Nikon AF FX NIKKOR 50mm F/1.4D DSLR Lens with Auto Focus for Nikon DSLR Cameras
Condition: Used - Very Good
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Availability:
Only 1 left in stock, order soon!
Arrives
Tuesday, Oct 27
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
Focal Length Description: 50 mm
Lens Type: Standard
Compatible Mountings: Nikon F (FX)
Camera Lens Description: Nikon AF FX NIKKOR 50mm F/1.4D DSLR Lens with Auto Focus for Nikon DSLR Cameras
Focal Length Description: 50 mm
Lens: Standard
Compatible Camera Mount: Nikon F (FX)
Maximum Focal Length: 7.5 centimeters
Minimum Focal Length: 28
Lens Design: Prime
Focus Type: Screw drive from camera
Lens Fixed Focal Length: 50 millimeters
Zoom Ratio: 11
Image stabilization: No image stabilization
Real Angle Of View: 31 arc_minute
Maximum Aperture: 1.4 f_stop
Minimum Aperture: 1.4
Number of Diaphragm Blades: 7
Photo Filter Size: 5.2 centimeters
Lens Mount: Nikon F
Color: Black
Exposure Control Type: Automatic
Media Type: ProductImage
Water Resistance Level: Not Water Resistant
Brand: Nikon
Camera Lens: Nikon AF FX NIKKOR 50mm F/1.4D DSLR Lens with Auto Focus for Nikon DSLR Cameras
Model Name: 1902
Number of Packs: 1
UPC: 151902981550 000031000536 018208019021
Number of Items: 1
Manufacturer Part Number: JAA011DB
Global Trade Identification Number: 21, 70
Unit Count: 1 Count
Built-In Media: LC-52 Snap-on Front Lens Cap, LF-4 Rear Lens Cap, The AF NIKKOR 50mm f/1.4D Fixed Zoom Lens from Nikon is a very effective standard length lens compatible with both FX and DX format Nikon DSLRs
Item Weight: 230 g
Manufacturer: Nikon
Model Number: 1902
Frequently asked questions
If you place your order now, the estimated arrival date for this product is:
Tuesday, Oct 27
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
This lens can mean all the difference for many situations. The extremely wide aperture (f/1.4) and reduced layers of glass allow so much light in, it's amazing. Now indoor shots can be taken using just the ambient light. Outdoor settings can be shot well into dusk with just natural light. It all looks so much better than camera mounted flashes. Not to mention the bokeh, and in this respect, the lens cannot disappoint! As others have said, the sharpness of the lens really shows itself around f/2.0, but it is still quite sharp down to f/1.4. The lens size is a bit unimpressive when people see it, but the photos speak for themselves. The focal length is a bit long for a DX format camera, and I find myself many steps further from my subject than feels natural. But the longer focal length can add nice detail and depth to the photos. And on a FX format, I think it would be just about perfect. The only problem I have with the lens is that my D90 has a case of back-focus, and when shooting at really large apertures with such a narrow depth of field, the back-focus is very prevalent (somewhere around f/3 or smaller it's more usable without compensation). But this is not a problem with the lens, it is a problem with the camera, so it's not worth docking the score, just keep in mind your camera determines what "focus" is, not the lens. I feel primary lenses should be at the forefront of any camera arsenal, every photographer should have at least one, and two or three seem like a better count. And this lens is the perfect zone between price and functionality, you will not be disappointed with it.
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Reviewed in the United States on June 5, 2012 by Brandon Nimon
I did a lot of research before buying this lens. I already had the Nikon 35mm f1.8G and wanted a larger focal length to use for portraits on my Nikon D7000. I looked at the Nikon 50mm f1.4D, the Nikon f1.4G, and the Nikon 50mm f1.8D. All three lenses had great reviews, so narrowing it down to one lens proved a difficult task. I ended up opting for this lens for a few reasons: 1. Speed. The D7000 is a champ at low light performance, but I take lots of pictures in low light (weddings, indoors, etc) and usually prefer non-flash pictures. I wanted all the speed I could get. 2. Price. Although this lens is $200 more than the 50mm f1.8D (see reason 1) that extra light capturing ability is worth it for me. Plus, this lens is over $100 cheaper than the 1.4G. 3. Sharpness. Lots of reviews I found online said the 1.4D was a bit sharper than the 1.4G. Is it true? Honestly, I've tried both now and I can't tell a difference. You may want to note that the 1.4G has SW (Silent Wave) auto-focus. From my experience that lens focuses faster and more quietly than the 1.4D, but this wasn't an issue for me as I use manual focus 90% of the time. My overall impressions on this lens? I'm glad I bought it and don't regret it for a second. I know I made a great choice. It's incredibly sharp, focuses quickly, and has beautifully smooth bokeh. It's solidly built and the manual aperture ring is a great addition if you use non-AF extension tubes for macro photography (which I sometimes do). It's a perfect prime portrait lens for crop sensors. If I had one lens to take to a wedding, this would be it. In closing, this lens has made me a better photographer. The 35mm 1.8g is sufficiently wide that you can easily crop pictures later in your workflow. The 50mm is just tight enough on a crop sensor that it makes you think before you press the shutter release button. I noticed that I had began relying too heavily on using zoom lens that I had almost forgotten how to move around a room and compose a picture correctly.
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Reviewed in the United States on February 27, 2011 by M. Patel
This lens is one the best lenses that you can buy for the money because it is so fast, crystal clear, and inexpensive. Whether you are an amateur photographer having trouble taking pictures in the dark or a professional photographer trying to get beautifully shallow depth of field, this lens does it all. The beautiful thing about this type of lens is the fact that very little is sacrificed in order to make this lens. On zoom lenses, you get the versatility of framing your shot as you please, but at the expense of light that is lost traveling through all that glass. Even the fastest zoom lenses (like the Nikon 24-70mm f/2.8G ED AF-S Nikkor Wide Angle Zoom Lens) are at least two stops slower than this lens at wide open (so that means four times the amount of light). Also people will say that VR is a great way to take hand-held shots in the dark (which is true, I love VR on my zoom lenses) but they do not account for moving subjects (VR only helps when you move) and the shallow depth of field that you obtain with a lens that is so fast. I personally like to set my camera to Aperture Priority Mode, lock it in at f/2 (which is the sweet spot on this camera in terms of sharpness) and shoot away. I am always pleasantly surprised by the results that I get. If you are budget minded, or if you are never going to shoot below f/4, you might want to opt for theNikon 50mm f/1.8D AF Nikkor Lens for Nikon Digital SLR Cameras, but if you have the cash, the investment is worth it. These kinds of lenses will keep their value for years to come.
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Reviewed in the United States on January 20, 2010 by Troy Minassian
I bought this lens to use for fast action/sport photography in low light conditions (inside gyms). Worked really well although being only 50mm, you really had to use your feet to frame the pictures. I was able to get some great shots in even the darkest of gyms. I started experimenting with it for everyday use, and found that I really loved the results. As most other reviewers have said, it is pretty soft at 1.4, but once you stop it down a bit, the pics come out super sharp. Now for the bad news. I use it on a D90, and unfortunately after a month and a half, the lens simply stopped working. I got an error message of "fEE" and the lens was completely unusable in auto or manual modes. I called Nikon warrenty service, and they said "oh, you'll have to send the lens in to get it repaired". Well, I packed it up and sent it off (cost of 12 bucks to me for shipping and insurance)and am now waiting for it to be returned. In the mean time, I'm without my new "go-to" lens for who knows how long. This lens is made in China. I'm not sure if Nikon has another manufacturing plant which may produce higher quality lenses, but I'm pretty disappointed with this copy. One more complaint...the rear lens cap is a cheap plastic type that simply slides over the mount. Can't believe that you can spend this much for a lens and not get something of a better quality.
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Reviewed in the United States on November 24, 2009 by Kenneth Thompson
I purchased this lens after trying out a 50mm f1.8G and being disappointed with it. I know... Different type of lens and different price point. But the reason I came to this lens rather than the 50mm 1.4G is a conclusion that I came to somewhere in-between those two purchases: Great lenses don't stop being great because the next thing comes out. It just means that the newer thing may possibly be better. Now I'm sure plenty can be argued about whether this is a "great lens" or not, but the simple point is that this lens, like the 35mm f2D, 85mm f1.4D, and plenty of other older lenses, has served countless photographers and produced countless amazing photos since its inception. The appearance of more capable lenses today doesn't mean that the 50mm 1.4D is suddenly incapable of creating great photos. And let's be honest... how many of us are actually taking photos that can even hold a candle to so many of those photos taken in decades past on all of that "inferior" equipment? I have a Nikon D810 (recently upgraded to full frame from my old D300), so as I build my FX lens collection, I've been facing some odd decisions. Given the fact that I can use these older lenses, I am not forced to default to the newer "G-Series" lenses where some others might unfortunately already have that decision made for them by virtue of the fact that their camera bodies cannot autofocus with older lenses. And while the newer lenses are largely superior in IQ as well as aperture in some cases, the ultimate question I have to ask myself is whether or not those advances are truly meaningful to me at my level. I can definitely tell you that I'm not a pixel-peeper (although even at 1:1, the 50mm 1.4D seems to perform just fine) and I believe that, in fact, technical aspects like that are probably the last thing to worry about behind lighting, composition, etc. And if I'm not really getting meaningful value (as a function of the limits of my own ability as a photographer) out of the newer lens, why spend the extra money to get it? By the time I get to a point where it might actually matter somehow, it's entirely possible that something even newer and better will be out as the endless march of technology continues. If you're still with me after my ramblings, let me simply say that I've found this to be an absolutely wonderful lens that has more than served my needs. While it's true that my camera may push the limits of this lens on a sheer technical level, my abilities as a photographer have not even begun to outgrow it. It may be different for some of you, but I'm more concerned about nailing a good composition and capturing the feel of scenes than I am about staring at photo comparisons to see which lens renders bokeh slightly better than another or which lens is sharper at the pixel level—things that I can assure you that nobody on the other side of the camera will ever care about or even notice. If you're one of the elite photographers for whom this lens will honestly be a limitation, you already know you don't want this. If you're an owner of a body for which this lens will not autofocus because of technical limitations, you should look elsewhere. But if you fall into the same category as me where you have a camera body that can use this lens, but you're still on the journey of learning the art of photography, I encourage you to save a little bit of cash and explore the possibilities of this lens. It will ultimately reward the trust you put in it when you do start taking some of those great photos, and you'll be reminded by the fact that you're doing it on equipment that many people will turn their nose up at as being somehow "obsolete" that the essence of your photography doesn't lie within the gear in your camera bag. It is within yourself, gained through experience, study, and hard work.
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Reviewed in the United States on December 18, 2016 by Michael Jin
I waited a long time to buy a lens like this one with f/1.4D, what I didn't know and what was not clearly mark on the description is that this is a manual focus lens. It might be great for studio photographers, but as a parent chasing kids to get "that" great photo, manual focus just doesn't work. I tried the lens for 2 days, pictures are great but hard to get right a moving target. I ended up returning it and buying the auctomatic focus version of this lens. PLEASE type somewhere that this is not an automatic focus lens.
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Reviewed in the United States on January 14, 2013 by Fernando Amilpa
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