Product Description

Nikon AF-S 24-70mm/2,8G ED - Zoom-Objektiv

Product Details

• Amazon Sales Rank: #8046 in Consumer Electronics
• Brand: Nikon
• Model: B000VDCT3C
• Released on: 2008-07-22
• Dimensions: 5.91" h x 5.91" w x 9.06" l, 1.98 pounds

Features

• The AF-S Nikkor 24-70 mm f/2.8G ED from Nikon is a professional wide-angle optical lens with a 24 to 70 mm focal range (equivalent to 36 - 105mm in DX format) and a recent winner of the TIPA and EISA awards.The nanocrystal treatment on this lens works to reduce image interference and glare, and to ensure optimum clarity. The two ED glass lenses and three aspherical lenses reduce chromatic aberration for beautiful results each time you take a photo.The SWM (Silent Wave Motor) engine on the AF-S
• Nikkor 24-70 mm f/2.8G ED focuses quickly and quietly on a subject. The manual focus adjustment is also easily accessible.Finally, this lens is equipped with a built-in sun visor and comes with a flexible travel case. The AF-S Nikkor 24-70 mm f/2.8G ED will impress even the most advanced photographer!
• NIKON AF-S Nikkor lens 24-70 mm f/2.8G ED for D3 Lens for Nikon Camera Lenses
• Lens for Nikon

Customer Reviews

Uncompromisingly gorgeous
This is the most beautiful lens I've ever owned. It doesn't have any exciting features like macro limiting or Vibration Reduction - it just takes achingly crisp, superb photographs and focuses virtually instantly, with almost no measurable distortion for most of its range and very little chromatic aberration.

This is a lens with two applications, depending on what camera you put it on.
On a DX camera, such as a D2X or D300, it offers the ideal range for portraits and groups, which is the equivalent of 36-105 on traditional film.
On a film or FX camera (currently only the D3), it offers the key normal working ranges (equivalent of 16-47 on DX) which are most used by most photographers. In that sense, it has slightly less range than the DX 17-55 workhorse. More importantly, it syncs exactly with the 70-200 VR and the new 14-24 lenses, to give the D3 user a range from ultra-wide to long telephoto in three lenses. At 24 on the widest end, it is wider than Nikon's previous wide offerings in this type of lens. Traditionally, 28 was the classic wide-angle lens, and 24 is moving towards the ultra-zoom range. For many users, this lens goes as wide as is ever necessary, since wider than 24 the apparent perspective distortion begins to be extreme.

There is some barrel distortion at 24mm, but this is largely gone by 28mm. This can be easily corrected in Photoshop in the few applications where it is a problem. The limited amount of chromatic aberration in this range is automatically corrected in the D300 and the D3. On older cameras, this is can be easily fixed in Nikon Capture or Photoshop.

So far, this sounds like a full-frame equivalent of the DX 17-55 workhorse, with slightly less range at the long end. The 17-55 is a beautiful lens, but this lens is a step better in image quality. Some of this is doubtless down to improved learning in lens design, but at least part of it is a result of Nikon's new N nano-coating, which means that there are virtually no internal reflections, and therefore almost no ghosting and no flare -- and an improvement in acutance in almost all situations.

Who should buy this lens? Essentially, every D3 owner. This lens is so perfect, and so useful, that investing in a D3 without investing in this lens is a false economy. Of course, if one of the attractions of the D3 is rendering your investment in Nikon lenses, and you already have a 28-70, then you might want to think twice, but if you don't own a premium lens in this range, you really should think about this one.

This is a superb lens for portraits on the DX format, but is probably not such a bargain, given that the wide-end is not especially useful for portraits, and the 35-70 can be had quite cheaply second hand. However, if you own both FX and DX cameras, this is a lens which will serve you in both formats.

Written text cannot do justice to this lens. Handle a camera with one fitted, and you will start working out reasons why you need to buy one.

Incidentally, this lens comes with a good case -- which you probably won't use very much, since, once you've put it on the camera, there are not many situations where you will want to take it off. Except, of course, to put on the 70-200 or 14-24 -- and, when you do, you can pop this lens in their cases.

Best lens I own...
This is a great lens, for both 35mm Film and Digital SLRs, supporting both regular DX sensors and the D3's FX format sensor. The quality is everything you would expect from a top make Pro spec lens, as is the build quality and feel. Auto-Focusing is very quick, and sharp through out the range. The only slight disapointments for me are;
1. The lack of a manual apature setting ring, it is all done electronicaly from the camera body, so this lens is restricted to cameras that support this. (I am 'old school', and will miss this)
2. Manual focusing at distances greater than 3-5m can be a bit fiddly in low light, as almost all of the focus ring travel is used below this distance. This is only a slight niggle as the Auto mode is very good.

I would strongly recomend this lens to any Nikon digital user who is looking for top quality results and as an investment in the future, especialy with the arrival of the FX digital sensor.

1 year on:

Now I'm a little less 'old school' the negative points mentioned last year seem much less important. This lens is still totaly brilliant. A years regular use and abuse and it is still sharp, crisp and smooth.

Best Quality and Most Useful Pro Nikon Lens Bar None
When considering which pro spec Nikon zoom lens to buy first, and especially if you shoot FX, the 24-70 f2.8 should be top of your list - that is unless you shoot a lot of portraits (in which case the 70-200mm f2.8 VR should be first, though at the time of writing the VR II is already announced) or landscapes (in which case, the 14-24mm f2.8 or 17-35mm f2.8).

If you're a generalist photographer like me, you really can't make do without a mid-range zoom lens which has just about enough width on one end for group shots, architecture and landscape, and enough reach on the other for the odd ad-hoc portrait (assuming you are on FX - on DX, portraiture will win out over landscape).

The thing which is just so incredible about this lens is its sharpness and image quality. If you've been used to using consumer grade lenses like the 18-200mm f3.5-5.6, there is a very tangible difference when making the transition to a lens like this. Shots just have so much clarity that they look 3 dimensional when printed, almost popping off the paper. Distortion is virtually non-existent. It has to be seen to be believed.

If there is any criticism at all, it's that they might have considered adding VR. But do you really need it on this lens? Well, maybe at the long end on a DX body it might help in low light situations. On an FX body, there really is no need. You have all the ISO power you need to crank up the shutter speed anyway, and the lack of VR keeps its weight and overall size to manageable proportions, not to mention its cost. It's already a fairly hefty critter, and people will definitely notice you when you start to swing it into action with its sizeable hood attached, but you soon start to appreciate its reassuring weight and solidity. There's a lot of glass and metal in this thing, after all.

It features Nikon's recent introduction of nano crystal coating too, which massively reduces flare and ghosting. This might sound like a marketing gimmick, but believe me, it really does work well when you're working in challenging light conditions.

If you need a great walkaround lens, or shoot weddings, then this is the very item for you. It will not be bettered for a very long time to come.