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

Product Information

The other zillion surfaces have Nikon's traditionally excellent Super Integrated Multicoating (SIC). Nikon's users manual rightly cautions not to grab the lens by the cap, because it will slip off and drop your 14-24mm (and camera) to the ground if the lens slips out of the cap. You can look at the 14-24mm from outside of the picture angle and still see glass, which means that stray light can hit that glass, too. Admittedly, you'll want to stick to the latter whenever possible as its 112mm screw-in filters will be both expensive and tricky to find, but rivals lack this option altogether. Specular highlights are very clean with no onion ring, only minimal cat's eye effect in the extreme corners, and a nice, round shape even as you stop down somewhat.

It represents a noticeable step beyond its DSLR-oriented predecessor in terms of sharpness and yet is far lighter and noticeably more compact. zoom range making it much less useful than a 16-35mm lens, this little lens should be a great addition to any bag, unless you prefer the more portable, more practical and much less expensive Z 14-30mm f/4. lens on a DX camera to replicate the angles of view that this 14-24mm lens gives on FX and film cameras. The slight softening in the corners seen in the full-resolution file are from the limitations of sensor-shift stabilization in this ⅛ second hand-held exposure. It balances pretty well on Nikon's latest full-frame bodies, with just a touch of 'front-heavy' feel that doesn't really change as you zoom the lens.

maximum aperture is well-suited for working in available light conditions and also provides greater control over depth of field. 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.

A workhorse of a lens used by professionals and amateurs alike it is ideal for photojournalism, sports, and wildlife photography and is effective for almost all telephoto applications, including portraiture. SIGMA’s new unique coating technology "NPC (Nano Porous Coating)" incorporates porous silica as the coating material. Additionally, a built-in lens hood helps to protect the front element as well as prevent stray light from causing flare. 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. It's not a particularly standard size (and will prove to be a very expensive one), but both Nikon and B+W do make filters in this size.And I can confirm that whatever you have read about this lens, it doesn’t come close to the actual experience of holding it in your hands. shorter, which is perhaps a little surprising given it has a removable hood, where the DSLR lens' hood was built-in.

If you want ordinary wide shots, you'll still need another lens, like the no-longer made 20-35mm or 24-50mm AF to cover it along with the 14-24mm. Even if they didn't it should still be mentioned, as long as the product is fairly compared with its peers. Particularly in the photography of starry skies, bright wide-angle lenses are often selected because they can efficiently collect weak light.The HB-97 lens hood is much bulkier, especially if you're using its huge lens cap, but it does accept 112mm screw-on filters. ED VR II Lens from Nikon is a sharp, versatile, and durable telephoto zoom lens with a fast constant maximum aperture, useful in lowlight situations. looks a good bit more svelte without either of its optional hoods attached, though there are built-in mini-hood petals seen here that offer at least minimal protection. The aperture value is only shown in aperture-priority or manual modes, and in these modes the focus display also gains a depth-of-field indicator beneath the distance scale.