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Nikon 16-35mm F4G ED AF-S VR Zoom Nikkor Lens
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- Ultra- wide-angle zoom lens with constant f/4 aperture
- 16-35mm zoom range (DX equivalent: 24-52mm).
- Vibration Reduction II (VR II) stabilization system. Lets you use shutter speeds that are up to 4 stops slower
- ED (Extra low Dispersion) glass and aspherical lens elements ensure high resolution and superior contrast
- Exceptionally high optical performance
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Nikon Lens Nikkor AF-S 16-35mm f/4G ED VR II, Black
|Shipping||£24.00||FREE Shipping||FREE Shipping||FREE Shipping||£24.00||FREE Shipping|
|Sold By||Ergositting||Elixir UK||Amazon.co.uk||Amazon.co.uk||Ergositting||Amazon.co.uk|
|Item Dimensions||12.5 x 8.3 x 8.3 cm||5.3 x 7 x 7 cm||9.5 x 8.3 x 8.3 cm||10.6 x 8.3 x 8.3 cm||13.2 x 9.8 x 9.8 cm||—|
|Item Weight||0.68 kg||200 grams||385 grams||0.75 kg||0.97 kg||0.68 kg|
|Max Focal Length||35 mm||35 mm||35 mm||35 mm||24 mm||35 mm|
|Min Focal Length||16 mm||35 mm||18 mm||17 mm||14 mm||16 mm|
|Mounting Type||Nikonbayonet||Nikonbayonet||Nikon F||Nikonbayonet||Nikonbayonet||—|
Customer Package Type: Standard Packaging
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Representing great craftsmanship with advanced lens technologies the ultra wide-angle AF-S NIKKOR 16-35mm f/4G ED VR lens delivers the clarity and detail your photography deserves. From daylight to low light, your creative bases are covered with this astonishingly versatile wide-angle lens. And with features such as Nikon’s Vibration Reduction technology and the especially fast Silent Wave Motor, the dramatically sharp still images and video produced make it ideal for photographers of all levels.
Perfect for travel, landscapes, interiors and more, this versatile, take-anywhere lens offers passionate photographers an easy and affordable way to discover a new approach to wide-angle photography.
On a quest to create the finest optics in the world, Nikon has created this wide-angle zoom lens with f/4 maximum aperture, covering a broad range of focal length, from an incredibly wide 16mm to the standard 35mm. With the application of Nano Crystal Coating, internal lens element reflections are virtually eliminated across a wide range of wavelengths. This is particularly effective in reducing ghost and flare peculiar to ultra wide-angle lenses. This coating along with other advanced lens technologies combine to create exceptional performance in a broad range of shooting situations.
Crystal Clear Imagery
Nikon’s exclusive second generation Vibration Reduction system (VR II) enables steady hand-held shooting at all focal lengths. Delivering sharp photos and video, VR II allows you to use shutter speeds that are up to 4 stops slower than would otherwise be possible. And being an optical system means that the viewfinder image is also stabilised, enabling more accurate autofocus acquisition and framing. Leave your tripod at home and shoot with confidence, safe in the knowledge that the AF-S NIKKOR 16-35mm f/4G ED VR lens will produce photos of outstanding sharpness and colour even in low light.
Providing superb optical performance, the lens comprises 17 element in 12 groups, in a design with two ED and three aspherical lens elements. The iris diaphragm has nine rounded blades for a soft rendering effect, producing high-quality natural backgrounds. Featuring a newly designed optical system, the ED elements work together with the aspherical elements to eliminate problems of coma and chromatic aberration and ensure high-resolution and superior contrast.
Nikon's AF-S technology is yet another reason why professional photographers like NIKKOR lenses. Nikon’s exclusive Silent Wave Motor (SWM) converts travelling waves into rotational energy to focus the optics. This enables high-speed autofocusing that’s extremely accurate and super quiet. So for discrete shooting you can set up the shot in an instant and camera focusing won’t disturb sensitive subjects like wildlife.
Combining ease-of-use and maximum precision, the AF-S NIKKOR 16-35mm f/4G ED VR lens has two focus modes. In addition to Manual focus, Manual-priority autofocus (M/A) allows you to switch from autofocus to manual operation with virtually no time lag, even during AF servo operation and regardless of the AF mode in use. This gives all the benefits of fast, automatic focusing while still retaining the ability to make fine focus adjustments before taking the shot.
The AF-S NIKKOR 16-35mm f/4G ED VR lens was built with long-lasting durability and portability in mind. Using a high proportion of magnesium in its construction, this sturdy lens weighs in at an economical 680g, providing well-balanced handling. Allowing for a more compact design, Nikon's Internal focus (IF) technology limits all the optical movement to the interior of the non-extending lens barrel. This intelligent system enables a close minimum focus distance to be retained throughout the zoom range at or below 29cm (less than 1ft). And with a weather-sealed mount protecting both the lens and camera it’s an ideal choice for the adventurous enthusiast and professional photographer alike.
Designed to handle a variety of scenes and subject matter, and supplied complete with an HB-23 Lens Hood and Soft Lens Case, the ultra wide-angle AF-S NIKKOR 16-35mm f/4G ED VR lens from Nikon will add a new perspective to your photography.
 Focal length of 16-35mm when used on a camera with an FX sensor. When fitted to a DX-format DSLR this lens has an angle of view equivalent to that of a 24-52mm lens in 35mm  format.
Nikon 16-35mm F4 lens
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I had intended going for the Nikon 14-24mm f2.8, I already own the Nikon 24-70mm f2.8 so it seemed at first to be a no brainer given the 14-24mm's reputation for image quality.
Then I did some online research, a whole day in the end, and the choice became increasingly less obvious. Opinion was pretty much divided, no one argued the quality of the 14-24mm but in other areas the choice was less clear cut.
I decided to go back to the drawing board and re-evaluate how I would be using the lens.
The lens was for intended for landscape so the 16-35mm on an FX body was a good focal length for this.
I like to shoot in inclement weather, the Nikon 14-24mm's inability to accept filters so having the front element exposed to wind, sand, sea spray and rain without the protection of a UV filter would have been a major concern.
The 16-35mm is an f4, so down a stop on the 14-24mm, and unlike many landscape photographers I rarely use a tripod as I find it gets in the way. Photographing whilst standing on slippery wet boulders can be tricky enough without a tripod to send you flying, so I tend to opt for a monopod or hand hold. So the Vibration Reduction had appeal.
Also the for me focal length had an advantage, 16-35mm covers a good spectrum of wide angle use. I try to plan for the lens I need before I go out and shoot. Changing lenses in rough weather is not a good idea to me, not only the risk of unwanted debris entering the camera or rear of the lens, but also the risk of dropping it.
On this basis I opted for the 16-35mm f4. So how have I found performance?
I ran some tests as far as I was able against my Nikon 24-70 f2.8, I took some shots at 24mm and 35mm on both lenses at the same f-stops, f4 and f8 with my Nikon D800 mounted on a tripod. I then blew these up to 300% in PhotoshopCC on a 27 inch monitor. This way exceeded what I would require of the lens.
At 35mm the Nikon 24-70mm appeared to have the advantage in terms of edge to edge sharpness, also for some unknown reason the the 16-35mm seemed to loose colour saturation compared to the 24-70mm. At f8 the 16-35mm was better though not the colour. This was simply adjusted in Photoshop.
At 24mm the situation reversed and the results were very noticeably better than those from the 24-70mm at both f stops. The colour saturation problem also disappeared.
I also ran some tests at 16mm, though I could not make any direct comparisons, the shots were taken in a conservatory with white chairs that had a wicker pattern on them. At f4 there was no real detail on the chairs at the image edges, at f8 the image improved very dramatically with good detail across the entire frame. This improved still further at f11.
All images taken at on the Nikon 16-35mm at f8 and viewed at 100% in Photoshop were impeccable.
In the field.
If I was still having doubts about my choice these did disappear once out in the wilds. This is a lovely lens to use. At first I thought it felt bit light and plastic for a pro Nikon lens, but once on the D800 it felt very well balanced and a very comfortable weight. It is fully weather sealed and suffered no mishaps when shooting close up to water falls despite getting fairly wet.
The quality of the images has not disappointed in any way. I think what counts are the results you get in the field, and this lens really delivers, also I experienced no issues at 35mm.
Also there is a significant price difference between the 14-24mm and the 16-35mm, large enough in fact to buy another piece of kit.
Perhaps if I ever take up interior photography I will take another look at the 14-24mm.
There are far more detailed reviews here as well as on the net; so I'll keep it simple:
1) the 16-35mm is lighter (680g versus 1000g) than the 14-24mm. One can argue that if you're shooting landscape and the lens is mounted on a tripod, the weight doesn't matter. Well, who's going to carry it there? :)
2) the 16-35mm is cheaper (£829 versus approx. £1200) than the 14-24mm. That's highly subjective to your budget, but £370 is a considerable sum which can be invested back in your photography gear.
3) As if the 14-24mm isn't bulky enough, please Google pictures of the 14-24mm with the Lee filter system; it's an absolute behemoth.
4) The 16-35mm range on this is far more practical allowing it to act as a landscape/street photography hybrid. The 2mm loss on the wide end is considerable but at 16mm you are already quite wide. If you are going to lose sleep over the 2mm, then get the 14-24mm, simple as.
5) F2.8 to F4 is a full one stop reduction... that's definitely a big deal if you're considering this for night sky photography; if that's the primary use then by all means grab the 14-24mm! However my hypothesis is this is a primarily a landescape lens in which case you'll have a lot more in focus wide open at F4 than at F2.8. It terms of light loss, given that both are likely to be mounted on a tripod (see point above), then really the F2.8 is no longer as a big loss at it first appears (no pun intended).
6)The addition of VR may encourage you to use this handheld, a far more enjoyable experience than a tripod/cable release combo.
I hope I have convinced you to save yourself and your wallet some serious cash which you can spend on some filters, etc
I'll be posting some sample photos following the bank holiday weekend so you can judge the lens sharpness, distortion for yourselves etc
The lens is quite long, almost as long as my 24-70mm f2.8 Nikkor but it is light as it has a plastic outer case but it doesn't feel cheap and feels well made.
I think it was a good decision,I previously owned a Nikon 14-24 which is a very good lens but I found that its not a very practical lens for lugging around - its heavy, the glass protrudes past the casing and the lense cover is huge, I was constantly worried about damaging it.
The 16-35mm is in my opinion far more practical and I cant tell the difference in the quality.
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