Nikon Nikkor 16 35mm F 4

By | 30/10/2022

Nikon xvi-35mm VR

Full-Frame FX VR f/4 (2010-2022)

Sample Images   Intro   Format

CompatibilitySpecsPerformance

Compared   Recommendations

Nikon 16-35mm f/4 VR

Nikon 16-35mm f/four AF-S VR G ED IF N Aspherical
(77mm filters, 23.ix oz./678g, 1’/0.29m close focus, nigh $450 used if you know How to Win at eBay). enlarge.

This all-content, junk-free website’s biggest source of support is when you use those or any of these links to approved sources when you get
anything,
regardless of the country in which you live. Cheers for helping me help you! Ken.

November 2022

Ameliorate Pictures   Nikon Reviews   Nikon Lenses   Nikon Flash   All Reviews

Full-Frame Ultrawide Lenses Compared
24 June 2017

How to Utilize Ultrawide Lenses

Nikon 17-35/ii.eight ED (1999-)

Catechism 16-35/four 50 IS (2016-)

Canon sixteen-35/2.8 Fifty Iii (2016-)

Sony Zeiss 16-35/four OSS (2014-)

Sony 16-35/ii.viii GM (2017-)

Sample Images

MeridianSample Images   Intro   Format

CompatibilitySpecsPerformance

Compared   Recommendations

California State Capitol Dome, Sacramento

Sample prototype: California State Capitol Dome, Sacramento.
Nikon xvi-35 VR ready to 16mm, f/4 at 1/15 at ISO 200 on FX hand-held. Full-resolution epitome.

Nikon D850 High ISO Sample Image

Desert Home, 26 September 2017, seven:12 PM.
Nikon D850, Nikon sixteen-35mm VR at 16mm, 15 seconds at f/7.one at ISO 200. bigger or photographic camera-original Big NORMAL JPG.

Great Room, Ahwahnee Hotel, Yosemite Valley

Corking Room, Ahwahnee Hotel, Yosemite Valley, 18 October 2014, 8:04 AM.
(Nikon D810, Nikon 16-35mm VR at 16mm, f/four at 1/8 paw-held at Auto ISO 200.) Bigger or Camera-original © MEDIUM BASIC JPG file.

Self Portrait, Bridgeport, California

Self Portrait, Bridgeport, California, xix Oct 2014, vii:10 PM.

(Nikon D810, Nikon 16-35mm VR at 31mm, f/4 at 1/15 hand held at ISO 3,200, Athentech Perfectly Clear v2.) bigger.

Silver Maple Motel after Dark, Bridgeport, California

Silver Maple Motel after Dark, Bridgeport, California, 19 Oct 2014, 7:10 PM.
(Nikon D810, Nikon xvi-35mm VR at 16mm, f/4 at 1/8 mitt held at ISO one,400, Athentech Perfectly Articulate v2.) bigger.

Inside the Barn, Yosemite National Park

Barn, Yosemite National Park, 19 October 2014, 8:xix AM.(Nikon D810, Nikon xvi-35mm VR at 16mm, f/8 at 30 seconds at ISO 200.) Bigger or Camera-original © Large NORMAL JPG.

Backlit Tufa during Brilliantly Glorious Sunrise, Mono Lake

Backlit Tufa during Brilliantly Glorious Sunrise, Mono Lake, 21 October 2014, seven:forty AM.
(Nikon D810 HDR mode, Nikon 16-35mm VR at 30mm, f/11 at 1/fourscore hand held at ISO 100, Athentech Perfectly Clear v2.) Bigger. I set Shade white residue to make this wait as it should. In person, they but looked stake yellow, not vivid orange.

Morning Glow, Silver Lake

Morn Glow, Silver Lake, 21 October 2014, 10:10 AM.
(Nikon D810 HDR manner, Nikon xvi-35mm VR at 16mm, Shade white balance, f/xi at 1/125 at ISO 100, Athentech Perfectly Clear v2.) Bigger.

The Milky Way as Seen from Bridgeport

The Milky Mode equally Seen from Bridgeport, 21 October 2014, 9:33 PM.
(Nikon D810, Nikon sixteen-35mm VR at 16mm, f/iv for 30 seconds at ISO 12,800.) Bigger. See also How to Photograph the Milky way.

Sample Photographs from Yosemite and California’due south Eastern Sierra
Oct 2014

Yosemite Oct 2011

California’south Due north Coast August 2010

California’s Central Coast June 2010

Nikon 16-35mm © sample prototype file at ISO 1,100

Nikon 16-35mm © sample image file at ISO i,000

Please help KenRockwell..com

Introduction

TopSample Images   Intro   Format

CompatibilitySpecsFunctioning

Compared   Recommendations

The Nikon 16-35mm VR is the sharpest Nikon ultrawide lens I’ve ever used. Under examination conditions, information technology’s even slightly sharper than the old male monarch, the beastly Nikon fourteen-24mm.

This Nikon 16-35mm is so good that at that place isn’t much to write about. It’south ultra-precipitous, it has no significant light falloff in the corners, distortion is reasonable from 20-35mm, focus and zooming are easy and perfect, and information technology focuses to within just inches in front end of the lens.

The 16-35mm’s weakest points are its heinous, but like shooting fish in a barrel-to-right, distortion at 16mm, and it’south giant size; v inches (125mm) long. Nikon’s first ultrawide zoom, the 20-35mm f/ii.8 AF-D (1993-2001), is a stop faster, built pro-tough (unlike this 16-35mm), and is still smaller and lighter, but the twenty-35mm has nowhere almost the optical operation of this new 16-35mm f/4.

The 16-35mm is Nikon’s newest ultrawide zoom. It covers the full FX frame for employ with both FX and 35mm RealRaw cameras.

The 16-35mm VR is also Nikon’s widest FX lens e’er that works with front end-mounted filters. The older 15mm f/3.5, 15mm f/5.half-dozen, 14mm f/2.8 AF-D and 13mm f/5.half dozen had such bulbous fronts that no filter could encompass them. The front end element of this Nikon 16-35mm lens is tiny by comparison.

This new 16-35mm is a huge pace up from the fourteen-24mm because information technology’s much smaller and lighter, has a much more useful zoom range, takes filters both for protection and for use with RealRaw, and is even a little sharper. There’due south no question that information technology’s time to sell your 14-24mm and get this smaller, lighter and far more practical 16-35mm instead.

VR isn’t a big deal. It only gets a stop or ii of improvement for mitt-held low-lite shots of still subjects, which makes it about fifty-fifty with an f/2.8 lens. I exercise prefer shooting at f/4 with VR over f/2.eight without VR for depth-of-field, but for low calorie-free wide angle shots, zilch today compares with the new Nikon 24mm f/1.4 AF-S.

Compared to the hard-to-go professional 17-35mm f/ii.8, this xvi-35mm VR is $500 less expensive and otherwise similar in size and weight. This xvi-35mm VR is however a little lighter, a little longer, and it’s sharper if yous’re picky.

This 16-35mm f/4 VR but became my pinnacle recommendation for an FX ultrawide zoom.

Bravo, Nikon!

I ‘d get my 16-35 VR used at eBay (How to Win at eBay).

Great for

This is the all-time Nikon wide-angle lens ever for nearly shooting.

For subjects that agree still, shooting this 16-35mm at f/4 with VR hand-held gives much sharper images than shooting a faster lens at a wider aperture, because more than is in focus at f/4 than at f/2.viii or f/i.4.

I have no trouble shooting this lens hand-held in the darkest lite outdoors on digital, and therefore prefer information technology over the 24mm f/1.4 AF-Southward G, whose larger apertures get less in focus. With digital, no 1 really needs f/i.iv except for activity, making this 16-35mm perfect for about everything.

Not for

Non for low-calorie-free action shots, where VR tin can’t help you lot. In very dim calorie-free with moving subjects, get the 24mm f/1.four AF-Southward G instead.

Don’t even retrieve about this lens for use on DX. Yep, it works great, but yous’re throwing away well-nigh of the performance for which you paid and conveying way as well much weight for what you’re getting on DX. For use on DX, use a DX lens like the eighteen-55mm VR, 16-85mm VR, 17-55mm f/ii.viii or 10-24mm are much better ideas.

Format

TopSample Images   Intro   Format

CompatibilitySpecsOperation

Compared   Recommendations

I ‘d get my 16-35 VR used at eBay (How to Win at eBay).

This is a total frame FX lens, and I’grand reviewing it as such.

The 16-35 VR covers FX, 35mm movie and DX.

Information technology works great on DX cameras, too, on which you may brand the usual inferences, yet it’s a waste to use it on DX, since you’re not using well-nigh of the lens — just the central office. For utilize on DX, any of the10-20mm, 18-55mm VR, 16-85mm VR, 17-35mm f/two.viii or 10-24mm are much ameliorate ideas.

Compatibility

TopSample Images   Intro   Format

CompatibilitySpecsOperation

Compared   Recommendations

I ‘d get my 16-35 VR used at eBay (How to Win at eBay).

Everything works perfectly on every digital Nikon, both FX and DX, and fifty-fifty on Nikon’s cheapest digitals similar the D40, D40x, D60, D3000 and D5000.

It’s also perfect on decent or recent AF film cameras similar the F6, F100, F5, N80 and N75.

The incompatibilities for older or cheaper film cameras are that:

ane.) It won’t autofocus with the cheapest AF film cameras like the N55, but if you focus manually, everything else works bang-up. Even if you lose autofocus, these cameras have in-finder focus confirmation dots to help yous.

ii.) Late 1980s ~ early on 1990s AF cameras like the N90s, N70 and F4 will focus just fine, but you’ll lose VR. Yous’ll have Plan and Shutter-priority modes, but lose Transmission and Discontinuity-priority since you have no way to set the aperture on the camera or on the lens.

iii.) You’re really pushing it with the oldest AF cameras like the N2020, N6006 and N8008. You’ll have no AF, confused exposure modes, and no VR. Transmission focus is fine, along with electronic focus indications.

4.) Since it has no discontinuity ring, it’south just nearly useless with transmission focus moving picture cameras.

Meet Nikon Lens Compatibility for details with your camera. Read down the “AF-S, AF-I,” “M” and “VR” columns for this lens. Yous’ll go the least of all the features displayed in all columns, since “G” (gelding) is a handicap which removes features.

Nikon 16-35mm f/4 VR

Nikon 16-35mm VR.
enlarge.

Specifications

HeightSample Images   Intro   Format

CompatibilitySpecsPerformance

Compared   Recommendations

I ‘d get my 16-35 VR used at eBay (How to Win at eBay).

Nikon 16-35mm

Nikon sixteen-35mm Alphabet Soup.
enlarge.


Proper name

Nikon AF-S NIKKOR 16-35mm f/4G ED VR Due north.

    Nano Crystal Coat (Northward):
Magic anti-reflection coating that has a variable index of refraction that’s far more than effective than multicoating.

    AF-Southand
SWM:
Silent Wave Autofocus Motor.

    VR:
Vibration Reduction.

    ED:
Magic ED Glass.

    Grand:
Gelded for cost-reduction and removing compatibility with older cameras.

    IF:
Internal focusing; nothing moves externally equally focused.


Aspherical (ASPH):
Specially curved drinking glass to give even sharper pictures.

    ∅77:
77mm filter thread.


Eyes

Nikon 16-35mm construction

Nikon 16-35mm internal construction.


Aspherical


and




ED

elements.

17 elements in 12 groups.

Two are of magic ED glass.

Three are aspherical.

Nano Crystal Coat is used on at least one surface, and so ghosting should exist minimal to nonexistent.


Format Coverage

FX, 35mm film and RealRaw.

As well works great on DX, although the 18-55mm VR, xvi-85mm VR, 17-35mm f/2.viii or 10-24mm make much more sense on DX.


Focal Length

Bodily focal length: 16-35mm.

Equivalent on on FX and RealRaw: xvi-35mm.

Equivalent on small-scale-format DX: 24-50mm.


Bending of View

107° – 63° on FX and RealRaw.

83° – 44° on small-format DX.


Diaphragm

Nikon 16-35mm f/4 VR

Nikon 16-35mm VR at f/22.
enlarge.

9 rounded blades.

Stops down to f/22.


Filter Thread

77mm, plastic.

Does not move or rotate.



Close Focus


1 foot (0.29m), specified, from the image plane. I measure out about xi” (280mm).

The prototype plane is at the dorsum of your camera. You can focus much closer to the front of the lens.


Working Altitude

Close focus is eleven or 12 inches from the image aeroplane, notwithstanding, the 16-35mm is five inches (125mm) long and your camera is typically ii inches (50mm) deep, this means that close focus is just a few inches in front of your lens!

I can focus up to just four inches (100mm) from the front of the lens. If I used the included lens hood, at that place would be even less infinite between that hood and the closest subject on which I could focus.


Maximum Reproduction Ratio

1:4.


Hard Infinity Focus Stop?

No.


Focus Scale

Yes.


Depth-of-Field Scale

No.


Infra-Red Focus Index

No.


Vibration Reduction (VR)

Trade name “VR II.”

Marked on lens: “VR.”

Claimed improvement: “up to 4 stops.”

Actual improvement: one or two stops.


Hood

HB-23 plastic bayonet hood, included.

This is the same hood equally the 10-24mm DX, 12-24mm DX, 17-35mm f/2.8 AF-S and xviii-35mm AF-D.


Case

CL-1120 pouch, included.

A tube sock works ameliorate.


Size

3.25″ diameter x 4.92″ extension from flange.

82.5 mm diameter 10 125 mm extension from flange.


Weight

23.912 oz. (677.9g), measured.

24.0 oz. (680g), rated.


Included

Front and rear caps (LC-77 and LF-one)

HB-23 plastic bayonet hood.

CL-1120 pouch.


Nikon Product Number

2182.


Made in

Nippon, at least the early sample seen here.

Nikon sometimes moves production to Thailand (18-200mm) or China (50mm) as a lens gets older.


Appear

09 February 2010.


Available

Since March 2010.


Price, Us

November 2022

Near $450 used if y’all know How to Win at eBay.

No longer available new.

22 / 2 / 2022

$1,097 new at Adorama, at Amazon, at B&H and at Crutchfield.

or about $500 used if you know How to Win at eBay.

June 2019

$997 new or about $650 used if you know How to Win at eBay

Septamber 2017

$1,097 new or about $750 used if y’all know How to Win at eBay.

June 2017

$997.

April-November 2014

$1,257.

February 2014

$957.

August -November 2011

$1,140.

Nov 2010

$ane,109.

August 2010

$one,110.

July 2010

$ane,160.

June 2010

$1,200

April 2010

$i,250.

March 2010

$1,260.

Got mine at Adorama.


Packaging

Cardboard box.

Meridian holds a cardboard insert with the hood and lens pouch.

Bottom 2/3 of box holds lens between two white foam holders.

Paperwork slid in along the side.

Nikon 16-35mm f/4 VR

Box, Nikon 16-35mm VR.
enlarge.

Performance

TopSample Images   Intro   Format

CompatibilitySpecsFunctioning

Compared   Recommendations

Overall    Focus    Bokeh    Baloney    Ergonomics    Falloff

Filters    Flash    Ghosts    Lateral Color Fringes    Macro

Mechanics    Sharpness    Sunstars    Survivability    VR    Zooming

I ‘d get my xvi-35 VR used at eBay (How to Win at eBay).


Overall
        performance        top

Functioning is superb.

This Nikon 16-35mm is ultra-sharp, has no significant low-cal falloff, focus and zooming are perfect, and it focuses way too close.


Focus
        performance        elevation

Focus is e’er fast and certain.

Typical for Nikon, every shot is right-on.

In that location are no surprises here.

It’s little to become from auto to manual focus: just grab the focus band for manual, and tap the shutter once more to go dorsum to motorcar.

The focus band only turns if you turn it.

M/A – M Switch

Nikon goofed. This switch should be labeled “A – M.”

The “M/A” position means autofocus. Information technology’southward chosen “M/A” considering you lot also tin focus manually only by grabbing the focus ring in this position.

Pigment over the extra 1000 if you’re easily dislocated.

Focus Drift

Focus holds while zooming.

The sample of lens I apply is well enough constructed that y’all tin zoom after focusing, and information technology stays in focus.

It doesn’t drift every bit zoomed.


Bokeh
        performance        pinnacle

With a lens this broad and slow, almost nothing is out of focus.

If you tin become a background out of focus, bokeh (the softness of the out-of-focus area) is excellent. Backgrounds never distract.


Distortion
        operation        top

Distortion (curving of straight lines) is heinous at 16mm.

In fact, the Nikon sixteen-35mm f/4 VR, when set to 16mm, is the most distorting lens I take every used, curt of a deliberate fisheye. The baloney goes away at other zoom settings.

Thankfully the distortion is simple and very easy to right in Photoshop’s lens baloney filter, and then no large deal.

This baloney is unremarkably completely invisible. If you lot’re the sort of Poindexter who spends more than time trolling the Net looking for flaws than shooting, this lens will keep yous busy whining for some fourth dimension.

Hither’s how invisible information technology usually is:

Lucilles

Lucille’s,
16mm at f/4, 1/15 sec. camera-original © file.

Since no lines run parallel to the edges of the frame and are close to the edges, in that location’s nothing distorted.

Fence OC Swap meet 06 Mar 2010

OC Swap Meet
at 16mm. bigger.

In this shot of a fence, few if any of the lines are parallel to, or near, the edges, so once more, baloney is largely invisible.

If I shoot something with a straight line parallel and near an edge, it can await as bad as this:

Cages, OC Petco

Muzzle Nest

at 16mm. bigger.

Meet the curving of the line along the top and the fissure in the stick-on vinyl tiles beneath? That’southward how the baloney looks, worst case.

Plug +8 into Photoshop’s lens baloney filter, and bingo, trouble goes away:

Cages, Petco

Cage Nest

at 16mm. bigger.

Swell at all, considering it’south shot wide-open at f/4.

Plug these figures into Photoshop’s lens distortion filter to correct the distortion. These aren’t facts or specifications, they are the results of my research.

FX at ten’ (3m)

FX at infinity

16mm

+8.0* !!!

+viii.four !!!

20mm

+3.0

+3.0

24mm

0.0

0.0

28mm

-ane.0

-i.0

31mm

-1.v

35mm

-2.0

-2.0

© 2010 KenRockwell.com

* Some waviness remains.

Here are snaps of the horizon at Corallina Cove, 18 June 2010, 3PM, on FX full-frame:

Nikon 16-35mm VR at 16mm

Nikon 16-35mm VR at 16mm

Nikon 16-35mm VR at 16mm

Nikon 16-35mm VR at 16mm

Nikon 16-35mm VR at 16mm

Nikon 16-35mm VR at 16mm

Here are brick walls for y’all Poindexters, as well shot on full-frame. I moved away as I zoomed-in to keep the bricks virtually the same size, and shot this freehand as the wife and babe kept on moving at the swap encounter:

16mm

20mm

24mm

28mm

35mm


Ergonomics
        performance        pinnacle

Nikon 16-35mm f/4 VR

Nikon xvi-35mm VR.
overstate.

Ergonomics are excellent, except that it’s too long (v” or 125mm) and too heavy.

It’s longer than the 18-200mm and but 1/2″ (12mm) shorter than the seventy-300mm VR.

It is significantly bigger and heavier than the 70-300mm Yard or 200mm f/4 AI-s.

It’s and so long that it’southward e’er banging into things. I demand to treat this lens as if it’s a telephoto.


Falloff

(darker corners)        performance        top

Falloff is negligible. It’south invisible, even at its worst, in actual photography.

I can greatly exaggerate it by shooting apartment fields and then reproducing them here against some other flat field, and falloff is still modest.

Nikon 16-35mm f/4 VR falloff on FX and 35mm at infinity, no correction.

f/iv

f/5.6

f/eight

16mm
24mm
35mm

© 2017 KenRockwell.com. All rights reserved.


Filters, Use with
        operation        top

The filter ring never moves or rotates.

At that place is no trouble with vignetting, even with a thick rotating filter like a grad.

On FX, you lot’re only almost starting to get the tiniest bit of vignetting with a rotating 7mm-thick (excluding male threads) filter at 16mm.

If you stack a colored filter and a rotating filter, like an 85C and a grad for a full thickness of 12mm (excluding male person threads), you’ll get vignetting on FX at 21mm or shorter. Shoot from 22mm through 35mm and you’re fine.

Don’t use polarizers at the broad end. Yous won’t get vignetting, but y’all volition get weird bands across the sky caused past the sky’south varying angles of polarization. This is a fact of nature that is exaggerated by a broad lens and a polarizer.

If you use a polarizer, go along it at the 35mm end of the zoom range.


Flash, Use with

        operation        acme

If used on a D3 with an SB-400 flash, yous’ll encounter a night shadow in the middle of the lesser of the paradigm when set to wider than 21mm.

Bigger flashes should cause no problem, and built-in flashes should be worse.

Used indoors, I get bang-up coverage with the SB-400. Even though I’d go calorie-free falloff is shooting straight at walls, I don’t do that. When I shoot with a wide lens indoors, the walls, floor and ceiling are much closer to me at the sides of the image, and the light falloff from the flash thus corrects itself.


Ghosts
        performance        superlative

I couldn’t become any flare or ghosts shooting into the sun. Nikon has this down, even if I used a Hoya Super HMC filter over the lens.


Lateral Color Fringes
        performance        tiptop

There are no lateral color fringes on the D3, which would right them if the lens had whatever.


Macro
        functioning        top

Rockwell's Watch

Rockwell’s watch on FX.
This would be even tighter on a DX photographic camera.

It gets to ane-quarter life-size, on-sensor, which is this shut on FX.

It’s a broad lens, which is funny because its making my watch await bigger (closer) and my wrists wait smaller (father away).


Mechanics and Structure
        performance        top

Nikon 16-35mm f/4 VR

Nikon xvi-35mm VR.
enlarge.

My Nikon xvi-35mm f/4 VR has a plastic exterior. It feels and sounds exactly similar the material with which the 24-120mm VR and 18-200mm VR are clad.

Information technology is completely different from the metal alloy with which the exteriors of the 24-70mm f/ii.8 AFS, 17-35mm f/2.eight AF-S and most of the the xiv-24mm are clad.

I’one thousand not reading this off the net; I’thou looking at all of these lenses sitting correct hither in front end of me.

Nikon has claimed that the sixteen-35mm has a magnesium alloy butt, but Nikon’southward PR is either mistaken, or referring to the interior, non outside, butt.

Either I take a special one-of-a-kind collectable plastic version, or they all have plastic exteriors.

The interior is a different affair, and there seems to be plenty of metallic inside, but not on the outside. Y’all folks shooting outdoors in Norway should appreciate this.

My simply whine about plastic is that the markings eventually wearable off. Plastic weighs less than metal, so plastic on the outside is practiced. Plastic bounces when dropped; it doesn’t stay bent and bung upward the action. Filter threads are better in metal (they are plastic on the 16-35mm), but otherwise, plastic outer cases are fine in my book.

Adept lenses, like manual-focus lenses, take merely one butt, simply AF lenses have inner and outer barrels. The outside of a modern AF lens is only a dust jacket and rarely structural.

If you want your gear built like a tank, shoot the D3X, the 17-35mm f/ii.8 AF-Southward, the 24-70mm f/2.eight AFS, the 50mm f/1.two AI-s and the seventy-200mm f/2.8 VR II. The less expensive gear is fabricated of plastic because information technology weighs less and saves money. If y’all want tough, Nikon still delivers in its pro gear.

The Nikon 16-35mm f/4VR is built to solid apprentice standards, the aforementioned standards equally the eighteen-200mm VR and 24-120mm VR.

The exterior is entirely plastic. It’s exterior isn’t professional person metal, similar the 17-35mm f/ii.8 AF-S and 24-70mm AF-S. It is solid plastic; I have no complaints, and plastic is a blessing in freezing weather.

Barrel Exterior

Plastic.

Filter Threads

Plastic.

Hood

Plastic bayonet.

Focus Ring

Plastic; rubber covered.

Zoom Ring

Solid plastic.

Depth-of-Field Calibration

None.

Internals and zoom cams

Metal.

Discontinuity Ring

None.

Mountain

Dull-chromed brass.

Markings

Pigment.

Identity Plate

Embossed and planed metallic.

Serial Number

Laser engraved onto bottom rear of barrel, well-nigh mount.

US versions delineated by

“US” prefix to series number.

Rain seal at mount

Yeah.

Noises When Shaken

Moderate klunking from the eyes wiggling effectually.

Made in

Japan.

Weaknesses

None observed; a tough lens albeit with a plastic skin.


Sharpness
        performance        top

To my pleasant surprise, this Nikon sixteen-35mm VR is the sharpest broad zoom I’ve ever used, from anyone.
Information technology is sharper than the former world standard, the old 14-24mm AFS from 2007.

If you’re counting pixels, this new 16-35mm VR is significantly sharper on digital than any of the older xviii-35mm, twenty-35mm f/2.eight or 17-35mm f/2.8 AF-S. The improvement over the 14-24mm is subtle; the 14-24mm is also a very sharp lens.

Sorry Canon, but neither the Canon 16-35mm f/2.8 L II, 16-35mm f/2.8 Fifty or 17-40mm f/iv Fifty can compare either, if y’all’re looking closely.

Somehow, Nikon has constitute the secret sauce to be able to pattern and manufacture the world’southward first two ultra-broad zooms, the 14-24mm and this 16-35mm, that are actually sharp over the entire image area at every setting.

Lucilles

Lucille’due south,
16mm at f/four hand-held at 1/fifteen sec, ISO 1,100. original © file.

When looking at the original file for the snap above, recognize that depth-of field at f/4 and the camera’s noise reduction at ISO 1,100 is what’s limiting sharpness, non the lens. My D3, only similar a drunkard driver, focused on the pole in the middle, so most of the groundwork isn’t in focus.

Lucilles

Lucille’south,
16mm at f/4 hand-held at 1/15 sec, ISO one,000. camera-original © file.

The top and lesser left corners of the original file might look a niggling softer at 100%, but remember that these parts of the subject are closer and not in focus at f/4 as shot. Don’t let the huge depth of field at f/4 and 16mm make you lot await that everything is in focus, even at huge enlargements.

Except for the 14-24mm, there is no other Nikon ultrawide lens that tin make images this abrupt and contrasty broad-open, all the mode out to the corners.

The worst I can say is that the far corners in FX become slightly less contrasty at f/4 compared to other apertures, but even that is minor. Even at f/4, it’southward as precipitous as it tin can go.

If you’re only taking groovy pictures, the sharpness departure doesn’t matter, and you should exist guided by size, weight and toll, at which point, the eighteen-35mm is nearly as good at half the price with one-half the weight.

Since this new sixteen-35mm f/4 VR is slightly
sharper
than the huge 14-24mm f/2.viii, it’s tIme to sell the 14-24mm and buy the 16-35mm f/4, and pocket the divergence before used values of the xiv-24mm fall.

Bravo, Nikon!

Sony 24-70/2.8 MTF

Sony 24-70/2.8 MTF

MTF at 16mm at f/four.

MTF at 35mm at f/4.


Sunstars
        operation        superlative

With its 9-bladed diaphragm, this 16-35mm makes subtly magnificent 18-pointed sunstars on vivid points of light.

Since it’s using rounded instead of directly blades it’s usually very subtle.

The 16-35mm actually stops downward its diaphragm at f/four at 16mm, and then if you await at this original file, you can run across the stars on some of the brightest points of light, even at f/4.


Survivability
        performance        top

The Nikon sixteen-35mm is pretty tough.

Nothing moves externally.

The optics slide around inside the outer butt as zoomed. If you take a hit on the forepart of the lens barrel, the impact is transmitted through the barrel around the delicate internal parts.

With a filter on the front, I don’t know that information technology sucks in much air as zoomed, so information technology ought to stay relatively make clean inside equally the years progress.


Vibration Reduction

(VR or Epitome stabilization)        top

Plough VR off in daylight, since it increases shutter delay.

Read Why IS Is Important to empathize more than about what these ratings mean.

“Per centum Perfectly Sharp Shots” are the percentage of frames with 100% perfect tripod-equivalent sharpness I go when I’m shooting mitt-held while free-standing with no support or bracing. This is a very strict test; in actual shooting at typical print sizes I get acceptable sharpness at much slower speeds, but for the purposes of seeing how much comeback an IS system gives, this is the most precise method.

Hand tremor is a random occurrence, so at marginal speeds some frames will be perfectly sharp while others will be in various stages of blur — all at the same shutter speed. This rates what per centum of shots are
perfectly
sharp, not how sharp are all the frames:

At 16mm

on Z9 on FTZ

% Perfectly Sharp Shots on Z9 on FTZ
(eye of epitome)

i

one/2

1/4

ane/8

1/fifteen

1/30

1/60

1/125

1/250

Stabilization ON


0


0


0


17


100


100


100


100


100

Stabilization OFF


0


0


0


0


17


50


100


100


100

I come across nigh a i½ stop real-earth improvement.

At 35mm

on Z9 on FTZ

% Perfectly Sharp Shots on Z9 on FTZ
(heart of prototype)

1

i/2

1/4

1/viii

1/fifteen

one/30

one/threescore

1/125

1/250

Stabilization ON


0


0


0


eighty


100


100


100


100


100

Stabilization OFF


0


0


0


0


0


17


67


100


100

I run across most a three stop real-world improvement.


Percent perfectly sharp shots, Nikon D3 with VR OFF


2s


1


1/ii


one/4


i/eight


1/15


16mm


0


17


40


92


83


100


24mm


0


0


0


50


83


100


35mm


0


0


0


17


33


83


Pct perfectly sharp shots, Nikon D3 with VR ON


2s


i


i/2


1/iv


1/8


1/15


16mm


0


67


67


100


90


100


24mm


v


33


100


100


100


100


35mm


0


40


forty


100


83


83

Let’southward chart the slowest speed at which I get l% of my shots perfectly abrupt at each focal length, and with that, we can summate how many stops we gain with VR.

“Existent Stops Comeback” are how many extra stops I got, IS ON compared to IS OFF.

“Marketing Stops Improvement” isn’t comparing the speed I tin can use from IS OFF to IS ON, but instead comparing the speed one can apply with IS ON to the erstwhile-wives-tale speed of ane/focal length. That’s chosen Lying with Statistics.


No VR


VR


ON


Marketing
Stops Improvement


Real
Stops Improvement


Effective Speed


16mm

1/2.5

1.2s

4.3

ane.6


f/ii.2


24mm

ane/iv

1/1.6

4

i.iii


f/ii.5


35mm

1/12

1/ii.5

3.8

two.3


f/i.eight

It’s easy to get sharp shots at 1/4 to 1/2 second at every focal length with VR ON, just then once more, I get the same results at 1/5 – i/fifteen with no VR
.

The do good of VR is only visible between 1/8 and 1 2nd, which is very useful for dim light.
In dim light, getting an average of i-ii/3 stops of VR benefit in exchange for i stop lost compared to an f/2.viii lens is a winner for nonetheless subjects, since not merely am I 2/iii stop ahead, the smaller aperture gives more depth-of-field as well.


Zooming
        performance        superlative

Nikon 16-35mm zoom ring

Zoom Band, Nikon xvi-35mm.

Zooming is perfect.

The focal lengths have perfect semi-logarithmic spacing, and the band feels neat. This means it’southward easy to select the perfect setting.

The zoom cams appear to be metal.

Focus doesn’t shift as zoomed. It stays every bit set.

Compared

TopSample Images   Intro   Format

CompatibilitySpecsPerformance

Compared   Recommendations


NEW:

Total-Frame Mirrorless Ultrawide Lenses Compared
25 June 2019

Total-Frame Ultrawide Lenses Compared
24 June 2017

Nikon Ultrawide Zooms Compared
08 March 2010

Sharpness Comparing to all other 18mm lenses xi August 2010

Sharpness Comparison to all other 20mm lenses September 2010

Sharpness Comparing to all other 24mm lenses August 2010

I ‘d get my 16-35 VR used at eBay (How to Win at eBay).

Nikon 17-55mm DX vs. 16-35mm VR

Readers have asked that since the 16-35mm VR is the world’s sharpest ultrawide zoom, if it’s a better pick for DX cameras than the 17-55mm f/two.8 DX.

NO!

For DX, the 17-55mm f/ii.eight DX is much better. Why is the 17-55/2.8 a better choice for DX if the 16-35mm VR is the world’s sharpest ultrawide zoom?

One must read my words precisely. The sixteen-35 really is the globe’due south sharpest ultrawide zoom, only as you need to know, “ultrawide” and “zoom” are each weasel words that exclude other lenses from the comparison. If you remove the word “ultrawide,” the globe’s sharpest zoom is the Canon 70-200mm f/4 L IS. If y’all remove “zoom” simply go out in “ultrawide,” the world’s sharpest ultrawide lens for 24x36mm format is the LEICA ELMARIT-M 21mm f/ii.8 ASPH. If you remove the word “zoom” and “ultrawide” the LEICA APO-SUMMICRON-1000 90mm f/2 ASPH is the earth’s sharpest 24x 36mm format lens. Of class large-format (4×5″) lenses are fifty-fifty sharper. As everyone in marketing, but few members of the public know, weasel words are everything. The worst is when car companies claim a car is the best “in its class,” and never bother to tell you that they defined their own class which only includes cars worse than theirs.

In this case, the 17-55mm is not an ultrawide, and it’s equally sharp as the 16-35mm on DX cameras. Sharpness isn’t the issue hither. Ultrawide zooms are the nigh difficult lenses to make, and therefore they are softer in the corners than any other photographic lens.

The Nikon 16-35 VR is the world’due south best ultrawide zoom, far better than the older-generation Canon 17-40mm f/4 50 and Canon xvi-35mm f/2.8 Fifty Two I also own — when used as ultrawide lenses on full-frame.

When used on DX, these expensive full-frame ultrawides simply become midrange zooms. On DX, we need to compare these to other DX midrange zooms. When we compare full-frame ultrawides to DX midrange lenses, the full-frame ultrawides are much bigger, heavier and more expensive because they accept to cover a larger format, and they take more restricted zoom ranges. They aren’t whatsoever sharper, in fact, they probably are less sharp than the dedicated DX lenses.

I never, e’er propose using full-frame wide lenses on DX cameras. This is why Nikon invented DX lenses: for meliorate optical, size, weight and cost performance on the smaller formats.

Recommendations

TopSample Images   Intro   Format

CompatibilitySpecsPerformance

Compared   Recommendations

Nikon 16-35mm

Bottom, Nikon xvi-35 VR.

I ‘d get my 16-35 VR used at eBay (How to Win at eBay).

This xvi-35mm is the sharpest and all-time-handling Nikon ultrawide zoom always fabricated for DSLRs and 35mm SLRs.

f y’all shoot FX, or 35mm on a modern photographic camera, get ane of these 16-35mm lenses today. Information technology’southward my favorite Nikon ultrawide. Information technology’s slightly sharper than the xiv-24mm, adds VR, uses normal filters and is smaller, lighter and less expensive.

Turn VR off in daylight, since it increases shutter delay.

The huge fourteen-24mm is a special-purpose lens. I don’t suggest it for general employ; I suggest this 16-35mm.

Skip this full-frame 16-35mm for DX. The 10-24mm DX or x-20mm are much meliorate for utilize as broad-angles on DX and cost much less.

If you’re a backpacker, the 18-35mm AF-Due south or 20mm f/1.eight weigh less, merely have no VR.

I never apply the hood. I leave it in the box for resale fourth dimension.

I’d go out either a 77mm Nikon Clear (NC – UV) filter or a 77mm Hoya multicoated HD3 UV, which uses hardened glass and repels dirt and fingerprints, on the lens at all times.

For less coin, the B+W 77mm 010 is an first-class filter, as are the multicoated version and the bones multicoated Hoya filters, simply the Hoya HD3 is the toughest and the all-time.

Filters last a lifetime, and then y’all may likewise get the all-time. The Hoya HD3 stays cleaner than the others since it repels oil and dirt.

I ‘d become my 16-35 VR used at eBay (How to Win at eBay).

This advertizement-costless website’southward biggest source of back up is when you use those or any of these links to approved sources when you get
annihilation, regardless of the land in which you alive. Nikon does non seal its boxes in whatever way, so
never
purchase at retail or any other source not on my personally approved listing since you’ll have no manner of knowing if you’re missing accessories, getting a defective, damaged, returned, store demo or used lens. I use the stores I do because they ship from secure remote warehouses where no i gets to touch your new camera earlier yous do. Purchase merely from the canonical sources I use myself for the best prices, service, render policies and selection.

Thanks for helping me assist you!

Ken Rockwell.

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

Aid Me Assist You

I back up my growing family unit through this website, as crazy as it might seem.

The biggest help is when you apply whatsoever of these links when yous get
anything. Information technology costs you null, and is this site’s, and thus my family unit’s, biggest source of support. These places always have the best prices and service, which is why I’ve used them since before this website existed. I recommend them all
personally.

If you discover this page as helpful as a book y’all might have had to purchase or a workshop you may have had to take, experience free to help me keep helping everyone.

If you lot’ve gotten your gear through one of my links or helped otherwise, y’all’re family. It’s swell people like you who allow me to continue adding to this site total-fourth dimension. Cheers!

If you haven’t helped yet, please do, and consider helping me with a gift of $5.00.

Equally this folio is copyrighted and formally registered, it is unlawful to make copies, especially in the course of printouts for personal use. If you wish to brand a printout for personal apply, you are granted one-fourth dimension permission only if y’all PayPal me $5.00 per printout or office thereof. Cheers!

Thanks for reading!





Ken Rockwell.

Source: https://www.kenrockwell.com/nikon/16-35mm.htm