Prime in Bloom: A Portrait Trilogy Through the Nikon Z f/1.2 Lenses

Prime in Bloom, 85mm

I. Introduction

If you’d told me a year ago that the 35mm focal length would challenge my beloved 85mm for dominance in my portrait workflow, I’d have smiled politely and changed the subject. But then Nikon released its Z 35mm f/1.2 S—and something shifted. Dramatically. Prime in Bloom was born from that shift: a creative trilogy designed not as a lens review, but as an exploration of how three of Nikon’s flagship f/1.2 primes—a longtime favorite, a quiet workhorse, and a total game-changer—would reshape how I see, compose, and light a portrait.

I’ve owned the Z 50mm f/1.2 S since its debut and used it occasionally. The Z 85mm f/1.2 S quickly became my go-to lens for expressive, intimate portraiture. But the Z 35mm f/1.2 S opened an entirely new visual language—one I didn’t realize I needed. And while Nikon’s 135mm f/1.8 Plena certainly earns its place in my arsenal, this project belonged to the 1.2 trinity alone.

This article is both a visual essay and a reflective technical journal. It’s about lenses, yes—but more than that, it’s about perspective, presence, and how prime glass can change the way we tell a story, one frame at a time.

II. The Concept Behind Prime in Bloom

Prime in Bloom began as a question: What does it look like to see the same subject, in the same setting, through three radically different focal lengths—each wide open at f/1.2?

This wasn’t a lens test in the traditional sense. I wasn’t interested in edge sharpness or MTF charts. What I wanted to explore was how focal length shapes emotion—how a lens guides not just the frame, but the feeling within it. Spring in Northern California provided the ideal canvas: vibrant gardens, dappled sunlight, and just enough chaos in the environment to keep the images honest. I worked with one model, one stylist, and one makeup artist to create visual consistency, so that the lenses could speak in their own distinct voices.

Every image in Prime in Bloom was shot wide open at f/1.2—a creative constraint that invited intimacy and demanded precision. Shooting wide open wasn’t just about background blur; it was about observing how each lens handled falloff, contrast transitions, and color rendering at full aperture. It forced me to be intentional with framing, subject-to-background distance, and lighting.

For lighting, I leaned heavily on natural ambient light to shape the scenes. I supplemented that with a single Profoto B10X Plus to provide subtle, even fill. With the 85mm, I used a Phottix Raja Deep 80cm softbox, double diffused, to sculpt the light with focus and falloff—ideal for tighter compositions. For the 50mm and 35mm sessions, I switched to the Phottix Raja 105cm softbox—a larger, shallower modifier that produced a broader, softer light more appropriate for wider compositions and environmental framing.

The trilogy unfolded in sequence: first with the 85mm, then the 50mm, and finally the 35mm. But despite that order, Prime in Bloom evolved beyond chronology. It became a meditation on how focal length alters narrative—how it changes what you see, and more importantly, what you choose to include.

III. The Tools and Setup

While Prime in Bloom was conceived as a creative exploration, it was executed with technical discipline. The goal was to give each lens a fair and consistent platform—no complicated lighting setups, no staged environments, no artificial drama. Just the subject, the light, and the glass.

I used two cameras for this project: the Nikon Z9, which handled both the 85mm and 50mm sessions, and the Nikon Z8, which I paired with the 35mm. The sensors are identical, and the files are visually interchangeable—but the bodies offered slightly different handling experiences that matched the intent of each chapter. The Z9’s weight and grip grounded me for tighter, controlled compositions, while the Z8’s lighter footprint made the 35mm session feel more fluid and mobile.

Lighting remained consistent throughout. I relied primarily on natural ambient light, using it to set the mood and structure of each scene. To shape and control that light, I added just one strobe: the Profoto B10X Plus, typically positioned off-axis to the model and set to low output. The goal was never to dominate the scene, only to lift shadows gently and even out tonal balance across the skin and wardrobe.

I began each session by metering the ambient light, setting my base exposure accordingly. From there, I used Profoto TTL to establish the strobe’s output, then immediately switched to manual mode to lock in that exposure across the entire series. This ensured consistent lighting and allowed me to focus on directing and composing without chasing shifting output.

The modifier choices were deliberate. For the 85mm session, I used the Phottix Raja Deep 80cm parabolic softbox, double diffused. Its more directional quality gave me tighter highlight control and shadow falloff, especially useful for headshots and close-up compositions. For the 50mm and 35mm sessions, I switched to the Phottix Raja 105cm softbox—a larger, shallower modifier that produced a broader, softer light more appropriate for wider compositions and environmental framing.

Everything was shot handheld, on location, in a single public garden: Heather Farms Garden in Walnut Creek, California. No assistants. No reflectors. The entire shoot was built around responsiveness—being able to adapt as the light changed, as the model moved, and as each lens invited me to see differently.

IV. Chapter One – Pure Portraiture (Z 85mm f/1.2 S)

Chapter One: Nikon Z 85mm f/1.2 S — celebrating softness, depth, and dimensional rendering at f/1.2. There’s a reason the 85mm is a classic portrait lens—and for me, it’s more than just tradition. The Nikon Z 85mm f/1.2 S is the portrait lens I reach for when I want guaranteed excellence. It delivers exactly what I expect: crispness where it counts, and breathtaking bokeh that melts away the background into watercolor softness. This chapter wasn’t about discovery—it was about celebration.

I began Prime in Bloom with this lens precisely because I knew it would set the tone. The shots were almost exclusively upper body portraits, composed to highlight both subject and rendering. There was no need for full-length poses—this was about intimacy, closeness, and subtle gesture.

We shot in mid-afternoon, around 3:00 p.m., when the sun was still high enough to act as a strong backlight. Positioned behind the model, the sun provided natural hair light that framed her face in a luminous halo. The ambient light carried most of the scene, and I used a Profoto B10X Plus with a Phottix Raja Deep 80cm parabolic softbox, double diffused, to add subtle fill—just enough to retain texture in the skin and structure in the outfit.

Speaking of which: stylist Cassandra Santos created a handmade top for this shoot, inspired by the unfolding of spring flowers. The design featured oversized white petal-like elements and was paired with simple black tights. It wasn’t a purchased piece; it was crafted specifically for this session. That felt poetic—the lens didn’t just reveal beauty; it framed something carefully made.

Technically, the 85mm performed flawlessly. Shot wide open at f/1.2, it showed no trace of vignetting—a common trade-off in other fast primes. Autofocus, when paired with the Nikon Z9, was quick, accurate, and confident, even as I moved around handheld. And perhaps most importantly, the lens captured the warmth of the moment: small smiles, a playful glance, a softened gaze. It rendered those expressions not just with sharpness, but with presence.

What stood out to me most—though not unexpectedly—was how predictably excellent the 85mm f/1.2 was. It didn’t surprise me. It confirmed everything I already knew and loved about it. In the same way you trust a close friend to show up exactly when and how you need them, this lens did just that. It made the background disappear and the subject come forward with authority and softness at once.

🔗 View the full Chapter One gallery →
(www.davidfraser.photography/primeinbloom/chapterone)
 

V. Chapter Two – Balanced Beauty (Z 50mm f/1.2 S)

If the 85mm felt like a familiar embrace, the Z 50mm f/1.2 S felt more like a respectful handshake—reliable, elegant, but less emotionally charged. I’ve owned this lens since shortly after its 2020 release. It was the first of Nikon’s f/1.2 Z primes, and while it renders beautifully—with smooth bokeh, confident sharpness, and quick, reliable autofocus—it has always occupied a quieter place in my kit.

In fact, the 50mm focal length has never been my default. It’s versatile, yes, but I’ve historically used it only occasionally. Over time, I’ve cycled through multiple 50mm Z lenses: I began with the Z 50mm f/1.8 S, one of Nikon’s earliest Z-mount releases. Then came the 50mm f/1.2 S, which replaced it. Most recently, I picked up the lightweight Z 50mm f/1.4 (non-S) for times when I want something more compact. But the 50mm f/1.2 remains the most capable—and in Prime in Bloom, it finally had a chapter to call its own.

The lens performed well. Wide open, it produced clean separation, natural rendering, and consistent sharpness across the frame. Autofocus was quick and precise when paired with the Nikon Z9, even as I moved freely. The bokeh was smooth, if not quite as ethereal as the 85mm’s. And yet, it came with a minor caveat: color fringing. When shot at f/1.2, the lens is prone to chromatic aberration—particularly in backlit or high-contrast edges. It’s nothing unmanageable, and I corrected it easily in Capture One Pro, but it stood out as a technical note in a project otherwise defined by optical clarity.

From a creative standpoint, the 50mm lent itself to balanced, mid-frame compositions. I wasn’t shooting as tightly as with the 85mm, nor was I embracing as much of the environment as with the 35mm. This chapter felt more grounded, even-keeled, perhaps a touch quieter in tone. And I welcomed that. It served as a natural midpoint—both in terms of focal length and mood—between intimacy and atmosphere.

The styling for this chapter followed suit. Cassandra Santos selected an elegant, flowing blue gown that echoed the blooming season without competing for attention. Soft blue tulle moved easily, catching both wind and light—adding softness without distraction. Jennifer Taylor brought the look to life with expressive movement and grounded poise, adapting seamlessly to the slightly wider field of view the 50mm offered. Her ability to shift from subtle stillness to graceful motion gave this chapter a rhythm all its own.

Katya’s hair and makeup styling remained consistent and timeless throughout the trilogy, but it’s especially worth noting here. The way she emphasized natural highlights in Jennifer’s skin tone made the gentle fill light from the Phottix Raja 105cm softbox feel even more painterly in tone.

Of the three lenses, this one gave me the least number of surprises. But perhaps that’s part of its value: it’s the bridge, the balance, the in-between. It didn’t change how I think about portraiture, but it gave me room to appreciate its steadiness—and the way every member of the creative team brought quiet strength to this middle chapter.

🔗 View the full Chapter Two gallery →
(www.davidfraser.photography/primeinbloom/chaptertwo)
 

VI. Chapter Three – Environmental Elegance (Z 35mm f/1.2 S)

Evoto

If you had asked me five years ago whether I’d build an entire portrait series around a 35mm lens, I might have politely laughed. The focal length always felt… fine. Versatile, sure. But uninspiring. I owned the Z 35mm f/1.8 S, alongside Nikon’s other early f/1.8 Z primes, and while it earned its place in my bag, it never earned my affection. It’s been my walkaround companion on the Z6 III, but not much more.

So when Nikon added a 35mm f/1.2 S to their roadmap, I didn’t even take notice. By the time it was formally announced years later, I was mildly curious, but still not compelled. Then I saw some of Nikon’s promotional videos—subtle, beautiful, and unexpectedly affecting. Something shifted. I ordered the lens.

What happened next is hard to explain. The focal length hadn’t changed. But the feeling of the images had. The Z 35mm f/1.2 S delivers something almost ineffable: dimensional rendering, painterly softness, and a way of connecting subject to environment that feels both deliberate and dreamlike. By the time I shot Prime in Bloom, I knew this would become one of my go-to lenses.

Technically, it isn’t perfect. Shot wide open, the lens does exhibit vignetting, especially at the edges. But the effect was consistent and easily corrected in Capture One Pro, where I process all my RAW files. And in truth, some of that falloff added to the aesthetic—a gentle darkening that subtly guided the viewer’s eye.

Evoto

Creatively, this was the most expansive chapter of the series. The 35mm invited me to include more: more of the setting, more movement, more narrative. My compositions grew looser, more cinematic. The subject no longer stood apart from the environment—she existed within it.

Cassandra Santos once again brought vision to wardrobe, this time styling a bold red mini dress that she personally embellished for the shoot. She completed the look with striking white knee-high boots—a daring choice that played beautifully against the greenery and stone textures of our location. The styling was confident, punchy, and perfectly suited to the wider frame.

Katya matched the energy with a more assertive makeup approach: this was the only chapter in the trilogy to feature red lipstick, lending the images a touch of edginess that distinguished them from the prior sessions. The look remained fashion-forward, but with a bolder edge—precisely what the 35mm’s environmental style called for.

Jennifer Taylor, as always, adapted seamlessly. Her body language filled the frame rather than merely fitting within it. She engaged not just with the camera, but with the space around her. And that was the key.

Evoto

This lens repositioned the subject not just in space, but in context. It reminded me that portraiture isn’t always about compression and isolation. Sometimes, it’s about integration—how someone exists in a place, not just how they stand apart from it.

🔗 View the full Chapter Three gallery →
(www.davidfraser.photography/primeinbloom/chapterthree)
 

VII. Final Reflections

Prime in Bloom was never meant to be a review. It wasn’t about technical charts, lens rankings, or comparative scoring. It was a creative inquiry—an exploration of how focal length shapes not just what we see, but how we feel. As a portrait photographer who occasionally works in fashion, I’ve always been drawn to expression, light, and connection. This project pushed me to consider how the tools I choose affect the way those elements emerge.

Each of these lenses revealed something different. The 85mm f/1.2 S felt like a masterclass in portraiture. It rendered faces with grace and authority, melting away the background and elevating every nuance of gesture and expression. Holding that lens to my eye, I remember thinking: This is it. This is what a portrait lens should be.

Then came the 50mm—a focal length I’ve long respected but rarely celebrated. And yet, in this project, it quietly astonished me. There was a moment midway through the session where I paused and realized: I had forgotten how incredible this “normal” length can be. Its ability to harmonize subject and scene without calling attention to itself was almost poetic. Yes, it brought a bit of chromatic aberration at f/1.2, but it also brought perspective and clarity—both technically and creatively—that genuinely surprised me.

But it was the 35mm that stopped me in my tracks.

The Z 35mm f/1.2 S isn’t just a wider lens—it’s a wider world. Shooting with it stirred something I didn’t expect. While its f/1.8 sibling had always left me unmoved, this lens felt alive in my hands. It breathed. It rendered scenes with painterly softness and depth that felt more like memory than documentation. Vignetting? Sure. But what I saw through that viewfinder took my breath away. There was emotional resonance in nearly every frame—an almost cinematic invitation to see the subject not as isolated, but integrated. Present. Real.

I’ve been shooting with Nikon gear for over 20 years. I’ve watched bodies evolve, mounts change, and autofocus systems become smarter than I ever imagined. But through it all, what has never changed is this: Nikon lenses interpret light with honesty, nuance, and depth. Prime in Bloom reaffirmed that truth. It reminded me that while lenses may be technical instruments, in the right hands, they’re also emotional ones. And sometimes, the biggest surprises come when you let a lens not just frame your subject—but reframe your vision.

VIII. Creative Credits – Prime in Bloom

Model: Jennifer Taylor
@officialjennifertaylor

Hair & Makeup: Ekatarina Rychkova (Katya)
@katya.rich.makeup

Styling: Cassandra Santos
@angelshawdy

Lighting & Photography: Dr. David Fraser
@davidfraser.photography
www.davidfraser.photography

Gear Used
• Cameras: Nikon Z9 (85mm & 50mm) and Nikon Z8 (35mm)
• Lenses: Nikon Z 85mm f/1.2 S, 50mm f/1.2 S, 35mm f/1.2 S
• Lighting: Profoto B10X Plus
• Modifiers: Phottix Raja Deep 80cm, Phottix Raja 105cm
• Post-Processing: Capture One Pro (RAW conversion & editing), Adobe Photoshop 2025 (final retouching)

This project was photographed handheld, entirely on location, and shaped by natural light, seasonal bloom, and the quiet language of prime glass.

About the Author

Dr. David Fraser is a Bay Area–based photographer, professor, and public executive with a passion for visual storytelling and the transformative power of light. With decades of experience in higher education and public service, he balances his professional leadership with a thriving portrait and fashion photography practice rooted in both artistry and technical precision.

A longtime Nikon shooter with a strong foundation in Profoto lighting, David brings a methodical yet creative eye to his work—testing modifiers, lighting systems, and optical tools in real-world environments, both in studio and on location. He currently shoots with the Nikon Z9, Z8, and Z6 III.

Whether mentoring graduate students or crafting wide-aperture portraits in spring gardens, David sees photography as a way to explore presence, perspective, and emotional resonance. He shares his work and insights at www.davidfraser.photography and on Instagram at @davidfraser.photography.