The AF-S Nikkor 50mm F1.4 G is Nikon newest take on the traditional ‘standard lens’ idea, and has been around since Sept 2008. It’s a alternative for the mature AF-Nikkor 50mm F1.4D which we analyzed annually ago, with improved optics to better fulfill the requirements of recent high-resolution complete structure receptors. The visual system is an new form of the traditional ‘double Gauss’ style, with an extra factor placed towards the back to provide an 8 factor, 7 team settings. According to Nikon, this enhances modification of off-axis aberrations, which guarantees better efficiency towards the sides of the structure particularly when using huge apertures.
The AF-S status indicates that the lens functions a built-in ‘Silent Wave’ engine for quick and silent autofocusing, which also provides complete interface with Nikon’s entry-level DSLR systems such as the D60 and D5000. A further advantage provided by this ring-type engine is the ‘manual concern autofocus’ method, which allows the consumer to modify concentrate personally after autofocusing. There’s also a round aperture style which utilizes 9 curved rotor blades, for a more organic form of out-of-focus background scenes.
Of course all these developments over the mature lens come at an amount, and the AF-S 50mm F1.4G is considerably more costly than its forerunner. It also has to contend with the other new kid on the prevent – the amazing (if a little bit more costly) Sigma 50mm F1.4 EX DG HSM. So allows find out how it even comes even close to these two contact contacts, and whether it’s value your hard-earned money.
Visit My Youtube Channel : DSLR Camera
Nikon AF-S Nikkor 50mm Key Features
- 50mm central length; quick F1.4 highest possible aperture
- Silent Trend Motor allows autofocusing on all Nikon DSLRs
- Full-time guide concentrate override
Nikon AF-S Nikkor 50mm Body And Design
The AF-S 50mm F1.4 G is a well-made contact lens, and very much in the modern design idiom with design similar to the AF-S Negatives F1.8G DX, and a complete which suits current camcorders such as the D300 The build seems as good as anything else in its class (and especially more strong than The canon eos EF 50mm F1.4 USM), and has a rubberized ‘O’ ring around the install to help closure against dirt and water getting into the digicam whole body. The front element is greatly recessed in the gun barrel (by 18mm at infinity focus) which should provide useful security against wander mild and surface, and the entire visual unit progresses within the gun barrel by about 9mm on concentrating from infinity to 0.45m.
One of the title features of the 50mm F1.4G in comparison to its forerunner is the new built-in Quiet Trend auto-focus engine, which gives full interface with all of Nikon’s DSLRs such as the entry-level D40, D40X, D60 and D5000. The concentrating is sleek and almost completely silent operating, and we found it to be usually precise and reliable.
In terms of concentrate rate, however, it’s quite clear that the older, ‘D’ contact lens usually exceeds the new model. To evaluate this, we performed some basic concentrate rate assessments, using the Nikon D300 as the analyze whole body. In the first analyze, the digicam was placed 1 gauge from a high comparison concentrate focus on, the contact lens set to infinity and sufficient time required to achieve concentrate calculated (using a delicate mic to record concentrate engine noise). In the second analyze, we indicated the digicam at a featureless white focus on and calculated sufficient time the contact lens took to drive from infinity to nearest concentrate (0.45m) and back. In both cases, ‘lag’ symbolizes sufficient time between pushing the shutter button and the concentrate engine starting to move. The mild stage was roughly 10 EV, and all times revealed are the average of three dimensions.
Lens whole body elements
- The contact lens uses Nikon’s revered F install, and will fit all of their DSLRs, both DX and FX structure. It conveys with one’s whole body digitally via a selection of contact hooks, with technical control of the aperture using a steel handle. A rubberized gasket around the install provides a degree of security against wetness and mud ingress into the camera.
- The narrow line is 58mm, and does not move on auto-focus, which is great news for polarizer customers. This perspective also reveals how greatly recessed the front factor is into the gun barrel at infinity concentrate.
- The bayonet-fit HB-47 lens bonnet is as conventional. It is 36mm deep and coloured black in the inside to reduce representation of light into the lens. When not in use it can be changed for storage.
- The concentrate band features an 9mm-wide ribbed rubberized hold, and the action is sleek and precise. It moves a nice 190 levels anti-clockwise from infinity to 0.45m, enabling precise guide concentrate. The position of perspective clearly reduces on concentrating nearer, as is unavoidable with unit-focusing primes.
- A range range is provided with marks in both legs and metres, and contains a rather small detail of field range noticeable for F11 and F16. This is modified for the Negatives full-frame structure, so will be less useful for DX structure photographers.
- A conventional concentrate method selection change lives in the side of the lens gun barrel, and hinders auto-focus when set to the ‘M’ position. When set to M/A, the lens will auto-focus (as long as the camera body is also set to AF), but the main concentrate range can still be modified personally if preferred.
Nikon AF-S Nikkor 50mm Images Quality
Sharpness start up is nothing to create house about, but avoiding down enhances factors considerably. Efficiency is remarkably reliable across the structure, with the sides only ever a little bit smoother than the center. The very ideal answers are acquired between F5.6 and F8, with remarkable sharpness right across the structure.
Lateral chromatic aberration is considerable, but unlikely to be noticeable in real-world photos unless you go out of your way to look for it. More challenging are the non-zero CA numbers towards the center at extensive apertures, which betray red ‘color blur’ as a consequence of color-specific rounded aberration. However this is much enhanced over the mature 50mm F1.4D, and it basically vanishes by F2.
We consider falloff to become obvious when the area lighting drops to more than 1 quit less than the center. As regular for a full-frame lens used on DX, there’s really nothing to bother about here; calculated vignetting is destination start up, but vanishes on avoiding down to F1.8.
50mm F1.4 primes are not designed as macro contacts, and the Nikon does not provide any excitement here. Highest possible zoom is 0.16x, at a calculated nearest concentrate range of 43.5cm, which gives a functional range of 33.5cm from the top side of the lens to the topic.
Image top quality at huge apertures (not surprisingly) isn’t excellent, but the center enhances up well on avoiding down to F4, with the sides an end or so behind. There’s a little gun barrel distortions and a small sign of red/cyan chromatic aberration.
If the AF-S Nikkor 50mm F1.4G has a weak factor, it would be its managing of surface when capturing into the mild. This isn’t particularly uncommon for quick contacts, but if anything it seems to do a little less well than the mature ‘D’ edition – and the Sigma 50mm F1.4 EX DG HSM works remarkably better.
With the sun in the structure, we see various multi-colored surface styles, which differ with aperture, becoming more invasive and dangerous on avoiding down. Slowly shift the sun a little bit out of the structure and the image becomes washed-out by swathes of veiling surface. Overall the ethical of the tale is to prevent capturing towards the sun.
One truly suitable, but challenging to evaluate aspect of a lens’s efficiency is the capability to provide efficiently blurry out-of-focus areas when trying to separate a topic from the qualifications, usually when using a lengthy central duration and enormous aperture. The 50mm F1.4 can be designed to blur even relatively near qualifications scenes into oblivion at extensive apertures, a appealing factor for image capturing especially on DX.
The bokeh of the 50mm F1.4G is, partially thanks to its round aperture, usually extremely extensive. It’s perhaps not quite as sleek as Sigma’s 50mm F1.4 EX DG HSM, but similarly it’s a lot less ‘busy’ or annoying than many other identical contacts. Even at F1.4, relatively remote qualifications scenes are delivered quite well, as proven by the brickwork details below. When capturing closeups, the changes to out-of-focus areas are sleek and eye-catching, and thanks to that round aperture, factor mild resources are delivered as sectors (as instead of annoying polygons) even when the lens is considerably ceased down.
Lateral chromatic aberration is, as predicted of a dual Gauss kind conventional primary, as good as minimal with this lens. If you go looking for it towards the side of the structure its, but it is hardly ever going to mess up an image in any way (and of course latest Nikon DSLRs take it off in JPEG managing anyway). The example below reveals just how little fringing you’ll see in regular use, even when looking at outcome from the 24Mp D3X at 100% (if anything this is testimony more to the digital camera’s quality than a unable of the lens).
Smooth and vignetting at huge apertures
As regular, we like to odor of how the lens’s visual efficiency at huge apertures holds up to the bustle of daily stone walls capturing. The examples below evaluate efficiency at F1.4 and F4 on the D3X (note that despite its greater pixel depend, the D3X actually has a a little bit bigger pixel message than the DX structure D300 we seemed at on the past website, and so the lens looks a little clearer even in 100% crops). Again the reduction of comparison at F1.4 is apparent, but the quality of information is not bad at all. The excessive area plants display the pretty powerful stage of vignetting at F1.4, and at F4 there’s some very minor red/cyan fringing from horizontal CA.
Nikon AF-S Nikkor 50mm Specifications
|Street price||• $485 US
• £300 UK
|Date introduced||September 2008|
|Maximum format size||35mm full frame|
|35mm equivalent focal length (APS-C)||75mm|
|Diagonal Angle of view (FF)||46º|
|Diagonal Angle of view (APS-C)||31º 30′|
|Lens Construction||8 elements / 7 groups|
|Number of diaphragm blades||9 (rounded)|
|AF motor type||• Ring-type SWM
• Full-time manual focus
|Image stabilization||• None|
|Filter thread||• 58mm
• Does not rotate on focus
|Supplied accessories||• Front and rear caps
• Lens Hood HB-47
• CL-1013 Lens Pouch
|Weight||290g (10.2 oz)|
|Dimensions||73.5mm diameter x 54.2mm length
(2.9 x 2.1 in)
|Lens Mount||Nikon F only|