In summary
A fast, high-performance, wide-zoom lens for professional photographers and photojournalists.Designed for both ‘full frame’ FX and ‘APS-C’ DX cameras, Nikon’s new ultra-wide angle AF-S Nikkor 14-24mm 1:2.8G ED zoom lens offers a combination of speed and performance that will suit professional photographers and photojournalists. The f/2.8 aperture is usable throughout the focal length range as is the closest focusing distance of 28 cm. On a DX-format Nikon body like the D300 we used for this review, this lens covers a focal length range equivalent to 21-36mm. . . [more]
Full review
Designed for both ‘full frame’ FX and ‘APS-C’ DX cameras, Nikon’s new ultra-wide angle AF-S Nikkor 14-24mm 1:2.8G ED zoom lens offers a combination of speed and performance that will suit professional photographers and photojournalists. The f/2.8 aperture is usable throughout the focal length range as is the closest focusing distance of 28 cm. On a DX-format Nikon body like the D300 we used for this review, this lens covers a focal length range equivalent to 21-36mm.
The lens barrel is solidly designed with dust- and moisture-resistant sealing to a standard than matches Nikon’s professional DSLR cameras and rubberised zoom and focusing rings. The focusing ring is towards the front, while the zoom ring is closer to the camera body. Between them is a distance scale with feet and meter markings for focusing but no depth of field or infrared indicators. Only five markings are provided on the meter scale: 0.28, 0.35, 0.5, 1 and infinity.
Optical construction diagram showing the position of the various special elements.
The optical construction, which consists of 14 elements in 11 groups, includes ED (Extra-low Dispersion) glass elements for minimal chromatic aberration, and aspherical lenses including large-diameter PGM (Precision Glass Moulding) elements to minimise aberrations and provide higher resolution. Extra-low refractive index Nano Crystal Coat coating virtually eliminates internal reflections across a wide range of wavelengths and Nikon’s Super Integrated Coating assists in providing superior colour reproduction, while minimising ghosting and flare.
A petal-shaped lens hood is permanently attached to reduce the effect of stray light and flare. An outsized lens cap fits over the hood to give excellent protection to the front element of the lens when it is stored or transported.
Zooming and focusing adjustments are all internal which, in theory, means you can use angle-critical attachments like polarisers and graduated filters with this lens. However, no provision is made for fitting screw-on filters and centre of the front element of the lens bulges forwards to within a millimetre or two of the end of the lens hood. Although the lens surround appears to be threaded, it is hard imagine how a filter could be attached. For photographers who want to use filters with this lens, the best solution appears to be via the 118mm Cokin Universal ring, which attaches to the outside of the lens.
Being such a wide-angle lens, no VR stabilisation has been provided and, unless you’re shooting in very low light levels (when a tripod is advisable), we found little need for this feature. But we would like to have had indicators that show depth-of-field and hyperfocal points, neither of which was provided.
Other features include the use of Nikon’s SWM (Silent Wave Motor) technology to ensure fast and quiet autofocusing and a rounded diaphragm opening for attractive bokeh. A sliding switch on the lens barrel lets users swap quickly from automatic to manual focusing, even during AF servo operation. This lens is supplied with an elegant CL-M3 semi-soft case.
Handling
For such a bulky, heavy lens, the AF-S Nikkor 14-24mm 1:2.8G ED is surprisingly comfortable to use when fitted on the D300 body, where it is quite well balanced. Whether it would be equally well matched on a lighter body is debatable. At more than 130 mm long and weighing one kilogram, it would be out of place on the lighter D40 and D40X bodies, which are roughly half its weight and maybe also the D80 and D70 models.
Both the focusing and zoom rings are wide and textured to provide a good grip and there’s a good distance between them so you can’t mistake which one you’re using. The zoom ring moves smoothly with no tendency to ‘creep’. Moving from the 14mm to the 24mm setting is quick and easy and intermediate settings can be achieved with considerable precision.
The focusing ring is not quite as tight as the zoom and moves more readily. The entire focusing distance is covered in less than a quarter of a turn, allowing users to focus precisely. The M/A-M switch is well located and clicks positively into each setting. Swapping between settings is fast and easy, although you can also focus the lens manually in the M/A mode.
Performance
In our extensive Imatest assessments of the supplied test lens we found overall performance to be very good, with best results coming from the 24mm setting and worst at 14mm. However, whereas performance trailed off at smaller lens apertures with the longer focal lengths it remained remarkably consistent with the 14mm setting. The graph below shows the results we obtained for five focal length settings.
Lateral chromatic aberration was also very low, as shown in the graph below. Best performance was also at the 14mm end of the focal length scale, where test results for were very consistent throughout the aperture range. We found some inexplicable variations between f/2.8 and f/5.6 at other focal length settings but consistency was restored at smaller apertures. At no focal length/aperture setting was C.A. ever higher than a level that Imatest classifies as ‘low’.
Focusing was generally fast and no hunting was detected in low-light conditions. Edge-to-edge sharpness was excellent at all aperture and focal length settings. Vignetting (edge darkening) was negligible and distortion was surprisingly low when you consider the angles of view this lens covers. Even at the 14mm setting we were able to take shots with straight verticals, making this lens a candidate for architectural photography.
Flare performance was also good unless the lens was pointed directly into the sun. But, even then, as long as the sun’s disk was covered, stray light did not affect imaging performance and shots were as punchy as we expected.
Test shots were sharp and contrasty ““ but not excessively so. Bokeh was generally attractive but, predictably, true out-of-focus backgrounds were difficult to achieve at the widest angle of view.
SAMPLE IMAGES
14mm setting.
24mm setting.
Vertical elements remained straight at the 14mm setting, even at the edges of the frame.
Distortion was also negligible for close-ups at the 14mm setting.
Illumination was even across the frame.
Even at f/2.8 it was difficult to obtain out-of-focus backgrounds with this lens for close-ups or…
… general pictures.
However, some interesting results could be obtained by exploiting the inherent wide depth-of-field of the lens.
Specifications
Focal length range: 14-24mm
Maximum aperture: f/2.8
Picture angle: 114 degrees to 84 degrees
Lens construction: 14 elements in 11 groups (2 ED glass elements, 3 aspherical lenses and 1 Nano Crystal Coat)
Lens mount(s): Nikon F
Diaphragm Blades: 9
Minimum focus: 28 cm (throughout zoom range)
Dimensions (Diameter x L): 98 x 131.5 mm
Weight: 1,000 g
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Rating
RRP: $2599
Rating (out of 10):
- Build: 9.5
- Handling: 9
- Image quality: 9
- Versatility: 8.5
- OVERALL: 9