Af Nikkor 24mm F 2.8 D

By | 17/10/2022


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Nikon 24mm f/2.8



AF and AF-D NIKKOR (1986-today)

Intro
    Specifications    Performance    Compared    Recommendations


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Nikon 24mm f/2.8 AF-D

Nikon AF-NIKKOR 24mm f/two.eight D
(52mm filters, ix.four oz/268g, about $392). enlarge. I’d get information technology at Adorama, at Amazon, or at B&H. Y’all too can become it used at eBay for about $175 if yous know How to Win at eBay.

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never
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April 2018

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Sharpness Comparison to all other 24mm lenses

Why Fixed Lenses Take Improve Pictures

Platonic Uses:
Inexpensive, lightweight lens for use on FX digital, DX digital and film.

Not for:
I wouldn’t bother with this on a DX camera. I’d use any DX lens, like the 18-55mm kit lens, instead. This lens will not autofocus with the cheapest D40, D40x, D60, D3000 or D5000; get an AF-South lens, similar the kit lens, instead for those cameras.

Optics:
Mechanics:
Ergonomics:
Usefulness:
Availability:
Overall:



Introduction

       top

Intro
    Specifications    Performance    Compared    Recommendations

Compatibility    History

This 24mm f/2.8 AF-D lens is a lightweight wide-angle lens for all Nikon digital, AF and transmission-focus moving picture cameras.

Information technology sells for about $360 brand-new. Information technology has excellent optical functioning for FX and RealRaw photography.

This 24mm f/2.viii is sharper than the $ane,850 14-24mm AF-S at 24mm.

It is every bit sharp as the $one,800 24-70mm AF-S at 24mm, and this meaty fixed 24mm lens also has far less distortion than the 24-70mm.

The merely thing either of these two zooms do improve is allow instant manual-focus override past grabbing the focus ring. With this traditional AF lens you must e’er move the switch on your photographic camera to go betwixt auto and manual focus.

Focus aside, this petty lens makes a lot more than sense to me than lugging either of those behemothic zooms out in the field. Outdoor and adventure lensman Galen Rowell thought the same thing, which is why he used an earlier transmission-focus version with exactly the same eyes as this AF 24mm for many of his all-time-known iconic images.

If you’re counting pixels, this professional 24mm f/two.eight D is far better than the similar-looking and priced 28mm f/2.8 D. That 28mm is a crappy lens, not at all related to this lens or the superior manual-focus 28mm f/2.viii AI-s.

Nikon 24mm f/2.8 AF-D

Nikon 24mm f/2.8 AF-D.
overstate.


Compatibility

dorsum to intro     dorsum to top

This is an FX lens, and works particularly well with on FX, picture show and DX Nikons similar the D700, D3X, D300s and F6. Information technology works fantastically on transmission-focus cameras like the F2AS, F3, Iron and FA, since it has a existent transmission-focus ring that works exactly as it should.

The Nikon 24mm f/two.eight AF-D works great with about every film and digital Nikon camera made since 1977. If yous have a coupling prong added to the diaphragm ring, it’s perfect with every Nikon back to the original Nikon F of 1959.

The merely incompatibility is that it volition not autofocus with the cheapest D40, D40x, D60, D3000 or D5000, but if yous focus manually, everything else works bang-up. These cameras have in-finder focus confirmation dots to aid you.

See Nikon Lens Compatibility for details on your camera. Read downwardly the “AF, AF-D (screw)” column for this lens.


History and Production

      back to intro     back to tiptop

See Nikkor Technology for explanations of terms like AI-s and AF-D.


1967-1977: F-Mount

24mm f/2.8

About-mint condition AI-converted 24mm f/2.viii from the early 1970s.

Nikon’s first 24mm f/2.8 optical blueprint was sold equally an F-mount (non-AI) manual-focus lens. Many of these lenses were later upgraded, similar the one you see hither, to AI for use with all modern Nikons.

Information technology has ix elements in vii groups and came in three unlike cosmetic variations. All of these variations focus to 1 foot (0.3m), have the same HN-1 hood and 52mm filters.

Early versions were unmarried-coated, and were multicoated starting with the NIKKOR-N•C Car version of 1972.

Nikon made a combined total of virtually 225,000 of these F-mount 24mm f/two.8 lenses.


1977-1981: AI and New Eyes

Nikon updated the eyes to ix groups with 9 elements, and added close-range-correction. This is the same optical design used today.

Nikon made virtually 150,000 of this version.

1981-today: AI-due south

24mm f/2.8 AI-s

Nikon 24mm f/ii.eight AI-s.

Nikon slightly updated the mechanics and diaphragm controls to AI-s. I accept a split review of this 24mm f/two.8 AI-s. This manual-focus lens is still sold today, often in-stock at B&H Photo Video, for about $525.

The AI-south version is Nikon Product Number 1416.

Nikon has made over 150,000 of these, and still makes them today.

1986-1991: AF

Nikon’s first autofocus (AF) 24mm mounted the same optics in a plastic-covered, metallic-based mount.

Photographers hated them considering they looked and then cheap and trashy compared to the superb manual focus lens which is nevertheless sold today.

This nasty first version works great, but has a vestigial thin, hard manual ring. It has a spring-loaded rotating minimum aperture lock.

Nikon fabricated nigh fifty,000 of these.

1991-1994: Rubber Focus Ring AF

Nikon updated the nasty thin focus ring to rubber-covered plastic.

Nikon too made about 50,000 of these.

1994-today: AF-D

Nikon added distance encoding, and sells this lens today.

Nikon has made most 125,000 of these AF-D so far.



Specifications

        peak

Intro
    Specifications    Functioning    Compared    Recommendations


Name

Nikon calls this the Nikon AF-NIKKOR 24mm f/2.8 D. The “D” ways this lens tells the camera the distance to the subject, which helps the exposure meter, specially with on-camera wink.

The earlier 1986-1994 model was called the Nikon AF-NIKKOR 24mm f/2.8, without the D.


Eyes

9 elements in 9 groups.

It’s multicoated, which Nikon calls Nikon Super Integrated Coating (SIC).

CRC Close-Range Correction (floating elements) is used for optimum functioning at every distance.


Diaphragm

Front, Nikon 24mm f/2.8 AF-D

Nikon 24/2.8 AFD at f/5.6.
enlarge.

vii straight blades.

Stops down to f/22.


Close Focus

1 foot (0.3m).


Maximum Reproduction Ratio

1:viii.9.


Difficult Infinity Focus Terminate?

Yes.

This is great for astronomy; just turn to the finish and you lot have fixed laboratory-perfect focus all night.


Focus Scale

Aye.


Depth-of-Field Calibration

Yeah.


Infra-Cerise Focus Alphabetize

Aye, white dot in depth-of-field scale.


Discontinuity Ring

Yes.

Full-cease clicks.


Filter Thread

52mm, plastic.

Does non rotate.


Size

Nikon specifies 46 mm extension from flange (55.5 mm overall) past 65.4 mm diameter.


Weight

ix.445 oz. (267.8g), as measured by me.

Nikon specifies 9.five oz. (270g).


Hood

HN-ane metal spiral-in, not included.


Case

Optional CL-30S, No.61, CL-34A, or CL-S1.


Teleconverters

TC-200/201 and TC-14A, but why on Earth would you want to convert this to a manual-focus 33mm f/4 or 48mm f/five.6 lens when it’s less expensive, lighter, less expensive, faster, improve and easier to carry a defended 50mm f/i.eight lens instead?


Introduced

Optical design starting time introduced as the manual-focus AI NIKKOR in 1977.

Kickoff AF version introduced 1986.

Current AF-D version introduced 1994.


Nikon Product Number

1919.


Price, USA

$392 new or most $175 used if you lot know How to Win at eBay, March 2018.

$360, December 2009.


Operation
       top

Intro
    Specifications    Performance    Compared    Recommendations

Overall    Focus    Distortion    Ergonomics    Falloff    Filters

Color Fringes    Mechanics    Sharpness    Sunstars


Overall

back to Performance    back to top

The Nikon 24mm f/ii.8 AF-D is inexpensive, compact and excellent.

Its optics have been a favorite of Nikon photographers for decades.

In that location is no meliorate or sharper 24mm lens or zoom in Nikon’s stable.


Focus
     dorsum to Performance    dorsum to top

Car/Manual Switching

You have to motility the switch on the photographic camera to get Motorcar or Manual focus.

In AF, the transmission focus ring moves. Keep your fingers off of it, because if y’all don’t, the lens won’t focus.

AF Speed

One total turn (two one-half-turns) of the AF screw pulls focus from infinity downward to 2 feet, which is fast!

AF Accuracy

AF is always correct-on.

Transmission Focus

Manual focus is piece of cake, once you’ve moved the switch on your camera.

This lens works great on all transmission focus and film cameras.


Distortion

back to performance     back to top

At x feet (3 meters), at that place is a little bit of complex butt distortion. If it bothers you, Photoshop’s simple Lens Distortion Tool can’t fix information technology. Yous’ll need a college-society correction tool, like a plug-in for DxO, if it exists.

At infinity on DX, the 24/2.8 AFD has some uncomplicated barrel distortion, piece of cake to correct in Photoshop’s Lens Baloney Tool at +ii.0.


Ergonomics

back to performance     dorsum to summit

Ergonomics are great, except for having to dabble with a switch on the photographic camera to become between auto and manual focus.

For use on transmission-focus cameras, it is almost as good as a defended transmission focus lens.


Falloff

(darkened corners)    back to performance     back to tiptop

Falloff on FX is no big deal.

There is a little at f/2.eight, and almost none at f/4. Information technology’southward gone by f/five.6.

Y’all won’t see this in photography of anything except bare walls.

It won’t be an issue at all on DX (run across crop factor).

I’ve greatly exaggerated it beneath by shooting a gray field and presenting it against a gray background. In existent photos, it’s minor at f/2.eight and invisible past f/4.

Nikon 24mm f/2.8 AF-D falloff on FX and film at infinity, no correction.

© 2009 KenRockwell.com. All rights reserved.


Filters, Utilise with
back to Performance    back to height

The filter ring does not rotate.

Exist conscientious with 52mm filters. There is not much leeway before yous go vignetting.

You lot’re OK with standard Nikon-brand filters.

Standard rotating-mount filters, like grads, might vignette a little.

Become easy on the polarizers; 24mm is wide enough that considering the sky changes its own polarization with angle, you lot’ll usually be concealment different parts of the heaven dissimilar amounts. This usually looks like a error.

Forget using two filters at the same time.


Lateral Color Fringes
dorsum to Functioning    back to top

There are no lateral colour fringes on the D3, which would correct them if the lens had whatsoever.

Sometimes the D300 volition evidence some, which is odd because the D300 ought to right them, besides.


Mechanics

back to Operation    back to top

The 24/2.8D is mostly metal, inside a plastic case. I prefer a metal filter ring, but it does keep your fingers from freezing to it in winter.

Bottom, Nikon 24mm f/2.8 AF-D

Rear, Nikon 24mm f/ii.8D AF.
enlarge.

Butt Exterior:
Plastic.

Filter Threads:
Plastic.

Focus Band:
Plastic; condom covered.

Focus Helicoids:
Could be metal.

Depth-of-Field Scale:
Yes.

Internals:
Seem like mostly metal.

Aperture Ring:
Plastic with painted numbers.

Focus Geartrain:
Metal.

Mountain:
Dull-chromed brass.

Markings:
Pigment.

Series Number:
Laser engraved onto bottom rear of aperture band.

U.s.a. Models Designated by:
“US” Prefix to serial number.

Donkey-Gasket (dust seal at mount):
No.

Noises When Shaken:
Mild clunking from AF helicoid.

Made in:
Japan, at least the i I show hither from almost 2005.


Sharpness
dorsum to Performance    back to elevation

Alarm 1:
Prototype sharpness depends more on you than your lens.

Alert 2:
Lens sharpness doesn’t mean much to good photographers.

With those caveats, the 24mm f/2.eight AF-D is a very abrupt lens. It is equally sharp or sharper than the 24-70mm f/two.eight AF-Southward at 24mm throughout near of the field Merely the farthest corners of the 24-70mm are a flake sharper at f/2.8, but this fixed lens is sharper throughout the remainder of the image where information technology counts.

Information technology’due south always sharp in the center. Compared to a Tokina 28-70mm f/2.8 ATX, this Nikon lens is much sharper in the middle at f/two.8.

It’s mushy in the corners on FX at f/2.eight, and somewhat at f/4, so stop down to at least f/5.6 if you’re going to look at the corners through a microscope.

Stop down to f/xi for the sharpest corners under the microscope. Otherwise, information technology gives ninety% performance in the corners by f/5.6.


Sunstars
dorsum to Performance    dorsum to peak

With its direct 7-bladed diaphragm, the 24/2.eight makes magnificent Nikon-hallmark fourteen-pointed sunstars on vivid points of light.



Compared

       superlative

Intro
    Specifications    Performance    Compared    Recommendations

Most people today would rather own the 14-24mm f/2.viii AF-S
and
24-70mm f/2.8 AF-S, each of which duplicates the function of this 24mm f/2.eight lens.

Nikon 14-24mm, 24mm f/2.8 and 24-70mm AF-S

Nikon 14-24mm, 24mm f/2.viii and 24-70mm AF-S.
bigger.

Which would yous rather behave?

Today’south FX Nikon photographer commonly owns, or wants to own, the Trinity of the 14-24mm AF-Southward, 24-70mm AF-S and 70-200mm AF-S VR-II.

Allow’south think about this. If you’ve got a 70-200mm, do you actually demand
both
the 14-24
and
the 24-70mm, each of which duplicates the 24mm range?

Why non retrieve like a pro and take only this 24mm instead of four pounds of 14-24mm and 24-70mm along with your 70-200mm?

I’m serious: very few people know how to brand use of any lens wider than 24mm. You don’t demand and don’t want the 14-24mm if you lot have this 24mm.

Pros know they don’t demand any lenses between 24mm and the 70mm stop of their 70-200mm. If they need a looser or tighter framing, they simply take a few steps forward with the 24mm, or a few steps dorsum with the 70mm.

Galen Rowell traveled the globe with just a 24mm f/2.8 and a 75-150mm zoom.

Leave the 14-24mm and the 24-70mm back at the shop.


How about the relative performance?

I shot all three of these at 24mm on a D3.

This 24mm f/2.8 is as sharp equally the 24-70mm zoom at each aperture. EIther is superior to the 14-24mm zoom at 24mm.

How well-nigh distortion? Let’s see what factor is needed in Photoshop’s Lens Distortion tool to correct each at 10 feet (three meters):

Lens

Gene

xiv-24mm at 24mm

-0.4

24/2.8D

0*

24-70mm at 24mm

+iv.0

* Some waviness remains

And so let’s encounter.

The 14-24mm has as petty distortion as this 24mm f/2.viii, but information technology’s not as sharp.

The 24-70mm is nigh as abrupt as this 24mm f/2.8, but it has hellacious and often obvious distortion at 24mm.

The best lens at 24mm is this i, and information technology uses simple 52mm filters, not the huge 77mm of the 24-70mm. The 14-24mm can’t employ any kinds of filters at all.

Leave the 14-24mm and the 24-70mm back at the store.



Recommendations

       height

Intro
    Specifications    Performance    Compared    Recommendations

The Nikon 24mm f/2.8 AF-D is an fantabulous performer, and a fraction of the size, weight and toll of whatsoever zoom. Information technology can supervene upon both the xiv-24mm and 24-70mm zooms, saving you over $3,000 (and almost 4 pounds of baggage) with improved performance.

It is worlds better than the seemingly similar 28mm f/ii.8 AF-D.

This compact 24mm lens could be the only wide lens you e’er need. I’one thousand very serious: the more decades I do photography, the more I realize that my pictures today would be so much meliorate if I would take shot with simply the lens or 2 like this that I had decades ago, and spent my concentration and research fourth dimension on learning how to take amend pictures. Instead, like nigh of you, I also wasted about of the past couple of decades researching and buying more gear that I didn’t really demand and didn’t do anything different than my gear did back in the 1970s.

Deployment

I utilise a articulate (UV) protective filter instead of a cap. I simply utilise a cap when I throw this in my bag, otherwise I leave a articulate filter on my lens at all times.

The very all-time protective filter is the Multicoated Hoya HD3 52mm UV which uses hardened glass and repels dirt and fingerprints. It’s expensive, but it will concluding forever long after this lens is gone.

For less money, the B+W 52mm 010 is an excellent filter, as are the multicoated B+W and the basic multicoated Hoya filters and the near basic Hoya multicoated filter, but the Hoya HD3 is the toughest and the best.

Filters last a lifetime, then yous may as well go the best. The Hoya HD3 stays cleaner than the others since it repels oil and dirt.

If I was working in nasty, muddy areas, I’d forget the cap, and utilize an uncoated 52mm Tiffen UV filter instead. Uncoated filters are much easier to clean, only more than prone to ghosting.

For color slides like Fuji Velvia 50, I use an old Nikon A2 or new 52mm Hoya HMC 81A outdoors.

For B&Westward motion picture outdoors, I’d utilize an onetime Nikon Y48 or O56, or a new 52mm Hoya HMC K2 Yellow or 52mm Hoya HMC Orangish.

Acknowledgment

Many cheers to Dick in Rancho Mirage who got me access to this lens for this review.

© Ken Rockwell. All rights reserved. Tous droits réservés. Alle Rechte vorbehalten.

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March 2018, December 2009.

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