Field Test - Nikon Nikkor Z MC 50mm f/2.8 Macro Lens Review
Nikon Nikkor Z MC 50mm f/2.8 is a compact, lightweight, and versatile macro lens for full-frame Nikon Z mirrorless cameras. Designed for close-up photography, it offers a 1:1 reproduction ratio and a minimum focusing distance of 16 cm. This field test provides a factual evaluation of its optical performance in real-world conditions.
Summary
- Technical specifications
- MTF charts and optical design
- Japanese maple leaf: bokeh and aperture rendering
- Close-up arum: localized sharpness
- Texture and contrast on hosta leaf
- Everyday objects: archive box
- Rose pistils: precision at very short distance
- Autofocus and macro usage
- Light loss in macro
- Ideal for slide digitization
- Conclusion
- FAQ
Technical specifications
| Mount | Nikon Z mount |
| Format | FX / 24 × 36mm |
| Focal length | 50mm |
| Maximum aperture | f/2.8 |
| Minimum aperture | f/22 |
| Optical construction | 10 elements in 7 groups (including 1 ED glass, 1 aspherical element, and a fluorine-coated front element) |
| Angle of view | FX: 47°, DX: 31°30' |
| Focusing system | Front focus |
| Minimum focus distance | 0.16 m from the focal plane |
| Max reproduction ratio | 1:1 (life-size) |
| Diaphragm blades | 9 (circular aperture) |
| Aperture range | At infinity: f/2.8 to f/22 - At 0.16 m: f/5.6 to f/32 |
| Coating | Fluorine coating |
| Filter size | 46mm (pitch: 0.75mm) |
| Dimensions (diameter × length) | Approx. 74.5mm × 66mm (from mount) |
| Weight | Approx. 260 g |
| Autofocus | Yes |
| Focusing | Auto and manual |
| Focus limiter switch | Two positions: FULL (∞ to 0.16 m) and 0.3 m to 0.16 m |
MTF charts and optical design
Japanese maple leaf: bokeh and aperture rendering
The first two images show a Japanese maple leaf photographed at close range and backlit. The subject is sharp and detailed, with smooth circular highlights in the background created by filtered light through the foliage. These perfectly round discs reveal the high quality of the lens's 9-blade circular aperture.
This soft and progressive bokeh rendering confirms that the Nikon Nikkor Z MC 50mm f/2.8 excels at handling background blur transitions, even wide open.
Close-up arum: localized sharpness and minimal depth of field
The black-and-white photo of an arum shows the extremely shallow depth of field at f/2.8. Only part of the inner petal is sharp, with the rest of the flower gradually fading into blur. This behavior is typical of macro lenses at wide apertures, but the Nikon Nikkor Z MC 50mm f/2.8 handles it smoothly and naturally.
The transition from sharp to soft areas is fluid, with no fringing or visible aberration, making it an excellent tool for soft-light floral compositions.
Texture and contrast on hosta leaf
In black and white, the photograph of a hosta leaf reveals outstanding textural accuracy. The micro-contrast is excellent, veins are pronounced but not exaggerated, and surface imperfections are clearly visible. The Nikon Nikkor Z MC 50mm f/2.8 excels in delivering detailed close-ups, ideal for botanical or still-life photography.
Everyday objects: archive box behind a grille
The photo of a "Contre-Types France" negative box, seen through a blurry foreground grille, highlights the lens’s ability to separate layers. The front grille is pleasantly out of focus without distraction, while the handwritten label and wood texture remain perfectly legible. The Nikon Nikkor Z MC 50mm f/2.8 allows for visually complex compositions without sacrificing clarity.
Rose pistils: precision at very short distance
The final color image focuses on the pistils of a rose. At extremely close range, the lens delivers surgical sharpness on the flower’s core, with a gentle bokeh on the petals. Color rendering is balanced and accurate, even with a mix of warm and pastel tones.
Autofocus and macro usage
Judging a macro lens solely on autofocus performance can be misleading. Between 30 cm and infinity, most lenses behave adequately. It’s at very close range that challenges arise: the closer the subject, the longer the extension of the optical path, which slows internal movement and decreases AF reliability.
In such conditions, it’s often better to switch to manual focus, especially for shooting insects, flower pistils, or water drops. If the camera isn’t perfectly stabilized—or if the subject shifts slightly (wind, vibration)—AF becomes unreliable regardless of the lens. AF-C with touch zone, for instance, quickly shows its limits: with just millimeters of depth of field, even a small movement ruins sharpness.
Many criticisms of the Nikon Z MC 50mm f/2.8’s AF come from lab-based reviews, which often ignore the realities of real-world macro shooting. In practice, focusing accuracy relies more on your technique (stability, lighting, subject behavior) than on test bench scores.
It's also worth noting that macro lens choice depends primarily on your working distance. A 50mm macro requires you to get very close—sometimes too close for skittish insects or delicate objects. If you need more space, opt for a 105mm to 200mm lens instead.
Personally, I’ve used the following lenses for macro work: 50mm f/1.4 Ai, 105mm f/2.8 Micro-Nikkor Ai, 80-200mm f/2.8 AF-S with extension tubes or PB-6 bellows, Sigma MACRO 105mm F2.8 EX DG OS HSM, Nikon 85mm f/2.8 PC-E, and on Z mount, the AstrHori 25mm f/2.8 2-5×. Each has its strengths and limitations. The Nikon Z MC 50mm holds its own—if you understand its use cases and constraints.
Light loss in macro: a normal optical effect
Of course, a macro lens like the Nikon Nikkor Z MC 50mm f/2.8 is subject to the laws of physics. The closer you focus, the longer the optical path becomes: this is known as extension factor. As this distance increases, less light reaches the sensor—even though the aperture remains physically unchanged.
At 1:1 magnification, for example, the camera may report an effective aperture of f/5.6 even though the lens is set to f/2.8. This is not an actual narrowing of the diaphragm, but rather an automatic exposure correction to compensate for the light loss caused by magnification. This phenomenon is well-known in film photography, where it had to be manually calculated using a meter (e.g., Sekonic L308, Minolta Autometer IIIF). In digital, the camera adjusts the exposure reading automatically.
Bottom line: at short macro distances, the aperture shown on your camera may increase, but this reflects only the transmitted light, not a mechanical aperture change.
Very good for slide scanning, more limited for negatives with borders
The Nikon Nikkor Z MC 50mm f/2.8 proves to be highly effective for reproducing 24x36 slides with a film duplicator such as the JJC FDA K-1. Its close focusing capability, strong central sharpness and very low distortion, which can easily be corrected using the lens profile in Lightroom, make it an excellent choice for scanning classic slides that fill the frame.
However, if you want to include the edge of the negative (the black border) and obtain perfectly straight lines right into the corners at a 1:1 magnification ratio, a slight pincushion distortion remains visible, even after software correction. In this very specific case, a dedicated 100-105mm macro lens designed for reproduction work, such as my Sigma MACRO 105mm F2.8 EX DG OS HSM or the Nikon Nikkor Z MC 105mm f/2.8 VR S, will be better suited thanks to its flatter field and even lower distortion.
For more general use, macro, close-up photography and slide scanning, the Nikon Nikkor Z MC 50mm f/2.8 remains an excellent compromise, compact, lightweight and very convenient to use on a Nikon Z mirrorless body.
To learn more about the different scanning methods, see the dedicated article: How to Scan Your Film Photos: Flatbed Scanner, Nikon Coolscan or Camera?, as well as my specific tutorial Digitizing Black and White Negatives with a Camera and Developing Them in Lightroom.
For the record, I initially used a Nikon Nikkor Z 50mm f/1.8 S bought second-hand, combined with extension tubes, to scan a batch of slides. It is an excellent lens, very sharp and well-corrected, but bulkier and heavier than the MC 50mm. It also overlapped with my Nikon Nikkor Z 35mm f/1.8 S (which I often use wide open) and my 24-120mm f/4 S (used in the mid-range). The Nikon Nikkor MC 50mm f/2.8 therefore seemed a better compromise for macro and close-up work, especially for film scanning.
Conclusion
The Nikon Nikkor Z MC 50mm f/2.8 is a precise, lightweight and well-built lens. It offers pleasant bokeh, smooth focusing, convincing sharpness in the in-focus area, and great versatility: macro, everyday objects, slide scanning and light film reproduction. It represents very good value for money for Nikon Z system users.
It can also efficiently fill the gap between a 14-30mm (or a 35mm) and a 70-200mm if you want to lighten your camera bag and leave a standard zoom such as a 24-70mm, 24-120mm or 28-75mm at home. A relevant choice for photographers who prioritise compactness without sacrificing image quality.
FAQ
Is the Nikon Z MC 50mm f/2.8 suitable for insect photography?
Yes, but you’ll need to get very close to your subject, which may scare off some insects. For more working distance, the 105mm macro is a better option.
Can it be used to digitize slides?
Yes, it’s a very good choice for digitizing 35mm slides thanks to its sharpness and low distortion.
Is it compatible with screw-in filters?
Yes, it uses 46 mm screw-in filters. Note that this is an uncommon size, so you may need a step-up ring if your kit uses larger filters.
Is the autofocus reliable in macro mode?
At very close distances, it’s best to switch to manual focus. The AF can become unreliable due to the extremely shallow depth of field.
Is there light loss at close focusing distances?
Yes, as with all macro lenses. At minimum distance, the effective aperture drops from f/2.8 to about f/5.6.
Is it a good choice for close-up photography?
Yes. It performs very well between 20 and 50 cm, delivering high detail rendering and smooth bokeh.
Should you choose this over the MC 105mm f/2.8?
It depends on your needs. The 50mm is more compact and lightweight, but the 105mm gives you more working distance and slightly better distortion control.
About the Author
Sebastien Desnoulez is a professional photographer specializing in architecture, landscape and travel photography. Trained in photography since the 1980s, he covered Formula 1 races and reported from around the globe before devoting himself to a more demanding fine art photography practice blending composition, light, and emotion. He shares his technical expertise through hands-on articles for passionate photographers, built on a solid background in film and digital photography.
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