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  1. #1

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    EF 40mm 2.8 pancake

    Hi all,

    I'm wondering if some of you already got the new Canon EF 40mm pancake. Any feedback? How does the STM work on film EOS cameras? I made a search in APUG posts and did not find any posting regarding this new lens.

    Thanks,

    Hovig
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  2. #2
    segedi's Avatar
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    I'm curious too as it would compliment the Élan 7E that I have to make a very light setup.
    -----------------------

    Segedi.com

  3. #3

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    I checked it out yesterday, it's really small, focus is SUPER quiet, tried it on a 5D3 and Élan 7, vignettes like theres no tomorrow wide open, overall personally I think I'd go with the 50mm f/1.8. The 50 is faster, seemed sharper at 2.8, cheaper, and weighs about the same. However with a small camera like a rebel...it can fit into a messenger bag easy peaty.

  4. #4
    Colin Corneau's Avatar
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    I found this review helpful (I'm not connected in any way) -

    http://www.lensrentals.com/blog/2012...d-they-do-that

    For $200 it seems like a bit of a slam dunk. I'm interested in small and subtle, myself.
    "Never criticize someone until you've walked a mile in their shoes. That way, you're a mile away and you've got their shoes."

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  5. #5
    CGW
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    Tons of reviews online. The whisper quiet AF killed most of the noise issue for video on their DSLRs. I'm guessing there's a Canon MILC not far down the road.

    http://www.fredmiranda.com/forum/topic/1125549

  6. #6

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    Thank you for your feedback, but everything out there is on digital cameras, I wanted to know how it behaves on film cameras. I find the 40mm focal length interesting, I've been using my 28-105 zoom at that focal length very often. It's my normal focal length. This may be my perfect all around carry on lens.
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  7. #7
    CGW
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    Most film shooters have 50/1.8s and probably wouldn't bother. It was optimized for digital stills and video on APS-C sensors--not 35mm film cameras. Can you sample one in Montreal?

  8. #8

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    Quote Originally Posted by CGW View Post
    Most film shooters have 50/1.8s and probably wouldn't bother. It was optimized for digital stills and video on APS-C sensors--not 35mm film cameras. Can you sample one in Montreal?


    Exactly. If you want the size advantage, than you've already justified it. Otherwise a 50mm f/1.8 (or two) is a smarter option.

    As far as testing it on film, give yourself a break. It's 2012, and regular Joe Six-Pak doesn't shoot film anymore. IMO it wouldn't really make sense to test lenses out on 35mm anyway when you've got 22 and 36MP FF DSLR's that will give you far more consistent lab results than scanning slides or negs. From what I experienced with the 40mm the other day, shooting wide open, you'll have some pretty muddy corners if you're shooting color neg. The vignetting is pretty insane. I dunno...If you want the size advantage, than you've already justified it. Otherwise a 50mm f/1.8 (or two) is a smarter option.

    Also, why not go with the voightlander 40mm f/2?

  9. #9

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    Quote Originally Posted by F/1.4 View Post
    As far as testing it on film, give yourself a break. It's 2012, and regular Joe Six-Pak doesn't shoot film anymore. IMO it wouldn't really make sense to test lenses out on 35mm anyway when you've got 22 and 36MP FF DSLR's that will give you far more consistent lab results than scanning slides or negs. From what I experienced with the 40mm the other day, shooting wide open, you'll have some pretty muddy corners if you're shooting color neg. The vignetting is pretty insane. I dunno...If you want the size advantage, than you've already justified it. Otherwise a 50mm f/1.8 (or two) is a smarter option.
    The sensel/microlens units in digital sensors interact with the projected image in sometimes unpredictable ways. Corner performance is often worse and vignetting often more prominent on digital sensors. We will know how the lens behaves with film when someone tries it... with film.

  10. #10
    CGW
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    Quote Originally Posted by Oren Grad View Post
    The sensel/microlens units in digital sensors interact with the projected image in sometimes unpredictable ways. Corner performance is often worse and vignetting often more prominent on digital sensors. We will know how the lens behaves with film when someone tries it... with film.
    Just a wild guess but would Canon develop a lens that vignettes on its DSLRs--whether APS-C or FF? Just asking.

    Many Nikon DX lenses vignette badly on film bodies because they were made to cover APS-C sensors--not film.

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