Rob Davies

In defense of the 50mm focal length, many (if not all) were stuck with the focal length as it was typically the kit lens of the day. I'm going back 35 years, many of you further than that. I've always tried to keep a 'normal' lens somewhere in my bag and for the last 14 years or so that's been the 60mm AFD, handy for commercial work, copy work and (obviously) macro stuff. When perspective distortion needs to be avoided etc. Now since moving to mirrorless (almost exclusively), that puppy doesn't AF - no big deal, I've never been a fan of AF for close up stuff and the focus peaking works fine. When I was able to pick up the 50S for £300 last summer it was a no brainer and the revelation was (in these days of heavy f2.8 zooms) it was actually a pleasure to use. In fact (unlike older f1.4 50s I've owned in the past) it is truly usable wide open with hardly any downside. That's not marketing hype that's just the truth, same goes for the 85. Anyways.... back on topic, the f1.2 is probably not for me. But I'm sure it will be a very popular lens for those who need it. I'm sure the video guys will be happy. I'm certainly going for the 14-24, though I have the patience to wait till early next year when it's sure to be on promotion for 15-20% less.

ARTISTRY IN DETAIL. NIKKOR Z 50MM F/1.2 S • Professional f/1.2 prime lens. Elaborate bokeh. Finely detailed point light sources. Incredibly sharp from edge to edge. Magnificent in low light. • Advanced optical construction. Featuring 17 lens elements in 15 groups, including two ED glass elements and three aspherical elements. • Unwavering autofocus. Autofocus is fast, smooth, and ever so quiet. Your area of focus is rendered sharply, even when shooting at close distances or with shallow depth of field. • Remarkably clean images. Nikon’s anti-reflective Nano Crystal Coat and ARNEO coating combat ghosting and flare, even in backlit situations. • Cinematic video footage. The large maximum aperture allows vast control over depth of field. Focus breathing is all but eliminated. • Professional controls. The control ring is silent, and the Fn button can be customised. The OLED information panel lets you quickly and easily confirm vital shooting data. • Weather-sealed. Every movable part of the lens barrel is sealed, and there is rubber sealing around the metal lens mount. MASTER OF SPACE. NIKKOR Z 14-24MM F/2.8 S • Professional f/2.8 ultra-wide zoom lens. The wide Z mount and constant f/2.8 aperture enable thrilling performance. • Superior optical performance. Sharpness is exceptional edge to edge. Nikon’s Nano Crystal and ARNEO Coat drastically reduce ghosting and flare. • Tough and reliable. Extensive sealing around all moving parts of the lens barrel keeps dust and moisture out. An aluminium-alloy mount reduces weight while increasing durability. • Movie-ready. Autofocus is smooth and silent, with virtually no focus breathing or focus-shift while zooming. You get precise control over depth of field right from the lens. • Filter ready. You can use 112 mm screw-on filters together with the included lens hood. A rear filter slot allows use of gel colour filters. Images © Nikon UK Facebook page

Quite looking forward to the 14-24, not sure about another 50 though. See press releases and make press enquiries At least it looks like we are getting past whatever supply problems they have been suffering with (for obvious reasons) this year.

Z6 85mm f1.8S 1/640th f2 iso 100

Z6 70-200 f2.8G @ 105mm 1/100th f5 iso 100

Z6 50mm f1.8S 1/25th f6.3 iso 100

Didn't the early versions of the FM2n's have the same honeycomb shutter to begin with, which eventually became a more conventional metal blade arrangement eventually?

Z6 70-200 f2.8G @ 200mm 1/1000th f5 iso 100

Z6 50mm f1.8S 1/640th f2.8 iso 2500

I have used the 24-70 f2.8G since I bought it with my D3 over 12 years ago. It's a great lens and has accounted for a high proportion of my commercial work since then, it has never let me down or needed servicing. Since switching to Z6s it actually performs splendidly (if a little front heavy) so it will be with great reluctance when I eventually upgrade to the Z version.

I have an F3 and an FM2n (plus an F4), but sadly no longer use any of them regularly. Wouldn't part with any of them though.

Z6 50mm f1.8S 1/125th f6.3 iso 100

Z6 300mm f2.8 AIS 1/200th f2.8 iso 3200

Z6 85mm f1.8S 1/400th f2.5 iso 2500

I have always appreciated the redundancy that twin cards slots gives, but let's be honest: the card is only one part of the process. Over the last 35 years (20 on film/15 digital): I've had film break off the sprockets, roll film detaching itself (total pita) - but a card failure has yet to happen. So the point I'm trying to make is that having dual cards is no total guarantee against failure, I split the difference and bought two Z6s. Sorted :)

Z6 60mm f2.8 AFD 1/50th f9 iso 100 Z6 14-24 f2.8G 14mm 1/100th f8 iso 100

Z6 70-200 f2.8 @ 160mm 1/400th f7.1 iso 100

Z6 85mm f1.8S 1/160th f5.6 iso 100

Z6 60mm AFD 1/320th f7.1 iso 200

The IBIS in the Z6/Z7 is apparently most effective on lenses up to 100mm, so lens based VR is still needed for longer focal lengths. The long awaited 70-200S lens is VR for this reason. So the IBIS advantages that the Z6/Z7 bodies have over the Z50 applies only at 'normal' focal lengths at normal shooting distances.

Z6 50mm f1.8S 1/2000th f3.2 iso 100

Z6 50mm f1.8 S 1/320th f8 iso 100 Z6 14-24G @14mm 1/125th f9 iso 100

Z6 50mm f1.8S 1/3200th f1.8 iso 100

Z6 85mm f1.8S 1/800th f2.2 iso 100 Z6 85mm f1.8S 1/2500th f1.8 iso 100 Z6 85mm f1.8S 1/2500th f2.2 iso 100

Z6 70-200 f2.8G @ 170mm 1/500th f5 iso 100