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MTF wide open shows modest contrast even in the center and across the field, but stopping down to f/5.6 shows very high performance equal to the very best lenses.
The big jump in contrast at center from f/2 to f/4 suggests that focus shift has been minimized.
On high resolution digital, f/2 looks to be best suited for pictorial effect, just as with the ZM 35/2 Biogon. Stop down one stop for a big boost in contrast, with f/4 near optimal.
Micro contrast by f/4 is at world-class levels in the center. The lower contrast elsewhere almost certainly is lower in the same plane, but probably just as good as the center—just at a slightly different distance (mild field curvature).
In short, real world images should show high brilliance and bitingly sharp detail. Still, if shooting a flat building straight on, a distant horizon, a group of people (“planar subjects”) stopping down to f/5.6 or f/8 is advised in order to have the sharpest zone of focus apply more uniformly at the same distance—level it out. Compare f/4 to f/5.6 to see this in action; f/8 would drop peak contrast slightly but be even more uniform (in the same plane).
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Diglloyd Guide to Mirrorless offers comprehensive integrated coverage of most APS-C and full frame mirrorless cameras and lenses.
Special emphasis is placed on Sony full-frame, including Sony lenses and the high performance Zeiss Batis and Zeiss Loxia lenses plus Rokinon/Samyang and others. Fujifilm X, Olympus and Panasonic M4/3, Sigma dp Merrill and dp/sd Quattro are also covered in depth. Years in the making, it offers a wealth of material for choosing and using a mirrorless camera.
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