Most Nikon 1 photographers probably choose jpg files. Then you will never in practice be bothered by distortion. In the design of the Nikon 18.5 mm, Nikon has given a lower priority to preventing distortion, because the camera corrects this quite well in jpg files, and modern RAW converters can correct distortion easily. That seems to me the right choice. Many other manufacturers of compact system cameras, such as Fuji, Olympus, Panasonic and Samsung, are opting for the same strategy. I got the distinct impression with the 18.5mm on the V2/J3/J4 that “this is the way the Nikon 1 system should have been from day one.” Nikon needs to produce a 28/35mm equivalent prime that’s f/1.8, small, competent, and affordable, as well. There are no lateral color fringes when shot on the 36 MP D800E, which corrects them automatically even without the newest firmware with this new lens' profile.

At 35mm on FX at infinity, the sides and last couple of millimeters of the corners are a little less sharp wide open, and they improve as stopped down.

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This photo reminded me a lot of my old Fujifilm X20 in the sense that it looks rather “flat”, making it look a bit cheap. People who say that sensor-size doesn’t matter at all could make great salespeople. Getting this result isn’t the fault of this lens entirely, it’s just a mix of several factors all coming-together. WYSIWYG score:This table shows the performance of this lens when you store the files in the camera as jpg, with all available in-camera lens corrections applied. This score gives you for this lens/test camera combination: “What you see is what you get”.

It may not seem that close, but it sure is sharp, even wide-open! Beware the thin depth-of-field; in this shot, the hands are closer to the lens than the watch face and are obviously out-of-focus when printed at large magnification. The original 18-35mm AF-D (2000-today) is optically much softer in the corners, has more light falloff, and feels much dinkier, with a front that pumps in and out when zoomed, and a focus ring that rotates by itself during autofocus, and it requires you to move a switch to swap between auto and manual focus. You'll never see the optical differences unless you're a pixel-counter as opposed to a photographer.Crop from above 36 MP image at 100%. If this is 6" wide on your screen, the complete image printed at this same magnification would be 75 x 50." (6 x 4 feet, or 2 x 1.25 meters!) The build quality of the Nikon 18 mm f/1.8 is like that of the other Nikon 1 lenses we’re used to: it’s all well put together and is beautifully designed. The Nikon 1 18.5 mm has a maximum magnification ratio of 0.12. (Taking into account the crop factor, you have the same field of view as a 50 mm with a magnification ratio of 0.33.) especially when you consider the 35mm DX/1.8 is sth better, and also got a dust seal at the metal mount. Its optics will have superior sharpness for pixel-counters, especially compared to the original 18-35mm f/3.5-4.5 AF-D.

lens distortion filter using these factors below. These aren't facts or specifications, they are the results of my research that requires hours of photography and calculations on the resulting data. The 1 NIKKOR 18.5mm f/1.8 is a normal, 18.5-mm (angle of view equivalent to 50 mm in 35-mm [135] format) fixed focal length (prime) lens with the fastest maximum aperture, f/1.8, in the 1 NIKKOR lineup. Its lightweight size makes it conveniently portable. Adoption of an aspherical lens element to the latest optical design results in extremely sharp rendering, as well as reproduction that expresses the beautiful blur characteristics and three-dimensional feel expected of a fixed focal length lens. As the lens itself is so fast, it is not only capable of capturing sharp, blur-free images indoors under dim lighting without increasing ISO sensitivity, but it also supports incredibly fast shutter speeds up to 1/16,000 s, enabling capture of photos utilizing the lens' beautiful blur characteristics even outdoors on bright, sunny days. With a weight of approximately 70 g, the 1 NIKKOR 18.5mm f/1.8 is the lightest lens in the 1 NIKKOR lineup, making it extremely easy to carry around. When used with the compact and lightweight Nikon 1 J1, J2 or V1, the incredible portability of the entire system makes it easy to take additional lenses wherever you go, increasing the possibilities and enjoyment of photography in any situation. This 1.7 Prime lens would bring noise levels down in low light shooting since no longer having to shoot at 1600 iso to capture that memorable moment. Yeah while the larger sensor cameras have an advantage at these higher iso, but at 400 iso not much so. Having a hybrid-type AF system employing both contrast and phase-detect sensors, Nikon 1 cameras and lenses are known for their super-fast and precise focusing. The Nikkor 18.5mm f/1.8 is no different. It focuses fast, very fast. People who own many of the other N1 lenses claim that it is one of the fastest. I can’t comment on that, since I only own the 10-30mm and a couple of MF C-Mount lenses. What I can say is that the 18.5mm is faster than the 10-30mm and much faster and much more confident in low light. If you are familiar with the way C-AF works, which is the mode N1 cameras switch to under low light, you will most likely never encounter a situation, in which the 18.5mm won’t be able to acquire focus. Just place your focus-point on vertical lines with strong contrast and you will be fine. The 20-35mm AF-D works on all FX digital cameras and its focus ring doesn't rotate by itself during autofocus as does the older 18-35mm, but the 20-35mm still requires one to move a lever to get between auto and manual focus.

NEW 1 NIKKOR 18.5MM F/1.8 OFFERS NIKON 1 SYSTEM SHOOTERS COMPACT PERFORMANCE AND CREATIVE CONTROL

When foolishly used on a DX camera, it gives angles of view similar to what a 28-55mm lens gives when used on an FX or 35mm camera.

While far better made, having much less distortion and being a full stop faster, the older 20-35mm lens has optics otherwise about as sharp as the original 18-35mm AF-D, meaning softer in the corners, with plenty of light falloff at large apertures. You'll never see the difference unless you're a pixel-counter as opposed to a photographer.Overall, the build quality is not bad, but obviously not as good as on professional Nikkor lenses. Autofocus Performance and Accuracy