Distortion Control: 17mm (full frame)
Precisely the same distortion pattern is evident at 17mm in both lenses. The extent of the Nikon’s barrel distortion is clearly more severe.
Distortion Control: 21mm (full frame)
At 21mm, both lenses are equally en-route to pincushion distortion: the Contax is ruler perfect here; the Nikon requires an extra 1mm or so to iron out the last wrinkle of barrel distortion.
Performance at 24mm: (full frame)
The Nikon’s upturning corners are complicated by barrel distortion in the centre frame: much like a Zeiss 21mm. The Contax suffers from the problem, too, but to a less degree.
Performance at 35mm: (full frame)
The 24mm range remains the most troublesome for both lenses in terms of distortion: by 35mm, the pincushions have deflated and both lenses are rather more neutral. A decent prime in this range would normally show traces of negative rather than positive distortion.
All in all, then, a clear victory for the Zeiss Contax (5 points): exactly the same quality of distortion, there’s just less of it. Finally, we review their control of chromatic aberration.
- 1. Introduction
- 2. 17mm f2.8 Performance
- 3. 17mm / f4 Performance
- 4. 17mm / f5.6 Performance
- 5. 17mm / f8 Resolution
- 6. 17mm / f11 Performance
- 7. 17mm / f16 Performance
- 8. 21mm / f2.8 Performance
- 9. 21mm / f4 Performance
- 10. 21mm / f5.6 Performance
- 11. 21mm / f8 Performance
- 12. 21mm / f11 Performance
- 13. 21mm / f16 Performance
- 14. 24mm / f2.8 Performance (including Canon 24L)
- 15. 24mm / f4 Performance (including Canon 24L)
- 16. 24mm / f8 Performance (including Canon 24 L)
- 17. 24mm / f11 Performance (including Canon 24 L)
- 18. 35mm / f4 Performance
- 19. 35mm / f5.6 Performance
- 20. 35mm / f8 Performance
- 21. 35mm / f11 Performance
- 22. 35mm / f16 Performance
- 23. Flare & Ghosting
- 24. Distortion
- 25. Chromatic Aberration
- 26. Conclusion