0:10
Hi, I'm Dustin Abbott. Over the last few
0:12
years, I have been starting to explore
0:15
Nikon's Zmount. And I was a little late
0:17
coming to that, but as with for myself,
0:20
as with most people coming to Zmount, if
0:22
you're interested in prime lenses, very
0:24
likely the place you're going to start
0:26
is with Nicor's own 35mm, 50mime, or
0:30
85mime F1.8 S-line lenses. While they do
0:35
have newer f1.4 four variants of at
0:38
these focal lengths that are coming out.
0:40
Those lenses tend to be well a little
0:42
bit different in their overall look.
0:44
They're more of a classic uh performance
0:46
and so they're priced lower than the
0:48
f1.8 lenses. They're not quite as
0:50
premium in terms of their optical design
0:53
and maybe not in terms of their weather
0:55
sealing. And so they're marketed as
0:57
being more the bottom tier, whereas
0:59
these f1.8 lenses are more the mid-tier
1:02
of lenses where typically you might
1:03
expect an f1.4 four lens to lamb. So,
1:06
I've just wrapped up reviewing the final
1:08
of these three, which is the 85 F1.8.
1:12
And so, I thought that I would film a
1:13
quick video as a buying guide for those
1:16
of you that might be jumping in and are
1:18
trying to decide between these lenses as
1:20
to the best place to start. And so, I'll
1:22
be giving you as a part of this a quick
1:24
breakdown of what is shared across these
1:27
lenses in terms of strengths, what is
1:29
shared across them in terms of
1:30
weaknesses, and then a very brief
1:32
synopsis of each one. And what I'm going
1:34
to do for that is I'm going to keep the
1:36
tripod at the same position, but I'm
1:38
going to film with each one of the
1:39
lenses separately during their own
1:41
section and so that you can have a sense
1:43
of what the framing and the rendering
1:45
looks like from a static position. Maybe
1:48
that will help you in making your own
1:49
choice as well. So in terms of the
1:52
things that are shared across this
1:53
lineup, they all are premium lenses and
1:56
this is something that really no other
1:58
manufacturer has done choosing to make
2:00
f1.8 lenses. And so the strength that
2:02
comes with that is that these are
2:04
affordable and yet premium lenses. They
2:06
all have a premium degree of weather
2:07
sealing with typically typically
2:09
anywhere between eight and 10 seal
2:11
points averaging out about nine
2:13
throughout them. And so they have got a
2:14
professional grade at this point. Most
2:16
of these lenses are at least six six
2:18
years old. And so they've have
2:20
demonstrated that they're going to hold
2:21
up well, that their build is robust.
2:24
There's been a good proven track record
2:25
with these in terms of their build
2:27
quality. They all have a premium optical
2:29
performance as well. Again, Nikon was
2:32
not going for the what would typically
2:34
be, you know, say I'm filming on the
2:36
50mm f1.8. Your typical 50mm f1.8 is a
2:40
$200 to $250 kind of bargain lens. It
2:43
has pretty good, but not exceptional
2:46
optics. This lens is completely
2:47
different. It's, you know, at least
2:49
twice as much money, but it's twice as
2:51
much performance as well. It's a really
2:53
high-end optical performance. And while
2:55
there are some newer competitors that
2:56
are putting some pressure on these
2:58
lenses, they still hold up really,
3:00
really well as being very strong
3:02
optically. And I test them on a 45
3:04
megapixel sensor and they have no
3:06
problem in resolving that sensor and
3:08
holding up very nicely. Another common
3:11
strength is that while they aren't cheap
3:13
lenses, hello Nala, they do tend to be
3:24
I can only take so much, folks. One
3:27
final shared strength is that while
3:28
these aren't inexpensive for f1.8
3:30
lenses, if you're comparing them to the
3:32
typical f1.4 lenses from, you know,
3:35
either Sony or Canon or the like, these
3:37
fall at a very reasonable price point.
3:39
No, they're not quite as bright, but
3:40
optically they're definitely going to be
3:42
competing with those faster f1.4 options
3:45
in most categories. And so that's
3:47
definitely a strength in that there's a
3:49
lower cost of entry into a premium lens
3:51
than what you're typically going to find
3:53
from a first-party brand. Unfortunately,
3:55
there are also some well shared
3:57
weaknesses across these. Unlike the
4:00
newer F1.4 lenses from Nicor, these
4:03
don't have a dedicated customizable
4:05
control ring, which means that you've
4:07
got to use the single ring on the lens
4:09
barrel as the control ring. And so that
4:11
means it's going to have to serve if you
4:13
want to do manual focus, it'll do that.
4:15
If you want it to serve as an aperture
4:17
ring, it's going to do that. But if
4:18
you're wanting to do something outside
4:20
of manual focus with it, it means that
4:22
you're going to have to switch into
4:23
manual focus to do that. And thus,
4:24
you're going to lose full-time manual
4:26
override. I also find that they aren't
4:29
as good for using as for aperture rings
4:32
as what I find with Nicor lenses that
4:34
have a dedicated customizable control
4:37
ring. And so that is what I find as far
4:39
as the handling the biggest liability
4:41
with these lenses. for premium lenses.
4:43
They really aren't very featurerich.
4:45
They basically just have an AFMF switch
4:47
and nothing more. And so they're
4:49
definitely not competing with what other
4:50
brands are offering in that metric. The
4:53
final challenge for these lenses is that
4:55
while I have praised the fact that they
4:57
are less expensive than first-party
4:59
premium f1.4 lenses, the problem is is
5:01
as Nikon has opened up the Zmount, we
5:04
have seen a number of other brands that
5:06
have come in that are offering not just
5:09
f1.8 lenses, but offer often f1.4 four
5:12
lenses that are competed both optically
5:14
but at are at lower prices as well. And
5:17
so it is a little bit harder to argue
5:19
for the value side of these lenses
5:22
because of those newer competitors that
5:23
are on the market. And so there is a
5:25
quick summation of relative strengths
5:27
and weaknesses that are shared across
5:29
these. Now let's dive in and let's take
5:31
a look at each one of them independently
5:33
as to their own relative strengths
5:35
weaknesses to each other. So I'm
5:37
actually going to start with the 50mm
5:38
f1.8s 8S, which I'm filming on at the
5:41
moment, as it is my favorite of the
5:44
series. Its size is 76 millime in
5:48
diameter by 86 12 mm. And so, it's a
5:51
moderatelysized lens, neither overly
5:53
compact like a typical 50mm f1.8, but
5:57
not huge and heavy either. It weighs in
5:59
at 415 grams, and so it's still fairly
6:02
moderate in size. But the reason why it
6:04
is my favorite is I think it is the most
6:06
exceptional optically of these lenses. I
6:08
would summarize it as being the best 50
6:11
millimeter f1.8 lens that I've ever
6:13
tested. And over the years, I've tested
6:15
a lot of 50 millimeter lenses. This one
6:18
is really, really impressive optically.
6:20
It has amazing sharpness. It has
6:23
incredible micro contrast. And in that
6:25
sense, it is probably the most afocally.
6:32
And so that is a huge win for it to me.
6:35
It not only has the best optical
6:37
performance, it also has the best price.
6:39
It is the least expensive of all of the
6:41
F1.8 S-line lenses. Its MSRP is $667.
6:47
It's currently available for $467
6:50
and under $500. I think that it is a
6:53
tremendous value. As I said, it is an
6:56
amazing lens optically. It still does
6:58
very well in terms of its autofocus. Uh
7:00
it's a joy to use. It's fairly compact
7:03
and it delivers images that I have been
7:05
happy with again and again and again.
7:08
So, it is my number one. And if you are
7:10
looking for a place to start and you
7:11
don't care so much about focal length,
7:13
go with the 50mm f1.8s. It's going to
7:15
cost you the least. It'd probably end up
7:17
being your favorite. My second favorite
7:19
in the series is the 85mm f1.8s
7:23
lens. 85mm lenses are indispensable as
7:27
the most commonly used portrait focal
7:29
length of all. And in this case, I find
7:32
that having an f/1.8 maximum aperture,
7:35
it is some deficiency relative to an
7:37
f/1.4 aperture. But the fact that it is
7:39
so good at f1.8 makes it less of a
7:42
liability in that regard. It is the only
7:44
one of this these three lenses that has
7:46
dual SDM focus motors rather than a
7:49
single focus motor, which is needed and
7:51
so that it can push a little bit heavier
7:52
glass elements with equivalent speed to
7:55
the 50mm and 35mm lenses. Its size is 75
7:59
mm in diameter by 99 mm in overall
8:03
length. It weighs in at 470 gram. And
8:06
so, frankly, it's not particularly small
8:08
and light for an F1.8 lens, even
8:11
relative to other options that are
8:13
available from other first-party brands.
8:16
At the same time, however, it is besting
8:19
those other lenses in terms of its
8:20
optical performance. Uh, delivering what
8:23
is, you know, kind of a hallmark of this
8:25
series, and that is a premium optical
8:26
performance. It has great 3D 3D pop. And
8:30
one of my favorite things about this
8:31
lens is how I feel like subjects really
8:33
have a really crisp delineation from the
8:35
background. The bokeh quality is good,
8:37
but I think you could definitely get
8:39
nicer bokeh out of a lens like the
8:41
Viltrox 85mm f1.4 Pro Series lens, but
8:45
this lens is still going to best that
8:47
Viltrox lens in terms of absolute kind
8:49
of pop and micro contrast. It's really,
8:52
really strong in that regard. One thing
8:55
that I don't love is that it does have a
8:57
different filter size at 67 millimeter
8:59
than the 62mm filter size of the other
9:02
two lenses. And so if you're looking to
9:03
own all three inch air filters across
9:06
the three of them, unfortunately this
9:08
kind of disrupts that flow. Though you
9:10
could use something like a step up ring
9:11
from 62 to 67 millimeters, buy your
9:14
filters into 67 millimeter size and then
9:17
step up on the other two lenses. So that
9:19
is an option. though often that approach
9:22
means that you can't use the lens hood
9:24
at the same time. It is fairly
9:26
expensive. Its MSRP is $850.
9:29
It's currently available for about $750.
9:32
But no matter how you slice it, this is
9:34
definitely on the expensive side for an
9:36
85mm f1.8 lens. Though again, it is more
9:40
premium than most of the lenses that it
9:42
is going to compete with that are
9:43
85mimeter and have a maximum aperture of
9:45
f1.8. And of course, if you're comparing
9:48
it with 85mm f1.4 lenses uh from
9:51
first-party brands, it feels like a
9:53
relative bargain. So, finally, we come
9:55
to my least favorite of the series,
9:57
which is the 35mm f1.8 that I'm
9:59
currently filming on. Not because it is
10:01
a bad lens. It certainly isn't, but
10:04
relative to the other two, I feels like
10:05
it is maybe the least special in terms
10:08
of its optical performance. Now, it does
10:10
have some relative strengths. It has the
10:12
highest magnification of the series at
10:14
0.19 times which compares to 0.15 times
10:18
for the 50 millimeter and just 0.12
10:21
times for the 85 millimeter. It and is
10:24
also very slightly the smallest lens in
10:26
the series in terms of its size. It is
10:29
73 mm in diameter by 86 millime in
10:32
length and so fractionally smaller than
10:34
what the 50mm f1.8 is. But it does weigh
10:37
in at 370 g, making it easily the
10:40
lightest of the series. I would also
10:42
consider one of its strengths to be that
10:44
I think it's the best video lens of the
10:46
three lenses mentioned here. It has the
10:48
lowest focus breathing. I feel like
10:50
focus pulls are the nicest damped and
10:52
the fact that focus breathing is so
10:54
incredibly low. And the fact that the
10:56
focus breathing is so low gives it a
10:58
very cinematic feel to it when you are
11:01
making focus changes. Obviously, 35
11:03
millimeters is arguably the most
11:06
flexible focal length when it comes to
11:08
video work here as well. Unfortunately,
11:11
it is the most expensive at an MSRP of
11:14
nearly $900. It's currently available
11:20
but it doesn't feel like it should be
11:21
more expensive than the other two when
11:23
it comes to the optical performance. And
11:25
so, that is the reason why I feel like
11:28
it is the most overpriced and thus my
11:30
least favorite. And in this case in
11:33
particular, a newer option like
11:34
Viltrox's EVO 35mm f1.8 is a really
11:38
really strong alternative that cost well
11:41
a whole lot less. At the end of the day,
11:43
however, the 35mm f1.8s is still a very
11:47
nice lens that can produce some really
11:49
beautiful images. It's just maybe not as
11:52
exceptional as the other two. So, what's
11:55
my conclusion? Well, I would buy the 50
11:57
millimeter if you're looking for the
11:58
best allround performance and the best
12:01
bang for your buck. Buy the 35
12:03
millimeter if you're looking for the
12:04
most most versatile option of the three
12:06
for video work. Buy the 85 millimeter if
12:09
you want something that's going to be
12:10
really special for portrait work and
12:12
it's going to give you the strongest
12:14
subject isolation and maybe the most 3D
12:16
pop of the three when it comes to your
12:19
portrait subjects. At the end of the
12:21
day, these are not inexpensive, but they
12:24
do still offer pretty good value for the
12:26
kind of performance that they bring. And
12:28
certainly, they have shown themselves at
12:30
this point to be durable, reliable, and
12:33
the kind of lenses that, well, a lot of
12:35
shooters have really enjoyed. If you
12:37
want more information about any one of
12:38
them, I have thorough text and video
12:41
reviews of each one of them, which I
12:42
have linked in the description down
12:44
below. There's also some buying links
12:46
there if you would like to just jump in
12:47
and purchase one of them. As always,
12:50
thanks for watching. Have a great day
12:51
and let the light in.
