Nikkor Z 35mm F1.2 S Review | Big Size, Big Price, Massive Performance

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[Music]
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hi I'm Dustin Abbott and I'm here today to give you my review of the Nicor Z 35mm F1.2S
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now obviously this is part of Nicor's highestend series of prime lenses with
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the largest of Maxima apertures available in autofocusing lenses these are all extreme instruments they're big
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they're heavy and they're expensive in fact the lens we're reviewing today which I'm filming on at the moment is a
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$2,800 35mm prime that means it's not going to be for everybody but that f1.2 aperture
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is really a huge part of what makes this lens special particularly with a 35mm lens i think with longer focal lengths
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85 mm for example you can often get away with a smaller maximum aperture because depth of field is still really tiny when
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you get to a wider angle lens like 35 mm however that maximum aperture really
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allows you some creative options that lenses with smaller maximum apertures just don't afford so could a 35 mm lens
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that cost 2,800 bucks ever be worth it well the answer is a little bit
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complicated so that's what we're going to try to explore in today's review right after a word from our sponsor
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Skillshare today's episode is brought to you by Skillshare many of you tune in to this channel to learn from me but I find
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year subscription to Skillshare so get started today and start learning so
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before we jump into today's review I do want to give you a quick disclosure this lens was loan to me by Nikon Canada
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however they have had no input on this review nor have they seen it before you're seeing it right now as always
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this is a completely independent review so let's talk build and handling it is pretty clear from the marketing material
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that I see on Nikon's website that they envision this as being a lens particularly for wedding and then
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portrait photographers which makes sense i think it would be hard to argue the necessity of a lens this extreme for
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most people in other kinds of industries and so I did try to look at it from that perspective unfortunately I can't just
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summon up weddings on demand but I did try to recreate some of those style shots as a part of my review to see how
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the lens would handle those detail type shots now clearly this is a massive lens
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as is quite obvious and if you look at the comparison to the 35mm f1.8s that I
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recently reviewed you can see just how incredibly big this lens is by comparison it is 90 mm in diameter or
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3.5 in and a whopping 150 mm or 5.9 in in overall length
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that's huge it weighs in at 1,60 g or 2.3 lb and you can see even though the
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Voltrox Lab 35mm F1.2 2 which by the way this is a comparison to the E-mount
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version there is no Zmount version yet though it is supposedly coming but you
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can see that it towers over the E-mount version of the Lab an extra 28 mm in
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length and an additional 150 grams in overall weight so the Lab was a big lens but this of course is next level big
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overall i definitely felt that weight when I was out hiking i had it on a Peak Design Slide Light strap which is kind
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of my go-to strap and after even a half hour which is not all that long I could definitely feel it in my traps it was
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kind of aching through there and I had to swap sides multiple times because there's just a lot of weight that on my
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Z8 is a pretty heavy combination and so uh you're looking at a couple of kilos
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there and so you definitely feel that pulling down on your your trap so this is maybe not your best backpacking type
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lens up front we have 82mm front filter threads which is shared across all of
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the F1.2 two S-line lenses along with the Plenna 135mm f1.8 as well now this
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is a nicely made lens um it's got a nice degree of build quality it is a mix of metals and engineered plastics which is
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pretty standard fair however we do have 11 11 different seal points according to
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this diagram so a thorough professional grade of weather sealing there and we also have a number of features here
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though I will have to say compared to what I'm seeing on some other brands the feature set here is a little bit light
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for a lens this expensive it starts with a unfortunately positioned um AFMF
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switch and I say unfortunately positioned i mean it's a pretty common place for this to be on Nikon lenses but
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unfortunately on a body like my Z8 this is kind of hidden in here where it is
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flanked by both the lens release button and then also the port up here for a
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flash sync cable and so I find that just reaching around there I'm having to
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navigate between two different things to try to get at that so doing it by field it is not a great position ergonomically
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frankly I think it would be better served being up here on the tier with the two function buttons and so there
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are redundant function buttons one on the left side one on the top and so you have one near to hand whether you're
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shooting in a horizontal or a vertical position outside of that what we have as
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far as features is the customizable control ring this is not my favorite application of the customizable control
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ring i find that this one in particular is really sensitive and so I have there's a couple of things that I have
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used the customizable control ring for personally i've used it as an aperture ring i didn't like that because it just
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went way too fast so you would jump from f1.2 and you'd be at f8 before you knew it it's just not enough distance on
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there so I tried it for exposure compensation same kind of thing it's like I was at minus4 i was at plus4 EV
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and so you had to really be intentional about slowing it down and by the time you did all that it would be faster to do it through some other means and so I
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didn't love it for that fortunately in video mode if I switched it to you know power aperture I was able to do aperture
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racks nice and cleanly there so that frankly was the best application that I saw for this customizable control ring
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you know I know it's clickless is the process in this case I actually probably would have preferred clicks for the
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simple reason that it would give you a little bit more precision in your control of it and so again for such an
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expensive lens that was a misstep in my opinion inside we have 11 rounded
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aperture blades it does a nice job of keeping a circular aperture shape as you can see here we'll go through the rack
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again and so you can see how that those uh those bokeh circles stay nice and
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round there now on some of these lenses they have had an OLED screen on the top
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similar to what Viltrox is doing with the lab series and it is not present here and so again with that customizer
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control ring you do lack any kind of direct feedback there because there is no clicks there's no markings frankly I
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would prefer just a traditional aperture ring but that isn't Nikon's approach to these things and so you know it's you
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know use wishing for it but I do miss the OLED because it just would give you a little bit more feedback you know
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fortunately some bodies have the top-mounted LCD but it means you're looking at the camera rather than at the
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lens and so it's just it's it's not necessarily great in that application now what is great is the big manual
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focus ring here it is beautiful it's nice and wide and it is perfectly damped so it gives you a really really great
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manual focus simulation so I felt like I could focus with great precision and so I did love that i don't know how often
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people use these things but I do find on Nikon with its fulltime manual override these rings can be really useful and I
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certainly found that to be the case here now there is no lens-based VR vibration reduction so you're going to have to
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rely on stabilization to come from your camera if your camera is so equipped if your camera is not so equipped you're
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out of luck and obviously if you're using Nikon smaller cameras that don't
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have VR in the camera itself this lens is probably overwhelming it anyway in
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terms of the size and weight minimum focus distance is 30 cm but interestingly although the 35mm f1.8s
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can focus closer 25 cmters it actually has a lower degree of magnification from
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this lens which speaks of some maybe focus breathing up close that this lens is able to control because there's lots
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more room in that lens for these elements to move around and so it has a 0.20 times level of magnification which
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is you know a good rating for the class up in a very useful level and again it's going to be nice for those detail type
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shots of of rings flowers shoes you know all the different things that'll be a part of wedding or portrait photography
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and also because of the wider focal length allow you to get some extra stuff in the frame even when shooting up close
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can be really useful and create very unique type shots price here is $2,800
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as previously mentioned that's US dollars here in Canada it is $3,800 Canadian that's a lot of money so
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obviously this lens is not going to be for everyone because everyone can't afford it so how about autofocus
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nikon has employed dual STM focus motors here and I have to say I'm still having
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to adjust to the idea of high-end lenses like this receiving STM focus motors now
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to be fair Nikon's STM focus motors are pretty good but when I see a lens that will soon arrive on Nikon like the
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Viltrox Lab 35mm f1.2 to having quad hyperVCM focus motors makes me wonder
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how that lens is going to compare when it arrives autofocus here is in many
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ways good it is quite fast overall though not as fast as what I saw with the Plenna nor is it going to be quite
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as fast as a lens like the 35mm f1.8s as you can see autofocus moves back and
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forth quickly but indoors I definitely noticed a little bit of a lag in between going from point A to point B outdoors
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that that time shortened down a little bit and so even though this is a lens that sucks in a lot of light it still
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seems to prefer having good light for focus speed overall there is a little
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bit of sound it's not completely silent you'll hear this very light kind of shnick sound as it moves from point A to
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point B it's not loud enough to really be much of a factor however in terms of focus speed I found that I had no
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problem for example as Nala was walking towards camera you know just nailing shots as she moved along that's
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typically a pretty good test because it is this you know forward progression all the time and autofocus had no problem
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keeping up even at f1.2 at the same time when I went out and I tried to shoot at the hive sometimes
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with on Nikon um you know with a good lens I'm able to pick the bees out of the air focus grabbing them i didn't
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have a lot of great success with that so what I saw was enough to tell me that I
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think you're going to have great precision if you're shooting things like portraits or weddings anything that has
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you know a moderate amount of movement i'm not sure I would choose this lens necessarily for sports however I don't
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think the autofocus is maybe quite fast enough to work in that kind of scenario
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though you know I'm open to being wrong on that topic i do feel at this point
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that it's probably time for Nikon to move maybe to the next level when it comes to the autofocus systems and
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certainly I feel like Sony's recent G Master prime lenses have a little bit
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more thrust and a little bit more sophistication in the focus system generally so how about video autofocus
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as is typical it's a little bit of a mixed bag on Nikon and part of that is because there are two separate processes
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at work if you're doing touch to focus as I do as a part of my focus pull test you have no control over those settings
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and so what you get is kind of the maximum thrust it moves kind of maximum speed back and forth but unfortunately
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it introduces some quirks things like you'll see some pulses or sometimes a quick rack in the wrong direction and so
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it's just not as sophisticated as what I would like to see overall I got a pretty much average performance jumps back and
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forth but not always with complete confidence in doing that i was happier when I switched to something like my
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focus pull test or just where I put my hand and in place and then remove it uh
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because I found there I'm allowed to use the settings that I have set up in the camera and so I've set it up to where it
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is reasonably reactive but it is a little bit more cinematic in the way that it moves back and forth and I feel
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like the camera does a better job of doing that with more confidence and that was certainly true in testing this lens
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as well so that means that I was happier with something like my hand test where I allowed the camera to go between my hand
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and my eye and autofocus there happened with a little bit more precision now as you've probably seen in all these clips
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like this one that I'm filming on it when it comes to static shots or shots when I'm moving steadily towards camera
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autofocus has done a really good job of picking me up and staying locked on me and so for most things in most
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situations I think that autofocus is going to be just fine however if you are looking to do those kind of touch to
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focus pulls or movements just note that that maybe not won't be as cinematic as
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what you might like on a positive note focus breathing is not quite non-existent but it is very very low
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here and you can see at this is at f8 as I manually focus in and out on my test
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chart you can see there is very very little of focus changes in terms of the overall size of objects there and so
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that certainly is going to be a positive and allowing your footage to look a little bit more cinematic if you are
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pulling focus maybe pulling it manually instead of doing one of those touchto focus pulls
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how about the image quality we have an optical design of 17 elements in 15 groups including three extra low
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dispersion elements three espherical elements and then a unique espherical ED element which I haven't really often
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seen before this is a you know exotic high-end optical design and it has to be
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because this is where this lens can justify its price tag by delivering
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image results and image quality that lesser lenses simply cannot match now
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looking at the MTF chart the MTF chart is only so so now remember this is at f1.2 so for f1.2 lens that's great if
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you're looking at it just you know from a standard of maybe an F1.2 or an F1.8 lens it doesn't look all that
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mind-blowing and in fact the Viltrox Lab does look better across most of the frame except for maybe the last bit of
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the extreme corners so we'll see when that lens comes out how it actually you know performs on Nikon but at the moment
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this is as good as you're going to get when it comes to a 35mm lens on the
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Nikon Zmount system now when it comes to other kind of metrics that I evaluate I'll quickly run through these and if
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you want the deep dive in the optical performance stay tuned at the end of the video for that when it comes to longitudinal style chromatic aberrations
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before and after the plane of focus very very well controlled and so the test chart looks good the SLR that I use to
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test for that all of it looks good there likewise lateral chromatic aberration is very well controlled as well and so
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corners look nice and clean there is a tiny amount of barrel distortion that is very linear it's so low you probably
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don't need to correct it but it is easy to correct took only a plus three to correct for that and to get basically
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perfect geometry everywhere vignette's another story a lens like the Plenna Nikon very specifically designed it to
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have basically no uh vignette which is very rare in my experience on Nikon and
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and so in this case that is not at all what I discovered it had a plus 77 that
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I needed to correct for it so that's about three stops vignette in the corner it's it's pretty heavy and it is going
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to be obvious without correction fortunately as a first-party lens the in camera correction profile along with the
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correction profiles and post editing software all do an excellent job of eliminating that now when it comes to
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the chart test I was shooting on the 45 megapixels of the Z8 and showing you at
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200% magnification levels at uh in the center of the frame at f1.2 it looks
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fantastic from wide open the mid-frame looks excellent and the corners look a
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bit dark but outside of that detail really looks fairly good there not as good as the center of the mid-frame but
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still very very good particularly for an F1.2 lens i found that if I stopped down
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even to f1.4 the center and mid-frame contrast jumped up even more and so it
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looks really really fantastic the corners looked a little better but really I didn't see peak performance
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show up in the corners till about f2.8 i will say however that at f2.8 I'm seeing
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a corner performance that I rarely see however it's really really good in the corners at f2.8 when stopped down so as
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you might imagine if it looks great at f1.2 by the time you're shooting at landscape apertures from you know f4 5.6
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f8 it's going to look fantastic from corner to corner you know you could put as high a resolution as you have
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currently available on Nikon 45 megapixels and it looks fantastic everywhere and so all of that is really
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really great about f11 you're going to start to see a bit of softening due to defraction and then f-16 is the minimum
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aperture and so it's a little more pronounced then but again this lens is so sharp that frankly even at f-16 it
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still looks pretty good overall that great contrast allows you to get
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beautiful uh saturation levels in your colors and so I found colors to be really rich from the lens certainly a
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strength for it likewise also skin tones looked nice and so all of that is is
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excellent now where this lens I think really kind of sets itself apart is not only in the ability to have great detail
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but also to have beautifully soft bokeh at the same time it's a difficult challenge to pull off both to have high
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contrast and detail on subject matters and then to have a very soft out of focus area but I think that Nikon has
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been able to do it with this lens and and I was able to get just really soft great-looking bokeh in a wide variety of
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situations and maybe you've seen it in some of the shots that I've already shown the video clips in the different
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sequences that I filmed outdoors this shot kind of stood out to me because I was able to produce nicel looking bokeh
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from mosquitoes and so it's not every lens that can give you great mosquito bokeh and so kudos to Nikon on that it
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also works really well for those wedding style shots and as mentioned earlier the fact that you can get close to your
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subject and have a very narrow depth of field but have a little bit wider framing so I think it's going to work
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really well for the kind of shots where you're trying to highlight maybe some of the details of what a bride and groom
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are accessorizing with you know things like that really really really nice the other thing that I think is really going
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to make this lens be exceptional for portrait and wedding photographers is that it is amazingly good in backlit
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situations flare resistance is incredibly strong for an F1.2 2 lens which frankly some of these big aperture
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lenses can be a disaster when the sun or some other bright light source is shining into the lens itself that's no
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problem here in fact there are three different types of coatings that are being employed here and they're doing a
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fantastic job when it comes to shooting the night sky obviously again this is a kind of an overkill lens for shooting
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astro but if you want to try it um it has the ability to produce really crisp star points even at f1.2 too and
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obviously to suck in a massive amount of light allowing you to keep the ISO level down and also maybe to get a little bit
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faster shutter speed and so that you can you know not have movement of the stars because it doesn't take long at 35
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millimeters for that to start to show up that's the good news the bad news is is you know it does have a lot of vignette
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and so that is going to have to be corrected you can see it really stand out in this shot um and also there is
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some coma in the extreme corners looks like birds that are flying out of frame rather than Chris star points you maybe
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that's going to be a dealbreaker for you maybe it's not but I wouldn't buy this lens specifically for shooting coma but
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if you're spending that much money on the lens you might want to multitask with it the bottom line is that optically this is one of the best 35mm
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lenses ever and it's going to deliver unique incredibly good results that very
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few lenses are able to come close to matching my conclusion is is that this
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is for a lot of reasons not a lens for everyone i would say that this is an exceptional tool for working
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professionals who earn a living for from photography or those well-healed
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amateurs that just like owning the very best and frankly that's it it is the
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best 35mm lens you can get on Nikon Zmount and I suspect for a few reasons even when the lab lens comes while it
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will be a lot cheaper and much easier to make an argument of it being the best bang for buck 35mm f1.2 there will be
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areas that distinguish this as still being the best 35mm lens available i
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love the ability to play with depth of field at 35 millimeters and so I think that f1.2 aperture is really really
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valuable but the flip side is is it's big it's heavy and it's it's very expensive so only buy it if you actually
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need it and if you don't need it fortunately there is a very good 35mm f1.s and even a 35mm f1.4 that isn't as
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high-end in its overall optical rendering but from what I understand still does have a very nice rendering
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and I'll get to that lens at some point down the road now if you want more information you can check out my full
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text review that is linked in the description down below there are links to an image gallery and some buying
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links there and if you want to go deeper into the optical performance stay tuned with me right now we're going to jump
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into that together so starting off we'll take a look at vignette and distortion you can see just the tiniest amount of a
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barrel distortion here on the right side i've manually corrected for it it's very linear as you can see so perfectly easy
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to correct vignette's another story there's a lot of vignette there particularly in the far corners quite
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concentrated and so it takes a fair bit of vignette correction a plus 77 to get to this result here though the
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correction profiles will also do a fine job of that longitudinal style chromatic aberrations are handled pretty well here
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you can see just the tiniest hint of magenta fringing before the plane of focus and a little bit of green
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afterward but as I move into a real world subject like this you can see there's just that tiny amount of green
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fringing there but it's not enough to impact anything i don't see it in the specular highlights at all it's not
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going to be a problem this uh subject right here is very easy to get because of the depth of field and the contrast
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it's very easy to get the fringing on it and you can just see that tiniest hint of green it's going to be no problem at
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all likewise with the lateral style chromatic aberrations great correction there so no problem no evidence of
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fringing on either side of the black white transitions now here's the chart test that we'll take a look at for
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sharpness and contrast i'm shooting here at f1.2 two initially and 45 megapixels
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on a Nikon Z8 this is 200% magnification you can see the center of the frame looks awesome great detail great
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contrast a lot of precision there even uh wide open f1.2 mid-frame looks
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awesome um just really really great detail and contrast great consistency there taking a look at this bill you can
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see pretty close to equal just very slightly left contrast in this lower right corner as we transition out of the
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mid-frame down towards the corner in the corner you can see it's darkish um but
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you can also see pretty good detail all across the frame and if we take a little bit of a ride around we can see that
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looks good on the left side looks good in the upper left and up into the upper right we see consistency around the
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frame how's that look for real world shots here at f1.2 you can see great
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detail here obviously the ability to really throw things out of focus even with a 35mm lens and to focus the eye on
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one particular subject here shooting up close you can see that we've got very
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good detail and contrast here even at f1.2 so a very narrow plane of focus but
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looks great there likewise here what I really like about this shot is you know
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detail and contrast color saturation is great but you see on the sharp edges of this leaf there's none of that bleeding
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effect it's a nice crisp delineation and of course beautifully soft background and we'll get to that in a moment here
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is a shot of Nala and you can see here that even at f1.2 great precision and
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just delineating all those fine little hairs looks really fantastic so while we've just got through making the point
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that the lens is great at f1.2 2 even a mild stop down to f1.4 does make a
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noticeable improvement you can see here there's a lot more contrast in the image here in the center of the frame at f1.4
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and it just means that this text for example pops that much more in the mid-frame here we can see more detail
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just more of the textures and again superior contrast so the brighter areas look brighter which makes the darker
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areas look darker as well now if we pop down into the corner here there is a
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mild contrast improvement again it's mostly in the brightness areas but we're not seeing like that big look at leap
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ahead in the same way looking up here in the upper right corner it's improved you can see but it's not great yet the
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greatness comes at f2.8 and you can see here even in the corner that it looks fabulous at f2.8 and as I mentioned
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earlier in the review in the summary I see very few lenses that ever reach this level of sharpness and contrast in the
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corners at any aperture value so that just means that real world landscape style shots are going to be super crisp
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and you can see here in all of these reads just as we pan across the frame it's just great detail everywhere that
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you look um it's just I mean it's it's a great landscape lens probably overkill
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as a landscape lens but if you have it use it because it produces amazing looking results due to defraction at f11
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you're going to see sharpness and contrast start to diminish a bit and then at f-16 it gets softer still though
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you know frankly this is still at 200% magnification it still looks pretty good all things considered so if you've got
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it and you want to shoot at f16 go for it now we not only have a nice degree of magnification we have a fairly pla flat
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plane of focus up close and as you can see the ability to render fine details really really well and so that's going
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to help a lot in shooting those shiny objects if you're shooting as a wedding photographer and so that's really
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fantastic i love this shot you know it's very rare to be able to pull something like this off with just a 35 millimeter
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lens to have that you know object kind of popping out of that completely defocused background and then to be able
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to look at 100% and see that beautiful precision of detail that's showing up there here's another shot I think is
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beautiful again you know with a 35mm lens you only have so much distance between a daisy like this and the ground
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and so to be able to get this blurred out background uh is really quite rare
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with a 35 millimeter lens and then to add on that great detail there makes for a shot that I think looks pretty great
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for a simple subject colors really pop from this lens it's got a great degree of contrast and thus color saturation
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and so you can see not only is the detail great the color saturation levels are great even this simple image that I
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shoot very regularly because I can repeat it fairly easily it shows just really great pop even at f1.2 great
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contrast and detail on this vintage bottle and then of course a really nice level of defocus the shot of Ferrari
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shows not only great detail in the fur there but you can just see in a you know
28:40
a simple scene but you can see that beautiful fall off to defocus this is frankly what you're paying the big bucks
28:46
for here another image here that really could degenerate into uh something
28:51
that's much busier due to having stuff in the transition zone in multiple areas in the image and yet you can see that it
28:58
just it pulls it off with a plum it looks really really fantastic i mentioned this shot earlier and here you
29:04
can see all of these little mosquito bouquet highlights which is not something that I'm often praising but
29:11
looks pretty cool here and this image here shows the nice uh foreground bokeh
29:16
so nice rendering there detail on the subject and again these shiny sub uh subjects are handled with good contrast
29:23
no fringing issues and then you can see just lots of specular highlights and yeah you get a little bit of the cat eye
29:29
shape but in general the bokeh highlights are really beautiful from this lens comma performance as mentioned
29:35
in the center of the frame looks great we're not having any kind of marring from fringing star points are really
29:41
crisp you can keep the ISO low you can see here we definitely have you know
29:46
some light fall off in the corners and then as we look here you definitely see some effects of coma and the brighter
29:53
the highlight is the more obvious it's going to be that it has taken wings and the stars are trying to fly away out of
30:00
the image and so not a perfect coma performance but I would still consider to be useful flare resistance however
30:06
I'm unequivocal about it is fantastic usually a uh shooting right into the sun
30:11
like this at f1.2 two would just be an absolute mess and you can see it's anything but as you stop down contrast
30:17
is holding up really well there's no nasty ghosting pattern starting to emerge and even if we drop the sun right
30:23
up into the corner I mean this little tiny dot is about as bad as it gets
30:28
those are great coatings at work there overall this is a pretty fantastic instrument optically and I particularly
30:35
love images like this where the sun is right out of frame and you can see just a nice glow to the image everything
30:41
holds up beautifully so yeah this lens is a beast but it's also a beast optically as you can tell from the
30:48
breakdown here so hopefully the deep dive has helped you to decide whether or not you're ready to spend the big bucks
30:53
to acquire this bad boy as always thanks for watching have a great day and let the light in
31:00
[Music]

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