AF Nikkor 28-85 f/3.5-4.5N (1990 - 1999)
AF Nikkor 70-210 f/4-5.6D (1993 - 1999)
AF Nikkor 18-35mm f/3.5-4.5D ED IF Aspherical (2000 - 2008+)
Background
Just as in the old days, many zoom shooters still prefer to avoid zoom lenses that have a very wide zoom ratio and consequent decreased performance. Even some of Nikon’s newest wide-range zoom lenses are criticized for distortion and image softness. This is the origin of the classic zoom “Trinity”. The classic Nikon pro-level auto-focus trinity included the AF Nikkor 20-35mm f/2.8D, the AF Nikkor 35-70mm f/2.8D, and the AF Nikkor 80-200 f/2.8D. The eclectic set pictured here achieves more or less the same benefit as the pro-level trinity, albeit without the wide constant apertures and with more distortion, in particular at the ultra-wide end. It is interesting to compare the features of these lenses with their most current counterparts.
AF Nikkor 28-85 f/3.5-4.5N (1990 – 1999)
This is an excellent and relatively conservative mid-range AF zoom lens from the pre-D era. It is possibly the best AF 28-85 lens ever produced by Nikon. Optically, it is exactly the same as its manual focus predecessor, the Ai-S 28-85 f/3.5-4.5, which is also an excellent lens. This lens is a cosmetic upgrade to the original AF design, which was a first generation AF Nikkor. The original version had a hard plastic focusing ring, which was replaced by soft material on this upgrade. The AF Nikkor 28-85 f/3.5-4.5N is extremely sharp throughout its zoom range, and distortion is limited due to its conservative 3x ratio. The build quality is also excellent, and it was designed as a high-end mid-range zoom, just below the professional AF Nikkor 35-70 F/2.8. The lens is perfectly matched to the contemporaneous F4, which does not yet support D-technology or the “Silent Wave” internal lens AF motors. Also, the Nikon F4 still requires aperture to be controlled on the lens in Aperture Priority mode (i.e., no secondary control dial). The only slight inconvenience of this lens is that the front of the lens including the filter rotates when the lens focuses, so polarizers must be adjusted after focusing. Unfortunately, this great lens was never upgraded to a “D” version. Replacing this design were the AF Nikkor 24-85mm f/2.8-4D and the AF Nikkor 28-85mm f.4.5-5.6D. The 24-85 is not nearly as sharp as the 28-85 f/3.5-4.5, although the 24-85 included the new D-functionality to communicate distance information from lens to camera. On the other hand, the consumer grade 28-85mm f/3.5-5.6D has unexpectedly excellent optical performance in a lightweight and unsatisfying plastic design. This 28-85mm f/3.5-4.5 eschews image fuzziness and lightweight construction, and is perfectly functional even on FX digital as a high-performance mid-range zoom. However, the many mid-range zooms that have been developed by Nikon subsequent to the 28-85/3.4-4.5 incorporate newer technologies and features, if not always better optical performance. The first newer feature that one misses in the 28-85/3.5-4.5 is the (rotary gray code pattern) distance encoder ("D"-function). Although distance information is not critical most of the time, it is theoretically very useful in certain situations for the newer cameras that support it, especially for flash photography. To see what other features are missing in this early autofocus design, let’s compare with its closest current counterpart, the AF-S Nikkor 24-85mm f/3.5-4.5G ED VR lens. The newer lens adds one ED and three aspherical optical elements, includes a “Silent Wave” internal AF motor in the lens, adds rapid manual/autofocus switching, and most importantly adds advanced generation VR image stabilization. Of course the filter does not rotate when the lens focuses. Unfortunately, the newest G-type lenses cannot be used on old manual focus cameras and are also inconvenient on some older autofocus cameras. In conclusion, the 28-85/3.5-4.5 is probably just as good optically as the most current comparable design, and perhaps tougher mechanically. The biggest advantages of the newest 24-85 over the 28-85/3.5-4.5, in addition to a slightly greater zoom range, are the D-functionality and of course the VR image stabilization. Although VR doesn’t help with moving subjects at slow shutter speeds, it definitely makes it much easier to shoot at slower shutter speeds without a tripod or other camera support. These days, VR is becoming more and more popular on mid-range zooms and other lenses. Indeed, the availability of VR on the newest mid-range zooms may be a reason to finally retire this lens, unless you are shooting an F4.
AF Nikkor 70-210mm f/4.5-5.6D (1993-1999)
This is a high-end short telephoto zoom lens that is an upgrade from its otherwise similar predecessor that lacked the D-function. This lens was positioned just below the pro-level AF Nikkor 80-200 f/2.8D ED. It has an extremely robust push-pull mechanical design and has great optical performance. It works perfectly on current FX digital cameras and takes fine images throughout its zoom range. In the film era, the relatively small f/5.6 maximum aperture on the long-end was sometimes a problem of the 70-210/4.5-5.6 in situations with limited light. However, with modern FX digital, it is an easy matter to crank up the ISO when necessary. Today’s most current alternative might be the AF-S VR Zoom-Nikkor 70-300mm f/4.5-5.6G IF ED. This new G-type lens adds a wider zoom range, two extra-low dispersion optical elements, “Silent Wave” internal focusing, and of course VR image stabilization. VR is certainly an advantage on the newest lens, although one pays for the extended zoom range, Silent Wave motor and VR with a larger and heavier zoom than this older lens. The newest G lens lacks an aperture ring so it cannot be used on manual focus cameras and is inconvenient on some older autofocus cameras.
AF Nikkor 18-35mm f/3.5-4.5D ED IF Aspherical (2000 - 2008+)
This late model D-type lens has cosmetics that begin to resemble the current production G-type lens designs. The AF Nikkor 18-35mm f/3.5-4.5D is actually very similar to the current production AF-S Nikkor 18-35mm f/3.5-4.5G. Compared with this D-type version, the newer upgraded G-type lens incorporates a Silent Wave internal focusing motor, instant manual focus, and somewhat better optical performance. The G version has 12 optical elements versus only 11 in the D version. Both versions can exhibit significant distortion, but distortion is not unusual in a lens of this type and price range. The newest G-type lens is 12.5mm longer and slightly heavier, and it lacks an aperture ring, so it has problems with older cameras. The AF Nikkor 18-85mm f/3.5-4.5D has good performance and it is lightweight and portable, so it can be packed for travel to conveniently accommodate a wide range of ultra-wide situations.
Copyright © 2013 - 2016 Timothy A. Rogers. All rights reserved.
(DSC_6151fin2b)
