{"id":73306,"date":"2025-07-09T08:07:19","date_gmt":"2025-07-09T07:07:19","guid":{"rendered":"https:\/\/phillipreeve.net\/blog\/?p=73306"},"modified":"2025-07-24T10:59:01","modified_gmt":"2025-07-24T09:59:01","slug":"review-artralab-nocty-nonikkor-50mm-f-1-2-an-homage-to-classic-nikkor-50mm-f-1-2","status":"publish","type":"post","link":"https:\/\/phillipreeve.net\/blog\/review-artralab-nocty-nonikkor-50mm-f-1-2-an-homage-to-classic-nikkor-50mm-f-1-2\/","title":{"rendered":"REVIEW: Artralab Nocty-NONIKKOR 50mm f\/1.2 – An Homage to Classic Nikkor 50mm f\/1.2"},"content":{"rendered":"

\"\"<\/h2>\n

Introduction<\/span><\/h2>\n

The Artralab Nocty-Nonikkor 50mm f\/1.2 is a manual lens that clearly evokes the nostalgic look of classic Nikkor lenses from the 1960s to the 1980s. Combined with the fact that it\u2019s designed and built using modern technology\u2014without being a direct replica\u2014it makes for a lens that feels both exciting and appealing. Its fast aperture in a relatively compact package is also an intriguing combination. Let\u2019s see how it performs!<\/p>\n

\"camera-icon2\"I tested this lens on a 46 Mp<\/a> Nikon Z7ii<\/a> (Sample images were taken with a Nikon Zf<\/a> )
\n\"\"You can see this review as\u00a0a\u00a0YouTube\u00a0video\u00a0here<\/a>!
\n\"\"Sample images in high resolution here<\/span><\/a>.<\/p>\n

Sample Images<\/span><\/h2>\n
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Nikon Zf | Artralab Nocty-Nonikkor 50mm f\/1.2 | f1.2<\/figcaption><\/figure>\n
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Nikon Zf | Artralab Nocty-Nonikkor 50mm f\/1.2 | f1.2<\/figcaption><\/figure>\n
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Nikon Zf | Artralab Nocty-Nonikkor 50mm f\/1.2 | f1.2<\/figcaption><\/figure>\n
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Nikon Zf | Artralab Nocty-Nonikkor 50mm f\/1.2 | f1.2<\/figcaption><\/figure>\n
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Nikon Zf | Artralab Nocty-Nonikkor 50mm f\/1.2 | f1.2<\/figcaption><\/figure>\n
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Nikon Zf | Artralab Nocty-Nonikkor 50mm f\/1.2 | f1.2<\/figcaption><\/figure>\n

<\/p>\n

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Nikon Zf | Artralab Nocty-Nonikkor 50mm f\/1.2 | f1.2<\/figcaption><\/figure>\n
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Nikon Zf | Artralab Nocty-Nonikkor 50mm f\/1.2 | f1.2<\/figcaption><\/figure>\n
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Nikon Zf | Artralab Nocty-Nonikkor 50mm f\/1.2 | f1.2<\/figcaption><\/figure>\n
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Nikon Zf | Artralab Nocty-Nonikkor 50mm f\/1.2 | f1.2<\/figcaption><\/figure>\n
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Nikon Zf | Artralab Nocty-Nonikkor 50mm f\/1.2 | f1.2<\/figcaption><\/figure>\n

Most of the sample images in this review and many more can be found in higher resolution here<\/a>.<\/span><\/p>\n

<\/span><\/p>\n

Specifications<\/span><\/h2>\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Focal Length<\/td>\n50mm<\/td>\n<\/tr>\n
Angle of View<\/td>\n46\u00b0<\/td>\n<\/tr>\n
# of Aperture Blades<\/td>\n11<\/td>\n<\/tr>\n
Max Aperture<\/td>\nF\/1.2<\/td>\n<\/tr>\n
Min Aperture<\/td>\nF\/16<\/td>\n<\/tr>\n
Min Focus Distance<\/td>\n0.35 m<\/td>\n<\/tr>\n
Filter Size<\/td>\n52mm<\/td>\n<\/tr>\n
Lens Mount<\/td>\nSony E , Nikon Z, Fuji X<\/td>\n<\/tr>\n
Weight<\/td>\n560 g<\/td>\n<\/tr>\n
Size (D x L)<\/td>\n72 x 83 mm<\/td>\n<\/tr>\n
Elements\/Group<\/td>\n8\/6<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
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Artralab Nocty-Nonikkor 50mm f\/1.2 on a Nikon Z7ii<\/figcaption><\/figure>\n\n\n\n
Buy new:<\/strong> B&H<\/a>, Amazon (anywhere)<\/a>, Artralab store<\/a> for $550 (Affiliate links)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Disclosure<\/span><\/p>\n

Artralab kindly provided this lens for test and review purposes. This review is of course, as always, completely independent.<\/p>\n

Handling and Build Quality<\/span><\/h2>\n

The Artralab Nocty-Nonikkor 50mm f\/1.2 is relatively small for a lens of this specification, but it feels dense and heavy for its size due to the all-metal construction. It gives a solid, high-quality impression when held.<\/p>\n

It\u2019s clear that Artralab drew a lot of inspiration from the classic Nikkor f\/1.2 lenses in designing this one. However, I wouldn’t say it’s an exact replica of any specific model in terms of shape.<\/p>\n

\"\"<\/p>\n

The lens features a generously wide, hill-valley style focusing ring that is well-damped and turns smoothly through about 190\u2013200\u00b0. The scalloped design is reminiscent of 1960s Nikkor lenses, somewhat similar to the original Nikon 1.2\u2014the Nikkor-S 55mm f\/1.2 from 1965.<\/p>\n

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Artralab Nocty-Nonikkor 50mm f\/1.2<\/figcaption><\/figure>\n

This lens carries the “Nocty”<\/em> designation, which immediately brings to mind Nikon\u2019s second f\/1.2 lens\u2014the Noct-Nikkor 58mm f\/1.2 from 1977. The silver collar with the depth of field scale uses the same colour coding as the Noct, as well as the third Nikon f\/1.2 lens.<\/p>\n

The aperture ring features full-stop clicks (except at f\/1.2, of course), with values engraved and ink-filled. The colour coding here also matches what we see on the second and third Nikkor f\/1.2 lenses.<\/p>\n

And lastly, the 50mm focal length matches that of the third Nikon 1.2 lens.<\/p>\n

So, you get something from each of the historical lenses in this design.<\/p>\n

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Artralab Nocty-Nonikkor 50mm f\/1.2<\/figcaption><\/figure>\n

The lens is fully manual, with no electronic contacts on the mount, and it does not feature autofocus or in-lens stabilisation. There\u2019s no weather sealing either, but the build feels tight and solid. It comes with standard plastic rear and front caps, plus a metal lens hood that is secured with a small thumbscrew.<\/p>\n

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Artralab Nocty-Nonikkor 50mm f\/1.2 | Front\/rear caps + lens hood<\/figcaption><\/figure>\n

Unlike most Chinese manual focus lenses, the aperture values on the ring are evenly spaced, similar to classic Nikon lenses. This is good. However, a rather peculiar thing, my tests showed that moving from one aperture click to the next does not always result in a precise doubling or halving of the light passing through the aperture. In the following table you can see my finding, I have also included values from a Nikon 50mm f\/1.4 for comparison.<\/p>\n

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Aperture change vs. light transmission change for Nocty-Nonikkor 50\/1.2 and Nikkor 50\/1.4 AIS<\/figcaption><\/figure>\n

Practically, this means you’ll get 1\/3-stop increments at the wider apertures and 2\/3-stop steps in the middle range\u2014which can be useful, but also a bit confusing, especially if you’re used to standard full-stop spacing. It also means you don\u2019t get actual f\/8 or f\/11 positions on the lens. The f-stop markings are there and the aperture ring clicks at those points, but the aperture itself never closes exactly to those values.<\/span><\/p>\n

I asked Artralab about this behaviour. Here is Artralab’s explanation regarding the design philosophy behind it:<\/p>\n

“To maintain the lens\u2019s balanced aesthetic and achieve a full circular bokeh, we intentionally adjusted the spacing between each aperture stop for visual harmony. This approach means the light transmission doesn\u2019t strictly align with standard EV increments, which we acknowledge. However, we\u2019ve found this has minimal impact on digital photography workflows, especially given modern cameras\u2019 dynamic range and exposure flexibility.<\/em><\/p>\n

Our core goal was to craft a lens that evokes a nostalgic shooting experience\u2014emulating the focal plane design of 1980s-era lenses to render images with a vintage character. We believe this intentional trade-off between technical precision and artistic intent helps users capture unique, timeless visuals.”<\/em><\/p>\n

Well, now that we\u2019ve cleared that up, let\u2019s get into the lens\u2019s optical characteristics.<\/p>\n

Optical Features<\/span><\/h2>\n

Sharpness (Infinity)<\/span><\/h3>\n

For the infinity sharpness test, we look at three areas of the image, centre, mid-frame, and corner, see highlighted areas in the image below!<\/span><\/p>\n

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Infinity sharpness reference image<\/figcaption><\/figure>\n
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Infinity sharpness | Artralab Nocty-Nonikkor 50mm f\/1.2 | Nikon Z7II<\/figcaption><\/figure>\n

Sharpness is excellent in the centre of the image right from wide open at f\/1.2, while the midframe is only OK and corner is not good.
\nStopping down helps but as we saw in the handling section, to see the real effect of 1 stop closer aperture or two, you need to stop down to 3 to 6 steps on the lens. Midframe becomes good at f\/4, very good at f8 and excellent from f\/11. For the corners to become good you need to stop down to f\/16.<\/p>\n

Sharpness (Portrait)<\/span><\/h3>\n

Let\u2019s look at the points of interest for portraits at the portrait distance: the very centre, the centre\u2019s inner periphery\u00a0 (1\/3 rule intersection), and the centre\u2019s outer periphery (1\/4th intersection).<\/span><\/p>\n

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Portrait Sharpness Points of Interest<\/figcaption><\/figure>\n