Repair: New-Nikkor 55mm f/1.2

Hello, everybody. I have been busy the whole week with the unbelievably over-complicated and ill-reputed Zoom-Nikkor 43-86mm f/3.5 so I have not updated the blog for a week. I would also like to thank my readers for the growing support that you are all showing me. All that support will keep me motivated.  I am also happy to know that there are many people who share my passion that some are now beginning to share their knowledge. It’s time for another lens teardown, I am going to write this guide for a friend that’s why I chose this instead of the other ones that I have in my repair notes.


The 55mm f/1.2 line started with the Nikkor-S.C 55mm f/1.2 Auto and then it got updated to the K (New-Nikkor) version and lastly into Ai. The subject of our article is the 2nd version (K). It is a very nice lens and I hope that I can convince you with this article. This lens is what many people call the “poor man’s Noct because it opens all-the-way up to f/1.2 and the focal length is also close to 58mm. While the legendary Noct-Nikkor 58mm f/1.2 Ai-S is in a totally different category of specialty lenses, this lens was designed to be a normal lens best-used at night for more light and easier-focusing due to the brighter viewfinder. This lens was also a product of an industry-wide race to produce the fastest normal lens at that time, this was only discontinued when its successor the Nikkor 50mm f/1.2 Ai debuted more than a decade after this lens line was introduced.


The New-Nikkor 55mm f/1.2 is just a cosmetic upgrade of the older Nikko-S.C 55mm f/1.2 Auto. It had its main barrel re-engineered to make it simpler to mass produce and make it look a bit better (subjective). I am not sure if the optics were slightly improved by changing the curvature of any elements or whether any surfaces have received better coatings but for all intents and purposes, you can consider these 2 lenses to be identical in handling and in performance or at least be nearly identical in those regards. They are both excellent lenses if you know how to use them properly.


This lens can produce amazing subject isolation when shot wide-open but it also has a tendency to produce harsh-looking bokeh (I hate that word) if the correct variables were given such as foliage. Just look at the picture above and judge it for yourself.

It’s decently-sharp wide-open at the center when focused properly but the artifacts that it produces when shot at f/1.2 makes the image look un-sharp. Having this in mind, you can actually exploit this to you own advantage, it also make people’s skin “glow” when lit with powerful light sources, making it look smooth and the resulting picture, flattering and surreal. This is the effect of spherical aberration, it’s probably there by design or just cleverly incorporated since it can’t be avoided, it has such a fast aperture and field curvature is kind of high, if you are an optics expert and you want to help us here then please share your thoughts.


This is also the lens that I grab if I want to produce photos with a painterly-like effect. The Nikkor 50mm f/1.2 Ai-S can also do the same thing but just not as dreamy as what this lens can do. Just look at the picture and you can see what I’m talking about. It is around 4 decades old but the photos that it takes still look lovely and full of “character”. This trait is missing in modern lenses that were overly-corrected and that is one of the reasons why many people are buying older Nikkors at the present.

One interesting story about this is how a special variant made for NASA was sent to space, it was used to take amazing photos of the ozone layer. This is something that you can be proud of if you are a fan of this lens. This says a lot about this lens’ performance. See more pictures and information about space cameras here in this article.


This was shot wide-open. You can see some flares and ghosts but the picture is generally nice despite that, even with plenty of chromatic aberration. The overall image has a dreamy character that you can use creatively.

(Click to enlarge)

This lens is capable of taking sharp corners when stopped-down. Foliage is a tricky subject to photograph at times but this lens handled it pretty well. I am fond of the subtle characteristics of the pictures taken with this. Current high-resolution cameras can out-resolve this lens at wider apertures, I took a picture with this lens wide-open with a Nikon Df and another with a Nikon D750 and I can see that the center just is not quite as sharp with the Nikon D750. This is not to say that this lens is no good these days but you will just need to be careful and stop it down further if you want critical sharpness at the center when using higher resolution cameras. Some people claim that no sensor will out-resolve any lens and this is just not true to put it frankly. I talked to some of Nikon’s lens engineers and they themselves confirmed to me that this is really the case that is why the current lenses were calculated for very high resolution to future-proof them.


Shooting at f/2 is probably what you would want if you need sharpness and a blurry background, it’s a nice aperture to use for this kind of effect.


Even at f/1.4, the lens is capable of taking sharp pictures. Just look at the left hand of the lady behind the counter. I certainly nailed the focus here.


This shot was taken wide-open, the center looks sharp. This lens is not what you would want if you need a flat field, you can observe from the photo that it has a rather curved field due to the bulbous front, it wasn’t corrected very well. You can also see a hint of barrel distortion here but it’s not so bad.


Check out the left brow of Anpanman (アンパンマン). He is the one with the big,red nose. It is very sharp and well-defined despite being shot wide-open.


This lens was made for shooting night scenes. It wasn’t easy to nail the focus on a train that’s running even at a slow pace but at least we got something. Chromatic aberration is apparent on the highlights on the train but at this distance it’s not so obvious.

(Click to enlarge)

Here are some kids doing a skit. These were shot wide-open at ISO1600 and they look so good, the hair on the kid at the front is well-defined. This lens is really good for night shots if your subjects can stand still. These kids do not, unfortunately.


Here is a shot of the sky just to show you how the vignetting looks like when shot wide-open. This improves considerably once you stop the lens down. I need to show this to you because it’s going to be relevant for the next sets of test pictures.

The next sets of pictures were taken at f/1.2, f/2, f/2.8 and f/4. I skipped f/1.4 because it is a pointless exercise since that’s a really small increment from f/1.2 but that isn’t to say that there aren’t any differences between f/1.2 and f/1.4! In fact, stopping it down to f/1.4 will improve sharpness by a little bit (just pointless) while still maintaining that nice, smooth background blur.

(Click to enlarge)

Wide-open at f/1.2 the center is already pretty sharp and the background just melts away in a very nice wash of colors. Spherical aberration will make the pictures seem not sharp but that is just an illusion if you can call it that. The really shallow DOF is also a big factor so take care and focus carefully. At f/2, you’ll see a big jump in sharpness at the center of the frame while the background is still beautifully-blurred. At f/2.8, the center sharpness is excellent! The background is still blurred but not as exquisite as before. At f/4, you can already say that the center has reached its peak sharpness. The background is starting to look “generic” and the magic is now gone. If resolution and sharpness matters most then use this lens from f/2.8 and up.

After seeing the results with digital it’s now time to see the results with film! We need to see how a lens performs in both film and digital in order for us to understand it better. A picture taken with film has different qualities that makes it look unique compared to that taken with a sensor. This is not to say that one is superior over the other, it’s just that the 2 mediums look and feel different under most situations. This lens was made for using it with film (obviously) and it’s only possible to see what the designer’s vision for this lens is by only seeing pictures that were taken with film. Most of the pictures were taken with the lens stopped-down from f/4 to f/5.6 because I was shooting with Fujifilm Venus 800 so I needed to stop it down. For those photos that were shot with the Fujifilm Industrial 100, I also had to stop the lens down a bit unless I was shooting under the shade.


This picture was taken with Fujifilm Venus 800. I think was shot was taken at f/4, this is a nice example of how nice this lens is when stopped-down to smaller apertures. It’s also a good example of showing the lens’ foreground blur characteristics. The details of the flag and kimono looks nice and the rendering of the skin looks beautiful. This a nice portrait lens if you can frame your subject properly because 55mm is kind of wide for my taste.


Pictures taken with this lens have a very nice 3D look, subject separation is nice and you can make your subjects stand-out from the background with the right framing. This can be attributed to the simple optical design of this lens that consists only of 7 elements, you won’t get flat-looking pictures with this lens.


Here’s another picture taken with Fujifilm Industrial 100. See how nice the subjects were separated from the background? I think this was shot at f/8 and even with this aperture I was able to get nice subject separation. The background bokeh is smooth but you can get some busy-looking bokeh when you have twigs in the background. This isn’t as obvious in this picture because of how film renders the blurry things in the background. It feels like the grain of the film helps mask the effect somehow.


Beautiful! See how nice the subjects look? Every detail was captured beautifully and the blur looks smooth. The transition between what’s focused to what’s not is smooth so you won’t get an abrupt “wall-of-focus” effect. This is due to the higher field curvature of this lens, while that is something that’s usually negative you can use it to your advantage and give your pictures a nice and smooth look.

(Click to enlarge)

I think these were taken wide-open or somewhere close to it. I was in the shade and the film that I was using is Fujifilm Industrial 100 so I had to do this. This lens shows its true character when shooting it wide-open. While spherical aberration is obvious you will not object to its effect (at least for me) because it makes your subjects’ skin look smooth and you will also get a nice “glow” around the highlights. Some people give this effect names that sound romantic to give their lenses some added value, it’s just spherical aberration!

(Click to enlarge)

These were shot at about f/1.4 or f/2. I love how exquisite the pictures look, shooting this lens with film is probably the better combination as you can see from my samples. Film has this look that’s very hard to achieve with digital. You can simulate it all you want in post or in those hipster cameras that look retro but you won’t get close to it. This quality is what the Japanese call “wabi-sabi”, a concept rooted in Buddhism wherein imperfect qualities enhance the overall aesthetic of something rather than make it look ugly. This is a difficult concept to describe but it’s something that I embrace as a Buddhist.

(Click to enlarge)

Nailing your focus is difficult at times with this lens so a slight error will result in blurry subjects. This lens isn’t forgiving in this regard and you will want to be careful when you shoot with it wide-open on subjects that won’t stay-still and hold their poses for you.

(Click to enlarge)

Here are a few more examples that were shot using Fujifilm Venus 800. I hope that you’ll appreciate this lens better after seeing my samples. Some people poo-poo this lens since they don’t know how to use it or they are probably expecting Zeiss Otus level from this. It is unfair to judge something out-of-context and lenses should also be judged on how they render stuff, the “intangibles” as I call it. Lenses for me are like brushes (I used to paint), you just can’t put a score on them through scores from a lab test, this is the reason why a lot of lenses these days render similarly and that’s all due to the pizel-peeper. This is also why the AF-S Nikkor 58mm f/1.4G was made. It’s a brave move by Nikon to make this lens because it won’t top any charts but it renders beautiful pictures because it tries to get in-touch with the past where lenses were valued more for how they produce an image over the lens scores that people give them.

I got this lens in a pretty OK state as the glass was clean and free from blemishes or small scratches. The lens however had dry helicoids and a mis-shaped iris. The shape of the iris wasn’t regular (a bit oval) so I skipped this lens the first time I saw it but since the rest of the lens was OK anyway and I figured that I could fix the aperture myself so I bought the lens the next time I saw it in the shop and that turned-out to be a nice surprise. If you’re the type of person who prefer character over technical prowess then this lens is excellent for you. It’s versatile and it has the very desirable quality of changing its character when you change the aperture size. This makes the lens interesting and you can challenge your imagination with what it can or cannot do. If you don’t own one of these, maybe you can consider it if you’re a die-hard Nikkor fan or if you shoot with film mostly. I consider this to be an interesting alternative to the Nikkor 50mm f/1.2 Ai-S because it’s just as fast but it won’t beat it in the charts but it will certainly give you a more unique rendering. I’m sure that this lens will serve you well so long as you know how to use it and I hope that I gave you a good idea on how to use this lens so you can use it properly.

Before We Begin:

If this is the first attempt at opening a lens then I suggest that you read my previous posts regarding screws & driversgrease and other things. Please also read what I wrote about the tools that you will need in order to fix your Nikkors.

I highly suggest that you read these primers before you begin (for beginners):

Reading these primers should lessen the chance of ruining your lens if you are a novice. Before opening up any lens, always look for other people who have done so in Youtube or the internet. Information is scarce, vague and scattered (that is why I started this) but you can still find some information if you search carefully.

I highly recommend that you also read my working with helicoids post because this is very important and getting it wrong can ruin your day. If I can force you to read this, I would. It is that important!

For more advanced topics, you can read my fungus removal post as a start. This post has a lot of useful information here and there and it will be beneficial for you to read this.

Disassembly (Lens Barrel):

This lens was easy to work with, very straight forward and orthodox. The only time that I felt scared was when I was handling the glass because I don’t want to scar it. If you have been following my work then this will remind you of the Nikkor-S 50mm f/1.4 Auto  that I blogged about a few weeks before. This lens is typical of the Nikkors made from this era, there’s nothing noteworthy in this lens’ barrel construction that I shuold mention apart from the slightly brittle type of rubber used for the focusing ring. Nikon decided to attach softer ones for their later lenses during the Ai-S era.


First, rotate the focusing ring until you see this tiny set screw and loosen it just enough so that you can rotate the front ring without this set screw coming into contact with the fine threads underneath.


Remove the front ring and store this properly because you do not want to warp this part accidentally. We are going to remove the objective (lens assembly) first so that we cannot damage it accidentally as we work on the lens.


Carefully pull he objective out from the lens barrel with your fingers and be careful with that brass shim, you will never want to damage or lose this.


Now, remove the screws that secure the rear bayonet plate. Ignore the fact that the glass is still in the picture. It should not be there if you have followed my previous steps. If you are new to lens repair, please read my article on how to remove bayonet screws. You don’t want to strip the heads of your screws so read my article and buy the right drivers. Don’t listen to those people who tell you that these are phillips screws, they’re ignorant and it’s only going to waste you time and money if you use the wrong tyoe of driver.


Remove the bayonet plate and the aperture ring can easily be removed. As with the oher parts of this lens, store this properly because you don’t want to bend or warp this or else you’ll have a rough-feeling aperture ring each time you turn it. Again, Ignore the fact that the lens elements are still in the picture.


Now, carefully remove the rubber sleeve and be sure not to rip or puncture it. When that rubber sleeve gone, you can remove these screws. Make sure that the barrel is turned all-the-way to infinity from this point on so you’ll have a point of reference for your notes.


Gently pull the focusing ring off from the rest of the lens and clean all the dirt and grime under it. I would also suggest that you dunk this in an alcohol bath to soften up whatever is there for easier clean up later on.


Carefully examine and mark the infinity position of the helicoid in relation to the rest of the lens as this will serve as a guide later on when you reassemble your lens. Notice that I have removed the chrome grip from the lens by removing the 3 screws that secured it to the lens barrel.


Next, remove these tiny screws that secure the helicoid stop.


Remove the helicoid stop and store it properly. I accidentally bent mine and I had to fix it on my cylindrical anvil with a rubber mallet. Not a big deal but it certainly is something that you want to avoid if you can. Note that the leading edge is wider.


You can safely remove the sleeve earlier if you want. It just didn’t occur to me so I got rid of it this late. Clean this and leave this to pickle in the alcohol bath as this part normally gets really dirty on the inner surface.


With that gone you can now access the helicoid key and its 2 screws. Remove these small screws so that you can freely unscrew the helicoids. Please read my post on working with helicoids so you won’t get stuck because you can’t put the helicoids back.


Be very careful to document and mark where the helicoids separate. I scribed an arrow mark in relation to the line that mark where infinity should be as a reference on where the helicoids separated as this will be the same point where they should engage when it’s time to reassemble your lens.


Drop the helicoid key into your palm and clean it up…


The inner and main helicoids still look great even after 4 decades, just dirty and dry.


As with the main helicoid, mark where the inner and main helicoids separate. If you look at the picture, I marked mine in reference to the notch in the main helicoid.


If you need to re-pack the bearings just remove the copper retention ring and be careful with the spring. I got lazy and just left these alone as I do not want to go through all the bother by opening this up and having to install the ball bearings one tiny piece at a time.


You should now end up with the same thing as I have in the picture. Next, I’ll outline how I dismantled the objective.

That’s it for the lens barrel. It is pretty straight-forward at this point unless you open up the bearing then things will get really complicated really quick. Just skip the bearings if it is functioning properly. It can be a pain to put back all those small bearing balls.

Disassembly (Objective):

The glass elements used for this lens are HUGE! Be careful not to damage any of them or you will end up with an expensive paperweight. Always proceed with caution and don’t get overly confident, a slip of the wrist will everything. If anything is stuck, you just have to apply some alcohol or solvent to soften up any glue that was used, wait for the solvent to work then have another go at it.


I began by removing the rear elements assembly from the rest of the objective by simple unscrewing it. If it is stuck, do the acetone trick that I described in my best practices blog post to soften up whatever adhesive they have used on this thing.


The front elements assembly simply screws off. In this picture, I just had it sitting on top of the front name ring for no reason at all.

The objective is pretty straight-forward and there is nothing unusual about it apart from its big size. The construction is similar to Nikkors of the same vintage so this shouldn’t be a problem for you if you are an experienced repairman.

Disassembly (Iris Mechanism):

You can skip this step if you do not need to clean or repair your aperture assembly. I had to on mine, so I am sharing my repair notes with commentaries with you just in case you have to do it on yours.


First, remove the screws that secure the iris mechanism. Mark where these screws were because these were precisely secured at the factory and you don’t want to be off by even a bit! Notice that I have removed the screw in the picture (Sorry!).


Now is a good time to inspect (actually before the previous step!) the aperture assembly and document it before you disassemble it. It is very delicate and precise and you should be very careful with each step.


Carefully remove this mechanism and store it in a safe place. Be sure not to damage the tiny spring and mark where this thing was before you removed it.


Next, remove this plate after carefully noting its position. Notice that one of the aperture blades has fallen off (oops!).


Remove the rotator plate and you can now safely remove the aperture blades.


Be careful when handling your aperture blades, you don’t want to accidentally scratch or warp these, rendering your lens useless except for shooting wide open.

That’s all for the iris mechanism. The only thing that’s worth mentioning here is you will want to be careful with the spring-lever mechanism on the iris’s ring. Make sure that it is properly installed or else your iris will not function properly or it may even damage your iris blades which is even worse! Again, careful taking of notes is very important here.


This lens took me the whole afternoon to service and it was quite enjoyable because the lens was engineered to be simple and there were no clever tricks used in the lens chassis that would require a lot of figuring-out to take apart and put back together.

Here are some of the things that I did during reassembly that might interest you. I do not write reassembly procedures since it’s common sense anyway, you just need to backtrack on the steps and you should be fine. I will only mention things that are worth noting.


Having cleaned the helicoids thoroughly, I applied ample amounts of grease so that the focusing is well-damped but not too much as to leave a pile of gunk inside the lens that would later cause grease migration and foul up the aperture blades and glass elements.


The aperture blades were carefully put back into place and the iris now forms a regular shape. The aperture blades were easy to fix as they are of the traditional type and not the same type as what the original Micro-Nikkor 5.5cm f/3.5 (preset) and other vintage lenses have, which is a painful,interlocking mess like this one from Brian’s site..

The lens was reassembled within a short time. Aside from the usual precise position and alignment checks the only thing that gave me the most headache was putting the optical block (the objective) back into the lens barrel. This lens is tight inside so it took me a bit of time to put that back. There’s a trick that I do where in I lower the objective in and out until both the aperture column and the stop- down lever column are both in place and then I lower the whole thing once I am sure they’re alingned properly.

To calibrate your lens’ focusing, refer to my guide on how to calibrate your lens for proper infinity focusing. Focusing is critical on this lens because of the very thin DOF so you will want to get this as perfectly as possible.


Here it is with its successor – the Nikkor 50mm f/1.2 Ai-S  which is reputed to be a pain to service because of the many interlocking parts inside. Although they share the same spot in product placement and use, each has their own special trait that you should exploit in order to maximise their strength and make the weaknesses work for you.

That’s all for this lens. If you enjoyed this article please share this with your friends or do this blog a favor by supporting it. Thanks again and I appreciate the growing readership of my blog. Until the next post, Ric.

Help Support this Blog:

Maintaining this blog requires money to operate. If you think that this site has helped you or you want to show your support by helping with the upkeep of this site, you can simple make a small donation to my account ( Money is not my prime motivation for this blog and I believe that I have enough to run this but you can help me make this site (and the companion facebook page) grow.

Helping support this site will ensure that this will be kept going as long as I have the time and energy for this. I would appreciate it if you just leave out your name or details like your country and other information so that the donations will totally be anonymous it is at all possible. This is a labor of love and I intend to keep it that way for as long as I can. Ric.

41 Comments (+add yours?)

  1. Ron V.
    Feb 07, 2016 @ 22:08:15

    Again, very nice work Rick.
    Thanks for sharing.
    While not a technically brilliant lens, it is however one of my favourites.


  2. richardhaw
    Feb 08, 2016 @ 00:20:40

    sorry, I mean the 55 f/1.2!


  3. christophe
    Mar 10, 2016 @ 03:38:15

    Hi here!
    Anyone any idea where to get a ring to convert the type 4 version non-ai to ai?


  4. Toby
    May 02, 2016 @ 02:06:58



  5. Charlie
    Jun 03, 2016 @ 08:54:54

    AFAIK to access aperture blades on 50 f/1.2, three lenses from the front must be removed from lens barrel


    • richardhaw
      Jun 03, 2016 @ 09:05:54

      Hi, Charlie. If i recall it, you can remove the front optics assembly in one piece and you can access the blades. But I think you have to remove the whole objective from the lens in order to access the 3 screws holding the retention ring itself. I may be wrong, I have a 50 1.2 dust cleaning post here somewhere, might be better to just reference that.


  6. DanWhye
    Jun 13, 2016 @ 04:24:14

    just bought a fungus ridden Zoom-Nikkor 43-86mm f/3.5.for cheap
    would really love to see how you dismantle it! thanks


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  11. Dejan Maletic
    Aug 02, 2017 @ 09:17:33

    I found very cheep nikon 50 mm, but the focus ring is not so smooth, and sometimes slips without resistance. Also from the lens I can hear rattling sound it seems that few balls from ball bearing are missing. Where i can find these small metal balls and what is the size of it?


    • richardhaw
      Aug 02, 2017 @ 09:19:58

      Hello. Bring one of the balls to a bearing shop as a sample. Some older 50mm have rattling bearings and that is NORMAL. For the helicoids, it sounds like it is all dry. You will need to clean and lubricate that up. Ric.


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  13. Daniel Jung
    Sep 07, 2017 @ 06:20:15

    Hi!! I have two NIKKOR 55 1.2 AI and NonAi lenses! One of them (AI) is just slightly off for infiniti focus. I see in your description that you stated that the brass ring is used to adjust focus. How do you use the brass ring to adjust focus? I’ve been studying your pictures but don’t see how to adjust focus with the brass rings. Thank you!!!! Your site is amazing! I will be donating soon!!!


    • richardhaw
      Sep 07, 2017 @ 07:24:40

      Hello, Daniel.
      The brass ring is used as a washer and shim to help you achieve infinity focus but that is not the only thing that does. For minor focusing adjustments, you will have to fiddle with the inner ring on the central helicoid or the screws in the focusing ring’s inner lip. Ric


  14. Daniel Jung
    Sep 07, 2017 @ 17:29:58

    Ah I see, so there is no way for me to just adjust the brass spacer to adjust infinity focus then? I would have to take apart the focusing ring, which would be a little bit intimidating. ThoughI I have taken apart a few lenses before, Tamron 18-50 2.8, Tokina 20-30 2.8 and Nikkor 50-200 kit lens they were only very minor fixes such as a broken mount. The Tamron 18-50 2.3 was to adjust focus slightly, which was easy to do since there was a small plastic spacer you could rotate to slightly adjust the front element after removing the front retainer ring. Well, I guess I will need to start purchasing a set of JIS screwdrivers! I spent the better part of 5 hours cleaning a used Nikon F film camera. The Nikon F is a thing of beauty.


    • richardhaw
      Sep 08, 2017 @ 01:56:05

      NEVER do anything to that brass ring. You can fix your focus by calibrating the focus ring and where it is attached. It requires a bit of work and is not an easy task because the ring underneath the focusing ring is glued so you will have to soak that ring in alcohol overnight to remove it. Alternatively, there are adjustment points under the inner lip of the focusing ring and this is what you should be looking at. Just make sure that your lens is not tampered or improperly put back. Ric.


  15. Daniel Jung
    Sep 08, 2017 @ 21:28:27

    Thank you! I will not do anything to the brass ring. I’ll look for the screws in the inner lip first and if that does’t work, I’ll have to buy a lot of alcohol! As an aside, I have two of these lenses, the 55 1.2 latest additions you have here with the white script “Lens Made In Japan” with the Blue and Green coatings and I also have the older serial number 201566 Nippon Kogaku branded lens 55 1.2. I read on one site that the last few years that they made the older lens before switching to the Nikon branded lens was the first lens that had multi coatings similar to or possibly the same as the S.C. lenses. In this article I read it seemed as if it was not definitive if the multi amber coatings were added to the lenses in 1969, though it mentions a Nikon brochure that states it’s the first lens that had multi coatings In which case I’m in luck. Mine has a very deep amber coating that is striking and beautiful. I’m reaching out to Mr. Nico Van Dijk with photos, since he seems to be the person to know and can add to the history of this amazing lens.


    • richardhaw
      Sep 09, 2017 @ 00:59:36

      Hello. I have made 2 guides for the 55/1.2 lenses, one for the metal one and another one for the rubber gripped one.
      I recall that the older one has an amber coating while the new one has a greenish hue. Ric.


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  20. Charlie
    Jun 12, 2018 @ 07:44:22

    Thanks for another great article, Richard!
    Got a late production version of 55 f/1.2 with completely stuck helicoid. Now its back to normal!

    By the way, i will be visiting Japan next week for a conference, do you know any good shop for tools in Tokyo?


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  22. huntace
    Jul 11, 2019 @ 18:31:34

    Hi rick. Recently I brought a Nikon 55mm f1.2 as same as the version in this post. But I have faced the veiling flare on the frame starting f2 and getting worse at 1.4 and 1.2. when at f2 the picture taking become soft and slight veiling. When at 1.2 or 1.4 the focus become very very soft and serious veiling flare on the whole frame. However it is sharp and good contrast starting from f2.8 . I have tried to disassembly to realign the spacer ring and blackening the edge of the rear elements ( due to same damage on the edge of the rear elements ) . But so far nothing helps. Do you have similar experiences or any suggestions on what to be taken next? Thanks and regards.


  23. Trackback: Repair: Nikkor 50mm f/1.2 Ai-S | Richard Haw's Classic Nikon Repair and Review
  24. Trackback: Repair: Nikkor 50mm f/1.2 Ai | Richard Haw's Classic Nikon Repair and Review
  25. Frank
    Jan 07, 2020 @ 23:41:38

    Hi There,
    I recently acquired an AI version of the 55mm f1.2 (#42xxxx). It’s in great condition except that my D850 does not recognize aperture f1.4; that is, it jumps directly from f1.2 to f2.0. There is a definite “stop” between f1.2 and f1.4 when I turn the aperture ring and I can physically see the aperture changing when I inspect the lens off camera so it seems that the indexing is slightly off. All the other apertures work correctly. It’s not the camera as I don’t have any problems with my similar 50mm 1.2 AIS. Has anyone on this site encountered similar indexing problems with the 55mm AI or other AI lenses? Is it better to live with it or attempt a repair?


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