The 25mm f/2.8 is a gem, though it has some drawbacks one has to be aware of for certain application:
- The maximum aperture of f/2.8 can be somewhat more difficult to work with in low light than its ƒ/2 sibling.
- It has more distortion than desirable for architectural work, along with a “wave” to it rather than a gently-sloping falloff;
- It has some lateral chromatic aberration visible on high-contrast edges;
- Its close-focusing optical performance is not well corrected (possible creative uses for very close range).
- It is closer to 26mm than 25mm (25.7mm exactly).
All of these issues were at first discouraging, a viewpoint that the I have now completely reversed: in spite of these issues, the 25mm is an admirable performer when used to make real images, offering a combination of imaging properties that rarely disappoint when taken as a whole. Generally speaking, this is due to high lens contrast, particularly at infinity focus.
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Since 2007, Diglloyd Guide to Zeiss is the authoritative reference and review for all of the Zeiss ZF.2 (for Nikon) and Zeiss ZE (for Canon) DSLR lenses, including the Otus line.
It includes hundreds of pages of exclusive coverage and high resolution Retina-grade examples, in-depth analysis of sharpness and contrast, color, bokeh, vignetting, distortion, MTF, and flare, and recommendations and practical usage tips.
Observe the nice differentation of foliage of the Zeiss image, and a pleasing overall vibrance