I was browsing the Internet and was surprised with the number of reviewers who went agog with superlatives on their review of the Pentacon Auto MC 50mm 1:1.8 (inscribed as PENTACON auto 1.8/50 MULTI COATING on the lens trim ring). The lens, manufactured by Pentacon, is a compact standard normal prime, first seen on the market and shipped with Praktica 35mm SLR film cameras in 1978 with an M42 mount (and Praktica B mount later), and comes with a close focus distance of 33 cm.
The well-built all metal-and-glass 6 elements in 4 groups lens has a diameter of 60mm, a depth of 38mm (focused at infinity), weighs 194 grams, takes 49mm filters, and comes with a slightly rounded 6-blade iris. The focus ring has quite a long throw, at 320° from minimum focusing distance to infinity, good for very precise focusing at close distances, while click stops are set to 6 stops from 1.8 to f/2.5, and 1/2 clicks beyond that.
The Pentacon Auto MC 50mm 1:1, which has enjoyed the status of a 'cult classic' for its color and soap bubble bokeh characteristics, is also said to be a direct descendant of the Meyer-Optik Görlitz Oreston 50 mm f/1.8, a highly acknowledged lens reputed to be one with the best glass that came out of East Germany. The lens is also seen in a few versions, optically identical, but with varying multi-coating applications. Versions include:
- The initial iteration with silver stripes on the aperture ring, branded “electric” or “auto”.
- The follow-up iteration with no stripes on the aperture ring, but with two silver rings at the front of the lens.
- The third iteration, still with one silver ring at the front, and a focus ring with a spiked profile.
- The final iteration, perhaps the most common, is all black
On A Canon EOS 300D
For the duration of this early test, I had the Pentacon Auto MC 50mm 1:1.8 mounted on an equally vintage and run-down 6.3MP CMOS digital SLR camera, a Canon EOS 300D (EOS Digital Rebel, EOS Kiss Digital, DS6041). The EF-mount EOS 300D, a 2003 issue, was the first consumer-orientated digital SLR camera marketed by Canon and was the first DSLR system with a price tag of below US $1000 when launched.
On the EOS 300D, the Pentacon Auto MC 50mm 1:1.8 is equivalent to a 75mm short tele lens on a 35mm full-frame, akin to what you will capture when using a 75mm lens on a full-frame camera. The focal length takes up the spot between 50mm and 90mm and draws in the subject to make it closer than it really is, with renders that have shallower depth-of-field, and images with a tighter picture frame.
Mounted With A M42 Lens Adapter
Mounting the lens on the EOS 300D with an off-the-shelf M42-EOS adapter (get a chipped one if you want 'focus confirmation') is simple and straightforward. Canon's EF mount, the standard in the Canon EOS family of SLR film and digital cameras since 1987, is easily adapted and can be used with various other lens adapters. The mount is optimal for enthusiasts across analog and digital photography genres.
Using the age-old camera with only a 6.2MP APS-C sensor as a test bed for image capture evaluation, which may raise an eyebrow or two for those who want a more updated sensor and a higher MP count, is still a valid and strong proposition for enjoying and experiencing the arts and crafts of the enthusiasm on a low-start budget.
Colors And Close-Ups
Colors and close-ups are what the lens is all about, or else you would want to avoid getting one. The lens, though not as sharp when shot wide open, captures images with delightful color renditions, vibrant, and true without hues or oversaturation, with bokeh that is easy on the eyes. On the 300D, images induce slight overexposures, which can be corrected with exposure compensation.
Stopping down to f/2.5 will boost contrast, eliminating the softness and a better depth of field. You will get even better results for landscapes and shots beyond the close-up range if you stop the lens down to f/8 or even f/11.
Soap Bubble Bokeh
What the Pentacon Auto MC 50mm 1:1.8 is acknowledged for is its 'soap bubble' bokeh. This effect, shot with the right background, shows very strong and almost harsh bubbly outlines when shot wide open, and swirls in others.
Despite it being more than 40 years old, the lens I tested was still in almost excellent condition, spick and span, with clean and clear glass, a smooth focusing ring, and definitely very soft aperture indents. Other copies, as known, may be with ailments that are functional and mechanical, which includes mentions of stuck blades, and stiffened or loose focusing rings.
The lens is often available on auction listings with some that are reasonably priced while otters are a bit on the stiffer side.
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