In summary
The AF-S Nikkor 58mm f/1.4G lens can be used on Nikon’s FX (full frame) and DX (APS-C) cameras, providing a focal length equivalent to 87mm on the latter. In terms of focal length on an FX camera, 58mm is very close to the standard 50mm focal length. On a DX camera, this lens comes close to the popular 85mm focal length for portraiture, where its fast maximum aperture is advantageous.
The fast f/1.4 maximum aperture also makes this lens well suited to low light photography. With a close focusing distance of 0.58 metres and a maximum magnification of just 0.13x (1:7.7 ratio), this lens is not designed for macro photography and only usable for close-up shots of relatively large subjects.
Although the AF-S Nikkor 58mm f/1.4G lens we tested was capable of delivering images that were sharp in the centre of the frame, the differences between centre and edge sharpness were significant and could influence some potential purchasers. We wouldn’t recommend this lens for architectural photography or any work where flatness of field might be important.
As a portrait lens, the focal length is a little short on an FX camera but nice on a DX body and the apparent field curvature this lens exhibits could be an advantage since it will help to draw the viewer’s eyes inwards to the subject. Wedding photographers could find this very useful.
Full review
Announced in October 2013, the AF-S Nikkor 58mm f/1.4G lens is one of a series of primes with maximum apertures of f/1.4, which includes two lenses with 50mm and two with 35mm focal lengths. This lens is seen by Nikon as the ‘spiritual’ successor to the classic 58mm Noct-Nikkor f/1.2 manual focus lens from the 1970s but brings the advantages of modern design and autofocusing. Being a ‘G’ lens, it lacks an aperture ring. Apertures are adjusted electronically, which means it shouldn’t be used on older manual focus cameras.
Angled view of the AF-S Nikkor 58mm f/1.4G lens without end caps or lens hood. (Source: Nikon.)
The optical design comprises nine elements in six groups and includes two aspherical elements. One element has a Nano Crystal Coat for reducing ghosting and flare. The nine-bladed iris diaphragm closes to a circular aperture for attractive background blurring (bokeh) at wide aperture settings.
This lens should ship with front and rear caps, lens hood and a soft carrying case. No hood was provided with the review lens.
Who’s it For?
The AF-S Nikkor 58mm f/1.4G lens can be used on Nikon’s FX (full frame) and DX (APS-C) cameras, providing a focal length equivalent to 87mm on the latter. In terms of focal length on an FX camera, 58mm is very close to the standard 50mm focal length. On a DX camera, this lens comes close to the popular 85mm focal length for portraiture, where its fast maximum aperture is advantageous.
The fast f/1.4 maximum aperture also makes this lens well suited to low light photography. With a close focusing distance of 0.58 metres and a maximum magnification of just 0.13x (1:7.7 ratio), this lens is not designed for macro photography and only usable for close-up shots of relatively large subjects.
Unfortunately, its high price tag of around AU$2500 (average of 4 resellers) makes this lens difficult to recommend for either FX or DX camera users, particularly when you can buy either the AF Nikkor 50mm f/1.4D or AF-S Nikkor 50mm f/1.4G lens for less than AU$550 or the superb Sigma 50mm f/1.4 DG HSM Art lens for less than AU$1000.
Build and Ergonomics
Physically, the AF-S Nikkor 58mm f/1.4G lens is relatively large, particularly in circumference, although its weight is relatively low. This is because the barrel appears to be made mainly of polycarbonate plastic (although Nikon doesn’t list the materials used in construction), finished in matte black with a subtle specking.
It’s solidly constructed with a nice metal mounting plate and feels well-balanced and comfortable to hold on the D5 body we used for our tests. It should be equally compatible with Nikon’s smaller FX cameras, like the D500, D750 and D810 or the larger DX bodies (the D7200 springs to mind).
The optical system is relatively short. The front element is recessed deeply into the lens barrel and the entire optical system moves backwards and forwards during focusing. Autofocusing is driven by a SWM (Silent Wave Motor) system, which takes roughly a second to change between close focus to infinity.
The outer edge of the front section of the lens barrel has a bayonet mounting for the lens hood, while the inner edge is threaded to accept 72 mm diameter filters. The front of the lens doesn’t rotate when the lens is being focused, enabling hassle-free use of angle-critical polarisers and graduate filters.
There’s a narrow gold ring between the hood mounting and the leading edge of the focusing ring. This ring is about 16 mm wide and covered by a ridged, rubberised grip ring.
Behind the focusing ring, a distance scale is set into the lens barrel. It’s only 20 mm long and quite difficult to read in poor lighting. Distances shown range from a minimum of 0.58 metres to infinity.
In line with the distance scale but around the left hand side of the lens barrel is the focus mode switch, which has two positions: M/A and M. This switches between AF with manual focus override to full-manual focus. In the M mode, the ring rotates through roughly 180 degrees with soft stops at either end.
The barrel slopes inwards behind this section, ending with a metal lens mount. Eight metal contacts communicate electronically between the lens CPU and the camera’s control electronics. A rubber ring around the lens mount keeps dust and moisture from entering the lens while it’s in use.
The petal-shaped hood (HB-68) attaches to the bayonet fitting at the front of the lens without requiring a locking button. It can be reversed over the lens for transport and storage.
Performance
Autofocusing was very quiet, thanks to the ultrasonic SWM system, making this lens suitable for recording movie clips. It was also very fast and accurate when the viewfinder was used to frame shots, although noticeably slower in Live View mode (although focusing accuracy remained excellent).
Imatest showed the review lens to be just capable of meeting expectations for the Nikon D5’s 20.7 megapixel resolution at the centre of JPEG frames. Edge and corner resolution were significantly lower. We suspect this is due to field curvature (the lens is unable to focus accurately on the centre and edges of the frame).
Stopping down resulted in very little improvement in resolution until around f/11. The highest resolution occurred at f/3.5, although resolution remained at a similar level through to about f/8, after which diffraction began to impact a little on sharpness. The graph below shows the results of our Imatest tests.
Lateral chromatic aberration remained very low throughout the entire aperture range, as shown in the graph of our Imatest results below (the red line marks the boundary between negligible and low CA), based upon JPEG files taken with in-camera corrections disabled. We found no evidence of coloured fringing in any of our test shots.
The review lens showed less vignetting than we expected from a fast lens on a full frame camera. We estimate a difference of roughly 0.7EV between the centre and corners of the frame at f/1.4, which faded to a barely noticeable difference by f/2.8. Either way, this isn’t a serious problem since shading correction can be applied to JPEGs in the camera via the Vignette control function in the shooting menu.
Similarly, a small amount of barrel distortion was visible in test shots. Again, this can be corrected in the camera for JPEG files by switching the Auto distortion control on. NEF.RAW files can be easily corrected while they are being converted into editable formats.
Backlighting was generally handled quite well, although the D5 camera tended to produce contrasty images at low ISO settings with the default Standard Picture Control. Flare was rare and only occurred when light entered the lens from the side.
Photographers commonly purchase fast lenses for depth-of-field control; the wider the maximum aperture, the easier it is to create a narrow plane of focus that separates the main subject from the background. The quality of the out-of-focus blurring (bokeh) has a significant effect on how viewers perceive images.
Where there were no bright highlights in the background, the review lens delivered smooth blurring at wide apertures. Tonal transitions were gradual, particularly in backgrounds (foreground blurring wasn’t quite as smooth).
At f/1.4, tonal transitions within bright highlights and between the highlights and the background remained smooth. But depth of focus was very narrow so care is required when selecting where in the subject to focus on.
By f/2.2 outlining had begun to appear around the brightest highlights. This became more obvious by f/5.6. Most highlights remained circular between f/1.4 and f/5.6, although some towards the edges of the frame took on a ‘cat’s eye’ shape at wider aperture settings.
Conclusion
Although the AF-S Nikkor 58mm f/1.4G lens we tested was capable of delivering images that were sharp in the centre of the frame, the differences between centre and edge sharpness were significant and could influence some potential purchasers. We wouldn’t recommend this lens for architectural photography or any work where flatness of field might be important.
Close shooting capabilities are also limited, making it unsuitable for shooting small subjects. As a portrait lens, the focal length is a little short on an FX camera but nice on a DX body and the apparent field curvature this lens exhibits could be an advantage since it will help to draw the viewer’s eyes inwards to the subject. Wedding photographers could find this very useful.
Aside from that, overall performance was very good ““ although not stellar. The small amounts of vignetting and distortion are largely irrelevant since both can be easily corrected. Lateral chromatic aberrations (also easily correctible) were effectively negligible. The Silent-Wave motor dispenses with unwanted AF noise.
We found bokeh quality to be good, although not outstanding, which is surprising for such an expensive lens. And there’s the rub; we think this lens is simply too expensive in today’s market (hence the low ‘Overall’ rating).
Most photographers would be better off buying one of Nikon’s 50mm f/1.4 lenses, which sell for roughly a quarter of the price of the 58mm lens. And if you’re looking for overall image quality, Sigma’s 50mm f/1.4 HSM DG Art lens is a better performer at less than half the price, although it’s quite a bit larger and heavier.
SPECS
Picture angle: 40.9 degrees (FX), 27.4 degrees (DX)
Minimum aperture: f/16
Lens construction: 9 elements in 6 groups (including 2 aspherical elements)
Lens mounts: Nikon F
Diaphragm Blades: 9 (circular aperture)
Focus drive: Ring-type SWM (Silent Wave Motor) system
Stabilisation: No
Minimum focus: 58 cm
Maximum magnification: 0.13x
Filter size: 72 mm
Dimensions (Diameter x L): 85 x 70 mm
Weight: 385 grams
Standard Accessories: Lens front and end caps, petal-shaped lens hood (HB-68), soft pouch
TESTS
Based upon JPEG files taken with the Nikon D5 camera.
SAMPLES
Vignetting at f/1.4.
Rectilinear distortion.
Strong backlighting; ISO 100, 1/250 second at f/8.
Flare; ISO 51200, 1/100 second at f/10.
Bokeh and depth of focus at f/1.4; ISO 100. 1/8000 second.
ISO 100, 1/8000 second at f/1.4.
ISO 100, 1/2000 second at f/3.2.
ISO 100, 1/640 second at f/5.6.
ISO 100, 1/2000 second at f/2.2.
ISO 140, 1/60 second at f/8.
ISO 100, 1/200 second at f/11.
ISO 100, 1/2500 second at f/2.5.
ISO 100, 1/125 second at f/11.
ISO 6400, 1/250 second at f/8.
ISO 200, 1/30 second at f/2.8.
ISO 12800, 1/160 second at f/6.3.
Additional image samples can be found with our review of the Nikon D5 camera.
Rating
RRP: n/a; ARP: AU$2500 (average of 4 resellers); US$1,599.95 (on Nikon’s US website)
- Build: 9.0
- Handling: 8.8
- Image quality: 8.7
- Versatility: 8.4