The Nikkor AF-S 14-24mm f/2.8G ED was introduced in 2007, and is quite simply a beautiful feat of optical engineering. It delivers images of outstanding sharpness thanks to its extra-low dispersion elements and the Nano Crystal Coating and Super Integrated Coating that have been added. It’s also weather-sealed, and the constant aperture of f/2.8 enables real creative freedom. As apertures and shutter speeds are adjusted, match-needle metering indicates correct exposure in the viewfinder and in a top plate window. Accessories include eye-level and waist-level viewfinders, interchangeable focusing screens, extension tubes, bellows, slide copying and microscope attachments, electric motor drive and a wide range of bayonet-fit lenses in Exakta-style mounts. Optically, this 35mm f/1.8 is superb, but not that much better than any of Nikon's other 35mm lenses or zooms in actual shooting. The reason get this 35mm is speed for shooting action in low-light (or for shooting slow 35mm film in iffy light), or if you need instant manual-focus override simply by grabbing the big focus ring. Otherwise, this new lens isn't much different in performance compared to Nikon's existing 35mm f/2 AF-D which is even smaller, lighter and less expensive.

Ryan under a Burmese Python at the Reptile Zoo, 12 February 2017. ( Nikon D5600, Auto White Balance, Picture Control set to Standard with +1 Saturation, Nikon 35mm f/1.8 DX at f/1.8 at 1/125 at Auto ISO 320, Perfectly Clear.) bigger. Its big brother, the Nikon 35mm f/1.4G is much heavier and costs twice as much in comparison, so it belongs to a different league. The highly praised Sigma 35mm f/1.4 Art sits at a similar price point and can be adapted on Nikon Z cameras with the FTZ adapter, although it is the largest and the heaviest of the bunch. Thus, the new Z 35mm f/1.8 S cannot be directly compared to its F-mount counterparts. Flash Ready-light: LED provided; visible inside viewfinder; lights up when an appropriate Nikon Speedlight Unit used is fully charged; blinks to warn that the shutter speed set is beyond the electronic flash's sync range

Topcon RE Super (1963)

I leave mine at home; the 35 1.8 has no flare. The only practical reason for the hood is to protect the front of the lens from damage or fingers. button switches meter on; meter stays on for approx. 30 sec. after finger leaves button, then automatically switches off It certainly delivers impressive image quality though, with Vibration Reduction helping to keep shots steady, for which it is to be commended.

This lens has been on the market for almost a decade now, meaning good prices can often be had if you’re prepared to shop around. It doesn't get that close, but it stays very sharp. This shot was made at f/13 and ISO 200 on a D40. Since it has no aperture ring, it's just about useless with manual focus film cameras. It will shoot every shot at its minimum aperture, and probably meter incorrectly.

Why the Nikon 35mm f/1.8?

Would I recommend this camera over every other Nikon F, FE, FM model. As someone who has used all of them up to the F4, without a doubt, yes. You could make a case for the F3 or FM3a, but they feel too modern in a way. The F3 a beautiful camera, with a big, bright viewfinder and clean design, but I don’t get the type of tactile feel like I do with the Nikon F2AS. It’s also not fully mechanical, which is a major pitfall. The older F is a classic with similar features, but the smaller form factor of the F2AS just feels right to me. FX shooters deserve either the 50mm f/1.8 D or, ideally the 50mm f/1.4 AF-S. It makes no sense to get this lens to shoot at the DX setting of an FX camera; just get an FX lens. Flipping the light meter on is easy enough, just push the advance lever out half way and it’ll give you a meter read out with a “+” for overexposed “o” for right on the money and “-“ for underexposed. It works pretty good, but by far this is my least favorite thing on the entire camera. I generally dislike these kinds of meter readouts. They just don’t provide enough info. I’d love to have the same meter readout like on the FE series cameras where it shows your shutter speed exactly. A small gripe and definitely doesn’t hinder the cameras usability in any way. Falloff on FX and 35mm can be visible at f/1.8 and f/2, and gone by f/2.8. With cameras that offer vignette correction, falloff is only minor even at f/1.8.