Nikon AF-S DX 35mm f/1.8G Lens

Product Information

If you’re looking for rugged reliability coupled with simple versatility, consider this third version of the Canon F-1. Shutter speeds of 1/60 second and below are electronically controlled; 1/125 second, all the way to 1/2,000sec are mechanical. which on a DX camera will see an angle-of view similar to what a 53mm lens would see on film or on an FX camera. Power source: Choice of one 3V lithium battery (CR-1/3 type), two 1.55V silver-oxide batteries (SR44 type), or two 1.5V alkaline batteries (LR44 type); optional Anti-Cold Battery Holder Late 1980s ~ early 1990s AF cameras like the N90s, N70 and F4 will focus just fine. You'll have Program and Shutter-priority modes, but will lose Manual and Aperture-priority since you have no way to set the aperture on the camera or on the lens. The slight yellow-blue color fringes in the FX corners are this lens' one problem. I don't consider it a real problem, but if you're a pixel-splitter who photographs bare trees against gray skies, get the 16-35 VR instead, which doesn't have this problem.

Definition: Nikon digital SLRs have either an FX or a DX sensor. The FX sensor, measuring 24x36mm, is roughly equivalent to the size of the 35mm film frame. The DX sensor is smaller, measuring 15.8x23.6mm. I'd never see significant difference in actual shooting between them. If I got out my microscope, the AF-D lens is less contrasty at f/2 than the 35/1.8G FX is at f/2, and the 1.8 G FX lens is slightly sharper at microscopic levels than this 35/2 AF-D in the corners —but the f/1.8 lens has more obvious color fringes in the far corners of FX than the AF-D lens. Lens construction is fairly advanced for a budget lens. The Nikkor 35mm f/1.8G contains a single “Extra Dispersion” (ED) lens element that is typically used on high-end Nikkor lenses to boost sharpness and contrast, along with a single aspherical lens element used for correcting spherical aberration issues:

Best 35mm SLR film cameras with manual focus – Minolta

FX shooters deserve either the 50mm f/1.8 D or, ideally the 50mm f/1.4 AF-S. It makes no sense to get this lens to shoot at the DX setting of an FX camera; just get an FX lens.

The camera offers manual and aperture priority exposure, which uses contrast light compensation average metering to deal with contrasty light conditions. It also accepts six interchangeable viewfinders. They include the AE-Finder for aperture priority, M-Finder for manual match-needle metering, P-Finder for a plain view with no metering, H-Finder which is unmetered but with 6.2X magnification, W-Finder for use at waist level and the AE-S Finder. This last one substitutes a silicon cell for the usual CdS metering cell, necessary to provide automatic metering at up to 3.5 frames per second continuous shooting when using the dedicated motor drive. Viewfinder: Eye-level pentaprism type; 0.86X magnification with 50mm lens set at infinity; finder coverage approx. 93% of picture field If you want to force the lens into manual-focus only, the M/A - M slide switch is positioned perfectly under your thumb. The lens has a 58mm filter thread and a construction of seven elements in six groups. Don’t confuse it with the cheaper AF 50mm f/1.8D, which won’t autofocus on Nikon’s entry-level D3000-series or D5000-series DSLRs. As with all AF lenses, it won't focus in dimmer light or any faster than slower (f/2.8 or f/4) AF lenses; Nikon's AF system doesn't care about lens speed.This 35/1.8 has some minor spherochromatism, especially if you're shooting on a camera like the D800, D3300 or D7100 with crazy-high resolution and looking at images at 100%.

It works great on DX cameras, but you're paying a lot more than you need to, since for DX, the 35mm f/1.8 DX does exactly the same thing for one-third the price. The Nikon 35mm f/1.8 G AF-S' all-plastic construction works and feels great today, but don't come whining to me in thirty years if Nikon can't fix or supply circuit boards or AF motors. The lens is much bigger and heavier compared to other Nikon 35mm lenses such as Nikon 35mm f/2D and Nikon 35mm f/1.4 AIS, making it the biggest and heaviest 35mm prime produced by Nikon to date. The Nikon 35mm f/1.4 feels very solid in hands and the focus ring is conveniently located in the front of the barrel, making it easy to manually focus with a thumb and index fingers while shooting images or video. The lens comes with the “HB-59” lens hood, which is a little bulkier than the “HB-51” that comes with the 24mm f/1.4G. It snaps on the front of the lens and sits tight without wobbling like some other Nikon lens hoods. The Nikon AF-S 500mm f/5.6E PF ED VR lens is the lightest 500mm full-frame telephoto prime lens; weighing just 1.46kg, it is lighter than most 150-600mm zoom lenses – light enough to shoot with handheld. The Vibration Reduction system gives 4-stops of stabilisation. The Nikkor AF-S 14-24mm f/2.8G ED was introduced in 2007, and is quite simply a beautiful feat of optical engineering. It delivers images of outstanding sharpness thanks to its extra-low dispersion elements and the Nano Crystal Coating and Super Integrated Coating that have been added. It’s also weather-sealed, and the constant aperture of f/2.8 enables real creative freedom.Thanks to the rounded 9-blade iris, out of focus highlights captured by the Nikon Z 35mm f1.8 S captures are round. There’s also no sign of ‘onion ring’ or other aberrations.