This is where the lens was focused.
The 24-70 maintains very high performance from wide open on down to the bounding effects of diffraction.. The 16-35 and 28-70 are almost as good starting at f/4.
- At f/2.8, the 24-70 is a standout, showing crisp detail with outstanding contrast. The 17-35 shows ultra low contrast (haze), whereas the 28/2 and 28-70 show a very good, but low contrast image.
- At f/4, the 24-70 maintains its outstanding crispness. The 16-35 is excellent, but not as contrasty as the 24-70. The 17-35 is still hazy, th 28-70 is very similar to the 16-35, and and the 28/2 is very close to both.
- At f/5.6, the story is similar to f/4, with the 24-70, 16-35 and 28-70 all looking excellent. Tthe 17-35 crisps up, but its contrast is still slightly low. The 28/2 is now looking nearly as good as the better zooms.
- At f/8, all the lenses are very similar.
- Aperture f/11 dulls the brilliance of all the lenses just a bit.
Article continues for subscribers...
If you’re already a subscriber, CLICK HERE TO LOG IN
diglloyd Advanced Photography includes hundreds of pages of exclusive coverage and high resolution, Retina-grade example pictures detailing Canon and Nikon DSLR bodies and their lenses, with in-depth analysis of sharpness and contrast, color, bokeh, vignetting, distortion, MTF, and flare. Also included is a wealth of in-context technique and workflow insight. Since 2006, diglloyd Advanced Photography is the authoritative review and on-line reference for discerning Canon and Nikon shooters. Subscriptions cost $ per year.