Nikon Z 35mm f/1.7 Macro DX
50mm equivalent (2025 ~ today)
Sample Images Intro New Good Bad Missing
Specifications Performance Recommendations
Z9 Z8 Z7II Z6III Z6II Zƒ Z7 Z6 Z5II Z5 ZR Zƒc Z50II Z50 Z30
Z System Z Lenses All Nikon Lenses Flash
Nikon Z 35mm f/1.7 Macro DX (52mm filters, 7.8 oz. (220g), 0.5' (0.16m) close focus, 0.67× macro ratio (1.0× eq.), $447). bigger.
I got mine at B&H. I'd also get it at Amazon or at Adorama, or get it used if you know How to Win at eBay, or get it used at KEH.
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 — but I receive nothing for my efforts if you take the chance of getting it elsewhere. Nikon does not seal its boxes in any way, 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, dropped, incomplete, gray-market, store demo or used lens — and 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 sources 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.
August 2026 Better Pictures Nikon Z Z Lenses All Nikon Lenses All Nikon All Reviews
MICRO-Nikkor AF-D 200mm f/4 IF ED, use with FTZ/II
Sample Images top
Sample Images Intro New Good Bad Missing
Specifications Performance Recommendations
More samples throughout this review at Bokeh, Falloff, Macro, Spherochromatism and Sunstars.
These are just snapshots; my real work is in my Gallery.
These are all shot as BASIC JPGs; no tripods, NORMAL or FINE JPGs or RAW files were used or needed. Bah!
Piscine, Golfe de Saint-Tropez, 8:11 PM, Mardi, 18 août 2026. Nikon Z50 II, f/5.6 for 20 seconds at ISO 100 (LV ⅔), as shot. bigger or camera-original 21 MP © 3.3 MB BASIC JPG file.
This lens is so sharp that what look like weird colored blobs in the fence are actually aliases and moiré excited by the fine lines of the metal mesh as you can see in the camera-original 21 MP © 3.3 MB BASIC JPG file! It was doing this even wide-open at f/1.7! This is a good thing. The Z50 II obviously lacks a good anti-alias filter.
Each of these hood medallions is only a couple of inches tall:
Cloisonné Ferrari Hood Badge in Daylight, 9:16 AM, Saturday, 18 July 2026. Nikon Z50 II, f/7.1 at 1/200 at Auto ISO 100, +0.7 stops exposure compensation (LV 13.3), some rotation correction in Photoshop and otherwise exactly as shot. bigger or camera-original © JPG file.
Porsche Crest on Guards Red in Shade, 9:23 AM, Saturday, 18 July 2026. Nikon Z50 II, f/2.8 at 1/125 at Auto ISO 110, +0.3 stops exposure compensation (LV 9.8), some rotation correction in Photoshop and otherwise exactly as shot. bigger or camera-original © JPG file.
Introduction top
Sample Images Intro New Good Bad Missing
Specifications Performance Recommendations
I buy only from these approved sources. I can't vouch for ads below. |
This is an extraordinarily fast, normal lens which also has extremely close focussing — right up to the front of the lens!
Astonishing not only is its sharpness wide-open at macro distances, but also its freedom from spherical aberration and spherochromatism which usually affect the performance of almost all other lenses, gloriously absent in this Z 35mm f/1.7 Macro DX. It also has no measurable distortion at normal distances. Bravo!
It's for Nikon's DX mirrorless cameras, which as of August 2026 are the Z50 II, Z50, Zƒc and Z30. Full-frame cameras will automatically crop their sensors, which means that it will seem to work normally, but throws away over half of your pixels! It's silly to use on full-frame; use it on a DX camera for the best results, and as of August 2026, the Z50 II is Nikon's best.
It has no stabilization, but it does focus extremely close.
This isn't a serious macro lens because you have to get so close for real close-ups that you'll block your own light. Use this as a general purpose lens that will let you get very close if you need it now and then, but for serious macro use, get the Z 50mm f/2.8 Macro, the Z 105mm f/2.8 VR Macro or ideally the MICRO-Nikkor AF-D 200mm f/4 IF ED on an FTZ/II, but the 200mm f/4 becomes manual focus on the FTZ/II.
If your subject is backlit, as in film and slide scanning, this little lens is ideal.
This is a handy little lens for general use if you value close-focus and speed (f/1.7) over the flexibility of a zoom.
I got my Z 35mm f/1.7 Macro DX at B&H. I'd also get it at Amazon or at Adorama, or get it used if you know How to Win at eBay, or get it used at KEH.
New intro top
Nikon's first-ever 35mm f/1.7 lens. Nikon's thing has always been f/1.8. They invented the world's first ultra-speed wide-angle full-frame 35mm f/1.8 back in 1956, but this is their first 35mm f/1.7.
35mm version of the Z 24mm f/1.7 DX or DX version of the Z 50mm f/2.8 Macro, more or less.
Adds super close focus to the Z 24mm f/1.7 DX.
Good intro top
Compensating aperture system: the aperture you see and set gives the same, accurate exposure regardless of focus distance.
Small.
Light.
Handy focal length.
Very close-focusing.
Fast f/1.7 - obviously.
Claims "designed with consideration of dust- and drip-resistance," whatever that means.
Bad intro
No AF/MF switch.
No Stabilizer switch — which is sort of OK as this lens has no stabilization and neither do any of Nikon's current DX mirrorless cameras.
Missing intro top
No AF/MF switch.
No Image Stabilizer.
No Stabilizer switch for in-camera stabilization.
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.
Nikon Z 35mm f/1.7 Macro DX. bigger.
Specifications top
Sample Images Intro New Good Bad Missing
Specifications Performance Recommendations
I got my Z 35mm f/1.7 Macro DX at B&H. I'd also get it at Amazon or at Adorama, or get it used if you know How to Win at eBay, or get it used at KEH.
Compatibility
This lens works only on Nikon's Z-series mirrorless cameras.
It does not so much as even mount on any other camera.
While it will work on full-frame cameras, these cameras will crop and use only the middle half of the sensor.
Name specifications top
Nikon calls this the Nikon NIKKOR Z DX MC 35mm f/1.7:
NIKKOR: Nikon's brand name for almost all their lenses since 1932.
Z: For Nikon's mirrorless cameras, only.
DX: Only covers smaller cropped sensors, otherwise uses only half the pixels of an FX camera.
MC: Macro (close-focussing) lens.
VR: Vibration Reduction (Image Stabilization).
It also has:
AF-P/STM: Stepper (Pulse) autofocus motor.
Aspherical: Specially curved glass elements for sharper pictures.
ED: Magic Extra-low Dispersion glass for reduced secondary chromatic aberration.
IF: Internal focusing; nothing moves externally as focused.
∅52: 52mm filter thread.
Nikon's Model Number: 20131.
Optics specifications top
Nikon Z 35mm f/1.7 Macro DX Internal Optical Construction. Aspherical ED element.
8 elements in 7 groups.
1 Aspherical ED element: magic Extra-low Dispersion glass for reduced axial secondary chromatic aberration with a special shape for sharper pictures.
Nikon Super Integrated multiCoating (SIC).
Diaphragm specifications top
Nikon Z 35mm f/1.7 Macro DX. bigger.
9 rounded blades.
Electronically actuated.
Minimum and maximum apertures depend on focused distance.
Filters specifications top
Plastic 52mm filter thread.
Focal Length specifications top
35mm.
When used on DX cameras, it sees the same angle of view as a 50mm lens sees when used on an FX or 35mm camera.
See also Crop Factor.
Angle of View specifications top
44º diagonal on DX.
Autofocus specifications top
Stepper motor.
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
No.
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
0.53 feet (6⅓" or 0.16 meters).
Working Distance (distance from subject to front of lens at close-focus distance) specifications top
2⅜ inches or 6 cm (actual measured), which makes it nearly impossible to light a subject well this close.
Maximum Reproduction Ratio specifications top
1:1.5 (0.67×).
(1.0× equivalent).
Minimum Subject Size specifications top
24 × 36mm.
Reproduction Ratio Scale specifications top
No.
Not on lens, but may be displayed in-camera.
Optical Image Stabilizer specifications top
NONE.
Caps specifications top
Nikon LC-52B 52mm front cap, part number 4244 with gloss black NIKKOR logo, included.
LF-N1 Z-mount rear cap, included.
Hood specifications top
None mentioned.
No bayonet for one.
I use an old Nikon HR-4 52mm screw-in folding rubber hood, which works perfectly —but remember to remove it at close distances so you don't block light from hitting the subject.
Case specifications top
None; use a tube sock.
Size specifications top
2.76" ø maximum diameter × 2.83" extension from flange.
70 mm ø maximum diameter × 72 mm extension from flange.
Weight specifications top
7.8 oz. (220 g).
Announced specifications top
12:02 AM, Thursday, 16 October 2025, NYC time.
Promised for specifications top
October 2025.
Included specifications top
Nikon LC-52B 52mm front cap, part number 4244 with gloss black NIKKOR logo.
LF-N1 Z-mount rear cap.
No hood and no case.
Nikon's Model Number specifications top
20131.
Packaging specifications top
Microcorrugated cardboard box with corrugami innards:
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Nikon Z 35mm f/1.7 Macro DX. bigger. |
Nikon Z 35mm f/1.7 Macro DX. bigger. |
Price, U. S. A. specifications top
18 August 2026
$447 new at B&H, at Amazon and at Adorama.
About $412 used if you know How to Win at eBay.
16 October 2025 (Introduction)
$447 at B&H and at Adorama.
Performance top
Sample Images Intro New Good Bad Missing
Specifications Performance Recommendations
I got my Z 35mm f/1.7 Macro DX at B&H. I'd also get it at Amazon or at Adorama, or get it used if you know How to Win at eBay, or get it used at KEH.
Overall Autofocus Manual Focus Breathing
Distance Recording Bokeh Distortion
Ergonomics Falloff Filters Lateral Color Fringes
Lens Corrections Macro Max & Min Apertures
Mechanics Sharpness Spherochromatism
Stabilization Sunstars Weather Sealing
Overall performance top
This is a swell little lens that's fast and sharp at every distance.
Autofocus performance top
Autofocus is the usual for a stepper motor. It makes a very slight hum as it focuses, with a slight click as it stops in AF-S.
It focuses immediately for small changes in focus distance and can take a moment if it has to motor all the way between macro and infinity.
There is no separate macro mode; it focuses continuously between any distances.
Manual Focus performance top
Manual focusing is entirely electronic; the manual focus ring isn't connected to anything other than a digital encoder.
There is no AF/MF switch; you have to set this in a menu 🤮.
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 (growing and shrinking slightly) as focused in and out. It's important to cinematographers that the image not breathe (change size) as focus gets pulled back and forth between different actors as they speak. The image is said to breathe because it expands and contracts as the focus follows the dialog back and forth.
The image from this lens becomes uniformly larger as focused more closely.
Focus Distance Recording performance top
I read this in the lower left of my screen in Photoshop's lens correction filter.
I see no focus distance displayed 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.
Here are photos from headshot distance wide-open. I'm focused on the DAVIS logo. Click any for the © camera-original files:
Made-in-U. S. A. Davis 6357 Vantage Vue Wireless Sensor Suite (use with WeatherLink console), 11:22 AM, Monday, 17 August 2026. Nikon Z50 II at 1/1,000, 1/500 and 1/125 at Auto ISO 100 with Tiffen ND 0.9 (3 stop) neutral density filter (LV 14.7).
Click any for the © camera-original files.
As always, if you want to throw the background as far out of focus as possible, shoot at f/1.7 and get as close as possible.
Note: The f/1.7 image was actually shot at f/1.8, which is this lens' maximum aperture when shot from a few feet away as I did here.
Distortion performance top
This lens has no measurable distortion, at least at 10 meters (30 feet), meaning whatever distortion it may have requires a correction factor of less than ±0.10 in Photoshop's
lens correction filter.
Oddly using my Nikon Z50 II's distortion correction actually added some distortion back in, at least at 10 meters (30 feet) where I tested it. At least for long distances, I'd leave the distortion correction OFF.
Correction factor to use with images made with correction ON in Z50 II |
Correction factor with uncorrected images |
|
On DX at 30' (10m) |
+0.40 | ±0.00 |
© 2026 KenRockwell.com. All rights reserved.
Ergonomics performance top
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Nikon Z 35mm f/1.7 Macro DX. bigger. |
Nikon Z 35mm f/1.7 Macro DX. bigger. |
The big rubber ring usually is programmable in your camera, and by default is set to manual focus.
No AF/MF switch.
Use whatever Fn or other button is assigned to Focus Mode, and then use that. Alternately, the Focus Mode is usually an option at the 𝒊 button.
No Stabilizer switch for in-camera stabilization, if you have it. As of August 2026 only in some of Nikons full-frame cameras, but not any DX cameras, have in-camera stabilization.
Use the menus to control the stabilizer.
Falloff performance top
Falloff is not a problem.
I've greatly exaggerated the falloff by shooting a gray field and placing these on a gray background; it will not look this bad in actual photos of real things:
Falloff on DX Z50 II at infinity, Vignetting Correction at its default of NORMAL:
© 2026 KenRockwell.com. All rights reserved. |
If you save only raw data rather than create JPG images in-camera, whatever software you use to create visible images from that raw data later 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 possibly in some raw software, this is what you get:
Falloff on DX Z50 II at infinity, Vignetting Correction deliberately turned OFF:
© 2026 KenRockwell.com. All rights reserved. |
Filters, use with performance top
There's no need for thin filters.
I can use quite a stack of standard 52mm filters with no vignetting at any setting on DX.
Go ahead and use your standard rotating polarizers and rotating grad filters
Flare & Ghosts performance top
Flare and ghosts are very well controlled.
See examples at Sunstars.
Lateral Color Fringes performance top
There are no lateral color fringes as shot on Nikon 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, but I doubt it.
Lens Corrections performance top
The Z9, Z8, Z7 II, Z6 III, Z6 II, Zƒ, Z7, Z6, Z5 II, Z5, Zƒc, Z50 II, Z50 and Z30 correct for any or all of distortion, diffraction and falloff (vignette control). Each of these three may be turned ON or OFF as you like.
The Z9, Z8, Z7 II, Z6 III, Z6 II, Zƒ, Z7, Z6, Z5 II, Z5, Zƒc, Z50 II, Z50 and Z30 always correct for lateral color fringes (lateral chromatic aberration). This is part of Nikon's secret sauce and never appears in any menu.
Oddly I measured slightly more distortion with distortion correction ON; so I'd leave it OFF except possibly at macro distances.
Macro Performance performance top
Macro performance is optically superb, especially wide-open. This is a superbly well corrected macro lens, but you have so little working distance in front of the lens at close-focus (only 2⅜" or 6 cm) that it's nearly impossible to light your subject well. This is why my watch is covered in shadow at the top left:
Casio G-Shock Solar Atomic Watch at close-focus distance, 1:03 PM, Monday, 17 August 2026. Nikon Z50 II, wide-open at f/3.2 at 1/1,000 at Auto ISO 100 (LV 13⅓). bigger or camera-original © file.
1,200 × 900 pixel (4.6× 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, the complete image would print at 9.3 × 13.9" (24 × 35 cm) at this same magnification.
If this 1,200 × 900 pixel crop is about 6" (15cm) wide on your screen, the complete image would print at 18.6 × 27.8" (47 × 71 cm) at this same magnification.
If this 1,200 × 900 pixel crop is about 12" (30cm) wide on your screen, the complete image would print at 37.1 × 55.7" (3 × 4.6 feet or 94 × 141 cm) at this same magnification.
The texture you're seeing is the watch face solar cell, rendered in exquisite detail even wide-open. It's ultra, ultra sharp, and there are no color fringes from spherochromatism. Mega bravos!
The best application for the closest distances is for backlit subjects, like film scanning or 35mm slide copying.
Maximum & Minimum Apertures performance top
This lens correctly indicates the fact that it becomes slower as focused more closely. This means that used in manual exposure mode with studio strobes that our exposures remain correct at different distances.
Distance, Meters |
Distance, Feet |
Maximum Aperture |
Minimum Aperture |
5m ~ ∞ |
15' ~ ∞ |
f/1.7 |
f/16 |
| 0.7m ~ 3m | 2.3' ~ 10' | f/1.8 |
f/16 |
| 0.41m ~ 0.7m | 1.3' ~ 2.3' | f/1.9 |
f/16 |
| 0.31m ~ 0.39m | 1' ~ 1.3' | f/2 |
f/18 |
| 0.25m ~ 0.3m | 0.8' ~ 1' | f/2.1 |
f/18 |
| 0.21m ~ 0.24m | 8" ~ 10" | f/2.2 |
f/18 |
| 0.19m ~ 0.21m | 7.5" ~ 8" | f/2.4 |
f/18 |
| 0.17m ~ 0.19m | 6.7" ~ 7.5" | f/2.5 |
f/20 |
| 0.17m | 6.7" | f/2.7 |
f/20 |
| 0.16m | 6.3" | f/2.8 |
f/20 |
| 0.16m | 6.3" | f/3 |
f/20 |
| 0.16m | 6.3" | f/3.2 |
f/20 |
At infinity: f/1.7 ~ f/16.
At close-focus distance (0.5'/0.16m): f/3.2 ~ f/22.
This is normal; every lens becomes slower at higher magnifications, but it only matters at macro distances and only some macro lenses correctly indicate this, as does this lens.
Historically Nikon has indicated this correctly, which often led to naïve customers and retail counterpeople returning lenses they mistakenly thought were defective when their f/1.7 lens wouldn't open wider than f/1.8 at a few feet or f/3.2 at very close distances.
Mechanical Quality performance top
Nikon Z 35mm f/1.7 Macro DX. bigger.
Except for the metal mount and screws and glass glass, this is almost an entirely plastic lens — as is so sadly typical today.
Exterior Finish mechanics performance top
Rough black plastic 🤮.
Front Bumper mechanics performance top
None.
Filter Threads mechanics performance top
Plastic 🤮
Hood Bayonet Mount mechanics performance top
None.
Focus Ring mechanics performance top
Rubber-covered.
Identity mechanics performance top
Printed around the top front of the lens, also "DX MC 35/1.7" printed on top rear of barrel.
Internals mechanics performance top
Seem like a mixture of plastic and metal.
Dust Gasket at Mount mechanics performance top
Yes.
Mount mechanics performance top
Metal; seems like aluminum.
Markings mechanics performance top
Just paint; nothing's engraved.
Serial Number mechanics performance top
Laser engraved in black on black on the bottom of the barrel:
Nikon Z 35mm f/1.7 Macro DX. bigger.
Noises When Shaken mechanics performance top
Very mild clicking, unless you shake-weight it vigorously enough to make the internal focus group move around, which sounds like zipping a zip-tie.
Truth & Ethics mechanics performance top
Production dumped to Vietnam, not made domestically in Japan.
Never disclosed in any advertising, marketing or online offers for sale, at least as far as I've seen.
Sharpness performance top
This is an exquisitely sharp lens, however 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/16 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 (which is usually impossible in macro shooting unless your subject is flat), 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 heat shimmer and by diffraction at the smallest apertures.
Nikon's MTF at 10 cyc/mm and 30 cyc/mm. Sagittal (radial) shown as solid lines. Meridional (tangential) shown as dashed lines.
While it's usually valid to compare rated MTFs between different lenses of similar vintage from the same maker, every maker measures or simply calculates MTF very differently, and therefore one cannot compare these curves between brands. For instance, Sony seems to ignore diffraction and simply calculate overly optimistic MTFs that hug 100%, which no real lens can do at f/8, while other brands are more realistic and include diffraction. Only Canon offers any insight on how they arrive at their curves.
See also my article on MTF and Canon's article on MTFs.
Spherochromatism performance top
Spherochromatism, also called secondary spherical chromatic aberration or "color bokeh," can cause colored fringes on out-of-focus highlights, usually seen as green fringes on background highlights and magenta fringes on foreground highlights.
Spherochromatism is common in fast lenses of moderate and long focal lengths when shooting contrasty items at full aperture.
Spherochromatism goes away as stopped down.
Spherochromatism is seen when the spherical aberration at the red and blue ends of the color spectrum (which together make magenta) is corrected differently than in the middle of the spectrum (green).
Spherochromatism is an advanced form of spherical and chromatic aberration in a different dimension than lateral color fringes and therefore cannot be corrected with software or automatic corrections.
This lens has almost no spherochromatism, which is a huge help at macro distances. I am very impressed, very few lenses offer this level of performance:
Mondaine A132.30348.11SBB at about 6.7" or 17 cm (getting closer would have shown too little of my watch face), Monday, 17 August 2026. Nikon Z50 II, wide-open at f/2.7 at 1/1,000 at Auto ISO 100, +1 stop exposure compensation (LV 12.8). bigger or camera-original © file.
Image Stabilization (IS, OSS, VC or VR) performance top
This lens has NO Optical Image Stabilization (OIS, IS or VR (Vibration Reduction)), but just for grins let's see how slow I can hand-hold it for perfect sharpness.
"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% on a 100 DPI monitor.
Looking at images from my Z50 II at 300% on my 100 DPI monitor from 2½ feet (76cm) away are the same as scrolling around a 15 × 10 foot (4.5 × 3 meters!) print, from just 2½ feet (76cm) away — and images are still perfectly sharp most of the time hand-held at 1/8 of a second. Bravo!
Of course we all will get different results hand-holding. While your speeds will vary, the number of stops of improvement should be the same for all of us regardless of who's shooting or how picky you are about what constitutes "perfect" sharpness.
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 | 1s |
1/2 |
1/4 |
1/8 |
1/15 |
1/30 |
1/60 |
1/125 |
1/250 |
| NO Stabilization | 0 |
0 |
0 |
0 |
16⅔ |
42 |
67 |
100 |
100 |
Therefore I use 1/125 as my slowest hand-held speed. Your results will vary.
Sunstars performance top
With a 9-bladed rounded diaphragm, I get pretty good 18-point sunstars on brilliant points of light at moderate and smaller apertures.
Ignore the vertical smear at large apertures. This is a sensor artifact called interline transfer smear and is a camera, not a lens, defect.
Likewise ignore the crazy rainbow dots at small apertures; these are sensor artifacts caused by interference among the divisions between pixels on the sensor. These are made visible because we're using enough exposure to show the dark underside of a huge palm tree, and then putting the blinding disk of the mid-day sun in it. Doing this will show everything due to the insane lighting range.
Click any to enlarge:
Click any to enlarge.
And here's a practical shot at f/8:
BMW M850ix Convertible, 9:05 AM, Saturday, 18 July 2026. Nikon Z50 II with SB-400 flash which lit-up the plate and rear reflectors, f/8 at 1/200 at Auto ISO 100 (LV 13⅔ ). bigger.
Weather Sealing performance top
This lens claims "designed with consideration of dust- and drip-resistance," whatever that means. I haven't tested it.
People have worried way too much about this ever since camera companies started FUD campaigns to make us think that our gear will dissolve unless it has weather sealing. How do you think we shot in the rain for the first 200 years of photography?
Recommendations top
Sample Images Intro New Good Bad Missing
Specifications Performance Recommendations
I got my Z 35mm f/1.7 Macro DX at B&H. I'd also get it at Amazon or at Adorama, or get it used if you know How to Win at eBay, or get it used at KEH.
This is a very handy lens with super-close focussing and extraordinary optics. Bravo Nikon!
I use an old Nikon HR-4 52mm screw-in folding rubber hood, which works perfectly — but remember to remove it at close distances so you don't block light from hitting the subject.
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 Multicoated Hoya HD3 52mm UV which uses hardened glass and repels dirt and fingerprints. It's expensive, but it will last forever long after this lens is gone.
For less money, the classic Nikon 52mm NC is superb, as are the multicoated B＋W 010 MRC MASTER and multicoated Hoya filters, but the Hoya HD3 is the toughest and the best.
Filters last a lifetime, so you may as well get the best. The Hoya HD3 stays cleaner than the others since it repels oil and dirt. I still use my classic Nikon 52mm 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 52mm 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 52mm 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 50 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/1.7 Macro DX at B&H. I'd also get it at Amazon or at Adorama, or get it used if you know How to Win at eBay, or get it used at KEH.
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 — but I receive nothing for my efforts if you take the chance of getting it elsewhere. Nikon does not seal its boxes in any way, 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, dropped, incomplete, gray-market, store demo or used lens — and 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 sources 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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Thanks for reading!
Ken.