Unless you’re shooting thin branches against a grey sky, chromatic aberration isn’t a problem in real life with this lens. The photo below is about the worst I’ve been able to document. I took this image with the lens set to f/2.8. I converted the photo from RAW in Nikon NX Studio, where I turned off all automatic corrections. The reasons to get this 35mm lens are if you are traveling light or prefer a small, fast, fixed wide lens over a slower, larger zoom. There is a very noticeable longitudinal chromatic aberration (which is the effect of color fringing in front of and behind the focused area) present, especially when shooting at large apertures. Once again take a look at the Lens Align Pro crop: NIKON D3S + 35mm f/1.4 @ 35mm, ISO 200, 1/320, f/1.4

This type of behavior is expected from large aperture lenses, especially when they are mounted on full frame cameras. Other Nikon 35mm lenses and the Zeiss Distagon 35mm f/2.0 also show heavy amounts of vignetting at maximum aperture. And speaking of the F-mount, even the Nikon 24-70mm f/2.8G lens isn’t bad. The main reason is center sharpness – while Nikon did make the new 24-70mm f/2.8E VR overall sharper compared to its predecessor, it was done at the expense of losing center sharpness, as I explained in detail in my Nikon 24-70mm f/2.8E VR review. The older Nikon 24-70mm f/2.8G is smaller, lighter and significantly cheaper than its newer brother, which is why I would personally just go with it. The biggest loss would be vibration reduction / image stabilization, which can be very useful when shooting in low-light conditions. However, you will need to decide for yourself whether it is worth paying extra for VR and ending up with a larger and heavier lens in your camera bag. NIKON D3S + 24-70mm f/2.8 @ 32mm, ISO 200, 1/250, f/8.0

With the lens wide open, you can see some heavy light fall-off in the corners and along the frame edges. Stopping down helps, although to completely get rid of this phenomenon, you will need to use an f-stop of f/5.6 or smaller. When mirrorless cameras first started to take over, many photographers expected both the cameras and the lenses to be smaller than those of traditional DSLRs. However, this expectation has only been partially fulfilled. Some lenses downsize, while others have stayed the same or grown. That’s why I was so surprised when I took the Pergear 35mm f/1.4 out of the box. Indeed, this is also where the Tamron steps ahead of the competition, once again. Color fringing/aberration and coma/astigmatism are impressively near-zero, which is very important when photographing certain things like nightscapes or cityscapes. Now, the Tamron SP 35mm f/1.4 Di USD is the first f/1.4 prime lens they’ve ever made, to the best of my knowledge. So, you might assume that it’s just an experiment to “dip their toes” into the highly competitive realm of f/1.4, however, you would be totally wrong. Tamron has made a bold statement with this lens: here’s the new champion of affordable (flagship, even) 35mm primes! For general travel photography, landscape photography, nightscapes, and other nature/outdoor photography, 35mm might compete with 28mm or 24mm for the title of “best lens for the job”. However, a 35mm is often a top choice for astro-landscape photographers who prefer to stitch high-megapixel panoramas, or travel & landscape photographers who prefer a traditional, medium-wide focal length that they can use for both landscapes and other types of travel portraiture, or in-your-face action shooting.

Does the Pergear render a more yellowish image than the Nikkors do (see e.g. the first shot of the bridge, comparing the distortion)?That’s unprecedented. I’m not sure exactly how it will play out in real-world shooting, but I’m really excited to see more images from this lens in the hands of die-hard cityscape/nightscape photographers! Color Aberration, Coma, Astigmatism, & Field Curvature The Nikon AF-S 35mm f1.4 lens features a Silent Wave Motor (SWM) that allows near-silent auto-focusing on all Nikon DSLR cameras. Importantly, this solution allows instant manual override even when the focus mode switch is in the M/A position. Focusing is fully internal, meaning the length of the lens always remains constant, and the front of the lens does not rotate on focus. This is good news for those who use polarisers or ND grads on a regular basis. Weight – the Nikon 35mm f/1.8G is about 80 grams lighter than the Nikon 50mm f/1.4G (200 grams vs 280 grams). Late 1980s ~ early 1990s AF cameras like the N90s, N70 and F4 will focus ju For Z-mount, Nikon does not yet have an f/1.4 version of its 35mm prime, but it does have an amazing Nikon 35mm f/1.8S. While this is almost one stop slower than the F-mount 35mm f/1.4, it still should work almost as well in most scenarios, especially with the additional stabilization provided in Nikon Z-cameras.

When stopped down, the Nikon 50mm f/1.4G clearly takes the lead – it is certainly sharper and has much less chromatic aberration. To use this on mirrorless, use the FTZ or FTZII adapter, on which it works great — or just get the Z 35mm f/1.8 instead. I’m glad I used the 35mm f/1.8G lens for this shot, since a 50mm would have been too long to capture enough of the sky.

Autofocus Performance and Accuracy

It works great on DX cameras, but you're paying a lot more than you need to, since for DX, the 35mm f/1.8 DX does exactly the same thing for one-third the price. It’s about the size and weight of the Canon 35mm f/1.4 mk2, which is just slightly larger than the Sigma 35mm f/1.4 Art. On a bigger DSLR, it feels absolutely massive compared to most mirrorless options. My 35mm lens gives me a slightly wider field of view than our typical visual attention. Our visual attention is around 55 °, not including peripheral vision, and the angle of view of a 35mm on a full frame camera body is 63 °.

We have been using the lens for over 8 months now and have been able to test several copies of it to make our review as comprehensive and accurate as possible. Below we will take a look at how the lens performs on Z-series cameras like the Nikon Z6 and Z7, discuss its ergonomics, features and optical characteristics, and compare it to its F-mount counterparts from Nikon and Sigma. Lens love is different than lens lust. You can lust after a new lens every day of the week. To build a loving relationship with a lens you must be committed to taking it out frequently and enjoying spending time with it. The lens features a distance scale complete with a DOF scale, although the latter is of extremely limited use, having markings for f/16 only. When it comes to autofocus performance, the Nikon 35mm f/1.4G behaves very similarly to the 24mm f/1.4G and other recently announced Nikon primes. The lens snaps into focus fairly well even in low-light situations, but the speed clearly lags behind the AF-D counterparts (see the AF performance comparison in the video). If you compare AF performance to the Nikon 14-24mm or Nikon 24-70mm lenses, you will see the difference right away – the latter autofocus faster. When the lens focuses, it virtually produces no noise, due to the Silent Wave Motor (SWM) technology in the lens. You will only hear a short lens snap when it gets to infinity and minimum distance marks. I prefer the 105 DC because of the weight of the 1.4E version (and I don’t do a lot of shots with it).The next on the list is one of my most favorite lenses for wedding photography – Nikon 50mm f/1.8G. We like it for four main reasons: it is sharp, lightweight, inexpensive, and the bokeh it produces is fairly good for a 50mm prime. If you want to upgrade a lot the Z-mount 50mm f/1.8S is quite a lot sharper than its F-mount brother. 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? What type of photographer are YOU? We’d really love to know, please leave a comment!) tamron SP 35mm f/1.4 Di USD | Compared To The Competition