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 Zeiss 21mm f/2.8 Compared to Nikon 14-24, Canon 16-35 L II and LEICA 21mm f/2.8 ASPH16 December 2009 When it comes to the vignette, I would say the Nikkor has the edge. It seems brighter overall, with flatness fairly equal between the two. One thing to note about vignette, however, is that it is fairly easy to correct. The chromatic aberration seems to be about the same on both, but again the Nikon lens has slightly better star color.

is no big deal. The world has never had a really sharp 14mm before, but we have had sharp 24mm lenses for decades. Nikon makes some seriously good ultra-wide lenses. The F-mount 14-24mm f/2.8 is often considered one of the best wide zooms ever, and the wide-angle Z lenses we’ve seen so far have also been fantastic. But how does the Nikon Z 14-24mm f/2.8 S compare? The zoom ring is very well spread out, which makes precise zooming and composition a breeze. It has perfect logarithmic spacing, which I love. Buy if:You already have a top-level camera and are looking for a powerful lens that's excellent for astrophotography. The 17-35mm f/2.8 is a much better lens for normal people buying just one wide zoom. The 17-35 covers a far more useful and larger zoom range (2:1) from ultra-wide to almost normal. It takes pro-standard 77mm filters, like all the other Nikon pro zooms and fixed lenses like the 80-200/2.8, 70-200/2.8 VR, 85/1.4 and the 80-400 VR. Filters are important, especially in digital photography, and the 14-24mm can't use any while the 17-35mm uses everything you've already got in your bag.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. Does this come with a durability penalty? Not particularly. While it’s true that the Nikon Z 14-24mm f/2.8 S has a mostly plastic exterior, it’s high-quality plastic, and the lens mount is still metal. NIKON Z 7 II + NIKKOR Z 14-24mm f/2.8 S @ 20mm, ISO 64, 1/160, f/8.0 Something unusual about the 14-24mm f/2.8 S is that it ships with two lens hoods rather than one. The first, the HB-96, is a smaller, standard lens hood like you’d expect. The other is called the HB-97, and it’s a slightly larger hood with a built-in filter thread for 112 mm filters. You can see the difference here: Another benefit of this focal length is stealth. One of the biggest challenges a wedding photographer faces is working unnoticed. There are a ton of great candid moments throughout the wedding day, but it’s human nature to clam up when someone points a camera at you.

Most people use ultrawides too sheepishly, and get crummy results with a tiny subject dwarfed in the middle of a blank frame. When I use my 14mm I have to force myself to get closer and to pay rapt attention to the sides of my viewfinder, which too often are blank. Or you go for a standard 24-70mm f/2.8 zoom that lets you comfortably shoot when more reach is necessary. Two of those are also stabilized: The Tamron SP AF 24-70mm 2.8 Di VC USD (800 EUR, see my Tamron 24-70/2.8 VC review) and Nikon’s new AF-S VR 24-70mm 2.8E ED. But that is the most expensive alternative at 2400 EUR (see my Nikon 24-70/2.8E VR review).

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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. [+] Nikon's extensive use of extra-low dispersion glass in the design of this lens has paid dividends when it comes to controlling chromatics aberrations. At its worst, CA covers just over half a pixel-width at 24mm and f/2.8, which will be barely noticeable under normal picture taking conditions. Across the rest of the zoom range, colour fringing is virtually non-existent, with recorded values being well under half a pixel-width. This is exceptional performance for such an extreme range of focal lengths. Chromatic Aberrations at 14mm

Some of you may be thinking “Why not just get the Nikkor Z 20mm f/1.8 S prime?” Well, the versatility of having 14-24mm is far more important to me than having perfect corners. In fact, I used to have the Sigma 20mm f/1.4 Art but switched to the Sigma 14-24mm because I wanted that focal length versatility, even though the prime was better optically. That trade-off of prime versus zoom can easily be a matter of opinion, but when it comes to composing shots, having that variable range can really make or break a shot.First and foremost (and this is important): the lens’s portability. This is, without a doubt, the smallest and lightest lens in its class. The old F mount model 14-24mm, the Sigma Art 14-24mm, and even the Sony 12-24mm are no match in size and weight when it comes to this lens. More on that later, as this is a party piece. There's no optical image stabilization on this lens, but that's par for the course in wide-angle lenses. Most Z-mount cameras offer in-body image stabilization anyway, and blur from camera shake is typically less of a concern for wide-angle photography in the first place. This tends to make me a bit nervous when walking around without the lens cap on because the shape of the glass prohibits the attachment of a protective filter. It is clear that the Nikon 16-35mm f/4G VR shows much inferior performance at its long end. As you can see, it is nowhere near the level of the 24-70mm f/2.8G, even when stopped down. As I have previously pointed out, the long end is the weak point of this lens. NIKON D700 + 16-35mm f/4 @ 19mm, ISO 640, 1/40, f/6.3 Nikon 16-35mm f/4G VR vs Nikon 17-35mm f/2.8D MTF The Nikon 16-35mm f/4G VR does quite well at 24mm, but not at the same level of the 24-70mm f/2.8G, which is incredibly sharp in comparison in the center of the frame. When it comes to the corners, however, the Nikon 24-70mm f/2.8G doesn’t do nearly as well thanks to its heavy field curvature. One can obtain better corner results with the 24-70mm f/2.8G by focusing in the corners though.

Nikon's fast aperture super-wide zoom lens gets the ePHOTOzine treatment from expert Gary WolstenholmeThis lens is one of a kind. In terms of resolution, handling and even its resistance to flare and ghosting this lens is excellent, and it outperforms primes in the same focal range. How does Nikon do it? Simple: Nikon has always known how to make lenses this good, but has never known how to manufacture them in quantity for less than five or six figure prices. What's changed is Nikon's ability to manufacture aspherical elements efficiently, as it does with the dinky but superb 18-55mm kit lens. Nikon really has made the 14-24mm out of the same stuff it puts in these plastic fantastic lenses which outperform the classics. When Nikon drops almost two grand worth of its considerable manufacturing prowess into a lens like this 14-24mm, the results are extraordinary. Armchair experts are going to have a hard time finding any fault with it, which makes it an easy lens to review. It wins.