NIKKOR S 50MM 1.4 SERIAL NUMBER
NIKKOR S 50MM 1.4 FULL

The front element does not rotate so using a polarizer remains easily possible. It's not a true IF (internal focus) design though - the inner tube moves within the outer barrel (linear extension focusing system).

The physical length of the lens remains constant at all focus settings. The rubberized focus ring is slightly damped and operates reasonably smooth. The build quality of the lens is very decent thanks to an outer barrel made out of high quality plastics.

NIKKOR S 50MM 1.4 FULL

So, without further ado, let's have a look at how this latest evolution of a classic 50 mm lens performs on a full frame camera, the Nikon D3x which starting with this review will serve as our FX test camera. These lenses have a high reputation among photographers, because they usually offer very high quality at an affordable price. The Nikkor AF-S 50 is one of the more recent additions to the Nikon lens line up, adding a modern sonic wave drive to what's considered one of the 'bread and butter' lenses of any system: the normal prime lens. The f/1.4 is badly over exposed.Review by Markus Stamm, published June 2009 Try contrast based LV for this, and get the exposure right. If the blurring looked similar, you would know that magnification was to blame, rather than reflections inside the camera. It would be interesting to compare an image from a small-sensor camera with the cropped image (so that both images have the same view) of a full-frame camera. I wonder if the softness seems worse on a crop sensor because it is magnified. Compare the lettering on the baseball with f/2В and f/1.2. The wide-open images do look better than mine, but there's still softening or reduced contrast wide open.

п»ї Nikkor ais 50mm f1.2 the fastes Nikon lens currently in production Look at this, faster lens, older, and many frames are wide open, Can you get the 'wafer' as an accessory to reduce light that falls outside the MFT sensor? I'm not sure this would help, though, because the softening appears very similar in dimly lit scenes that have less light bouncing around the chamber. I have seen the same results (as yours) with my own 50/1.4D on Olympus dSLR, and yet I saw less of it when I used the same lens on D200/300, and almost none on D800. What you need to do is put the wafer on the back of the lens to cut this light of. Like most of the older lenses on a quarter of a sensor, you have way too much light in the chamber that is bouncing around without any real benefit to it. Always use the deepest lens hood you can with every lens without causing vignetting.

NIKKOR S 50MM 1.4 SERIAL NUMBER

Pick up a copy of the 50/1.8 AI-S with a serial number between 20503472. These shots were taken on a tripod with a 2 second shutter delay and image stabilization turned off. This is the top of a brush pile outdoors with overcast sunlight at the lens's 3 widest f-stops. The sensor has a 2x crop factor, and I cropped the raw files further to get the central 1024x768 portion, on which I had focused. I took sample photos with an Olympus E-PL2. Do I have a bad copy of this lens? If this type of aberration is typical, does it have a name? Can anyone suggest any way to ameliorate it? This is a mid-70s vintage, pre-Ai Nikkor 50mm/1.4. This is the top of a brush pile outdoors with overcast sunlight at the lens's 3 widest f-stops.В These shots were taken on a tripod with a 2 second shutter delay and image stabilization turned off.ДЄs you see, the milky distortion at f/1.4 is much reduced at f/2 and unnoticeable at f/2.8. It might be a desirable effect for portraits of aging actresses or other special subjects, but it's not optically good. It actually seems to focus sharply at all apertures, but at f/1.4 it seems to scatter light so that contrast is reduced and everything looks soft. I'd heard the pre-Ai 50mm/1.4 was 'soft' wide open, but I wasn't expecting it to be unusable.

Nikkor s 50mm 1.4