Nikon Z 35mm f/1.4
Full Frame (2024 ~ today)
Sample Images Intro New Good Bad Missing
Specifications Accessories USA Version
Performance Compared Recommendations
Z9 Z8 Z7 II Z6 III Z6 II Z5 II Zƒ Z7 Z6 Z5
DX (APS-C): Zƒc Z50 II Z50 Z30
Z System Z Lenses All Nikon Lenses Flash
Nikon Z 35mm f/1.4 (62mm filters, 14.5 oz./412g, 0.9'/0.27m close focus, 0.18× macro ratio, $597). bigger.
I got mine at B&H. I'd also get it at Adorama, at Amazon or at Crutchfield, or get it used if you know How to Win at eBay.
This 100% all-content, junk-free website's biggest source of support is when you use those or any of these links to my personally approved sources I've used myself for way over 100 combined years when you get anything, regardless of the country in which you live. Nikon does not seal its boxes effectively (while the top is taped closed, it's easy to get this lens out of the unsealed bottom and put it back in without touching the tape!), so never buy at retail or any other source not on my personally approved list since you'll have no way of knowing if you're missing accessories, getting a defective, damaged, returned, gray-market, store demo or used lens — and all of my personally approved sources allow for 100% cash-back returns for at least 30 days if you don't love your new lens. I've used many of these stores since the 1970s because I can try it in my own hands and return it if I don't love it, and because they ship from secure remote warehouses where no one gets to touch your new lens before you do. Buy only from the approved sources I've used myself for decades for the best prices, service, return policies and selection.
June 2025 Better Pictures Nikon Z Z Lenses All Nikon Lenses All Nikon All Reviews
Z 35mm f/1.2 (2025 ~ today)
Z 35mm f/1.8 (2018 ~ today).
AF-S 35mm f/1.4G ED (2010 ~ today).
35mm f/1.4 F, AI and AI-s (1969 ~ 2023).
Why Fixed Lenses Take Better Pictures.
Sample Images top
Sample Images Intro New Good Bad Missing
Specifications Accessories USA Version
Performance Compared Recommendations
More samples throughout this review at Bokeh, Falloff, Macro, Sharpness, Spherochromatism and Sunstars.
These are just snapshots; my real work is in my Gallery.
These are shot as BASIC ★ JPGs; no NORMAL or FINE JPGs or RAW files were used or needed.
Canary Palm at Dusk, No Helos, San Diego, California, 8:05 PM, Friday, 23 August 2024. Nikon Z6 III, Nikon Z 35mm f/1.4 wide-open at f/1.4 for 2½ seconds at ISO 100 (LV -⅓), as shot, perspective correction in Photoshop CC 2021. bigger or 24 MP Camera-Original 5.6 MB Basic ★ JPG file.
It's super-sharp all over wide-open at f/1.4, within the limitations of what little is in the narrow plane of perfect focus.
Three Palms, Solana Beach, California, 7:39 PM, Thursday, 08 August 2024. Nikon Z6 III in square-crop mode, Nikon Z 35mm f/1.4 at f6.3 at 1/160 at Auto ISO 100 (LV 12.6), Skylum Luminar Neo software, Photoshop CC 2021. bigger.
La Palmita Paletería, Michoacán, México, 12:37 PM, Friday, 09 August 2024. Nikon Z6 III, Nikon Z 35mm f/1.4 at f/3.5 at 1/50 at Auto ISO 100 (LV 9¼), Radiant Photo software, perspective correction in Photoshop CC 2021. bigger.
Introduction top
Sample Images Intro New Good Bad Missing
Specifications Accessories USA Version
Performance Compared Recommendations
I buy only from these approved sources. I can't vouch for ads below. |
This Nikon Z 35mm f/1.4 is an inexpensive and optically superb lens in a lightweight plastic barrel with a metal mount.
This is Nikon's third 35mm f/1.4 design offered since their first manual-focus version of 1969 and autofocus version of 2010. This newest Z version is the least expensive 35mm f/1.4 ever offered by Nikon, and it's also Nikon's smallest and lightest autofocus 35mm f/1.4 ever, as well as having magnificent optics. We all win, bravo!
The reason for a 35mm f/1.4 is astronomy and stopping low-light action. At least with film, I'd leave my other lenses and grab only a 35mm f/1.4 to go out at night shooting hand-held. Since we can shoot at a half-stop slower shutter speed and get about twice the depth of field compared to a 50mm f/1.4 lens, I get much sharper pictures in dim light with a 35mm f/1.4 versus a 50mm f/1.4 lens.
However with digital's superb ultra-high ISOs and image stabilization, I no longer need an f/1.4 lens for shooting still subjects handheld at night. I use my Z 24-200mm VR and get exactly what I need. This fixed f/1.4 lens is if you need faster shutter speeds in the dark for stopping subject motion.
If you want defocus effects, a Z 50mm f/1.8 or especially Z 85mm f/1.8 or longer lens gives much softer backgrounds at the same apertures. Background defocus depends far more on focal length than it does on f/stop. The beauty of this 35mm lens is for when you want more in focus at f/1.4 compared to longer lenses; don't get this f/1.4 if soft backgrounds are your goal.
This 35mm f/1.4 is superb for group shots indoors in low light. Be sure to keep everyone in the same plane to keep them all in focus.
While this lens lacks stabilization (VR), it works fine with in-camera stabilization in many Nikon Z cameras. Nikon has never made a stabilized 35mm lens.
I got my Z 35mm f/1.4 at B&H. I'd also get it at Adorama, at Amazon or at Crutchfield, or get it used if you know How to Win at eBay.
New intro top
Nikon's first f/1.4 lens for its Z cameras.
Nikon's least expensive 35mm f/1.4 lens of all time.
First lens I've ever seen which lists the correct hood on the lens itself!
Good intro top
Super sharp!
No visible distortion as shot on Z cameras.
Light weight.
Hood included.
Claimed dust and drip resistance.
Bad intro top
No AF/MF switch.
Production dumped to China, not made domestically in Japan.
Plastic filter threads and plastic exterior.
Soft plastic filter threads are easy to cross thread, typical of consumer lenses in 2024.
Missing intro top
No AF/MF switch.
Mounting index dot is the same white as everything else, so it doesn't stand out when you need to find it to mount your lens.
No Stabilizer switch for in-camera stabilization.
No aperture ring — but you can program the second ring as a crappy, unclicked substitute that responds much too fast.
No case included.
No focus or depth-of-field scales.
No infra-red focus indices.
No focus lock buttons.
Will not work with any teleconverters.
Only stops down to f/16.
Nikon Z 35mm f/1.4. bigger.
Specifications top
Sample Images Intro New Good Bad Missing
Specifications Accessories USA Version
Performance Compared Recommendations
I got my Z 35mm f/1.4 at B&H. I'd also get it at Adorama, at Amazon or at Crutchfield, or get it used if you know How to Win at eBay.
Compatibility specifications top
Works only on on Nikon's Z cameras.
Will not attach to anything else.
Name specifications top
Nikon calls this the Nikon NIKKOR Z 35mm f/1.4:
NIKKOR: Nikon's brand name for almost all their lenses since 1932.
Z: For Nikon's mirrorless cameras, only.
Nikon's Model Number: 20126.
It also has:
∅62: 62mm filter thread.
AF-P: Stepper (Pulse) autofocus motor: silent and ultra fast.
Aspherical: Specially curved glass elements for sharper pictures.
D: Couples distance information to the 3D Matrix Met
IF: Internal focusing; nothing moves externally as focused.
Optics specifications top
Z 35mm f/1.4 Internal Optical Construction. Aspherical elements.
11 elements in 9 groups.
2 Aspherical elements.
No ED elements.
Nikon Super Integrated multiCoating (SIC).
Diaphragm specifications top
Nikon Z 35mm f/1.4 at f/5.6. bigger.
9 rounded blades.
Electronically actuated.
Stops down to f/16.
Filters specifications top
Plastic 62mm filter thread.
Coverage specifications top
Focal Length specifications top
35 mm.
When used on DX cameras, it sees the same angle of view as a 50 mm lens sees when used on an FX or 35mm camera.
When used in the 1:1 square crop mode on full-frame it sees the same angle of view as a ZEISS PLANAR T✻ 80mm f/2.8 lens sees when used on 6×6 cm HASSELBLAD.
See also Crop Factor.
Angles of View specifications top
63º diagonal on FX.
44º diagonal on DX.
Autofocus specifications top
No external movement as focussed, so no air or dust is sucked in.
Focus Scale specifications top
No.
Not on lens, but may be displayed in-camera.
Infinity Focus Stop specifications top
No.
You have to focus somehow to get precise focus at infinity, just like at every other distance.
Depth of Field Scale specifications top
Not on lens, but may be displayed in-camera.
Infrared Focus Index specifications top
No.
Close Focus (distance from subject to image plane) specifications top
0.9 feet (0.27 meters).
Maximum Reproduction Ratio specifications top
1:5.6 (0.18×).
Image Stabilizer specifications top
NONE.
Caps specifications top
LC-62B 62 mm snap-on front cap, included.
LF-N1 Z-mount rear cap, included.
Hood specifications top
Nikon HB-115 Hood for Z 35mm f/1.4. bigger.
HB-115 hood, included.
Case specifications top
None included.
I love my Think Tank Retrospective bags for carrying this with my camera.
Size specifications top
2.93" ø maximum diameter × 3.41" extension from flange.
74.5 mm ø maximum diameter × 86.5 mm extension from flange.
Weight specifications top
14.535 oz. (412.1 g) actual measured weight.
Rated 14.7 oz./415g.
Quality specifications top
Nikon Z 35mm f/1.4. bigger.
Made in China.
Announced specifications top
12:07 AM, 26 June, 2024, NYC time.
Promised for specifications top
Mid-July 2024.
Included specifications top
Lens.
LC-62B 62 mm snap-on front cap.
LF-N1 Z-mount rear cap.
Packaging specifications top
Microcorrugated box.
Currugami corrugated cardboard interior to hold lens and hood.
Two pieces of tape on the top. I've never seen this before, so I'm not sure if Nikon is trying to seal its boxes, or if B&H did that for me.
You can unfold the bottom of the box to get the lens in and out without breaking the tape on the top. I pulled this lens out and then made these photos of the box with no lens inside!
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Box, Nikon Z 35mm f/1.4. bigger. |
Box End, Nikon Z 35mm f/1.4. bigger. |
Model Number specifications top
20126.
Price, U. S. A. specifications top
24 June 2025
$647 at B&H, at Adorama and at Crutchfield.
About $485 used if you know How to Win at eBay.
20 August 2024
$597 at B&H, at Adorama, at Amazon or at Crutchfield.
About $525 used if you know How to Win at eBay.
Optional Accessories top
Sample Images Intro New Good Bad Missing
Specifications Accessories USA Version
Performance Compared Recommendations
I got my Z 35mm f/1.4 at B&H. I'd also get it at Adorama, at Amazon or at Crutchfield, or get it used if you know How to Win at eBay.
62mm filters
Nikon CL-C1 Lens "Case". bigger.
Nikon claims the optional CL-C1 cloth bag is a "case," but I'm not believing it.
A tube sock works better.
LC-62B 62 mm snap-on front cap (included, this is if you need a spare).
LF-N1 Z-mount rear cap (included, this is if you need a spare).
HB-115 hood (included, this is if you need a spare).
Getting a Legal U. S. A. Version top
Sample Images Intro New Good Bad Missing
Specifications Accessories USA Version
Performance Compared Recommendations
I got my Z 35mm f/1.4 at B&H. I'd also get it at Adorama, at Amazon or at Crutchfield, or get it used if you know How to Win at eBay.
This section applies in the U. S. A. only.
You need a printed USA Warranty Card, and the serial number must match the one on the bottom of your lens, otherwise you have no warranty:
Nikon Z 35mm f/1.4 U. S. A. Warranty Card. bigger.
If you don't have this card, if the card doesn't say "VALID IN THE CONTINENTAL UNITED STATES" or the serial number on the card doesn't match the one on your lens exactly, you got ripped off with a gray market version from another country. All legitimate cameras and lenses come with printed warranty cards, even if you prefer to register online. (The serial number on the outside of the box doesn't have to match, but if it doesn't it means you bought from a shady dealer who took cameras lenses out of boxes and then resold these used lenses cameras as new.)
The U. S. A. warranty card comes from "Nikon Inc.," the U. S. A. office; the Japanese headquarters is "Nikon Corporation." The card should be inside your box. The serial number on the card must match the serial number on your lens.
The warranty is also valid only if you are the original purchaser and only if it was purchased from an authorized dealer. All because a store or someone claims to be authorized doesn't mean they are. That's why I only buy from my personally approved sources.
Shifty dealers may include copies of a card from a legitimate U. S. A. product in a gray-market box, hoping you won't check serial numbers and catch their fraud. A card with the wrong serial number means nothing other than that you have no warranty coverage.
Nikon stopped offering 5-year lens warranties in 2021 in an effort to save themselves money at our expense; today it's only a year.
Did you notice the clever nod to ancient computer technology? The model and serial numbers are dot-matrix printed! Everyone counterfeits laser holograms, but few people have dot-matrix printers floating around to fake these.
Always be sure to check your box, warranty card and serial numbers while you can still return it, or just don't buy from unapproved sources or at retail so you'll be able to have your camera serviced and get free updated firmware as needed.
This is why I never buy anyplace other than from my personally approved sources. You just can't take the chance of buying elsewhere, especially at any retail store, because non-USA versions have no warranty in the U. S. A., and you won't even be able to get firmware or service for it — even if you're willing to pay out-of-pocket for it when you need it!
Nikon U. S. A. enforces its trademarks strictly. It's unlikely, but possible that US customs won't let your camera back in the country if you bought a gray-market version in the U. S. A., carried it overseas, and try to bring it back in. (If you take the chance of buying one overseas, be sure you have a receipt to prove you bought it overseas and be prepared to pay duty on it.)
If a gray market version saves you $200 it might be worth it, but for $75 or less I wouldn't risk having no warranty or support.
Get yours from the same places I do and you won't have a problem, but if you take the risk of getting yours elsewhere, be sure to check everything while you still can return it.
Performance top
Sample Images Intro New Good Bad Missing
Specifications Accessories USA Version
Performance Compared Recommendations
Overall Autofocus Manual Focus Breathing
Distance Recording Bokeh Coma Distortion
Ergonomics Falloff Filters Flare & Ghosts
Lateral Color Fringes Lens Corrections Macro
Mechanics Sharpness Spherochromatism
I got my Z 35mm f/1.4 at B&H. I'd also get it at Adorama, at Amazon or at Crutchfield, or get it used if you know How to Win at eBay.
Overall performance top
This is a marvelous lightweight, inexpensive and high-performance lens.
It's sharp, has no visible distortion, minimal coma, great bokeh and flare and ghosts are unusually well controlled.
Autofocus performance top
Autofocus is limited more by Nikon's Z cameras themselves than by this lens. For instance, it's not unusual for my Z6 III to hunt back and forth just a little in moderate or dim light.
Autofocus isn't particularly fast. It seems on the slow side for a wide lens like this if it has to motor in or out a bit.
I found that at f/1.4 in the corners I got much better results using the center sensor and locking focus in AF-S mode than by using an AF sensor in the corner. Weird, but try this if you're not getting super-sharp results at f/1.4.
Autofocus makes a slight hum as it focusses. This isn't likely to be audible except in a very quiet place, and then only to the photographer.
Manual Focus performance top
There is no AF/MF switch; you have to set this in a menu. Boo!
Otherwise manual focus is excellent, with the usual in-camera aids.
Just grab this electronic manual focus ring for instant manual-focus override anytime the camera is awake.
Better than any other brand, even if you're in AF-C and grab the manual-focus ring, it just swaps to manual focus instantly and stays in manual focus. Other brands will try to fight you for focus if you're in continuous AF, while this lens just does what you tell it to do.
Bravo!
Focus Breathing performance top
Focus breathing is the image changing size as focused in and out. It's important to cinematographers that the image not breathe because it looks funny if the image changes size as focus gets pulled back and forth between actors. If the lens does this, the image "breathes" by growing and contracting slightly as the dialog goes back and forth.
The image from this lens contracts as focused more closely from infinity down to about a 14 inches (0.35 meters), and then grows slightly as focused more closely to 11 inches (0.27 meters).
Focus Distance Recording performance top
The focused distance does not appear in the lower left of my screen in Photoshop's lens correction filter.
Bokeh performance top
Bokeh, the feel, character or quality of out-of-focus areas as opposed to how far out of focus they are, is good wide-open and becomes neutral at smaller apertures.
Here are photos from headshot distance. I'm focused on the DAVIS logo. Click any for the © camera-original file:
Made-in-U. S. A. Davis 6357 Wireless Sensor Suite (use with WeatherLink console), 10:17 AM, Tuesday, 20 August 2024. Shot on Nikon Z6 III at1/6,400, 1/1,600 and 1/800 at ISO 50, 50 and 100 (LV 14.6), Radiant Photo software, Photoshop CC 2021.
Click any for the camera-original © file.
As always, if you want to throw the background as far out of focus as possible, shoot at f/1.4 and get as close as possible.
Coma performance top
Before aspherical lenses, coma, or sagittal coma flare, was often seen with fast normal to wide lenses as weird batwing shapes on bright points of light in the corners at night.
This modern lens has almost no coma, which is excellent.
35mm f/1.4 lenses used to be crippled with coma until aspherical elements came into use. The world's first 35mm f/1.4, the LEICA SUMMILUX 35mm f/1.4 of 1960 had horrible coma at f/1.4!
In this Z lens, it's minor wide-open at f/1.4, much better at f/2. and gone by f/2.8.
Here's a an image shot wide-open at f/1.4:
Dusk, 8:01 PM, Friday, 23 August 2024. Nikon Z6 III, Nikon Z 35mm f/1.4 wide-open at f/1.4 for 2½ seconds at ISO 100, +0.7 stops exposure compensation (LV -⅓), as shot, red crop index added in Photoshop CC 2021. bigger or camera-original 24 MP © 2.3 MB JPG file.
These are 5× (1,200 × 900 pixel) crops from the bottom left corner of the original 24 MP files (click any to enlarge):
Distortion performance top
The Nikon Z 35mm f/1.4 has no visible distortion as-shot in Nikon's Z cameras, which automatically correct whatever's there. Distortion correction is always ON; it can't be turned off with this lens.
If you shoot raw data rather than JPG images, whatever software you use to create visible images from raw data may or may not correct the distortion as is done in-camera as JPGs. You're on your own there; I don't bother with raw data.
For more critical scientific use, use these corrections in Photoshop's lens correction filter to JPG images.
These aren't facts or specifications, they are the results of my research that requires hours of photography and calculations on the resulting data:
On Full-Frame at: |
Correction factor to use with images made with correction ON in Z6 III |
Infinity |
+0.50 |
30' (10m) |
+0.75 |
3' (1m) |
+0.50 |
© 2024 KenRockwell.com. All rights reserved.
Ergonomics performance top
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Nikon Z 35mm f/1.4. bigger. |
Nikon Z 35mm f/1.4. bigger. |
There's no AF/MF switch; you have to set this in a camera menu. That's bad, as it's a constant bother and several clicks to set this, even with an Fn button programed for AF settings. Having a real AF/MF switch would accomplish this with one click.
Sadly the smaller function ring has no clicks, which make it really weird and uncomfortable trying to set anything like apertures, ISO or exposure compensation with it. Nikon missed a great opportunity here, when you do use this ring to make these settings, it's much too fast and requires just a tiny bit of motion to make big changes.
Otherwise it's a straightforward lens, with a big manual focus ring and little programmable function ring.
Falloff performance top
There's some falloff on FX at f/1.4, even corrected.
I've greatly exaggerated the falloff by shooting a gray field and placing these on a gray background; it does not look this bad in actual photos of real things:
Falloff on full-frame at infinity, correction at its default of NORMAL:
© 2024 KenRockwell.com. All rights reserved. |
If you shoot raw data rather than JPG images, whatever software you use to create visible images from raw data may or may not correct this as is done in-camera as JPGs. You're on your own there; I don't bother with raw data.
If you go out of your way to turn off the correction or with some potential raw workflows, this is what you get:
Falloff on full-frame at infinity, correction deliberately turned OFF:
© 2024 KenRockwell.com. All rights reserved. |
Filters, use with performance top
There's no need for thin filters. I can stack a couple of standard 62mm filters with no vignetting at any setting on full-frame.
Go ahead and use your standard rotating polarizer and grad filters.
Flare & Ghosts performance top
Flare and ghosts are unusually well controlled.
See examples at Sunstars.
Lateral Color Fringes performance top
There are no lateral color fringes as shot on Nikon Z cameras as JPG, which by default correct for any that may be there.
If you shoot raw and then use non-manufacturer software to process that data into images then there is the possibility that there might be some.
There is a healthy amount of spherochromatism, which can cause color fringes on things that aren't in perfect focus at large apertures. Spherochromatism is a completely different aberration in a different dimension than lateral color fringes.
Lens Corrections performance top
If you shoot raw data rather than JPG images, whatever software you use to create visible images from raw data may or may not correct these as is done in-camera as JPGs. You're on your own there; I don't bother with raw data.
The Z9, Z8, Z7 II, Z6 III, Z6 II, Zf, Z7, Z6, Z5, Z fc, Z50 and Z30 correct for any or all of distortion, diffraction and falloff (vignette control). Distortion control cannot be turned off, while diffraction and falloff (vignette control) correction can be changed.
Macro Performance performance top
Macro doesn't get any closer than any other lens, in fact by modern standards its not that close at all.
Oddly all of Nikon's 35mm f/1.4 lenses made since 1969 have almost exactly the same macro ratios!
At f/1.4
Spherochromatism runs rampant at f/1.4, so color fringes on out-of-focus highlights are the biggest detriment, as well as the simple fact of physics that there is about zero depth of field this close at f/1.4:
Casio G-Shock Solar Atomic Watch at close-focus distance, Tuesday, 20 August 2024. Nikon Z6 III, Nikon Z 35mm f/1.4 wide-open at f/1.4 at 1/8,000 at Auto ISO 100, +0.7 stops exposure compensation (LV 13.9), as shot. bigger or camera-original © file.
1,200 × 900 pixel (5× magnification) crop from above. bigger or camera-original © file.
If this 1,200 × 900 pixel crop is about 3" (7.5cm) wide on your screen, then the complete image printed at this same large magnification would be about 10 × 15" (25 × 38cm).
If this 1,200 × 900 pixel crop is about 6" (15cm) wide on your screen, then the complete image printed at this same extreme magnification would be about 20 × 30" (50 × 75cm).
If this 1,200 × 900 pixel crop is about 12" (30cm) wide on your screen, then the complete image printed at this same insanely high magnification would be about 40 × 60" (1 × 1.5 meters).
At f/8
Like every lens, it's super sharp at f/8 — but it doesn't get any closer:
Casio G-Shock Solar Atomic Watch at close-focus distance, Tuesday, 20 August 2024. Nikon Z6 III, Nikon Z 35mm f/1.4 at f/8 at 1/400 at Auto ISO 100, +0.7 stops exposure compensation (LV 14.8), as shot. bigger or camera-original © file.
1,200 × 900 pixel (5× magnification) crop from above. bigger or camera-original © file.
If this 1,200 × 900 pixel crop is about 3" (7.5cm) wide on your screen, then the complete image printed at this same large magnification would be about 10 × 15" (25 × 38cm).
If this 1,200 × 900 pixel crop is about 6" (15cm) wide on your screen, then the complete image printed at this same extreme magnification would be about 20 × 30" (50 × 75cm).
If this 1,200 × 900 pixel crop is about 12" (30cm) wide on your screen, then the complete image printed at this same insanely high magnification would be about 40 × 60" (1 × 1.5 meters).
Mechanical Quality performance top
Nikon Z 35mm f/1.4. bigger.
This is a mostly plastic lens, with glass glass, metal electrical contacts and a metal mount:
Finish
Black plastic.
Hood
Plastic bayonet.
Front Bumper
None.
Filter Threads
Plastic.
Hood Bayonet Mount
Plastic.
Front Trim Ring
Black anodized aluminum.
Focus Ring
Rubber-covered plastic.
Barrel Exterior
Plastic.
Programmable Second Ring
Hard plastic.
Identity
Printed around front of lens, also printed on top of barrel.
Internals
Hard to tell without disassembling my new lens, so tough, we'll just have to guess.
Dust Gasket at Mount
Yes.
Mount
Chromed metal.
Markings
Just paint; nothing's engraved.
Serial Number
Nikon Z 35mm f/1.4. bigger.
Laser engraved in black-on-black on bottom of barrel.
It's almost completely invisible in actual use; it's only visible above because this photo is enlarged and lit by lots of studio lighting.
Date Code
None found.
Noises When Shaken
Mild clicking.
Made in
Made in China.
Sharpness performance top
Lens sharpness has nothing to do with picture sharpness; every lens made in the past 100 years is more than sharp enough to make super-sharp pictures if you know what you're doing. The only limitation to picture sharpness is your skill as a photographer. It's the least talented who spend the most time worrying about lens sharpness and blame crummy pictures on their equipment rather than themselves. Skilled photographers make great images with whatever camera is in their hands; I've made some of my best images of all time with an irreparably broken camera! Most pixels are thrown away before you see them, but camera makers don't want you to know that.
If you're not getting ultra-sharp pictures with this, be sure not to shoot at f/11 or smaller where all lenses are softer due to diffraction, always shoot at ISO 100 or below because cameras become softer at ISO 200 and above, avoid shooting across long distances over land which can lead to atmospheric heat shimmer, be sure everything is in perfect focus, especially at f/1.4, set your camera's sharpening as you want it (I set mine to the maximum) and be sure nothing is moving, either camera or subject. If you want to ensure a soft image with any lens, shoot at f/16 or smaller at ISO 1,600 or above at default sharpening in daylight of subjects at differing distances in the same image.
People worry waaaaay too much about lens sharpness. It's not 1968 anymore when lenses often weren't that sharp and there could be significant differences among them; ever since about 2010 all new lenses are all pretty much equally fantastic.
This lens is super sharp corner-to corner at every aperture, limited by your vision as an artist and of course by diffraction at the smallest apertures. Avoid f/11 and smaller unless you really need it for depth of field because diffraction takes its toll. See also How to Calculate the Sharpest Aperture.
I found that at f/1.4 in the corners I got much better results using the center AF sensor and locking focus in AF-S mode than by using an AF sensor in the corner. Weird, but try this if you're not getting super-sharp results at f/1.4. Of course there is very little depth of field at f/1.4, so be sure you're only looking in the plane of perfect focus before you start blaming the lens.
Here's a daylight shot at f/1.4. It's super sharp, so long as you're looking at a part of the tree that's in perfect focus:
Two Palms CCA, San Diego, California, 12:15 PM, Friday, 09 August 2024. Nikon Z6 III, Nikon Z 35mm f/1.4 wide-open at f/1.4 at 1/8,000 at Auto ISO 100 (LV 13.9), Radiant Photo software, Photoshop CC 2021. bigger or full-resolution 24 MP image.
Canary Palm at Dusk, No Helos, San Diego, California, 8:05 PM, Friday, 23 August 2024. Nikon Z6 III, Nikon Z 35mm f/1.4 wide-open at f/1.4 for 2½ seconds at ISO 100 (LV -⅓), as shot, perspective correction in Photoshop CC 2021. bigger or 24 MP Camera-Original 5.6 MB Basic ★ JPG file.
It's super-sharp all over wide-open at f/1.4, within the limitations of what little is in the narrow plane of perfect focus.
Nikon's MTF chart at 10 cyc/mm and 30 cyc/mm. bigger.
Spherochromatism performance top
Spherochromatism, also called secondary spherical chromatic aberration or "color bokeh," is an advanced form of spherical and chromatic aberration in a different dimension than lateral chromatic aberration. It happens mostly in fast normal and tele lenses when spherical aberration at the ends of the color spectrum are corrected differently than in the middle of the spectrum. Spherochromatism can cause colored fringes on out-of-focus highlights, usually seen as green fringes on backgrounds and magenta fringes on foregrounds. Spherochromatism is common in fast lenses of moderate focal length when shooting contrasty items at full aperture. It goes away as stopped down.
It has strong spherochromatism:
Mondaine A132.30348.11SBB at close-focus distance at f/1.4, 21 August 2024. Nikon Z6 III, Nikon Z 35mm f/1.4 wide-open at f/1.4 at 1/8,000 at ISO 50 (LV 14.9), as shot. bigger or camera-original © file.
1,200 × 900 pixel (5× magnification) crop from above. bigger or camera-original © file.
If this 1,200 × 900 pixel crop is about 3" (7.5cm) wide on your screen, then the complete image printed at this same large magnification would be about 10 × 15" (25 × 38cm).
If this 1,200 × 900 pixel crop is about 6" (15cm) wide on your screen, then the complete image printed at this same high magnification would be about 20 × 30" (50 × 75cm).
If this 1,200 × 900 pixel crop is about 12" (30cm) wide on your screen, then the complete image printed at this same extreme magnification would be about 40 × 60" (1 × 1.5 meters).
Image Stabilization (VR) performance top
This lens lacks Optical Image Stabilization (OIS, IS or VR (Vibration Reduction)), but works great with cameras with built-in sensor-shift stabilization.
"Percent Perfectly Sharp Shots" are the percentage of hand-held, free-standing with no support or bracing, frames with 100% perfect tripod-equivalent sharpness as viewed at 300%. Hand tremor is a random occurrence, so at marginal speeds some frames will be perfectly sharp while others will be in various stages of blur — all at the same shutter speed.
This rates what percentage of shots are perfectly sharp, not how sharp are all the frames:
| % Perfectly Sharp Shots on Z6 III | 4s |
2s |
1s |
1/2 |
1/4 |
1/8 |
1/15 |
1/30 |
1/60 |
1/125 |
| Stabilization ON | 0 |
10 |
20 |
90 |
100 |
100 |
100 |
100 |
100 |
100 |
| Stabilization OFF | 0 |
0 |
0 |
0 |
0 |
10 |
30 |
30 |
70 |
100 |
I see a five stop real-world improvement, which is superb.
Even if I don't get perfect sharpness at 300% magnification as plotted above, at normal image sizes in-camera stabilization makes it easy to get sharp shots at a few seconds hand-held.
Sunstars performance top
With a 9-bladed rounded diaphragm, I get mild 18-point sunstars on brilliant points of light mostly at the smallest apertures.
Likewise ignore the crazy rainbow dots at f/16; these are sensor artifacts caused by taking a picture directly of the sun and exposing for the dark underside of a huge palm tree, and using that same palm tree to hide the sky to accentuate the stars.
Click any to enlarge:
Click any to enlarge.
Compared top
Sample Images Intro New Good Bad Missing
Specifications Accessories USA Version
Performance Compared Recommendations
I got my Z 35mm f/1.4 at B&H. I'd also get it at Adorama, at Amazon or at Crutchfield, or get it used if you know How to Win at eBay.
Roughly to Scale |
 |
 |
 |
 |
Anni |
2018 ~ today |
2024 ~ today |
2010 ~ today |
1969 ~ 2023 |
AF/MF Switch |
Yes |
No |
Yes |
Not needed |
Filter Size |
||||
Filter Threads |
Plastic |
Plastic |
Plastic |
Metal |
Optics (E/G) |
11/9 2 ED, 3 aspherical |
11/9 2 aspherical |
10/7 1 aspherical |
9/7 |
Optical Performance |
Excellent |
Excellent |
Excellent |
Classic at f/1.4 Excellent stopped down |
MTF |
 |
|
 |
|
Diameter |
2.87" (73mm) |
2.93" (74.5mm) |
3.3" (83mm) |
2.64" (67.1mm) |
Extension from Flange |
3.39" (86mm) |
3.41" (86.5mm) |
3.52" (89.5mm) |
2.44" (62.1mm) |
Close Focus |
0.8'/0.25m |
0.9'/0.27m |
1 foot/0.3m |
1 foot/0.3m |
Macro Ratio |
0.18× |
0.18× |
0.20× |
0.18× |
Quality |
China |
China |
Japan |
Japan |
Feel |
Mostly plastic, with some metal for looks 🤮 |
Almost completely plastic 🤮 |
Almost completely plastic 🤮 |
100% all-metal precision! |
Weight |
12.8 oz./363g |
14.5 oz./412g |
21.2 oz./600g |
13.5 oz./381g |
Price, 8/2024 |
About $436 used if you know How to Win at eBay |
Versus the Z 35mm f/1.8 (2018 ~ today) compared top
The old Z 35mm f/1.8 from 2018 costs more and has a very little bit more metal in it, with equally excellent optics. My tests show them as both superb, and their MTF curves show that we won't see any visible difference between them. Even the f/1.8's spherochromatism is the same is this lens.
Nikon tries to use FUD to make us think that the subliminal "S" in the name somehow makes the old f/1.8 a better lens to justify its higher price, but don't fall for it. The only real differences are that the older lens has an AF/MF switch, and it's slightly lighter, has a dinky bare metal rather than a rubberized focus ring and is 2/3 of a stop slower.
This new f/1.4 lens is faster and less expensive.
I'd ask myself if the AF/MF switch is worth $150 and 2/3 of a stop in speed. I prefer having an AF/MF switch.
Versus the AF-S 35mm f/1.4G ED (2010 ~ today) compared top
The AF-S 35mm f/1.4G ED is much older, bigger, heavier and more expensive. It was designed for DSLRs, and can work on mirrorless with an FTZ or FTZ II adapter.
While it works on an FTZ or FTZ II adapter if you already own it, it's a huge, klunky solution by comparison. If you're buying a lens for mirrorless then stick to the Z 35mm f/1.8 or this Z 35mm f/1.4.
Coma performance at f/1.4 is a little better than this new Z lens, while both are about as sharp.
Versus the 35mm f/1.4 F, AI and AI-s (1969 ~ 2023) compared top
I'll admit that the 35mm f/1.4 AI-s is my favorite based on feel. Unlike the optically superior but mostly plastic versions above, the 35mm f/1.4 AI-s is an all-metal compact masterpiece.
It has lower contrast at f/1.4 and it's softer with strong coma in the corners wide-open, but tough, if I'm shooting in the dark, that doesn't matter that much.
The 35mm f/1.4 F, AI and AI-s is the lens to use on manual-focus 35mm SLRs.
Recommendations top
Sample Images Intro New Good Bad Missing
Specifications Accessories USA Version
Performance Compared Recommendations
I got my Z 35mm f/1.4 at B&H. I'd also get it at Adorama, at Amazon or at Crutchfield, or get it used if you know How to Win at eBay.
With digital, a 35mm f/1.4 is much less needed than it was back in the days of film. Today I easily can make hand-held shots of anything that holds still outdoors at night with my slow Z 24-200mm VR lens. With film I'd leave my other lenses and grab only a 35mm f/1.4 to go out at night shooting hand-held — but today I haven't used any of my 35mm f/1.4 lenses in about ten years.
The reason for a 35mm f/1.4 today is stopping low-light action, as well as astronomy and shots of groups of people in low light. Since we can shoot at a half-stop slower shutter speed and get about twice the depth of field compared to a 50mm f/1.4 lens, I get much sharper pictures in dim light with a 35mm f/1.4 versus a 50mm f/1.4 lens.
With digital's superb ultra-high ISOs and image stabilization, I no longer need an f/1.4 lens for shooting still subjects handheld at night. I use my Z 24-200mm VR and get exactly what I need. This fixed f/1.4 lens is if you need faster shutter speeds in the dark for stopping subject motion.
This lens is not for defocus effects. If you want defocus effects, a Z 50mm f/1.8 or especially Z 85mm f/1.8 or longer lens gives much softer backgrounds at the same apertures. Background defocus depends far more on focal length than it does on f/stop. The beauty of this 35mm lens is for when you want more in focus at f/1.4 compared to longer lenses; don't get this f/1.4 if soft backgrounds are your goal.
This 35mm f/1.4 is superb for group shots indoors in low light. Be sure to keep everyone in the same plane to keep them all in focus.
I use a clear (UV) protective filter instead of a cap (exactly like an iPhone) so I'm always ready to shoot instantly. I only use a cap when I throw this in a bag with other gear without padding — which is never. The UV filter never gets in the way, and never gets lost, either.
The very best protective filter is the Hoya multicoated HD3 62mm UV which uses hardened glass and repels dirt and fingerprints.
For less money, Olympus makes an PRF-ZD62 PRO Clear Protection Filter which is also optically superb, and the Nikon 62mm NC (No Color) protective filter is also an excellent choice, especially if you don't expect to abuse your filter and keep your fingers off the glass, but the Hoya HD3 is the toughest and the best.
Filters last a lifetime, so you may as well get the best today. The Hoya HD3 stays cleaner than the others since it repels oil and dirt. I use my classic Nikon 62mm L37c (multicoated 370 nanometer UV) filters because I bought them back in the 1980s when they were the best, and they never wear out. Putting a 1980s 62mm L37c on this new lens gives a tip of the hat to when Nikon ruled the photography world.
If I was working in nasty, dirty areas, I'd use an uncoated 62mm Tiffen UV filter instead. Uncoated filters are much easier to clean, but more prone to ghosting.
All these filters are just as sharp and take the same pictures, the difference is how much abuse they'll take and stay clean and stay in one piece. Since filters last a lifetime or more, there's no reason not to buy the best as it will last you for the next 40 years. Filters aren't throwaways like digital cameras which we replace every few years, like it or not. I'm still using filters I bought back in the 1970s!
I got my Z 35mm f/1.4 at B&H. I'd also get it at Adorama, at Amazon or at Crutchfield, or get it used if you know How to Win at eBay.
This 100% all-content, junk-free website's biggest source of support is when you use those or any of these links to my personally approved sources I've used myself for way over 100 combined years when you get anything, regardless of the country in which you live. Nikon does not seal its boxes effectively (while the top is taped closed, it's easy to get this lens out of the unsealed bottom and put it back in without touching the tape!), so never buy at retail or any other source not on my personally approved list since you'll have no way of knowing if you're missing accessories, getting a defective, damaged, returned, gray-market, store demo or used lens — and all of my personally approved sources allow for 100% cash-back returns for at least 30 days if you don't love your new lens. I've used many of these stores since the 1970s because I can try it in my own hands and return it if I don't love it, and because they ship from secure remote warehouses where no one gets to touch your new lens before you do. Buy only from the approved sources I've used myself for decades for the best prices, service, return policies and selection.
Thanks for helping me help you!
Ken.
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