The AF-S Nikkor Negatives F1.8G DX is Nikon newest lens, declared in Feb for PMA 2009. Its release came as something of unexpected to many experts, not because it’s a current Negatives lens with a built-in auto-focus engine, but because the ‘DX’ status indicates that it’s designed for use on DX structure systems, and isn’t fully suitable for Nikon’s growing FX structure digicam range. According to Nikon, this has permitted the company to style a lens that has a more compact footprint, less heavy and less expensive than it would have been had it provided complete dental protection plans of the FX picture group. In effect, the lens is usually focused as a cheap, huge aperture option for consumers entry-level (D40 / D40X /D60) sequence of DSLR.
The Negatives central duration is approximately comparative to 50mm on an FX digicam, and the lens therefore matches the ‘standard’ classification, with an position of view providing none of the ‘perspective distortion’ associated with wideangle or telephoto contacts. The quick F1.8 highest possible aperture confesses more than four times as much mild as the AF-S 18-55mm F3.5-5.6G VR DX kit lens, which is useful for capturing in low mild while keeping shutter rates of speed reasonably high. The ‘Silent Trend Motor’ allows auto-focus on all of Nikon’s DSLR systems, with the added reward of enabling the user to modify concentrate personally in AF method if preferred.
The Negatives F1.8G functions an visual style of 8 components in 6 categories, such as an aspherical factor for the modification of aberrations usually associated with huge aperture primary contacts. However compared with the common 50mm conventional primary for the complete structure (FX) structure, this lens’s central duration is rather more compact than the flange range from the lens install to the imager. unfortunately this often results in improved aberrations comparative to conventional near-symmetric 50mm styles.
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- 35mm central length; quick F1.8 highest possible aperture
- Silent Trend Motor allows autofocusing on all Nikon DSLRs
- Full-time guide concentrate override
- For DX structure cameras
Nikon AF-S Nikkor 35mm Body And Design
The Disadvantages F1.8 follows Nikon’s new design idiom for AF-S primes, and keeps a unique family likeness to the AF-S Nikkor 50mm F1.4G (although it does not have the product variety range seen on that get in touch with lens, presumably in a bid to lower costs). Development and is of a normal that belies the relatively lowly price; the get in touch with lens seems resilient and well put together. The gun gun barrel is made from black unpleasant, with a metal set up, and one nice touch is the addition of an ‘O’ group around the set up to help avoid dust and water coming into you (note though that the get in touch with lens is not described as weather-sealed).The Disadvantages F1.8 follows Nikon’s new design idiom for AF-S primes, and keeps a unique family likeness to the AF-S Nikkor 50mm F1.4G (although it does not have the product variety range seen on that get in touch with lens, presumably in a bid to lower costs). Development and is of a normal that belies the relatively lowly price; the get in touch with lens seems resilient and well put together. The gun gun barrel is made from black unpleasant, with a metal set up, and one nice touch is the addition of an ‘O’ group around the set up to help avoid dust and water coming into you (note though that the get in touch with lens is not described as weather-sealed).
Lens human body system elements
- The get in touch with lens uses Nikon’s recognized F set up, and will fit all of their DSLRs, both DX and FX framework. It provides with one’s human body system electronically via a variety of get in touch with hook varieties, with technical control of the aperture using a metal handle. A rubberized gasket around the place of the set up provides a degree of protection against moisture and dust ingress into you.
- The filter line is 52mm, and does not move on concentrate – an extra for customers of filter such as polarizers and fairly fairly neutral stability gradients.
- The bayonet-mount HB-46 get in touch with lens hood has a flat black complete on the inside to lower reflection of walk light into the get in touch with lens, and changes around perfectly for storage space. Unfortunately though it’s just 24mm powerful, much not so powerful than that on the new 50mm F1.4G (36mm), and similar to what we’d anticipate for a Disadvantages for FX. It’s almost as if Nikon’s specialists didn’t remember they were creating a get in touch with lens for DX.
- The concentrate group has an 8mm wide ribbed-rubber hold, and goes about 120 stages anti-clockwise from infinity to closest concentrate. The action on our example experienced a little bit ‘rough’, but this had no negative effect on achieving precise information concentrate. There’s no variety or details of place variety though. The place of view decreases a little bit on concentrating closer, as is common with primary connections.
- A typically placed change on the side of the get in touch with lens gun gun barrel selects between automatic and information concentrating ways. The ‘full-time’ information concentrate design provides the ability to alter the main concentrate creating when the get in touch with lens is set to the M/A place.
Nikon AF-S Nikkor 35mm Test Results
The Nikon Negatives F1.8G DX works much as we’d anticipate from a quick primary in our studio room assessments. The lens is a somewhat smooth start up but enhances quickly on avoiding down, however there’s an associated improve in horizontal chromatic aberration (this is the most noticeable impact on a conventional full-frame conventional primary such as the AF-Nikkor 50mm F1.8D, and presumably a consequence of the retrofocal design). However when in comparison to the AF-S Nikkor 18-55mm F3.5-5.6G DX VR kit lens, the considerably greater sharpness of the primary is instantly obvious.The Nikon Negatives F1.8G DX works much as we’d anticipate from a quick primary in our studio room assessments. The lens is a somewhat smooth start up but enhances quickly on avoiding down, however there’s an associated improve in horizontal chromatic aberration (this is the most noticeable impact on a conventional full-frame conventional primary such as the AF-Nikkor 50mm F1.8D, and presumably a consequence of the retrofocal design). However when in comparison to the AF-S Nikkor 18-55mm F3.5-5.6G DX VR kit lens, the considerably greater sharpness of the primary is instantly obvious.
The get in touch with lens uses a ring-type ‘Silent Pattern Motor’ for auto-focus, and will concentrate on all of Nikon’s DSLRs, such as the entry-level D40 / D40X / D60 systems. This program also allows concentrate to be enhanced personally after autofocusing, when the get in touch with lens is set to the M/A method. In use the concentrating works extremely well – the engine is fast and almost completely silent. Focus perfection we generally amazing too, although we did recognize a small tendency towards rear-focusing at advanced varies (ca. 5m), most recognizable when catching at large apertures. As always, it must also be noticed that concentrate speed and perfection is dependent a number of factors, such as you human body system used, subject comparison, and light stages.
Sharpness is rich in the center even start up, but declines gradually towards the corners; study of the checkerboard plants shows that this is actually reduction of comparison due to minor halation, and details is delivered with high-definition. This enhances quickly on avoiding down, and by F2.8 is very good right across the structure (although the excessive sides are always a little bit less distinct than the centre). The very best outcomes are seen around F3.5, but near-equally outstanding outcomes are acquired on avoiding down to at least F8, with diffraction having a a lot more dangerous effect at more compact apertures. As regular on DX receptors, F18-F22 is best prevented.
At huge apertures chromatic aberration is very low, however on avoiding down horizontal CA gradually enhances up to F4. At this and more compact apertures red/cyan fringing is rather noticeable, certainly sufficient to be noticeable in many photos.Falloff We consider falloff to become obvious when the place lighting drops to more than 1 quit less than the center. The Negatives F1.8G has a highest possible falloff value of 1.3 prevents extensive open; this is reduced than that seen on conventional FX-format 50mm primes, and nothing to be worried about in regular use.
Distortion is reasonably well-controlled at 1.1% gun barrel – about par for the course for conventional primes, although rather greater than the extremely well-corrected Nikon 50mm F1.8D. It is sufficient to sometimes become noticeable in real-world photos, but in perspective much reduced than that seen at the extensive end of most kit zooms.
FX (Full Frame) Coverage
On the launch of this lens (in amongst some surprise over it being DX structure only) there was a level of rumours as to how completely it might protect the FX / Negatives complete structure structure. The lens will install on Nikon FX systems, which by standard will interact with DX plants method and therefore capture at decreased quality. But it’s also possible to power you to capture in FX method, so in the illustrations below we display the amount of vignetting which will happen if you do so (with the DX structure structure superimposed in red for reference).
The vignetting noticed is influenced by two aspects – range and aperture – with the involved place reducing on concentrating nearer, and the effect becoming a lot more hard-edged on avoiding down. But while the picture group seems to be a bit more nice than the most of the other DX contacts we’ve examined, only at the lowest concentrate range does place darkening vanish completely. At regular capturing ranges there’s always a level of vignetting noticeable, and of course this analyze shows nothing at all about smooth or aberrations outside of the DX picture place for which the lens was made.
The more amazing capturing may still wish to play with this lens on FX, and could perhaps draw out useful pictures somewhat broader than the DX plants place. However, just as we’d anticipate, the AF-Nikkor Negatives F2 D continues to be a far more sensible choice for customers of both types.
The Negatives F1.8G DX is relatively immune to surface for a large-aperture primary, and does very much better than the various designed-for-film 50mm F1.4 contacts we’ve examined lately. With the sun around the structure we see relatively little in the way of surface, with just a multi-colored design in the other place which (as usual) enhances in meaning and strength on avoiding down. Slowly shift the sun just outside the structure place and, although there’s an overall reduction of comparison, there’s nothing similar to the linens of veiling surface seen with mature large-aperture styles. Overall, a fairly reasonable outcome.
One truly suitable, but difficult to evaluate part of a lens’s efficiency is the cabability to provide efficiently blurry out-of-focus areas when trying to separate a topic from the. With its relatively quick highest possible aperture, the Negatives F1.8G can generate considerably blurry background scenes, and while these can be a little bit hard-edged in personality (especially at F1.8), bokeh is usually rather attractive. Stopping down gradually smooths out the nastier sides, with perhaps the best bargain around F2.8.
Edge smooth extensive open
Our studio room assessments expose a level of smooth with the aperture start up, especially towards the sides, and here is our regular representation of how this might appear in reality using the conventional tedious stone walls strategy. The reduction on the other hand start up is quite noticeable, but as is often the case a advanced level of information is being documented, at the same time at this decreased comparison. Here we can also see the minor check out lighting in the place start up due to vignetting; the top remaining plants also shows the improved exposure of chromatic aberration on avoiding down. It’s reasonable to say that when considered in solitude, the F1.8 taken would look completely appropriate to most viewers; it’s only when juxtaposing it against the F4 edition that any inadequacies become noticeable.
See More Another Nikon Lens News Below :
- The New Nikon AF-S Nikkor 35mm f/1.8G
- The New Nikon AF-S Nikkor 35mm f/1.8G
- Nikon Lens – Nikkor 24mm F1.8G ED lens review
- The New Nikon Lens – Nikkor 28mm F1.4E ED Price Review
Nikon AF-S Nikkor 35mm Specifications
|Street price||• $200 (US)
• £200 (UK)
|Date introduced||February 2009|
|Maximum format size||DX|
|35mm equivalent focal length
|Diagonal Angle of view||47º|
|Lens Construction||• 8 elements / 6 groups
• 1 hybrid aspherical element
|Number of diaphragm blades||7, rounded|
|Minimum focus||0.3m (1.0 ft)|
|AF motor type||• Ring-type Silent Wave Motor (ultrasonic-type)
• Full-time manual focus
|Focus method||Internal (rear) focus|
|Image stabilization||• None|
|Filter thread||• 52mm
• Does not rotate on focus
|Supplied accessories||• Front and rear caps
• HB-46 hood
|Weight||210g (7.4 oz)|
|Dimensions||70mm diameter x 52.5mm length
(2.8 x 2.1 in)
|Lens Mount||Nikon F only|