Nikon AF FX NIKKOR 50mm F/1.4D DSLR Lens with Auto Focus for Nikon DSLR Cameras
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Availability:
Only 1 left in stock, order soon!
Arrives
Thursday, Oct 16
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Features
- The AF NIKKOR 50mm f/1.4D DSLR Lens from Nikon is a very effective standard length lens compatible with both FX and DX format Nikon DSLRs
- Lens construction: 7 elements in 6 groups
- Closest focusing: 0.45m/1.5 ft.
- Accepts 52mm filters;Maximum Aperture f/ 1.4 ;Minimum Aperture f/ 16
- Includes 52mm lens cap, rear cap
- Lens not zoomable
- Lens not zoomable
Description
Fast enough for shooting in just about any type of light, this is an ideal first lens; perfect for full-length portraits, travel photography or any type of available-light shooting. The Nikon 50mm f/1.4D AF Nikkor lens delivers distortion-free images with superb resolution and color rendition. Accepts 52mm filters. For programmed auto or shutter-priority auto shooting,use the minimum aperture lock lever to lock the lens aperture at f/16
Brand: Nikon
Lens Type: Normal
Compatible Mountings: Nikon F (FX)
Camera Lens Description: 50 month
Maximum Focal Length: 50 Millimeters
Product Dimensions: 1.69 x 2.56 x 2.56 inches
Item Weight: 8.1 ounces
Item model number: 1902
National Stock Number: 6760-01-461-5915
Batteries: 1 Lithium Ion batteries required.
Is Discontinued By Manufacturer: No
Date First Available: October 2, 2001
Manufacturer: Nikon
Country of Origin: Japan
Frequently asked questions
If you place your order now, the estimated arrival date for this product is:
Thursday, Oct 16
Yes, absolutely! You may return this product for a full refund within 30 days of receiving it.
To initiate a return, please visit our Returns Center.
View our full returns policy here.
To initiate a return, please visit our Returns Center.
View our full returns policy here.
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Top Amazon Reviews
Let's get this out of the way first. Your max aperture is simply a mathematical ratio describing the len's ability to gather light entering the front element. It does not measure the amount of light where it's important -- light exiting the rear element on to the film or sensor. That's always LESS than the max-ap because the glass and surface-to-air planes absorb light. The amount of light that hits the sensor (or film plane) is known as a t-stop and it's what cinematorgraphers use. The max f-stop and t-stop readings can be off by a surprising amount. As measured by the tech website DXOmark, the vaunted Canon 1.2 has a t-stop of 1.5. Guess what DXOmarks measures this Nikon's t-stop rating as? 1.5. Same as the Canon. This is the best max aperture to t-stop ratio I'm aware of. 1.4 max aperture, 1.5 t-stop. Same as the Canon 1.2 -- see for yourself. Now, on to the review. This is a lens for those who appreciate a classic standard focal length prime that uses the timeless seven element in six groups planar optical formulation. Every major manufacturer from Zeiss, to Olympus, to Yashica (RIP), to Pentax, to Minolta to Canon, to Sigma has made nearly an identical lens using the same classic configuration. They're basically the same lens (sorry Nikon but you know it's true...) It's a simple lens compared to modern lenses -- no fancy coatings, few elements and groups, no vibration reduction, no exotic glass, no aspherical elements. None of that stuff. As a result, this lens will vignette a little and be a bit softer at wider apertures, especially in the corners. You will always get some barrel distortion that will look terrible on "internet lens testing sites" but will hardly be noticeable in the field. It will be more susceptible to flare at wider apertures. Newsflash -- f1.4 is not a "working aperture", really. Working apertures for this lens are f 2 to f 8. Let's go through -- f 1.4 is "in case of emergency". If you need every photon available for available darkness shooting -- it's there. Also, use it to squeeze every bit of bokeh possible out of the lens for creative effect , playing and experimentation. F 2 -- 2.8, used to provide subject isolation. Great for environmental portraiture, ambient light shooting, or natural light still lifes. You'll get very good to excellent center sharpness, corners will be acceptable, and you'll get nice bokeh while losing a good bit of the chromatic aberrations and vignetting associated with shooting wide open. F 4 -- now were starting to get some serious sharpness in the center, corners improving dramatically, vignetting gone. F 5.6. BAM! If you're after max sharpness especially in the center with good depth of focus and some subject isolation (depending on focus distance) this is your aperture. You will be hard-pressed to find a sharper optic at any price. Center sharpness is off the charts, almost literally. Good daylight, flash, outdoors, that's your aperture. Whenever you're looking for optimal sharpness. Or? F 8. This will give you excellent corner sharpness at the expense of some center sharpness (which is still excellent) but no "bokeh" everything pert much in focus. F 11 -- image quality now visibly degrading due to diffraction. Still quite usable. Kinda the reverse of f1.4 except now you're going for max depth of focus. F 16 -- not a working aperture imo. Too much image degradation from diffraction but it's there if you need it for some reason. So. Why this lens? Why is it still relevant after 20 years of production? Why is it still made? A number of reasons. Modern FX cameras are pretty heavy. My "little" D600 weighs 2 lbs (I think). Now, slap a lens on it that easily adds another pound (or more) and it becomes a drag lugging this kit around and there's a good chance you leave it home and not use it at all, Your big, pricey FX camera is not doing any good setting on the shelf. This is the smallest and lightest f1.4 lens Nikon makes. It's great for "lug management". Not only that? It is very bright and is capable of completely professional results. Some of the greatest photographers shot solely with a 50 taking brilliant images with them. Since my camera has a built-in focus motor, I prefer to use that. (It's also purportedly faster on this lens...). I think the tiny motors built-in to the newer lenses will eventually wear out. I think this guy is simply more durable. Finally, I use two sites when choosing a lens: DXOMark and Flickr. DXO rates lenses objectively using an indexing scale and you can match lens performance to you camera body. There was one modern 50 by a 3rd party manufacturer that topped this one by a bit -- but it's a big, heavy, expensive behemoth. I can make just as good "ART" without lugging that thing around. No thanks. This lens was tied for 2nd among standard non-specialty "everyday" focal lengths. (Scrolling way down the list you start getting to your pricey pro zooms...) It was also a good bit cheaper (especially used and they're plentiful), smaller, and lighter. Then I went on Flickr -- some talented folks taking some amazing images with this lens. That comes as no surprise. This is a better lens than I am a photographer. Henry Cartier Bresson, Ralph Gibson, and others mostly shot a 50mm 1.4 their entire careers. Sold!
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Reviewed in the United States on March 9, 2018 by Nick Tropiano
My exact 50mm lens stopped autofocusing when I dropped the lens right before my trip. It would cost about $150 to replace or order the newest version for $400. I found this used lens for almost the same price as having my lens repaired. It came w/in two days after I placed the order, just in time before leaving for my trip. The lens auto focus on my D90, and the pictures were sharp. Thank you!
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Reviewed in the United States on April 1, 2023 by Tina
UPDATE - 03/19/12 Well I called it. After only a few months of light use, The autofocus will not work. Stopped midway through a band performance. My guess is the distance chip is FUBAR because you can hear it try to move but it simply sticks to close or infinity focus, no matter what body I put it on. Obviously manual focus is fine. I had my doubts on the durability when it came out of the box and it's painful to be right. Off to NPS... ********** I love the 50mm focal length on 35mm cameras. The DX format in past years kind of ruined the beautiful perspective of the 50 and corralled it far too tight and nerfed the wonderful depth of field flexibility. A lot of people think the 50 to be a portrait or "starter" lens, but that couldn't be further from the truth. In the right hands, the 50 is a killer tool and a righteously sharp piece of glass and it's no wonder why Nikon still makes them. If the 45mm P wasn't so over priced and geared toward rich collectors, that would be my weapon of choice. But, considering the value, sharpness and speed a good 50 is too attractive to pass up. I simply despise midrange 24-70mm zooms and my ancient 1.8 D finally took one beating too many so I upped for the 1.4 to replace it. The optics are excellent and I take issue with any jabs of softness @ F/1.4. Sure if you crop into the image 10 times it will start to get fuzzy, but so do electrons when you look at them close enough. When focus is accurate and the image is viewed normally, this thing is sharp as they come. In fact, it is sharper at every aperture than the chunky and pricey 17-35mm 2.8 I use for work every day. Why choose 1.4 over the 1.8? I've shot with the 1.8 in AI and AF-D guises for ages, so this is a good question. These days it isn't as important to have ultra fast glass with the D700 and D3 being so good at high ISO, but in photojournalism if you shoot night crime scenes or in unpredictable environments, the wider aperture does pay for itself. I know there's a bunch of bokeh whores out there dying to hear the wonders of what 1.4 looks like, and sure backgrounds render nicely, but call me crazy, I'm more interested in the subject actually in focus in my images than the wax paper background. For info on how the lens works shooting a studio swatch or brick walls read elsewhere for a thorough perspective on that sort of useless info. If you are interested in a flexible focal length with few compromises, aside from Canon's beastly, outrageously priced and laughably slow 1.2 L, a 50 - any 50 - is a lens that can do almost anything. Why didn't I just buy the new AF-S G lens? I need something with an aperture ring I can use on my F3 when I shoot black and white film and the G only works on newer bodies. Focus? AF-S focus really isn't all that important on shorter lenses, it is a technology that is nice, but is far better suited to longer focal lengths when tracking motion in tight compositions. Focus is fast and accurate on my D700 and the manual focus action on the F3 is silky smooth, though not as solid feeling as the older AI-S lenses and that leads me to the one big bummer about this iteration of the 1.4. Sadly, the lens is made in China and good part of the lens is plastic just like the cheapie 1.8. For more than $300 this is unacceptable in a pro lens. Nikon probably decided to cut corners on this to keep the price down, and I feel for the difficulties they must be going through after the earthquake, but it's really disappointing. The older manual focus lenses are indeed heavy, but they were built to last and solid enough to hammer nails with all day. I'm not sure how much this lens can take, but at the very least, it would be suspect to shoot with in the rain. There are cold winters up here so I'll be curious to see how well the focus action is when the temperature drops into the minus. Overall, this is the same excellent optic quality NIkon has built into every 50mm lens they've made, but the build quality itself is suspect. On DX, it sorta kills the joy of what the lens can be, but on film and FX, it's gangbusters. You can't go wrong with the 1.4 D, but it's at least $100 overpriced for the plastic.
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Reviewed in the United States on December 16, 2011 by electron