail). For landscapes or architecture, however, you’ll likely be frustrated by the lack of definition and those soft edges that never quite sharpen up.

Verdict

The Canon FD 50mm f/1.8 is historically important, mechanically fine, and optically underwhelming. It’s one of the weakest performers in the FD lineup, but also one of the most common and affordable. For beginners learning manual focus or for photographers chasing that authentic “old lens softness,” it can still be fun.

But if you’re hoping for a hidden gem, this isn’t it. It’s more of a gentle reminder that not every piece of vintage glass is a treasure.

Pros:

• Extremely affordable and easy to find
• Compact and lightweight
• Smooth focusing and solid mechanics

Cons:

• Soft across all apertures
• Strong chromatic aberration
• Heavy vignetting
• Mediocre contrast and rendering

Final Thoughts:

A lens with more nostalgia than performance. It’s cheap, cheerful, and full of “character” — if by character you mean soft corners, purple fringes, and a built-in vignette.

A reminder that sometimes ‘vintage charm’ is just poor optics in disguise.

Lens Specification:
Focal Length: 50mm
Maximum Aperture: F1.8
Minimum Aperture: F22
Image Format: 35mm
Lens Mount: Canon FD

Optics: 6 elements, 4 groups
Blades: 5
Focusing: Manual
Minimum Focus: 0.6m
Filter Size: 52mm
Weight: 170g
Length: 35-40mm
Production: 1979–1990
Serial Number: 8976953
Made in: Japan

More information on Canon Inc.

Samples:

1/500 sec. F1.8 50mm ISO400 - Handheld

1/500 F1.8 sec. 50mm ISO400 - Handheld

1/800 sec. F1.8 50mm ISO100 - Handheld

1/400 sec.  F1.8 50mm ISO400 - Handheld - Cropped

1/160 sec.  F1.8 50mm ISO125 - Handheld

1/250 sec.  F8 50mm ISO100 - Handheld

1/8000 sec.  F8 50mm ISO100 - Handheld

1/800 sec.  F8 50mm ISO100 - Handheld

A Cheeky Ode to the Minolta MD Rokkor-X 45mm f/2: The Pancake King of Vintage Glass

 Cost: $35 (average cost around $60)

Ah, the Minolta MD Rokkor-X 45mm f/2—a name as grand as the treasures it offers. This lens, often affectionately dubbed a "pancake lens" for its delightful thinness, is a prime example of the magic Minolta packed into their manual-focus marvels.

First off, let’s talk ergonomics. The Rokkor-X 45mm f/2 is light as a feather and compact enough to slip into your pocket (yes, even if your pocket already has a few lint-covered mints). Its metal barrel gives it a reassuringly solid feel, though it’s not so heavy as to throw off your shooting game. The focus ring is buttery smooth, with just enough resistance to make you feel like a master craftsman as you fine-tune your subject into perfect clarity.

Manual Focus: A Joy, Not a Chore
Manual focus isn’t everyone’s cup of tea, but the Rokkor-X makes it feel less like a chore and more like a slow dance. With a short throw and well-marked distance scale, focusing is intuitive, precise, and—dare I say—fun. The tactile feedback is so satisfying that even beginners can nail their shots with ease. Pair this with focus high lighting on a digital camera, and you’ll be snapping sharp images faster than you can say "aperture priority."

Optical Performance: Small But Mighty
Now, let’s get to the juicy part: image quality. This little lens punches well above its weight class. It’s sharp—razor-sharp—right from f/2, though stopping down to f/4 or f/5.6 will have you questioning whether Minolta secretly dabbled in sorcery. The resolution is fantastic, rendering every whisker on your cat or every pore in your selfie (no judgment here) with crystal clarity.

Colors? Oh, the colors. Rich, vibrant, and oh-so-pleasing, with just a hint of warmth that flatters skin tones and makes landscapes pop. And the contrast? Chef’s kiss. The Rokkor-X delivers images with depth and dimensionality, making it a favorite among those who value that elusive “3D pop” in their photos.

Bokeh and Flare: The Bonus Rounds
At f/2, the bokeh is smooth, creamy, and just a tad whimsical—perfect for portraits or artsy close-ups. While it doesn’t have the wild, swirling character of some vintage lenses, its background blur is elegant and unobtrusive. It does flare when shooting into the sun (vintage glass loves a good flare), but hey, who doesn’t like a bit of cinematic drama now and then?

The Verdict
The Minolta MD Rokkor-X 45mm f/2 is a gem in the world of vintage lenses. It’s sharp, compact, and oozing with charm, perfect for both seasoned manual-focus aficionados and newcomers looking to dip their toes into the analog waters. Whether you’re shooting portraits, landscapes, or just documenting your brunch, this lens delivers stunning results with minimal effort.

For the price of a dinner, you can own a piece of photographic history that makes your modern lenses look downright soulless. So, dust off your Minolta camera (or grab an adapter for your mirrorless setup) and give this pancake some love. You won’t regret it.

Lens Specification:
Focal Length: 24mm
Maximum Aperture: F2
Minimum Aperture: F18
Image Format: 35mm
Lens Mount: Minolta MD

Optics: 6 elements, 5 groups
Blades: 5
Focusing: Manual
Minimum Focus: 0.6m
Filter Size: 49mm
Weight: 125g
Length: 41mm
Production: started in 1978
Serial Number: 2456934
Made in: Japan

More information on Minolta

Samples:

1/160 sec. 45mm ISO400 - Handheld

1/160 sec. 45mm ISO500 - Handheld

1/160 sec. 45mm ISO1600 - Handheld

1/160 sec. 45mm ISO400 - Handheld

1/160 sec. 45mm ISO3200 - Handheld

1/100sec. 45mm ISO6400 - Handheld

1/160 sec. 45mm ISO1250 - Handheld

1/160 sec. 45mm ISO800 - Handheld

1/160 sec. 45mm ISO3200 - Handheld

1/160 sec. 45mm ISO3200 - Handheld

Sources: 
https://allphotolenses.com/lenses/item/c_529.html

Other good reviews and samples of this lens:

$15 Lens???? Is it any good? -- Minolta Rokkor 45mm F2

Minolta MD Rokkor X 45mm F/2 Lens Review - Casual Photophile

Legacy Lens Review: Minolta Rokkor-X 45mm f2 - The Noisy Shutter

Minolta Rokkor 45mm F2 - THE BEST MINOLTA LENS! — KingJvpesPhoto

Minolta MD Rokkor-X 45mm f2 (Minolta MD-mount) - PentaxForums.com

Minolta MD Rokkor 45mm f2.0 photos on Flickr | Flickr

Far reach but disappointing image quality: Soligor C/D mirror 500mm F8

 Cost: $35 (average cost around $50)

As an amateur photographer interested in wildlife and bird photography, I recently got my hands on the Soligor 500mm f/8 mirror lens—a budget-friendly option that offers an intriguing experience, to say the least. While it opens up creative possibilities, the lens presents its fair share of challenges that may limit its appeal to more serious photographers.

The Soligor 500mm f/8 impresses with its solid, metal build that feels durable despite being lightweight. Its compact, catadioptric design—combining lenses and mirrors—makes it more portable than traditional telephoto lenses, a huge plus for outdoor enthusiasts. However, its wide barrel can feel cumbersome to handle during extended shoots. The focus ring, though smooth to operate, can be a bit stiff, adding to the overall challenge of using this lens.

Optically, the Soligor 500mm f/8 is a bit of a mixed performer. The fixed f/8 aperture means there’s no flexibility to adjust the depth of field, making it harder to adapt to different lighting conditions. This can be limiting, as you’re often forced to adjust ISO or shutter speed instead, which can be a headache when trying to capture fleeting moments, especially with wildlife.

Sharpness is another point of contention. In bright daylight, the lens can produce decent images, especially when shooting away from the sun, but when you shoot slightly in the direction of the sun, it struggles. Images often come out soft and lack the crisp details you might expect from a telephoto lens, giving photos a somewhat flat, washed-out appearance. However, with some post-processing in software like Photoshop—boosting contrast, adjusting sharpness, and playing with levels—it’s possible to bring out some of the detail that the lens struggles to capture naturally.

One of the more polarizing aspects of this lens is its distinctive donut-shaped bokeh, courtesy of its mirror-based, catadioptric design. In certain situations, like capturing wildlife against a blurred background, this effect can add an artistic flair to images. However, it can also become distracting when out-of-focus elements dominate the scene. This is a characteristic that some will appreciate for its uniqueness, while others may find it a hindrance.

The manual focus mechanism is both a challenge and a learning opportunity. The Soligor's narrow depth of field requires precision, which can be difficult to achieve with fast-moving subjects like birds in flight. Dialing in focus often requires patience and practice, with many near-misses as subjects dart out of the frame. For stationary subjects, the manual focus can be manageable, but it’s undeniably more frustrating compared to an autofocus lens, especially when shooting unpredictable wildlife.

For final thoughts, the Soligor 500mm f/8 mirror lens is a quirky, budget-friendly option for those looking to explore long telephoto photography without a significant financial investment. It lacks the flexibility and sharpness of more conventional telephoto lenses, and the fixed aperture can be a limiting factor in varying conditions. However, it offers a unique shooting experience that can help develop your skills, especially in terms of manual focusing. If you're willing to spend time in post-processing and can embrace the quirks, it can be a fun addition to your kit. But if you’re serious about capturing consistently sharp, vibrant images, you might soon find yourself wishing for a lens with a bit more precision and control. I therefore decided to not keep this lens in my collection.

Lens Specification:
Optics: catadioptric mirror
Focal Length: 500mm
Fixed Aperture: F8
Image Format: 35mm
Minimum Focus: 25mm
Lens Mount: FD
Focus: Manual
Filter Size: 77mm
Weight: 560g
Length: 93mm
Production: - Discontinued
Made in: Japan

More information on Soligor

Samples

1/160 sec - F8 - ISO-2000 - Manual Focus

1/250 sec - F8 - ISO-100 - Manual Focus

1/200 sec - F8 - ISO-100 - Manual Focus

1/160 sec - F8 - ISO-160 - Manual Focus

1/160 sec - F8 - ISO-3200 - Manual Focus

Big, heavy, shiny and sharp in the middle: Auto Tamron Zoom 1:4 f=70-220mm

Cost: $49.99.00 (average cost around $46)

   

Nice to review a lens that is only 3 years younger then yourself. This Tamron Zoom is a versatile two-touch zoom lens that is a pleasure to use. This lens offers a decent range, decent image quality, is smooth to handle, easy to focus and well balanced

With a 70-220mm focal length range, this lens covers a broad spectrum of shooting scenarios from portrait to telephoto. It's a pretty heavy beast though, so that could be a reason to look for a different, lighter to carry around, lens. 

While it's not a premium-grade lens, the build quality is decent, and it feels durable enough to withstand regular use. I don't really like the shiny black exterior, but the bright orange lettering does give it a late sixties, early seventies, feeling. 

Image quality is acceptable with rich colors, but does not really meet current standards. There is some noticeable distortion at the extreme ends of the focal range, and although sharp in the center, it is not as consistent in the corners, especially on the high end of the zoom range.

The maximum aperture of f/4 can be limiting in low-light situations, but modern camera's and denoise software brings new life in this older, slower lenses. A constant aperture is nice to work with though.

In summary, the Auto Tamron Zoom 70-220mm lens is a good choice for hobbyists and enthusiasts who are looking to experiment with an older lens. It's a versatile lens that delivers good results for the age of the lens but it does have its limitations, particularly in challenging lighting conditions and extreme focal lengths. 

Lens Specification:

Lens Model: PZ-30Au
Focal Length: 70-220mm
Maximum Aperture: F4
Minimum Aperture: F22
Image Format: 35mm
Lens Mount: Adapt-a-Matic with M42
Optics: 14 elements, 11 groups
Blades: 9
Focus: Manual
Minimum Focus: 200cm
Filter Size: 67mm
Weight: 1065g
Length: 190-197mm
Production: 1969 - Discontinued
Serial Number: 185593
Made in: Japan

More information on Tamron

Samples:

1/320 sec - ISO-3200

1/320 sec - ISO-100

1/160 sec - ISO-320

1/125 sec - ISO-6400

1/800 sec - ISO-100

1/250 sec - ISO-100

1/250 sec - ISO-100

1/640 sec - ISO-100

1/250 sec - ISO-100

1/400 sec - ISO-100

1/200 sec - ISO-100

1/2000 sec - ISO-100

Sources:

Adaptall-2.com

lens-db.com

A Versatile Workhorse: Kiron 28-210 f/4-5.6 Macro MC

   Cost: $24.00 (average cost around $30)

   

The Kiron 28-210 f/4-5.6 Macro MC lens is a versatile one-touch (Push-Pull) lens and was one of the first uni-lenses (one lens to cover a wide range with good quality). This lens offers a wide focal range, macro capabilities, and a compact design that makes it a great addition to any camera bag.

The build quality of this lens is decent considering its original price point. The lens feels sturdy in hand, has no lens creep (and common problem for one-touch lenses with a large range) and the metal construction adds to its durability. The zoom and focus rings are smooth, making it easy to adjust settings while shooting. The lens is relatively lightweight, for it's size and range, which is a plus for photographers who prefer to travel light.

One of the standout features of the Kiron 28-210 lens is its impressive focal range. With a 28mm wide-angle perspective to a 210mm telephoto reach, it covers a broad spectrum of shooting situations. Whether you're capturing landscapes, portraits, or wildlife, this lens has you covered. The versatility of the zoom range makes it an excellent all-in-one solution for photographers who don't want to carry multiple lenses.

What made the lens very special, and easy to use when shooting very wide, was that the lens was almost always sharp, regardless of the position of the focus ring. I don't think I have ever seen this before with any other lens. Fool proof sharpness in the wide range.

The lens also offers limited macro capabilities, allowing you to get up close and personal with your subjects, making it suitable for close-up photography of flowers, insects, or other small subjects. While it may not compete with dedicated macro lenses in terms of magnification, it offers good flexibility for general macro work.

The image quality of the Kiron 28-210 f/4-5.6 Macro MC lens is generally acceptable. In good lighting conditions, it produces sharp and contrasty images. However, as you approach the longer end of the zoom range and use wider apertures, you may notice some softness, and distortion at the edges of the frame. Chromatic aberration and lens flares can also be an issue in high-contrast situations.

This lens may struggle in low-light conditions due to its variable aperture (f/4-5.6). When shooting at the telephoto end in dimly lit environments, you'll likely need to use a higher ISO setting, which can introduce noise into your images. A tripod or image stabilization (if available on your camera) can help mitigate this issue. And de-noise tools like Topaz Denoise work like a miracle. Some of the samples below had a high ISO, but you would not notice.

The Kiron 28-210 f/4-5.6 Macro MC lens is a budget-friendly, all-in-one solution that offers a wide focal range and macro capabilities. It's a versatile lens that can handle various shooting situations, making it a good choice for amateur photographers wanting to shoot manual or those on a tight budget that want some extended range beyond their kit lens. While it may not deliver the optical quality of more expensive lenses, it provides a valuable tool for photographers looking to expand their creative options without breaking the bank.

Lens Specification:

Focal Length: 28-210mm
Maximum Aperture: F4-5.6
Minimum Aperture: F32
Image Format: 35mm
Lens Mount: MD
Optics: 14 elements, 11 groups
Blades: 6
Focus: Manual
Minimum Focus: 110cm
Filter Size: 72mm
Weight: 840g
Length: 130-186mm
Production: 1984 - Discontinued
Serial Number: 57618571
Made in: Japan

MC: Multi-layer Coating for minimizing ghosting and flares.

More information on Kino Precision Industries, Limited

Samples:

1/320 sec - ISO-100

1/100 sec - ISO-100

1/80 sec - ISO-6400

1/125 sec - ISO-6400

1/40 sec - ISO-6400

1/1600 sec - ISO-100

1/800 sec - ISO-400

1/500 sec - ISO-400

1/160 sec - ISO-6400

1/125 sec - ISO-6400

1/400 sec - ISO-100

Sources:

Lens-DB.com