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Nikon NIKKOR Z 14-30mm f/4 S Examples: Night Shooting (Nikon Z7)

Get Nikon NIKKOR Z 11-30mm f/4S and Nikon NIKKOR Z lenses at B&H Photo.

This page shows examples night shooting with the Nikon NIKKOR Z 14-30mm f/4 S. I love working with a ultra-wide zoom (11-24mm would be preferred though), and it seems particularly fun at night.

The Nikon Z7 does well focusing at f/4 at night—much better than the Panasonic S1R for example—the Z7 is smart enough to take its time and do it right and I felt that I could rely on its focus in most cases where it was too dark to make manual focus even feasible.

In diglloyd Mirrorless:

Nikon NIKKOR Z 14-30mm f/4 S Examples: Night Shooting

Includes images up to full camera resolution.

Toggle for black and white.

f9 @ 30.0 sec, ISO 31; 2019-06-19 21:32:48
[LACA corrected, distortion corrected, diffraction mitigating sharpening, push 2.15 stops, USM{8,50,0}, Enhance Details, +100 shadows]
NIKON Z7 + Nikon NIKKOR Z 14-30mm f/4 S @ 21.5mm

[low-res image for bot]
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Nikon NIKKOR Z 14-30mm f/4 S Aperture Series @ 30mm: Burgher (Nikon Z7)

Get Nikon NIKKOR Z 11-30mm f/4S and Nikon NIKKOR Z lenses at B&H Photo.

The series assesses performance of the Nikon NIKKOR Z 14-30mm f/4 S at 30mm at full body portrait range.

In diglloyd Mirrorless:

Nikon NIKKOR Z 14-30mm f/4 S Aperture Series @ 30mm: Burgher

Includes images up to full camera resolution from f/4 through f/11, plus crops.

f5.6 @ 2.5 sec, ISO 31; 2019-06-19 20:40:22
[distortion corrected, Enhance Details, LACA corrected]
NIKON Z7 + Nikon NIKKOR Z 14-30mm f/4 S @ 30mm

[low-res image for bot]

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Nikon NIKKOR Z 14-30mm f/4 S Aperture Series @ 30mm: Library at Dusk (Nikon Z7)

Get Nikon NIKKOR Z 11-30mm f/4S and Nikon NIKKOR Z lenses at B&H Photo.

The series assesses medium and far performance of the Nikon NIKKOR Z 14-30mm f/4 S at 30mm for overall performance at dusk.

In diglloyd Mirrorless:

Nikon NIKKOR Z 14-30mm f/4 S Aperture Series @ 30mm: Library at Dusk

Includes images up to full camera resolution from f/4 through f/9, plus crops.

I have to give the about $1297 Nikon NIKKOR Z 14-30mm f/4 S a lot of credit for outstanding visual impact—it reminds me of the Leica 16-35mm f/3.5-4.5 Super-Vario-Elmar-SL—the NIKKOR has a lot to offer even if it outer-zone sharpness is not quite as high as I would like. It is also a heck of a nice lens to work with in terms of size/weight and balance on the Nikon Z7.

f6.3 @ 13.0 sec, ISO 31; 2019-06-19 20:55:58
[LACA corrected, distortion corrected, pull 0.2 stops, +90 shadows, USM{8,50,0}]
NIKON Z7 + Nikon NIKKOR Z 14-30mm f/4 S @ 30mm

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Nikon NIKKOR Z 14-30mm f/4 S Aperture Series @ 15.5mm: Palm Tree (Nikon Z7)

Get Nikon NIKKOR Z 11-30mm f/4S and Nikon NIKKOR Z lenses at B&H Photo.

The series assesses close to medium range performance of the Nikon NIKKOR Z 14-30mm f/4 S at 15.5mm for overall performance at dusk with garish artificial lighting mixed with cool daylight.

In diglloyd Mirrorless:

Nikon NIKKOR Z 14-30mm f/4 S Aperture Series @ 15.5mm: Palm Tree

Includes images up to full camera resolution from f/4 through f/9, plus crops.

f4 @ 5.0 sec, ISO 31; 2019-06-19 20:52:20
[push 1.95 stops, +100 shadows, Enhance Details, LACA corrected, distortion corrected, "highlights-100"]
NIKON Z7 + Nikon NIKKOR Z 14-30mm f/4 S @ 15.5mm

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Nikon NIKKOR Z 14-30mm f/4 S Aperture Series @ 14mm: Courtyard View to Tower (Nikon Z7)

Get Nikon NIKKOR Z 11-30mm f/4S and Nikon NIKKOR Z lenses at B&H Photo.

The series assesses near-far performance of the Nikon NIKKOR Z 14-30mm f/4 S at 14mm for overall performance on a near-to-far scene typical of landscape use.

In diglloyd Mirrorless:

Nikon NIKKOR Z 14-30mm f/4 S Aperture Series @ 14mm: Courtyard View to Tower

Includes images up to full camera resolution from f/4 through f/11, plus crops and some interesting analysis about the behavior at 14mm.

f4 @ 0.5 sec, ISO 31; 2019-06-19 20:47:38
[distortion corrected, Enhance Details, LACA corrected]
NIKON Z7 + Nikon NIKKOR Z 14-30mm f/4 S @ 14mm

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Nikon NIKKOR Z 14-30mm f/4 S Aperture Series @ 24mm: Fountain by Library and Tower (Nikon Z7)

Get Nikon NIKKOR Z 11-30mm f/4S and Nikon NIKKOR Z lenses at B&H Photo.

The series assesses near-far performance of the Nikon NIKKOR Z 14-30mm f/4 S at 24mm for overall performance on a near-to-far scene typical of landscape use.

In diglloyd Mirrorless:

Nikon NIKKOR Z 14-30mm f/4 S Aperture Series @ 24mm: Fountain by Library and Tower

Includes images up to full camera resolution from f/4 through f/9, plus crops.

f6.3 @ 13.0 sec, ISO 31; 2019-06-19 20:58:52
[LACA corrected, Enhance Details, +60 shadows, distortion corrected]
NIKON Z7 + Nikon NIKKOR Z 14-30mm f/4 S @ 24mm

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Nikon NIKKOR Z 14-30mm f/4 S vs Nikon NIKKOR Z 24-70mm f/2.8 S @ 24mm: Mosaic (Nikon Z7)

Get Nikon NIKKOR Z 11-30mm f/4S and Nikon NIKKOR Z lenses at B&H Photo.

The series assesses the Nikon NIKKOR Z 14-30mm f/4 S at 24mm on a demanding planar target against the Nikon NIKKOR Z 24-70m f/2.8 S for comparison.

In diglloyd Mirrorless:

Nikon NIKKOR Z 14-30mm f/4 S vs Nikon NIKKOR Z 24-70mm f/2.8 S @ 24mm: Mosaic

Includes images up to full camera resolution from f/2.8 through f/11, plus crops.

f5.6 @ 1/6 sec, ISO 31; 2019-06-19 20:22:40
[distortion corrected, Enhance Details, LACA corrected]
NIKON Z7 + Nikon NIKKOR Z 14-30mm f/4 S @ 23mm

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My Recommendations for a Core Nikon System, Some with Deals

See my Nikon mirrorless wishlist.

Top notch gear for Nikon below.

These DSLR lenses can be shot on the Nikon Z7 with the Nikon FTZ lens adapter. I recommend goimg with the Nikon Z7 versus the Nikon D850 at this point, unless the goal is shooting only DSLR lenses.

The Sigma 28mm f/1.4 DG HSM Art is a stronger lens than the Nikon AF-S 28mm f/1.4E but a chore to carry. The Nikon 28mm is much more manageable in size and weight, and has a very nice rendering style. Ditto for the Nikon AF-S 105mm f/1.4E vs the Sigma 105mm f/1.4 DG HSM Art.

 


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Nikon NIKKOR Z 14-30mm f/4 S Aperture Series @ 19.5mm: MemChu (Nikon Z7)

Get Nikon NIKKOR Z 11-30mm f/4S and Nikon NIKKOR Z lenses at B&H Photo.

The series assesses near-far performance of the Nikon NIKKOR Z 14-30mm f/4 S at 19.5mm. It affords a good sense of the overall quality and depth of field achievable for this near/far scene, but also demands lens performance on a planar subject for half the frame.

In diglloyd Mirrorless:

Nikon NIKKOR Z 14-30mm f/4 S Aperture Series @ 19.5mm: MemChu

Includes images up to full camera resolution from f/4through f/11, plus crops.

f8 @ 1/10 sec IS=off, ISO 31; 2019-06-19 20:15:33
[LACA corrected, Enhance Details, distortion corrected]
NIKON Z7 + Nikon NIKKOR Z 14-30mm f/4 S @ 19.5mm

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Deals Updated Daily at B&H Photo

At a Glance: Why the 2019 iMac 5K Rocks for my Photo Work, and Why the GPU is Much Less Important than 8 Fast CPU Cores

Consult with Lloyd on configuring a high performance system including data integrity and backup and workflow practices.

More about the 2019 iMac 5K.

The 2019 iMac 5K I bought about 8 weeks ago is the best Mac for photography and my other work that I have ever used. Simply terrific! I don’t know yet, but I suspect that for my usage, it will be competitive with the new Mac Pro and maybe even faster, at a fraction of the price.

2019 Apple 27" iMac 5K 3.6 GHz / 8GB / 2TB / Radeon Pro Vega 48 with 128GB OWC memory.

Below, one can see at a glance that a GPU is a waste of money for much of my work—it hardly gets used except when doing Enhance Details and that usage is intermittent. What do get used are the eight CPU cores (16 virtual cores). This graph over 10 minutes or so of my work in Photoshop and Zerene Stacker.

2019 iMac 5K that Lloyd uses for photography and everything (plus 128GB OWC memory)

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Leica 90mm f/2 APO-Summicron-SL Aperture Series: Huge Pine Among Aspen (Panasonic S1R)

Get L-Mount lenses at B&H Photo.

See also this Huge Pine Among Aspen with the Leica 75mm f/2 APO-Summicron-SL ASPH.

This series is with the 90/2 APO. This series was shot after I (finally) understood the focus instability problem with the Leica 75/2 and achieves as good a result as possible.

In diglloyd L-Mount Mirrorless:

Leica 90mm f/2 APO-Summicron-SL Aperture Series: Huge Pine Among Aspen

Images at up to 125 megapixels plus crops along with extensive commentary. The imaging quality is spectacular. I’d love to own this extraordinary about $5150 lens in spite of its focusing instability.

f2.8 @ 1/8 sec Multi-Shot HighRes, ISO 50; 2019-06-09 19:49:07
[location “Lee Vining Canyon”, altitude 6800 ft / 2073 m, 63°F / 17°C, Enhance Details, +25 shadows, push 0.1 stops, LACA corrected, distortion corrected]
Panasonic S1R + Leica 90mm f/2 APO-Summicron-SL ASPH

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Leica 75mm f/2 APO-Summicron-SL Examples in Mountains (Panasonic S1R)

Get L-Mount lenses at B&H Photo.

These examples explore the world-class optical performance of the Leica 75mm f/2 APO-Summicron-SL ASPH when used on the Panasonic S1R in Multi-Shot High-Res mode. I wanted to see if I could obtain high sharpness images near dusk, and just how much detail could be captured in subjects that have more detail than the camera can normally faithfully record.

Leica 75mm f/2 APO-Summicron-SL Examples: Mountains

Images at up to 141 megapixels. Prepare to be impressed.

f2.8 @ 1/100 sec Multi-Shot HighRes, ISO 50; 2019-06-05 20:12:15
[location “Hwy 120 East”, altitude 7050 ft / 2149 m, 60°F / 15°C, push 0.8 stops, +100 shadows, Enhance Details, distortion corrected, LACA corrected, USM{8,50,0}]
Panasonic S1R + Leica 75mm f/2 APO-Summicron-SL ASPH

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Leica 90mm f/2 APO-Summicron-SL Examples at Dusk in Multi-Shot High-Res Mode (Panasonic S1R)

Get L-Mount lenses at B&H Photo.

These examples explore the world-class optical performance of the Leica 90mm f/2 APO-Summicron-SL ASPH when used on the Panasonic S1R in Multi-Shot High-Res mode. I wanted to see if I could obtain high sharpness images near dusk, and just how much detail could be captured in subjects that have more detail than the camera can normally faithfully record.

Leica 90mm f/2 APO-Summicron-SL Examples: Natural Subjects at Dusk

Images at up to 141 megapixels. Prepare to be impressed.

f2 @ 1/250 sec Multi-Shot HighRes, ISO 50; 2019-06-05 20:17:14
[location “Hwy 120 East”, altitude 7050 ft / 2149 m, 60°F / 15°C, Enhance Details, USM{8,50,0}, LACA corrected, distortion corrected, push 1.45 stops]
Panasonic S1R + Leica 90mm f/2 APO-Summicron-SL ASPH

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f2 @ 1/6 sec Multi-Shot HighRes, ISO 50; 2019-06-07 19:43:38
[location “Mono Craters”, altitude 7600 ft / 2316 m, 60°F / 15°C, LACA corrected, Enhance Details]
Panasonic S1R + Leica 90mm f/2 APO-Summicron-SL ASPH

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Leica 75mm f/2 APO-Summicron-SL Focus Stacking in Multi-Shot High-Res Mode, Plus HighRes Exmples (Panasonic S1R)

Get L-Mount lenses at B&H Photo.

These examples explore the world-class optical performance of the 75mm f/2 APO-Summicron-SL ASPH when used on the Panasonic S1R in Multi-Shot High-Res mode for focus stacking.

Leica 75mm f/2 APO-Summicron-SL Examples: Focus Stacking in Multi-Shot High-Res Mode

f8 @ 1/30 sec, ISO 50; 2019-06-07 13:26:22
[location “Mono Lake”, altitude 6400 ft / 1951 m, 75°F / 23°C, focus stack 2 frames, distortion corrected, USM{8,50,0}, LACA corrected]
Panasonic S1R + Leica 75mm f/2 APO-Summicron-SL ASPH

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Get up to 16x more storage and 2x the speeds of the original drive

Several Leica SL Lenses are Second to None and Ideal for Multi-Shot High-Res Mode, but...

I am finishing up my coverage of the Leica 75mm f/2 APO Summicron-SL ASPH and the Leica 90mm f/2 APO Summicron-SL ASPH in the next few days. I cannot afford them (I do want them) but there has been little reaction among my readership, so I don’t know if I’ll cover them again for a while.

Speaking in optical terms, I say without any reservation that the Leica 75/2 APO SL and Leica 90/2 APO SL are among the finest lenses I have ever tested.

While I expect the same of the Leica 35mm f/2 APO Summicron-SL ASPH, I have not yet tested it, as it is back-ordered. If it behaves like the 75mm and 90mm it will be a big winner, if like the 50/1.4 SL then it would be problematic.

Get L-Mount lenses at B&H Photo.

Were I shooting for myself at this juncture, and were money a non-issue, I’d be buying all three and shooting them on the Panasonic S1R for landscape and all static subjects as my go-to system, because when shot in Multi-Shot High-Res mode, everything else on the market today looks like a crappy downgrade. The Leica 16-35mm f/3.5-4.5 Super-Vario-Elmar-SL ASPH also for its range, though I have reservations about its performance at the wide end. The Leica 50/1.4 SL no—too many behavioral issues.

Please buy through links on this site when you buy anything!

Concerns about Leica SL lenses

Image quality aside , I have serious concerns about Leica SL lenses.

First, the unstable focus issue discussed in Unstable Focus: Orange Pine Tree Trunk is a concern. Perhaps Leica can fix it in firmware (but how does one update lens Leica SL lens firmware on a Panasonic S1R?). But since I now know how to deal with the unstable focus as explained in Panasonic S1R: Notes on Focusing in HighRes Mode, I can work with the lenses, and the results are stunning in HighRes mode. I still blanche at the wasted time and effort and damaged images from the problem but that’s water under the bridge.

Second and more worrisome*, reliability and build quality make me frown with concern, particularly internal parts and AF motor, which necessarily implicates service response time and cost, and warranty. I would like to see the quality of of the Leica SL internal parts are (teardown), and I’d like to see at least a five (5) year full warranty along with US facilities for rapid turnaround (or a loaner while being serviced).

* Multiple highly credible sources have told me incroyable things about Leica S build quality and repairs, and my own experience makes me wary.


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Leica 75mm f/2 APO-Summicron-SL Aperture Series: Natural Bonsai Above Beaver Pond (Panasonic S1R) [updated with reader comments]

Get L-Mount lenses at B&H Photo.

This aperture series looks at imaging performance from f/2 through f/8 on the Panasonic S1R in Multi-Shot High-Res mode. It was shot before understanding the unstable focus behavior, but is still impressive nonetheless. It is less about analysis than about showing off the potential of the Leica 75mm f/2 APO-Summicron-SL ASPH for ultra high resolution imaging.

In diglloyd L-Mount Mirrorless:

Leica 75mm f/2 APO-Summicron-SL Aperture Series: Natural Bonsai Above Beaver Pond

Images at up to 125 megapixels. The lighting was lousy, but the detail and freedom from digital artifacts is spectacular.

f8 @ 0.5 sec, ISO 50; 2019-05-29 19:50:08
[location “Lundy Canyon”, altitude 8250 ft / 2515 m, 55°F / 12°C, Enhance Details, LACA corrected, distortion corrected]
Panasonic S1R + Leica 75mm f/2 APO-Summicron-SL ASPH

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Jason W writes:

Even though I consider myself openly hostile to Leica's antics, the High Res Bonsai image on the 75mm f2 APO is the definition of excellence in draw style. Smooth while still being detailed. It's what I always liked about large format and it's a look different look vs the Zeiss lenses. A lot of Leica stuff I see looks frothy but this is superb.

DIGLLOYD: indeed, the Leica 75mm f/2 APO Summicron-SL ASPH and the Leica 90mm f/2 APO Summicron-SL ASPH I can say without an reservation whatsoever (but speaking optically only!) two of the finest lenses I have ever used. I expect the same of the Leica 35mm f/2 APO Summicron-SL ASPH, which I am eager to test, but my order/loaner at B&H has been back-ordered a long time. Perhaps it will show up in August with a little luck, or if Leica is reading this and cares to send me one.

I have several concerns about Leica SL lenses: the unstable focus issue discussed in Unstable Focus: Orange Pine Tree Trunk is a concern, but I now know how to deal with it as explained in Panasonic S1R: Notes on Focusing in HighRes Mode.

A key concern about Leica SL lenses , and based on too many credible sources telling me incroyable things about Leica S build quality as well as my own experience, reliability over time should be a concern, particularly internal parts and AF motor, which necessarily implicates service response time and cost, and warranty. I can see pending $5K on a Zeiss Otus which should last forever barring physical damage, but Leica SL lenses make me frown with reliability concerns. I would like to see the quality of of the Leica SL internal parts are (teardown), and I’d like to see at least a five (5) year full warranty along with US facilities for rapid turnaround (or a loaner while being serviced).


Deals Updated Daily at B&H Photo

Nikon/Canon/Sony Image Quality SUCKS vs Multi-Shot High-Res Mode — Golden Age of Photography Makes me Gripe that Best Ever Cameras Could be Way Better!

See my L-mount mirrorless wishlist and Leica M wishlist.

We are in the golden age of photography, which naturally makes me so eager about what can be achieve with computational photography that an existence proof of field-usabble computational photography makes me frustrated that it exists on only one camera.

For some, the golden age of photography means the ease of the iPhone and its computational photography including panoramas, multi-lens integration into one image, and other super easy-to-use goodies. The iPhone disapoints severely unless I shoot RAW/DNG where it does quite well for what it is, but it falls flat as a general tool for numerous reasons.

For me, the golden age of photography excites because of technologies Multi-Shot High-Res Mode in real cameras, and because so much more is possible. I chafe at the delay and sparse 'delivery'.

* iPhone JPEGs are garbage (this need not be so!), with massive smearing-away of detail and outrageous posterization which makes images hyper brittle for 'post'—fine for Instagram of course, at postcard size.

Computational photography with Multi-Shot High-Res Mode

Back in late April in Thoughts on Ultra High Resolution Imagery with Multi-Shot High-Res Mode, I was feeling enthusiastic about Multi-Shot High-Res mode. This post updates my thoughts.

Latest thoughts

Here in June when I see a Nikon Z7 or Sony A7R III image now, as I have over and over with recent published images, I am gobsmacked that by comparison, the standard Bayer matrix capture quality with Nikon/Canon/Sony is CRAP compared to what is possible with Multi-Shot High-Res mode. It doesn’t matter to me that some images need to be taken in single-shot mode; I can do that when necessary. The point is that so many images I make could benefit tremendously from Multi-Shot High-Res mode. Except that Nikon and Canon and Sony have no such mode. Sony’s pixel shift is worthless in the field; every time I try it the checkerboarding ruins the image.

These Sony/Nikon/Canon cameras lacking HighRes mode grate on me in delivering images with all sorts of digital artifacts free of real per-pixel detail—the images they produce are noisy, pixellated, brittle, artifacted approximations of what is actually possible. They suck.

Panasonic has figured out computational photography well enough to deliver the most stunningly useful feature (in terms of image quality) that I have ever seen in a digital camera. So I hope it is not patented somehow, precluding these other players from implementing it.

I don’t really want to buy a Panasonic S1R because it’s all about the lenses. What I want is or* Nikon and Canon and Sony to get their shit together and implement Multi-Shot High-Res mode as good or better than Panasonic. Nor will this feeling change if we see a 70MP Sony A7R IV—it is just not going to compete.

* Either, or, all.

See my April 25 post for more thoughts.

Claude F writes:

I’ve been reading the Multi-Shot High-Res mode reviews. Your observations regarding detail, in my case Sony, are spot on. The disappointment with the current crop of camera and lenses is just that a disappointment.

Multi shot interests me but I can’t see buying a camera that does not have the glass to go with it. If I take a single shot backup and have to use the single shot and the single shot does not cut it quality wise due to an inferior lens, that’s something I’m not going to trust and certainly not going to purchase. If camera, lens, multi shot worked reliably that would be a hands down game changer. Until then, stitching, take a look at the new Hasselblad.......

DIGLLOYD: based on past conversations, Claude prefers something in the ~35mm range. On the assumption that the Leica 35mm f/2 APO-Summicron-SL ASPH will satisfy like its 75mm and 90mm siblings, and that the focus instability workaround* applies as with the 75mm and 90mm, the Panasonic S1R Multi-Shot High-Res mode ought to please Claude like no digital camera beyond measure.

The S1R does have the glass to go with it—the Leica SL lenses. If a lens can deliver for Multi-Shot, then it delivers just as well for single shot, to the extent that that the single-shot Bayer matrix capture delivers. If the lens is disappointing in single shot, then it’s a non-starter for MultiShot.

I can say without an reservation whatsoever that in optical terms the Leica 75mm f/2 APO Summicron-SL ASPH and the Leica 90mm f/2 APO Summicron-SL ASPH are two of the finest lenses I have ever used. I expect the same of the Leica 35mm f/2 APO Summicron-SL ASPH, which I am eager to test, but my order/loaner at B&H has been back-ordered a long time.

A key concern about Leica SL lenses , and based on too many credible sources telling me incroyable things about Leica S build quality as well as my own experience, reliability over time should be a concern, particularly internal parts and AF motor, which necessarily implicates service response time and cost, and warranty. I can see pending $5K on a Zeiss Otus which should last forever barring physical damage, but Leica SL lenses make me frown with reliability concerns. I would like to see the quality of of the Leica SL internal parts are (teardown), and I’d like to see at least a five (5) year full warranty along with US facilities for rapid turnaround (or a loaner while being serviced).

* See Unstable Focus: Orange Pine Tree Trunk and how to deal with it in Panasonic S1R: Notes on Focusing in HighRes Mode.

Actual pixels crop from 187 megapixel image
f8 @ 1/4 sec Multi-Shot HighRes, ISO 50; 2019-04-24 19:21:57
[location “Lee Vining Canyon”, altitude 7400 ft / 2256 m, 60°F / 15°C, LACA corrected]
Panasonic S1R + Zeiss Milvus 135mm f/2

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2019 iMac 5K or iMac Pro?

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Sony 135mm f/1.8 GM Aperture Series: Rotten Tree Trunk (Sony A7R III)

Get Sony 135mm f/1.8 GM at B&H Photo.

This series looks at the Sony FE 135mm f/1.8 GM from f/1.8 through f/11 at close range. At this range there is very little depth of field even at f/11, so the series includes a 7-frame focus stack at f/9, showing off what is possible with this world-class performer.

In diglloyd Mirrorless:

Sony 135mm f/1.8 GM Aperture Series: Rotten Tree Trunk (Sony A7R III)

Includes images up to full camera resolution from f/1.8 through f/11.

f5.6 @ 0.8 sec IS=off, ISO 50; 2019-06-08 19:59:26
[location “Mono Craters”, altitude 7600 ft / 2316 m, 58°F / 14°C, Enhance Details, LACA corrected]
Sony A7R III + Sony FE 135mm f/1.8 GM

[low-res image for bot]

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Sony 135mm f/1.8 GM Examples: Mono Craters (Sony A7R III)

Get Sony 135mm f/1.8 GM at B&H Photo.

This page puts the Sony FE 135mm f/1.8 GM to use for outdoor images. The 135mm focal length offers excellent perspective compression which stacks up near/far detail for an effect that shows the curves in road or landscapes.

In diglloyd Mirrorless:

Sony 135mm f/1.8 GM Examples: Mono Craters (Sony A7R III)

Includes images up to full camera resolution.

I also look at flare shot towards the sun:

Sony 135mm f/1.8 GM Examples: Flare

f8 @ 2.0 sec IS=off, ISO 50; 2019-06-08 20:24:55
[location “Hwy 120 near Mono Craters”, altitude 7600 ft / 2316 m, 58°F / 14°C, Enhance Details, LACA corrected]
Sony A7R III + Sony FE 135mm f/1.8 GM

[low-res image for bot]
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Nikon NIKKOR Z 14-30mm f/4 S vs Nikon NIKKOR Z 24-70mm f/2.8 S @ 30mm: Mosaic (Nikon Z7)

Get Nikon NIKKOR Z 11-30mm f/4S and Nikon NIKKOR Z lenses at B&H Photo.

The series assesses the Nikon NIKKOR Z 14-30mm f/4 S at 30mm on a demanding planar target against the Nikon NIKKOR Z 24-70m f/2.8 S for comparison.

In diglloyd Mirrorless:

Nikon NIKKOR Z 14-30mm f/4 S vs Nikon NIKKOR Z 24-70mm f/2.8 S @ 30mm: Mosaic

Includes images up to full camera resolution from f/2.8 through f/11, plus crops.

f4 @ 1/15 sec, ISO 31; 2019-06-19 20:17:13
[distortion corrected, Enhance Details, LACA corrected]
NIKON Z7 + Nikon NIKKOR Z 14-30mm f/4 S @ 30mm

[low-res image for bot]
Upgrade Your Mac Memory
At much lower cost than Apple, with more options.
Lloyd recommends 64GB for iMac or Mac Pro for photography/videography.

Nikon NIKKOR Z 14-30mm f/4 S Distortion at 14mm, 19.5mm, 30mm

Get Nikon NIKKOR Z 11-30mm f/4S and Nikon NIKKOR Z lenses at B&H Photo.

Requiring software distortion correction guarantees that the final image can never achieve full sensor resolution in at least some areas of the frame, damaging sharpness and micro contrast in the critical central area for pincushion distortion, and damaging it in the outer zones for barrel distortion. Is that the “ultimate in optical image quality”, as per Nikon’s brochure?

When the distortion is strong enough, it isn’t even viable to find a raw conversion workflow that can (somehow) disable the EXIF flag that requires distortion correction; it’s just too awful. Such as at 14mm, below.

The page looks at optical distortion for the Nikon NIKKOR Z 14-30mm f/4 S at 14mm, 19.5mm, and 30mm, showing the uncorrected and corrected image from distortion correction, along with analysis of the loss in sharpness and micro contrast.

In diglloyd Mirrorless:

Nikon NIKKOR Z 14-30mm f/4 S Distortion

This performance of the 14-30mm f/4 along with that of all the other Nikon NIKKOR Z lenses shows that Nikon has made an intentional systematic tradeoff in optical design for excellence in most areas (particularly color correction) by sacrificing the most important area of all for many uses: sharpness. All while claiming optical excellence including near-zero distortion. From Nikon’s PDF lens brochure “NIKKOR-Z-Brochure.pdf”, this non-sequitur:

The ultimate in optical image quality... Less Distortion
Even at their widest apertures, NIKKOR Z lenses show virtually no distortion...

I don’t have an issue with a company making design decisions. But I find outright falsehoods unacceptable.

Contrast that to the Canon RF 50mm f/1.2L, Canon RF 85mm f/1.2L and the Canon RF 28-70mm f/2L designs, which have extremely low optical distortion along with ultra high performance—clearly pro-oriented. The two strategies are far apart; Canon’s design approach is forward-looking and results in lenses of higher cost but of long-term satisfaction, but Nikon seemingly is not targeting professional use.

Distortion (uncorrected) at 14mm for Nikon NIKKOR Z 14-30mm f/4 S
f5.6 @ 1/5 sec, ISO 31; 2019-06-19 20:27:10 [LACA corrected]
NIKON Z7 + Nikon NIKKOR Z 14-30mm f/4 S @ 14mm

[low-res image for bot]
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Nikon NIKKOR Z 14-30mm f/4 S Aperture Series @ 14mm: Mosaic (Nikon Z7)

Get Nikon NIKKOR Z 11-30mm f/4S and Nikon NIKKOR Z lenses at B&H Photo.

The series assesses of the Nikon NIKKOR Z 14-30mm f/4 S at 14mm on a demanding planar target. The main point of interest here is sharpness, but color rendition is also a concern.

In diglloyd Mirrorless:

Nikon NIKKOR Z 14-30mm f/4 S Aperture Series @ 14mm: Mosaic

Includes images up to full camera resolution from f/4 through f/11, plus crops.

f5.6 @ 1/5 sec, ISO 31; 2019-06-19 20:27:10
[distortion corrected, Enhance Details, LACA corrected]
NIKON Z7 + Nikon NIKKOR Z 14-30mm f/4 S @ 14mm

[low-res image for bot]

Nikon NIKKOR Z 14-30mm f/4 S Aperture Series @ 14mm: Three Paths at Night (Nikon Z7)

Get Nikon NIKKOR Z 11-30mm f/4S and Nikon NIKKOR Z lenses at B&H Photo.

The series assesses near-far performance of the Nikon NIKKOR Z 14-30mm f/4 S at 14mm. It affords a good sense of the overall quality and depth of field achievable for this near/far scene.

In diglloyd Mirrorless:

Nikon NIKKOR Z 14-30mm f/4 S Aperture Series @ 14mm: Three Paths at Night

Includes images up to full camera resolution from f/4 through f/11, plus crops.

f6.3 @ 15.0 sec, ISO 31; 2019-06-19 21:07:42
[distortion corrected, Enhance Details, LACA corrected]
NIKON Z7 + Nikon NIKKOR Z 14-30mm f/4 S @ 14mm

[low-res image for bot]

Deals Updated Daily at B&H Photo

Focusing Zeiss DSLR Lenses For Peak Performance, PART ONE: The Challenges

Get Nikon NIKKOR Z 24-70mm f/2.8 S and Nikon NIKKOR Z lenses at B&H Photo.

One thing striking to me is the concern with gear, particularly lens performance, but the elephant in the room sees much less attention and interest: shot discipline and general ways of making sharp images. With high-resolution digital, shot discipline and technique and focus stacking are more important than most lens differences.

From lenspire.zeiss.com, February 2016.

Focusing Zeiss DSLR Lenses For Peak Performance, PART ONE: The Challenges

Focusing Zeiss DSLR Lenses For Peak Performance PART TWO: Tips and Best Practices for Sharply Focused Images

All Lenspire articles by Lloyd.

Below, one of serveral videos from that article.

Video: Introduction to focus and related issues

Third-Party Lenses for Nikon Z Mirrorless and Canon EOS R Mirrorless

Get Nikon NIKKOR Z 24-70mm f/2.8 S and Nikon NIKKOR Z lenses at B&H Photo.

Sony has won the mirrorless wars—I think it’s game over given how things stand and unless/until Nikon and Canon dish out some strong persuasion that would break their modus operandi.

Still, Nikon and Canon have heartbeats and third parties are showing up with some lenses, as below. Not one reader has expressed interest in such lenses, but maybe that will change.

Where are Zeiss and Sigma with respect to Nikon Z and Canon EOS R?


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Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series and Focus Shift Evaluation @ 31mm: Huge Old Pine, Its Needles and Cones (Nikon Z7)

Get Nikon NIKKOR Z 24-70mm f/2.8 S and Nikon NIKKOR Z lenses at B&H Photo.

When I shot this scene, I did so partly to check for focus shift, which proved prescient. The field curvature and focus shift behaviors of the Nikon 24-70; must be understood for optimal results.

This series looks at a quite pronounced focus shift of the Nikon NIKKOR Z 24-70mm f/2.8 S at 31mm from f/2.8 through f/11. It confirms the findings of a moderately strong focus shift also seen in Natural Bonsai over Beaver Pond and details how much shift and how to compensate for it.

In diglloyd Mirrorless:

Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series and Focus Shift Evluation @ 31mm: Huge Old Pine, Its Needles and Cones

Includes images up to full camera resolution from f/2.8 through f/11, plus crops. I would have shown a stacked image, but for the first time, the Nikon Z7 “focus stack” features failed, generating incompatible images—dunno what happened.

f2.8 @ 1/20 sec IS=off, ISO 31; 2019-06-07 18:45:08
[location “Mono Craters”, altitude 7600 ft / 2316 m, 60°F / 15°C, distortion corrected, Enhance Details, LACA corrected]
NIKON Z7 + Nikon NIKKOR Z 24-70mm f/2.8 S @ 31mm

[low-res image for bot]

Announced: Hasselblad X1D-50C II, all-new Hasselblad CFV II 50C Digital Back and Hasselblad 907X

Get Hasselblad medium format at B&H Photo.

Hasselblad has announced the medium format Hasselblad X1D-50C II priced at about $5750, along with the first zoom for the Hasselblad X system, the Hasselblad XCD 35-75mm f/3.5-4.5 zoom (about $5175).

Also announced is the Hasselblad CFV II 50C digital back on the all-new Hasselblad 907X.

With respect to Hasselblad X1D-50C II, at least two issues have been addressed: the ability to use menus within the EVF, and cutting the startup time in half. No word on battery life however. Ergonomics have been one frustration, and I had hoped to see the inclusion of a 4-way controller as found on most cameras; the lack of one is a usability problem for me in so many circumstances that makes for slow operation, particularly scrolling through an image when reviewing or focusing—“minimalistic” design with form before function is flawed thinking—I don’t sit around admiring the camera with my eyes; I operate it with my hands! With the best camera designs (Nikon D850, Nikon Z7), I can operate a camera much more efficiently with appropriate design for two hands, which is a big deal in some shooting conditions. Ditto for buttons and gloved hands. It is possible to satisfy a wider range of usage scenarios by attending to such things in the design phase without disrupting the sleek look—one can have svelte form with function.

2019-06-19 HASSELBLAD EXPANDS REACH OF MEDIUM FORMAT IMAGING FOR EVEN MORE CREATIVE VERSATILITY

Introducing the X1D II 50C, XCD 35-75 zoom lens, Phocus Mobile 2, and revealing details of the upcoming CFV II 50C digital back and 907X camera body.

Following the revolutionary introduction of the world’s first mirrorless medium format digital camera, the X1D-50c, Hasselblad introduces new additions to its product portfolio that bring the joy of medium format photography to image makers with the capabilities to support their creative endeavours. This includes the evolved X1D II 50C camera, the eagerly awaited XCD 3,5-4,5/35-75 Zoom Lens and Phocus Mobile 2. In addition, Hasselblad reveals the development details of the upcoming CFV II 50C digital back and 907X camera body. Hasselblad’s newest offerings yet again expand the potential of medium format photography with modularity and flexibility, all while offering the brand’s renowned, stunning image quality.

Hasselblad X1D II 50C, rear

X1D II 50C – AN EVOLVED MEDIUM FORMAT PHOTOGRAPHY EXPERIENCE

In the pursuit to continue the journey of taking medium format outside of the studio, Hasselblad is pleased to announce the next installment of the X System – the X1D II 50C Mirrorless Medium Format Digital Camera. Dedicated to optimizing the X System for a wider audience of creatives, Hasselblad has listened to user feedback and improved upon the first generation with enhanced electronics for a quicker and more intuitive medium format experience.

Continuing in the legacy of being the most portable and lightweight digital medium format camera, the X1D II 50C lets you take the power of medium format in a footprint smaller than most full frame DSLRs in a beautifully designed, compact package. Its large, high resolution 50-megapixel CMOS sensor (43.8 x 32.9 mm) is 1.7 times larger than 35mm full format sensors, packing in huge pixels (5.3 x 5.3 μm) for capturing images with superb tonality. With outstanding colour depth and an impressive dynamic range of 14 stops, which allows for capturing immense details in both shadows and highlights, the photographer is left with plenty of room for adjustment in post-processing.

With Hasselblad Natural Colour Solution (HNCS) technology integrated into the camera’s system, exceptional, true-to-life tones are delivered that match what the human eye sees. Building upon the award-winning first generation, the X1D II 50C blends form and function with minimalistic, Scandinavian design aesthetics with a graphite grey exterior and a smooth handling experience with its ergonomic grip. The new X1D II 50C continues to provide creatives with incredible Hasselblad image quality, with 16-bit RAW images and now full resolution JPEGs, in a compact, lightweight design.

Developing upon the first generation of the X System, the X1D II 50C’s upgraded electronic platform includes a higher resolution 3.6-inch 2.36-million-dot touch display, which is physically the largest LCD display currently available on a digital medium format camera. Additionally, the X1D II 50C features a higher resolution enhanced OLED electronic viewfinder (EVF) with 3.69-million dots and a high magnification of 0.87x, letting you see the bigger picture. The much higher resolution of the rear display screen (1024x768) gives a more vivid, true to life image viewing experience. The X1D II 50C’s live view features a faster refresh rate, reduced shutter lag and black out time between frames, an improved continuous capture rate, and a startup time cut almost in half from the first generation. Building upon the highly-intuitive Hasselblad User Interface (HUI) of the previous model, further refinements have been made to the X1D II 50C to improve the camera’s handling experience, including the ability to access the menu system when looking in the EVF, giving greater usability in the sunniest conditions.

Enabling an even more portable medium format workflow, Hasselblad’s post production solutions now include the new Phocus Mobile 2. Connected via USB-C and Wi-Fi, photographers can transfer RAW and full quality JPEG files directly from the X1D II 50C and edit RAW images on their iPad Pro or iPad Air (2019) while out on the field.

Hasselblad X1D II 50C, top
Hasselblad X1D II 50C, front
Hasselblad X1D II 50C, front oblique

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Announced: Hasselblad CFV II 50C Digital Back and Hasselblad 907X V Camera Body

Get Hasselblad medium format at B&H Photo.

Along with the update Hasselblad X1D II 50C, announced is the modernized V system: Hasselblad CFV II 50C digital back along with the Hasselblad 907X.

Hasselblad CFV II 50C digital back on Hasselblad 907X

In some ways the 907X may be more appealing to me—I hope to test it at some point.

THE CFV II 50C AND 907X CONNECT HASSELBLAD’S PHOTOGRAPHIC HISTORY INTO ONE SYSTEM

Hasselblad proudly announces the development of the modernised CFV II 50C digital back and the brand new 907X camera body, which together will connect Hasselblad’s photographic history into one system.

The CFV II 50C digital back, which will have an outstanding medium format 50-megapixel CMOS sensor (43.8 x 32.9 mm), will enable use with most V System cameras made from 1957 and onwards in addition to third party technical or view cameras. Improving upon the user experience of the previous generations, the CFV II 50C will feature a brilliant tilt screen with full touch support and Hasselblad’s renowned user interface for settings, image review, and menu navigation.

Users of previous CFV digital backs will appreciate a new fully-integrated battery, the same used on the X System, which will reduce overall size and with the option to recharge in-camera via the USB-C port. Combining its iconic aesthetics with modern technology, the CFV II 50C gives a nod to Hasselblad’s history combined with the brand’s world-renowned image quality.

Coupling the CFV II 50C with Hasselblad’s smallest medium format camera body ever, the 907X, creates a highly compact package. This combination will offer a truly distinct photographic experience, including the classic waist-level shooting style of the V System enabled by the CFV II 50C’s tilt screen. With the 907X, the photographer will gain access to all of the high-quality X System Lenses in addition to a vast range of Hasselblad optics via adapters, including the H System, V System, and XPan Lenses. In addition, the 907X will enable compatibility with a wide range of third-party adapters and lenses. Planned accessories to beautifully complement the combination include the 907X Control Grip and 907X External Optical Viewfinder.

Hasselblad 907X with Hasselblad CFV II 50C Digital Back and XCD lens
Hasselblad CFV II 50C Digital Back
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Hasselblad XCD 35-75mm f/3.5-4.5 Zoom Lens Announced

Get Hasselblad medium format at B&H Photo.

Hasselblad has announced the Hasselblad XCD 35-75mm f/3.5-4.5 zoom along with the updated Hasselblad X1D, now the Hasselblad X1D-50C II.

I am looking forward to testing the new Hasselblad XCD 35-75mm zoom on the new Hasselblad X1D-50C II, along with the Hasselblad XCD 80mm f/1.9 and Hasselblad XCD 135mm f/2.8, neither of which I also have not yet tested.

Hasselblad XCD 35-75mm f/3.5-4.5

THE NEW XCD 3,5-4,5/35-75 – PRIME LENS PERFORMANCE IN A COMPACT ZOOM

The ninth addition to the X System lens range is the eagerly awaited XCD 3,5-4,5/35-75 Zoom Lens. Delivering the same superb image quality from edge-to-edge as the XCD prime lenses, this extremely high performance, compact mid-range zoom covers moderate wide angle to short telephoto focal lengths.

Its internal focusing keeps the lens’ dimensions constant, delivers quick autofocus and additionally keeps the overall weight down. Ideal for shooting anything from wide angle landscapes to portrait images, this lens is perfect for photographers who are looking to keep the amount of equipment they carry when travelling to a minimum but don’t want to compromise on image quality.

“This really is the best lens Hasselblad has developed – its performance is extremely high, competing with our prime lenses. I can even go as far to say that it’s probably the best zoom lens currently available on the market,” says Per Nordlund, Hasselblad Lead Optical Designer.

Like the rest of the XCD lens range, the XCD 35-75 features an integral central lens shutter, offering exposure times from 68 minutes to 1/2000s with full flash synchronisation throughout.

Hasselblad XCD 35-75mm f/3.5-4.5

Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series @ 24mm: Bonsai View Down Lundy Canyon (Nikon Z7)

Get Nikon NIKKOR Z 24-70mm f/2.8 S and Nikon NIKKOR Z lenses at B&H Photo.

This series looks at general performance from near to very far of the Nikon NIKKOR Z 24-70mm f/2.8 S at 24mm from f/2.8 through f/11, with a focus on sharpness. The results here are among the best I have seen at 24mm, and impressive.

In diglloyd Mirrorless:

Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series @ 24mm: Bonsai View Down Lundy Canyon

Includes images up to full camera resolution from f/2.8 through f/11, plus crops.

f11 @ 10.0 sec IS=off, ISO 31; 2019-05-29 20:19:48
[location “Lundy Canyon”, altitude 8250 ft / 2515 m, 55°F / 12°C, Enhance Details, LACA corrected, diffraction mitigating sharpening, distortion corrected]
NIKON Z7 + Nikon NIKKOR Z 24-70mm f/2.8 S @ 24mm

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Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series and Focus Stack @ 54mm: Old Gnarled Rootball (Nikon Z7)

Get Nikon NIKKOR Z 24-70mm f/2.8 S and Nikon NIKKOR Z lenses at B&H Photo.

This series looks at general performance from near to far of the Nikon NIKKOR Z 24-70mm f/2.8 S at 54mm from f/2.8 through f/9, and includes a 4-frame focus stack*. The usage case here is landscape field shooting using the Nikon Z7 “focus shift” feature versus conventional stopping down, with commentary on same.

In diglloyd Mirrorless:

Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series and Focus Stack @ 54mm: Old Gnarled Rootball

Includes images up to full camera resolution from f/2.8 through f/9, plus a 4-frame focus stack at f/6.3.

f6.3 @ 20.0 sec IS=off, ISO 100; 2019-06-07 20:43:19
[location “Mono Craters”, altitude 7600 ft / 2316 m, 60°F / 15°C, focus stack 4 frames, distortion corrected, LACA corrected]
NIKON Z7 + Nikon NIKKOR Z 24-70mm f/2.8 S @ 54mm

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Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series and Focus Stack @ 24mm: Dead Trees in Defunct Beaver Pond (Nikon Z7)

Get Nikon NIKKOR Z 24-70mm f/2.8 S and Nikon NIKKOR Z lenses at B&H Photo.

This series looks at general performance from near to far of the Nikon NIKKOR Z 24-70mm f/2.8 S at 24mm from f/2.8 through f/11, and includes a 5-frame focus stack. The usage case here is landscape field shooting using the Nikon 7 “focus shift” feature versus conventional stopping down, with commentary on same.

In diglloyd Mirrorless:

Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series and Focus Stack @ 24mm: Dead Trees in Defunct Beaver Pond

Includes images up to full camera resolution from f/2.8 through f/11, plus a 5-frame focus stack at f/8.

f8 @ 1/125 sec IS=off, ISO 31; 2019-05-30 10:40:48
[location “Lundy Canyon”, altitude 8400 ft / 2560 m, 65°F / 18°C, focus stack 5 frames, Enhance Details, distortion corrected, diffraction mitigating sharpening, LACA corrected]
NIKON Z7 + Nikon NIKKOR Z 24-70mm f/2.8 S @ 24mm

[low-res image for bot]

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Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series @ 32mm: Natural Bonsai over Beaver Pond (Nikon Z7)

Get Nikon NIKKOR Z 24-70mm f/2.8 S and Nikon NIKKOR Z lenses at B&H Photo.

Shown already at 24mm and at 70mm, this 3rd composition is my favorite of the three and the best for lens evaluation edge-to-edge.

This series looks at performance from near to far of the Nikon NIKKOR Z 24-70mm f/2.8 S at 32mm from f/2.8 through f/8. Overall performance including secondary color, sharpness in central areas, field curvature, and background bokeh are assessed, with detailed commentary.

This series is particularly useful for the photographer looking to optimize total sharpness near the 32mm zoom setting; the field curvature and focus shift behaviors must be understood to do so.

In diglloyd Mirrorless:

Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series @ 32mm: Natural Bonsai over Beaver Pond

Includes images up to full camera resolution from f/2.8 through f/8, plus crops.

f8 @ 1.0 sec IS=off, ISO 31; 2019-05-29 20:05:34
[location “Lundy Canyon”, altitude 8250 ft / 2515 m, 55°F / 12°C, LACA corrected, distortion corrected, Enhance Details]
NIKON Z7 + Nikon NIKKOR Z 24-70mm f/2.8 S @ 32mm

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Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series @ 70mm: Natural Bonsai over Beaver Pond (Nikon Z7)

Get Nikon NIKKOR Z 24-70mm f/2.8 S and Nikon NIKKOR Z lenses at B&H Photo.

This series looks at performance from near to far of the Nikon NIKKOR Z 24-70mm f/2.8 S from f/2.8 through f/8 at 70mm. Overall performance including secondary color, sharpness in central areas, and background bokeh are assessed, with commentary

In diglloyd Mirrorless:

Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series @ 70mm: Natural Bonsai over Beaver Pond

Includes images up to full camera resolution from f/2.8 through f/8, plus crops.

f4 @ 1/4 sec IS=off, ISO 31; 2019-05-29 19:59:03
[location “Lundy Canyon”, altitude 8250 ft / 2515 m, 55°F / 12°C, LACA corrected, distortion corrected, Enhance Details]
NIKON Z7 + Nikon NIKKOR Z 24-70mm f/2.8 S @ 70mm

[low-res image for bot]

Get up to 16x more storage and 2x the speeds of the original drive

Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series @ 24mm: Natural Bonsai over Beaver Pond (Nikon Z7)

Get Nikon NIKKOR Z 24-70mm f/2.8 S and Nikon NIKKOR Z lenses at B&H Photo.

This series looks at performance from near to far of the Nikon NIKKOR Z 24-70mm f/2.8 S from f/2.8 through f/8 at 24mm. Overall performance including secondary color, sharpness in central areas, and background bokeh are assessed, with detailed commentary

In diglloyd Mirrorless:

Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series @ 24mm: Natural Bonsai over Beaver Pond

Includes images up to full camera resolution from f/2.8 through f/8, plus crops.

f4 @ 0.8 sec IS=off, ISO 31; 2019-05-29 20:14:24
[location “Lundy Canyon”, altitude 8250 ft / 2515 m, 55°F / 12°C, LACA corrected, distortion corrected, Enhance Details]
NIKON Z7 + Nikon NIKKOR Z 24-70mm f/2.8 S @ 24mm

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