But you still can get a good idea how they perform. The linear resolution of the D800/D810 sensor is 12% lower which should also give these older lenses a slight advantage in this comparison. Those lenses were shot on a 36MP D800/D810 and I adapted sharpening accordingly. I also inserted comparable shots from the Nikon 35mm f1.8G and the Tamron 35mm f1.8 VC at f1.8 and f4.0.
Nikon 35mm camera plus#
The following 100% crops show the new Nikon Z 35mm f1.8S from f1.8 down to f11 compared to the Zeiss 28mm f1.4 Otus at f1.8 and f4.0 plus the Nikon Z 24-70mm f4S at f4.0. Removal of lateral color aberrations is ON, longitudinal CA are not corrected.
So you will not see light fall-off in the corners. White-balance was adjusted to a neutral white and I did some exposure compensation to make the brightness of all crops match. Noise-reduction is set to 0, sharpening to 50/0.5/36/10, with no extra tone, color, or saturation adjustment. Processing was done in Lightroom 8/CRAW 11 from RAW to Adobe Color profile with the built-in lens profile applied. Let’s see how this theoretical performance of Nikon’s new Z Nikkor translates into real life results in the sharpness test based on Siemens-stars. The Zeiss Otus shows its hallmark performance where overall contrast and the reproduction of fine details stays almost the same across the full-fame sensor. The older Nikon has a distinct drop in resolution of fine details at 10mm image height and then again towards the extreme corner of a full-frame sensor. While Nikon displays the contrast-curves at 10 line-pairs/mm (in red) and 30 lp/mm (in blue) Zeiss displays the measured contrast-curve (which includes the effects from diffraction) at 10, 20 and 40 lp/mm (from top to bottom), which is a bit unusual.įrom the charts the new Nikon Z 35mm f1.8S should have a clear advantage over the older Nikon 35mm f1.8G.
I’ll show you the real-life performance at 4 mm (center), 13 mm (APS-C/DX-corner), and 20 mm (FF/FX-corner) on a 46MP Nikon Z7 body. The x-axis displays the distance from the optical axis (=center of the sensor) in mm. Higher values are better (more contrast) and the closer the line-pairs are together the less astigmatism (= resolution depends on the orientation of the test-pattern) the lens has. These MTF charts of the Nikon lenses show the computed lens-performance wide open without influence of diffraction. Let’s have a look at the theoretical performance of the new Nikon Z 35mm f1.8S first and compare it to the performance of the Nikon 35mm f1.8G and the Zeiss 28mm f1.4 Otus:Ībove: MTF Nikon 35mm f1.8G (left), Zeiss 28mm f1.4 Otus (right) Zeiss 28mm f1.4 Otus Longitudinal Chromatic Aberration (loCA)ġ00% crops, from top to bottom: f1.4, f2.0, f2.8 left = foreground, right = background It shows that even a lens designated “apochromatic” can still show some loCA: To put the results from the new Z Nikkor in perspective let’s have a look at the Zeiss 28mm f1.4 Otus. LoCA also clearly show up under real-life conditions as you can see in the following crop:Ībove: Nikon Z 35mm f1.8S at f1.8 100% crop The test also revealed that there is no focus shift to speak of at distances of 2m and farther away although the background sharpens up much faster than the foreground when the lens is stopped down. Nikon Z 35mm f1.8S Longitudinal Chromatic Aberration (loCA)ġ00% crops, from top to bottom: f1.8, f2.8, f4.0 left = foreground, right = background The new Nikon is no exception: it shows quite some loCA at f1.8 and f2.8. These show up as magenta coloration in the foreground and greenish hues in the background and are not easily corrected in post-processing. Lenses with focal ratios of f2.8 or larger are often prone to longitudinal color aberrations (loCA, a.k.a. Testing: Longitudinal Chromatic Aberration and focus shift
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