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Nikon 16-35mm f/4G ED VR II AF-S IF SWM Nikkor Wide Angle Zoom Lens for Nikon Digital SLR Cameras


Nikon 16-35mm f/4G ED VR II AF-S IF SWM Nikkor Wide Angle Zoom Lens for Nikon Digital SLR Cameras


The AF-S NIKKOR 16-35mm f/4G ED VR Lens is sure to satisfy the needs of a broad range of shooters and, therefore, is poised to build sales and profits. Designed to meet the performance demands of the larger Nikon FX format image sensor. It is, however, fully compatible with Nikon DX-format digital SLR cameras. With an ultra-wide zoom featuring a fixed f/4 maximum aperture, Nano Crystal Coat, ED glass and Nikon VR II (4-stop) image stabilization offers discriminating Nikon digital SLR photographers an ideal blend of versatility and high performance priced well below its “pro” equivalent. FEATURES: Definitive Wide-angle Zoom Lens – Versatile wide-angle lens, perfect for travel, land and cityscapes, and general photography Nikon VR II (Vibration Reduction) Image Stabilization – Vibration Reduction, engineered specifically for each VR NIKKOR lens, enables handheld shooting at up to 4 shutter speeds slower than would otherwise be possible, assuring dramatically sharper still images and video capture. Nano Crystal Coat – Further reduces ghosting and interior flare across a wide range of wavelengths for even greater image clarity. Extra-low Dispersion (ED) Elements – Offers superior sharpness and color correction by effectively minimizing chromatic aberration, even at the widest aperture settings. Aspherical Lens Elements – Aspherical lens elements virtually eliminate coma and other types of aberration,even when shooting at the widest available aperture. Internal Focus (IF) – Provides fast and quiet autofocus without changing the length of the lens, retaining working distance throughout the focus range. Exclusive Nikon Silent Wave Motor (SWM) – Enables fast, accurate and

  • AF-S Nikkor 16-35mm f/4G ED VR lens
  • 24-52.5mm effective focal length with APS-C sensor cameras
  • Ideal for wide-angle and “normal” shots
  • Maximum aperture: f/4
  • Lens construction: 17 elements in 12 groups

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What customers say about Nikon 16-35mm f/4G ED VR II AF-S IF SWM Nikkor Wide Angle Zoom Lens for Nikon Digital SLR Cameras Reviews?

  1. 454 of 467 people found the following review helpful
    5.0 out of 5 stars
    A review of the Nikkor 16-35mm by an owner of the Nikkor 17-35mm and 14-24mm., April 21, 2010
    By 
    LGO “LG10″ (QC MM RP) –

    This review is from: Nikon 16-35mm f/4G ED VR II AF-S IF SWM Nikkor Wide Angle Zoom Lens for Nikon Digital SLR Cameras (Electronics)

    I am making this review of the Nikkor 16-35mm from the perspective of someone who also owns a Nikkor 17-35mm and a Nikkor 14-24mm. This review of this lens is made primarily with this lens mounted on a 12mp Nikon FX body, the Nikon D700.

    I just got my copy of the Nikkor 16-35mm f/4G VR AF-S and did some back to back testing of this lens against the Nikkor 17-35mm f/2.8 AF-S. In almost all instances except when one needs to shoot at f/2.8 (but of course!), the Nikkor 16-35mm outperforms the 17-35mm handily. The improvements in acuity (sharpness), color and contrast are easily noticed. The improvement in corner-to-corner sharpness against the Nikkor 17-35mm is considerable.

    How useful is the VR on this lens? This is best answered in the tests I made.

    I conducted a back to back test of the 16-35mm vs the 17-35mm at night and observed that I can easily take good shots with this lens at 1/2 second at 35mm. My shots taken at the same shutter speed and focal length with the 17-35mm were not as sharp or were easily blurred. I needed to increase my shutter speed to 1/15 before I could get better results with the 17-35mm. Yet even then, the images taken with the 16-35mm were still sharper.

    To raise the bar even higher, I installed the 16-35mm on my D300 where it has the equivalent field of view of 24-52mm. I shot the 16-35mm with the D300 at 35mm for an equivalent 52mm. I installed the 17-35mm on my D700 and shot at 17mm. Shooting the same scene at the same shutter speed and at the same aperture setting, I was able to get sharper images with the D300/16-35mm than I could with the D700/17-35mm despite the longer 52mm equivalent field of view vs. the 17mm of the D700/17-35mm. The images of the D700 were of course cleaner but not as sharp. The VR very clearly helped.

    This result was most convincing and showed how well Nikon understood the importance of installing VR II even on an ultra-wide angle (UWA) lens such as this. As far as I am concerned, this settles for me any lingering doubt I had as to the usefulness of installing a VR on a UWA zoom or even a semi-wide to moderate telephoto zoom such as the Nikkor 24-70mm. If a VR II can do this much good with a 16-35mm zoom, it would do wonders if installed on the next iteration of the Nikkor 24-70mm f/2.8 zoom.

    The usefulness and the effectiveness of the VR will not change my inclination for using a tripod whenever I can. But in those instances where setting up a tripod is difficult, not allowed or simply not possible, the VR on this lens will be very useful and appreciated.

    I observed that there is indeed considerable distortion on this lens when shooting at 16mm. This improves somewhat at 17mm and becomes pretty good by 19mm. I noticed however that with careful placement, the distortion is nowhere as objectionable as I had feared. I also tried correcting the distortion during post-processing and it is fairly easy to do so. The 1mm wider coverage of the 16-35mm vs the 17-35mm is not a solid gain as one would need to be careful when shooting at 16mm but it is quite usable in certain conditions. My initial reluctance and anxiety about ever using this lens at 16mm has been calmed.

    Compared to the Nikkor 14-24mm, a quick back-to-back test against of this lens against the 14-24mm shooting at 19mm f/4 showed that the 16-35mm is still no match to the Nikkor 14-24mm in corner to corner acuity. The 14-24mm is an exemplary wide-angle lens and remains unmatched till this day. The 14-24mm is also 2mm wider and faster. But the 16-35mm can accept filters and has VR. The 16-35mm is also lighter, less vulnerable as its front glass element can be filter-protected (when necessary in some instances), less expensive and is more useful for general use with its longer reach. Rather than consider one as a substitute for the other, I would consider the 16-35mm as a good complementary lens to the 14-24mm.

    This UWA zoom is long and the lens itself without the hood is pretty close to the length of the 24-70mm. The box of the Nikkor 16-35mm is actually longer than the box of the Nikkor 24-70mm. This lens is considerably longer than the 17-35mm but is lighter. The 16-35mm uses the same hood as the 17-35mm. The 16-35mm is a bit more austere as it does not come with a padded case which is standard with the Nikkor 14-24-70-200mm f/2.8 lenses. But this helps to keep the cost low.

    This lens uses a 77mm filter and thus interchangeable with the CPL and ND filters used with the Nikkor 24-70mm f/2.8 and the Nikkor 70-200mm f/2.8 VR/VR II.

    I will provide more feedback as I use this lens for a longer time.

    Edit: May 7, 2010

    I cannot helped but be impressed by how good this lens is. It is a very sharp lens and when properly matched with the right subjects, produces very impressive results. Previously, most of the tests were made using VR…

    Read more

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  2. 81 of 83 people found the following review helpful
    5.0 out of 5 stars
    Really about perfect for me., July 11, 2010
    By 
    Craig T. Harding (Orlando, Fl USA) –
    (REAL NAME)
      

    This review is from: Nikon 16-35mm f/4G ED VR II AF-S IF SWM Nikkor Wide Angle Zoom Lens for Nikon Digital SLR Cameras (Electronics)
    I have never owned the 14-24 or the 17-35, but wanted a great wide lens for scenics and just because wide is fun if used correctly. My problem was this. When looking at my scenics in Lightroom, I measured the focal length average for keepers over around 5 years. I converted crop to full frame and found that my sweet spot was 24mm. With the 14-24, I’d always be fighting that. I’d always be forced to swap lenses when I tried to go beyond that sweet spot. I need range on both sides of 24mm to be happy. Make sense? That left me with the 17-35 or a prime lens until the release of this new lens. I rented a 17-35 and tried the 20 f/2.8 and 24 f/2.8 and was just not convinced by any of them. I also wanted a pro-quality build. I had planned a trip to the Grand Tetons for June and was going to buy the 24 f/2.8 because I’d run out of ideas when Nikon released this 16-35 f/4.

    Prior to this, I’ve never purchased any piece of equipment without reading everything and allowing the reviews to come out. This time I prepaid and ordered. With trepidation I awaited my new lens. Let me tell you. I should not have worried. This has been one of my best purchases since I switched to Nikon in 1968. I don’t pixel peep and don’t need to with my copy. It’s razor sharp edge to edge at f/5.6 and beyond until around f/16. The only negatives for me are high purple fringing in the far corners at 16 f/4 which are easy to fix during processing. Nikon does it for you if you shoot JPeg, which I don’t of course, but all software does it very easily. Mostly, I don’t shoot quite that wide or wide open anyway.

    This lens almost stayed glued to my D700 during my trip out west and I was extremely happy with its performance in all ways. We Nikon owners have been asking Nikon for constant aperture f/4 zooms with a pro-build like Canon’s f/4 L glass for a long time. Nikon is finally answering. Let me tell you about the build of this lens. You’ve got a magnesium weather sealed body on the 16-35 f/4. The dampening of both the zoom ring and the focus ring feels like the old days or like my 85 f/1.4. I didn’t mind shooting in the driving rain and sleet at over 10,000 feet. It was flawless. I don’t use protective filters to degrade my images either.

    Did I need f/2.8? No. With the clean low light performance of Nikon’s full frame cameras and the fact that landscape photographers stop down anyway, one stop slower lens for $500 less money is a bargain, in my mind.

    The color, contrast and acuity were perfect as well. There is some barrel distortion at 16mm, but I actually like that a little. Our eyes curve the horizon naturally, and it’s not too bad. When I don’t want it, both Capture NX and Photoshop CS5 remove barrel distortion almost automatically. Hold the lens parallel and it’s pretty much gone at 17mm. I sometimes add a little in post when I like it. In fact, I own a 10.5 fisheye for my D300 and was thinking about a 16mm fish for FX, but this lens allows that look if I want it in post when I add extra distortion.

    In use, many improperly use a wide lens like this. They buy it to “get everything in” the picture. That usually gives you fairly boring images. Properly used a wide lens allows you to climb right up into your subject and show depth and space from front to rear… uncompress the subject. It allows this with the depth of field that is needed for this kind of view. You have to make sure and get in tight so as not to have useless background in the image. Even when shooting landscapes, this holds true.

    Finally, and this is subjective. There are a few lenses in my kit I consider magical in some way or another. My 60 f/2.8 G Micro, my 85 f/1.4 AFD, my old AI-converted 105 f/2.5, and my 300 f/2.8 AFS VR all fall into this magical category for me. The new 16-35 f/4 AFS VR, so far, is heading for that category in my kit. We will see.

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