AF Nikkor 35mm f/2D is a full-frame, fixed focal length lens that can be used on both FX and DX-format cameras. On an FX-format camera has a moderately wide viewing angle, while on a DX format camera’s view is closer to the “standard” lenses. It has six elements in five groups and dimensions of 65mm 45mm, it focuses on 25cm, weighs only 205g and takes 52mm filters. If necessary, you can simple explanations of terms is given below.

Handling and auto-focus

The lens is lightweight and compact, and balances nicely on all Nikon camera body, I’ve tried it on. When mounted on larger cameras like the Nikon D700, the lens is completely unobtrusive and does not make the camera swoop if you wear it on his shoulder, that it makes a great walk-around guide, if 35mm is your preferred focal length.

Lens mount is metal lens barrel, on the other side of high-grade plastic, which do not give Fortunately, the lens will feel a “plasticy”. In fact, the lens of a certain weight and is due to this, has to leave the impression of a fixed appearance. Filter thread is made of plastic, it does not rotate during focusing, which simply with a polarizing filter.

Auto focus speed is largely dependent on the camera. On the Nikon D700, AF is very fast, accurate and virtually silent. The lens used camera AF motor for focusing and so on Nikon’s DX-format cameras is less, can not drive through a lens (D40, D40x, D60, D3000 and D5000) are used only in manual focus.

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Sharpness

Centre: the lens improves slightly soft clear at f/2, but the middle of field is f/2.8, for all intents and purposes the same sharp lens of f/2.8 to f/11. Diffraction visible at f/16 and continue its tribute at f/22, I would avoid if the smallest aperture of focus is crucial. The corners are noticeably softer wide open, corner sharpness is gradually improving, as the lens is stopped before it peaks at f/11, as expected, is diffraction at f/16 and focus more clearly worse at f/22.

Remotest corners are very soft from f/2 to f/5.6 to be acceptable only sharp at f/8, sharpness is comparable to that in the middle only at f/11 and then starts at f/16 degraded by diffraction.

All in all, the lens is very sharp when you use it correctly. should be for shooting in low light or when the background is out-of-focus, the lens should ideally be used in f/2.8-at this opening is the main theme will be plenty sharp corner and softness in most cases irrelevant as vertices blurred anyway. If corner to corner sharpness is required, then the lens should be used at f/11. f/16 is perfect, when deep depth of field is desired. Finally, I would like to avoid the lens at f/22 because of diffraction.

Vignetting

The lens has very visible vignetting at f/2 In fact it is so strong in this openness that it is rather a total of under-exposure as vignetting, also it is quite difficult to remove it in post processing. Vignetting at f/2.8 is much more reasonable and could be useful, in fact, if one wants to emphasize the main subject. The aberration is not noticeable in most situations at f/4 and is virtually gone from f/5.6.

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Distortion

The lens barrel distortion. At infinity, it is only faintly visible and acceptable for architectural applications, you will not notice it in most photographs. In addition, it has a simple signature and can be completely removed in the post-processing. At very short bias is more pronounced and yet has a simple form and is thus determined, too.

Chromatic aberration

Chromatic aberration can sometimes see (very) high-contrast edges, as shown in the test image above, it is not significant, even in the worst case, and in turn may easily handled with the post.

Torch

The lens has a relatively simple structure and a fairly small front element and partly due to this flare is very well controlled. Even worse shots directly into the sun is not visible contrast. It is possible to induce multiple images by a very bright light sources in the image, but is usually minimal ghosting both quantity and size.

Bokeh

Bokeh is generally not a huge problem with wide angle lenses. 35mm on a 35mm full-frame (FX) camera, but only moderately wide, and by many (including yours truly) to be closer to “normal” or “standard” focal length of 50mm is considered as a single. For this reason, look out-of-focus often very important, yes, I have a series of shots with the lens, where it was a very important factor taken.

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Bokeh is a very subjective criterion, and you can see for yourself what out-of-focus sees red in the test image looks like at different openings. In my opinion, Bokeh is a little hard at f/2, it is quite nice and unobtrusive in real images at f/2.8 and silkier than you get another bus stop down the lens.

Conclusion

Is the AF Nikkor 35mm f/2D perfect? Of course, not as with most lenses, it is easy to make it look pretty ugly when your mind to him. However, if you reverend in a small, lightweight and inexpensive lens focal length are interested, and remember its small quirks and learn how to perform it admirably, then this lens is certainly deserves a place in your camera bag (or bag for that matter) . Indeed it is this lens on my Nikon D700 mounted most of the time.

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