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Old 28-06-2016, 14:19   #26   link
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Location: chaos sanctuary
mjah. geen nood meer aan. veel vignetting trouwens, amai.
lens is tamelijk duur, een stop minder lichtsterk en niet zo scherp als de rest van mijn arsenaal. heb gewoon gewacht tot fullframe. 20mm op crop sensor zou 35mm zijn. de moeite niet wanneer mijn 28mm f2 dan 42mm is. nog wijdere lenzen zijn nog duurder en minder goed.

ik heb nog een 24mm 2.8 rondslingeren en die gebruikte ik echt nooit op mijn D200, sinds ik de 28mm f2 heb.

20mm 2.8 AFD is 4/5

The successor to the MF 20/2.8 is often stated to have identical optics, but I'm not entirely convinced that this is true and think Nikon tweaked the design so make the lens focus better in AF. Direct comparison with the MF lens shows that the AF has more curvature of field, at least in the close range where this feature counts, and slightly more CA. Image sharpness isn't entirely up to that of the MF brother at any aperture, but the contrast is slightly higher. Probably Nikon tweaked the coating as well.
mijn 24mm 2.8 Ai
4-4.5 (F2, F4, F5)
4(-) (D2X, D200)
4.5 (FX: D3, D3X)

Nikon released its major achievement, CRC (Close Range Correction) with this lens in 1968 and it got a well-deserved popularity in the years afterwards. There have been a number of versions of this 24 mm lens, the first without multi-coating and f/16 as minimum aperture, the next multi-coated but still f/16, and the later versions (AI, AIS) going to f/22. Nikon has made several changes to the optical formula during the long life-span of this lens, which still is on Nikon's price list. Earlier versions flared less easily, but could produce quite visible ghosting when employed under strongly backlit situations. Newer versions flare more easily, but the resistance to ghosting has improved provided the lens is well stopped down. It gives very sharp images corner-to-corner even at the near limit thanks to CRC, but beware of field curvature if you are shooting perfectly flat subjects at close range. Some light fall-off towards the corners is evident at f/2.8 and gone by f/4-f/5.6. Set the lens to f/5.6-f/11 to get the best picture quality, but do not stop down to f/22 unless absolutely necessary. It provides excellent results when an ultra-thin K1 ring is added, and gives good results with a 4T close-up lens if some corner softness is accepted. The 24/2.8 MF Nikkor is a classic lens in the Nikon line and one that remains a dependable workhorse to this day.
However, on a D2X or D200 and depending on subject, the CA can be quite troublesome and it surely detracts from the overall sharpness of the 24 lens. So I was quite surprised to observe the excellent image quality my 24/2.8 delivered on the FX models, in particular on the D3X.
28mm f2 nikkor is in de hall of fame van hun lenzen
5 (F2, F4, F5)
5 (D1)
4.5 (D1X)
4.5 (D2X, D200)
4.5 (FX: D3, D3X)

The high-speed 28 Nikkor is unusual in having its close-range correction (CRC) executed with the front elements, not with the rear as the case is with other wide-angles. It offers outstandingly sharp images and these are produced at all aperture settings from f/2 to f/8 with just a trace of corner softness at the wider settings. Field curvature is modest in terms of wide-angle lenses. Peak performance occurs between f/4 and f/5.6. When stopped down beyond f/11, sharpness suffers however. This lens is unusually resistant to flare and ghosting and eminently suitable for shooting directly into the sun. Never catching the buyers' fancy, this is an uncommon lens which is indicative of the perils of free enterprise.
On the FX (D3, D3X), quality is excellent. However, the very extreme corners are not well defined and appear darker unless the lens is stopped a fair number of stops down. For many uses of the lens this poses no practical problem, but you are herewith warned. No CA was present on the D3.
There is much killing to be done.
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