lens – Page 2 – frederikboving

The Nikon 50mm 1.4D comes with mechanical auto focus, and hence only works for those Nikon cameras that have a built in AF motor. So if you have a D5x00 or a D3x00 series Nikon, beware that AF will not work. The entry level cameras simply assume that the lens has built in motors. It is a mechanical construction with no motor and no stabilization. The construction is an oldie, but still a goldie:

The aperture ring enables you to manually switch from f/1.4 to f/16, and the lens is an FX lens, meaning it will work both on full frame cameras and on cropped sensors. However, on a cropped sensor, you may want to go for a 35mm lens to get the equivalent of a 50 mm.

Why the Nikon AF-D 50mm 1.4?

Price. Unless you are flea market shark (very lucky or a very good negotiator) you will find that a lens as fast as f/1.4 is very expensive, as it requires a lot of glass. This lens will only set you back 230 USD, which compared to other lenses is a true bargain. I think it is because the lens construction is very old and has been produced in so many copies that the R&D that went into making this lens has been recovered many times since the first version of this lens saw the light of day back around 1950. You can get it used a lot cheaper, and if you go for a Pentax 50mm f/1.4, then you can get it down to 50-80 USD if you follow e-Bay closely for a while!

Low light shooting. This lens is fast and will let in a lot of light. Lots of light enables you to shoot where there is very little ambient light, without adding flash or the like. For each f-stop you go down, the amount of light the lens lets in doubles, i.e. it is not a linear relationship but a more “explosive” one. So a 1.4 lets in double the amount of a 2.0 which is also considered at fairly fast lens.

Background separation. When the lens is wide open and you shoot at f/1.4, the depth of field (DoF) is very narrow, meaning that you will have excellent background separation, even to the extend where parts of your subject may be out of focus! I find that if I take a picture of my cat at f/1.4, then if the eyes are in focus, the nose may not be! The DoF is that shallow! At 45 cm distance (minimum focus distance for this lens), the DoF is 1-2 centimeters!

Shooting wide open on a summer’s day

You may find that your pictures are overexposed if you shoot at f/1.4 on a summer’s day.

The problem is that the lens lets in so much light, that even at a ISO 100 and maximum shutter speed, to much light hits the sensor. My Nikon D750 has a maximum shutter speed at 1/4000th of a second, and shooting a white or yellow flower in bright sunlight leads to over exposed pictures. The solution (other than stopping down) is a Neutral Density filter. I find that a ND3 filter (takes out 3 stops of light) solves the problem in most cases.

Sample pictures

Below some sample picture that I hope can give inspiration. I really enjoy shooting with the 1.4 lens, and if you are a photography nerd but have never tried to use a super fast lens, I can only recommend you try it! It is really great fun! If the price tag seems steep, try to see if you can lend or borrow one – but be prepared to be hooked! PS: Links to related reading at the bottom of the below images.

A thermometer – notice the blurred background.

The below is a wine bottle cork with some graphics on top. It stands on my kitchen table. But because the DoF is so shallow, the structure of the wood is only visible very close to the subject – the rest is blurred:

A small souvenir from Rome... — A small souvenir from Rome…

Video link

Starting my “career” as a photographer on a Nikon D5600, I quickly built a portfolio of good and less-good glass. One of my favorite lenses was the Sigma 18-35 mm 1.8 DC, and must admit that this lens was one of the reasons why I hesitated to go full frame – it is that good!!

However, someone kind told me that not all is lost. The Nikon F-mount is still the Nikon F-mount and the lens will fit and you will get all the EXIF information still. So what happens if you use the DX lens on an FX camera body?

Limited coverage

As you probably have figured out, the DX lens for the cropped sensor is designed to cover a smaller area than the FX sensor, so when you shoot with the DX lens, you will get vignetting meaning that especially the corners of the picture are darker or pitch black. The lens throws a light intended to cover the DX area comfortably, but when challenged with the FX sensors larger area, the circle cannot cover, and especially the corners are cut off.

However, how much depends on the zoom. The wider you go, the bigger the problem becomes. The first example here is at 35mm, i.e. the most zoom that the Sigma 18-35 mm 1.8 DC can give and as you can see there is some vignetting in the corners:

If you widen the perspective to 22mm (this is not even the widest it will go), you will see that the problems have gotten worse and now more of the corners are cut off:

However, if you study the pictures carefully, you will see that the 22mm has a wider reach than the 35mm despite the vignetting. In the water, top left, there are two buoys and you can see that there is more of the horizon to the left of them in the bottom picture. So although you have to crop the picture in post processing to get something useful, you still get a fairly wide picture using the Sigma 18-35 mm 1.8 DC on a FX body.

So, don’t sell all your DX glass if you decide to go for full frame – you may find that the DX glass is useful on a FX body. But it varies a lot from lens to lens, so the best is if you can test your lenses with the camera body you plan to buy, so you know exactly how useful your DX glass is on the FX frame.

Nikkor AF-S 18-140mm 3.5-5.6 ED DX VR

One of Nikons classic kit lenses is the Nikkor AF-S 18-140mm, and as you can see the vignetting is bad both when zoomed out (18mm) as this shot of a window frame shows:

And it only gets a notch better when zoomed in close – here at 140mm of the same window frame:

If you compare this to the Nikkor AF-S 35mm 1.8G DX, you can see that the vignetting here is much less, actually – I think – hard to see unless you know it is a DX lens on a FX frame:

I think you have to compare it to the 50mm FX equivalent (Nikkor AF 50mm 1.4D) to notice the difference:

So the Nikkor AF-S 35mm 1.8G DX in my mind is highly usable on a FX frame whereas the Nikkor AF-S 35mm 1.8G DX is much less. Finally, lets take a look at another classic kit lens.

Nikkor AF-S 18-55mm 3.5-5.6 G II ED DX

This lens is probably one of the most common kit lenses, and at 18 mm it – not surprisingly – shows the same vignetting as the 18-140mm:

However, at 55 mm there is hardly any vignetting:

So I think this illustrates that you need to test the specific lens you want to put on a FX camera as it is hard to make a conclusion or a guide that applies to all lenses.

Questions and comments

Questions and comments are more than welcome – please post below. Hope you found this blog useful. Thank you for reading! Please share if you find this post useful.

Tag: lens

Nikon AF-D 50mm 1.4 is so much fun!!