Nikon AF-S NIKKOR 35mm f/1.4G Lens

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Personally, I believe that the future potential advantage of the focus by wire system far outweighs its current problems and limitations. so I believe that Nikon made the right decision by incorporating it into all Z lenses. With the focus by wire system, it is possible to not only improve autofocus speed and accuracy, but also to provide more fine-tuned control of focusing operations. In addition, since the focus ring is operated electronically, those who do not particularly care for manual focusing can reprogram it to adjust other camera settings such as camera aperture. NIKON Z 7 + NIKKOR Z 35mm f/1.8 S @ 35mm, ISO 3200, 1/80, f/1.8

The above is nothing new – Nikon’s published MTF for the Nikon 35mm f/1.8G clearly shows that it is supposed to be sharper than the Nikon 50mm f/1.4G when shot at the maximum aperture. Tipping the scales at exactly 600 grams, the Nikon AF-S Nikkor 35mm f/1.4G is a lot heavier - and also bulkier - than either the afore-mentioned MF Nikkor 35mm f/1.4 or the slower AF Nikkor 35mm f/2D. Coupled to the Nikon D700, as seen in the photo above, the lens doesn't look disproportionately huge, though. I have owned the F-mount version for many years now and have used it in many weddings to photograph wedding rings and other details, and it has never let me down. It is a very sharp lens that is capable of producing superb images with plenty of detail, even when using high-resolution cameras like the Nikon Z9 or the Nikon D850. NIKON D700 + 105mm f/2.8 @ 105mm, ISO 400, 1/200, f/4.0 It is important to note that Z-mount lenses are only designed to be used on Nikon’s Z-series cameras that have industry’s shortest flange distance of 16.0mm, which means that they cannot be adapted on any other camera system on the market today (see lens mounts explained for more information). NIKON Z 6 + NIKKOR Z 35mm f/1.8 S @ 35mm, ISO 100, 1/1600, f/2.8 Lens Handling and Build QualityThe extreme, extreme corners are still very good at f/1.4, and although a bit softer than the center, they somehow avoid chromatic aberration and coma/astigmatism almost entirely. We’ll get to those extreme corners in a bit. The bottom line? Here the Sigma 3 Art shows its softness, plus a slight bit of field curvature, which the Tamron doesn’t seem to have! Colors & Contrast As expected, vignetting, or darkening of the image at the edges, is noticeable with the lens wide open. But I was surprised that even f/8 or f/16 did not completely eliminate it. On the contrary, the dark corners remain pronounced at these apertures. So much so that in some photos, I had to use a clone stamp when editing the sky.

If you’re this type of photographer, then you might consider an alternative, as there are indeed a couple of ultralight 35mm primes for both Canon and Nikon that you can choose from.And here is another shot at f/2.8: NIKON D700 + 35mm f/1.4 @ 35mm, ISO 200, 1/200, f/2.8 Vignetting I guess my main question is, what lens would you recommend me investing in next, as far as a young, business professional wanting to start out and add another great and versatile lens to her bag?