Nikon AF-S NIKKOR 50mm F/1.8G Special Edition

Standard prime lens • Digital era

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Abbreviations

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.

Model history (14)

Nikon NIKKOR-S Auto 50mm F/2A7 - 50.6m⌀52 1959 
Nikon NIKKOR-H Auto 50mm F/2A6 - 40.6m⌀52 1964 
Nikon NIKKOR-H[·C] Auto 50mm F/2A6 - 40.6m⌀52 1967 
Nikon NIKKOR 50mm F/2A6 - 40.45m⌀52 1974 
Nikon AI NIKKOR 50mm F/2A6 - 40.45m⌀52 1977 
Nikon AI NIKKOR 50mm F/1.8A6 - 50.45m⌀52 1978 
Nikon AI-S NIKKOR 50mm F/1.8A6 - 50.45m⌀52 1980 
Nikon AI-S NIKKOR 50mm F/1.8A6 - 50.45m⌀52 1981 
Nikon AI-S NIKKOR 50mm F/1.8A6 - 50.6m⌀52 1985 
Nikon AF NIKKOR 50mm F/1.8 [I]A6 - 50.45m⌀52 1986 
Nikon AF NIKKOR 50mm F/1.8 [II]A6 - 50.45m⌀52 1990 
Nikon AF NIKKOR 50mm F/1.8DA6 - 50.45m⌀52 2002 
Nikon AF-S NIKKOR 50mm F/1.8GA7 - 60.45m⌀58 2011 
Nikon AF-S NIKKOR 50mm F/1.8G Special EditionA7 - 60.45m⌀58 2013 
Nikon AF-S NIKKOR 50mm F/1.8G Special Gold Edition (1000 units) 2014 

Features highlight

Fast
1
ASPH
SWM
MFO
Compact
Lightweight
WR mount
⌀58
filters

Specification

Production details:
Announced:November 2013
Production status: In production
Original name:Nikon AF-S NIKKOR 50mm 1:1.8 G
System:Nikon F (1959)
Optical design:
Focal length:50mm
Speed:F/1.8
Maximum format:35mm full frame
Mount and Flange focal distance:Nikon F [46.5mm]
Diagonal angle of view:46.8°
Lens construction:7 elements in 6 groups
1 ASPH
Diaphragm mechanism:
Diaphragm type:Automatic
Aperture control:None; the aperture is controlled from the camera
Number of blades:7 (seven)
On Nikon D APS-C [1.53x] cameras:
35mm equivalent focal length:76.5mm (in terms of field of view)
35mm equivalent speed:F/2.8 (in terms of depth of field)
Diagonal angle of view:31.6°
Focusing:
Closest focusing distance:0.45m
Maximum magnification:1:6.67 at the closest focusing distance
Focusing modes:Autofocus, manual focus
Autofocus motor:Silent Wave Motor
Manual focus control:Focusing ring
Focus mode selector:M/A - M
Manual focus override in autofocus mode:Yes
Vibration Reduction (VR):
Built-in VR:-
Physical characteristics:
Weight:190g
Maximum diameter x Length:⌀73×52.5mm
Weather sealing:Water-resistant mount
Fluorine coating:-
Accessories:
Filters:Screw-type 58mm
Lens hood:HB-47 - Bayonet-type round
Teleconverters:Not compatible
Source of data:
Manufacturer's technical data.

Compared to the Nikon AF-S NIKKOR 50mm F/1.8G

  • Nikon AF-S NIKKOR 50mm F/1.8G Special Edition
    • Advantages: 0
    • Disadvantages: 0
    In terms of specification, there are no significant differences between these lenses.
  • Manufacturer description

    With its updated classic exterior design and feel, outstanding NIKKOR optics and advanced Nikon lens technologies, the AF-S NIKKOR 50mm f/1.8G Special Edition is the perfect match for the Nikon Df and anyone who appreciates the feel of a classic lens. Its fast f/1.8 maximum aperture renders beautifully blurred backgrounds and maximizes low-light performance, and its 50mm normal perspective is ideal for everyday shooting. And despite its classic styling, the AF-S NIKKOR 50mm f/1.8G Special Edition is a fully modern NIKKOR lens with Nikon's advanced technologies, like Silent Wave Motor (SWM) for ultra-fast, nearly silent autofocusing with seamless manual override. Well suited for travel and everyday applications, the AF-S NIKKOR 50mm f/1.8G Special Edition will be your go-to lens for great shots.

    The lightweight, compact AF-S NIKKOR 50mm f/1.8G Special Edition is a great travel companion, especially when you need to freeze fast action or if a bright sunny day turns overcast. Its fast f/1.8 maximum aperture makes framing and focusing easier, and allows for high shutter speeds and full exposures under dim lighting conditions.

    When shooting wide open at f/1.8, the AF-S NIKKOR 50mm f/1.8G Special Edition renders beautifully blurred backgrounds (bokeh). Make a tack-sharp foreground subject stand out against a softly blurred background, a capability especially well suited for portraits. The lens' 50mm focal length (75mm on DX-format cameras) approximates the angle of view of our eyes, perfect for creating natural perspective in your photographs.

    The AF-S NIKKOR 50mm f/1.8G Special Edition is a remarkable blend of classic exterior styling and modern optics and lens technologies. Its focus ring features the easy to grip knurling/hatching from classic manual focus lenses, while its autofocus system uses Nikon's innovative Silent Wave Motor (SWM) for ultra-fast, near silent precision focusing. SWM also allows for seamless manual focus override when fine adjustments are desired. The AF-S NIKKOR 50mm f/1.8G Special Edition will give you years of brilliant performances.

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    Standard prime lens

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    35mm full frame

    43.27 24 36
    • Dimensions: 36 × 24mm
    • Aspect ratio: 3:2
    • Diagonal: 43.27mm
    • Area: 864mm2

    Silent Wave Motor

    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 - M

    M/AAutofocus mode that allows switching to manual focus with virtually no time lag - even during autofocus servo operation and regardless of autofocus mode in use.
    MManual focus mode.

    Aspherical elements

    Aspherical elements (ASPH, XA, XGM) are used in wide-angle lenses for correction of distortion and in large-aperture lenses for correction of spherical aberration, astigmatism and coma, thus ensuring excellent sharpness and contrast even at fully open aperture. The effect of the aspherical element is determined by its position within the optical formula: the more the aspherical element moves away from the aperture stop, the more it influences distortion; close to the aperture stop it can be particularly used to correct spherical aberration. Aspherical element can substitute one or several regular spherical elements to achieve similar or better optical results, which allows to develop more compact and lightweight lenses.

    Use of aspherical elements has its downsides: it leads to non-uniform rendering of out-of-focus highlights. This effect usually appears as "onion-like" texture of concentric rings or "wooly-like" texture and is caused by very slight defects in the surface of aspherical element. It is difficult to predict such effect, but usually it occurs when the highlights are small enough and far enough out of focus.

    Low dispersion elements

    Low dispersion elements (ED, LD, SD, UD etc) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. This type of glass exhibits low refractive index, low dispersion, and exceptional partial dispersion characteristics compared to standard optical glass. Two lenses made of low dispersion glass offer almost the same performance as one fluorite lens.

    Low dispersion elements

    Low dispersion elements (ED, LD, SD, UD etc) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. This type of glass exhibits low refractive index, low dispersion, and exceptional partial dispersion characteristics compared to standard optical glass. Two lenses made of low dispersion glass offer almost the same performance as one fluorite lens.

    Canon's Super UD, Nikon's Super ED, Pentax' Super ED, Sigma's FLD ("F" Low Dispersion), Sony' Super ED and Tamron's XLD glasses are the highest level low dispersion glasses available with extremely high light transmission. These optical glasses have a performance equal to fluorite glass.

    High-refraction low-dispersion elements

    High-refraction low-dispersion elements (HLD) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

    High Index, High Dispersion elements

    High Index, High Dispersion elements (HID) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

    Anomalous partial dispersion elements

    Anomalous partial dispersion elements (AD) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

    Fluorite elements

    Synthetic fluorite elements (FL) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. Compared with optical glass, fluorite lenses have a considerably lower refraction index, low dispersion and extraordinary partial dispersion, and high transmission of infrared and ultraviolet light. They are also significantly lighter than optical glass.

    According to Nikon, fluorite easily cracks and is sensitive to temperature changes that can adversely affect focusing by altering the lens' refractive index. To avoid this, Canon, as the manufacturer most widely using fluorite in its telephoto lenses, never uses fluorite in the front and rear lens elements, and the white coating is applied to the lens barrels to reflect light and prevent the lens from overheating.

    Short-wavelength refractive elements

    High and specialized-dispersion elements (SR) refract light with wavelengths shorter than that of blue to achieve highly precise chromatic aberration compensation. This technology also results in smaller and lighter lenses.

    Blue Spectrum Refractive Optics

    Organic Blue Spectrum Refractive Optics material (BR Optics) placed between convex and concave elements made from conventional optical glass provides more efficient correction of longitudinal chromatic aberrations in comparison with conventional technology.

    Diffraction elements

    Diffraction elements (DO, PF) cancel chromatic aberrations at various wavelengths. This technology results in smaller and lighter lenses in comparison with traditional designs with no compromise in image quality.

    High refractive index elements

    High refractive index elements (HR, HRI, XR etc) minimize field curvature and spherical aberration. High refractive index element can substitute one or several regular elements to achieve similar or better optical results, which allows to develop more compact and lightweight lenses.

    Apodization element

    Apodization element (APD) is in fact a radial gradient filter. It practically does not change the characteristics of light beam passing through its central part but absorbs the light at the periphery. It sort of softens the edges of the aperture making the transition from foreground to background zone very smooth and results in very attractive, natural looking and silky smooth bokeh.

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    Image stabilizer

    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.

    Original name

    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

    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

    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),

    where:

    CF – crop-factor of a sensor,
    FL – focal length of a lens.

    Mount

    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

    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.

    Focal length

    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.

    Speed

    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.

    Closest focusing distance

    The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

    Closest working distance

    The distance from the front edge of the lens to the subject at the maximum magnification.

    Magnification ratio

    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".

    Manual focus override in autofocus mode

    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.

    Manual focus override in autofocus mode

    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.

    Manual diaphragm

    The diaphragm must be stopped down manually by rotating the detent aperture ring.

    Preset diaphragm

    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.

    Semi-automatic diaphragm

    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.

    Automatic diaphragm

    The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.

    Fixed diaphragm

    The aperture setting is fixed at F/1.8 on this lens, and cannot be adjusted.

    Number of blades

    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.

    Weight

    Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

    Maximum diameter x Length

    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.

    Weather sealing

    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.

    Fluorine coating

    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.

    Filters

    Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

    Lens hood

    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

    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.

    Lens caps

    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.