Nikon AF-S NIKKOR 14-24mm f/2.8G ED

Product Information

Rugged and weather-sealed, the Nikon NIKKOR Z 14-24mm f/2.8 S is a professional-level lens that'll stand up to regular use. And believe us, with a lens this powerful and versatile you'll be getting a lot of use out of it. Used on a DX digital SLR, which is stupid because the 12-24mm DX costs less, weighs less, takes regular filters and goes wider on a DX camera, it gives angles of view similar to what a 21-36mm lens would give on a 35mm film or FX camera. Calculated in reverse, you would need a 9.2-16mm lens on a DX camera to replicate the angles of view that this 14-24mm lens gives on FX and film cameras. See also Crop Factor. It has very little little distortion, much less than any other lens in this range on a DX camera. If it bothers you, it's trivial to remove in Photoshop. My 14mm fixed lens is much smaller and lighter, but not as sharp at larger apertures and has more peripheral color shift.

These adapters also usually don't work on full-frame cameras, which again makes the pretty useless. I wish Nikon, or a third party, would sell a proper metal cap with a felt lining, as the 15mm f/5.6 and 15mm f/3.5 lenses and earliest 16mm fisheyes have always had. The Nikon Z 14-24mm f/2.8 handles similarly to the other top-of-the-line Z-series lenses like the 24-70mm f/2.8, 70-200mm f/2.8, and 105mm f/2.8 macro. It has two control rings (at least one of which you should reserve for manual focus), a custom function button, and an EL display for information like distance and depth of field. The “DISP” button is to change which information appears on the EL display. So, what about the Nikkor Z 14-30mm f/4 S lens? Well in my research, the Z 14-30mm S has some really bad astigmatism in the corners. Far worse than the Z 14-24mm f/2.8 S stopped to f/4, so that is a no-go in my book. From my tests, it seems like the Z 14-24mm f/2.8 S just happens to be the perfect happy medium amongst all of these lenses. So easy, so light, so compact, so powerful! is no big deal. The world has never had a really sharp 14mm before, but we have had sharp 24mm lenses for decades.While I love the feature itself, the top OLED display turns off far too frequently. This is such a handy feature of the lens, and I know I would like it if it stayed on until a picture is taken. This could be a potential software fix down the road. Optical Performance The Nikon Z 14-24mm f/2.8 has a reasonably complex design with 16 lens elements in 11 groups, of which three are aspherical and four use extra-low dispersion glass. It has Nikon’s high-end construction for a Z-series lens, with two control rings, a custom function button, and an EL display for things like distance and depth of field information. NIKON Z 7 II + NIKKOR Z 14-24mm f/2.8 S @ 18mm, ISO 64, 1/125, f/8.0 The Nikon 14-24mm f/2.8 is the sharpest 14mm and 18mm lens I've ever used, by far. I know, because I've shot it head-to-head against my 14mm f/2.8, 18mm AF and 18mm f/3.5 AI-s on the D3. Forget about this. There is only one internal surface with this coating. It's just another letter for Nikon to use to push new lenses on people. It means nothing to photographers. Wide open at 14mm, this lens is already a very good performer producing images with very good centre sharpness and only ever so slightly softer corners. Stop down just one stop to f/4 and the lens is at its peak for centre sharpness, with corner sharpness approaching excellent. By f/8 the excellent resolution is uniform across the frame. This aperture gives the best resolution and corner sharpness before diffraction takes hold reducing resolution across the image field. Even though the effect of diffraction is quite strong, as it typically is for this kind of extreme wide-angle, the resolution at f/22 is still good and won't cause too many issues for most.

This is the first Nikon ultrawide on which Nikon has removed the aperture ring to save money. These G lenses are useless with manual focus cameras. The dedicated front cap is dinky plastic. It has eight ribs that will mar the outside of the lens with extended use and leave space for dust to enter. It works great on every pro camera since the F4. Even on the 1988 F4 you get super fast autofocus, Matrix metering and P and S automatic exposure modes. The Nikon 16-35mm f/4G VR improves significantly at 24mm in the center, but at the expense of mid-frame and corner performance, whereas the 14-24mm f/2.8G also sees a pretty drastic drop in overall sharpness. However, once stopped down, the Nikon 14-24mm f/2.8G still comes out visibly stronger, especially in the corners. NIKON D700 + 14-24mm f/2.8 @ 14mm, ISO 200, 1/800, f/8.0 NIKON D700 + 14-24mm f/2.8 @ 16mm, ISO 200, 1/500, f/10.0 Nikon 14-24mm f/2.8G vs Sigma 14mm f/1.8 Art

Nikkor Z 14-24mm f/2.8 S: Specification

Ghosting (when the stars look bigger and softer than they should be) at all focal lengths also looks to be handled better by the Sigma. However, this may be a small result of the hazier conditions during shooting with the Nikon lens. You also have the option to use rear gel filters with the Nikon Z 14-24mm f/2.8 S, although the only way to attach or remove them is to take the lens off your camera. The good news is that rear gel filters are smaller and lighter than a 112 mm front filter, so they may be preferable for certain applications. That said, they’re mainly just useful if you want to use an ND filter ( like these); there aren’t any rear gel polarizing filters, nor would one be especially useful, since you couldn’t spin it to adjust for the light.

And while it can't do everything for you, it has a host of features that will help take your pictures to the next level. Its special coating helps reduce ghosting and flare, giving you sharper images.Distance information is relayed to the camera, so the Nikon body can do all the advanced exposure-related stuff with this lens. Same with the competition. [+] These are things that I am not a fan of about the lens’s design. Some I feel could possibly improve down the road with software. Let’s see how the Nikon 16-35mm f/4G VR compares to the Nikon 24-70mm f/2.8G. I decided to test both lenses at 24mm and 35mm – the focal lengths I use the most for landscapes: Not that you'll see this sharpness improvement in most photos, but you will see it if you're looking in the corners of the FX frame wide open at the wide settings The older lenses simply can't get this sharp out there, but you can put filters on the front of most of the older lenses which you can't with the new 14-24mm. They all look the same when stopped down to f/8, but you still can't put filters on the front of the 14-24mm. This 14-24mm is a huge, expensive and special-purpose lens. For 99% of the people reading this, the newer 16-35mm f/4 VR is a much better lens because it is smaller, lighter, has a more useful zoom range, it's easier to use, takes filters and is slightly sharper, too.