Site Supporter Join Date: Jan 2013 Location: Ottawa, Canada | Corners, edges, pixels, and viewing
Interesting topic. May I offer my perspective? Corner Sharpness can be Crucial
While some types of images benefit from placing the subject at the centre of the frame, others are stronger when the subject is off-centre. For example, when I place a subject one-third in from an edge or corner, I want the subject to be sharp. Although sharpness at the extreme corners might not be necessary, lenses that are soft toward the edges and corners can be detrimental to this type of composition. I guess it depends on how we define "corner" and how much softness we can tolerate.
As mentioned by others, certain types of distributed subjects benefit from sharpness across the frame, such as landscapes, city scapes, buildings, or astrophotographs. In a landscape or city scape, I might choose to place a foreground object of interest near a bottom corner or the edge; for me, it's critical that the object is sharp in the image. Macro is another genre in which corner and edge sharpness can be important.
My subjects include all of the above genres as well as classic cars, machinery, nature, and wildlife. My experience with the DA 18-135mm
I've had a DA 18-135mm lens for a number of years, and shot with it extensively and happily for a while. At the wider apertures or at focal lengths of 60-135mm, I found that the lens is considerably softer at the corners and borders than in the centre. Knowing the sharpness profile of the lens, I was being careful to limit my use to the 18-60mm focal lengths and apertures of f/5.6 to f/11.
Now, I tend to pair my DA 20-40mm Limited with my DA* 50-135. I find that these lenses are sharper across the frame and exhibit lower aberrations than the 18-135. Sometimes I need to swap lenses in the field, but working with only these two lenses minimizes lens choices and complexity, while not encumbering me with excessive weight. I'll also carry a DA 15mm Limited if I think I might need a wider angle than 20mm.
I would concede that the three lenses cost a lot more than a single DA 18-135, but the OP introduced this thread with a view on sharpness, not cost, weight, or other trade-offs. Nonetheless, the 18-135 is a convenient, low-cost, handy lens that is capable of producing very nice images -- if one doesn't need absolute sharpness in the corners or borders. Pixel Peeping
The matter of pixel peeping seems to arise often when discussing corner sharpness, along the line of 'corner softness doesn't matter if one doesn't pixel peep'. Certainly, our technology allows us to zoom into images, reaching 100% or greater. I'll zoom in to full-scale or even 200% when I'm doing detailed post-processing steps, especially sharpening, adjusting local contrast, or selecting a demosaic scheme. Doing so allows me to exploit the tools to advantage and also to compare similar images in a sequence to select the best one. Viewing our Images -- the ultimate test
In scenes or compositions where sharpness is important across the frame, I would contend that zooming in to 100% is a useful technique in the post-processing chain. However, when viewing an image normally, we're limited by the size of our monitor or a print. I use a 24-inch monitor (1920x1200 pixels), which displays images from my K-3 II at a 30% scale in full-screen. In most cases, moderate corner softness will not be overly apparent, if at all, and the images from the 18-135 appear fairly sharp (18-60mm focal lengths, stopped down). Aberrations, however, may be obvious but not dominant.
In a printed image, the apparent sharpness or softness will depend in part on how close one views the print: view it from a normal distance appropriate for the print's size, and don't 'zoom in' by putting your nose up to it!
- Craig
Last edited by c.a.m; 01-10-2021 at 07:49 AM.
Reason: clarity
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