Buy Nikon 50mm 1.4 G

Buy Nikon 50mm 1.4 G

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What is It?Surprisingly, we waiting a long time for a basic prime lens with AF-S: almost ten years into the DSLR era. The 50mm f/1.8D was the last of the 50's introduced prior to our review lens, and that was back in 2002. Adding "D" (distance reporting) to a prime is a lot easier than adding AF-S, but neither should have been a particularly tough issue for Nikon's optical team. Thus, one has to conclude that there wasn't a lot of priority to introduce a new 50mm prime quickly. Frankly, if so, I think that was wrong.

Let me explain why a fast 50mm prime is still important in these days of zooms: for DX cameras, somewhere in the 50 to 60mm range is a perfect portrait focal length, and you generally want a fast lens to help provide control over depth of field (often you want to isolate a person you're taking a picture of from the background). An f/2.8 lens, or worse, a f/3.5-5.6 zoom, doesn't give as much flexibility at subject isolation. The older 50mm lenses use screw-drive autofocus systems that don't work on Nikon's lower-end models (D40, D40x, D60, and the D3xxx and D5xxx models).

Moreover, the aging 50mm f/1.4D wasn't what I'd call a stellar performer wide open, especially on the FX bodies in the corners. So Nikon had a significant hole in their lens lineup for some time. The 50mm f/1.4G AF-S plugged that hole.

If you haven't used a mid-range prime for awhile, the first thing you notice is the lack of bulk and weight. At about 2" long and 3" in diameter and weighing in at about 10 ounces, this is a lens that is on the small side. Not as small at the 50mm f/1.8D, but still what I'd consider small.

The 50mm focal length provides 40° of horizontal angle of view on FX, 27° on DX. That 27° is pretty close to the 24° of the classic 85mm f/1.4D used on a film (or FX) body for portraits, thus my point about this being a good portrait length for DX. Nikon themselves picked up on that and mention it in their marketing early on. Just don't get confused and think that 50mm is "normal" on a DX body. It's not. It's a mild telephoto lens on DX.

Of course, FX body users will find that 50mm is normal. The full frame Nikon DSLRs have such good higher ISO abilities that I'm not sure you truly need an f/1.4 50mm any more for low light shooting, but dedicated night shooters will probably be happy with the fast aperture.

The focus ring is the usual AF-S kind: a sort of plastic on plastic feel while turning, though not unsmooth and free from snags and stiffness. It's not the super smooth focus ring you remember from the manual focus Nikkors (or the current Zeiss 50mm), but I find it more than acceptable.

As I noted earlier, the 50mm f/1.4G AF-S is small and light and balances on the front of most Nikon consumer DSLRs very nicely. On bigger pro cameras, such as the D5 body, it just disappears. But either way, the size and weight of this lens is not a factor.

Sharpness: Tthe 50mm f/1.4G AF-S doesn't knock this test out of the park, but it does well. The older f/1.4D was notoriously soft, especially into the corners wide open, and the new version is better, but still far from perfect. Even on DX cameras the corners were visibly softer at f/1.4 and the center wasn't pushing what even the D300 could resolve. I had to stop down to f/5.6 to get the best possible results from both center and corner, and at that level, the lens is certainly delivering pretty much everything you'd expect, even with current DX bodies.

On FX bodies the same thing applies. I'd say corners are poor to fair at f/1.4 on the D3x and D750, but then, what exactly are we expecting here? A modest priced lens with these specs isn't going to have exceptional corner performance wide open. Again, you'll need to stop down three or four stops to get to best performance on FX. Even then, performance never really reaches "great" on my D3x, and certainly doesn't on my D850. If you're looking for best possible 50mm performance for a D3x, I'd tend to suggest the Zeiss manual focus lens, the Sigma Art, or maybe the Tamron 45mm.

More interesting is longitudinal chromatic aberration (near/far, sometimes called axial CA). The 50mm f/1.4G AF-S most certainly exhibits such aberrations, especially near maximum aperture. Objects closer than focus get a magenta cast, objects further than focus get a green cast. This is not unusual for a fast prime, and I suspect Nikon's adding axial chromatic aberration correction to Capture NX2 was due to this lens. Not a terrible flaw, but one to be aware of.

50mm lenses are labeled as normal or standard lenses. What this means is that the 50mm lens is closest to a humans eye's perception of distance and depth. This does not apply to DX sized digital sensors. It only applies to FX size sensors and 35mm film cameras. On a DX sized Dslr's the lens is more of a portrait lens as the equivalent focal length is 75mm, the big plus on a DX sized camera is that you have a really cheap alternative to the Nikon 85mm f/1.4 that you have on the FX or full frame 35mm cameras. The Nikon AF-S 50 1.4 is a upgrade of the AF 50mm f/1.4D. The lens has grown a bit in size from the AF-D version, and it now takes 58mm filters. It is also supplied with a bayonet type lens hood. Other upgrades are the SWM (Silent Wave Motor) and the MA/M switch. The optical construction has also been upgraded to 8 elements in 7 groups up from 7 elements in 6 groups on the AF-D version. The big question about this lens is: is it worth it to upgrade from the AF version, or: is this version worth $130 USD more then the AF version?

Wide open the new Nikon AF-S 50mm 1.4 outperforms the AF version without a doubt. Both sharpness and contrast is way better. The auto focus is a tad slower though, not that the lens is slow on autofocus, but it is slower than the Nikon 50 f/1.4D. There is without a doubt light fall-off / vignetting wide open, and to f/2.8 (f/4 if you are really looking for it). This is really hard to avoid on a lens with a wide 1.4 aperture. The new 9 rounded aperture(upgraded from 7 straight blades on the AF version) provides you with a nicer out of focus rendition (Bokeh) then the older AF version. The AF-S version is also less troubled when it comes to CA(Chromatic Aberrations) compared to both the old Nikon 50mm AF f/1.4D and the f/1.8D versions. What is most noticeable is the longitudinal CA, what this means is that the focal planes of the various colors do not coincide(this is a quite common phenomena in fast lenses and, so it's not specific to the AF-S Nikkor). This is usually most noticeable as reddish fringes to the foreground of focus, and greenish fringes towards the back of the focused plane. Infrared performance is worse then the AF 50 1.4, the AF-S Nikkor has a really nasty hot-spot. The lens can be used for infrared to f/8'ish, so it gives you two f stop's less usability then the AF version for infrared photography. So is it a worthy upgrade? If you own the AF version it can be hard to justify the upgrade. If you use the lens mostly wide open, then the Nikon AF-S 50mm is definitely better. Same when it comes to CA. So in my opinion it is a worthy upgrade, it really does outperform the AF version. I've never been a fan of "G" type lenses, so this one is actually the first one for me, In the end I decided it was worth it to upgrade my Nikon AF 50mm f/1.4D.to the new Nikon AF-S Nikkor 50mm f/1.4G.

The Nikon 50mm f/1.4G is standard-length prime lens with a fast maximum aperture for good low light performance and beautiful, shallow depth of field-style shooting. The Silent Wave Motor keeps the autofocus quick and quiet and the Super Integrated Coating delivers superior color rendering and suppresses ghosting. This lens is an ideal portrait lens for both full frame and crop frame sensor cameras.

I recently got my hands on a copy of the Nikon Z 50mm f/1.8 S lens (hereby called the 50mm 1.8 S). Having made the transition to Nikon Z series cameras after almost 10 years with the DSLRs, I have been slowly but surely transiting to the Z system, including lenses.

I was always a fan of getting used gear as I had the confidence in being able to check them before making the purchase. I got my Nikon 50mm G at SGD$400 almost 10 years ago on a used gear forum in Singapore.

Recently, I bought the Nikon 50mm S at a reasonable price of SGD$450 (a hefty 37% discount from the street price of about $711). While I am looking to offload the G lens (still going strong!) to cover some of the cost of the S lens, readers may wish to look out for a similar deal in your home country and get this lens if you can (spoiler alert!)

The 50mm S weighs 415g, basically the same as the G lens and FTZ combined (G lens at 280g + FTZ at 135g = 415g). One issue that held me back with getting the lens initially was the weight. I was far to accustomed handling the Nikon D750 and 50mm G lens and that was such a compact combo.

On the other hand, the 50mm S had no issues with corner sharpness whatsoever. Whatever engineering the lens designers had to do to provide this level of image quality on this lens, it was worth it. Image sharpness is through the roof, in Lightroom, I was able to zoom in 100% and see the individual leaves on the trees. Even in the corners. The image will sharpen up as you stop down from 2.8 to 4, but to be honest, I would have no qualms positioning my subject anywhere on the frame.

The 50mm G lens has been a staple of photographers everywhere, from amateur right up to working professionals. I still remember when the 50mm S was announced, people were groaning everywhere as soon as they saw the 1.8 maximum aperture.

What are the shortcomings of the Nikon 50mm f/1.8? Compared to many of the pro-grade lenses included here, the build quality is subpar and feels rather plasticky and light in the hand. It also lacks the superb low-light capabilities of the f/1.4, but still is decently fast and can shoot even sharper when wide open. In terms of the final decision, professionals and low-light specialists will gravitate to the f/1.4, but for the price, we can't help but love the f/1.8.See the Nikon 50mm f/1.8G 781b155fdc