Canon RF 50mm F/1.8 STM

Standard prime lens • Digital era

RF The lens is designed for Canon EOS R digital mirrorless cameras.
STM The lens is equipped with Stepping Motor.

Canon EOS R

35mm AF digital mirrorless camera

Announced:September 2018
Mount:Canon RF
Format:36 × 24mm
Resolution:6720 × 4480 - 30 MP
Sensor type:CMOS
Image stabilizer:-

Canon EOS RP

35mm AF digital mirrorless camera

Announced:February 2019
Mount:Canon RF
Format:35.9 × 24mm
Resolution:6240 × 4160 - 26 MP
Sensor type:CMOS
Image stabilizer:-

Canon EOS R5

35mm AF digital mirrorless camera

Announced:July 2020
Mount:Canon RF
Format:36 × 24mm
Resolution:8192 × 5464 - 45 MP
Sensor type:CMOS
Image stabilizer:Yes

Canon EOS R6

35mm AF digital mirrorless camera

Announced:July 2020
Mount:Canon RF
Format:36 × 24mm
Resolution:5472 × 3648 - 20 MP
Sensor type:CMOS
Image stabilizer:Yes

Canon EOS R3

35mm AF digital mirrorless camera

Announced:September 2021
Mount:Canon RF
Format:36 × 24mm
Resolution:6000 × 4000 - 24 MP
Sensor type:CMOS
Image stabilizer:Yes

Designed for

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Features highlight

Fast
1 ASPH
CFD 0.3m
STM
Compact
Lightweight

Specification

Production details
Announced:November 2020
Production status:In production
Production type:Mass production
Original name:CANON LENS RF 50mm F1.8 STM
Optical design
Focal length:50mm
Speed:F/1.8
Maximum format:35mm full frame
Mount:Canon RF
Diagonal angle of view:46.8° (35mm full frame)
Lens construction:6 elements - 5 groups
1 ASPH
Diaphragm mechanism
Number of blades:7
Focusing
Closest focusing distance:0.3m
Maximum magnification ratio:1:4 at the closest focusing distance
Focusing method:<No information>
Focusing modes:Autofocus, manual focus
Manual focus control:Focusing ring
Autofocus motor:Stepping motor (Gear-type)
Focus mode selector:None; focusing mode is set from the camera
Full-Time Manual Focus (FTM):Determined by the camera
Image Stabilizer (IS)
Built-in IS:-
Physical characteristics
Weight:160g
Maximum diameter x Length:⌀69.2×40.5mm
Weather sealing:-
Fluorine coating:-
Accessories
Filters:Screw-type 43mm
Lens hood:Bayonet-type ES-65B (round)

Manufacturer description #1

MELVILLE, N.Y., November 3, 2020 – Canon U.S.A. Inc., a leader in digital imaging solutions, is excited to introduce the compact and lightweight RF70-200mm F4 L IS USM and the RF50mm F1.8 STM, two completely re-designed RF mount lenses with bloodlines to immensely popular EF models that feature new lens formulas and enhanced elements. Canon is also introducing the PIXMA PRO-200 printer, which is ideal for photography students and graphic designers.

“As Canon began to further build out the company’s RF lens portfolio, the goal in mind was to create advanced lenses, for a variety of experience levels, that also featured a sense of familiarity for longtime Canon users,” said Tatsuro “Tony” Kano, executive vice president and general manager of Canon U.S.A.’s Imaging Technologies & Communications Group. “Canon prides itself on being able to uniquely offer both input and output solutions to our customers. We are equally excited to see the images captured with the new lenses, and the prints that are to be created with the new PIXMA PRO-200 printer.”

Canon RF50mm F1.8 STM Lens

Creatives love using a 50mm lens because that focal length is similar to the natural viewpoint of the human field of vision. This perspective allows for the lens to be used in a wide variety of shooting situations, including portraits, landscapes and food photography. What’s more, Canon 50mm f/1.8 lenses have long been a popular tool for both photographers and creators due to their budget-friendly price point, extremely compact and lightweight form factor, and versatility.

The tradition continues with the RF50mm F1.8 STM that, in many ways, is improved over its EF counterpart. The first visually noticeable improvement is the customizable control ring that has become synonymous with RF lenses. The control ring allows photographers to adjust exposure compensation, shutter speed, aperture, or ISO and with a flip of the side switch can adjust focus. The inclusion of a PMo aspherical lens helps to reduce chromatic aberration and provides high-image quality even at the periphery of the image. Additionally, the combination of the lens shape and Super Spectra Coating (SSC) helps to minimize ghosting and flaring.

Manufacturer description #2

Some items like your keys or wallet you just take everywhere you go because you just never know. For anyone with an EOS R series camera, add the RF50mm F1.8 STM lens to that list. As part of the EOS R System, it's nice and compact thanks to its RF mount so you can shoot - and get a great shot - anywhere and anytime. Size isn't all though. As a fixed focal length lens, it lets you be creative with composition and can be used for a wide range of scenes from snapshots to portraits, landscapes to low-light situations and more. Those images will stand out, too, just like you intend whether on social media, or when sharing or printing, thanks to impressive optical features like a PMo aspherical lens to suppress aberrations, Super Spectra coating to reduce flaring and ghosting, and a large f/1.8 aperture for low-light shooting and beautiful bokeh. Pick it up and use it one time and you'll see for yourself, and you won't be able to leave the house without it.

Being bulky or inconvenient to carry is never a concern with the RF50mm F1.8 STM lens. Its compact size makes it appealing to bring on any trip or excursion and is quite handy to have around, too, with its 50mm fixed focal length letting you be creative with composition and because the 50mm focal length is similar to what the actual human eye sees, it provides a great representation to capture impressive portraits, landscapes, food photos and more.

The f/1.8 aperture provides you with a number of benefits and options for your photography, including being able to shoot with faster shutter speeds in low light, helping to decrease the effects of camera shake for a more steady shot, reducing the amount of noise in your image, and the ability to beautifully blur the background or foreground depending on your creative taste.

The RF50mm F1.8 STM lens uses a gear-type stepping motor to provide smooth and quiet autofocus when shooting both still and video, so focusing appears seamless while following a subject with Servo AF, or Movie Servo AF. Focus racks will have clean transitions when repositioning to another subject, or when focusing from foreground to background.

Standard on all RF lenses, the control ring on the lens barrel enables you to adjust numerous settings including shutter speed, aperture, exposure compensation and more. Located towards the front of the lens and effectively adding a third dial to the EOS R and EOS RP, and a fourth dial for EOS R5 and EOS R6 cameras, the control ring has a tactile, easily distinguished surface so you can grasp and make any setting changes quickly. This ring can also be easily switched to function as a focus ring with the focus/control switch located on the side of the lens, so you can adjust the focus to your desired preference.

Since you'll be carrying this lens with you quite often you'll want something that provides great results. The large diameter and short back focus inherent in all RF lenses helps with image quality while a carefully placed single PMo aspherical lens helps to reduce aberrations at the periphery of the image, with lens coatings further assisting by helping to reduce flaring and ghosting, so your images are clear, vivid and inspiring.

You'll have no problem getting that creative, fun and pleasant out-of-focus background blur we all love with the circular 7-blade aperture, so your subject stands out and the background provides a beautiful backdrop that's visually appealing in itself.

Capture amazing shots wherever you are and whatever your subject, even at a close distance of 0.98 ft. at a maximum magnification of 0.25x, making this not just an ideal lens for everyday casual shooting but for more intricate shots like food, flowers and smaller subjects you really want to show off.

Designed to quickly process data, the 12-pin communication system inherent in all RF lenses helps accelerate autofocusing and more, helping to simplify complex operations and provide a quick and reliable user experience.

When combined with an EOS R Series camera with In-Body Image Stabilizer, you can experience the benefits of high-precision 5-axis image stabilization even without Optical Image Stabilization so you can capture amazingly clear and steady results while shooting handheld photos or videos, even in low-light situations like indoors or night scenes, without having to significantly increase the ISO or grab a tripod.

From the editor

Essentially, this lens is the EF 50mm F/1.8 STM model adapted for Canon EOS R series digital mirrorless cameras. The optical design was slightly modified and even received one aspherical element, but the weight and dimensions of both lens are practically the same. As we can see, Canon's general approach to the development of this model has remained the same: to provide amateur photographers with inexpensive but practical compact and lightweight standard lens with fairly fast speed, but without features found in professional models (complex optical design, internal focusing, floating element system, ultrasonic motor, robust barrel, weather sealing, fluorine coating etc.). However, the fact that this lens is not a professional model does not mean that it cannot deliver excellent image quality. And you will be convinced in this.

Typical application

landscapes, interiors, buildings, cityscapes, portraits, photojournalism, weddings, parties, carnivals, live concerts, street, travel

Lenses with similar focal length and speed

Canon RF 50mm F/1.2L USM ⌀77Pro 2018 Compare33

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35mm full frame

43.27 24 36
  • Dimensions: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm

Travellers' choice

Note

Among autofocus lenses designed for 35mm full-frame mirrorless cameras only. Speed of standard and telephoto lenses is taken into account.

One of the best fast standard primes

According to lens-db.com; among lenses designed for the same maximum format and mount.

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Quality control issues

The manufacturer of this lens does not provide adequate quality control. If you do decide to purchase this lens, do not order it online, but choose the best copy available in the store. In any case, there may also be problems with the build quality, and warranty repairs can take months.

Image stabilizer

A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.

The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

Stepping motor (Gear-type)

Has helical gears with angled edges in the gear unit to realize more silent and smooth autofocus during video recording than a micromotor. Allows for compact lens designs.

Aspherical elements

Aspherical elements (ASPH, XA, XGM) are used in wide-angle lenses for correction of distortion and in large-aperture lenses for correction of spherical aberration, astigmatism and coma, thus ensuring excellent sharpness and contrast even at fully open aperture. The effect of the aspherical element is determined by its position within the optical formula: the more the aspherical element moves away from the aperture stop, the more it influences distortion; close to the aperture stop it can be particularly used to correct spherical aberration. Aspherical element can substitute one or several regular spherical elements to achieve similar or better optical results, which allows to develop more compact and lightweight lenses.

Use of aspherical elements has its downsides: it leads to non-uniform rendering of out-of-focus highlights. This effect usually appears as "onion-like" texture of concentric rings or "wooly-like" texture and is caused by very slight defects in the surface of aspherical element. It is difficult to predict such effect, but usually it occurs when the highlights are small enough and far enough out of focus.

Low dispersion elements

Low dispersion elements (ED, LD, SD, UD etc) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. This type of glass exhibits low refractive index, low dispersion, and exceptional partial dispersion characteristics compared to standard optical glass. Two lenses made of low dispersion glass offer almost the same performance as one fluorite lens.

Low dispersion elements

Low dispersion elements (ED, LD, SD, UD etc) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. This type of glass exhibits low refractive index, low dispersion, and exceptional partial dispersion characteristics compared to standard optical glass. Two lenses made of low dispersion glass offer almost the same performance as one fluorite lens.

Canon's Super UD, Nikon's Super ED, Pentax' Super ED, Sigma's FLD ("F" Low Dispersion), Sony' Super ED and Tamron's XLD glasses are the highest level low dispersion glasses available with extremely high light transmission. These optical glasses have a performance equal to fluorite glass.

High-refraction low-dispersion elements

High-refraction low-dispersion elements (HLD) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

High Index, High Dispersion elements

High Index, High Dispersion elements (HID) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

Anomalous partial dispersion elements

Anomalous partial dispersion elements (AD) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

Fluorite elements

Synthetic fluorite elements (FL) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. Compared with optical glass, fluorite lenses have a considerably lower refraction index, low dispersion and extraordinary partial dispersion, and high transmission of infrared and ultraviolet light. They are also significantly lighter than optical glass.

According to Nikon, fluorite easily cracks and is sensitive to temperature changes that can adversely affect focusing by altering the lens' refractive index. To avoid this, Canon, as the manufacturer most widely using fluorite in its telephoto lenses, never uses fluorite in the front and rear lens elements, and the white coating is applied to the lens barrels to reflect light and prevent the lens from overheating.

Short-wavelength refractive elements

High and specialized-dispersion elements (SR) refract light with wavelengths shorter than that of blue to achieve highly precise chromatic aberration compensation. This technology also results in smaller and lighter lenses.

Blue Spectrum Refractive Optics

Organic Blue Spectrum Refractive Optics material (BR Optics) placed between convex and concave elements made from conventional optical glass provides more efficient correction of longitudinal chromatic aberrations in comparison with conventional technology.

Diffraction elements

Diffraction elements (DO, PF) cancel chromatic aberrations at various wavelengths. This technology results in smaller and lighter lenses in comparison with traditional designs with no compromise in image quality.

High refractive index elements

High refractive index elements (HR, HRI, XR etc) minimize field curvature and spherical aberration. High refractive index element can substitute one or several regular elements to achieve similar or better optical results, which allows to develop more compact and lightweight lenses.

Apodization element

Apodization element (APD) is in fact a radial gradient filter. It practically does not change the characteristics of light beam passing through its central part but absorbs the light at the periphery. It sort of softens the edges of the aperture making the transition from foreground to background zone very smooth and results in very attractive, natural looking and silky smooth bokeh.

Original name

Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.

Format

Format refers to the shape and size of film or image sensor.

35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

Angle of view

Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),

where:

CF – crop-factor of a sensor,
FL – focal length of a lens.

Mount

A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance from the lens mount to the film or sensor can also be different.

Lens construction

Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.

Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.

Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.

Flange focal distance

The flange focal distance (FFD), sometimes called the "flange back", is the distance from the mechanical rear end surface of the lens mount to the focal plane.

Focal length

The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.

Speed

The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.

In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

Determines how large the subject will appear in the final image. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Electronic manual focus override is performed in the following way: half-press the shutter button, wait until the camera has finished the autofocusing and then focus manually without releasing the shutter button using the focusing ring.

Electromagnetic diaphragm control system

Provides highly accurate diaphragm control and stable auto exposure performance during continuous shooting.

Convex protruding front element

The convex front element protrudes from the lens barrel, making it impossible to use filters.

Number of blades

As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.

Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.

At maximum aperture, the opening will be circular regardless of the number of blades.

Weight

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.

Filters

Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.