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I have been Nikon and Canon DSLR cameras users for the past 7 years from my first DSLR body Nikon D1x to Canon 5D/ 40D/ 400D. I can't and I won't own all digital cameras, but, as most of you, I refresh my brain for the most wanted digital camera, prepare and get ready for that ...
I rarely pop-up and do things like pre-order a newly released camera, I would make my own assessment before acquire the next camera - something versatile, reliable that produces great image - good resolution, colors, dynamic range, excellent ISO performance, features and controls like AF capabilities, metering, white-balance to ensure productivity. I want my next camera in Full Frame because I shoot most at the wide side. I also spent some time wondering the higher pixels inspiration. Nikon D700 and Canon 5D Mark II are in my final list (See more in Thought of the Nikon D700 FX Digital Camera).
I would want 21 MP 5D Mark II for additional image crop capability and possible larger prints (see also Understanding Resolution - Do You Need More Pixels?), the video feature also looks interesting and fun, it is definitely a creative implementation for someone find it useful.
Well, I have seen a poster in A3 size printed from a 12 MP Nikon D300 output, that is very nice result and I am fine at 12 MP that looks the optimal pixels I need at the moment. For the video feature on DSLR - I am not surprised to see Nikon would have something similar, but that would be a better approach to integrate the video feature on smaller/ consumer grade bodies like the Nikon D90 and keep the high-end DSLRs with the excellent professional configuration. Finally, concerning higher ISO performance, I would expect both D700 and 5D Mark II will be pretty close to each other. As a trade-off, I prefer the 12 MP D700 with no video, but better AF, metering, white-balance and control features.
Yes, I need a versatile work horse this time and that is the Nikon D700 FX
The ever successful digital camera that meets the requirements for most photographers
Nikon D700 is actually a pick I have to go with (in fact, I skipped the Nikon D2 series and waiting long for something like D700), firstly, that is already the proven technologies introduced from the great success Nikon D3. Secondly, given my background already owned a nice set of Nikkor lenses, acquire the latest Nikon DSLR body preserves my previous investment, D700 also has fine-tuning features to ensure optimal output from my D type Nikkors.
And I got a Nikon D700 on October 6, 2008, my second Nikon DSLR body since the Nikon D1x. That is a package at reasonable price (comes with a handy Nikon brand camera bag, good for D700 plus a long lens or few tiny primes). I skipped the 24-120 kit lens and intended to use the new 50mm f/1.4 G for the D700 in additional to my existing Nikkor prime collections.
First Touch
What a robust electronic machine! The D700 comes excellent LCD display and viewfinder. It got a much taller body than others in the same class, the handing touch and feel is fine (however, I prefer the handing experience from my D1x - soft and gentle, though it built like a tank). There are dedicated switches for changes of metering and focus point area modes, that is a design with photographer mindset, I can change metering and AF point area "on-the-fly" (now I don't need to have my eyes attend the camera back) by using a single thumb.
I don't like some shortcuts design which makes the D700 look less secured - no lock for memory card slot cover, the battery door/ lock was designed in a less secured way. I also don't like the rubber covers for terminals at the right side (the classic covers on my D1x may easy to miss, but that makes the Nikon appears more smart and professional), the green dots on the QUAL and beside the "+/-" buttons look a bit odd in my eyes ... the AF assist light helps when focus in low light, it could be annoying however set to on as default, I turned it off and would make it on again when I need that.
Optimization
I found the D700 image quality and size is not set default to the highest quality possible. For my style, I quickly changed the D700 setup to shoot RAW+JPEG fine, Large size, FX format, Optimal quality for JPEG compression, Lossless compressed NEF in 14-bit depth. With these configuration, D700 reports 429 available shots after loaded with a 16GB CF memory card. If you care about that, make sure you check all these before go for any serious work.
ISO Performance
I attached my beloved Nikkor 28/1.4D and 45/2.8P on D700 and managed to make some test drive shots. With some initial tests, the D700 produces very nice result at iso3200, the iso6400 image is still usable after some further noise reduction processing. At iso12800 and iso25600, details and colors are washed out substantially and may only for emergency cases, for my eyes, D700 is about 1.5 stop better in higher ISO performance over my Canon 5D.
The Auto ISO allows setup of a base and a maximum ISO level with a slowest shutter speed, this is a very convenient and useful configuration. For my standard, I have no hesitation to have the Auto ISO set maximum at 1600 for any serious work. However, the Auto ISO stops working when the flash is up, D700 runs priority for flash power before raising iso level. For my style, I always prefer the capture of most available light (particularly indoor environment) with minimum filled flash lighting, I hope D700 has option on priority for iso level over flash power.
Exposure and White Balance
My D700 performed very well with exposure and white balance control in my first few hundred shots that are most in critical, mixed and highly contrast condition. I would say D700 is the best camera I ever have in these department, if 100 is the full mark, I would rate it at 90.
The default setup produce image in a rather eyes-catching vivid output, that is clear, sharp, pop and crisp, for my eyes, that is too good to be true and somewhat good for printout. I prefer the default Canon EOS 5D output (see more in Nikon D700 vs Canon EOS 5D) and I managed to install and download Optional Picture Control and Fine Tune Picture Control to meet my taste, D2XMODEI seems delivering best neutral output and now I start everything from this picture control.
I find the metering and the Active D-Lighting (ADL) feature not delivering very consistent result, they are very sensitive to highlight area, and it affects both exposure, contrast and colors. In fact, D700 always tends to overexposure by 1/3 to 1/2 stop. When ADL is on, change of contrast and brightness is not possible in Picture Control. Now I prefer to have the ADL off and use my customized values for contrast and brightness. See also Nikon D700 Meter and Exposure, a work around proposed on the web for metering and correct exposure.
Auto Focus
I think no one is going to question the AF performance from the D700, for me, the 51-points AF system is a bit overkilled since I rarely shoot actions. However, I do care much about the AF performance under critical light condition. The AF assist light helps a lot for AF in lower light. I found the D700 AF does not always win over my Canon 5D in low light, and in some cases, Canon 5D seems run better than the D700, just a surpise!
Bulit-in Flash
You may wonder why Nikon set the D700 with bulit-in flash (on the other hand, Canon prefered no bulit-in flash for 5D and the latest 5D Mark II), well, thats fine if you don't need flash completely, but that is another added value for many others find it makes D700 the most versatile solution especially when you learn that D700 actually allows a commander mode set for the bulit-in flash - it becomes a master flash controlling one or more remote flash units!
I prefer capturing of most available light and only use flash for filled lighting, it is a pity that I could not find a way to have the flash up and work with the Auto ISO feature or that would be a great convenience for my work. Though I don't like flash light, actually I avoid using flash most of the time, I find the D700 bulit-in flash produces very nice result, again, I would say it is the best bulit-in flash system I ever have. I made a small DIY diffuser for even better result to reduce shadow and contrast.
Optional Battery Grip
I got a MB-D10 battery grip a month later for work in a serious wedding event, it looks a bit over size profile to fit the D700, after hand-on experience it actually works pretty well balance and gives addtional handling convenience in both directions. The shutter release on my MB-D10 is much more "sensitive" than the main release on D700, but no big problem, I just have to get used to it, and it seems going better over time when I use it more.
I got a second EN-EL3e battery instead of the higher capacity EN-EL4/e, additional burst rate is not much meaningful to my application. All I need is a more secured power source and handling experience for my work. On the other hand, the EN-EL3e can be a standby/ backup battery even when I don't use the battery grip. My only complaint is that you have to unload the MB-D10 in order to have the internal battery out for recharge, but after second thought, that could be also a convenient design because you can simply disconnect the grip without reload an internal battery (ok, D700 alows making use the power from the external battery first and then the internal one).
Dream Combos
Since I work most in wide/ ultra wide and low light, the FF D700's extreme higher ISO performance is a enabler to make my dream come true - my wide lens resumed to the focal lenght they supposed to be and I can now shoot handheld in low available light. I have several favorite combos setup for the D700.
D700 with my beloved 28mm f/1.4 AFD (oh... someone told me that it is now something like US $3,000 on ebay ?!) is my dream setup, the focal length and fast speed just perfectly match my photography style. With 85mm f/1.4 AFD, that is another great combo for my portrait work. Though both Nikkor primes seems a bit outdate design when loaded on the D700, they produce very nice result. More samples to come.
After some further assessment, I decided to acquire my first high performance Nikkor zoom lens - 24-70mm f/2.8, this makes a real modern and versatile work horse for many dynamic work environment. Check D700 & 24-70/2.8 Assessment & Samples.
I am also considering the award winning 14-24/2.8, it would be probably the lens for my wide work on the FF D700, see D700 & Ultra Wide.
More update and assessment to come.
These are very first trial samples from D700 with 28/1.4, 45/2.8 and 85/1.4, check EXIF for technical information
D700 & 24-70/2.8 Assessment & Samples
24-70 runs very fast and slient, it delivers very nice image quality and resolves much details in great contrast and colors. 24-70 is in a relatively thin-long dimension with good bulit quality. The lens hood is very solid and protecting 24-70 very well. I feel a bit "loose" in handling when it loaded on D700 with the battery grip, I also prefer the zoom ring goes a bit to the outer side.
Shame Zoom Ring
24-70 extends when zoom in toward 70mm and zoom out toward 24mm, this is an interesting design with the convention set for 50 mm at the shortest of the lens. However, I was disappointed by the stiff zoom ring. After some days of trial run my brand new copy, I suddenly feels significant unusual 'roughness' when zoom in and out. Believe me, I am an easy man intended to get used to this with thought that it would go smooth over time, but that seems running worse and I can hardly make rotation or I would break the ring somehow, so finally I decided to send it back for a replacement.
My dealer is great, they gave a brand new replacement in a greater series number. The new copy is very smooth out of box, after 2 days of run it turned to a bit roughtness again, but that is definitely much better than my first copy. OK, I can get used to that if it won't lock again. I would consider that is unacceptable QC problem for the top-of-the-line professional lens, imagine your 24-70 locked during an important work and you missed some best captures of critical moment. Nikon has to seriosly look into the problem.
Excellent Optics
Most zoom lenses reach their limit at extremes, especially the wide end. My first question is how well the 24-70 is running at its widest, that has special meaning to me since I shoot wide mostly. There are sample shots at 24mm and 70mm, f/8, click the image for full size jpeg straight from the camera. Comparsion at 100% crop for different zones between f/8 (left) and f/2.8 (right) is available.
24-70 delivers very nice result at 24mm, optimial at f/8 & f/11 (f/8 seems slightly better). BTW, I was also surprised that I can hardly find CA effect in my sample shots. When wide open at f/2.8, the center is still nice though outer and cornor are going soft, loss some contrast and color saturation, stop down to f/4 that improves significantly. At 70mm, f/2.8 is very impressive, that is just a slightly visible softness when compared to f/8.
And I am curious to see how the 24-70 is going to work on my D1x which is an obsoleted crop body (well it has been in my dry box for years ... :-P). All I can say it still delivered very nice result (colors and sharpness), especially it always with good corners even wide open at f/2.8. If I have to say something at the bad side, that is more noticeable CA (latest Nikon bodies has better CA control).
24-70 vs Primes
Nikon claimed that 24-70 can produce prime level image quality, is that true? Yes, that is true! At least based on the limited test mentioned in this article, 24-70 is matching and even better than my two classic primes - 28/1.4 and 45/2.8 P which are indeed very sharp lenses.
24-70 at 45mm wins over the 45/2.8 P from f/2.8 to f/8 in corner sharpness, actually 45/2.8 delivers blur corners while 24-70 looks some softness at f/2.8 but improve significantly stop down to f/4 - f/8. They perform very close at center and outer zones. For my eyes, 24-70 also delivers better colors and contrast, it is definitely a winner over the 45/2.8 P in this test.
24-70 at 28mm and 28/1.4 only have some softness corners at f/2.8, stop down f/4 to f/11, they performed very close and almost matching in all aspects. For my eyes, 24-70 seems slightly bit better at f/2.8, but 28/1.4 wins in overall contrast and colors, I would rather conclude that they breaks even in this test. This not only proves Nikon's claim but also confirms that my 28/1.4 is a long winner. Check the samples at 28mm and 45mm, comparison at 100% crop for different zones at f/2.8 to f/8 between 24-70 (left) and primes (right) are available.
And I will not be surprised to learn that 24-70 has matching result to other primes in the focal length it covers, even the latest 50mm f/1.4 G. Notice that however the tests in this article are limited to tell only certain aspects of my 24-70 and primes, make your own assessment that meets your specific applications. Though 24-70 is matching prime quality, it should not be considered as a prime replacement. High speed primes are good for low light work and that requires narrow DOF effect. For special work under controlled environment like studio, you may also prefer fixed focal length primes. Beyond image quality, primes also offer convenience and comfort due to the smaller size and weight, and that may improve photography perhaps more than minor image quality differences.
Conclusion
So what is my conclusion? This is a lens you should not miss, especially if you are looking for real versatile solution that is the high speed and performance lens to go with excellent optics but a shame zoom ring! And you better always have the lens hood (it looks cool and smart, why not?) on whenever possible, add a quality filter (mine got a Nikon L37c attached) for maxmium protection of this decent lens from dirt and scratches.
24-70 at 24mm f/8, click the image for the full size jpeg straight from the camera.
100% crop for different zones, 24mm f/8 (left) vs f/2.8 (right)
24-70 at 70mm f/8, click the image for the full size jpeg straight from the camera.
100% crop for different zones, 70mm f/8 (left) vs f/2.8 (right)
24-70 at 28mm f/8, click the image for the full size jpeg straight from the camera.
24-70 at 28mm (left) vs 28/1.4 (right), 100% crop for different zones at f/2.8, f4, f5.6 and f/8 (top-left to bottom-right)
24-70 at 45mm f/8, click the image for the full size jpeg straight from the camera.
24-70 at 45mm (left) vs 45/2.8 P (right), 100% crop for different zones at f/2.8, f4, f5.6 and f/8 (top-left to bottom-right)
24-70 at 50mm f/11, here comes an interesting shot I intended to see what D700 and 24-70 could deliver at its sweet spot, well, I won't shoot brick wall but rocks :-), it has rich details, click the image for the full size jpeg straight from the camera.
More trial run samples from D700 and 24-70/2.8, check EXIF for technical information
D700 & Ultra Wide
I am glad to have the FF D700 because my wide lenses can now shoot at their full capability at the wide end. My Nikkor 18/2.8 served me well on the crop body D1x, on D700 it is nice at center, the outer and corners are rather disappointed performance. The 18/2.8 delivered worst soft corners in f/2.8 - f8, it works optimal at f/11 but corners are still not very good to my eyes.
18/2.8 can deliver very nice result if the subject is near the center, obviously it is not an ideal lens for application that requires corner to corner sharpness. I believe the 14-24/2.8 will be much better performanance at 18mm, that may be the lens finally my ultra wide solution.
18/2.8 at f/11
DIY Diffuser for Nikon D700 Bulit-in Flash
The built-in flash is too powerful and the light is a bit hard, I made a small DIY diffuser (make use of a piece of packing plastic and tape covers the bulit-in flash unit) that costs nothing but 10 minutes of time, it now only can compensate about 1 stop to the exposure, but the light is very soft and doesn't create shadow at all, I can hardly tell the shot has flash light, it does help to reduce contrast and highlight when shooting portrait.
28/1.4 at f/8, iso1600, flashed with DIY diffuser.
24-70 at 70mm f/2.8, iso1600, flashed with DIY diffuser.
Nikon D700 Meter and Exposure
Try the following using custom settings:
1) Turn-on Active D-Lighting (Off by default) and set it to AUTO.
2) Change shutter fires from release (default) to only when in focus for AF-C. (a1)
3) Change #points used from 9-points (default) to 51 (3D) points. (a3)
4) Make sure central AF sensor is seclected as your "starting point" sensor (default). Unlock, set, re-lock selector on back.
5) Change AF switch in front from AF-S (default) to AF-C.
6) Using switch on back select "cross-hair" (middle position). NOT single point (default) or solid (camera chooses focus point).
Focus on desired point on subject and press shutter release halfway down, then recompose.
Magic. Matrix Meter exposure is bang-on correct most of time with no biases needing to be set. Still need to use exposure compensation sometimes (large bright area in frame for example). But overexposure bias is gone.
Evidently, Active D-lighting prevents blowing highlights (primarily) and also brings up shadows a smidge. Some preference (extra weight) is given in setting exposure to AF-point in frame. AF-C, 51-point 3D causes camera to move AF-point used if either subject moves or you recompose using the 3D color matrix metering to "memorize" subject brightness and color.
This all needs to work together for Matrix to give correct exposure. Manual says nothing about this. But since doing it my "nominal" exposures have been correct every time. No "Fine Tune" needed --- as was the case with my former D200 and is the case with my D40X (permanent -1/3 EV exposure compensation).
Why don't they tell you this anywhere??? No idea.
Learned the hard way by lisitening to and synthesising what others have experienced. If you just want to compose and shoot change from "cross-hair" to solid AF setting and D700 will guess what your subject is for you (i'm not quite that trusting yet, but it does seem to work a high percentage of the time).
Thought of the Nikon D700 FX Digital Camera
May I say why it was not be there earlier? Is that because of technologies barrier or Nikon did not response promptly to the market? And may I say that is the camera I have been waiting for long? That is built with a balanced set of state-of-the-art technologies and convenience design in mind, a merge of D300 body and D3 features, that really looks perfect to me.
I have been busy shooting with my Canon system (Get the Most from Your Camera & Lens Collection) in the past year and my Nikkor lenses collection (Nikon Nikkor Lens Mini-Review) were kept in an electronic dry box with humidity control for a while, now I would expect that is going to change because of the D700, my Nikkor will work in their full wide capabilities (though I already have a DX lens Fisheye-Nikkor 10.5mm f/2.8G ED) that is important to me as I do most in wide and ultra wide shots.
In additional to my existing Nikkor primes, I will be interested in adding a general-purpose zoom lens with the D700 into my Nikon collections, this is a native move to preserve my previous investment. The D700 calibration features for separate lens settings and high-iso capabilities means additional convenience and productivities.
I would hope the D700 comes with 16M pixels size, but I realized that Nikon would probably want to keep that cost down with an optimized 12M quality output instead of chasing up the pixel count war.
Oops ... I still don't like the D700 body with rubber covers for terminals at the right side, that is simply not in a fashionable design. The classic covers on my D1x may easy to miss, but that makes the Nikon appears more smart and professional.
Wait ... what about my Canon system? Don't get me wrong, I am not royal user to any system, I like and enjoy both systems. And what about my Canon 5D (Canon EOS 5D - Dark Angel in Digital Photography) and 40D (Canon EOS 40D for Serious & Everyday Work) and maybe Canon is about to release its replacement 5D Mark II or whatever new model? Who knows?! My 5D works perfectly well, however, it is not very likely I would upgrade for a 5D Mark II, I would prefer the D700 FX, you know why already .....
Nikon D3 or Nikon D700?
I wonder why people would ask "Should I get a D3 or D700, please help...", this is simple to me, I skipped D3 and go for a 5D .... believe me, Nikon is not in fool, the D700 is a class of its own, and you can have many reasons want a D700 instead of D3. If you asked that question, that only means not only you didn't understand what the difference between these two cameras, but also didn't realize what you really want ... huh?
Nikon D700 & Nikon D300 - Dream Combos
Since the release of D3 and D300, we realized and surprised a new strategy from Nikon. Both Cameras defined a new standard in features & performance, though both come with an effective pixels count of 12 MP, D3 and D300 are sitting a clear position in their own class.
About a year after that, Nikon released another FX body D700 and cropped body D90, and now we have the Nikon's top DSLR cameras running in unified standard for the pixels count - 12 MP. Obviously, thats not by chance, it should be the Nikon's schedule to rollout their own rules for the game.
Canon provides various product options in terms of different pixel counts from 21 MP to 10 MP, Nikon takes another approach and sets a clear blueprint - instead of running into a higher MP competition, Nikon preferred to send their investment and effort on feature set optimization while keeping MP unified.
This makes things go easier at both sides, you don't have to worry about pixels count, just pick the body with the features that best fit your requirement. Here comes rather a comprehensive product line ever:
D3 - Highest demanding professional
D700 - Portability while preserving quality
D300 - High performance on a budget
D90 - New door for photography enthusiasts
While D3 is the pick for critical work, D90 is in its own way for enthusiasts (video feature is interesting, however I would rather not prefer using a DSLR to capture video). The most interesting combos should go to D700 and D300 - FX & cropped, they share the same battery grip ..... Now imagine about the compatibilities, convenience and coverage for different applications, and (just forget the pixels count) Nikon makes you want both ... :P
Nikon D700 vs Canon EOS 5D
You may argue that it is not fair to make a direct comparison, they are two different generation cameras though they both have 12MP. I really appreciate D700's control features and ISO performance, and I expect to use D700 as my main body for most work, it has significant advantages in dynamic situation.
Now, after shooting D700 for a month with thousands of exposures, I have some interesting conclusion. D700 can not replace my 5D, I will continue to have my Canon 5D running in most applications (except shooting actions and moving subject). You may surprise to learn that I still prefer 5D output in terms of much more "gentle" and "smooth" colors and tones (that is the reason why I acquired the 5D year ago, see also Canon EOS 5D - Dark Angel in Digital Photography), 5D is delivering something unique to my eyes with inspiration. The D700 tone is rather a bit over vivid and hard, see D700 vs 5D in Colors. I hope D700 can be tuned to deliver something similar to 5D, that will be the perfect configuration - D700 performance, features with 5D colors and tones!
D700 tends to give highly optimized output that emphasizes productivities, 5D tends to leave more room for post-optimization by the photographer.
Here is totally my subjective assessment (5 is the highest rank), take your own risk if you decide to use that for decision making.
| | D700 | 5D |
| Higher ISO | 5 | 4 |
| Metering | 4.5 | 4 |
| White Balance | 4 | 4.5 |
| Feature | 5 | 3 |
| *AF | 5 | 3.5 |
| *Colors & Tones | 4 | 4.5 |
| *Handling | 4 | 4 |
In many cases, 5D is running better AF under lower light, D700 always gives correct exposure and tended to over-exposure a bit, 5D also performed very well but tended to under-exposure a bit. 5D provides an output tones that please to my taste. I also like 5D better in grip handling, touch & feel. And I intended to believe that 5D seems delivering more details and may have an edge over D700 in terms of landscape work, I am interested in an experiment to shot a landscape sence for direct comparsion, see D700 vs 5D in Sharpness.
While D700 would be good for professional/ dynamic work, I would expect my 5D goes to landscape work for maximum static image quality - in terms of technical sharpness & details. In fact, 5D looks dumb and is relatively less convenience ... but as a mind set of an artist and enthusiast - shoot for fun and inspiration instead of money, I would sometimes prefer to shoot 5D with a manual focus lens instead of a AF-Machine-Gun camera... :P
D700 vs 5D in Colors
Here comes test shots at iso200, f/8, aperture priority at 85mm by both cameras. I managed to shoot with best glasses I owned with the 85/1.4 for D700 and 24-105/4 for 5D. I shot in RAW and perform the conversion via Capture NX2 and DPP with the default Standard profiles both for 5D and D700, no sharpening applied. D700 copy got about 1/2 stop over-exposured (stepped down 1/2 stop in RAW conversion).
For my standard, both delivery very nice result. Though D700 produces a more eye-catching, sharper output (too good to be true?), the 5D copy is more neutral and close to the real subject. For this particular test shot, I prefer the 5D copy and would say 5D wins over D700, but nothing in great margin. I would try to fune tuned my D700 to best suit my taste. Now check the full size copies and judge by your own eyes.
D700 full size output
5D full size output
D700 vs 5D in Sharpness
I decided to do my personal experiment to see a direct (with most default configuration) comparison between D700 and 5D capability on resolving details, and that would be the system for my static landscape work. Given existing lenses I have (the Nikon latest top-of-the-line midrange zoom, a well-known Nikkor sharp prime, two Canon EF L zoom lenses), I made test shots at 28 mm with a typical aperture f/8 that probably sweet spot for all these lenses on 12 MP D700 and 5D.
Nikon D700 - 24-70/2.8 G & 28/1.4 D
Canon 5D - EF L 16-35/2.8 II & EF L 24-105/4
Both D700 and 5D are set to shoot RAW+ Fine JPEG at iso200 with their default profiles for picture style. JPEG images straight from the camera are used in this comparison, this tells the overall result delivered by both systems under a default configuration, refer to the full size and 100% crop samples.
It is obviously that 5D systems delivered sharper and better details from the JPEG output, I would say it is a bit over sharpen by the in-camera conversion. D700 samples, on the other hand, look a bit soft at 100% view though it already managed to pull out much details.
I have not yet tried a customized RAW conversion for detail inspections, however, further Photoshop USM applied on JEPG samples can not help much D700 to get similar details given by 5D. I intended to believe that the result from D700 is much relevant to the sensor, filter and in-camera image processing rather than the limit of Nikkor lenses. And it is worth mentioned that, while 5D with the 16-35II won over others in term of resolving more details in this limited test, it suffered much more geometric distortion and CA effect (24-105 produced the worst samples), in fact, D700 has better controls in these aspects.
This life sample is with my "default setup" (based on the tools I have and both set to use Landscape profiles), the 5D appeared to be some advantages. Notice that, however, there are many factors that can affect the result. It is rather not making much sense to compare separately only paper specifications or limited on a single factor. I am interested in the final and overall result delivered.
I normally shoot RAW+JPEG, if I can have the in-camera JPEG delivery set right at the very first, why spend effort on RAW? For me the RAW will be for backup and special conversion effect. But I realized that D700 RAW has room for much better result, well, I would also expect the 5D RAW could deliver better result with customized processes. That is encouraging and I would definitely go into this approach to "get most" out from my D700 and 5D.
Full size output from D700 & 24-70 at 28mm f/8
Full size output from 5D & 16-35II at 28mm f/8
100% crops at 28mm f/8 at iso200, from left to right, D700 & 24-70, 28/1.4, 5D & 16-35II, 24-105
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