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

Disadvantages:

  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:

Canon

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

Nikon

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

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 /24-50 G (G, SEL2450G)
  2. Sony FE 2.8 /24-70 GM (G, SEL2470GM)
  3. Sony FE 2.8 /24-70 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

Angénieux

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

Vivitar

  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

Panasonic

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

Leica

  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)

Samyang

  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.

Comments on this post do not require registration. Anyone can leave a comment. Many different photographic equipment can be found on AliExpress.

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?

Material prepared Arkady Shapoval. Training/Consultations | Youtube | Facebook | Instagram | Twitter | Telegram

Add a comment: 777

 

 

Comments: 331, on the topic: Review of Nikon AF Nikkor 35-70mm 1: 2.8D

  • Alexey

    Arkady, it is impossible to leave a comment ... The site is not responding ...

    • Arkady Shapoval

      The site simply limits the number of comments per minute from one computer.

  • Alexey

    You are reading me now, but the address specific comment does not accept ...

    • Arkady Shapoval

      I wonder what you mean by “targeted specific comment”

  • Alexey

    Trying to answer your specific arguments on 35-70, doesn’t take it, you bastard ..

  • Alexey

    push-pull is convenient and prompt for me ... The rotation of the lens does not bother ... The motor is not required, it is not only in the entry-level carcasses ...

  • Alexey

    Here he perceives in pieces ... It's a shame ...

  • Alexey

    Seven petals are not a problem for me - I almost always shoot in the open ...

  • Alexey

    We have no fungi and mold - all glass is from Japan, I sympathize with you, Ukrainians ...

    • Arkady Shapoval

      No matter where the glass comes from, the lens is simply prone to this disease.

  • Alexey

    I understand your arguments ... But in reality the lens has no competitors in this price niche ...

  • Sergei 02

    Hello colleagues, tell me. 24 megapixels on d600 allows this lens?

    • Arkady Shapoval

      Close the diaphragm and rejoice.

  • Sergei 02

    It turns out that the open does not allow? How many close?

  • Alexey

    Arkady - Hello.
    Happy you!
    Thank you for your efforts, to sort out the whole variety of photos of the world (especially now, when there is a huge selection of everything and everything), it is extremely difficult. Especially for beginners.
    I ask for your advice and the local masters: they suggested this lens, it’s worth taking it on a crop, for yourself (not commerce), for 10t.
    Thanks in advance and all a Happy New Year!

    • Arkady Shapoval

      35-70 is quite specific, you can't "see through" it the first time. Whether or not it is worth it - the person who is going to buy it should always decide. All information on the lens is indicated + see overview of the previous version https://radojuva.com.ua/2014/09/nikon-af-nikkor-35-70-mm-2-8/ , the site has many comments. After analyzing the data, and comparing them with your requirements for the lens, you should make a choice.

  • Alexey

    -From the first time I didn’t figure it out, it’s just noticed, I agree, everyone decides for himself, etc. with all the consequences ...
    I will take it (if ideally (almost)).
    Thank you for your speed, all the best to you!

  • Ivan

    Arkady, good afternoon!
    Sitting with a friend, examining 2 similar lenses, one with D the other non-D managed to focus on the machine by switching the lens to macro. When I tried to do this later, I didn’t succeed. The whole nuance was as follows:
    If you move the lens to 35mm, hold down the macro button and rotate it to the end (one fifth to the inscription 35), the autofocus continues to work. But you already have a macro.
    Tell me if working in this position will damage the lens?

  • Andrei

    Hello Arkady.
    What lens do you think awakens better Nikon AF Nikkor 35-70mm 1: 2.8D or Sigma Zoom 17-50mm 1: 2.8 EX DC OS HSM - Nikon 7100 camera. The fact is that there are a lot of complaints on the Sigmy on the net, but on the other hand it has a stub (which means that you can set the shutter speed an order of magnitude shorter), the focal length is very convenient for crop.
    Nikon without a stub, the focal length for the crop is not so universal, but this is a quality, both the lens and the sharpness of the picture.
    Good people tell me.

  • anonym

    So I know, what can I say, I shot 17-50 tamron with a stub, these were completely different flows, 35-70 is a portrait lens, he is sharpened for everything, the volume of the picture, color rendering, drawing ... this is something, my copy is very sharp at 2.8 for any focal, portraits are simply gorgeous. When choosing, the main problem is fungus and bq / front on focal points, mine does not have these problems, as for 17-50, the first is 2,8 is a constant figure, sharpness is from 3,2 (((, and if so, then why pay this money ????, they are good at filming a reportage and architecture, there is no drawing, the atmosphere will have to be created in the FS, and not like with 35-70 directly to them, it's like a hardware-based xdr-combatant in the case of Fuji pro 5/3, and in coupled with such a camera at low it makes such things that just AH, Then it's up to you, what you are focused on and what you want from the picture.If you decide on 35-70, just very carefully test on all focal points across the WORLD and shine a lens in both directions, so as not to run into the fungus, good luck.

    • Andrei

      Many thanks for the informative answer.

    • Mad

      As I understand it, you have a crop, but could you post a couple of examples?
      I really liked this glass, and I wonder if there is a volume and a drawing similar to the FF.

  • Alexey

    70 \ 2,8 MDF

  • Alexey

    70 \ 2,8 D90, the first frame on the D700

  • Alexey DV

    70 \ 2,8 D700

  • Alexey DV

    Again 70 \ 2,8 D700

  • Dima

    tell me whether it is worth changing 18-70 3,5-4,5 on it?

    • Lynx

      IMHO - yes

    • Alexey DV

      Yes, without any IMHO - yes, if you love and understand a beautiful PICTURE. You will lose the SHU on the crop, get a real portrait lens at a minimal cost ... Small flaws are corrected in the RAW converter ...

  • Zivert

    Regarding the "glitch with focusing at a focal length of 35 mm." The lens needs to be disassembled, namely, unscrew the front lens and check the fit of the indoor unit. Most likely it is loose and the block rotates freely in the seat. Take plastic tweezers (you can use scissors, but very carefully), insert them into the side slots and tighten until they stop. The main thing is not to overdo it, otherwise the instrument may break off and damage the surface of the optics. After such an operation, the specified glitch disappears.

  • Eugene

    Good day. Starting with the number 8 at the beginning of the serial number, the lenses have no problems with the fungus (clouding). The optical circuit has a glued lens. Up to the number 8 in the serial number, organic glue was used, and it bloomed over time. I have this lens on the NIKON D600 is very satisfied.

    • Nicholas

      tell me, two ideal objects (35-70 2,8), one of them with number 69 ..., the other 82 ... The difference in price is very large (UAH 3000) What to do ??

      • KalekseyG

        they are the same, here is the information. 13_sergey_69@mail.ru

      • anonym

        Sorry, wrong link. Correct - regex.info/exif.cgi

        • Nicholas

          sorry at the same time and thanks for something I can’t figure out the link, but they write that if the serial number
          7 ... and above the glass was no longer glued with organic glue (due to which a fungus was formed), but with synthetic one. Interested in how so ?? I don't see anything like this on the link.

          • anonym

            I apologize because of the phone I messed up with the link twice. series from 60…. 80 each…. this is one type.

            • anonym

              and the site address is blocked by Arkady, it’s impossible to write it here, the message does not appear :-(

              • Arkady Shapoval

                what is the address?

              • KalekseyG

                Are you mocking? Today I tried to write messages containing it from three ipaddresses, none of 4 was displayed

              • Nicholas

                Thank you very much, I will focus on what you write. If there is time and opportunity, discard the link to the post balagutrak59@mail.ru.
                Once again, thanks. Upcoming holidays!!

  • Andrei

    Eugene, gluing on synthetic glue begins for lenses with serial numbers “7” and “8”. For those who are interested in buying this lens, I can share my own experience. Recently I sold such a unit, in perfect condition, without fungus and haze, with “synthetic” gluing of the central lens, in short, I chose the lens for almost a year, out of many samples, having heard enough enthusiasm on the forums. 35-70 ... everyone is good: sharpness is at a height at any FR, and the speed is very high, and the convenience of the piston system (when you get used to it - shooting is much faster than when the zoom ring is “twisted”), and Picture !!! BUT. Having filmed in the open air and in the studio, he once took him to a wedding shooting as the main lens. It came down to the registry office, where the young are in front of large windows, which create a fairly strong backlight. And here my shooting almost got covered. I had to climb almost on the head of the registrar to change the angle. The contrast drops so drastically that ABSOLUTELY nothing can be squeezed out of these images. The same song was repeated on a walk, again we had to change the shooting plan. In the room near the windows I shot so that only the curtains would get into the frame, not the window itself. Against the background of the sky - the same thing, people are obtained with such a level of noise, as if you were shooting with ISO 6400 (on FF). At first, I had suspicions about the curvature of the arms, camera malfunction (at that time a completely new D610), formed stars, etc. The casket was opened simply by replacing the lens. The conclusion is this: this glass draws beautifully, everything is in order with sharpness and all sorts of other parameters, but it is not suitable for professional photography, it is not suitable for a standard universal lens, and use it only when setting - there are much more beautiful fixes for this. After two years of lying in a case, he sold it to the same enthusiast as he was before. Almost all of my friends who had 35-70 changed it either to 24-70, or use fixes. So, despite the very beautiful picture and color rendering, the lens is very capricious to light.

    • Alexander

      An ordinary piece of plastic in the shape of a burdock was cut out, black velvet was glued on it, plus an elastic band.

  • Alexander

    I’ve been shooting a Nikkor 35-70 2.8d from the time of the film. A chic lens is a picture, volume, if the front lens did not rotate, the lens hood would be of a different design (petal) and there would be less problems with side flares. I adapted the burdock, if I see the light I turn to the other side, it is attached to the lens. The series starts with the number 8 and there is no mold and blurred lenses.

    • Nicholas

      What a burdock, probably done? Can I see a bi?

    • Mikhail V.Ch.

      More than two years ago I bought 35D on eBau 70-2,8. Looks like 5-. Mechanics 5. Do not get dirty, the fungus is all right. Bought for cheapness - 60 Americans. I sent it with my son to Kiev. They cleaned, removed almost all the fungus, scratched the lens inside, fine dust, a few dust particles remained. But filming has become much better. The lens number is 653810. A month ago, the same NIKOR 35-70 2,8 D appeared on AVITO, with the number starting at 82 in perfect condition. Tempted, the price is 140 Americans. I bought it, filmed my grandson's birthday, without any check on the Front / back focus. All OK. marriage of 10-15 percent at a focal 35mm. On the first lens and on the D7000 I accidentally adapted the HB-36 hood from 70-300 VR, and sat on the rubber focusing ring. There was no vignette on the crop. The counter is also good. The photo shows both lenses. If this hood is shortened by 5 mm from the tulip side, the FF can be removed. IMHO. But it is felt that the lens from No. 82…. removes something better. I haven’t figured it out yet. It’s laid down and does not add up, as if it didn’t work at all. Presentation 5. But, inside is dust,

      • Mikhail V.Ch.

        More than two years ago I bought 35D on eBau 70-2,8. Looks like 5-. Mechanics 5. It does not unfold and does not fold, as if it did not work at all. Commodity type 5. There was dust, dirt, fungus, everything was as it should be. Bought for cheapness - 60 Americans. I sent my son to Kiev. They cleaned, removed almost all the fungus, scratched the lens inside. There are a few specks of dust left. But filming has become much better. The lens number is 653810. A month ago, the same NIKOR 35-70 2,8 D appeared on AVITO, with a number starting with 82…. in perfect condition. Tempted, the price is 140 Americans. I bought it, filmed my grandson's birthday, without any check on the Front / Back focus. All OK. The marriage is 10-15 percent on the focal point, for some reason at 35mm. On the first lens and on the D7000 I accidentally adapted the HB-36 hood from 70-300 VR, and sat on the rubber focusing ring. There was no vignette on the crop. The counter is also good. The photo shows both lenses. If this hood is shortened by 5 mm from the tulip side, the FF can be removed. IMHO. But it is felt that the lens from No. 82…. removes something better. I have not figured it out yet. For some reason, the text was split in the previous post. Pzht, Arkady, remove him.

  • Vladimir

    I understand that the question is not entirely adequate, but does it make sense to change the regular 18-200 3.5-5.6 af-s VR1 to 35-70. The long end and wide angle on the staff is not very important. Interested in the opinion of a professional

    • Alexander

      I would change. You win in the aperture and the picture is more interesting there is a macro, and in the full frame the lens opens to the full. Look for the main thing in good condition, sometimes there will be problems with side light. it is desirable that the camera has an autofocus adjustment, I have -15. Compared to the Nikkor, the 24-70 2.8G loses a bit in sharpness.

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