The image you refer to is an image done with the Canon D20 or D30, can't remember which one and the Canon f2.8 "L" zoom lenses. The lens is pure junk, but then all zoom lenses are junk (sorry, they are but like ass holes, it is an opinion), or on the more intellectual slope, as Democritus* put it a few thousand years ago, "The universe is composed of energy and matter, the rest is mere opinion." At that time it was the only digital camera that I had. When I decided to switch from the main stream consumer digital approach I considered an important option, limit digital to the camera portion of the photography and go back to the old lenses. For me they were Leica lenses.
Why return to Leica lenses. Beyond the reality that E. Leitz has always made and still makes superb optics, and after all it is the lens that is making the image, it is the control that the fixed focal length lens gives to a photographer.
Because THAT part of photography is extremely critical let me point this out as a technique, one that when I used film based technology I use all the time. What any working photographer desires in the world of the practical everyday is a rapid control of depth of field. It is critical and a key element in the notion of visualization.
On a fix focal length lens on sees a focus section that tells one the place in feet or meters that the lens is when brought to focus on a particular point in a scene. In the world of practical/working photography this information has no point.
So, cover that portion of the lens barrel with cheap tape. Now, one focuses on the closest point that is wanted in focus, then select the place where you want the most distant point to be in focus. Each selection is marked on the tape. Now, rotate the barrel of the lens back and forth until both marks fall on a common indicated f stop that are marked on either side of the lenses' barrel. You now have found and set the proper f stop for that lens for the chosen position you are standing in the scene. By the way, you have also in a technical sense selected the lens, f stop, and distance for the scene you want in focus and this is called setting the lens to it's hyper focal distance. (But that selection is not important to a working photographer, but control of the scene being imaged is critical.
If you want to look this up you will find the subject covered under the first rule for Scheimpflug principle. You can get lost in looking into all this but being exposed to it is good if you have never herd of all this technical stuff. Don't get lost in it, most of this has nothing to do with the practical side of image making. As example Scheimpflug does NOT help you with grasping the use of the optical movements on a view camera, it just distracts from the active principals of practical photography. With the view camera it first moving the optical center in the field of view or entirely out of the field of view that gives one incredible controls. With hand held cameras it is found with limits with the perspective correcting lens (Nikon's PC 35mm and 28MM lenses).
This could seem I am off the deep end but in fact I am not. Control of the image is what you want. If I choose the Elmar 50 lens over the 50mm Summitar I get a certain look, If I move from the 50mm Summitar to the 28mm R Elmar I get a more color accurate image, but the rendering from the 50mm f2 Summitar has rendering qualities that makes for less that process optics but then that was not what I wanted in the image. Sharpness can become a hobgoblin in photography, don't let it. Apo lenses are fine in technical work but may not be what you want. Get what you want, don't let the lens tell you your vision. For me, I had no longer found the Canon 'L' lenses of much purpose in my general work.
On the positive side for zoom lenses, here is an excerpt from the series "The Peep Show" where the lens mounted on a rigid studio stand and zoomed during the exposure using the Canon with the f2.8 'L' zoom lens. The front of the Peep Show is a 1/8 plate glass mounted in a rigid support. The three light zooming in toward the viewer are from lights hidden above the top of the plate glass support, pointed back towards the 4X8 foot plate glass mirror mounted on the rear wall some 10 feet from the plate glass. Illumination with mixed par lights above and three flash heads plugged into the 800 watt second channel of a Norman 2000 watt second power base.
*Democritus:
https://en.wikipedia.org/wiki/Democritus