The iconic Canon 50mm f/1.2L drops to just $1,399 – Saving you $150 on the lens the Pros love

Canon EF 50mm f/1.2L now just $1,399
(Image credit: Future)

Canon’s 50mm f/1.2 cult-favorite fast fifty has just landed at $1,399 (down from $1,549) – a straightforward $150 saving on the EF 50mm f/1.2L USM. If you’ve been circling this lens for a while, this is the moment to finally make the jump.

The 50mm field of view is the sweet spot for storytelling – intimate, flattering and honest – and at f/1.2 it turns everyday scenes into something cinematic. This is the classic you buy once and use for years.

Canon  EF 50mm f/1.2L USM
Save $150
Canon EF 50mm f/1.2L USM: was $1,549 now $1,399 at BHPhoto

For me, Canon’s 50mm f/1.2L USM is the lens that gives images their soul – creamy, honest, low-light magic – now $1,399 (save $150), and it’s the very optic war photographer Jonathan Alpeyrie trusts for his frontline documentation.

What makes it special is the way it draws. Wide open, you get that unmistakable Canon 50mm f/1.2 character: a gentle glow on highlights, creamy fall-off and subject separation that looks like it came from a much larger format. It’s not sterile, it’s not clinical – it’s expressive. Photographers fall in love with the look first, then realize how versatile it is for portraits, street, weddings, editorial, and low-light documentary.

This isn’t just fan lore, either. War photographer Jonathan Alpeyrie relies on this exact lens for his frontline documentation, adapting it to EOS R bodies and trusting it as his single, do-everything optic. When the stakes are high and conditions are unforgiving, you only carry glass that delivers, every time. That should tell you everything about the Canon 50mm f/1.2L’s dependability in the real world.

Under the hood, you’re getting L-series build quality that shrugs off hard use, a ring-type USM motor that focuses with confidence, and that f/1.2 aperture that extends your shooting day long after the light drops. Keep ISO sensible, keep shutter speeds up and keep the look consistent across changing conditions – that’s the quiet power of fast glass. On Canon DSLRs, it’s native; on EOS R bodies it adapts seamlessly with the standard EF-to-RF adapter.

If you’re chasing depth and mood straight out of camera, this lens delivers without leaning on heavy post-production. Skin tones look flattering, backgrounds melt away and your subject carries the frame. It’s the difference between “sharp” and “striking” – and that difference is why the Canon 50mm f/1.2L stays on so many cameras as a default, not a special-occasion choice.

Deals on evergreen glass are the ones to jump on, because the lens will outlast the camera you’re using today. If the Canon EF 50mm f/1.2L USM has been on your list, lock in the $1,399 price while it’s live and bank that $150 saving. You’re not just buying a discount – you’re buying a signature look that elevates everything you shoot.

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Sebastian Oakley
Ecommerce Editor

For nearly two decades Sebastian's work has been published internationally. Originally specializing in Equestrianism, his visuals have been used by the leading names in the equestrian industry such as The Fédération Equestre Internationale (FEI), The Jockey Club, Horse & Hound, and many more for various advertising campaigns, books, and pre/post-event highlights.

He is a Fellow of the Royal Society of Arts, holds a Foundation Degree in Equitation Science, and holds a Master of Arts in Publishing. He is a member of Nikon NPS and has been a Nikon user since his film days using a Nikon F5. He saw the digital transition with Nikon's D series cameras and is still, to this day, the youngest member to be elected into BEWA, the British Equestrian Writers' Association.

He is familiar with and shows great interest in 35mm, medium, and large-format photography, using products by Leica, Phase One, Hasselblad, Alpa, and Sinar. Sebastian has also used many cinema cameras from Sony, RED, ARRI, and everything in between. He now spends his spare time using his trusted Leica M-E or Leica M2, shooting Street/Documentary photography as he sees it, usually in Black and White.

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