原创翻译，转载请注明出处．
原文地址：http://www.bythom.com

哪个24(mm镜头)?

让我们假设你是一个FX用户而且你常用24mm焦段(我就是). 这是一个使你的照片(前景/背景)获得良好景深, 而又不会"太广"的自然焦段. 实际上, 我会说24mm是如今的"广角焦段"(曾经是28mm, 很早以前是35mm).

随着尼康最近的产品发布(指的是24mm f/2.8G, 16-35mm f/4G, 译者注), FX用户现在有太多的选择可以获得(24mm): 24mm f/1.4G, 24mm f/2.8D, 14-24mm f/2.8G, 16-35mm f/4G, 17-35mm f/2.8D, 18-35mm f/3.5-4.5D, 24mm f/3.5 PC-E, 24-120mm f/3.5-5.6G, 24-85mm f/2.8-4D, and 24-70mm f/2.8G. 我的老天爷, 蝙蝠侠，我们应该在蝙蝠
相机上用哪一个?

让我们来理理思路. 我不觉得24mm f/2.8, 24-85mm f/2.8-4, and 24-120mm f/3.5-5.6是好的选择. 在我看来, 它们在24mm的光学性能不如其他的侯选者. 这样我们仍然有七个选择, 所以我们需要进行更精细的比较. 悲哀的是, 即使有这么多的选择, 并不是所有类型的人满意自己的选择!

让我们来看看一个摄影师的观点:

风景摄影师:  显然是24mm PC-E. 即使在D3x上也有锐利的边缘成像, 加上给你控制景深的能力. 你不需要大光圈或自动对焦, 而且这个镜头还有滤镜环. 干净利落. 荣誉奖:16-35mm f/4G, 18-35mm f/3.5-4.5D, and 24-70mm f/2.8G.

场景摄影师: 有一个不太满意的选择: 24-70mm f/2.8G. 不满意的部分是因为没有VR. VR虽然不是每时必要, 但是如果有的话会让24-70mm f/2.8G赢得干净利落. 荣誉奖: 24mm f/1.4G, 因为可以帮助消除背景.

体育摄影师: 两个选择:24mm f/1.4G or 24-70mm f/2.8G, 取决于场景. 弱光的室内? 用24mm f/1.4G. 室外或光线良好? 就用24-70mm f/2.8G, 主要是因为它的方便和多功能可以做些别的. 荣誉奖:14-24mm f/2.8G.

扫街: 除非我们谈的是夜间拍摄, 否则没有明确的选择. 从技术上讲，你需要一个良好和准确的景深控制和一个较长的焦距去进行"区域对焦". 蔡司25MM看来在这个方面比现有的尼克尔做的要好. 荣誉奖:24mm f/1.4G (尤其是弱光扫街).

星迹，极光，其他夜间拍摄. 大概是24mm f/1.4G, 取决于它的coma correction(不知道如何翻译)和快速光圈. 需要进行测试才能确定.

建筑摄影师: 24mm PC-E.

所有玩定焦的: 可能是24mm f/1.4G. 荣誉奖:24mm PC-E.

对我来说有趣的事情是当我在一趟旅程中会涉及到多种形式的摄影时会怎样. 我最终选择携带多个24mm镜头. 这已经是事实(我大多数会带14-24mm和24mm PC-E). 我现在会把24mm f/1.4G也加入到摄影包内吗? 这显示了有时对镜头的选择有多困难.

没有在任何情况下都适用的完美镜头, 所以你常常需要携带那些对你想拍摄的东西做些妥协的镜头. 问题是你在哪方面妥协.

对我来说, 我要妥协的部分是自动对焦. 这是因为我发现24mm PC-E胜任我想做的大部分广角拍摄. 所以对我来说问题是我要继续带着14-24mm还是新的16-35mm. 这将取决于它在D3x上的边缘成像以及滤镜是否有暗角. 对其他人(比如场景摄影和夜间扫街), 24mm f/1.4G是必备的.

总之, 尼康做得很好: 你给了我们这样的FX用户很多的24mm焦段选择. 然而仍然需要考虑DX用户(他们几乎没有24mm等价焦段), 以及其他焦段的更多选择.

(完)

另祝各位新春愉快,HAPPY SHOOTING!

[2010-02-16 10:12 补充如下]

Thom Hogan于2/9/10发表了这篇文章. 在2/15/10他发表了"哪个16(mm镜头)?"(我也一并翻译出来了, 参见/showthread.php?threadid=707842), 在那篇短文中解释了在最后一段中他为什么说"DX用户几乎没有24mm等效焦段可用"这个说法.

此为放毒贴
不过对文中内容不敢苟同

"慧星像差"的“慧”應作“彗”。

（註：彗即“竹帚”）

漏了一个钻广20-35/2.8D

太感谢了.
我去维基上查了下, 把结果粘贴在下面. 有兴趣的可以看看.

以下引用自※※※※.
http://zh.※※※※※※※※※.org/zh-cn/%E5%BD%97%E5%B7%AE

彗形像差，又称慧星像差，指的是类似彗星形状的变形，为光学系统中的一种像差，这是一些透镜固有的或是光学设计造成的缺点，导致离开光轴的点光源，例如恒星，产生变形。特别是，彗形像差被定义为偏离入射光孔的放大变异。在折射或衍射的光学系统，特别是在宽光谱范围的影像中，彗形像差是波长的函数。

彗形像差是抛物镜望远镜与生俱来的特质，来自于视野中心区域的点光源(像是恒星)可以很好的汇聚在面镜的焦点上(不同于球面镜，来自于镜子周围部分的光线只是接近焦点—球面像差。)。但是，来自于偏离光轴(离轴)方向的光线，自镜子的不同区域反射的光却不能汇聚在相同的焦点上。这样的结果导致不在视野中心的光看起来是楔形的问题，而且离轴越远，这个现象越明显。这使得星点看起来有着彗星的形状，因而得名。在设计上能降低球面像差且没有彗形像差的光学系统有施密特（Schmidt）、马克苏托夫（Maksutov）、和里奇-克莱琴式（Ritchey-Chrétien）。

单一透镜或透镜系统的彗形像差，可以经由选择适当的透镜表面曲率有效的降低(某些情况下可以被消除)以合于应用。在单一的波长下，球面像差和彗型像差都最小的透镜称为"最佳形式"或齐明透镜。

coma correction
中文翻译是慧差
是说平行光线斜向射到镜头上，焦点不成点状，而形成彗星形

帮楼主贴出原文来。

Which 24?
Feb 9 (commentary)--Let's just make an assumption for a moment that you're an FX user and you shoot at 24mm a lot (I do). It's a natural focal length for getting depth into your pictures (foreground/background) without going "too wide." Indeed, I'd say that 24mm is the modern "wide angle go to focal length" (it used to be 28mm; long before that it was 35mm).

With Nikon's recent introductions, the FX user is now presented with a plethora of choices of how to get there: 24mm f/1.4G, 24mm f/2.8D, 14-24mm f/2.8G, 16-35mm f/4G, 17-35mm f/2.8D, 18-35mm f/3.5-4.5D, 24mm f/3.5 PC-E, 24-120mm f/3.5-5.6G, 24-85mm f/2.8-4D, and 24-70mm f/2.8G. Holy motherload, Batman, what should we put on the Batcamera?

Let's do some pruning right up front. I don't believe the 24mm f/2.8, 24-85mm f/2.8-4, and 24-120mm f/3.5-5.6 cut the mustard. All are optically inferior to the other choices at 24mm, in my opinion. That still leaves us seven choices, so we need to winnow the list more. The sad thing is that, even with all these choices, not all types of shooters are going to be satisifed with their choice! Let's take a shooter's look at the options:

Landscape shooter. The clear choice is the 24mm PC-E. It is sharp edge to edge even on a D3x (non-shifted), plus gives you the ability to control DOF more. You don't need fast apertures or AF, and the lens has filter rings. Slam dunk. Honorable mention: 16-35mm f/4G, 18-35mm f/3.5-4.5D, and 24-70mm f/2.8G.
Event shooter. Here's the unsatisifying choice: 24-70mm f/2.8G. The satisfaction falloff comes because of the lack of VR. While not always necessary, it would be handy to have and make this lens a slam dunk. Honorable mention: 24mm f/1.4G for helping remove backgrounds.
Sports shooter. Split decision: 24mm f/1.4G or 24-70mm f/2.8G. Depends upon the venue. Inside and dark? The 24mm f/1.4G. Outside or decently lit? The 24-70mm f/2.8G, mainly for its versatility to do other things. Honorable mention: 14-24mm f/2.8G.
Street shooter. No clear choice unless we're talking about night shooting. Technically, you need a good, accurate DOF scale and a long focus throw to do "zone focusing." The Zeiss 25mm starts to look better than the current Nikkors in that respect. Honorable mention: 24mm f/1.4G (especially for low light street work).
Star trails, Aurora, other night work. Probably 24mm f/1.4G due to coma correction and fast aperture. Needs to be tested to be sure.
Architectural photographer. 24mm PC-E.
All prime shooter. 24mm f/1.4G probably. Honorable mention: 24mm PC-E.
The interesting thing to me is what happens when I need to do multiple types of photography on the same trip. I end up carrying multiple 24mm options. This was already true (I carry the 14-24mm and the 24mm PC-E much of the time). Do I now add a 24mm f/1.4G to the bag, too? This just goes to show how tricky lens selection can sometimes get.

There's no perfect lens for every situation, thus you often have to carry something that is a compromise for some of the things you might photograph. The question is where you compromise.

For me, the compromise I tend to give up is autofocus. That's because I find the 24mm PC-E suitable for much of the wide angle work I want to do. So the question for me is whether I continue to carry the 14-24mm or replace it with either the new 16-35mm. It'll all depend upon the far corners with a D3x and whether my thin filters vignette on the new lens. For others (event and night street shooters, for instance), the 24mm f/1.4G is a clear "put in the bag."

So, good job Nikon: you've given us FX shooters plenty of 24mm options to consider. There's still DX to consider (they have almost nothing at 24mm equivalent), though, plus a lot of other focal lengths to give us more choice at.



Just a Reminder
The short articles on the front page of this site change as often as every couple of days, as little as once every two weeks. Right now, however, we're coming into a period where there's been rapid change. So if you're not checking the site often, be sure to check out the Archived 2009 link, below, as there may be a handful of items you missed. (Yes, I know about RSS. But I won't offer that until the site redesign is done.)

体育摄影师要想拍出有视觉冲击力的片子14-24不二选择！
星迹拍摄要小光圈：PCE24不二选择！
风光摄影方便是第一位的！24-70该是首选！

哈, 真是有米之人啊. 祝你摄影快乐.
另外要求尼康更新24-120/105mm这个焦段镜头的呼声很高啊.只是不知道尼康什么时候会推出.

楼主春节快乐
已经拥有了：14-24 24-70
马上拥有24-120VR 带着防抖方便，镜头小方便，
即将购入：24mm1.4G

Thom Hogan于2/9/10发表了这篇文章. 在2/15/10他发表了"哪个16(mm镜头)?"(我也一并翻译出来了, 参见/showthread.php?threadid=707842), 在那篇短文中解释了在本文最后一段中他为什么说"DX用户几乎没有24mm等效焦段可用"这个说法.

有点明白了，谢谢lz

楼主辛苦了。终于了解了这些镜头在用途上的大致区别。这样讲解镜头的帖子应该是越多越好啊。祝楼主新春快乐。