Nikon NIKKOR Z 24-70 mm f/4 S Mirrorless Camera Lens JMA704DA

Product Information

Because of the 24-70mm’s 7-blade aperture, you will end up with 14-point starbursts/sunstars in your photos. The starburst overall is quite well-defined with this lens, although individual blades are wider than on most other Nikon lenses. This leads to a rather unique look to starburst effects: NIKON Z 7 + NIKKOR Z 24-70mm f/4 S @ 24mm, ISO 64, 1/13, f/16.0 ED extra-low dispersion elements, one of which is also aspherical. These help reduce secondary axial chromatic aberration.

On balance, I’d give a slight overall sharpness advantage to the Nikon Z 24-120mm f/4 S. I should emphasize – slight. It also depends on what focal lengths and apertures you use the most. Value and Recommendations As you can see, the lens resolves a lot of detail in the center, even at f/4. Stopping down to f/5.6 helps a little, but you won’t be able to see the difference. Where it does get better as you stop down is in the mid-frame, but the edges of the frame stay about the same. Here is the lens at 35mm: Usually described in qualitative terms such as smooth or creamy, bokeh is the word to describe the out of focus areas in an image. Although the maximum aperture of the lens is f/4, you can still get some very pleasing shallow depth of field effects, with pleasing and attractive bokeh. Since evaluation of bokeh can often be down to personal preference, we have included some samples below so you can judge for yourself.Personally, I like the look. When I first posted this image, some readers disagreed. It’s all a matter of taste. Maybe I’ll change my mind after spending more time with this lens and getting used to the effect, but for now I leave you to make up your own opinion. Coma Speaking as someone who uses both lenses in practice, I will say that the 70mm maximum focal length of the Z 24-70mm f/4 feels more limiting than the narrower maximum aperture of the 24-200mm f/4-6.3 VR. Now, that’s just a personal impression, and other photographers may feel differently. But since I bought the Nikon Z 24-70mm f/4 S on day one of the Z system, I felt for years that it wasn’t as long as I would like on the “telephoto” end.

In our tests of the 24-70mm f/4 (and other Nikon Z lenses), we amazingly found that autofocus was so accurate that it matched our sharpest manual focus result nearly every time. Although we still went through the same testing routine as always, we would have gotten almost the same sharpness numbers with autofocus instead. This not only says something very impressive about the 24-70mm f/4 S lens, but also the Nikon Z system as a whole. NIKON Z 7 + NIKKOR Z 24-70mm f/4 S @ 39mm, ISO 64, 4 seconds, f/11.0 Manual Focus Note that this auto distortion profile also, as a side effect, makes the extreme corners of an image look less vignetted, since you are essentially cropping out the darkest portions. My opinion is that this distortion correction is one of the reasons behind the differing opinions online about whether the 24-70mm f/4 has normal vs high levels of vignetting. This Z-system dedicated lens is both sharper and focuses better on Nikon's Z cameras than an older SLR lens on the FTZ Adapter.Externally, there’s a wide rubber zoom ring and a narrow, ribbed metal collar used by default for manual focus; however, it is customizable and can be set to adjust aperture values or exposure compensation. In any case, the Nikon Z 24-120mm f/4 S has a hair more distortion at 24mm, with 5.01% barrel distortion. In the range from 35-70mm, however, the Z 24-70mm f/4 S has more distortion – maxing out at 4.43% pincushion distortion, compared to 3.85% pincushion distortion on the Nikon Z 24-120mm f/4 S. I would rate both lenses as “equally bad” in terms of distortion! Thankfully it’s still the easiest lens issue to fix in post. 2. Vignetting Desert Moonrise, 21 November 2018, 7:30 P.M. Insanely overprocessed image from Nikon Z7, Nikon 24-70mm f/4 Z at 28mm, f/4.5 at 30 seconds at ISO 64, Perfectly Clear v3.6. bigger or full-resolution. The 24-70mm f/4 S is thoroughly weather-sealed. Nikon’s promotional images in its NIKKOR Z Brochure show six separate rubber rings, covering the front element, rear mount, telescoping barrel, zoom ring, and focus ring. There is also a separate weather seal underneath the A/M switch. In short, all the moving parts on this lens have weather sealing.

I think you'd be disappointed. I think the "WOW" comes more from the user. In my case, having the extra light is worth it. Personally, I think that if you need the f/4 maximum aperture, you really should go with the Nikon Z 24-120mm f/4 S instead of the 24-70mm f/4 S. That’s what I (and probably most photographers) would have done if the 24-120mm f/4 S had been available from day one of the Nikon Z system. You can see my full comparison of the Nikon Z 24-70mm f/4 S and 24-120mm f/4 S here, but basically, the 24-120mm is just as sharp and high-performance as the 24-70mm f/4, just with more focal lengths on the end. You could consider an FTZ Adapter and any other Nikon zoom, like the excellent 24-85mm VR. This will save you money, especially since I know you already have lenses, but probably won't give you the performance for which you bought your new mirrorless camera in the first place. It doesn’t take a genius to see that the biggest difference between these two lenses is their focal length. One stops at 70mm, one stops at 120mm. That’s a pretty big difference and should be the first thing you take to heart when considering these lenses – more than anything performance related. Silver Maple Motel Office, October 2018, 6:35 P.M. Nikon Z7, Nikon 24-70mm f/4 Z at 48mm, f/4 hand-held at 1/13 at Auto ISO 200, Perfectly Clear v3.6. bigger.The story is basically the same. I prefer the 24-120mm f/4 S in the center and midframes, while the 24-70mm f/4 S has an advantage in the corners. Both lenses are quite sharp throughout, though, and by f/11, the differences have basically vanished. This lens does have some mild field curvature which can be visible under certain conditions, although is not especially objectionable. The field curvature is not particularly heavy, however, and it won’t be the primary cause of blurry photos even at its worst. You can minimize the problem by stopping down to f/5.6 or f/8 in critical cases. In short, if you’re getting blurry photos with this lens, it is much more likely to be a focusing error or a miscalculation of depth of field. Vignetting