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)
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
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
What is good in this lens?
- 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.
- The lens uses a metal hood Nikon HB-1, which is installed in special grooves and can be fastened back and forth for transportation.
- 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.
- 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.
- Wonderful picture. We will talk about the quality of the final image below.
- 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
Disadvantages:
- 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.
- 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.
- 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.
- 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.
- 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.
- During focusing, the lens is pretty noisy.
- 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.
- When changing the focal length, the rear lens of the lens moves (drives air).
- The lens has only 7 aperture blades; newer models have 9 blades each.
- 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:
- D1, D1h, D1x, D2x, D2xs, D2h, D2hs
- D3, D3x, D3s, D4, D4s, D5, D6
- Df
- D50, D70, D70s, D80, D90
- D7000, D7100, D7200,D7500
- D100, D200, D300, D300s,D500
- D600, D610, D750, D780
- D700, D800,D800E, D810, D810a, D850
- Fujifilm FinePix S1 Pro, S2 Pro, S3 ProS3 Pro UVIR, S5 ProIS Pro
- Kodak DCS PRO 14n, DCS Pro SLR/n
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:
- The lens has SIC enlightened optics (Super Integrated Coating), but still afraid of side and back light
- You need to get used to working with piston zoom (with trambone) and remember that he can independently change the focal length.
- 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.
- 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.
- During auto focus, the focus ring rotates and cannot be touched. The minimum focusing distance is 60 cm (in normal lens operation).
- 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
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
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
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
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
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
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
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:
- Canon Zoom Lens EF 28-70 mm 1: 2.8 L USM
- Canon Zoom Lens EF 24-70 mm 1: 2.8 L USM
- Canon Zoom Lens EF 24-70 mm 1: 2.8 L II USM
Bayonet R:
- Canon Lens RF 28-70 mm F2 L USM, since September 2018
- Canon Lens RF 24-70 mm F2.8L IS USMsince August 2019
Nikon
Bayonet F:
- Nikon AF Nikkor 35-70 mm 1: 2.8 (MKI)
- Nikon AF Nikkor 35-70 mm 1: 2.8D (MKII)
- Nikon AF-S Nikkor 28-70 mm 1: 2.8D ED SWM (two body color options)
- Nikon AF-S Nikkor 24-70 mm 1: 2.8GN ED Nano Crystal Coat SWM IF Asphericalsince December 2007
- Nikon AF-S Nikkor 24-70 mm 1: 2.8EN ED Nano Crystal Coat SWM IF Aspherical VR
Bayonet Z:
- Nikon Nikkor Z 24-70 mm 1: 2.8 S
- Nikon Nikkor Z 28-75 mm 1:2.8 (the scheme is similar to Tamron a036, animation)
Tokina (for different mounts)
- Tokina AT-XAF 28-70 mm 1: 2.8 (Tokina AT-X 270 AF)
- Tokina AT-X PROAF 28-70 mm 1: 2.6-2.8 (or 1: 2.8, Tokina AT-X 270 AF PRO)
- Tokina AT-X PROAF 28-70 mm 1: 2.6-2.8 (or 1: 2.8, Tokina AT-X 270 AF PRO II)
- Tokina AT-X PRO 28-80 mm 1: 2.8 Aspherica (Tokina AT-X 280 AF PRO)
- Tokina AT-X PRO SV 28-70 mm 1: 2.8 (Tokina AT-X 287 AF PRO SV)
- Tokina sd 24-70 F2.8 (IF) FX AT-X PRO Aspherical
Sigma (for different mounts, in chronological order)
- Sigma 28-70mm 1: 2.8 Zoom, from May 1992 (Vivitar 28-70 / 2.8 VMC was made on its basis)
- Sigma 28-70mm 1: 2.8 Zoom EX Ashperical [+ -D], from the end 1998
- Sigma 28-70mm 1: 2.8 Zoom EX Aspherical DF [+ -D]since February 2001
- Sigma 24-70mm 1: 2.8 Zoom EX DG Aspherical [+ -D], [DF version], since February 2001
- Sigma 24-60mm 1: 2.8 Zoom EX DG [+ -D], from May 2004
- Sigma 24-70mm 1: 2.8 Zoom EX DG Macro [+ -D], From september 2004
- Sigma 28-70mm 1: 2.8 Zoom EX DG [+ -D], From september 2004
- Sigma 24-70mm 1: 2.8 EX DG HSM, From september 2008
- Sigma 24-70mm 1:2.8 DG HSM OS A (ART), from February 2017, Nikon F, Canon EF, Sigma SA
- 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
- Sigma 28-70mm 1: 2.8 DG DN C (Contemporary)since February 2021, Sony E, Leica L
Tamron (for different mounts)
- Tamron SP AF 35-105 mm 1: 2.8 Aspherical Model 65D
- Tamron SP AF Aspherical LD [IF] 28-105 mm 1: 2.8 Model 176D
- Tamron SP AF Aspherical LD [IF] 28-105 mm 1: 2.8 Model 276D
- 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)
- Tamron SP 24-70 mm F / 2.8 DI VC USD Model A007
- Tamron SP 24-70 mm F / 2.8 Di VC USD G2 Model A032
- 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
- Tamron 28-75 mm F / 2.8 Di III VXD G2 Model A063, (17/15), only for Sony E / FE, Fall 2021
- Tamron 35-150 mm F / 2-2.8 Di III VXD Model A058, Sony E / FE only, Fall 2021
Sony
Sony / Minolta A mount:
- Konica Minolta AF Zoom 28-75 mm 1: 2.8 (32) D (scheme like Tamron 28-75 / 2.8)
- Minolta AF Zoom 28-70 mm 1: 2.8 (32) G
- Sony 2.8 /28-75 SAM (scheme like Tamron 28-75 / 2.8)
- Sony Zeiss Vario-Sonnar 2,8 /24-70 ZA SSM T *
- Sony Zeiss Vario-Sonnar 2,8 /24-70 ZA SSM II T* (circuit from the previous lens)
Sony E-mount:
- Sony FE 2.8 /24-50 G (G, SEL2450G)
- Sony FE 2.8 /24-70 GM (G, SEL2470GM)
- Sony FE 2.8 /24-70 GM II (G, SEL2470GM2)
Pentax (K)
- Pentax SMC FA 28-70 mm f / 2.8
- Pentax HD Pentax-D FA 24-70 mm f / 2.8ED SDM WR
Angénieux
- Angenieux zoom F.28-70 1: 2.6 AF (for Nikon F, Minolta / Sony A, Canon EF)
Vivitar
- 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
- Panasonic Lumix S PRO 1: 2.8 /24-70 mm, from August 2019, Leica L
Leica
-
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
- Samyang AF 24-70 / 2.8 FE, aka Rokinon AF 24-70 / 2.8 FE, from October 2021, only for Sony E / FE
- 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:
- Nikon AF Nikkor 35-70 mm 1: 2.8 (MKI)
- Nikon AF Nikkor 35-70 mm 1: 2.8D (MKII)
- Nikon AF Nikkor 35-70 mm 1: 3.3-4.5 (MKI)
- Nikon AF Nikkor 35-70 mm 1: 3.3-4.5 (MKII)
- Nikon AF Nikkor 35-80 mm 1: 4-5.6D (MKI)
- Nikon AF Nikkor 35-80 mm 1: 4-5.6D (MKII)
- Nikon AF Nikkor 35-105 mm 1: 3.5-4.5 (MKI)
- Nikon AF Nikkor 35-105 mm 1: 3.5-4.5 (MKII)
- Nikon AF Nikkor 35-105 mm 1: 3.5-4.5 D (MKIII)
- Nikon AF Nikkor 35-135 mm 1: 3.5-4.5 (MKI)
- 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
70mm 3.2
Hello, but tell me, does it keep focusing on sharpness when zooming, or does focusing go astray?
Has anyone had experience treating this glass for fungus / mold?
Is it realistic to drag yourself to a service? And if in the service, then how much money can they take for this?
I use it with D800
Great lens
Sharp with 2.8
Great focus speed
Accurate focus
As for the spontaneous change in the focal length - during normal use - I did not notice, you can certainly spin the camera, or drop it - then it will change, in normal use - no
Perhaps this behavior can change over time - but he is already more than 20 years old, after another 30 mb something will change
Note - early versions of this lens can be susceptible to mold.
- in later used a different glue - which is more resistant to it
I am glad that the minimum focusing distance is 60 cm
Macro is not very convenient, but in principle, and it can be used
After buying it, it became much less likely to use fixes, as more open apertures than 2.8 are rarely needed
Of the minuses -
1) a wider angle is sometimes needed - but for the difference in cost from 24-70 - you can buy a good wide-angle zoom
2) not very suitable for video - the shopping mall is noisy, and there is no stub
The first impression of the lens - shooting 28-105 / 3.5-4.5d from the camera, I immediately felt that 35-70 / 2.8d was heavier. I was surprised by the diameter of the rear lens of the objective and also by how light it became in the viewfinder after I first changed 28-105 to 35-70.
I did not understand why the review on full-frame optics and pictures on the crop?
Having looked yesterday at the photos I took at 28-105 / 3.5-4.5 and 35-70 / 2.8d, I realized that it was hard to wish for better. At 35-70 / 2.8d, the output picture is very curious - it is voluminous and at the same time sharp, and it seems to sparkle in the sun. It is very difficult to describe in words. Yes, the exposure meter with 28-105 / 3.5-4.5 works more accurately, at 35-70 the picture is overexposed like on Tokins 28-70 / 28-80. But this is all fixable. 28-205 also turned out to be an excellent lens. If we compare it with Sigma 24-135 / 2.8-4.5, then it is sharper and distortion is better corrected, and also reproduces colors more accurately. And these lenses are now worth a penny for their capabilities. I noticed foreigners on flickr, they are often used with d610 / d750.
I guess why they removed the screwdriver from the z6 / z7 and there is still no analogue of Sony LA-EA4 for Nikkor screwdrivers. Because the “oldies” are still too good for their age.
Yes, they got tired that everyone is sitting on grandfather's optics))
You have a beautiful girl in a striped one ...)))
I have had this miracle for 15 years, since the F80. It gives an amazing picture, you don’t even believe at first that you can do it yourself with your own hands. On the D700 is also good. The picture, as if alive, separates the object from the background, as if it were cut out in Photoshop, amazing colors. The price today is ridiculous, cheaper than a wide-angle fix with the same 2.8. I recommend
Ready to subscribe to every word. Amazing Lens.
For some reason, I liked the picture with 35-70 / 2.8D more than with the 28-70 / 2.8D, which costs almost three times (!) More.
Guys, tell me, please, a beginner. I am a happy owner of this rarity. I want to buy FF carcass. Can I put this lens on FF? And does the carcass have to be Nikon or is Kenon with an adapter also suitable?
Why did you buy this lens? To be?
Such glasses come with time, when there is understanding and when you scribble several tens of thousands of frames for all sorts of soapy budget dark / shit-talking.
Have you read a review of this lens here in Radozhiv? But he is. Both the D version and the non-D version.
This is a lens for Nikon. Canon has enough of its legendary Elecs, the same 28-70 / 2.8L.
Maybe I didn’t buy it, I found it on the street. And why not start right away with a good lens?
They gave it to me along with the old Fuji carcass, there autofocus works fine. Now I want a new FF carcass, and so that the lens does not remain idle, I asked this question. I want a Kenon carcass, but I still don’t understand whether the lens is suitable or not.
Without autofocus and aperture, all handles. Michael wrote about the same below.
Thank you
First, compare the photo from the “old Fuji carcass” with the new ones. Do not rush to chase novelty and bells and whistles. Read Radozhiva's reviews about Fuji, look at the photos from her and do not rush to sell, just put it off. If you really immerse yourself in photography, eventually you will return to Fujiku. It's a timeless classic, just like the 35-70 / 2.8
You can put it, but autofocus and aperture jumper will work only on Nikon. To other cameras through an adapter - you get a manual lens
For two copies of 35-70 / 2.8D, with which I am dealing, I can say that at 70mm there is software for 2.8 and for each of the copies it may vary slightly.
Yes, there is software at 70 mm, but it's not really software. I tested it in the evening and came to the conclusion that this is Back Focus. This is noticeable when you put several objects and the camera on a stable, level position and you can see that the AF hits accurately - a dot appears in the viewfinder, signaling the correct focus. There is a slight back focus on both exactly at 70mm, I read about this phenomenon on photo forums that Tokin 28-70 / 2.8 and 28-80 / 2.8 have a similar disease - on my Tokins it is also there, but not so noticeable. In 35-70 / 2.8D, this appears from the wear of the ram with time and this is a feature that does not appear at birth. Those. this is normal.
There is no back focus at 35mm.
There was an opportunity to loop two copies of this lens, one had a slightly unclear side of the lens when glued together, the other had clean lenses, but, interestingly, both at 70mm / 2.8 gave the frame illumination when shooting towards the light source. I removed the lens from the carcass and began to twirl it in the light in my hands and figure out why this was happening. And the following happens: at focal lengths of about 50-70mm and at apertures 2.8-5.6 if the angle between the light source and the lens axis is about 25 to 45 degrees, then the inner surface of the rear lens frame is curled up, and the frame itself in the place of illumination becomes an additional lens and evenly illuminates the matrix. If you shoot with the lens pointing almost directly at the light source or the sun, then there is no back lens flare and the contrast does not drop. only hares appear in the frame. The hood doesn't help much, it's such a design feature of this lens model and there's nothing you can do about it. The mold in the lenses affects what - I still don't understand, the sharpness does not disappear throughout the entire field of the frame. The only thing is that white objects appear in the frame as if blurry white halos ... In general, given the above-described feature of the lens design, when shooting with a side light source, use an aperture greater than 5.6 or avoid these angles of 25-45 degrees. Otherwise, correct flare and contrast reduction in the images in the editor.
Thanks for the info - curious.
On my own, I recommend buying a medical blue lamp or an open quartz lamp so that there is an open stream of light.
This kind of lamp is good at suppressing fungus / mold / clouding. It especially helps if done regularly - at least once a week.
Isn't UV light trapped by the lens glass? After cleaning the fungus, I tried to expose the old Jupiter with mold to the sun for a whole month and send the UV lamp to it for several days - anyway, after a while, the fungus with small dots again fills the lens inside like fogging. fungus disputes seem to be all the same ... And at 35-70 2.8 - inside the gluing, most likely I saw just a defect in the adhesive layer - maybe from old age and damp moisture got into the gluing ....
Good question…
I pass through the lamp from the bayonet side and from the front, light-collecting lens.
A cloudy lens visibly brightens after such a procedure, but not for long.
Thanks for the info!
I read the review for this lens. Interesting, thanks to Arkady. It is especially interesting to read the comments where people share their experiences and problems in using this lens. Drops in contrast are “treated” easily and simply. I trivially stretch my left palm in front of the lens, blocking part of the light flux incident at an angle and the contrast is instantly restored.
https://d.radikal.ru/d29/1904/df/40aff49960cb.jpg
https://b.radikal.ru/b16/1904/31/372be0e8c653.jpg
Yes, I would like to give advice on how to check this lens (and not only). The fact is that this lens, in addition to everything else, still suffers from the fact that the glue between the lenses dries up. And it starts at the edges of the lenses. And to see it in the light using only daylight sunlight is impossible. Best of all, shine it with a bright white LED flashlight. Then the place of drying of the glue begins to glare.
Here is an example. This lens is perfect in sunlight and the glue does not dry out. But as soon as a white light was illuminated, everything became visible.
https://a.radikal.ru/a19/1904/ee/6b2beeeae843.jpg
Yes there is.
The first 35-70 / 2.8d was caught without it, with clean pah-pah glasses. But with the second overlooked - there is an LED flashlight, but did not take it. And the day turned out to be cloudy. In short, he himself is to blame and there is light turbidity.
Another topic is that at 70mm it's not software, but back focus. The lens, magical in the picture, but very delicate and it breathes all - and when focusing and when summing, it sucks all the muck from the street into itself and onto the matrix.
It’s physically a pity to take him outside and take a picture of him in wet weather.
Many high-aperture lenses of those years are ill or simply problematic - these are Tokina 28-70 / 2.8, and Nikkor 35-70 / 2.8, and Nikkor 28-70 / 2.8, and Canon 28-70 / 2.8L and there are complaints about 24-70 /2.8L.
On the lenses of this design, the BEC focus appears and increases linearly with a decrease (moving the lens unit away from itself) EGF. But at a wide angle, this is a plus, since the focus point begins to cover, for example, a large area of the subject and it is impossible to bring the focus point to the eye. This is most likely a constructive idea, since the lens was created for film cameras. And if you have 70mm back focus, then you need to carry the camera for alignment or make precise focus adjustments. If it's not about the camera, then it's commonplace that the lens has wear on the guide bushings. And that can't be helped. I chose a lens and got a good copy. At 70 mm everything is in order, there is no BEC focus. As for its design "vacuum cleaner", it is not the worst of this "brotherhood". There are such that the “breath” of the lens is felt with the eye from the viewfinder eyepiece. This is not the case. Quite acceptable to yourself.
Here some comrades wrote that lenses with serial numbers starting from 7 and 8 are not susceptible to such a “disease” as fungus and glue drying. But, I looked through all the lots for these lenses on ebay, and I can say for sure that lenses with an initial number of 7 in the serial number, in the same way, almost all of them are covered with fungus. I can't say anything about serial number 8. There are few of them, and it seems that I did not find a warning about the fungus in any announcement.
I have two 35-70 / 2.8d.
7 and 8 series.
The 8th series is better preserved than the 7th.
I really hope that both will last a long time.
The fact is that it very much depends on the operating conditions. Even those lenses that were little exploited and were in a case were covered with fungus. Sunlight is known to be the enemy of the fungus. The more you use in the sun, the less chance of getting a fungus. I heard that some of my lenses were placed under an ultraviolet lamp, and the area of the fungus and turbidity decreased for a while. And some photographers periodically lay out their lenses under ultraviolet for prevention. In normal condition, there are lenses of different series, all depending on the operation and climate.
I confirm. I have a lens with number 8. For many years I’ve been shooting a fungus on it, there’s no cloudiness. Cool lens. I rent them a lot of things.
I have 2 pieces 35-70 / 2.8D.
7 and 8 series. The picture from the 8th series looks prettier: sharper, sharper and somehow generally nicer. Hard to describe in words.
If there is an opportunity to choose it is better to look at the 8th series.
Today I appreciated the convenience of the ram, because ... I did not take it with me)
When you need to very quickly remove a tarmon moving quite fast from you, the object is much more convenient than the usual zoom ring.
I accidentally saw an extremely rare car on the street, but with 35-70 / 2.8D or 35-105 / 3.5-4.5D I would have caught it, and Tokina 28-70 / 2.8 was with me ... The lens is certainly not bad, and I really like it , but while I turned the focusing ring from 28 to 70mm, the object almost left me and was not going to wait))
A couple of weeks ago, I saw this lens in good condition in the eighth series at a Japanese auction. He made a bet, won the lot. On May 25, the lens was shipped from Japan by EMC. May 30 received a package. Well, what can I say if we say that the lens is new, it does not say anything. He's just perfect! Not a scratch, as new from the factory, although used. The piston stroke is soft, not tight and not weak. It is perfectly calibrated by effort. When the camera is positioned with the lens down, it does not move out, it does not fold up. Lenses are clean as a tear. Focus is fast and accurate. There are simply no flaws. All those few lenses, which seemed to me good specimens, turned out to be hackneyed and tired. The difference between what I had and what I bought now is simply huge. Arkady, this lens (if it is new) has no shortcomings. The fact that he is afraid of backlight is not a flaw. Rather, it is insignificant. For me, this is solved with an outstretched hand with overlapping backlight easily and simply. He pulled out a brush, the contrast returned.
Please, tell me what kind of Japanese auction of photographic equipment? is not “injapan” a case? and at what price did it cost you?
variant3
Well, maybe it was good for the D700, but on modern devices, it specifically lacks permission. For a close-up, he does not have enough focus, but for the general plan, for a growth photo, sharpness is already needed. He is sharp only since 5.6. And what's the point then in it?
Excellent on D4. On the D750, yes it feels like a little lack of resolution. I have two lenses of different series. 8 series seems to be cut. I do not agree about sharpness with 5.6. Do you have clean glasses? I'm in the center at 2.8 on the 8 series lens, everything is already fine. What camera are you using this lens on?
you have 24 megapixels and your resolution has fallen, I have 36 and the resolution is fine. Look for the reason for the drop in detail in another.
In a different? Perhaps the 7th series lens is more ushatan than the 8th series.
About the 8th series, as I wrote above, there are no problems with sharpness. Everything is fine on the D750.
Most likely "ushatan" and has dried glue in the gluing of the lenses. The myths about the higher resolution of digital lenses are spread by the manufacturers themselves. It is not profitable for them when the owners of cameras have been working on film optics for decades. Modern lenses, thanks to various sputtering, coatings, better fight various kinds of chromatic aberrations, yes.
https://pikabu.ru/story/realnoe_razreshenie_plyonki_i_tsifryi_4560396
Well, about the infinite number of colors in the film - nonsense. The same principle as RGB, only sometimes there are more layers. It looks like an audiophilic illness. And nothing that the color of the pictures from the film does not coincide with reality - this is real film!
In a film, resolution is measured not in layers, but in lines. And the principle is completely different. And it's not about colors, but about the resolution of optics. Don't like color matching? Shoot on the BW. Although good photographers picked up both film and lens (the lens also gives its tone and color) so that the colors match. I took the Konica VX 1.9 super film under the Cosina f50 100 mm lens with flash. And for shooting in cloudy weather Kodac gold. And the colors were natural. But if it were vice versa, then in a room with a flash, everything would go yellow, and in cloudy weather on the street it would turn blue.
And read? I wrote about color, not sharpness, commenting on the article here. And its accuracy just depended on the number of layers. And at the expense of sharpness, sometimes "digital" is not allowed by modern matrices. But the new ones have better contrast and enlightenment. At the very 3 film lenses.
Contrast and sharpness for a digital matrix, achieved including digital increase in contrast and sharpness. Such an increase weakens the semitone, microcontrast. The resolution of the lens depends on its diameter and the wavelength of light. This is physics, the optics section. To increase the resolution of optical devices, you must either increase the diameter of the lens or reduce the wavelength. Therefore, to observe the finer details of the subject, ultraviolet radiation is used, and the resulting image in this case is observed using a fluorescent screen or fixed on a photographic plate. An even greater resolution could be obtained using x-ray radiation, but it has great penetrating power and passes through the substance without refraction.)) The electron fluxes (at certain energies) have approximately the same wavelength as x-ray radiation. Therefore, the electron microscope has a very high resolution.
The camera does not distinguish what is on it, and does not forcefully enhance the sharpness and contrast for “digital” lenses. And about the wavelength you have already galloped to another steppe. What does this have to do with shooting in the visible spectrum? And the reason for using shorter wavelengths is to reduce the effect of optical distortion, not to increase sharpness. At this resolution, even the slightest aberration and diffraction reduce the resolution. And the great merit of sharpening belongs to monochrome light - it nullifies all chromatic aberration.
Vitaly N
22.07.2019 in 11: 04
How can this camera not distinguish what is on it? It also distinguishes. And this happens via the camera-lens exchange protocol. Don't write nonsense. Take fine tuning of autofocus, for example. I have 9 presets on my camera for each lens. This is the first thing. Secondly, about the wavelength. If you are not aware, then in the visible spectrum, each color has its own wavelength. Open and read stupidly in at least Wikipedia. I was not too lazy to insert part of the text on chromatic aberrations; Chromatic aberration is a type of optical system aberration caused by the dependence of the refractive index of the medium on the wavelength of the radiation passing through it (that is, the dispersion of light). Due to parasitic dispersion, focal lengths do not match for light beams with different wavelengths (beams of different colors). What's incomprehensible here? And third, going back to improving contrast and sharpness. I wrote not about lenses, but about “digital matrices”. You can read how the contrast is increased programmatically; the Internet is full of articles. And this is a few pentax lens protocols translated by me in google-translator, read on your health.
And this is a small part of the exchange information between the camera and the lens.
1. A camera system for transmitting data between a microcomputer connected to a camera body and a zoom lens selectively mounted on a camera body, the focal length data being transmitted from said zoom lens to said microcomputer, said lens with a variable focal length contains:
positioning means for determining divided focal length steps corresponding to additional focal lengths of said zoom lens;
specific focal length output means for outputting at least one focal length of the focal length step detected by said position determining means; and,
an arithmetic working means for calculating the focal length at each focal length step in accordance with data representing a divided focal length step detected by said position determining means and data representing a focal length from said specific focal length output means.
2. The camera system of claim 1, wherein said microcomputer coupled to the camera body comprises an indication processor and a main processor.
3. The camera system of claim 1, wherein said zoom lens includes a lens processor.
4. The camera system of claim 3, wherein said position determining means comprises a zoom code plate that is electrically connected to said lens processor.
5. The camera system according to claim 1, wherein said specific means for outputting a focal length comprises means for storing said focal length data on a telephoto lens and outputting said stored data as necessary.
6. The camera system of claim 1, wherein said arithmetic operating means comprises means for storing a common ratio for geometrically dividing the range of focal lengths of said zoom lens into a plurality of steps.
7. The camera system according to claim 6, in which the focal length fx at the xth step of the focal length from the end of the telephoto lens is obtained by the following equation: fx = fT / rx;
where r is the stored general ratio, and fT is the focal length at the indicated telephoto end.
8. The camera system of claim 1, wherein said arithmetic operating means comprises means for storing a total difference for arithmetically dividing the range of focal lengths of said zoom lens into a plurality of steps.
9. The camera system according to claim 8, in which the focal length fx at the xth step of the focal length from the end of the telephoto lens is obtained by the following equation: fx = fT -dx;
where d is the stored total difference, and fT is the focal length at the indicated telephoto end.
10. A camera system for transmitting data between a processor associated with a camera body and a lens that is selectively mounted on said camera body, said lens comprising:
a storage device that stores the focal length of the telephoto lens and the overall ratio of the specified lens in accordance with the specified type of detectable lens .;
a focal length calculator that calculates the focal length by geometric division of the focal length of said lens in accordance with said focal length of the telephoto end and the general ratio stored in said memory; and
temporary memory that temporarily stores the specified calculated focal length.
11. The camera system of claim 10, further comprising a lens type detector that detects a type of lens mounted on said camera body.
12. The camera system according to claim 10, in which the specified calculated focal length at the x-th step of the focal length from the telephoto lens is obtained by the following equation: Fx = fT / rx;
In what:
fx represents the specified calculated focal length at the x-th focal length step from the specified end of the telephoto lens;
rx represents the indicated stored overall ratio at the indicated step of the Xth focal length; and
foot represents said focal said telephoto limb.
13. The camera system according to claim 10, in which the focal length fx at the x-th step of the focal length from the end of the telephoto lens is obtained by the following equation: fx = fT -dx;
In what:
d represents the saved total difference; and
fT represents the focal length at the specified telephoto end.
14. A camera system comprising:
a camera body having a processor;
a zoom lens that is selectively mounted on the specified camera body,
a lens type detector associated with said camera body, which determines what type of lens is mounted on said camera body;
a storage device associated with the specified lens, which operates essentially for the permanent storage of data representing the focal length of the telephoto lens and the overall ratio of the specified lens, in accordance with the specified type of detected lens;
a focal length calculator that calculates a focal length of said lens, which is geometrically divided according to said detected type of lens in accordance with said data stored in said first storage device;
temporary storage device that temporarily stores the specified calculated focal length; and
means for transmitting a temporarily stored calculated focal length to said processor associated with said camera body.
15. The camera system of claim 14, wherein said storage device and said temporary storage device comprise one memory.
16. The camera system of claim 14, wherein said storage device comprises read only memory (ROM).
17. The camera system of claim 14, wherein said temporary storage device comprises random access memory (RAM).
18. The camera system according to claim 14, wherein said calculated focal length at the xth step of the focal length from the telephoto lens is obtained by the following equation: Fx = fT / rx;
In what:
fx represents the specified calculated focal length at the xth step of the focal length from the specified end of the telephoto lens .;
rx represents the indicated stored overall ratio at the indicated step of the Xth focal length; and
fT represents the specified focal length on the specified telephoto lens.
19. A camera system according to claim. 14, in which the focal length fx at the x - th step of the focal length from the end of the telephoto lens is obtained by the following equation: Fx = fT- / dx;
In what:
d represents the saved total difference; and
FTL is the focal length on the telephoto of a limb.
I'm talking about Thomas, you're talking about Yerema. Or do you really not understand what they write to you and what you write yourself? How you talk to yourself.
Vitaly N
22.07.2019/21/40 at XNUMX:XNUMX That's just the point that I originally wrote about Thomas, and you started writing about Yeryoma. If I write about Thomas, why are you writing to me about Yeryoma?
In my opinion, you yourself are confused.
On what modern devices are you using it? I have three cameras, d700, d3s and d800. I shoot on d800 with 36 megapixels and everything is fine with me.
Please, help ! There is no infinity from 35 mm to about 60 mm of the focal length, after 65 mm and up to 70 mm everything is in order. What could be the reason and how to fix it. Camera D200. Thank you in advance.
You didn’t try to give it back to the service, especially since you already diagnosed the problem (camera)?
Good afternoon, Maria, thanks for the tip. I didn’t apply for repair, it’s tight with smart craftsmen. I'm looking for information, maybe I'll try it myself.
There were suggestions that perhaps your lens was disassembled for cleaning it from dust, but the multi-thread of the helicoid was inserted during assembly in the wrong way, which is why now the lens cannot focus to infinity. Theoretically, the front rubber cover is removed and the front part of the lens is unscrewed (in front of the lens it is not necessary to twist it out of the frame), after which the correct approach of the helicoid is experimentally selected - by trying to focus at infinity. Think so.
I could not resist and acquired this lens.
Loved the picture.
I don’t know what you’re talking about sharpness ... I didn’t see much sharpness. I compared both with dark 16-85 and 18-135 in exactly the same conditions. Maybe, of course, the problem is that for my carcass this 35-70 is manual.
By the way, in fact, the flare is afraid only under a certain range of angles. You can shoot against the sun.
The pictures in the review are simply amazing! As well as a beautiful model in a leather jacket. 👍😍
A question has matured to the luminaries: what would you choose, the hero of the review or 55-200 with a stub?
I choose a hero.
Got it, thank you.
35-70 / 2.8D must be chosen carefully and thoughtfully.
On flea markets there are a lot of loose tired options, which they like to fog with "legendary".
If you look at Avito, I recommend Yuri from Moscow with the Konkovo metro station - he specializes in selling the “legendary” 35-70 / 2.8D, 80-200 / 2.8D, 28-70 / 2.8D and 28-105 / 3.5-4.5D , once loved by Arkady. He has a lot of positive reviews and he is a fairly honest seller who does not throw people from other cities.
If you take not from him, but somewhere else, look at the cleanliness of the lenses and the adequate work of the trombone, as well as how the autofocus works at 35 and 70mm.
If you have a crop and you are looking at 55-200, then I recommend taking a closer look 80-200 / 2.8D, still 35-70, this is not exactly what you are looking for in EGF.
Thanks for the excursion, Pokemon!
I have 18-55, a whale with a stub, I took it for 2.000 putinok, almost for nothing. In a very decent condition. And very hunting fix 35 mm from Yongnuo. I am already negotiating a purchase. But for distant focal lengths I have not yet decided. I will monitor from your advice 80-200 2,8. I read the review for him.
In St. Petersburg, the secondary market on Avito is also quite saturated, there is plenty to choose from, there would be money…. 😁
Good day! I found 35-70 in a new state externally, without fungus - like out of the box.
The seller claims that sometimes there were focus misses, he cannot say on which fr.
His camera is D750.
I got very fired up on this one - no scratches, everything is so smooth and inspiring ...
What can be and is it being treated if that?
Hello. I read the article and caught fire with such a lens. Having rediscovered a bunch of other articles here, I chose possible competitors in the same price range: Tamron 28-75 2.8 and Sigma 28-70 2.8. The latter seem to be newer.
I shoot mostly portraits and not often events. So far, these are mostly experiments. I also have kit 18-105, helios 81n. Nikon D90 carcass, in addition to it D800 / 810 plans.
The zoom is interesting, tk. the same portraits of different sizes of places are. Advise experienced people which one is better to choose. And is there a big difference in bokeh.
Respect for the article to the author!
Tamron 28-75 2.8 - I had one, without a motor. I bought a used one, but almost never worked. I shot on d7100 for a year and a half or two. In general, I liked the lens, although at some point the guide skids broke in it, along which the moving part travels - as I understand it, there is a lot of plastic in it. The rubber ring on the zoom was also swollen and peeled off. A night on gasoline helped.
The only thing that I didn't like in terms of picture quality was the “onion rings” in the bokeh. The rest is small, light, predictable; the picture is correct, moderately sharp already at 2.8, somewhat boring.
I have a Tamron 28-75 / 2.8 with a motor for nikon. I like the lens, though I didn't compare it with other light zooms, because I didn't have it. But I compared it with the existing Н.40 / 2,8 dx macro, I shot at 40mm at the same apertures and angles of the subject, so I didn’t see any difference with the closest possible examination of the pictures. Compared to the whale, 18-55 (105) noted the increased quality of the images, I would venture to say, some artistry, “nobility” - sharp but soft, good color, bokeh again. Now on d600 as standard, if fixes are not used. With its infrequent use for 5 years, from the claims to the lens - in some places non-smooth rotation of the zoom ring.
About 35-70.
It's good to light up.
But we must remember that the overwhelming majority of these lenses, offered on the secondary, with a "sick" fungus internal gluing, and normal (so far) specimens have long been in the hands of collectors of "warm lamp bokeh".
I, too, somehow burned with the idea of buying it, until I drove around the sellers. Burnt out :-)
If you want to take a chance - take a flashlight with you, you just can't see it in the light.
Or take a copy that is known to be ill and have very straight arms / a friend with very straight arms, who disassembled (and successfully assembled back!) More than a dozen lenses.
Mechanically, the lens inside is very good and will last more than a dozen years, not like modern plastic, but the stupid gluing spoils all the raspberries.
There are unconfirmed rumors that the lenses of the latest lots with numbers 7 ... and 8 ... use a different glue that does not bloom, but this is how the grandmother said it in two.
Thanks for the good advice!
“Selected potential competitors in the same price range: Tamron 28-75 2.8 and Sigma 28-70 2.8. The latter seem to be newer. "
If you look at Sigma from the lenses of those years, then only the Sigma 24-70 / 2.8 EX DG or its successor 24-70 / 2.8 EX DG HSM.
28-70 / 2.8 is optically weaker, IMHO.
I have two different 35-70 / 2.8D
They are optically different and the state of mechanics is different for both.
It is better to look at the lenses of the latest series - I got one of these, it is sharper.
There is a proven seller of these lenses in Moscow.
In my experience, it is much more difficult to find Tokinu 28-80 / 2.8 under Canon or Canon 28-70 / 2.8L with adequate glass condition than Nikkor 35-70 / 2.8.
When buying such old high-aperture zooms, you need to carefully examine it in person.
And be sure to take an LED flashlight with you and look at the lens from all sides.
If you are planning to buy D800 / D810, then ... it's better not to rush to buy lenses now.
They may not suit optically on these cameras.
Thanks for the detailed answer. They made me think because the budget now does not allow much. And since d800 means working with serious, expensive lenses, maybe it makes sense to take the same 35-70 or 28-75 tamron + d700 or d750, and for the delivery of nikon 85 1.8d?
P.S. I live in Ukraine. Maybe someone in Kiev knows trusted sellers?
Banned on olkh and photo?
photoyua section flea market practically died
I was buying.
How does it work for you?
Guys help. I bought it. I put it on. Does not work. Does not focus shutter button does not work! What to do?!
“I put it on. Does not work. "
1) What is your camera model?
2) Was the aperture ring set to F / 22 and fixed there with a special lever located to the right of the aperture marks?
D600. Thank you so much. I did it. Has earned. Found a video of some Turk. But it was not very clear.
And now, I realized that I am a Turk)))
It is OK, it happens.
Have a good shot!
I used to come across lenses with a broken aperture ring lock, and there it was enough to accidentally touch the ring to make the camera start to be capricious.
Thank. Read reviews about him
And I decided to buy myself.
And the lens was driving from Yanonia. I was worried.
Did you even come without mold? Checked, shone through with a flashlight?
With mold. The seller pointed this out. Hope the quartz lamp helps. Serial number 28 ... ie. hopefully a hundred won't swallow too much drank. Not tested. There is no weather. If interested, I can unsubscribe later.