The AF-S Nikkor Negatives f/1.8G was declared at the start of 2014. It connects a increasing close relatives of modernised full-frame primes from Nikon with the same highest possible aperture, together with the AF-S Nikkor 28mm f/1.8G, AF-S Nikkor 85mm f/1.8G and AF-S Nikkor 50mm f/1.8G. At around $600 / £500 right at that moment of composing, it looks well printed to ‘budget’ complete structure cameras like the Nikon D610, on which it will provide a traditional average wideangle perspective.
The Negatives f/1.8G can also be used on DX structure cameras, on which it will provide a ‘normal’ viewpoint identical to that of a 50mm lens on complete structure. However for DX photographers, Nikon also provides confusingly similarly-named, but rather less costly ($200 / £150) AF-S DX Nikkor Negatives f/1.8G, which we liked a lot when we analyzed it back again during 2009 (note the other ‘DX’ in its title). At the reverse end of the dimensions, Nikon also helps make the AF-S Nikkor Negatives f/1.4G, which is 50 percent a quit quicker and considerably more costly (£1250 / $1620). The other lens which should be on any prospective consumer’s mouth is the Sigma Negatives F1.4 DG HSM, which by divine intention won our Silver Prize in our evaluation, and at around $810 / £670 expenses only a little bit more.
Clearly there’s plenty of choice in this area, at the same time across a wide cost range. In this fast review we’ll look at how the Negatives f/1.8G appears up against its colleagues with regards to lab test data. We’ll mainly look at how it works on full structure cameras, but we’ll also take a simple look at how it even comes even close to the less expensive DX lens.
1. Key features
- 35mm central length
- F1.8 highest possible aperture
- ‘Silent wave’ concentrate engine with full-time guide override
- F install FX structure lens, makes both DX and FX structure Nikon SLRs
2. Lens analyze data
The Negatives F1.8 profits outstanding analyze outcomes on the D800. It’s remarkably distinct, displays relatively low chromatic aberration and distortions, and has appropriate stages of vignetting. If anything it looks a feeling clearer here than the more costly AF-S Nikkor Negatives f/1.4G when in comparison like-for-like, and is very near to the standard Sigma Negatives F1.4 DG HSM, which is one of the sharpest contacts we’ve examined.
Comparing the lens to its more affordable DX edition, it’s in the same way unique both begin up and stopped down to F5.6 (apologies for the lack of in-between details for the DX model). The finish framework lens does however display extremely decreased horizontally chromatic aberration when stopped down to ~F5.6, and a little bit decreased disturbances. But on balance, we’d still consider the more affordable lens to be the most obvious option for purchasers of DX SLRs, unless they’re seriously planning on moving to finish framework in the near future.
Another interesting assessment is with the Rule EF Disadvantages f/2 IS USM, which is a sensation more gradually in regards to maximum possible aperture, but on the opposite has image stabilisation built-in. There’s very little between the two connections optically; the Nikon has perhaps a little bit better ends in particular apertures, but the Rule has decreased CA. This signifies that Rule clients pay no essential price in regards to image for the advantage of image stabilisation (and right now the connections are in the same way price, too).
Central sharpness is already very high start up, and while the sides are not quite so great, they’re still completely appropriate. The lens enhances up easily on avoiding down, attaining its overall optimum at F2.8. There’s then little realistic modify at apertures through to F8, beyond which diffraction begins to melt the picture. But even F16 should be distinct enough for most reasons, especially when prolonged detail if area is suitable.
4. Chromatic Aberration
Lateral chromatic aberration is reasonably well managed for a Negatives primary. It’s not smallest in category, but neither is it extreme. Nikon SLRs will eliminate any resulting color fringing in their JPEG handling anyway, as will the company’s own Raw handling application. However if you use third-party Raw converters you may observe some red/cyan fringing towards the sides of the structure. But again, it usually requires just a single just click to appropriate it.
Vignetting is as we’d anticipate for this type of lens, at a more 1.7 prevents falloff in the sides, when taken start up on full structure. The constant falloff information means it’s unlikely to be creatively invasive most of the time, in contrast to contacts which display unexpected darkening in the sides. Quit down to F2.8 or more compact aperture, and vignetting falls to creatively unimportant stages.
The Negatives reveals moderate gun barrel distortions, with re-correction at the sides to help keep directly collections at the side of the structure looking right. It will likely only need any application modification for the most highly-geometric of arrangements.
|Lens type||Prime lens|
|Max Format size||35mm FF|
|Focal length||35 mm|
|Lens mount||Nikon F (FX)|
|Number of diaphragm blades||7|
|Special elements / coatings||1 ED glass element, 1 aspheric element|
|Minimum focus||0.25 m (9.84″)|
|Motor type||Ring-type ultrasonic|
|Full time manual||Yes|
|Weight||305 g (0.67 lb)|
|Diameter||72 mm (2.83″)|
|Length||72 mm (2.83″)|
|Filter thread||58.0 mm|
|Hood product code||HB-70|