Nikon Nikkor Z 2470mm f/4 S (999.95 USD) was one of the initial lenses to be introduced with the full-frame mirrorless Nikon Nikkor Z2470mm f/4 S. This lens is the Z 7/Z 6 default zoom and it's a very good one. The lens is well balanced on the Z-body design and weather sealed. It has a wide zoom range that can capture everything, from portraits to large vistas. You should make sure to buy it along with a camera—there's a $400 discount if you do.
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Modern Nikkor Zoom
This is the Z 24-70mm, the first Z-mount zoom lens. It gives an insight into the future design plans of the Z lens series. The aesthetics are minimalist—the Z lenses we've seen to date are all basic black, with a mix of metal and polycarbonate construction. Plain white text replaces the gold accents that we are used to seeing on Nikkor SLR lens lenses.
The Z 7 balances the 24-70mm F/4 in terms of size very well. When folded for storage it measures 3.5x 3.1 inches (HD), weighs 1.1 pounds, and can hold 72mm front filters. As you zoom in on the lens, it telescopes by approximately two inches.
The barrel is a collapsing design—you'll need to twist the zoom ring to extend the lens a bit before you can use it to make images. It's not my favorite aspect of modern lens design—it saves about an inch of height when the lens is stowed in your bag, but I'd rather have a slightly larger lens which is ready to use at all times.
With the 24-70mm, you get the standard rear and front caps as well as a soft pouch and a lens hood. The lens, like the Z 7, is shielded from dust and splashes so that you are able to use it in all weather conditions. Fluorine is used to repel grease and moisture on the exposed areas of the rear and front elements. This makes it easier for water drops and smudges to be absorbed into the lens.
Only one control switch is available: the A/M toggle. This switches between manual and automatic focus operation. It is about one inch in front of the mount. The focus ring turns indefinitely but is not mechanically coupled. However, it provides a solid manual experience. The ring can be turned slowly to make minor adjustments, but it is quicker and more powerful.
I wouldn't recommend it for manual focus for video—there are no set focus marks or distances, and the electronic focus system makes smooth, steady racks difficult to execute. However, the Z 7's autofocus is very good for video and can rack focus for you as you move from one focal point to another.
When the autofocus is enabled, the ring does not fall to the ground. Your Z camera can be set up to allow you to control either aperture or EV. It's easy to make extreme settings to one setting with the ring. This can cause exposure to be ruined. This issue is being addressed by Nikon via firmware updates.
It is an electronic design. The zoom ring turns easily and can be marked with the following marks: 24, 28, 35 and 50, 50 and 70mm. You will find it easily by touching. It is approximately two inches wide. Rubber ridges are used to cover the focus ring. You won't be able to confuse the ridges on the focus ring with rubber, unless gloves are worn.
There is no stabilization system for the 24-70mm. The Z 6 and Z 7 both have five-axis sensor-based stabilization. The Z 7 lens was tested by me and I found it to work well for both handheld and digital images.
A strong point is close focus. Zoom can be used to lock on subjects up close, as long as the distance is measured from your image sensor. You can work very close and zoom to 70mm, you will enjoy 1:3.3 macro magnification from the closest distance. It adds a bit of versatility to the lens, reducing the need to switch to a dedicated macro for many shots—although you won't get the same dramatic close-up looks as you would with a 1:1 macro
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High Resolution Optics
Nikon Z 7 features a 45.7MP sensor, which is one of the best full-frame cameras. This camera requires sharp lenses to get the best results. I used the Z 7 with Imatest (Opens in new window) software on the 24-70mm to test how detailed the two lenses can capture.
The 24mm f/4 lens produces 3,524 lines in a center-weighted sharpness assessment. This is a lot more than we would like to see from the Z 7 sensor, which only shows 2,750 lines. Although the outer edges of the frame aren't quite as sharp as those in the center, they still show acceptable (2.883 lines).
The average resolution is 4,166 lines, while edges are 3,453 lines. Bringing it down to f/5.6 puts the resolution in excellent territory. The resolution gets slightly better at f/8 (4281 lines), but it falls slightly at f/11 (4122 lines). The resolution is affected by diffraction at f/16 (3.427 lines) or f/22 (2.707 lines). However, you might still need to use the smallest of f-stops in order to make the sun a multi-point star for your images.
The results are similar when using 35mm. Average resolution at f/4 is 3,401 lines, which is a great result. However, edges can be a bit soft (2,310). At f/5.6 the resolution jumps up to 3,888 lines and edges are more impressive (2,898 lines). You get the crispest images at f/8 (4,042 lines), which is where you'll want to set the lens for landscape shots where edge-to-edge resolution is key—the periphery improves to 3,204 lines at f/8. The results are excellent at f/11 (4000 lines) before dropping to f/16 (3 448 lines) or f/22 (2 621 lines).
Zooming in to 50mm improves edges and general image quality. The 24-70mm has 3,737 lines at f/4, and a strong edge performance of 3,199 lines. The lens' sharpness is higher at f/5.6 (4,013 lines), and towards the edges of the frame (3.499 lines). The best edge-to–edge performance can be found at f/8 where it averages 4,153 lines while edges display 3,947 lines. The image quality is excellent at f/11 (4,513 lines), but drops at f/16 (3.554 lines), and f/22 (2.730 lines).
The 70mm resolution is excellent. The average lens shows 3,439 lines at f/4, and edges are just slightly less than the average mark. The resolution improves at the f/5.6 (33,833 lines), while it peaks at f/8 (4102 lines) or f/11 (4107 lines). The expected decrease is seen at f/16 (3.595 lines), and f/122 (2.804 lines).
A lens is more than just resolution. Also, we consider distortion and peripheral lighting. But the Z system supports automatic correction for both—not only for in-camera JPG capture, but also for Raw images. Adobe Lightroom Classic applies the adjustments automatically and you cannot turn them off.
Don't worry about distortion if your JPG file is not converted to Raw format or you don't use Lightroom for the raw conversion. If you turn distortion correction off or process Raw images using software that does not support Nikon's recommended corrections, then expect to experience about 4 percent barrel distortion at 24-mm and 4 percent pincushion distortions at 70mm. At 35mm and 50mm, distortion is not a problem.
The vignette is still visible even when the Vignette Control setting in the camera has been set to Normal. Darkened corners will be seen when you shoot at larger apertures. At 24mm f/4, the corners lag behind (-3.3EV). They are still quite dim at f/5.6 (-2.1EV), however they will be within an EV range of the center for narrower f stop. The correction switch shows that the deficit is greater at f/4 (-4.EV) and a 2 stop deficit at narrower F-stops.
The difference is less noticeable at the center focal lengths. With correction disabled, we see a difference of -1.5EV at 35mm and 50mm. We also see less than 1EV at narrower apertures. There is an inverse difference of -2.8EV at f/4 and -2.5EV at f/5.6. At smaller apertures, there are around 1.5EV.
At 70mm, we see the same vignette as at 24mm. When correction is turned on, there's a drop of -2.7EV in the corners at F/4, a drop of about -1.3EV @ f/5.6 and a stop at around f/8. The vignette becomes noticeably more strong at f/4 (-3.8EV) and then f/5.6 (+2.4EV), before dropping to a steady -1EV starting at f/11.
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A Goldilocks Zoom
It seems that the Nikon Nikkor Z 2470mm f/4 S is the best choice for Z lenses. The modern design of the Nikon Nikkor Z 24-70mm f/4 S is simple and elegant. It should withstand changes in industrial design. Its optics are identical to the Z 7's high resolution and should be able to get the best out of Z 6's 24MP sensor. This zoom is a great all-around lens, just like the first Z-bodies. It features an all-weather design and fluorine-coated protection.
I am most impressed by the overall balance and size. A Z camera will feel right at home with the 24-70mm zoom. It's a benefit that comes from the f/4 design—faster zooms for mirrorless systems, like Sony's FE 24-70mm F2.8 GM and Canon's massive 28-70mm f/2L USM, are bigger, heavier options. An adapted AF–S Nikkor 24-70mm f/2.8E EDVR will satisfy your f/2.8 itch, while you wait for Nikon's native Z 24-70mm f/2.8 S to be released.
But as attractive as an f/2.8 zoom is—you can net images with a shallower depth of field, get crisper shots in dimmer light, and enjoy the benefits of providing twice as much light to the autofocus system—there is something to be said about just how well sized the 24-70mm f/4 S is. It's not an F/2.8 zoom, but it is still a compact, fine f/4 with good macro capabilities. Although the asking price of $1,000 is high, many will be able to get the 24-70mm and a body for a much lower $600. This is a great starting point for Nikon's mirrorless system, especially at the early stages of its development. We expect it to continue looking good as new options are added.
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