|AF-S||The lens is equipped with Silent Wave Motor.|
|G||The lens does not have an aperture control ring and is intended for use on Nikon digital SLR cameras that allow the lens aperture to be adjusted via the camera's command dial. Relays subject-to-camera distance information to the camera, like a D-type lens.|
|■Nikon NIKKOR-S Auto 50mm F/1.4||A||7 - 5||0.6m||⌀52||1962 ●|
|■Nikon NIKKOR-S[·C] Auto 50mm F/1.4||A||7 - 5||0.6m||⌀52||1966 ●|
|■Nikon NIKKOR 50mm F/1.4||A||7 - 5||0.45m||⌀52||1974 ●|
|■Nikon NIKKOR 50mm F/1.4||A||7 - 6||0.45m||⌀52||1976 ●|
|■Nikon AI NIKKOR 50mm F/1.4||A||7 - 6||0.45m||⌀52||1977 ●|
|Nikon AI NIKKOR 50mm F/1.4 Gold “60th Anniversary Edition” (300 units)||1977 ●|
|■Nikon AI-S NIKKOR 50mm F/1.4||A||7 - 6||0.45m||⌀52||1981 ●|
|Nikon AI-S NIKKOR 50mm F/1.4 Gold “Camera Grand Prix 1984” (2000 units)||1984 ●|
|Nikon AI-S NIKKOR 50mm F/1.4 “Millennium Limited Edition” (2000 units)||2000 ●|
|■Nikon AF NIKKOR 50mm F/1.4 [I]||A||7 - 6||0.45m||⌀52||1986 ●|
|■Nikon AF NIKKOR 50mm F/1.4 [II]||A||7 - 6||0.45m||⌀52||1991 ●|
|■Nikon AF NIKKOR 50mm F/1.4D||A||7 - 6||0.45m||⌀52||1995 ●|
|■Nikon AF-S NIKKOR 50mm F/1.4G||A||8 - 7||0.45m||⌀58||2008 ●|
|Production status:||● In production|
|Original name:||Nikon AF-S NIKKOR 50mm 1:1.4G|
|System:||Nikon F (1959)|
|Maximum format:||35mm full frame|
|Mount and Flange focal distance:||Nikon F [46.5mm]|
|Diagonal angle of view:||46.8°|
|Lens construction:||8 elements - 7 groups|
|Closest focusing distance:||0.45m|
|Maximum magnification ratio:||1:6.67 at the closest focusing distance|
|Focusing modes:||Autofocus, manual focus|
|Manual focus control:||Focusing ring|
|Autofocus motor:||Silent Wave Motor|
|Focus mode selector:||M/A - M|
|Manual focus override in autofocus mode:||Yes|
|Aperture control:||None; the aperture is controlled from the camera|
|Number of blades:||9 (nine)|
|Vibration Reduction (VR)|
|Maximum diameter x Length:||⌀73.5×54mm|
|Weather sealing:||Water-resistant mount|
|Lens hood:||Bayonet-type HB-47 (round)|
|In terms of FoV & DoF|
|Camera series [Crop factor]||Focal length||Speed||Max MR||Dia. angle of view|
|Nikon D APS-C [1.53x]||76.5mm||F/2.1||1:4.36||31.6°|
September 22, 2008
NIKON CELEBRATES THE 75TH ANNIVERSARY OF NIKKOR OPTICAL EXCELLENCE WITH AN ALL-NEW 50mm f/1.4 PRIME LENS
MELVILLE, N.Y. – Nikon Inc. celebrates 75 years of defining optical excellence with the release of the newly engineered AF-S NIKKOR 50mm f/1.4 prime lens that is considered by many photographers to be an essential tool with a focal length that closely replicates the visual perspective of the human eye when used with an FX-format D-SLR. Nikon's optical expertise and modern technological advances, such as the Silent Wave Motor, help to deliver outstanding operation that is critical for Nikon FX and DX-format photographers who demand the pinnacle of photographic performance.
Ideal for travel, event, environmental and general photography in a wide variety of conditions, the new AF-S 50mm f/1.4 lens combines a superb optical formula with an ultra-fast f/1.4 maximum aperture, making it destined to become an instant classic in this digital age. This compact lens continues the tradition of NIKKOR precision optics to provide photographers with sharp, high-resolution images and the ability to focus as close as 1.5 feet for added versatility. The integration of an ultra-compact Silent Wave Motor ensures fast, whisper-quiet operation.
"The traditional 50mm lens has been a mainstay of photography for generations and deserves a place in every enthusiast and professional's camera system. Experienced photographers have always appreciated the incredible image fidelity and low-light ability that a precisely engineered 50mm lens can deliver," said Edward Fasano, general manager for marketing, SLR Systems Products at Nikon Inc. "In addition, seasoned shooters often prefer the photographic discipline imposed by the use of prime lenses. Now, a new generation of photographers is discovering the freedom of capturing images that would be impossible with anything but an ultra-fast-aperture lens. Our 75 years of high-performance optical experience and stringent quality standards have won the hearts of photographers around the world, as Nikon is also celebrating 45 million NIKKOR lenses produced. In fact, five million of these lenses were produced in the last year alone, further reinforcing our contemporary leadership in the digital SLR market."
Thanks to the maximum aperture of f/1.4 and newly refined optical performance, the AF-S NIKKOR 50mm f/1.4G teams perfectly with the low noise at high ISO sensitivity performance of Nikon D-SLRs such as the D3 and new D700 cameras. When used on a Nikon DX-format digital SLR camera, the new AF-S NIKKOR 50mm f/1.4G provides an ideal portrait picture angle, approximating that of a 75mm lens in use on a FX-format D-SLR or 35mm SLR camera.
A newly developed optical formula effectively corrects sagittal coma flare and coma aberration, delivering astonishing image quality and allowing more users to realize their creative vision with vivid clarity. Instances of lens flare and chromatic aberration are further suppressed through the use of Nikon's exclusive Super Integrated Coatings, which also help ensure vividly accurate color balance. The rounded diaphragm opening combined with the nine-blade aperture contributes to a substantially more natural appearance of out-of-focus background elements.
The front element is deeply recessed inside the lens barrel which practically eliminates the need for a lens hood. The lens uses linear extension method for focusing, and the front element stays inside the lens barrel during focusing.
Missing features (2):
Genres or subjects of photography (12):
Recommended slowest shutter speed when shooting static subjects handheld:
|Nikon AF NIKKOR 50mm F/1.8D • ⌀52||2002 ●||Compare||1||4|
|Nikon AF-S NIKKOR 50mm F/1.8G • ⌀58||2011 ●||Compare||1||0|
|Nikon AF-S NIKKOR 50mm F/1.8G Special Edition • ⌀58||2013 ●||Compare||1||0|
|Nikon AF NIKKOR 50mm F/1.4D • ⌀52||Pro||1995 ●||Compare||0||4|
|Nikon AF-S NIKKOR 58mm F/1.4G • ⌀72||Pro||2013 ●||Compare||0||4|
|Nikon AF NIKKOR 50mm F/1.8 [I] • ⌀52||1986 ●||Compare||1||5|
|Nikon AF NIKKOR 50mm F/1.8 [II] • ⌀52||1990 ●||Compare||1||5|
|Nikon AF NIKKOR 50mm F/1.4 [I] • ⌀52||Pro||1986 ●||Compare||0||5|
|Nikon AF NIKKOR 50mm F/1.4 [II] • ⌀52||Pro||1991 ●||Compare||0||5|
|Sigma 50mm F/1.4 EX DG HSM • ⌀77||Pro||2008 ●||Compare||0||4|
|Sigma 50mm F/1.4 DG HSM | A • ⌀77||Pro||2014 ●||Compare||1||4|
|Tamron SP 45mm F/1.8 Di [VC] USD F013 • ⌀67||2015 ●||Compare||4||4|
|Tokina opera 50mm F/1.4 FF • ⌀72||Pro||2018 ●||Compare||2||1|
Silent Wave Motor is available in variants with or without a gear system. Nikon never specifies which variant is used in a particular lens, however, in budget models, as a rule, gear-type Silent Wave Motor is used, without manual focus override in autofocus mode. This can be assumed by the presence of the A - M switch on the lens barrel, instead of M/A - M.
|M/A||Autofocus mode that allows switching to manual focus with virtually no time lag - even during autofocus servo operation and regardless of autofocus mode in use.|
|M||Manual focus mode.|
You are already on the page dedicated to this lens.
Cannot compare the lens to itself.
A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.
The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.
Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.
Format refers to the shape and size of film or image sensor.
35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.
APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.
Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).
Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.
As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.
A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).
This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),
CF – crop-factor of a sensor,
FL – focal length of a lens.
A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.
A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.
Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance can also be different.
The flange focal distance (FFD) is the distance from the mechanical rear end surface of the lens mount to the focal plane.
Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.
Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.
Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.
The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.
The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.
In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.
The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.
The distance from the front edge of the lens to the subject at the maximum magnification.
Determines how large the subject will appear in the final image. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".
Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.
Electronic manual focus override is performed in the following way: half-press the shutter button, wait until the camera has finished the autofocusing and then focus manually without releasing the shutter button using the focusing ring.
The diaphragm must be stopped down manually by rotating the detent aperture ring.
The lens has two rings, one is for pre-setting, while the other is for normal diaphragm adjustment. The first ring must be set at the desired aperture, the second ring then should be fully opened for focusing, and turned back for stop down to the pre-set value.
The lens features spring mechanism in the diaphragm, triggered by the shutter release, which stops down the diaphragm to the pre-set value. The spring needs to be reset manually after each exposure to re-open diaphragm to its maximum value.
The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.
The aperture setting is fixed at F/1.4 on this lens, and cannot be adjusted.
As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.
Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.
At maximum aperture, the opening will be circular regardless of the number of blades.
Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).
For lenses with collapsible design, the length is indicated for the working (retracted) state.
A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.
Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.
Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.
Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.
A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.
The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.
Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.
Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.
Teleconverters increase the effective focal length of lenses. They also usually maintain the closest focusing distance of lenses, thus increasing the magnification significantly. A lens combined with a teleconverter is normally smaller, lighter and cheaper than a "direct" telephoto lens of the same focal length and speed.
Teleconverters are a convenient way of enhancing telephoto capability, but it comes at a cost − reduced maximum aperture. Also, since teleconverters magnify every detail in the image, they logically also magnify residual aberrations of the lens.
Scratched lens surfaces can spoil the definition and contrast of even the finest lenses. Lens covers are the best and most inexpensive protection available against dust, moisture and abrasion. Safeguard lens elements - both front and rear - whenever the lens is not in use.