As photographers, we love to pretend we’re being sensible. We tell ourselves we need to choose between two lenses — one or the other, that’s it. We can’t justify owning both… at least, that’s what we say out loud. But the truth is we’re already quietly picturing both in the bag — it’s just a matter of timing and justification.
And that’s where the real tension lies: when you’re not choosing between kit lenses and overpriced exotics, but between two genuinely excellent primes — proper tools that could shape the look of your images for years. That’s exactly the position many Z shooters find themselves in when deciding between the Nikon Z 35mm f/1.8 S and the 50mm f/1.8 S.
I own both. I’ve shot both in real situations — travel, family, daily carry. In this article, I’m not just going to compare specs; I’m going to help you figure out which one will actually make the bigger impact first.
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Nikon Z 35mm 1.8 vs 50mm 1.8 – What the technical differences are in real life
Nikon Z 35mm f/1.8 S — Optical Performance
Wide open, the 35mm is sharp in the centre — sharp enough to define individual eyelashes if you’re close. There is a touch of vignetting at f/1.8, but it clears up quickly when stopped down and is easily corrected in post, so it’s not an issue in practice. The corners soften slightly at f/1.8, but from f/2.8 onwards they tidy up nicely.
In actual images, I’ve seen no trace of visible chromatic aberration, flare or distortion. Nikon has clearly put their premium coatings and optical recipe into these 1.8 primes — these are not cheap, compromised lenses pretending to be affordable primes. They are professional in everything but price and size.
Bokeh isn’t usually what people expect from a 35mm, but this lens surprised me. Out-of-focus areas are smooth, transitions are clean, and there’s no nervousness or distracting texture. There is a touch of cat-eye effect towards the edges, but it’s subtle and only noticeable if you go looking for it. For a 35mm f/1.8, the rendering is genuinely impressive.
Nikon Z 50mm f/1.8 S — Optical Performance
The 50mm takes everything the 35mm does well and pushes it further. It is sharper wide open — in fact, it’s one of the sharpest lenses I’ve owned at f/1.8. Like the 35mm, it shows a bit of vignetting at f/1.8, but again, it’s mild, clears up by f/2.8 and is trivial to correct. The centre is pin sharp, and the corners — if you care about corner sharpness at f/1.8, which I generally don’t — are also very strong.
Yes, it’s sharper than the 35mm wide open, but we’re talking about the difference between excellent and exceptional here. Stopping down adds a fraction more bite, but it’s already so strong at f/1.8 that it doesn’t really matter.
Like the 35mm, there are no issues with flare, chromatic aberration or visible distortion in real-world use. Nikon has opted for strong optical correction rather than relying on software profiles, and it shows. The bokeh is smooth and creamy, again with only a slight hint of cat-eye shape towards the edges. In terms of pure optical performance, this is one of the best lenses I’ve shot with — and that includes more exotic and expensive glass.
If you’re judging purely by optical performance, the Nikon Z 50mm f/1.8 S has the edge — it’s one of the sharpest lenses in the Z system and delivers slightly cleaner bokeh and corner sharpness wide open.
However, the 35mm f/1.8 S fights back with closer minimum focus, more natural context in the frame and equally solid correction of aberrations and distortion. Both vignette slightly at f/1.8, but it’s minor and easily fixed. Technically, these are two of Nikon’s best S-Line primes — the real difference reveals itself in how they make you shoot, not just how they test.
How These Lenses Change the Way You Shoot
On paper, 35mm and 50mm don’t seem far apart. In practice, they change your shooting behaviour in noticeably different ways.
The 35mm is a storytelling focal length. It encourages you to step in, to be physically present in the moment, and to place elements within your frame to create depth. It’s wide enough to give a sense of place, but not so wide that it distorts or feels forced. You can step back and take in a landscape, or lean in and document family life without feeling cramped. Movement is easier to work with thanks to the wider field of view, and for travel or everyday shooting, it feels like a very natural focal length for documenting life as it unfolds. With the right subject-to-background distance, it can absolutely deliver soft, pleasing backgrounds — but it’s not a portrait lens in the traditional sense.
The 50mm, by contrast, tells a slightly tighter story. It still has storytelling ability, but it trims away more of the surrounding context — think a weaver’s hands rather than a weaver in their environment. It naturally encourages you to look for details and gestures rather than entire scenes. It also opens up more portrait possibilities: you can isolate a subject from further away than you can with a 35mm, making half-body and full-body portraits feel more natural. This lens is bitingly sharp and its rendering has a beautiful clarity to it. It brings emotion forward in the frame, directing attention more forcefully to your subject. The perspective often feels like you are peering into a scene rather than being immersed in it.
Where the 35mm invites you into the scene, the 50mm lets you stand just back far enough to observe with intention. The 35mm can create depth, the 50mm can compress perspective.
So Which One Should You Buy First?
The title of this article is which one should you buy first, so let’s answer it clearly.
If you already know that you prefer shooting at 35mm or 50mm, then the choice is simple — choose the focal length that matches how you naturally see. Both lenses are good enough optically that you won’t make a wrong decision.
But if you’re unsure and this will be your first prime lens — and I’m assuming you already own a zoom like the 24–70mm f/4, 24–120mm f/4, or 24–200mm f/4-6.3 — then I’m not going to sit on the fence:
👉 Buy the Nikon Z 50mm f/1.8 S first.
Here’s why:
- It delivers a bigger visible jump in image quality over your zoom.
The difference between 50mm at f/4 and 50mm at f/1.8 is far more dramatic than 35mm at f/4 vs 35mm at f/1.8. You’ll feel the upgrade more. - Subject separation is more pronounced at 50mm.
Even with the same f/1.8 aperture, the compression and background blur at 50mm simply look more “prime-like” than at 35mm. - Your zoom already covers 35mm comfortably.
At 35mm, you’ll often be stopping down to f/5.6 or f/8 for depth of field anyway — right where your zoom is already working well. At 50mm, you’re much more likely to actually use f/1.8 wide open. - If you’re using a variable aperture zoom (like the 24–200mm f/4–6.3), the difference is even more dramatic.
At 50mm that zoom is probably closer to f/5 or f/5.6, — so dropping to f/1.8 on a prime feels like a real upgrade. At 35mm, the zoom is faster, so the jump doesn’t feel as significant. - And finally — it’s the cheaper of the two.
The Z 50mm f/1.8 S delivers a bigger perceived improvement for less money. That matters.
In short, the 50mm gives you more of that “prime lens look” straight away, and that’s exactly what people are hoping for when they step beyond a standard zoom for the first time.
When the 35mm f/1.8 S Makes More Sense as Your First Prime
The 50mm is the stronger first-prime choice for most photographers coming from a zoom — but there’s a specific type of shooter who will be better served by starting with the 35mm f/1.8 S instead.
You should buy the 35mm first if:
- You shoot in tighter spaces — family life around the home, documentary-style travel, small interiors, street work where backing up isn’t always possible.
- You prefer to feel “in” the scene rather than observing it. The 35mm keeps you physically closer to your subjects, which changes the energy of your images in a way that some photographers naturally connect with.
- You value context over compression. If you like to include environment, layers and storytelling elements rather than isolating a single subject, 35mm rewards that style better.
- You shoot movement or candid moments. The wider field of view is simply more forgiving, and it feels more responsive when documenting life as it unfolds.
The difference between the two lenses isn’t just technical — it’s philosophical.
50mm isolates; 35mm involves.
If you’re still finding your shooting style and want a prime that lets you experiment freely, the Nikon Z 50mm f/1.8 S is the best starting point. It hits the sweet spot between focal length, image quality and handling, and it’s one of the most affordable Nikon Z primes — which makes it a low-risk, high-reward upgrade.
The 50mm is also a very forgiving focal length. It flatters subjects, isolates cleanly and delivers that “prime look” with very little effort. There’s a reason photographers have recommended a 50mm as a first prime for decades — and nothing about these two Z lenses changes that advice.
Start with the 50mm, learn how it changes your images, and you’ll quickly understand what you’re missing — which makes choosing your second prime much easier. In my case, owning both has made complete sense. They do different jobs, create different types of images, and that’s exactly why both earn a place in my kit. And eventually, most Nikon Z shooters end up in the same place.
Whichever prime you decide to buy, you can find the latest pricing below: