We take a look at this up­date to Nikon’s ul­tra high-speed 28mm

Digital Photograper - - Lenses -

This model’s pre­de­ces­sor was no­table for its sin­gle pre­ci­sion­ground as­pher­i­cal lens and owed more to the leg­endary man­ual-fo­cus Noc­tNIKKOR than just about any other short prime in the line-up. Like its more fa­mous sib­ling it was de­signed for film, where at­tributes like viewfinder bright­ness and shorter long­ex­po­sure times couldn’t be worked around like they can now, with dig­i­tal. Thanks to its high price, though, it didn’t sell well but be­came highly sought-af­ter when dis­con­tin­ued. This new model has no less than three as­pher­i­cal el­e­ments and does rea­son­ably well at re­duc­ing coma, an im­por­tant con­sid­er­a­tion in low­light and as­tropho­tog­ra­phy where point light sources are en­coun­tered, but doesn’t do much to re­duce the over­all size. It is rel­a­tively light but make no mis­take, this is a big lens. Still, it bal­ances well on big bod­ies such as the D850 and the aut­o­fo­cus mo­tor is smooth, near silent and pretty fast. We can’t tell if it’s a ring type or mi­cro mo­tor – Nikon doesn’t dis­tin­guish be­tween them. The fo­cus ring is nicely damped but quite highly geared, mak­ing man­ual fo­cus­ing tricky at wide aper­tures.

As for the op­ti­cal qual­ity, well, it’s very good, even wide open. If we’re nit­pick­ing there’s some fringing wide open, and res­o­lu­tion isn’t quite as high as the equivalent ZEISS Otus cen­trally un­til it’s stopped down a cou­ple of stops where the cor­ners start to catch up.

That does lend some char­ac­ter though and its ren­der­ing or draw­ing style is so ad­dic­tive, it’s hard to put down.

Left DEF­I­NI­TION Res­o­lu­tion and con­trast are very good in­deed by f2.8, ap­proach­ing that of the very best lenses Below VIGNETTING The vignetting in this im­age taken at f1.4 isn’t ex­actly high, but it is still no­tice­able

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