|
 What you should know: While the 18–35mm variable aperture zoom is considered one of lensdom's most popular optics, it's been absent from Nikon's treasure chest.
Hands on: Of average size, and sturdily made, finished in satin black with generous, smooth turning zoom and manual focusing rings which are excellently rubberized and ribbed. Yellow footage and white metric distance scales are clearly visible under protective plastic shield. There are clearly marked 18, 24, 28 and 35mm focal length numerals and aperture indices for variable apertures, plus lens aperture scales and lock for older, non-automated operating Nikons.
In the lab: SQF data indicate excellent performance at all focal lengths. However noticeable barrel distortion was seen throughout (1.47, 1.40 and 1.35 percent at 18, 28 and 35mm respectively).
Exposure at the film plane was very accurate at 18mm with underexposure of a half-stop at f/3.5 due to light falloff, about one-fifth-stop at f/4, less than one-tenth-stop from f/5.6 to f/8, third-stop from f/11 to f/16 and about one-half-stop at f/22. At 35mm exposure was accurate with underexposure of two-fifths-stop at maximum aperture due to light falloff, about one-fifth-stop from f/5 to f/14, and about two-fifths-stop from f/20 to f/29.
At the closest focusing distance of 13 inches (1:12.7) at 18mm, center sharpness was excellent at all apertures. Corner sharpness was poor from f/3.5 to f/5.6, acceptable at f/8, good at f/11 and very good from f/16 to f/22. Optimum performance at f/16.
At 28mm and 12.5 inches (1:7.9), center sharpness was excellent at every aperture. Corner sharpness was poor from f/4.5 to f/5. good at f/7.1, excellent from f/10 to f/20 and good at f/29. Optimum performance at f/10.
At 35mm and 12.75 inches (1:6.5), center sharpness was excellent at every aperture. Corner sharpness was poor at f/4.5, acceptable at f/5, good at f/7.1, excellent from f/10 to f/20, and good at f/29. Optimum performance was at f/10.
In the field: Test slides were very sharp and contrasty from center to corner at every focal length and aperture. Light falloff was gone by f/4 at 18mm, and by f/5 at 28mm and 35mm. Flare was very well controlled in every aperture at every focal length. There were no ghost images.
Conclusion: Nearly unbeatable performance, but distortion may limit architectural use.
|
