鏡頭評測 唯卓仕75mm f1.2 尼康z卡口鏡頭評測

Hi, it's me. Let's get tucked right into a lens I've been working with for a while on a couple of other systems. The Viltrox AF 75mm f1.2, this time released on Nikon Z mount. It's an autovegas portrait lens, and its retail price of only US$550 or £450 here in the UK makes it a potential bargain, if it's any good. Any 75mm f1.2 lens, even on an APS-C camera, will offer you images with stunningly autofocus backgrounds, absolutely perfect for portrait, subject and event photography. A lens like this is a lot of fun to use, whenever you can find an interesting subject, of course. As I said, it's designed for APS-C or crop sensor cameras, so if you use it on a full-frame Nikon camera, it'll shoot in a lower-resolution crop or DX mode. I'd like to thank Viltrox for sending me a copy of this lens for evaluation, although as usual, this is a totally independent review. All the test photos you'll see in this review are new ones taken with this lens on a Nikon Z7 camera in crop mode. The sample pictures are from my review of the Fuji version of this lens, though. They're optically the same lens, and frankly, I just really like those sample pictures. But I'm really keen to see how this Nikon version of the lens actually works, to check that everything is present and correct. This lens's build quality is still excellent, Viltrox are at the top of their game here again. The lens is tough and metallic, and a little heavy, with a really nice finish to it, even down to small things like the writing on the barrel being engraved properly into the body, and I love that giant beautiful glass element. The lens mount is made of metal, with a thick weather-sealing gasket around the edge, as well as a USB-C port for firmware updates, which is always reassuring. Next comes an aperture control ring. On Viltrox lenses, this often turns completely smoothly, but this time, you have the choice of a smooth operation, or to set it to have nice positive clicks to it every third of an f-stop, which is much more tactile, and you're much less likely to accidentally change aperture there. The click to get it into automatic mode is a bit firmer, making it harder to accidentally move past the f-16 point. Next comes a very large metallic manual focus ring, which turns incredibly smoothly and responds pretty well to being turned. The autofocus motor works accurately and silently, but the motor is slightly slow off the mark to get going. It won't have the same torque as the more expensive lenses do, I suppose, but I will say that this Nikon Z version is working better than the Sony version I tested. The lens comes with a fairly deep lens hood made of plastic, the front filter size is 77mm wide, and the lens does not feature image stabilisation. But overall, this is premium build quality and functionality from start to finish. The lens is well thought out and works perfectly. All right, let's look at image quality now. This time, I'm testing it on a Nikon Z7 with its 20-megapixel crop mode, which, at the time of writing, is the same resolution as Nikon's DX or crop sensor Z mount cameras. In-camera corrections are turned on. Straight from f1.2, central sharpness is brilliant, with great contrast. Nice! Corner sharpness is fabulous straight from f1.2 also. Just stop down to f2 or f2.8 for a bit more brightness. The lens stays this sharp down to f16, where softness from diffraction takes a heavy toll. An amazing performance, then! But I'm not surprised at all, really. I tested this thing on a 40-megapixel Fuji camera a while ago, and it was pretty sharp on that, so 20-megapixel is clearly a bit of a cakewalk here. All right, let's turn off those in-camera corrections and take a look at distortion and vignetting. The further good news here is that the lens's image isn't really distorted in any way at all. Vignetting at f1.2 is really heavy, though, unsurprisingly. Stop down to f2 or f2.8, though, and those corners quickly brighten up, so it's a good performance here, also. In my tests, this lens could only shoot as closely as about 90cm to your subject, not especially close, really. At f1.2, close-up image quality is pretty nice and sharp, but stop down to f2 for perfect sharpness and contrast to re-emerge. Let's see how the lens works against bright lights now. It's not so great here, frankly, as we are treated to a modest amount of flaring and quite a bit of glaring when lights are on the edge of the image, although using the lens's included hood should help to prevent this. Stopping down to f2 will greatly reduce flaring, though. Let's take a look at the quality of this lens's bokeh now. On the most part, it's very nice and smooth, as usual for a short telephoto optic, although you can occasionally see just a slight jumbling to backgrounds in the middle distance. And finally, related to bokeh comes longitudinal chromatic aberration, which can be a problem for portrait lenses. On a 20MP DX image, even at f1.2, any kind of colourful fringing on bokeh highlights is almost imperceivable. Stop down to f2, and it's gone. Overall, well, thankfully this lens performs just as well on Nikon Z as it did on Sony and 3GX. In fact, its autofocus is a little better than the Sony version. For $550, it may not be perfect, but it certainly is still a serious bargain, and it will eat any Nikon 20MP sensor for breakfast. It will make itself seriously useful to you for classic portrait, subject and event photography, so I can highly recommend it once again, and I promise you this is the last time I'll test it. Thanks for watching, everyone, and I hope you enjoyed this review. 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