Review of Nikon AF Nikkor 35-70mm 1: 2.8D

The Nikon AF Nikkor 35-70mm 1: 2.8D lens is one of 5 fast normal (in terms of focal length range) professional lenses from Nikon. The lineup includes: old Nikon 35-70mm 1: 3.5 AI (and his brother AI-S), Nikon AF Nikkor 35-70mm 1: 2.8D (presented in this review and its previous MKI version) and three new and very solid: Nikon ED SWM AF-S Nikkor 28-70mm 1: 2.8D и Nikon AF-S Nikkor 24-70mm 1: 2.8GN ED and Nikon N VR AF-S Nikkor 24-70mm 1: 2.8E ED.

Review Nikon AF Nikkor 35-70mm 1: 2.8D (MKII)

Review Nikon AF Nikkor 35-70mm 1: 2.8D (MKII)

Nikon AF Nikkor 35-70mm 1: 2.8D lens (the so-called 'D' version, or the 'MKII' version) began to be released back in 1992 yearwhen he became a substitute for Nikon AF Nikkor 35-70mm 1: 2.8 (without the letter 'D', so called 'Non-D' version, or 'MKI' version). Therefore, in fact, there are two lenses of the '35 -70 / 2.8 AF 'class. All differences between MKI and MKII versions can be found here.

Sample photo on Nikon 35-70 AF F2.8D

Sample photo on Nikon 35-70 AF F2.8D

The lens has a manual aperture ring. To be able to control the value aperture from camera or for automatic installation aperture on modern central control valves, you need to turn the control ring to the F / 22 value and fix it with a special lever, which is located to the right of the marks aperture... If this is not done, some cameras will display an 'fEE' error (aperture ring not set). Some cameras with diaphragm rheostat, allow you to control the aperture using the aperture ring, but only in metering modes exposure 'M' and 'A'. You can read more about this issue in the section on Non-G Lenses.

Sample photo on Nikon AF 35-70 F2.8D

Sample photo on Nikon AF 35-70 F2.8D

 What is good in this lens?

  1. Metal construction. My copy is at least 6 years old, but I have not noticed any backlash. Holding this lens in your hands, you understand that this is a real professional lens “Made in Japan”, which is actually written on it. And I bet he will survive modern plastic for at least another ten years.
  2. The lens uses a metal hood Nikon HB-1, which is installed in special grooves and can be fastened back and forth for transportation.
  3. Large and constant maximum aperture F / 2.8 over the entire range of focal lengths. This is very convenient when calculating shutter speeds, convenient in low light, and indeed, the F / 2.8 aperture is an indispensable thing in photography.
  4. Macro Capability. Although the macro is obtained only with a maximum magnification of 1: 4, still the ability to shoot small objects is pretty good news. Truth, Macro mode must be enabled manually, he only works at 35 mm focal length and so on in manual focus mode... To switch to macro mode, set the focal length equal to 35 mm, press the special button located on the zoom ring and turn the zoom ring. It turns out not quite a full-fledged 'macro' and even with additional troubles for setting.
  5. Wonderful picture. We will talk about the quality of the final image below.
  6. There is a scale for the focus distance, a scale for manual control of the aperture, as well as two marks for adjusting focus for sharpness when working in the infrared spectrum (for 35 and 70 mm focal length).
Photo at Nikon AF D 35-70 F2.8

Photo at Nikon AF D 35-70 F2.8


  1. Heavy... After a day of working with the Nikon AF Nikkor 35-70mm 1: 2.8D, you realize that it is really heavy. The lens weighs 670 grams.
  2. Inconvenient Design... Changing the focal length is done using a piston system (push and pull - push and pull), this can be a rather inconvenient method. There is no need to "twist" the zoom, here you just need to push it like a piston. Moreover, it acts the other way around. The further you advance, the smaller the focal length.
  3. No focal length lock. If the lens is set to 35 mm and directed to the sky, then the front the lens unit under its own weight falls down and will make the focal length approximately 50 mm. But not vice versa, if you set 70 mm and point it down, then it stands still and does not lengthen its trunk. Such a cunning beast, this Nikon AF Nikkor 35-70mm 1: 2.8D with its piston zoom system.
  4. When focusing the front lens not only rotates, but also moves back and forth. This is bad news for fans of all sorts of unusual light filters. And to put it in a photo bag, you need to set the focus to infinity, and the zoom at 70mm, this reduces the efficiency of working with the lens and gives reason to doubt his professionalism.
  5. There is no manual / auto focus switch. To focus manually you must disconnect the focus drive on the camera (switch near the mount). Even when focusing in macro mode, auto focus must be turned off.
  6. During focusing, the lens is pretty noisy.
  7. His age. Unfortunately, the lens is not dustproof and moisture proof, because it is aging, gaining moisture, condensation and can often become infected with a fungus. When buying it in the secondary market, check carefully. Also, mechanics wear out a bit from old age and my instance also has one problem, about which below.
  8. When changing the focal length, the rear lens of the lens moves (drives air).
  9. The lens has only 7 aperture blades; newer models have 9 blades each.
  10. Unlike many modern Nikon professional lenses that use 77 mm diameter filters, Nikon AF Nikkor 35-70mm 1: 2.8D uses 62 mm diameter filters.

It's important: auto focus with this lens is available only when using him on cameras with built-in motor focusing.

Exact list Nikon DSLR cameras with a built-in focus motor, on which this lens will focus automatically:

Exact list Nikon DSLR cameras without a built-in focus motor, on which this lens will not focus automatically:

Only auto focus and sound confirmation of focus will not work with these cameras, all other important functions, such as automatic exposure metering and automatic iris control, will work well.

You will find a lot of useful information on the types of cameras and lenses Nikon here.

Features of working with the lens, which are worth paying attention to:

  1. The lens has SIC enlightened optics (Super Integrated Coating), but still afraid of side and back light
  2. You need to get used to working with piston zoom (with trambone) and remember that he can independently change the focal length.
  3. Always for manual focus, you need to put the camera in manual focus mode. This is simply done with the focus switch on the camera. For motorists, I’ll add that it’s the same as turning the clutch on and off, otherwise the engine could be damaged.
  4. The lens has fast auto focus. The focusing time from infinity to MDF and back is almost the same as Nikon AF-S Nikkor 24-70mm 1: 2.8GN ED(!). In manual focus mode, the focus ring rotates 90 degrees. The focus ring and zoom are rubberized.
  5. During auto focus, the focus ring rotates and cannot be touched. The minimum focusing distance is 60 cm (in normal lens operation).
  6. When used on NikonDX cameras, the viewing angles will change and will be the same as for the focal length in 50-105 mm on 35 mm film.
Macro photo at Nikon 35-70mm f / 2.8D AF Zoom-Nikkor

Macro photo at Nikon 35-70mm f / 2.8D AF Zoom-Nikkor

About the picture.

The bokeh of the lens is very good. The best epithet for bokeh and in combination with its color rendition, I would suggest "festive". Exactly for bokeh and color reproduction, this lens is very appreciated and praisedI join.

Nikon 35-70mm f / 2.8D AF Zoom-Nikkor photo

Nikon 35-70mm f / 2.8D AF Zoom-Nikkor photo

The aperture is fully working with 2.8 and this is not a joke. Sharpness at F / 2.8 on any focal, even the most extreme, is quite satisfactory (keep in mind that I work with it on DX cameras). At 70 mm and F / 2.8 it gives excellent portrait shots. Closing the aperture to 4, you can get just wonderful sharpness. On F / 2.8, the edges of the image suffer a little (on FX cameras it may already be a problem).

Photos on the Nikon 35-70mm f / 2.8D AF Zoom-Nikkor

Photos on the Nikon 35-70mm f / 2.8D AF Zoom-Nikkor

The macro is pretty meagerbut still happy. Chromatic aberrations present, but still small. Distortion at 35mm and 70mm is almost invisible, like vignetting on a DX camera. A major drawback of the picture is the drop in contrast in side and backlight. The contrast drops so much that it’s not always sure whether it’s focused correctly, the picture is all in veil. Also, the lens is a lover of catching hares and its small native metal hood does not help him in any way.

Photos at Nikon 35-70mm f / 2.8D AF Zoom-Nikkor

Photos at Nikon 35-70mm f / 2.8D AF Zoom-Nikkor

In general, it is for the sake of the picture, people still use this lens, with some moving from the legendary Nikon AF-S Nikkor 24-70mm 1: 2.8GN ED to this Nikon AF Nikkor 35-70mm 1: 2.8D with the words “the picture of Nikon 35-70mm f / 2.8 has its own soul”, but as I often write “all markers are different in taste and color”.

Photo at Nikon 35-70mm f / 2.8D AF Zoom-Nikkor

Photo at Nikon 35-70mm f / 2.8D AF Zoom-Nikkor

 From a personal impression:

Piston control does not only teach you to twist the zoom ring, but to think about how to compose a frame, and then try to get it conceived using a piston. The task is quite interesting, since it would seem that the longer the trunk leaves, the greater the focal length - but it wasn’t there, it’s just the opposite, because the first time it’s quite inconvenient to shoot, but you can get used to it in just one day of active shooting.

On the copy that I visited, I really did not like the glitch with focusing at the focal length of 35 mm, when the lens refuses to focus at all. This is due to his old age. When you focus on 35 mm and the range accidentally reaches 60 cm, it gets stuck there to bring the lens to life, just a little bit to move the piston - mind you, this is just a feature of my specimen.

Nikon 35-70mm f / 2.8D AF Zoom-Nikkor photo

Nikon 35-70mm f / 2.8D AF Zoom-Nikkor photo

Regarding the inconvenient focal lengths of 35-70 mm - on the one hand you get three fixes in one: 35mm, 50mm and 85mm, but on the other hand the fixes have at least one stop more aperture. Focal lengths for cropped cameras are really uncomfortable due to the lack of a normal wide angle.

Nikon 35-70mm f / 2.8D AF Zoom-Nikkor photo

Nikon 35-70mm f / 2.8D AF Zoom-Nikkor photo

Professional fast wagon

Choosing a good high-speed universal lens is one of the most important for a large number of photographers. I pay a lot of attention to this issue, because I prepared this list of all full-frame universal (standard range of focal lengths) fast autofocus lenses:


Bayonet EF:

  1. Canon Zoom Lens EF 28-70 mm 1: 2.8 L USM
  2. Canon Zoom Lens EF 24-70 mm 1: 2.8 L USM
  3. Canon Zoom Lens EF 24-70 mm 1: 2.8 L II USM

Bayonet R:

  1. Canon Lens RF 28-70 mm F2 L USM, since September 2018
  2. Canon Lens RF 24-70 mm F2.8L IS USMsince August 2019


Bayonet F:

  1. Nikon AF Nikkor 35-70 mm 1: 2.8 (MKI)
  2. Nikon AF Nikkor 35-70 mm 1: 2.8D (MKII)
  3. Nikon AF-S Nikkor 28-70 mm 1: 2.8D ED SWM (two body color options)
  4. Nikon AF-S Nikkor 24-70 mm 1: 2.8GN ED Nano Crystal Coat SWM IF Asphericalsince December 2007
  5. Nikon AF-S Nikkor 24-70 mm 1: 2.8EN ED Nano Crystal Coat SWM IF Aspherical VR

Bayonet Z:

  1. Nikon Nikkor Z 24-70 mm 1: 2.8 S
  2. Nikon Nikkor Z 28-75 mm 1:2.8 (the scheme is similar to Tamron a036, animation)

Tokina (for different mounts)

  1. Tokina AT-XAF 28-70 mm 1: 2.8 (Tokina AT-X 270 AF)
  2. Tokina AT-X PROAF 28-70 mm 1: 2.6-2.8 (or 1: 2.8, Tokina AT-X 270 AF PRO)
  3. Tokina AT-X PROAF 28-70 mm 1: 2.6-2.8 (or 1: 2.8, Tokina AT-X 270 AF PRO II)
  4. Tokina AT-X PRO 28-80 mm 1: 2.8 Aspherica (Tokina AT-X 280 AF PRO)
  5. Tokina AT-X PRO SV 28-70 mm 1: 2.8 (Tokina AT-X 287 AF PRO SV)
  6. Tokina sd 24-70 F2.8 (IF) FX AT-X PRO Aspherical

Sigma (for different mounts, in chronological order)

  1. Sigma 28-70mm 1: 2.8 Zoom, from May 1992 (Vivitar 28-70 / 2.8 VMC was made on its basis)
  2. Sigma 28-70mm 1: 2.8 Zoom EX Ashperical [+ -D], from the end 1998
  3. Sigma 28-70mm 1: 2.8 Zoom EX Aspherical DF [+ -D]since February 2001
  4. Sigma 24-70mm 1: 2.8 Zoom EX DG Aspherical [+ -D], [DF version], since February 2001
  5. Sigma 24-60mm 1: 2.8 Zoom EX DG [+ -D], from May 2004
  6. Sigma 24-70mm 1: 2.8 Zoom EX DG Macro [+ -D], From september 2004
  7. Sigma 28-70mm 1: 2.8 Zoom EX DG [+ -D], From september 2004
  8. Sigma 24-70mm 1: 2.8 EX DG HSM, From september 2008
  9. Sigma 24-70mm 1:2.8 DG HSM OS A (ART), from February 2017, Nikon F, Canon EF, Sigma SA
  10. Sigma 24-70mm 1: 2.8 DG DN A (ART)since November 2019, Sony E, Leica L, the layout is similar to Leica Vario-Elmarit-SL 2.8 / 24-70mm, animation
  11. Sigma 28-70mm 1: 2.8 DG DN C (Contemporary)since February 2021, Sony E, Leica L

Tamron (for different mounts)

  1. Tamron SP AF 35-105 mm 1: 2.8 Aspherical Model 65D
  2. Tamron SP AF Aspherical LD ​​[IF] 28-105 mm 1: 2.8 Model 176D
  3. Tamron SP AF Aspherical LD ​​[IF] 28-105 mm 1: 2.8 Model 276D
  4. Tamron SP AF Aspherical XR Di LD [IF] 28-75 mm 1: 2.8 Macro Model A09 (Model A09N & Model A09N II) (scheme like Konica Minolta AF Zoom 28-75mm 1: 2.8 (32) D и  Sony 2.8 / 28-75 SAM)
  5. Tamron SP 24-70 mm F / 2.8 DI VC USD Model A007
  6. Tamron SP 24-70 mm F / 2.8 Di VC USD G2 Model A032
  7. Tamron 28-75 mm F / 2.8 Di III RXD Model A036, (15/12), only for Sony E / FE, the scheme is similar to Nikon Nikkor Z 28-75 mm 1:2.8, animation
  8. Tamron 28-75 mm F / 2.8 Di III VXD G2 Model A063, (17/15), only for Sony E / FE, Fall 2021
  9. Tamron 35-150 mm F / 2-2.8 Di III VXD Model A058, Sony E / FE only, Fall 2021


Sony / Minolta A mount:

  1. Konica Minolta AF Zoom 28-75 mm 1: 2.8 (32) D (scheme like Tamron 28-75 / 2.8)
  2. Minolta AF Zoom 28-70 mm 1: 2.8 (32) G
  3. Sony 2.8 /28-75 SAM (scheme like Tamron 28-75 / 2.8)
  4. Sony Zeiss Vario-Sonnar 2,8 /24-70 ZA SSM T *
  5. Sony Zeiss Vario-Sonnar 2,8 /24-70 ZA SSM II T* (circuit from the previous lens)

Sony E-mount:

  1. Sony FE 2.8 /24-70 GM (G, SEL2470GM)
  2. Sony FE 2.8 /24-70 mm GM II (G, SEL2470GM2)

Pentax (K)

  1. Pentax SMC FA 28-70 mm f / 2.8
  2. Pentax HD Pentax-D FA 24-70 mm f / 2.8ED SDM WR


  1. Angenieux zoom F.28-70 1: 2.6 AF (for Nikon F, Minolta / Sony A, Canon EF)


  1. Vivitar Series 1 28-70mm 1: 2.8 VMC AUTO FOCUS ZOOM, different mounts, presumably a copy Sigma 28-70mm 1: 2.8 Zoom


  1. Panasonic Lumix S PRO 1: 2.8 /24-70 mm, from August 2019, Leica L


  1. Leica Vario-Elmarit-SL 1: 2.8 / 24-70mm f / 2.8 ASPH., from May 2021, the optical design repeats Sigma 24-70mm 1: 2.8 DG DN Art (animation)


  1. Samyang AF 24-70 / 2.8 FE, aka Rokinon AF 24-70 / 2.8 FE, from October 2021, only for Sony E / FE
  2. Samyang AF 35-150/2-2.8FE, from April April 2023, only for Sony E/FE

Sample photos with shooting data (originals, RAW in JPEG Q80%, resized, watermark)

List of all Nikon FX 35-XXX autofocus lenses:

  1. Nikon AF Nikkor 35-70 mm 1: 2.8 (MKI)
  2. Nikon AF Nikkor 35-70 mm 1: 2.8D (MKII)
  3. Nikon AF Nikkor 35-70 mm 1: 3.3-4.5 (MKI)
  4. Nikon AF Nikkor 35-70 mm 1: 3.3-4.5 (MKII)
  5. Nikon AF Nikkor 35-80 mm 1: 4-5.6D (MKI)
  6. Nikon AF Nikkor 35-80 mm 1: 4-5.6D (MKII)
  7. Nikon AF Nikkor 35-105 mm 1: 3.5-4.5 (MKI)
  8. Nikon AF Nikkor 35-105 mm 1: 3.5-4.5 (MKII)
  9. Nikon AF Nikkor 35-105 mm 1: 3.5-4.5 D (MKIII)
  10. Nikon AF Nikkor 35-135 mm 1: 3.5-4.5 (MKI)
  11. Nikon AF Nikkor 35-135 mm 1: 3.5-4.5 (MKII)

The catalog of modern universal lenses for Nikon can be look at this link.

Prices for the Nikon 35-70mm f / 2.8D AF Zoom-Nikkor lens in popular stores can look at this link.

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Hack and predictor Aviator

The lens has more minuses than pluses, but still this old man can calmly give modern super sharp optics his indestructible design and a wonderful picture. But for what purpose are all lenses designed?

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Comments: 328, on the topic: Review of Nikon AF Nikkor 35-70mm 1: 2.8D

  • Lina

    I ask for help. The lens does not obey, but the camera. Does not focus 35mm. The shutter button does not work. What could be the reason?
    Here's what's on the screen when the shutter button doesn't work

  • Lina

    I ask for help. The lens does not focus at 35mm, and even at 70mm there is no sharpness. and the camera does not release the shutter button.
    What could be the reason?
    This is what is shown on the screen when the shutter button does not work

    • Michael

      Does the camera drive work? With other af-d how? What camera? What is the position of the AF switch?

    • Jury

      Here is an article to help, if you understand everything in it, do it right and does not work, then hand over the lens for repair. In a nutshell, the shutter button does not work. in the af-s mode settings, focus priority is selected, no focus - no button operation. It remains to be understood why the lens does not focus.

    • B. R. P.

      Maybe you have it in macro mode?

  • Maksim

    Dear colleagues, a question arose, now I got sick, and sitting at home from nothing to do I began to use different equipment, I took an old d90 and glasses 35-70 2.8. And 35-ku 2d, yes there are modern Nikons and newer optics, but I prefer to put old glasses on old cameras, this, in fact, does not matter, the point is different, I rented conditionally a room, a bookcase with books, set the shutter speed to 1/60 f 2.8. iso 800, and from one distance with a 35mm focus I made a frame from both glasses, exposed with the first glass, Nikon 35-70 is clearly in the exposure, and from 35 2d I overexposed part, removed a whole stop in iso and then the pictures began to match, and the histograms have become similar, I, of course, know that the optics can differ at equal rates, high-aperture, forgive the taffetology lighter, but I always thought that it was about 1/3, but here it turns out a whole step

    • Maksim

      Here is one shot, of course its artistic value is reduced to a minus, just to convey the difference.

      • Maksim

        Here is the second, the difference in shooting is less than a minute, all indicators are identical

        • Andrei

          This is a catastrophe.

    • Dmitry Kostin

      If all settings were the same: 1/60 f 2.8. iso 800 and exposure metering is the same here and there, then the question is - were there any filters on both lenses?
      If not, then there really is a question.
      I had 35 / 2D on D90 / D700 / D3s / D4 and with all these cameras the picture was lighter than necessary. Therefore, on the D3s and D4 I set the exposure compensation on the camera to -1/3 or sometimes -2/3.
      If possible, try testing these 2 lenses on a different camera.

      • Maksim

        At 35-70 there is a protective hoya, I forgot about it, it merged with the structure, but this transparent glass is not polarized at all, would it really eat the step, now I'll take it off, I'll try

        • Maksim

          .. The second at 35-70 2.8 settings are identical, removed in a row, well, taking into account the time to change glasses

      • Maksim

        Here on the d750, I removed the protective glass from 35-70, the first frame at 35 2d

        • Victor

          Yes, just the zoom is darker (in t-stops), that's all. A lot, yes, but there really is.

          The protective filter, of course, would not have eaten so much (you would not have noticed its effect on the exposure at all)

          • Maksim

            While writing a long comment, you answered)), that is, let's say if you take half a f1. 4 or 1.8 and half a stop on the zoom, let's say 24-70 f. 2.8, with the same aperture, for example f4 or f5.6, shutter speed and iso, will the zoom still produce a darker picture?

      • Maksim

        It's just that I had a question specifically about the aperture, if we take the same camera, then we usually expect results from different optics to be approximately similar in illumination, well, it is clear that the one that will give a much more expensive picture more sharply, which is more accurate, someone is sharper , someone is more plastic, there are different bokeh, etc., I do not take just the quality of the picture, but only the exposure, but on the example of these two lenses I see that the difference in exposure is not so small, despite the fact that they are otherwise similar in the picture , well, as about the same time, the average fix and high-quality zoom. For example, if I go to shoot in a tavern of DR friends (all the more so while my health does not allow drinking))) I think about 35 mm, the ideal focus for this, great, what to take, 35-70 and 35 2d, well, conditionally knowing what to shoot at f2 I will not, after all, the grip is narrower, and there is more than one person and so on, in general I understand that this is about f2.8 not wider, 35 mm, shutter speed 1/40, although for people it is better not longer than 1/60, iso, which means somewhere 1600, but in fact it turns out that 35mm is lighter and you can get by with iso 800 without switching to f2 and without narrowing the grip, an unexpected pleasant bonus, well, or vice versa, suddenly it turns out to be 35-70 darker and iso needs to be pulled up) and it became interesting, such a difference is often encountered and are there any rules on this subject, for example, that with equal parameters on the camera, the fix is ​​always lighter than the zoom, or some specific models, etc. didn’t think about it ..

        • Victor

          There is another option - on one of the lenses the diaphragm drive does not work exactly. For example, you expose f / 4, but in reality at zoom it comes out in the area of ​​f / 5 ... 5.2. Try the same test, but setting the aperture on the zoom fully open (with the ring), and on the fix 2.8, also with the ring.

          • Maksim

            So neither on d90 nor on d750 it is impossible to manually change the aperture on the lens, if you move it from slot 22, then an error will be generated

            • Victor

              So use m-mode, everything should work in it.

              Yes, the lens itself cannot be a whole stop darker, it’s like too much, most likely something else with the mechanics.

              • Maksim

                So in M ​​mode it will not work, you mean manual focusing, so in M ​​I always shoot, but even when I turn off autofocus, I still twisted the aperture ring on the lens, I got fEE in the lens, well, with Zenits, everything is ok, but Nikkor does not give such liberties))

              • Victor

                M - manual exposure mode.

              • Maksim

                Well, I also said that I always shoot only in M ​​mode, I never change it even to A or S))

              • Victor

                Yes, I made an inaccuracy, in no mode can I shoot a ring on a digital camera with manual aperture control, which is rather strange, of course, fudge, for example, even places these electronically controlled rings on many lenses and presents it as a handy feature. Anyway((

                I read the message below, apparently the fix is ​​really "lighter" (on covered ones), and the zoom is a little darker, so the difference comes up.

        • Dmitry Kostin

          There is still such a moment - how much is a native lens.
          On non-native lenses, there may be a moment of incorrect exposure determination.
          For example, on D4 Tokina 28-70 / 2.8 and Tokina 28-80 / 2.8, the image was stably overexposed, and only with a -2 / 3EV or -1EV correction, the exposure returned to normal. Moreover, the first one overexposed the picture more than the second one.
          On the D750 the same lenses worked perfectly, but the Sigma 28 / 1.8 EX DG, which worked fine on the D4, gave an underexposure of ~ -750EV / -1.33EV on the D1.67.
          As for the 35-70 / 2.8D, I have two of them and both are different in terms of the state of the glasses and mechanics.
          Both are slightly different in the picture, there is no fungus, but there is a feeling that one is lighter than the other by 1 / 3EV (one from the last series, the other is older, the mechanics are better than the first, and the optics are worse).

          • Dmitry Kostin

            And it's strange, but my 35 / 2D relative to (both) 35-70 / 2.8D did not give such a difference in exposure as yours. Yes, 35 / 2D gave the picture lighter, but at the usual 1 / 3EV (sometimes a little more, but less than 2 / 3EV), no more. There was never a difference in stops.
            I felt the difference between a dark lens and a light lens when comparing 28-105 / 3.5-4.5D and 35-70 / 2.8D. Especially when you wear 35-70 / 2.8D after the second one in the room. The picture in the viewfinder is directly sharply brighter. And in terms of exposure, in nef, I did not notice much difference between them. Yes 35-70 / 2.8D is lighter, but not significantly.

            • Dmitry Kostin

              "And are there any rules on this score, for example, that with equal parameters on the camera, the fix is ​​always lighter than the zoom, or what specific models, etc. .."
              It is only in practice that you can determine, IMHO, how your camera will work with a lens (which may be from a third-party manufacturer).
              Fix, of course, in difficult lighting conditions (in the dark, for example), will be preferable.

              • Maksim

                I took another excellent tamron 45 1.8 tried it (fix 35 only one), 35 / 2d and 35-70 2.8, when measured on a gray card on the camera's exposure meter, 45 and 35 are identical, 35-70 need to add 1/3, then I took off, the tamron is somewhere between the nicorra, I think, somewhere 1/3 darker than 35 and 1/3 lighter than 2.8, if you look at the histogram, then 35-70 is equal to 35 2d in the light with a difference of 2/3, now I measured it more carefully , therefore, I think that the difference of 2/3 is a more correct number than a step, as I wrote initially, although this is also not a little. In principle, if we count Tamron 45 as a standard, then the difference with a zoom of 1/3 just fits, but then it turns out that 35 2d is 1/3 lighter than expected from it))

              • Dmitry Kostin

                “Now I measured it more carefully, so I think that the difference of 2/3 is a more correct number than a step, as I wrote initially, although this is also not a little.”
                Unfortunately, I sold my 35 / 2D last year because he lay idle after buying the Sigma 28 / 1.8. So I would love to do the same test as yours.
                I can say for sure what the difference in + 2 / 3EV is, I know very well, tk. my Tokens often entertain me with this on D4. Interestingly, updating the firmware on the D4 did not help. The difference of +2/3 + 1EV (compared to Nikkors) was seen only on Tokin. 35 / 2D didn’t give me such a thing. I had 35-105 / 3.5-4.5D and Sigma 28-70 / 2.8 (the first revision up to EX DG) and in comparison with them I would definitely notice a crime (i.e. the difference between 35 / 2D and them), since I often had them all together in my backpack.

              • Maksim

                Colleagues, I forgot to answer, the question was resolved, everything is correct, the difference is 35-70 with Tamron 45 1.8 1/3 is not more accurate, maybe 1/3 is not, why, with 35 2D there was a step, it turned out that the camera with 35 2d is all ok measured, but for some reason, when shooting, the aperture opens to its full width, do not put it, 2.8 or 11, while the exposure meter works correctly, you close the aperture, it shows on the scale that it is darker, open it, shows it lighter, everything is clear, but you take a picture and it is everywhere olinaki, even at f2 at least at f11, so even though it was 2.8, he also shot at 2, hence the difference went .. I did not use it for a very long time, about a year, I put it on for comparison and so I got it, before everything was norms, so I did not immediately understand, I never encountered this, in general, everything is fine with 35-70, excellent lens, 24-70 has 2.8 resolution when zooming the frame, but its size and price are incomparable

          • Maksim

            Well, now I compared on the d750 nikkors 24-70 2.8mm and 35-70mm 2.8 by 70 mm both, all the data are the same, the image is exposed to the eye the same way, the histograms are also almost identical

            • Leonid N

              35 / 2d vesbma has a common problem with NOT covering the diaphragm, possibly the diaphragm is in oil

    • Andrei

      And what was the 35/2D aperture?

      • Maksim

        So f2.8, I specified all the parameters

  • Andrei

    Good day. Bought this lens with a bump mark. It cracks when focusing, and the most annoying thing is, when you focus and start moving the zoom, the focus gets lost. That is, in order to focus on it, it is generally better not to touch it. Is this a defect, or is it so on all lenses? Is he being treated?

    • Trueash

      The lens's ability to maintain focus is called parfocality. Most photographic lenses are not parfocal - notably this one (as far as I know). That is, first we zoom in, then focus.

    • Dmitry Kostin

      I have two of these lenses and one of them also grunts when focusing.
      The lens is not young, it is hard for him.
      After the impact, it was undesirable to take it, because if anything, it can be difficult to find and persuade the master to take it to work, and the bulkhead can cost half the cost of a used lens at a flea market.

  • Andrei

    Ie is it normal that as soon as I shift the zoom, the focus is blurred?
    Another question - what kind of hood can I use if I can't find my own?

    • Victor

      Yes, this is normal for most lenses.

      Any suitable hood can be used from aliexpress with the same diameter and thread pitch and similar length.

    • Dmitry Kostin

      A native, or a copy of it, can still be found.
      Nikon HB-1 1890 rubles
      It's kind of the original.
      I came across several ads for copies or used ones at a price of 400-500 rubles.

    • Anton

      He came to me with a Nikon HB-1 hood

  • Anton

    Only today I came with delivery, took out a check and realized that this glass is simply unrealistically good at work. Very beautiful, naturally creamy bokeh, very good sharpness, it is lighter than I thought and otherwise everything is more than successful. I took glass in my hand and in the subject and in the camera - I took it for 750, but I still have to try it for 7100 ...

    Rarely, when a zoom is better than a fix - you have to pay for versatility, but here obviously this lens is better than my 35mm 1.2 D - I will get rid of it. Better than 50 1.8 - although I liked him, fighting old man. I'll leave 50 1.4 D for now - a lot of things have been done with it, I'm used to it, but it looks like 35-70 2.8 will definitely be a working glass for most situations. Take at least one thing, what would be in reserve - they no longer do such)))

    • Novel

      Ideal for bokeh photography, there was no point in sharpening the remaining 1.5mm of the flower. Much better than a rack of icons.

  • Skiferok

    I have 35-70 2.8 of the first version. They write that he is sharp from an open dirk. I have F 2.8-7. On the sides of the frame. The center is sharp. At f8 the picture is sharp all over the field. Is it like that for everyone, is this the work of the lens?

    • Skiferok

      Photo did landscape

  • Ira

    My favorite machine.
    When the old lens, which had served my father since 2005, nevertheless began to fail, I purchased Tamron 24-85 2.8, went through one shooting with it and rushed to take it back. Then I bought another 35-70 in a buy-out in a near-box condition.
    You really get used to this lens very much and then it’s hard to “get off” it.
    For reporting, of course, I would like something wider, but I cannot find a broader analog for myself.

    I work on ff d750.

    True, there is a wide range for shooting real estate and interiors, but I can’t take it for reporting. Don `t come in.

    • B. R. P.

      Apparently, Tamron is still either 28-75 or 24-70.

  • Igor

    Wow, what a gorgeous piece of glass! Where have I been before that I didn’t know about it… now I decided to look at a flea market in Ukraine and it’s nowhere to be found! Apparently, no one is in a hurry to get rid of it ... if anyone is idle, beacon, I will buy it with pleasure)

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