Posts
The addition of stabilization also means a more complex optical formula than is usual for a relatively slow wide zoom. The 16-35mm makes use of 17 elements on 12 groups including a liberal sprinkling of exotic elements to address aberrations, of which three are aspherical and two made from Extra-low Dispersion (ED) glass. Nano Crystal coating is also employed to combat flare. The stabilization system meets Nikon's 'VR II' specification, promising sharp images hand-held at shutter speeds up to four stops slower than would usually be possible. Focusing uses a ring-type AF-S motor for speed and silence, and full-time override of the focus distance is available.
These goodies are rounded off with high standard of build quality, including protection against dust and water. A nine-bladed circular aperture is also employed for the attractive rendition of background blur. All of this adds up to one of the most attractively-specified wideangle zooms available; the question is, does the reality live up to the specs?
Headline features
- 16-35mm focal length range; F4 constant maximum aperture
- Optical image stabilization – 4 stops claimed
- Ring-type ultrasonic focusing with full-time manual override
- F mount for Nikon and Fuji DX and FX format DSLRS
Zurab Kiknadze, Product Manager Lenses, Accessories & Software, Nikon Europe says: “The AF-S NIKKOR 16-35mm f/4G ED VR covers all bases for wide angle shooting and addresses market feedback for a more affordable alternative to the professional AF-S Zoom-Nikkor 17-35mm f/2.8D IF-ED or more recent AF-S NIKKOR 14-24mm f/2.8G ED ultra-wide-angle lens”.
Sharper handheld images at slow shutter speeds
The AF-S NIKKOR 16-35mm f/4G ED VR is the world’s first ultra-wide angle zoom lens to feature Vibration Reduction technology, providing the ability to shoot at shutter speeds up to four stops slower. The application of VR complements the f/4 maximum aperture when shooting in low light.
Class leading image quality
The new lens’ complex optical design features Nikon’s exclusive anti-reflection Nano Crystal coat, two ED glass elements and no less than three aspherical glass elements to minimize distortion and aberration, even at maximum aperture. The VR II system and Silent Wave Motor deliver extremely quiet, discrete operation and the nine bladed rounded diaphragm renders delightful bokeh.
Built for everyday use
The AF-S NIKKOR 16-35mm f/4G ED VR balances well with more compact FX format cameras such as the D700 and is consequently built to withstand the demands of everyday shooting. The robust magnesium construction and weather sealing will make it an ideal choice for the adventurous enthusiast and professional photographer. It comes complete with durable hood HB-23, and soft pouch.
AF-S NIKKOR 16-35mm f/4G ED VR Specifications
Focal length: 16-35mm
Max/min aperture: f4 / f22
Lens construction: 17 elements in 12 groups (with two ED glass and three aspherical lens elements, and Nano Crystal Coat)
Picture angle: 107° - 63° (83° - 44° for Nikon DX format)
No. diaphragm blades: 9 pcs. (rounded)
Closest focusing distance: 0.29m at a focal length of 16mm or 35mm, 0.28m at a focal length between 20mm and 28mm
Filter/attachment size: 77mm
Diameter x length: Approximately 82.5 x 125 mm
Weight: Approximately 680 g/24.0 oz
Conclusion - Pros
- Very high image quality on both DX and FX formats
- Excellent build quality with dust and moisture sealing
- Highly effective optical image stabilization
- Fast, silent autofocus with manual override
Conclusion - Cons
- Huge barrel distortion at 16mm on FX cameras
- Relatively big and heavy for its class (larger than many F2.8 wideangle zooms)
- Slightly inelegant flare handling
Overall conclusion
The AF-S Nikkor 16-35mm F4 VR may be the first true wideangle zoom to incorporate optical image stabilization, but while many headline-grabbing firsts end up being slightly disappointing products, it's anything but. The 16-35mm is simply a very good wideangle lens that happens to have VR thrown in as a bonus.
Overall, image quality is pretty impressive. The lens is very sharp in the center of the frame at almost all settings, and while the extreme corners are a little soft wide open on full frame (especially at 16mm), they sharpen up well on stopping down to normal working apertures. Chromatic aberration is also strikingly low, which contributes greatly to producing clean-looking images. At its very best - stopped down to F8 or F11, and especially around the 24mm mark - the lens's rendition of fine detail right across the frame is simply breathtaking. Throw in excellent build quality, fast and silent focusing, plus efficient VR, and this all adds up to a very desirable package.
The one outstanding flaw, though, is the barrel distortion at 16mm on full frame, which is frankly huge. It's by some margin the highest we've measured amongst conventionally-corrected SLR lenses, and indeed higher than that of many Micro Four Thirds lenses, which rely on automated software correction to produce acceptable images. This distortion will be visible in many images, especially if you shoot subjects which naturally include lots of straight lines such as interiors and architecture. It can be corrected easily enough in post-processing, although unfortunately Nikon provides no automated way of doing this in the ViewNX software supplied with its cameras; you'll have to pay extra for Capture NX2 (which at the time of writing appeared not to understand the 16-35mm correctly either).
Aside from that, flaws are minor. The 16-35mm isn't the best in the world at dealing with flare when shooting into the sun, but to be fair we've seen much worse. It's also a relatively large, bulky lens, with the addition of VR clearly changing the equation somewhat compared to Canon's analogous EF 17-40mm F4 L USM. Indeed it's larger in size than many F2.8 wide zooms (including Nikon's own AF-S 17-35mm F2.8D), and it's not a lightweight either. So it doesn't quite offer the portability advantage that you might expect from its F4 maximum aperture.
On launch, Nikon seemed intent on characterizing the 16-35mm as 'the wide zoom for D700 users', designed to complement the smaller full frame body design. But to see it as some kind of poor relation to the D3(X) user's 14-24mm F2.8 is decidedly to miss the point, as in many ways the 16-35mm is a far more practical lens. For landscape photographers it's easier to carry around all day (due to its significantly lighter weight), and it additionally allows you to use filters such as neutral density gradients and polarizers much more easily. It obviously doesn't provide such a wide field of view, but most of the time it's wide enough, and the significantly extended long end means that you can plausibly leave it on the camera much more of the time, minimizing the need for lens swapping. The efficient VR also enables hand-held shooting in lower light than the faster lens, just as long as you don't need to freeze subject motion.
Speaking of VR, it's possible that some potential buyers will be questioning its utility on a wideangle lens. While it's true that stabilization is nowhere near as essential as it is on a long telephoto, this doesn't make it superfluous. It simply gives you more scope for trading shutter speed against aperture or ISO when shooting hand-held, allowing you to use smaller apertures for increased depth of field (or simply stay within the sweet spot of sharpness), longer shutter speeds for creative use of motion blur, or just to continue working in extremely low light.
The 16-35mm F4 VR is, then, an excellent alternative to the 14-24mm F2.8 as a lighter, more affordable ultra-wide angle zoom for Nikon's full frame DSLRs. The addition of VR, and the ability to accept filters, also adds up to a slightly different set of capabilities, making the 16-35mm in many respects a more practical lens to carry around and use. We're not so convinced about its utility on DX; it's large, heavy and expensive for such a limited zoom range (24-50mm equivalent), so despite its excellent optics a purpose-designed DX zoom probably makes more sense for most users. Overall, only the huge barrel distortion at 16mm on FX makes it fall just short of our top award.
0 التعليقات:
Post a Comment