There is an ancient Nikon zoom lens sitting on my bookshelf, a 43-86 mm. A lot has changed in the last 25 years. Zoom lenses can no longer be considered second class compared to prime lenses. Both have evolved, especially with the mirrorless revolution, to highly corrected, multi-element designs. Emphasis has been placed on minimizing aberrations which are hard to correct in post, such as chromatic aberration, astigmatism and coma. At the same time compromises have been made with regard to distortion. It saves cost and mass to allow 1% to 3% distortion, which (e.g., Sony) can be corrected to less than 0.5% in firmware. Vignetting, not an aberration per se, can be almost perfectly corrected. Where once high quality lenses, such as the Leica Summicron and Zeiss Planar, kept elements to 6 or so, coatings and design have improved to the point that 14 or more elements have the same transmission. With more degrees of freedom, lenses can be designed to minimize internal reflections, hence sun spots and veiling flare. This is especially important with digital sensors, which are flat and highly reflective. The difference in image quality between high quality zoom lenses and comparable prime lenses is subtle at best. Prime lenses tend to be a stop or two faster, but that is more important for subject isolation against a background, rather than light gathering. With ISO ratings through the roof, you can shoot outside in moonlight at f/2.8. This quality comes at a price, with high-end zoom lenses from Sony, Canon and Nikon well into the $2000-$3000 bracket. Still, I can carry three zoom lenses and cover focal lengths from 16 mm to 200 mm at half the cost and weight of the prime lenses they replace.