Bronica PS 50mm F3.5 Lens Review
London by Night. 20s 50mm F11 Fuji Acros 100 II.
If you’ve been reading my blogs for a while, then you’ll know how much I’ve been enjoying using my Bronica SQ-A since I picked it up less than two years ago. Starting out with the standard 80mm S lens, I picked up a 150mm S and then the rare 110mm PS F4.5 macro. What I had been missing though was a wide-angle lens, of which there are two options (ignoring the fisheye) the 40mm F4.0 or the 50mm F3.5. After looking at reviews online I decided to pick up the 50mm as the consensus was this was wide enough for most applications and the 40mm had some serious draw backs like its massive 95mm filter thread and greater edge distortion. As mentioned in a previous blog, I am trying to buy only the newer PS lenses from now on for their superior build and image quality and, thankfully, I managed to find just what I was after in perfect condition for very reasonable money. For those who are curious the main unique difference between the 50mm S and PS lens is the larger 72mm filter thread due to the increased front element size that gives better corner sharpness and less vignetting.
The Cutty Sark, once the fastest sailing ship in the world. Ignore the smudges on the edges of the film of this and the other images. This is a handling error and has nothing to do with the camera or lens. 1/8s 50mm F11 Fuji Acros 100 II.
The Blue Bridge near Canary Wharf, an impressive piece of engineering that was fascinating to watch draw up and down. 1/15s 50mm F11 Fuji Acros 100 II.
Equivalent to 28mm in 35mm terms, this may not sound very wide it is much more effective than you think due to the increased height of shooting in the square 6x6cm format of the SQ. Fear not, you’ll be able to fit plenty of things into the frame with minimal distortion, perfect for shooting in tight indoor environments are taking it outside for landscapes and architecture.
The Grand Arcade shopping centre in Cambridge. A good example of how well this lens works when used on interior architecture and also shows how limited the distortion is. 60s 50mm F8.0 Fuji Acros 100 II.
The entrance to St Pauls’ Cathedral. 15s 50mm F11 Fuji Acros 100 II.
Almost straight away I’ve loved using this lens every second it’s been on my camera as it has allowed me to photograph things I just couldn’t before with my previous three lenses. When you are in a big, crowded city like London there’s often no way you can step far enough back to fit everything in with the 80mm lens and being an F3.5 lens instead of an F4.5 lens, I’ve not had any problems with the central focusing aid blacking out like with my macro lens. Though focusing is already much easier when you are taking pictures of buildings that don’t move or sway in the wind.
High rise construction and red double decker buses, you are definitely in London. 1/15s 50mm F11 Fuji Acros 100 II.
The Emirates Air Line cable car, popular with tourists for the great birds-eye views of the city. 1/30s 50mm F16 Fuji Acros 100 II.
The O2 has great architecture for photography, unfortunately it also has a policy of not taking photos with cameras without permission and marshals who are all too happy to enforce it. 1/8s 50mm F11 Fuji Acros 100 II.
Architecture is really where this lens shines when combined with the larger square format, it has opened a lot of new possibilities in framing up shots over shooting the smaller 3:2 format on a 35mm camera. Whilst you can crop the latter into a square it isn’t the same as the addition of height of the larger negative when going wide. It’s something that is hard to explain with words, you’ll have to just try it yourself when you get the opportunity. This lens has opened my eyes to what this camera system can do in a way the other lenses hadn’t.
The iconic Tower Bridge. 15s 50mm F11 Fuji Acros 100 II.
The London Skyline at night, brimming with atmosphere in black and white. 30s 50mm F8.0 Fuji Acros 100 II.
In terms of optical performance this really is a sharp lens that can happily resolve fine details, so far, I’ve only shot black & white with it so I will have to wait to see the colours it produces, but I imagine it will be similar to what I see with my 110m PS F4.5 macro lens. Speaking of the latter I am now shooting almost everything on these two lenses as their superior image quality, easier to use T mode (pull out pin as opposed to an awkward screw on the earlier S lenses) and vastly different focal lengths give me a great two lens combo when out on my photography walks.
The Millennium Bridge leading to St Paul’s Cathedral. 30s 50mm F8.0 Fuji Acros 100 II.
The Sea Containers Building in London, another dramatic noir-esque shot. 30s 50mm F11 Fuji Acros 100 II.
Bottom line, if you are after a wide-angle lens for your Bronica SQ series camera then this is the one to pick up unless you fancy having fun with the fisheye lens or you absolutely need that slightly wider perspective from the bulkier 40mm lens. If you have any questions about it or have some experiences to share in using this lens, then let me know in the comments down below.
The China Town gate, blurred figures from the long exposure gave a wonderful sense of the hustle and bustle. 16s 50mm F11 Fuji Acros 100 II.
An effect that worked even better when I took this shot in the West End, with the bicycle of the deliveryman helping to frame the image. 8s 50mm F8.0 Fuji Acros 100 II.
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