Detailed specifications for the lens, along with MTF charts and other useful data can be found on the Nikon AF-S NIKKOR 14-24mm f/2.

unless otherwise noted, with adjustments limited to white balance, exposure, highlights, shadows, white and black levels. The Z7 II, Z6 II, Z7, Z6, and Z5 correct for any or all of distortion, diffraction and falloff (vignette control), any of which may be turned ON or OFF. To improve light transmission and reduce the effects of ghosting and flare, Nikon incorporated both Nano Crystal and Super Integrated Coating into the lens, making it an ideal lens for many kinds of photography including landscape and architecture photography. A stepping AF motor benefits both photographers and videographers with its fast, precise, and near-silent performance. Furthermore, the lens features a dust- and splash-proof structure, along with a water and oil-repellent front lens coating, aiding shooting in all weather.

Of course if you're just taking pictures, any of the other lenses ( 20-35mm, 17-35mm, 18-35mm) works fine, and they take filters which the 14-24mm can't. Three aspherical elements, including a large-diameter aspherical lens, control spherical aberrations and distortion for increased sharpness and accurate rendering. The lens also offers a large focusing ring with full-time manual override settings for quickly making adjustments. I was grateful to have both lenses when I was away on my trip, as they both came in handy at different times. improves things, but we're increasingly spoiled by lenses performing near their best wide open, so this is a bit of a let-down.

Why not sign up to our newsletter and receive info on exclusive offers each week that are not available to the public. The 14-24mm is far superior to the previous 14mm and 18mm lenses; I can't see any falloff wide open looking at only one image without another for comparison. in a lot of situations, but when shooting landscapes, architecture, flat fields, or any scene where we desire most of the frame to be tack sharp, we'd suggest stopping down at least a stop or two.S brings its famed DSLR-era lens to its mirrorless format, in a more compact lightweight formula with an option for (albeit very large 112mm) filters. I love my fixed Nikon 14mm and Canon 14mm lenses I already use on film and my full-frame Canon 5D cameras. Don’t let that fool you in to thinking the 16-35 is virtually the same in performance, because in certain conditions it’s not, BUT, in a lot of conditions it’s performance isn’t as noticeably inferior.

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.

With a standard 77mm thread on the front of it, the 16-35 VR is certainly more convenient to use if you already have a collection of filters. you won't be focusing in on individual flowers, but it will certainly suffice for classic 'wildflowers at sunset' landscapes and the like.