Nikon AF-S NIKKOR 35mm f/1.4G Lens

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With the lens wide open, you can see some heavy light fall-off in the corners and along the frame edges. Stopping down helps, although to completely get rid of this phenomenon, you will need to use an f-stop of f/5.6 or smaller. Here is the Nikon 35mm f/1.4G compared to other 35mm lenses, including the Zeiss Distagon 35mm ZF.2 (from left to right – Nikon 35mm f/1.4G, Zeiss 35mm f/2, Nikon 35mm f/1.4 AIS, Nikon 35mm f/2D): How to Make a Collage in Photoshop (9 Easy Steps!) AI Editing in Lightroom: How to Supercharge Your Portrait Workflow Retouch4me Color Match Review: Professional Color Grading Made Easy White Balance in Photography: The Essential Guide

When photographing weddings, it is important to bring a wide-angle lens with you, so that you can capture your subjects in tighter environments (such as when photographing indoors, or when photographing large groups). Although there are plenty of great wide-angle lens options out there, I personally find the Nikon 20mm f/1.8G for F-mount and the Nikon 20mm f/1.8S for the Z-mount to be the ideal choice. It is small, lightweight, and fairly inexpensive lens when compared to other pro-grade prime and zoom lenses. See my detailed Nikon 105mm f/1.4E Review for more information about this lens. Nikon 105mm f/2.8G Micro and MC 105mm f/2.8S Micro If you find these lenses to be too expensive for your needs, you might want to consider the lighter and less expensive Nikon 35mm f/1.8G ED, and either use it on a DSLR or attach it to an FTZ adapter. NIKON D700 + 35mm f/1.4 @ 35mm, ISO 200, 1/800, f/2.8 Nikon 50mm f/1.8G and Nikon 50mm f/1.8S The above is nothing new – Nikon’s published MTF for the Nikon 35mm f/1.8G clearly shows that it is supposed to be sharper than the Nikon 50mm f/1.4G when shot at the maximum aperture.

But then I found that I could just unscrew the hood and the problem was solved. Too bad, because otherwise the lens hood is nicely made. I’m usually a big fan of using lens hoods, but with the Pergear 35mm f/1.4, I recommend taking it off. If you want to use filters, this is especially true. The lens hood technically accepts 52mm filters, but this only makes the problem more pronounced. Compactness – as you can see from the above image, the Nikon 35mm f/1.8G is smaller than the Nikon 50mm f/1.8G.

I guess my main question is, what lens would you recommend me investing in next, as far as a young, business professional wanting to start out and add another great and versatile lens to her bag? If anything, the Tamron achieves more of the impossible: the images have got “character”, and yet it still wins for sharpness against anything that LensRentals has pitted it against thus far. Flare and distortion are almost nonexistent. Tamron has definitely developed some high-quality lens coatings that are on par with any exotic name brand! Bokeh & DOFLate 1980s ~ early 1990s AF cameras like the N90s, N70 and F4 will focus just fine. You'll have Program and Shutter-priority modes, but will lose Manual and Aperture-priority since you have no way to set the aperture on the camera or on the lens. I prefer the 105 DC because of the weight of the 1.4E version (and I don’t do a lot of shots with it).

His expertise with equipment doesn’t end there, though. He is also an encyclopedia when it comes to all manner of cameras, camera holsters and bags, flashguns, tripods and heads, printers, papers and inks, and just about anything imaging-related. This isn’t Tamron’s problem specifically, it’s a huge issue for all third-party lens makers, and it’s even a common frustration for native, name-brand lenses too. Although both look very similar, the Nikon 35mm f/1.8G still has a slight edge over the 50mm f/1.4G. What about f/4.0: While some photographers really praise the older 105mm f/2 DC as a portrait lens, after trying both out, I can tell you that there is simply no comparison – the newer f/1.4E is far better in comparison, even when both are compared at their wide open apertures. NIKON D750 + 105mm f/1.4 @ 105mm, ISO 200, 1/2500, f/1.4 Everything works perfectly on every Nikon DSLR, both FX and DX, from the best D4s, D800 and D800E to Nikon's cheapest digitals like the D40, D40x, D60, D3000, D3100, D5000 and D5100.The thin, diagonally growing branches in the corners of the image show a degree of chromatic aberration. With the lens stopped down to f/5.6 or f/8, the situation improves and the aberration is already at a very acceptable level. This is especially true if you take advantage of the de-fringing corrections provided by virtually all imaging software. Source image 100% crop Sunstars and Flare All in all, if you want the best, the Tamron SP 35mm f/1.4 is it. If you’ve already got the Sigma 35 1.4 Art, you probably already know whether you’re still happy with its solid performance, …or if you’re ready for the new 35mm champion. tamron SP 35mm f/1.4 Di USD Review | Conclusion Capturing a diverse range of images with a single lens is a common reason people often prefer zooms. But I find I can use my 35mm lens to photograph just about anything. It just suits my style. I am not a sports or bird photographer so much. It is worth noting that in a couple of cases, specifically when shooting at close distances less than 10-15 meters, distortion did not seem to be symmetrical across the frame. While the effect was only barely noticeable, if you are into architectural photography, I recommend investigating this potential issue further more before you decide to keep the lens for professional work. This is not an issue for all other types of photography. Chromatic Aberration

When compared against the Zeiss Distagon 35mm ZF.2, Nikon handles ghosting and flares better, in my opinion. Take a look at a similar image shot with the Zeiss: NIKON D3S + Zeiss Distagon T* 2/35 ZF.2 @ 35mm, ISO 200, 1/15, f/13.0 Whether you’re shooting wide, medium or close-up street compositions, the 35mm f1.4 can capture them all well.When photographing weddings, I personally find quite a bit of use for wide-angle lenses. Among a number of different wide-angle lens options available, I personally find the 20mm f/1.8S (or G) to be the best choice for wedding photography. I used to favor 24mm before, but ever since the 20mm came out, those extra 4mm have proven to be very useful, particularly when photographing interior architecture (such as ballrooms, dining halls, etc) and large groups. NIKON D750 + 20mm f/1.8 @ ISO 1100, 1/80, f/5.6