NIKON AF-S Nikkor 50mm f / 1.8G Lens

Product Information

The Nikon AF-S Nikkor 50mm 1:1.4G comes into its own on its native FX format. Sharpness is notably even right across the image even at F1.4, with the corners better than any other full-frame 50mm we've tested. The improvement over the AF-Nikkor 50mm F1.4D is dramatic, especially in terms of corner performance at larger apertures (although it's important to bear in mind that we tested the older lens on the lower-resolution D3); and while the Sigma 50mm F1.4 EX DC HSM is better in the centre wide open, its advantage disappears on stopping down to just F1.8. Sharpness

You can judge the effect if you look at the shadows at the lower left of the camera body and the mounting-plate. The 50/1.8G does not show any significant change in contrast – which is a good thing. Gallery Apochromatic lenses have special lens elements (aspheric, extra-low dispersion etc) to minimize the problem, hence they usually cost more. Focus: Focus speed is a bit more variable with this lens than I was used to. When used in Full range on more distant subjects, focus was often fast and unnoticeable, though I detected a few times (on the Zfc) where there was a clear hesitation in focusing, typically when the Auto-area AF was moving between human and non-human subjects. For generalized work, I'd put the lens in the category of moderately fast for focus speed. But it's not a speed demon, by any measurement. I can't detect any air coming out of my viewfinder as focused. The internal optics move as a unit inside the outer barrel.

The best Nikon lenses to buy for F-mount DSLRs – and remember, these can be adapted to fit Nikon Z mirrorless cameras.

Perhaps the first noticeable difference in the new 50mm f/1.8 lens is that it is a G-series model, meaning that it doesn’t have an aperture ring. Although there are still a handful of older D-series optics in Nikon’s line-up, the vast majority of the company’s AF lenses are part of the G series, which as standard don’t have aperture rings. If you're curious, the 50mm f/1.8 S is an optically more accurate lens at all equal apertures, but it's also a far bigger lens. It's a full-coverage FX lens, so it works great on FX digital, DX digital and film. It works especially well on the Nikon D3 and D300. Like most other Nikkor AF lenses, the 50mm f/1.8G features a switch on its side to change between two focus modes: M/A and M. Sharpness is good right across the frame wide open, with the centre improving rapidly on stopping down and the corners not too far behind. Optimum apertures are around F5.6 to F8, at which point the lens is delivering impressive results right across the frame.

It won't autofocus on the cheapest digital like the D40 or D40x, but it won't autofocus on an F3 either! For autofocus on the cheapest digitals, get the 50mm f/1.8 G. I have received several inquiries from our readers about weather sealing on Nikon 35mm and 50mm lenses. The short answer is “No”, these lenses are not weather sealed. While I have been using my Nikon 50mm f/1.4G lens in hot/cold/dry/wet weather conditions and never had any issues, Nikon lenses without gold rings are not designed to withstand tough weather as professional lenses. That’s why Nikon does not specifically mention weather sealing in their marketing materials on these lenses. If you take a good care of the lens and use a protective filter in front of the lens, you should have no problems with using it in various weather conditions. Just remember to take extra precaution when changing the lens in very dusty/windy conditions. Since the rear lens element moves in and out during focusing, get used to rotating the focus ring to the infinity mark before mounting or dismounting the lens. NIKON D3S + 50mm f/1.8 @ 50mm, ISO 250, 1/3200, f/1.8 Compared to the 105mm f/2.8 S: the 50mm f/2.8 may actually be a bit sharper at the very center of the lens, but the 105mm f/2.8 S beats it outside the very center. The corners on the 105mm f/2.8 S are consistently excellent and near the lens’ central performance, where the 50mm f/2.8 has more variable performance across the full frame, as noted above. Lateral chromatic aberration is, as expected of a double Gauss type standard prime, pretty well negligible with this lens. If you go looking for it towards the edge of the frame you'll find it, but it's rarely going to spoil an image in any way (and of course most current Nikon DSLRs remove it in JPEG processing anyway). The sample below shows just how little fringing you'll see in normal use, even when looking at output from the 24Mp D3X at 100% (if anything this is testament more to the camera's resolution than a failing of the lens).One major advantage of the new lens comes via the introduction of an internal AF motor. The two previous AF versions of the 50mm f/1.8 optic rely on a motor in the camera to drive an AF screw in the lens.