Nikon 24 70mm F 2.8 E

By | 27/10/2022

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Nikon 24-70mm f/2.8

AF-South One thousand ED NIKKOR (2007-)

Nikon 24-70mm f/2.viii E VR


Sample Images
Intro   Specifications

Performance   Compared   Recommendations

Please help

Nikon 24-70mm f/2.8

Nikon AF-Southward 24-70mm f/ii.viii G ED
(77mm filters, 31.eight oz/902g, one.2’/0.38m close focus, $1,797 new or about $850 used if you know How to Win at eBay). bigger. I’d become it new at Adorama, at Amazon, at B&H or at Crutchfield, or used at eBay.

This advert-free website’due south biggest source of support is when you use those or whatever of these links to my personally-canonical sources when you lot get
anything, regardless of the land in which you live. Nikon does not seal its boxes in whatever fashion, and then
purchase at retail or any other source non on my personally approved list since you’ll have no manner of knowing if you’re missing accessories, getting a defective, damaged, returned, non-USA, shop demo or used lens. Go yours but from the approved sources I utilise myself for the best prices, service, return policies and selection. Thanks for helping me assistance you! Ken.

April 2018

Nikon Reviews   Nikon Lenses   Nikon Flash   All Reviews

Nikon 24-70mm f/2.8 Due east VR

Nikon Pro Zoom Comparison

Also big and also heavy
Expensive pro lens; hard to find.

Platonic Uses:
Perfect for use as your only lens.

Not for:
Don’t use this on DX; get the DX 17-55mm f/ii.viii instead. Don’t carp with this if you lot also carry broad or tele zooms; you don’t need it. Run into Nikon FX Lenses for more than.

Sample Images


Sample Images  Intro   Specifications

Functioning   Compared   Recommendations

Ryan Halloween

Ryan in his Sumo costume, 31 Oct 2017.
Nikon D850, Nikon 24-70mm f/2.8G at 36mm at f/2.8 at ane/250 at Auto ISO 2,000, Perfectly Clear. bigger, bigger face or total-resolution file to explore on your computer (mobile devices rarely can display the total resolution files properly).

Ryan Halloween

1200 x 1200 pixel crop from above at 100%.
If this is 6″ broad on your screen, the complete image would print at fourteen ten 17.” If this is 12″ broad on your screen, the complete paradigm would impress at 28 ten 35!” bigger face or full-resolution file to explore on your computer (mobile devices rarely can brandish the full resolution files properly).



Sample Images  Intro   Specifications

Performance   Compared   Recommendations

This 24-70/2.8 was Nikon’s best and nearly expensive midrange zoom until the 24-70/2.8 VR came out in 2015. This lens is a superb performer today and weighs and costs less than the newer VR version, defective only VR (vibration reduction). People who buy f/ii.eight zooms usually employ them to shoot sports and action, for which VR does nix. VR just helps for subjects that aren’t moving, which is why this lens remains popular today.

See my Nikon Professional person Normal Zoom Comparison for exhaustive side-by-side paradigm examples. My tests testify this 24-70mm f/ii.viii is the sharpest normal zoom ever fabricated by Nikon at least upwardly until the VR version, but we expect that since it was the newest and near expensive.

I’1000 surprised that the new 24-70mm Nikkor is obviously so much better than previous lenses. When I ran comparisons against cheaper and older lenses, I fully intended to meet the erstwhile stuff be about the same. Nope, the 24-70mm outdoes them all.

People rightfully inquire how I can go off about how much sharper the new lens was, and then in the aforementioned breath say they all look the same. The answer is simple: to see sharpness differences, yous accept to know how to make a lens look its worst. Shoot it in daylight at f/2.viii, then await at the image at 100% on a big screen, and the differences between lenses go obvious.

That’s non how we make or display pictures.

About photos are shot properly at reasonable apertures, like f/8, at which most lenses Practise await alike. Even if at that place are small-scale differences visible at 100% (in that location aren’t), these small-scale differences become completely invisible at small-scale apprentice impress sizes similar xiii x 19″ (30 ten 50cm).

Much as someone knowledgeable in an art grade tin can appreciate a virtuoso doing something nearly impossible that seems ordinary to virtually people, I know how impossible and remarkable information technology is to make a zoom lens precipitous at f/2.eight and do it without darkening in the corners on full-frame. The 24-70mm does just that. My Velvia 50 slides seem iii-dimensional even at f/2.8, presuming I’m shooting tests at infinity from the mountain with good seeing conditions so everything can be in focus.

The 24-70mm also stands out from its optically excellent predecessors its lack of klunk factor. The 24-lxx doesn’t get in your way. The 24-70 is an exquisite hunk of solid metal that merely makes pictures with no fiddling. It feels as if it was hewn from a single solid ingot.

The 35-70mm f/2.8 AF (1987-2006) works smashing, but you have to jack it around by moving mechanical switches to become into macro or manual focus modes, and information technology’s a clumsy button-pull zoom. If you shoot all day with it and need to get closer than two feet, screw that.

The previous 28-70mm f/2.8 AF-south (1999-2007) eliminates the switches and has a zoom band, but was such a big fat lens that I was always, and still am, scared of it. The commencement generation AFS motors were very big, so the rear end and zoom band of the 28-70 had to be huge.

By comparing, this newest 24-70 is a solid block of smooth, easy precision. Information technology just works, and doesn’t grate on you all twenty-four hours shooting with it. The 24-70mm is mostly metal with an engraved zoom ring. Manual focus flicks with a light touch from one finger, a Nikon authentication since the 1950s. AF lenses rarely experience this good for transmission focus. I can shoot and zoom the 24-70 with one strong hand.

This 24-70mm focuses closer (1.ii’ versus i.v’ or 0.38m vs 0.5m), zooms wider (24mm vs 28mm), is 0.4″ (11mm) longer and is 0.560 oz. (xv.85g) heavier than the 28-70mm f/2.8 AF-S information technology replaces. More than importantly, information technology’s 0.2″ (6mm) narrower and the zoom and focus rings turn much more than freely. I measured the bodily weight differences with a sample of each lens on a differential residual; Nikon’southward specifications vary more than depending on where you lot read them.

The 35-70mm f/ii.8 AF is much smaller and lighter than either AFS lens. If you lot don’t heed some klunkiness and the narrower zoom range, y’all can get nigh the same optical operation in a smaller package in the 35-70mm f/2.8 AF for near $400 used, if you know How to Win at eBay.

Nikon appear this 24-70mm f/2.eight zoom on August 23rd, 2007, along with its sister 14-24mm f/2.viii lens and the full-frame Nikon D3 body. It is the latest in a long line of pro normal zooms: the 35-70mm f/3.5 AI (1977-1981), 35-70mm f/3.5 AI-s (1981-1987), 35-70mm f/ii.eight (1987-2006) and the 28-70mm AF-S (1999-2007).

Nikon 24-70mm

Nikon 24-70mm f/2.8G AF-Due south.


This 24-70mm works perfectly on every DX and FX digital SLR. If all yous shoot is digital, feel free to skip ahead.

Every bit a big, heavy, expensive full-frame lens, it’due south lightheaded to use this 24-70mm f/2.eight on the smaller DX cameras, and sort of defeats the purpose of the lightweight and inexpensive D40, although it works flawlessly on whatever of these cameras. For DX cameras, I’d get something else, since 24-70mm is a dizzy zoom range on DX. You are paying a large premium for FX coverage if you don’t intend to use it on an FX photographic camera.

The ideal use of this big 24-70mm is on a big camera, which means FX or 35mm.

It works great on the F4, F5 and F6. Even on the 1988 F4 you get super fast autofocus, Matrix metering and P and Due south automated exposure modes. (forget Manual and aperture-preferred on the F4.)

This 24-70mm AF-due south is the first f/ii.eight mid-range zoom to be useless with manual focus cameras.

This lens is a G (gelded) version, meaning Nikon crippled it for employ on manual focus cameras by removing its aperture ring to save toll. For the pro film cameras, this means forget it with the F, F2, FM, FE, FA, F3HP and FM3a, unless yous want to use stop-downwardly metering at f/22 only.

The 28-70mm AF-due south has an aperture ring for use on manual focus and very old AF cameras.

This 24-70mm AF-s won’t autofocus on some of the very earliest or cheapest AF moving-picture show cameras like the N55.

See Nikon Lens Compatibility for more. This is an AF-Due south and a G lens; yous get the fewest of the features listed for both since G removes compatibility.



Sample Images  Intro   Specifications

Performance   Compared   Recommendations

Nikon 24-70mm

Nikon 24-70mm f/2.eight AF-S nameplate.

Proper name

Nikon calls this the AF-S Nikkor 24-70mm f/2.8G ED.

Quiet focusing SWM (silent wave motor) with instant manual focus override.

No aperture ring. Useless on manual focus cameras. Just works on AF cameras newer than about 1992, depending on camera. Works great on the 1988 Nikon F4 in P and S modes.

Magic drinking glass for sharper images.

It also has IF:
Internal Focusing. The big gilt N stands for Nano Crystal Coat, a new anti-reflection coating used on only one internal surface.

Nikon 24-70mm

Nikon 24-70mm f/2.8 AF-S bottom markings.

The 10 inside recycling circles ways that Nikon expects that this lens will exist thrown into the dump in ten years. I hope non, only that’s what the “10” means.

All this and more explained in greater depth on my Nikon Lens Technology page.

Focal Length


This lens is intended for use on picture show and total frame cameras, on which information technology is obviously a 24-70mm equivalent.

Used on a DX digital SLR, it gives angles of view similar to what a 37-107mm lens would give on a 35mm flick or FX camera. Calculated in reverse, you would demand a 16-46mm lens on a DX camera to replicate the angles of view that this 24-70mm lens gives on FX and motion picture cameras. See as well Crop Factor.

Diagonal Angle of View

84° – 34.iii° on 35mm and FX.

61° – 22.8° on DX cameras.


24-70mm schematic

15 elements in 11 groups.

Iii of these are ED glass, which helps reduce color fringing.

Three are glass-molded aspherical.

One surface of one element (only) has Nikon’s special Nano Crystal anti-reflection coating. That’s the big N logo on the lens.


Nikon 24-70mm front view

Nikon 24-70mm f/2.8 Grand at 50mm and f/22. bigger.

9 blade rounded.

Stops down to f/22.

Filter Size


Plastic threads.

No rotation during focus or zoom, although the filter threads extend at the ends of the zoom range.

Shut focus

one.2 feet (0.38m) from the image plane (the dorsum of the camera), marked.

Maximum Reproduction Ratio

ane:iii.7, which is pretty shut!

The 28-70mm f/two.8 AF-south only gets to 1:five.6.

Infrared Focus Index?


Nikon D3 and 24-70mm

The huge Nikon D3 dwarfed by the fifty-fifty bigger 24-70mm.


five.227″ extension from flange and iii.267″ diameter (132.87 x 82.99mm), as measured by me when prepare to 51mm.

Nikon specifies three.iii” bore x 5.2″ extension from flange (83 x 133mm). The 28-70mm f/2.8 AF-southward is shorter and fatter: 3.5″ x 4.viii” (88.5 ten 121.5mm).

The front extends at the ends of the zoom range. The Nikon 24-70mm is shortest when set to 50mm as pictured. The front end grouping extends an additional 4mm at the 70mm focal length or an additional 20mm at the 24mm focal length. Focus is internal.


31.820 oz. (one.9888 pounds or 902.05g), as measured past me.

On a differential balance, the 28-70mm AF-S weighs 0.560 oz (15.85g) less than this 24-70mm. Nikon specifies 31.vii oz. (900g). (Nikon USA mistakenly calculated the weight from grams equally 2.45 pounds, which yous’ll come across repeated many places in the USA, whoops!)


Nikon 24-70mm hood

Nikon HB-twoscore hood.

HB-40 plastic bayonet, included.


Nikon CL-M3 case

Nikon CL-M3 case

Nikon CL-M3 padded nylon case.

Rear, Nikon CL-M3 padded nylon case.bigger.

CL-M3 padded nylon case, included.

It’s the same instance included with the 300mm f/4 E VR PF and the 14-24mm.

Belt loop, velcro and dual-zipper closure.

The lens ships inside the case with hokey white foam on the tiptop and bottom, I’k presuming that’s only to snug it up for shipping.

Nikon Product Number



23 Baronial 2007.


I was the first to become mine on 12 November 2007.

Price, United states

$1,797 (or $850 used if you lot know How to Win at eBay), April 2018.

$one,797 (or $950 used if y’all know How to Win at eBay), February 2018.

$1,747, Baronial 2015.

$1,885, October 2012.

$1,885, August 2012.

$1,720, December 2010.

$one,750, July 2010.

$i,800, Dec 2009.

$1,750, July 2009.

$ane,700, December 2007.

$1,699.95 MSRP at introduction, August 2007.

Nikon 24-70mm box

Nikon 24-70mm box. That’s gold foil – wow!



Sample Images  Intro   Specifications

Operation   Compared   Recommendations

Overall    Autofocus    Bokeh    Color   Distortion   Ergonomics

Eyeblow   Falloff    Filters   Focus Breathing   Flare & Ghosts

Lateral Colour Fringes    Macro    Mechanics    Sharpness

Sunstars   Survivability

       performance     top

Meet my Nikon Professional person Normal Zoom Comparison for exhaustive side-by-side examples.

The Nikon 24-70mm is very like shooting fish in a barrel to use and has exemplary eyes, except for the strong, but easy to correct, distortion at 24mm.

It’s the easiest-to-use professional midrange zoom e’er offered past Nikon.

The only odd thing is that sometimes I can knock the manual focus band by accident if I’1000 belongings the entire lens for stability, which tin change the focus. There is no way to disable the always-active MF band. This is important if you’re shooting all solar day. Niggling annoyances turn into big pains fast.

The older 28-70mm AF-S had its manual focus ring further forward and farther abroad from the zoom ring.


Full Moonlight, 23 November, 2007.
photographic camera-original file.

To those of yous who know lenses, this wide-open up tele shot should say it all. It is fabricated with the 24-70mm prepare to 70mm, f/ii.8 at fifteen seconds and ISO 200 on a D300. Focus is on the nearer row of houses, not infinity, and retrieve that the banana plant on the right is blowing in the wind.
About other zooms need to be stopped downwards to look this sharp.

D300 NR was at default, no long exposure NR, either. Vivid mode, Saturation set to +three, the maximum, and WB set to tungsten to brand moonlight blue. Most other zooms await like mush at this setting and need to be stopped down to become this sharp. PS: The D300 easily autofocused all by itself.

Y’all may have to click over again after the 2MB Large Basic JPG (optimize quality) downloads to let your browser prove the full image at 100%

       functioning     summit

Autofocus Accuracy

Autofocus is OK on my D300, D3 and D40.

On my D200, autofocus focuses too closely at 24mm. At 24mm wide open up, I get far better results using what we do in television studio production, which is to zoom into 70mm, lock focus, and zoom back out. On a D200 at defaults in AF-S mode, zoom to 70mm, printing the shutter halfway, and hold it to concord focus while you zoom back out to 24mm.

AF is fine from 35-70mm, fifty-fifty on my D200.

For those of you comparing, I had huge AF errors on my D3 with the older 28-70mm AF-South, and perfect focus with this 24-70mm AF-S. I was able to recoup the older lens with my D3’south AF Fine Tune carte selection, just my D40 had no such option. AF accurateness will vary with each sample of camera and each sample of lens, and so pick and choose appropriately. This is why I only buy from places that requite cash refunds if I detect a lens which isn’t compatible with the certain photographic camera torso with which I plan to use it.

Over again, this 24-70mm is perfect with my D300, D40 and D3.

Manual Focus

Simply spin the manual focus band, no need for a impuissant switch.

It feels exquisite. Information technology only turns, with no play, no backlash, no creep, very picayune effort and no elevate. You must feel it to believe it.

Information technology’due south geared just about right at the wide terminate, which means it turns a picayune too fast for precise transmission focus at the long end.

Nikon 24-70mm

Nikon 24-70mm M/A – Chiliad Switch.

The M/A – M switch isn’t needed for manual focus. It more properly should be marked “Deactivate AF”

The M/A position is the normal position. This ways AF works, and all yous need to do for manual focus is to motion the band.

The M position deactivates AF. In M the 24-70mm holds your manual focus position. even if yous take your hand off the band and tap the shutter push button.

I’d prefer AF-Lock buttons on the lens. Some cameras can exist programmed for this role.

       performance     top

Bokeh, the character of out of focus backgrounds, not simply how far out of focus they are, is fair to poor.

Mistiness circles for indicate light sources ofttimes take exaggerated and sharp outlines.

Color Rendition
       operation     height

Mangia Bene 27 Sep 2012

D600, 24-70/2.viii Grand at 55mm, f/3.2 at 1/60, ISO 100, Bright Picture show Control, +three Saturation, 6 Sharpening, Machine WB with A4 and M1 trim. original file.

I see no differences in color rendition from my other multicoated NIKKOR lenses.

       performance     top

The 24-70mm AF-S has stiff barrel distortion at 24mm, and reasonable distortion at other focal lengths.

Information technology has the worst baloney of any Nikon professional person normal zoom e’er fabricated, but maybe that’s not off-white, since the worst of the baloney is at 24mm, which none of the other pro normal zooms (35-70mm f/3.5 AI, 35-70mm f/3.5 AI-due south, 35-70mm f/ii.8 D, 28-70mm AF-S) reaches.

Shoot it at about 30mm and the distortion goes away.

Luckily, for the i shot in a thousand where you lot might intendance, it’s easy to correct completely in Photoshop CS2’due south lens distortion filter. At that place is no weird waviness every bit is mutual with other complex aspherical lenses. Distortion, if any is visible, is one elementary constant-radius curve.

Use these numbers in Photoshop CS2’south lens distortion filter to rectify it. These aren’t facts or specifications, they are the results of my research that requires me to climb a bluff on a
clear day and shoot the ocean’due south horizon.

For scanned picture, use the FX full-frame figures.

FX, infinity

FX, fifty’ (15m)

DX, infinity

DX, fifty’ (15m)


























© 2007


(handling and ease-of-use)       operation     top

Nikon 24-70mm f/2.8

Nikon 24-70mm f/2.8.

Ergonomics are great: just turn the zoom ring and get. For manual focus override, just catch the focus ring at any time.

The only gotcha is to be careful not to knock the focus ring unintentionally, or you will shift the focus. This is easy to practise, since your hand naturally lands over the focus ring.

The front section of the 24-70mm moves in and out as zoomed. It never rotates: focus is internal.

The lens butt is shortest at the 50mm setting. The front section extends an additional 4mm at the 70mm and 35mm focal lengths. It extends an additional 20mm at the 24mm focal length.

The hood attaches to the body and does not motility at all; the front end section moves in and out inside the hood as zoomed.

The zoom band is very well spread out, which makes precise composition a breeze.

See all the space between 35mm and 24mm? That’s the way it’south supposed to be.

Too many other lenses cram the wide angles as well close together. It is bad when other lenses cram 35mm and 24mm almost on top of each other.

The Nikon 24-70mm’s zoom ring is spaced at a abiding 3 cm/octave. The same rotation always gives the same percentage alter in paradigm size, everywhere in the zoom range.

Tolerances are very tight between the zoom ring and body. This is precision machining. I tin can barely poke a sheet of copy machine paper in either groove between zoom ring and lens torso.

This is so tight that if one tiny speck of grit made it in, it would be very bad.

It reminds me of the Baldwin door locks. Baldwin is rather proud that their locks are made with such tight tolerances that sand only can’t fit!

The spacing on this 24-70 is the same: too small for a grain of sand, but not too pocket-sized for smaller grit.

My zoom has always been polish, with the caveat that there is what could be interpreted as a subtle grind that feels similar the residue tool marks from the lathe that cut the zoom cam grooves. When I turn the zoom ring, it’s a lilliputian like feeling each footling nick bitten out of the cam as the tool spun and cutting the cam.

This reminds me that I have a lens with metal zoom cams that were nigh probable CNC cut individually, perchance even optimized for the production variations by batch of drinking glass (I’chiliad dreaming), instead of a lesser lens with smooth plastic cams.

Regardless of the feel, mine zooms smoothly with the tip of one moderately strong finger push.

       performance     top

Every bit the 24-70 two.viii is zoomed in and out, some air pumps in and out, and you may have some air accident out of the eyepiece into your eye.

I couldn’t feel anything at a photographic camera’due south viewfinder, even though some air does pump in and out of the back of the lens.


(darkened corners)       operation     acme

Falloff on moving picture or an FX camera is slight at f/ii.8. It’south gone by f/iv or 5.6.

This is one of the subtle things Nikon improves each generation. The 24-70mm zoom has much less falloff than whatsoever of Nikon’s stock-still 24mm lenses.

I doubt information technology volition ever exist a problem in actual shooting.

At that place is no falloff on DX digital cameras (see Crop Gene).

I have greatly exaggerated it by shooting a flat field and presenting it against a flat field below. In real photography it is invisible.

Nikon 24-70mm f/2.8 AF-S falloff on FX at infinity, no correction.









© 2010 All rights reserved.

Filters, use with
       operation     top

The front end never rotates, although it does motility in and out with zooming.

Nikon has taken a step backwards, since this is the get-go new lens in a long time which cares about what sort of filter y’all employ. I can get slight vignetting at 24mm on my FX D3 with a vii.2mm (0.28″) thick traditional Hoya round polarizer. It is worse at the very closest focus distance.

I don’t need special thin filters, but it’due south close at 24mm on movie or an FX camera.

I practise become vignetting if I stack my 77mm circular grad over the polarizer at 24mm. The trouble goes away at 28mm, all on FX.

Any vignetting is more obvious at small apertures (f/xvi) than at large ones (f/4).

There is never a problem with DX cameras. (See Ingather Gene.)

Focus Breathing
       performance     top

Of involvement mostly to cinematographers focusing dorsum and forth betwixt two subjects, the image from the Nikon 24-lxx gets smaller as focused more than closely at the 24mm end, and varies very picayune at the 70mm cease.

Flare and Ghosts
       performance     summit

You really have to exist doing something stupid to see whatever ghosts. For all reasonable photo situations, including those with the sun in the prototype, the ghosts fall outside film or digital’due south dynamic range.

There tin be a couple of spots if y’all deliberately try to create them. I wouldn’t worry about this. It’south better than the 35-70mm f/two.8 AF.

Nano Crystal Blanket is a new kind of coating to reduce flare and ghosts. At that place is only one internal surface with this coating.

Lateral Color Fringes
       operation     peak

None on a D3 or D300. These cameras correct them every bit needed.

On the old D200, which can’t right this automatically, at that place are some blood-red/cyan fringes at 24mm and 28mm. There are no fringes at 35mm, 50mm or 70mm ion a D200.

       performance     tiptop

Macro gets close, and it’s sharp:

Nikon 24-70 macro performance

At 70mm at f/nine at close focus altitude on full-frame D600.

Nikon 24-70mm macro performance

Crop from small department of to a higher place 24MP image at 100%.
If this is 6″ wide on your screen, the consummate epitome would impress 40 ten threescore” (i ten 1.five meters) at this same magnification.

Mechanics and Construction
       performance     top

Nikon 24-70mm rear

Rear, Nikon 24-70mm f/2.8.

The metal barrel and everything appears finished in the same delicately mottled blackness pigment as the 17-35mm AFS. I’one thousand told information technology’south epoxy paint which is a mix of epoxy resin and an accelerator. These are spat on the lens and cure to become hard and tough.

Filter Threads


Hood Bayonet

Anodized aluminum.

Focus Ring

Rubber-covered metallic.

Forepart Moving Barrel


Front Barrel


Focus Ring

Prophylactic-covered metallic.

Middle Barrel


Zoom Ring

Rubber-covered metallic.

Engraved and filled markings.

Rear Barrel


Aperture Ring


Identity Plaque

Debossed metal, blackness and gold-colored.


One plastic focus mode switch.


Wearisome chromed brass.

Rain Seal at Mount



I come across metal.

Noises when shaken

Lots of mild klunking, which is normal.

Serial Number

Nikon 24-70mm Serial Number

Nikon 24-70mm Serial Number, typical from first production run.

Laser engraved in bottom rear of metal butt. This makes for highly legible silvery on black. Legitimate USA products are prefixed past “U.s.a..”

Made in


       performance     pinnacle

Warning 1:
Image sharpness depends more than on you than your lens.

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

Leaded glass

Leaded Drinking glass.
FX D600 at ISO 100, VIVID picture control, +3 saturation, six sharpening, Nikon 24-70mm at 50mm, one/50 at f/three.2, hand-held. 24MP © original file.

The 24-70mm f/ii.8 AF-South is the sharpest normal zoom e’er fabricated by Nikon.

Run into my complete comparing against every other pro Nikkor in my Nikon Pro Zoom Comparison. There is also an older informal comparison on a DX camera at my Nikon 24-70mm DX Sharpness Comparison.

Read these details if you want, but know that the merely way I’m able to see annihilation other than perfection is by looking very closely at images at the equivalent of 43″ (1m) wide, and then looking at images made very carefully from atop a mount so that in that location are sharp details to be seen in focus at infinity at all points in the image.

The but lack of perfection is in the very uttermost corners of the DX frame, and the but manner to see this is with devious bailiwick material which actually is in focus in the corners. Few subjects are similar this. For instance, the fern above simply goes out of focus in the corners because information technology is iii-dimensional and gets farther abroad from the camera abroad from the center.

Sharpness comes from a photographer’s vision. It doesn’t come from a lens. All lenses are near as sharp at f/8, where nosotros usually utilize them. The differences I’ll reveal below are applicable only when lenses are misused, which is shooting test targets at f/2.8. Lenses get sharper as stopped down, until near f/eight, beyond which diffraction sets in.

The Nikon 24-70mm AFS is scary good on Fuji Velvia 50. I’ve never used a sharper SLR lens on 35mm, period. The autofocus is expressionless-on on my F6, unlike on my D200, so it’s mortiferous sharp fifty-fifty at f/2.8 in wide daylight at every focal length. Wow!

Center Sharpness

The 24-70/2.eight is perfectly sharp and contrasty at every aperture and every focal length in the center.

Of course it gets softer at modest apertures (f/eleven through f/22) due to diffraction, but otherwise as expected, the eye and most of the paradigm is ever perfect.

Corner Sharpness

At 24mm

Sharp all over, except the last few millimeters of the farthest corners, where information technology gets blurry at f/2.viii if yous’re looking too hard. If yous are, terminate downward to f/4 or f/5.6 and it becomes perfect.

At 28mm

Precipitous all over, except the terminal millimeter of the farthest corners, where it gets blurry at f/2.eight. If yous are, terminate down to f/eight if you need perfection.

At 35mm

Sharp all over, except the last millimeter of the farthest corners, where it gets softer at f/2.eight. information technology’s much improve at f/4, and perfect at f/8.

At 50mm

Sharp all over, except the final few millimeters of the uttermost corners, where information technology gets a footling softer at f/2.eight. Information technology gets better at f/4 and best by f/viii.


Sharp all over.

Rated MTF

MTF 24mm

MTF tele

Nikon’s published MTF graphs rate the 24-70mm as nigh the same to a niggling ameliorate as the 28-70mm f/ii.8 AF-due south, ameliorate than my favorite 24-85mm AFS and the 24-120mm VR and much better than the 24-85mm f/2.eight-4 that I’ve never liked.

Of course these MTFs are dreams, which mean they are calculated, non measured from real lenses. Nothing is said if the published graphs are monochromatic, polychromatic, or integrated over white light, so they mean very little for comparison to real samples of lenses. Don’t lose sleep over any of this.

       performance     top

With its rounded 9-bladed diaphragm, the 24-seventy two.8 K rarely makes whatever sunstars on brilliant points of light.

       performance     top

The Nikon 24-70mm seems pretty tough, except for its plastic filter ring. Bang information technology without a filter, and you’ll break it.

My biggest concern is the↓10↑: Lead-costless RoHS symbol, pregnant lead-free solder used so that tin “whiskers” will grow afterward about x years, ensuring that its circuitry is unrepairable, thus a 10-year expected life before beingness thrown away as unrepairable. More on tin whiskers from NASA and more here (folio 41).

AF-South focus motors suspension, and if Nikon decides non to supply parts, you lot’ll have a lens that can’t autofocus in a few decades.



Sample Images  Intro   Specifications

Performance   Compared   Recommendations

All 24-70mm Lenses Compared.

Nikon Pro Normal Zooms Compared.

Sharpness Comparison to all other 24mm lenses August 2010

Compared to the Tokina twenty-35mm f/3.5-4.five AF Nov 2010

The newer 2015 24-seventy/two.8E VR is even sharper in the corners at large apertures and adds VR.

The newer 2012 Canon 24-70mm f/ii.8 L II is fifty-fifty sharper in the corners at large apertures, and has far ameliorate sunstars; merely it won’t work on Nikon cameras.



Sample Images  Intro   Specifications

Performance   Compared   Recommendations

I’d become it new at Adorama, at Amazon, at B&H or at Crutchfield, or used at eBay.

You people know who you are. This is Nikon’s best mid-range zoom ever for Nikon 35mm and FX format digital cameras, which makes sense since its also the newest and most expensive. It merely works, and it works great, if y’all don’t mind carrying its weight.

For apply on DX cameras, I prefer the xviii-200mm VR for its greater versatility. Not that this 24-70mm isn’t great, but you’re paying a huge size, weight and price premium for FX coverage, which is thrown abroad on DX digital cameras (see Ingather Cistron).

If you’ve found the time, effort and expense I incur researching and sharing all this for free, my biggest source of support to go along adding to this free website is when you use this link to get yours from Adorama or this link to become yours from Amazon, or any of these links when you become



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15 Aoril 2018, 28 March 2018, 10 February 2018, August 2015, October 2012, November 2007