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You can minimize the problem by stopping down to f/5.6 or f/8 in critical cases. The field curvature is not particularly heavy, however, and it won’t be the primary cause of blurry photos even at its worst. This lens does have some mild field curvature which can be visible under certain conditions, although is not especially objectionable. The images above range from two to six stops of image stabilization performance compared to the standard “1/focal length” rule.
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NIKON Z 7 + NIKKOR Z 24-70mm f/4 S 24mm, ISO 100, 1/4, f/11.0 NIKON Z 7 + NIKKOR Z 24-70mm f/4 S 70mm, ISO 64, 1 second, f/16.0Īnd here is a 100% crop of the above image, taken with one-second shutter speed at 70mm: With careful technique, you can get anywhere from 4-6 stops of improvement compared to the standard “1 / focal length” handheld rule. The result? Nikon claims up to five stops of image stabilization, and that proves itself to be essentially true in practice. Specifically, Z-mount lenses allow Nikon Z cameras to use all five axes of stabilization: pitch, yaw, roll, X, and Y movements (whereas adapted lenses only allow pitch, yaw, and roll). In-Body Image Stabilization CompatibilityĪlthough the 24-70mm f/4 S does not have vibration reduction lens elements, it does work with the Nikon Z camera sensor to produce better in-body image stabilization (IBIS) results than with non-native lenses. To understand how good this lens is, you really need to look at the comparisons with other Nikon F-mount lenses. When photographing people, you don’t need to stop the lens down at all – this is one of the sharpest zoom lenses out there in terms of its wide open performance in the center. It looks like the sweet spot of the lens is at f/5.6 for landscape and architecture photography, although when shooting at longer focal lengths, you might want to stop down between f/5.6 and f/8 to get the best results.
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Stopping down to f/5.6 helps quite a bit, but if you want the best overall sharpness across the frame, it is desirable to stop the lens down to f/8.Īs you can see, this is a very strong lens. Stopping down the lens to f/5.6 makes things look drastically better though, so keep this in mind when shooting in the field.Īs expected, sharpness levels do drop a little at 70mm, although mostly at the extreme edges of the frame. However, the 24-70mm f/4 S gets noticeably better when stopped down to f/5.6 in the extreme corners.Ĭenter and mid-frame sharpness gets even better at 50mm, although at the expense of the extreme edges due to field curvature. Wide open, we can see that the lens performance is pretty consistent with what we see at 24mm. Where it does get better as you stop down is in the mid-frame, but the edges of the frame stay about the same. Stopping down to f/5.6 helps a little, but you won’t be able to see the difference. Here is what the lens looks like at 24mm:Īs you can see, the lens resolves a lot of detail in the center, even at f/4. The next page of this review compares these numbers to the Nikon 24-70mm f/2.8 VR and 24-120mm f/4 F-mount lenses, but I’ll mention first that these are very impressive numbers, among the best we have seen so far on wide to normal range zoom lenses.
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Below are our sharpness measurements at 24mm, 35mm, 50mm, and 70mm.
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The overall sharpness is also quite high, regardless of focal length, even in the corners. The sample variation from copy to copy was impressively small, among the lowest deviation we have ever seen in a zoom. We tested four copies of the 24-70mm f/4 to check for differences in sharpness numbers. We’ll cover all the most important points below. There certainly are some areas in which it falls short of perfect performance, but many of its drawbacks are relatively easy to correct in post-production (such as vignetting). The Nikon 24-70mm f/4 is one of the sharpest zoom lenses we have ever tested, which is especially impressive for what is fundamentally a kit lens.