Tamron SP AF 90mm f/2.8 Di Macro : Review

Introduction

The Tamron SP AF 90mm f/2.8 Di Macro is a highly popular lens amongst amateur photographers looking forward to take themselves into the realm of macro photography. I will be showing you the results of my own tests on a Nikon D700 full-frame DSLR. This lens belongs to the SP (Super Performance) line of lenses made from Tamron, that generally have been delivering very good performance and (especially) great value for money. This lens has been replaced recently by the VC USD version which adds Vibration Compensation optical stabilization system and a silent and fast Ultra-Sonic Drive motor with the purpose of being compatible with the newest entry-level Nikon DSLRs.
Here’s how it looks with the D700:

Announced in 2004, this particular iteration (model 272E) was optimized for digital sensors, hence the Di (Digitally Integrated) designation, and received a few cosmetical changes. Internally, this lens has 12 elements in 9 groups, none of them being of any special kind, and has 9 straight aperture blades. It doesn’t have an AF motor, so it will not focus automatically on the newest entry-level DSLRs. Speaking about focus, selecting between auto and manual is done through a push-pull clutch mechanism, which isn’t exactly friendly on the field, but mainly when it doesn’t auto-focus on the exact point at first shot and one needs to override it slightly. But when doing macro photography, most of the time it’s better to use manual focus anyway, and although the focus ring isn’t damped by any means, it is easy to turn the focus ring around since the mass of the moving elements is low. The lens is very light and compact, and with a filter thread of 55mm and weighing only about 400g, it makes a very portable lens to carry around, either on the field doing macro or on the streets shooting candids unconspicuously.
The lens is mostly plastic on the outside and has a metal mount. There’s also a rotating switch on the side that limits the minimum or maximum auto-focusing distance, depending on the current focusing point – it can either limit AF between 0.44m and infinity, or between 0.29m and 0.42m, which is nice to have to speed up the AF time. The front element doesn’t rotate while focusing, but the lens extends a lot between infinity and 0.29m, which is a bad disadvantage when shooting small insects from very close distances. In this matter the Micro-Nikkor AF-S 105mm f/2.8 G ED VR, which I also reviewed, is priceless. Like most lenses made for Nikkor until 2004, the Tamron has an aperture ring and allows to lock it at f/32 for AF, otherwise the camera would show an fEE error on the display.
Today, the Tamron can only be found on the used market, and at a price of about 250€ it’s a tremendous value for money for seriously starting getting into macro photography.

Technical Specifications

Focal length 90mm
Maximum aperture f/2.8 (far distance) – f/5.6 (nearest)
Minimum aperture f/32 (far distance) – f/64 (nearest)
Field of view 27 degrees (on FX)
Weight 405g
Dimensions 97 x 72mm (148 x 72mm, extended)
Optical construction 12 elements in 9 groups
Aperture blades 9, straight
Filter diameter 55mm
Minimum focus distance 432mm (270mm from the front element, focus limiter on), 290mm (95mm from the front element, focus limiter off)
Hood 2C9FH, round
Mount Nikon F

Mechanical Characteristics

Zoom ring n/a
Focus ring Plastic and metal with rubber finish, no infinity stop
Focus throw 260 degrees (focus limiter off)
Focus motor No
Optical stabilizer No
Front element rotation while zooming n/a
Front element rotation while focusing No
Internal focusing No
Lens extension while focusing Yes, up to 51mm
Lens extension while zooming n/a
Maximum magnification 1:1

Handling

With the D700, the Tamron is very lightweight and it’s easy to hold while doing street photography or portrait work. The lens is not a beauty by any means, and feels kind of cheap in use mainly due to the almost all-plastic build and the odd focus clutch mechanism. The front element is deeply recessed from the front of the lens, about 20mm, which makes it hard to reach for cleaning, and also because of this I never used the lens hood.
In macro photography and manually focusing, the lens provides a focus ring with a long throw for careful focusing, which is always nice to have, but the lens extension is so long that it can be very cumbersome when shooting insects from very close distances. This aspect of the lens is what makes it feel so cheap in use and separates it completely from the likes of the Micro-Nikkor AF-S 105mm f/2.8 G ED VR. On the other hand, there are differences concering autofocus as well: although the Tamron can’t be said to be slow focusing, it hunts a lot in low light and even under good light if the contrast is a little low. Switching the AF limit on can speed up the back-and-forth hunt but not by as much as one could expect. Another issue with the Tamron is the permanent out of focus when trying to focusing on targets at similar distances, but only at medium to high distance targets. This problem arises when I use the lens to shoot portraits or street photography at maximum aperture, whenever I do a sequence of shots on the same target, and the result is: the first shot generally is in focus, but all the next shots will be out of focus, and the only way to work around this is to stop down to f/4 at least. Mind you that the problem exists only at maximum aperture, so I’m not sure if it’s only with my copy or a known issue with this lens. Because of these observations, and not surprisingly, the Micro-Nikkor trumps the Tamron in the AF department in every way possible. It’s simply in another class of its own, as the price suggests.
In summary, handling this lens is not really very pleasant, and unfortunately it may be not the ideal tool for some areas of macro photography either.

Resolution

For the resolution test I shot the 5 Euro bill as usual. Focus was achieved using Live View to avoid auto-focus imprecisions and to compensate for possible field curvature issues.
The first column shows a crop of the image center, the DX corner crop is on the second column and the third column shows a crop of the FX extreme corner. Each row represents an aperture setting, from maximum to f/22 in full stops. I opted to show crops only until f/22, since closing the aperture even more results in more and more diffraction. Also, the target was at a such distance from the camera that the maximum effective aperture was f/3.0 instead of f/2.8 – the camera always reports the effective aperture. Here are the results:

It shows the incredible amount of detail that the lens is capable to deliver in short distance department, right from the maximum aperture from corner to corner. It appears to be even a hair sharper than the 105mm VR in the FX corner, which loses a bit of “bite” there at maximum aperture.
The Tamron is a winner here, and for the price it’s fantastic! But what about long distance targets? Let’s see below:

There’s a loss of sharpness at f/2.8 in the FX corner, just like happened with the 105mm VR, and there’s also some vignetting affecting the exposure. At f/4 the problem is solved.
This indicates that the Tamron could be a superb lens for every kind of shooting, and I can only fault it when it misses focus wide open when using AF.

Distortion

I tested distortion with the usual brick wall shot:

Distortion is extremely low but has a wavy characteristic that it’s a little hard to describe and depict here in this image, but it’s virtually never a problem in the field and barely visible even in this kind of targets.

Vignetting

In this test, I shot a white wall at home using tungsten white balance and set exposure manually:

There’s a lot of vignetting at the widest aperture that affects the entire picture, but decreases substantially by stopping down. At f/5.6 it’s completely gone.

Chromatic aberrations

For this test I shot a car from above on a bright sunny day early in the afternoon:

This lens is Di (Digitally Integrated) which means it should take care of chromatic aberrations better than its antecessors, but although this test doesn’t show any vestiges, I know from experience that it shows a some wide open especially in metal surfaces under bright light. But at f/4 they’re completely gone.

Coma

Coma was tested using a LED source, at home in a dark room. I put the light source at the center (first column), corner and extreme corner of the frame (second and third columns, respectively), at maximum aperture and stopped down.

Coma is visible at full aperture already in the DX corner in these type of test shots, but it’s rarely seen in practice. The points of light are always pretty much circular everywhere and only the small less bright areas around the center are kind of oval, but hardly distracting. By f/4 the “problem” is not visible anymore. All in all, it’s a more than good performance here.

Flare

I shot some foliage in my garden against the sun, to see if I could see any flare vestiges. I shot directly against the sun, then placed the sun at one corner and finally made some shots with the sun just outside the frame.

Shot directly against the sun.
Shot with the sun placed at one corner of the frame.
Shot with the sun just outside the frame.

The lack of special elements in the design of the lens also shows here in this test. Shooting against the sun doesn’t result in a real loss of contrast, but the problem is the high amount of internal reflections when the sun is placed in the corner of the frame or just outside. Of course, macro photography and sun in the frame usually don’t go together, but it’s a real problem when shooting landscapes of any things other than macro with the sun there or nearby. It’s also susceptive to flare at night with street lamps, so watch out.

Bokeh

The lens has 9 straight aperture blades, and therefore it’s expected to see circular out of focus highlights at maximum aperture and polygonal shapes when stopping down. I took a defocused picture at the widest aperture of the city lights and got crops of the center, corner and extreme corners. The test was repeated for the subsequent two stops. Due to the focus distance I selected for this test, the maximum effective aperture was reduced to f/3.5.

As expected, bokeh at the widest aperture is generally pleasant but not as creamy as with the 105mm VR because of the visible edges. This is especially noticeable when shooting against foliage and the sun, where the multiple out of focus highlights and their edges can be a little distracting. At f/4 the difference is the begin of the polygonalization of the highlights, which are clearly seen at f/5.6.
Of course, overall it’s still pretty good.

Macro/Close-up

With the focus limiter switched on, the Nikkor was capable to focus as close as 43.2 centimeters from the sensor plane, or 27 centimeters from the front element. When the focus limiter is switched off, the focus distance drops down to 29 centimeters from the sensor plane or 9.5 centimeters from the front element, to a maximum magnification ratio of a real 1:1.
I shot an 1 Euro coin and this is what to expect at the minimum focus distance:

Focus limiter on

Focus limiter off

Summary

Build quality 6 Almost entirely plastic but the build is tight
Handling 4 Lens extension while close focusing and clutch mechanism may bother some, repetitive misfocus wide open is bad
Resolution 10 Superb sharpness across the frame at all apertures, it hardly gets better than this
Distortion 10 Absent in all practical shooting
Vignetting 9 Very strong at full aperture, but improves a lot by stopping down
Chromatic aberrations 8 Easily seen in metal surfaces in bright light at maximum aperture
Coma 10 Pretty much unnoticeable in practice
Flare 4 Contrast almost doesn’t suffer but may produce harsh internal reflections
Bokeh 6 Very soft but highlight edges can be distracting at times, gets polygonal too early by stopping down
Overall 78% A good lens for getting started with macro photography, and delivers beautiful results in many other areas

Samples

Here are some samples of pictures I made with this lens. Settings: native JPEG, picture control set to Landscape mode, no post-processing applied except reducing to 600 pixel width.

90mm, f/11, 1/125s, ISO 400, external flash
90mm, f/8, 1/200s, ISO 200
90mm, f/2.8, 1/200s, ISO 200
90mm, f/20, 1/80s, ISO 500, external flash
90mm, f/4.5, 1/10s, ISO 200, tripod
90mm, f/3.0, 1/500s, ISO 200

Nikkor 24mm f/2.8 AI-S : Review

Introduction

This is one of my favourite lenses ever, the Nikkor 24mm f/2.8 AI-S, and here will be tested with the Nikon D700 full-frame DSLR. It’s one of those lenses that may last forever and it’s a joy to shoot with. It has CRC (close-range correction) for great performance shooting at close distances. It’s very compact for a wide lens, I can put it in my jacket’s pocket and use it in a pinch everytime I need to shoot wide.
So let’s start with the size comparison with the D700:

The lens is older than me, it was introduced in 1977 and became a very popular lens then. I had been searching for a nice wide prime to use on the D700 and this was a blessing. It is relatively cheap in the used market today, but some stores are still selling them brand new for more than 500€. The AF-D version has the same optical formula and sells for about 430€, but it’s plastic.
This prime lens has 9 elements in 9 groups, with a floating element for CRC. The AF-D version has the same optical construction, but it’s may not be easy to find a good copy – opinions from other users with this AF-D version are everywhere from stellar to unusable. This lens is a masterpiece of construction like the other Nikkors back in the old days, when everything was metal with engraved markings for aperture and focus distance.
Used lens prices are everywhere in the range of 180€ to 400€, and that shows how well this lens keeps its value over the years. This is an eternal lens, as long as it’s free from fungus and doesn’t fall of a cliff, of course.

Technical Specifications

Focal length 24mm
Maximum aperture f/2.8
Minimum aperture f/22
Field of view 84 degrees (on FX)
Weight 250g
Dimensions 46 x 60mm (48 x 60mm at minimum focus distance)
Optical construction 9 elements in 9 groups
Aperture blades 7, straight
Filter diameter 52mm
Minimum focus distance 29cm (20cm from the front element)
Hood HN-1, optional
Mount AI-S, no CPU

Mechanical Characteristics

Zoom ring n/a
Focus ring Metal with rubber finish, with infinity stop
Focus throw 85 degrees
Focus motor No
Optical stabilizer No
Front element rotation while zooming n/a
Front element rotation while focusing No
Internal focusing No
Lens extension while focusing Yes, 2mm
Lens extension while zooming n/a
Maximum magnification 1:8.8

Handling

The lens is dwarfed by the D700, but with a weight of 250g the lens is much heavier than it looks, but that’s the result of using metal everywhere in its construction. Handling the lens is a breeze – the focus ring is very large and buttery smooth (it still is, for a lens with this age), and it’s a joy to use. I don’t mind using manual focus with wide lenses since focusing is so easy with them, and with the help of the D700’s viewfinder it’s even easier. The focus ring is finished with a very rough rubber that feels so great on my fingers, and with a throw of 85 degrees there’s a lot of room for precise focus. A great thing this lens has, is that there’s a hard stop at infinity; when I shoot astrophotography I just turn the focus ring around to this hard stop and that’s it, perfect focus on the stars!
The front element doesn’t rotate while focusing, so using polarizers is no problem.
As a non-CPU lens, one has to configure the lens on the D700 as “non-CPU” so it could read whatever aperture value is choosen. The aperture is selected using the aperture ring on the lens instead of in-camera, and it doesn’t allow to select half-stops or thirds-stops. These are not issues in practice, but the aperture value must be checked from time to time since the aperture ring is not lockable.

Resolution

For the resolution test I shot the 5 Euro bill as usual. Focus was achieved using Live View to avoid auto-focus imprecisions and to compensate for possible field curvature issues.
The first column shows a crop of the image center, the corner crop is on the second column (the expected DX border) and the third column shows a crop of the extreme FX corner. Each row represents an aperture setting, from maximum to f/22 in full stops. Here are the results:

The center resolution is already on its maximum value, which I honestly wasn’t expecting from such old design, and only drops a little bit at f/16 due to diffraction and more so at f/22. As expected, the corner resolution is much softer overall at f/2.8, but DX shooters would probably be happy here (look at the second column); FX users will get much worse corners, though. By f/4 the center resolution seems to improve a bit, but what’s happened here is that at f/4 there’s more light transmission to the sensor, which does make seem that images are a little sharper, but they’re only clearer. Here, the corners improved a lot, which will please DX users, and the FX corners were greatly improved as well.
From f/5.6 to f/11 the lens deliverz stunning sharp images both at the center and corners. The sweet spot for FX is from f/8 to f/11, the values I typically choose for landscape shots.
Overall, this is very high performance for such old wide angle lens, the results are very pleasing and this makes me understand why the lens was so popular back in the days. And today it still rocks.

Distortion

Here is the brick wall shot:

The lens has a high level of barrel distortion, and FX users will also have to deal with mustache, giving a wavy shape to horizontal lines, and not only on the top and bottom of the frame, as you can see in sample 5 at the bottom of the page. The barrel distortion is also quite visible in real world shots on vertical lines – just watch the vertical columns on sample 3.
In conclusion, the lens should be used with caution in architecture photography, especially regarding horizontal lines. For landscapes I usually don’t worry about it, but I always pay attention to the horizon line in seascapes.

Vignetting

In this test, I shot a white wall at home using tungsten white balance and set exposure manually:

Vignetting is very strong at f/2.8, that’s why the resolution test was a bit darker at this setting even in the center. At f/4 there’s still considerable vignetting, but it isn’t noticeable stopping down once more. With this lens I’d only worry about vignetting at f/2.8, but personally I rarely use that setting – only for closeups, and vignetting usually gives a nice touch.

Chromatic aberrations

For this test I shot a car from above on a bright sunny day early in the afternoon:

I am amazed at how great this lens is controlling CAs. Even at f/2.8 I could not see any traces of fringing whatever tests I did. It’s perfect.

Coma

Coma was tested using a LED source, at home in a dark room.
I put the light source at the center (first column), corner and extreme corner of the frame (second and third columns, respectively), at maximum aperture and stopped down.

In this matter, the lens disappoints. That’s typical for old designs, and still is for the majority of wide angle lenses, and unfortunately this distortion is very noticeable in astrophotography. Forget it if you were considering this lens for that application and you’re a pixel-peeper. I’ve been using it for that purpose and I try to abstract myself from viewing the borders at 100%.

Flare

I shot a building in construction with the sun sneaking from a window, to see if I could see any flare traces. I started to shoot directly against the sun, then placed the sun at the corner and finally made some shots with the sun just outside the frame.

Shot directly against the sun.
Shot with the sun placed at one corner of the frame.
Shot with the sun just outside the frame.

The lens has a good resistance to flare and ghosting which keeps contrast intact. The problem is that if the sun is in the frame or in the proximity, the internal reflections of light will be easily visible in the pictures, as tiny as those reflections may be. It can be annoying; there were times I thought that the sun was already at a safe distance from the frame, and the lens still catched a small group of reflections. That can be easily solved in post-processing if those reflections are over a homogen background, but may be distracting and impossible to eliminate in textures. Just take a look at the last test image – these are the reflections I’m talking about (look at the second window hole at the left).
In conclusion, it is necessary to frame at a safe distance from the sun, and I advise to get the optional HN-1 or use another device to block reflections definitely.

Bokeh

This is a wide focal lens with 7 straight blades, thus bokeh has to be the last thing you think about when buying this lens.
I took a defocused picture at the widest aperture of the city lights and got crops of the center, corner and extreme corners. The test was repeated for the subsequent two stops.

The lens produces a fairly acceptable bokeh after all at f/2.8, although it has onion artifacts and accentuated edges. In real world shots they’re not very distracting, though. Stopping down soon reveals polygonal shapes as a result of a small number of aperture blades of straight type. That’s in line with every ordinary wide angle lenses. For good bokeh there are better choices such as the 24mm f/1.4 options (Samyang comes to mind).

Macro/Close-up

Although the lens is an old design, it has CRC which allows it to focus as close as 20 centimeters from the front element, resulting in a maximum magnification ratio of 1:8.8. It’s not bad, but I’ve seen much better from other wide angle lenses – the Voigländer Color-Skopar 20mm f/3.5 SL II Aspherical, which I also tested, is just one example, but it’s a modern design and a very different one.
I shot an 1 Euro coin and this is what to expect at the minimum focus distance:

Summary

Build quality 10 All-metal and very professional, there’s nothing to complain about
Handling 8 Fantastic manual focus lens with very rough focus ring, the only downside is having to select aperture on the lens in full stops
Resolution 9 Superb resolution for a wide angle lens, only soft in the corners wide-open and a little at f/4
Distortion 5 Complex barrel and mustache distortion, not suitable for architecture
Vignetting 8 Very strong wide-open, but not noticeable afterwards
Chromatic aberrations 10 This lens reaches perfection here, as did the Voigtländer
Coma 5 Poor, very noticeable in the borders in astrophotography
Flare 8 Doesn’t suffer much and contrast is always on top, but easy to catch a few tiny reflections of light if you’re not careful
Bokeh 4 Acceptable wide-open, but that’s about it
Overall 74% A very sharp wide angle prime lens that is very small and very tough, still one of the best ever that money can buy

Samples

Here are some samples of pictures I made with this lens. Settings: native JPEG, picture control set to Landscape mode, no post-processing applied except reducing to 600 pixel width.

24mm, f/2.8, 1/2500s, ISO 200
24mm, f/8.0, 1/250s, ISO 200
24mm, f/4.0, 1/320s, ISO 200
24mm, f/11, 1/200s, ISO 200
24mm, f/8.0, 1/250s, ISO 200
24mm, f/4.0, 1/1000s, ISO 200

Nikkor AF-S 50mm f/1.8 G : Review

Introduction

This time I’m bringing to you my review of the Nikkor AF 50mm f/1.8 G lens for the Nikon mount, tested with the Nikon D700 full-frame DSLR. A 50mm lens is always a useful lens on full-frame for many purposes, from candid shots in low light to street photography, closeups and portraits. It is also a popular choice for the novice DX shooter as a first buy, since normal primes are usually cheap, not only for portraiture but also to get something more from their photos than those taken with the kit lenses.
The old 50mm f/1.8 D was a very good lens, and very cheap, but users with entry-level DSLRs could not auto-focus with this lens, meaning that this update was overdue.
After having enjoyed shooting for a couple years with the Nikkor AF-S 35mm f/1.8 G when I had a DX camera, I expected at least the same performance from this new 50mm on FX. This review will show what this lens is capable of in its native format.
For starters, see how the lens looks with a D700:

The lens was introduced in 2011 as a long overdue update for users with entry-level cameras that don’t have an AF drive, giving these users a much cheaper alternative to the f/1.4 G version. It was also about time to finally put an AF-S motor in the lens, since the entire lens lineup had been updated since many years ago. This normal prime lens includes 7 elements in 6 groups, of which one is of aspherical type to take care of optical distortions. It’s an all-plastic lens, including the filter thread, except the mount which is metal, but the plastic has a good quality and is rugged like the other G lenses. Being a G lens means that it doesn’t have an aperture ring anymore.
Having a street price of about 199€, it costs, looks and feels as the 35mm f/1.8 G, which for me it was a very good lens.

Technical Specifications

Focal length 50mm
Maximum aperture f/1.8
Minimum aperture f/16
Field of view 47 degrees (on FX)
Weight 185g
Dimensions 54 x 70mm
Optical construction 7 elements in 6 groups (1 aspherical element)
Aperture blades 7, rounded
Filter diameter 58mm
Minimal focus distance 91cm (37cm from the front element)
Hood HB-47, rounded
Mount Nikon F

Mechanical Characteristics

Zoom ring n/a
Focus ring Plastic with rubber finish, no infinity stop
Focus throw 110 degrees
Focus motor Yes
Optical stabilizer No
Front element rotation while zooming n/a
Front element rotation while focusing No
Internal focusing Yes
Lens extension while focusing No
Lens extension while zooming n/a
Maximum magnification 1:6.5

Handling

The Nikkor 50mm f/1.8 G lens is larger than the previous D version due to the inclusion of an AF motor, although it’s only 30 grams heavier, but looks big on a D3100. It balances and handles nicely on any camera, though, fitting everyone’s hands better than the D version.
The Nikkor is all-plastic made, but the mount is metal. The focus ring is plastic with a rubber finish for more grip but it’s not damped, it’s not smooth and feels like it’s not continuous, but instead feels like there are many tiny bumps while turning it. It doesn’t have an hard infinity stop, therefore one has to focus manually using Live View if we’re taking the lens out for astrophotography. Contrary to other motorized lenses, the focus ring stops turning around a little past infinity, while in those other lenses the focus ring never stops turning around. Thus, the focus ring must not be forced beyond infinity or below minimum focus distance, with the risk of breaking the AF mechanism. Fortunately, I rarely use the focus ring – only in Live View in the dark. The M/A-M switch on the lens means that at the M/A setting the lens allows manual focus override, which can be very useful at times, especially when working with large apertures, to make sure than the lens is focused on the exact spot we want. The throw of about 110 degrees is good for manual focusing.
The front element doesn’t rotate while focusing, so using polarizers is fine.
Speaking about focus speed, the lens focuses fast even in low light and never hesitates. The SWM motor is silent but it’s not amongst the best AF-S motors, there are much faster versions and more silent than this one. It has a problem, though: although the lens seems to focus faster than the f/1.4 G version, the f/1.8 G misses the target like once in every 10 shots when I use apertures greater than f/2.8. And I’m talking about long distance shots. This problem happens even at noon with contrasty subjects. When I use smaller apertures I don’t get any problems. My older trusty 50mm f/1.8 D always focused fast and with precision, but noisier of course. I just played with the f/1.4 G lens for several minutes and don’t know if the misfocusing issue was there too, but the few pictures I took with it were all in focus.
I use the lens mainly on the streets, it’s a snappy shooter and my only complain is the occasional misfocus.

Resolution

For the resolution test I shot the 5 Euro bill as usual. Focus was achieved using Live View to avoid auto-focus imprecisions and to compensate for possible field curvature issues.
The first column shows a crop of the image center, the corner crop is on the second column (the expected DX border) and the third column shows a crop of the extreme FX corner. Each row represents an aperture setting, from maximum to f/16 in full stops. Here are the results:

The center resolution is already great right from the maximum aperture and only drops a little at f/16 due to diffraction. From f/1.8 to f/2, the corner and border resolution is too soft, but there is a tremendous jump in edge-to-edge quality when closing the aperture to f/2.8. By f/4 the resolution is almost on its maximum, which happens at f/5.6, and then it stays on a top level until f/16, where it drops again due to diffraction. Overall, for corner-to-corner sharpness f/2.8 can be used without any problems. This performance is pretty much in line with the Nikkor AF-S 35mm f/1.8 G that I happily owned in the past. Regarding resolution, it’s like one stop better than the previous D version. The sharpness I get with the G lens at f/2.8 is about the same I had at f/4 with the D.

Distortion

Here is the brick wall shot:

There is a small amount of barrel distortion, but less than I got with the 35mm f/1.8 G. Fortunately this small distortion has a simple characteristic and can be easily corrected in post-processing. Of course, I always expect 50mm lenses to have no distortion and this may be worrying for some. In this regard, the 50mm f/1.8 D was perfect.

Vignetting

In this test, I shot a white wall at home using tungsten white balance and set exposure manually:

Vignetting is very strong from f/1.8 to f/2 but is hardly visible by f/2.8. Using the lens wide-open will bring vignetting but the effect might be desireable after all. It can be corrected in post-processing without much effort.

Chromatic aberrations

For this test I shot a car from above on a bright sunny day early in the afternoon:

There is some blue fringing at the edges of the windows until f/2, but only a couple pixels wide. In real shooting I never worry about this, even if I’m shooting metallic objects in bright light. If the reader had played with the 35mm f/1.8 G before, I can tell you that this 50mm is worlds better. This is top performance from any lens. I can’t compare it to the 50mm f/1.8 D because I don’t remember shooting with it wide-open, as it was too soft.

Coma

Coma was tested using a LED source, at home in a dark room.
I put the light source at the center (first column), corner and extreme corner of the frame (second and third columns, respectively), at maximum aperture and stopped down.

The lens has some coma, but it isn’t worrying. I use this lens on astrophotography shots and coma is hardly noticeable. I rate the lens as simply OK regarding coma.

Flare

I shot a building in construction with the sun sneaking from a window, to see if I could see any flare traces. I started to shoot directly against the sun, then placed the sun at the corner and finally made some shots with the sun just outside the frame.

Shot directly against the sun.
Shot with the sun placed at one corner of the frame.
Shot with the sun just outside the frame.

The lens has a good resistance to flare and ghosting, keeping contrast on a high level. The worst case is when the sun is placed at one corner, where multiple reflections of light might be seen towards the other. Shooting against the sun doesn’t produce halos and don’t degrade contrast. When placing the sun just outside the frame is always a good idea to use the supplied lens hood; in this case, the flare visible on the example could easily be avoided with the hood.
In conclusion, this is a good performance which was expected for a normal prime lens.

Bokeh

The lens has 7 blades, which means that it’s almost impossible to render perfect circles. They’re rounded, so it can’t be worse than the awful bokeh that the 50mm f/1.8 D renders.
I took a defocused picture at the widest aperture of the city lights and got crops of the center, corner and extreme corners. The test was repeated for the subsequent two stops.

The lens produces a surprisingly pleasing bokeh, with out of focus highlights that are smooth on the inside and nice edges that hardly can be called distracting. The only downsides are the fact that there are only 7 blades, and the cats-eye distortion on the corners of the frame due to vignetting. This is a quantum leap compared to the bokeh of the 50mm f/1.8 D!

Macro/Close-up

The Nikkor was able to focus as close as 37 centimeters from the front element, resulting in a maximum magnification ratio of only 1:6.5. It’s exactly the same minimum distance as I had when I used the previous D version lens.
I shot an 1 Euro coin and this is what to expect at the minimum focus distance:

Summary

Build quality 5 Almost entirely plastic-made but doesn’t feel too cheap
Handling 6 Fast lens that feels nice in your hand, may misfocus for no reason, manual focusing should be much better
Resolution 9 Amazing resolution, although soft in the corners wide-open
Distortion 7 Unexpected barrel distortion for a 50mm lens, but manageable
Vignetting 8 Strong wide-open, but almost disappears stopped down
Chromatic aberrations 9 Almost invisible in most conditions
Coma 8 Far from perfect, but not problematic in practice
Flare 6 Keeps good contrast, and the hood can help in some situations
Bokeh 7 Always very smooth without accentuated edges, but gets polygonal stopped down
Overall 74% A very sharp prime lens with nice handling and a welcome update for novice users

Samples

Here are some samples of pictures I made with this lens. Settings: native JPEG, picture control set to Landscape mode, no post-processing applied except reducing to 600 pixel width.

50mm, f/1.8, 1/4000s, ISO 200
50mm, f/5.6, 1/640s, ISO 200
50mm, f/4.0, 1/1250s, ISO 200
50mm, f/5.6, 1/200s, ISO 200
50mm, f/2.0, 1/2500s, ISO 200
50mm, f/1.8, 1/4000s, ISO 200