My Opinion on the Nikkor 50mm f/1.2 AI

The Nikkor 50mm f/1.2 AI with an F mount is one of those lenses that’s impossible to ignore. In essence, you’re getting two lenses in one. Wide open, it creates images that are plastic, almost painterly. It allows you to craft a dreamy reality. Naturally, it’s not razor-sharp wide open, but the magical way it renders the image is far more valuable than the clinical sharpness that shows every pore on a subject’s face.

Some users say it’s a dream portrait lens. Critics argue that it’s only usable for subjects within 4–5 meters. It’s certainly not designed for fast-paced situations where quick focus is key. You’ll also hear that a 50mm will never be a true portrait lens. Claims that newer 50mm G-series lenses are sharper are not uncommon. And to some extent, that’s all true.

Not all cameras handle it well wide open, where depth of field is often measured in mere centimeters. At distances of 2–3 meters, depth of field can be as little as 1–2 cm. That may explain why many users quickly give up on it, thinking their results are worse than with modern Nikkors.

But stop it down 2–3 stops, and you suddenly have a completely different lens. At around f/2.0, the sharpness becomes razor-like. The increased depth of field makes it easier to nail focus precisely. As with any manual focus lens, it takes time to learn how to focus quickly and intuitively. You’ll definitely need more time to properly shoot your subject—but that also gives you a chance to pause and think about what the photo should really look like.

If you give yourself time and shoot more with it, after 100–200 photos there’s a good chance you’ll start looking for excuses to use it again. Over half your shots might be throwaways, but the handful of great ones will make you realize they’re some of the most interesting photos you’ve ever taken.

If you reach that point, it’ll be the moment you start photographing rather than just snapping dozens of dull images. In a time when most photos are taken with smartphones in 4K with everything sharp from one meter to infinity, this lens is the complete opposite. It’s not just about the bokeh—it’s about how that bokeh is rendered.

Let me add one observation. I once took a large batch of photos that people looked at for about 1–2 seconds each. 50–100 photos would be skimmed through in 2–3 minutes. Later, I started showing only 15–20 images. But they were thoughtful, carefully considered images—where I often already had a concept in mind before pressing the shutter. Those images would sometimes be viewed for 30 seconds or more. Occasionally, someone would see themselves on the photo in a completely different light.

The question of whether you’d rather take 1,000 boring photos or 15 you’d proudly hang on a wall—I’ll leave unanswered.

To sum up: if you’re shooting sports or fast-moving animals, this probably isn’t the lens for you. But for architecture, landscapes, or unique portraits—it may be worth the risk to invest in this gem of Japanese engineering. Using it will certainly help you grow as a photographer.

Build quality:

This lens was produced between 1978 and 1981 and embodies all the best characteristics of lenses from that era. It’s built like a tank, and the impression it gives when held for the first time is unlike any modern lens. Fully metal construction with a smooth focus ring. Its compact size and weight provide excellent balance, especially on larger Nikon bodies.

The lens barrel is very solid, entirely made of metal. Even with a slight stop-down, its resolution can match that of many modern lenses.

This particular version has 7 aperture blades. Its successor features 9 blades, which makes it even more sought-after on the used market.

• Technical Specifications
• Focal Length: 50 mm
• Aperture: f/1.2 to 16
• Aperture Blades: 7
• Angle of View: 46°
• Optical Construction: 7 elements in 6 groups
• Minimum Focusing Distance: 0.5 m
• Mount: F
• Filter Diameter: 52 mm
• Weight: 390 g
• Production Period: March 1978 – June 1981