The 24-105mm focal range covers wide-angle to medium telephoto, making it well-suited for landscapes, travel, street photography, food, and casual portraits. At just 12.4 ounces (350 grams), this is a notably compact option for a full-frame zoom with this reach—a key selling point for photographers who prefer to travel light or shoot handheld for extended periods.

How It Compares to Existing Options

Nikon’s Z-mount lineup already includes the NIKKOR Z 24-120mm f/4 S, a sharper, constant-aperture lens that retails for around $1,097. The new 24-105mm f/4-7.1 costs roughly half as much and weighs significantly less, though photographers will sacrifice low-light performance and background separation as the aperture narrows toward the telephoto end.

Canon offers a similar consumer-oriented option in the RF 24-105mm f/4-7.1 IS STM, which has been popular among budget-conscious full-frame shooters since its release. Nikon’s entry appears to be a direct response, giving Z-mount users a comparable lightweight alternative at a competitive price point.

Close-Focus Performance and Video-Friendly Features

Despite its compact build, the lens delivers impressive close-up capability. Nikon lists a minimum focusing distance of 7.9 inches (0.2m) at the wide end and 11 inches (0.28m) at telephoto, with a maximum reproduction ratio of 0.5× between 70-105mm. That’s genuinely useful for food photography, detail shots, and product work where you want to get close without swapping to a dedicated macro lens.

Autofocus is handled by a stepping motor (STM), providing the quiet, smooth operation that video shooters need. The lens also includes a customizable control ring that can be assigned to focus, aperture, exposure compensation, or ISO. On supported bodies, Nikon’s Hi-Res Zoom feature extends effective reach to 210mm equivalent while maintaining image quality—a practical option for creators who want extra framing flexibility without carrying additional glass.

Designed to Pair with the Nikon Z5II

Nikon is positioning the NIKKOR Z 24-105mm f/4-7.1 as a natural companion to the Z5II, and it will be offered as a kit option with that body starting this winter. The combination targets enthusiasts stepping into full-frame mirrorless or anyone looking for a straightforward all-in-one setup that handles most everyday shooting scenarios without breaking the bank.

The lens features dust and drip resistance, though Nikon notes that weather sealing is not guaranteed under all conditions.

Pricing and Availability

The NIKKOR Z 24-105mm f/4-7.1 will be available in mid-January 2026 at a suggested retail price of $549.95. A kit bundling the lens with the Nikon Z5II will retail for $2,199.95.

Who Should Consider This Lens

For wedding and event photographers who depend on fast apertures in challenging light, this lens isn’t a replacement for the 24-70mm f/2.8 S. The variable aperture will limit your options when reception lighting gets dim or when you need shallow depth of field for creative separation.

That said, the NIKKOR Z 24-105mm f/4-7.1 makes a compelling case as a travel lens, a lightweight walk-around option, or a secondary body pairing for outdoor work where portability matters more than speed. If you’re building out a Z-mount kit on a budget or simply want something lighter for everyday shooting, this looks like a practical addition to Nikon’s lineup.

Fast Zoom with Real Reach: NIKKOR Z DX 16-50mm f/2.8 VR

The new 16-50mm f/2.8 VR is a significant step up from the collapsible 16-50mm f/3.5-6.3 kit lens. This version offers a constant f/2.8 aperture throughout its zoom range, covering a 24-75mm equivalent on DX — a practical focal range for everything from wide-angle travel scenes to tight portraits.

While compact (just 3.4 inches long) and light (330 grams), the lens doesn’t skimp on performance:

• Constant f/2.8 aperture for shallow depth of field and better low-light results
• Built-in VR with up to 5 stops of stabilization
• Stepping motor for quiet, smooth autofocus — ideal for video
• Internal zoom and minimized focus breathing
• Minimum focus distance of 5.9” (wide) and 9.8” (tele)
• Customizable control ring and weather-sealed construction

For creators using the Nikon Z50 II — which supports Hi-Res Zoom — this lens can digitally extend to an effective 16-100mm range while maintaining resolution, all while preserving the f/2.8 aperture.

Macro Meets Everyday: NIKKOR Z DX MC 35mm f/1.7

Also new is the NIKKOR Z DX MC 35mm f/1.7 — Nikon’s first DX-format Z lens to offer near life-size reproduction. While labeled a “Micro” lens, it serves a dual role: as a fast standard prime and a capable close-up tool.

Key specs include:

• f/1.7 maximum aperture for subject isolation and low-light shooting
• 6.2-inch minimum focus distance (2.8-inch working distance)
• 0.67x magnification (equivalent to 1:1 on full frame)
• Compact and lightweight design
• Internal focusing and one aspherical ED element to control aberrations
• Quiet STM AF and dust-/drip-resistant construction

It’s a versatile prime that covers everything from tabletop detail shots to casual portraits, and it fits the minimalist ethos of Nikon’s Z DX bodies.

Positioning Within the Market

In the broader APS-C ecosystem, Nikon’s new 16-50mm f/2.8 VR aims squarely at the middle ground between portability and pro-level control. It’s positioned similarly to Fujifilm’s XF 18-55mm f/2.8–4 — a well-regarded hybrid lens — though Nikon’s constant f/2.8 gives it an edge in low light. It’s also significantly cheaper and smaller than Sony’s 16-55mm f/2.8 G.

The 35mm f/1.7, meanwhile, fills a much-needed gap in Nikon’s DX lineup. Competing systems like Fujifilm and Canon offer multiple small primes and macro options for APS-C shooters. Nikon’s been slow to build out its DX lens catalog, but this release — alongside the 24mm and 12-28mm VR — suggests a more deliberate ecosystem is finally taking shape.

Ideal Use Cases

The NIKKOR Z DX 16-50mm f/2.8 VR is well-suited for handheld video shooters who need reliable in-lens stabilization and a design that minimizes focus breathing. It’s a practical choice for run-and-gun creators, vloggers, or anyone producing content where consistent exposure and fast adjustments matter. Street and travel photographers will appreciate its ability to deliver cleaner subject separation and better low-light performance than a standard kit zoom.

The NIKKOR Z DX MC 35mm f/1.7, on the other hand, makes a strong case as a go-to lens for capturing product detail and tabletop setups — everything from food to crafts to flat lays. It’s equally capable in more spontaneous settings, offering natural rendering and pleasing bokeh for portraits, especially in tight indoor environments where light is limited and space is at a premium.

NIKKOR Z DX 16-50mm f/2.8 VR Sample Images

NIKKOR Z DX MC 35mm f/1.7 Sample Images

Weighing just 1.19 lbs, the Nikon ZR is a modular, fanless system with a professional video spec sheet that aims to challenge the likes of Sony’s FX3 and Canon’s R5C. It shares the partially stacked full-frame sensor from the Z6 III but pairs it with a new 12-bit R3D NE RAW codec — a format developed with RED that brings their Log3G10 curve and REDWideGamutRGB color to Nikon’s ecosystem.

Intro Video

Key Specs and Features

• Sensor: 24.5MP full-frame, partially stacked (same as Z6 III)
• Internal Recording: 6K/60p in 12-bit R3D NE RAW
• Dynamic Range: 15+ stops
• Color Science: RED Log3G10 + REDWideGamutRGB
• Dual Base ISO: 800 and 6400, ISO adjustable in post with NE RAW
• LCD: 4.0″, DCI-P3, 1,000-nit brightness
• Audio: 32-bit float recording via built-in or external mics, OZO directional audio
• Stabilization: 7.5 stops of in-body image stabilization
• Autofocus: EXPEED 7 with deep-learning AI; 9 subject types
• Connectivity: Digital accessory shoe, USB-C Power Delivery, HDMI, mic/headphone jacks
• Build: Magnesium alloy, weather-sealed, fanless design

Filmmaker-Oriented Workflow

The ZR includes a redesigned UI for video shooters, with a new Quick Menu, custom button layout, and a vertical tally light. There’s no EVF, but the 4-inch LCD is bright enough for daylight use — often eliminating the need for an external monitor.

A new “Cinematic Mode” enables a RED-style workflow in a simplified package, locking shutter angle to 180°, frame rate to 24p, and applying a RED Cine Bias Picture Control. Up to 10 LUTs (.cube files) can be loaded and previewed in real time on the monitor.

It also supports Frame.io Camera to Cloud via NX MobileAir, and continuous recording is possible with USB-C power delivery — ideal for long interviews, events, or multi-cam setups.

Digital Accessory Ecosystem

The ZR is the first Nikon body with a digital accessory shoe, allowing two-way communication with compatible gear. One of the first products is the ME-D10 shotgun mic, which requires no cable or battery and offers two modes (PURE and FOCUS) with built-in shock isolation.

Nikon says it plans to work with third-party partners to develop more accessories that take advantage of this connection.

Product Images

Pricing and Availability

The Nikon ZR will be available in late October 2025 at the following price points:

• ZR (body only): $2,199.95
• ZR + NIKKOR Z 50mm f/1.8: $2,749.95
• ZR + NIKKOR Z 35mm f/1.4: $2,849.95
• ZR + NIKKOR Z 24-50mm f/4-6.3: $2,499.95
• ME-D10 Shotgun Microphone: $339.95

Lightest in Its Class

At 675 grams (1.49 lbs.), the S II is 130 grams lighter than its predecessor and now claims the title of lightest full-frame 24-70mm f/2.8 zoom on the market—edging out even Sony’s FE 24-70mm f/2.8 GM II (695g).

• Canon RF 24-70mm f/2.8 L IS USM: 900g
• Sigma 24-70mm f/2.8 DG DN II Art: 735g
• Panasonic Lumix S Pro 24-70mm f/2.8: 935g

The slimmer build also reduces the filter thread from 82mm to 77mm, making filters smaller and more affordable. Nikon’s redesigned lens hood adds a filter adjustment window, so users can rotate polarizers or NDs without removing the hood.

Internal Zoom and Handling

Unlike its predecessor, the S II uses an internal zoom mechanism. This means the lens maintains a fixed length (142mm) regardless of focal length changes—an advantage for gimbal work, stability, and keeping dust out of the barrel.

The tradeoff: the S II is longer at rest compared to the original (142mm vs. 126mm), and slightly longer than Sony’s GM II (120mm). Still, its consistent balance during zooming makes it a strong option for hybrid photo-video shooters.

Autofocus: Nikon’s Fastest Ever

This is the first Nikon zoom to employ Silky Swift VCM (SSVCM) motors, which the company claims make AF five times faster than the first-generation lens and improve tracking performance during zooming by 60%.

Nikon goes as far as to call it the fastest focusing lens in its history—a bold claim that will certainly be put to the test by sports and event shooters.

Optics and Close-Up Performance

• Optical Formula: 14 elements in 10 groups (down from 17 in 15)
• Coatings: Nikon’s new Meso Amorphous Coat plus ARNEO Coat for the strongest anti-reflection protection in the lineup
• Aperture: An 11-blade diaphragm replaces the older 9-blade design for smoother, rounder bokeh
• Minimum Focus: 0.24 m at 24mm, 0.33 m at 70mm
• Magnification: Up to 0.32x—an improvement over the first version’s 0.22x

Video-Oriented Refinements

Nikon has clearly considered video users here. The S II suppresses focus breathing, includes a clickable/de-clickable control ring, and holds its balance while zooming—important for rigs and accessories.

One notable omission, however, is the OLED display from the original lens, which some photographers may miss.

Price and Availability

The NIKKOR Z 24-70mm f/2.8 S II will be available in mid-September for $2,799.95.

That’s a jump from the original, which currently retails for about $2,096.95 on sale.

Sample Images

Final Thoughts

The 24-70mm f/2.8 is the bread-and-butter lens for countless professionals, and Nikon’s update focuses on agility, speed, and hybrid workflows. While some may lament the loss of the OLED display, the gains in autofocus performance, weight savings, and internal zoom handling make this a compelling upgrade.

For Nikon Z shooters who rely on a standard zoom daily, this lens looks like the new workhorse to beat.

Admittedly, today’s lenses have a couple of major, game-changing advantages compared to the SLR/DSLR era. In the Nikon ecosystem, for example, the SLR F-mount had a very constricting diameter, and had to accommodate the extra distance required for a viewfinder prism mirror. Also, the older superzoom optical formulas did not have the advanced computer-aided design.

Things are completely different now, indeed. The Nikon mirrorless Z mount is the biggest (widest diameter) mount on the market, and optical engineers have amazing new design tools to harness the newfound unfettered potential.

Spoiler alert: The Nikon Nikkor Z 24-200mm f/4-6.3 VR is an incredible lens. In fact, it might be the only lens you need, depending on the photo/video content you create! With that in mind, let’s dive into this review…

Nikon Z 24-200mm f/4-6.3 VR Specifications

• FOCAL LENGTH & ANGLE OF VIEW: 24-200mm, 84° to 12° 20′
• LENS MOUNT(S): Nikon Z-mount (FX full-frame)
• APERTURE & RANGE: f/4-6.3, f/22-36
• STABILIZATION: Yes, optical VR
• AUTOFOCUS: Near-silent stepper motor
• MANUAL FOCUS: Yes, electronically controlled using customizable control ring
• OPTICAL CONSTRUCTION: 19 Elements in 15 Groups, 2 aspherical, 2 ED elements, ARNEO & Nano Crystal coatings
• MECHANICAL BUILD: Metal & Plastic, weather-sealed
• MAGNIFICATION & FOCUS DISTANCE: 0.28x magnification, 1.64 ft (50  cm) close focusing
• FILTER THREADS & HOOD: 67mm filter threads, plastic 1-piece petal hood
• SIZE: 3.01 x 4.49 in. (76.5 x 114 mm)
• WEIGHT: 1.25 lbs (570g)
• PRICE: $896.95

Nikon Z 24-200mm f/4-6.3 VR Review | Who Should Buy It?

The focal length range from 24mm to 200mm is pretty much all-encompassing. I know innumerable wedding & portrait photographers who do 100% of their work using a 24-70mm and 70-200mm lens!

Of course, the main difference is that those are f/2.8 zooms, whereas this all-in-one full-frame mirrorless zoom lens is f/4 at the wide end, and f/6.3 at the 200mm end. This does indeed create some restrictions for anyone who is looking to work in low light.

Honestly, though? If you’re mostly working in “decent” light, or if you’re using a tripod at times when the light is dim, you might just be able to get away with the 24-200mm.

I’m not making that recommendation to working professional portrait or wedding photographers, mind you. I strongly recommend the “professional standard” of f/2.8, if clients are trusting you to deliver high-quality results in any lighting. 

If you’re at 200mm, the light loss between f/2.8 and f/6.3 will force you to increase your ISO from an acceptable ~3200 to beyond ISO 12800, and I simply don’t recommend that for paid portrait or wedding work.

Travel & Adventure Photography

First and foremost, the advantage of “never” having to switch lenses is my top reasons why I’d choose the Nikon 24-200mm f/4-6.3 Z. Maybe you’re with family on a special vacation and you have a packed schedule. Or, maybe you’re off in the mountains or desert with your adventure friends. There are just some scenarios in which it’s very convenient to just slap one lens on your camera and never have to think about changing it.

The zoom range from 24-200mm is perfect for all kind of travels & adventures; 24mm gives you that classic view of a landscape, and 200mm gives you the “reach” you need for candid portraits of people, close-up details, and even wildlife. (More about “serious” landscape & wildlife photography next!)

Landscape Photography

Of course, the category of “travel and adventure” might imply that a content creator isn’t a “serious” landscape photographer. What if traditional landscape photography is your main passion, or even your full-time job? Don’t think twice about this superzoom; it’s more than capable of professional results.

For those dedicated landscape photographers who really pixel-peep the extreme corners of their image frames, you might notice a bit lower resolution at 24mm, especially on 45+ megapixel sensors. Honestly, though, the image detail is still very impressive, and nobody is going to notice.

At the very least, I’d call the Nikon 24-200mm a great all-around landscape photography lens for more active, fast-paced things like hiking, backpacking, road trips, etc. Having a superzoom on your camera is going to result in more photos captured, and one of those images might end up being a portfolio-worthy shot.

Ideally, yes, I would choose a dedicated landscape photography lens such as the Nikon Z 14-24mm f/2.8 S or the Nikon Z 14-30mm f/4 S. Still, this 24-200mm is the lens I’d “leave on my camera” while hiking, driving, or any sort of exploring as an outdoor & nature photographer.

Action Sports & Wildlife Photography

From here, most of the other genres of photo & video that I’m going to talk about are in a category that I can best describe by saying, “you’ll probably want at least one other specialized lens, but this 24-200mm makes a perfect all-around zoom.”

Sports & wildlife photography is a perfect example of this: you want at least one zoom lens that can cover as big of a range as possible. This 24-200mm might be on your 2nd camera body, while your main camera has a dedicated wildlife/sports lens. Still, having the versatile zoom range could save you from missing a moment.

Architecture & Real Estate Photography

Similarly to landscape photography, you’ll probably want a dedicated wide-angle lens for these types of photography. Whether you just love to do cityscapes, or you’re a full-time real estate photographer, a 24-200mm could be the perfect 2nd lens to go with something like the Nikkor Z 14-30mm f/4 S.

Vloggers & Video Content Creators

Last but not least, if you do video, this all-in-one superzoom is a great choice for all your B-roll needs, or any time you need a long zoom sequence. For vlogging, I’d likely opt for a lightweight, fast-aperture lens such as the Nikon 20mm f/1.8 S as my main lens, or the Nikon 17-28mm f/2.8. Then, this 24-200mm would be the all-around lens for everything else besides selfie compositions.

If you’re a more cinematic movie-maker, then you might opt instead to save up for a high-end pro zoom like the Nikon Z 28-135mm f/4 PZ. However, at $2596 compared to the $896 price tag of the 24-200mm, we are absolutely getting into apples VS oranges territory there.

Nikon Z 24-200mm f/4-6.3 VR Review | Pros & Cons

Image Quality

Sharpness is excellent throughout the whole zoom range. (You won’t have to worry about there being a random range of softness somewhere in the middle, like many old superzooms used to have!) There is some loss if resolution in the extreme corners, when the aperture is wide open, regardless of which focal length you’re at. However, stopping down 1-2 stops really helps add sharp detail to the corners, indeed.

Overall, the rest of the many aspects of image quality are quite pleasing. I don’t even have to say, “pleasing for a superzoom”; the image characteristics such as bokeh are just plain beautiful, period!

Colors and contrast are beautiful. Flare is aesthetically pleasing, without those annoying flare dots. Sunstars are easy to achieve at tighter apertures such as f/16.

Even the most technical aspects of image quality, such as color fringing, chromatic aberration, and coma/astigmatism, are relatively minimal. There is some faint color fringing if you’re using the aperture wide-open to photograph high-contrast subjects in harsh sunlight, but that is understandable.

With an aperture of f/4 at 24mm, this lens wouldn’t be my top choice for nightscapes or astrophotography, of course. Having said that, if it’s a nearly full moon, you’ll easily capture beautiful results. One thing to keep in mind is that there is a built-in lens profile being applied, to correct distortion and vignetting. I recommend leaving this on at all times, unless you’re doing very challenging work at extremely high ISOs, in which case it’s best to turn off the distortion correction to avoid noise banding patterns.

Last but not least, despite is relatively tight aperture at the longer focal lengths, and the modest magnification of 0.28x, the close-up capabilities of this lens are quite impressive for those who want to dip their toes into the world of macro.

Design & Durability

The Nikon Z 24-200mm VR is a rather sturdy, durable lens. The design is minimalistic; the zoom ring is large and easy to operate and the focus / control ring is easy to find as well. All in all, considering the price point I would expect this lens to last as long as any professional Nikkor, as long as you take decent care of it.

Autofocus Performance

As both a casual everyday lens, and as a telephoto wildlife/sports lens, I wasn’t disappointed in the autofocus speed & precision. The glass that’s moving when focusing is likely not very heavy, since the aperture is relatively tight, so it’s not surprise that autofocus is snappy and consistent. Also, for those who do video work, autofocus is basically silent.

Focus Breathing & Zoom Balance

Speaking of video, if you do a lot of work on a gimbal, or any sort of high-end cinematic imagery, then you’re concerned about these two aspects of a lens review. Thankfully, although the lens barrel does extend substantially when zooming from 24mm to 200mm; it doesn’t put the lens off-balance on a gimbal, especially if you balance the gimbal for a middle-of-the-range zoom position.

Racking focus does bring out a bit of focus breathing, but it’s barely noticeable.

Ergonomics & Portability

When compared against any other lens options that cover the whole range from 24mm to 200mm, the Nikon Z 24-200mm VR has a massive advantage in terms of portability. It’s 1.25 lbs, which is a fraction of the weight (and size) of any 2-lens combo.

When paired with a relatively compact full-frame camera such as the Nikon Z5 II, you’ll have a lightweight, portable setup that is capable of professional results.

Features & Customizations

I do have a couple of complaints that I could nit-pick about,  but these aren’t deal-breakers, to be sure. Mainly, I do wish that there was an AF/MF switch on the side of the lens; this is always something I wish for.

The lens does extend quite a bit when zooming in to 200mm, so there is a zoom lock switch on the side. Honestly, I felt like the zoom was dampened perfectly and a lock switch wasn’t necessary. However, maybe after many years of heavy use, the dreaded “zoom creep” might become a thing.

I don’t really miss an L-Fn button, though; I haven’t found much use for that customizable button yet. The only other thing I can note is that the manual focus ring is also the “control” ring. This means you can re-program the ring to do things like aperture control or EV comp. However, I’ve always found that hard to do because it messes with my brain when it comes time to actually manual focus.

Nikon Z 24-200mm f/4-6.3 VR Review | Value

At under $900, you’re not going to find a better value that covers this whole zoom range. We’ll talk about the competing alternatives next, but, suffice it to say, the Nikkor Z 24-200mm f/4-6.4 VR is not just more affordable than the obvious 2-3 lens duo/trio you might consider instead; it’s also the most affordable superzoom currently available on the Z mount.

Considering the image quality and build quality, I think it’s no understatement to call this one of the best values in Nikon’s entire Z-mount lens lineup! Think of it this way: compared to any other options that cover this range, with the 24-200mm you’ll have plenty of money left over to add a faster prime such as the incredibly affordable Nikon Z 40mm f/2, (currently just $196, thanks to a generous $100 savings) …or the Nikon Z 50mm f/1.4. (Currently $496; no savings available at present…)

Nikon Z 24-200mm f/4-6.3 VR Review | Compared To The Competition

If you’re looking for a superzoom, the other main option you might be considering is the Nikon Z 28-400mm f/4-8 VR. Personally, I value 24mm much more than I value 400mm, so I’d prefer this zoom without hesitation. However, if you do a lot more wildlife or action sports than landscapes, you might feel differently and be more attracted to that 400mm end. (There is a HUGE difference, as you might imagine, between 200mm and 400mm!)

There is also the Nikon Z 24-120mm f/4 S. As an S-line lens, it gains certain advantages such as a dedicated focus ring, an L-Fn button, and AF/MF switch. However, it forfeits VR stabilization, and of course the telephoto end is limited to 120mm. As an S-line lens, it ought to deliver better image quality. Honestly? Yes, the S-line does have better optics, but it’s just not a noticeable deal-breaker for me. I would rather have 200mm. 

The bottom line is that all three lenses are excellent choices, so you can just pick whichever zoom range suits your needs. They all have the same drawback, which is, their apertures are a bit slower. (The 200mm and 400mm options get very slow at the telephoto ends.)

Personally, I prefer to have optical stabilization in any lens longer than 85mm; it’s superior to sensor stabilization.The only other thing to note is that the 28-400mm is quite a bit more expensive than the 24-200mm, at around $1300 compared to the ~$900 for the 24-200mm. (The 24-120mm f/4 S is about $1000.)

For video work, the alternative is rather expensive, as I mentioned earlier. The Nikon Z 28-135mm f/4 PZ will set you back about $2600, however, the power zoom and geared control ring features will be worth it if you’re doing serious cinematography.

If you’re on a DX camera, then the Nikon Z 18-140mm is your equivalent crop-sensor superzoom. However, at 18mm it only equates to about a 27mm focal length, so you’ll likely feel yourself wishing to have something else to cover the wider angles, especially if you like dramatic landscape photography. The Nikon Z 12-28mm makes an excellent pairing. Then again, honestly? If you’ve got the 12-28mm wide-angle covered for a DX camera, you might as well go with the 24-200mm FX lens instead of the 18-135mm.

[Related: Nikon Z50 II Review | The Most Professional Beginner Camera?]

For those who are shopping across all brands, I can say that Canon, Sony, and the Panasonic/Sigma mounts do have some solid alternatives. None of them stand out above the rest as being particularly superior.  

Nikon Z 24-200mm f/4-6.3 VR Review | Conclusion

All in all, I really like that Nikon has a wide range of options for all types of photographers & videographers. If you’re looking for a name-brand super-zoom lens, Nikon’s trio of choices are collectively the best, most versatile.

Of the bunch, I like the Nikon Z 24-20mm VR the most. The balance of performance and portability is excellent. The price truly impressive, especially for such a well-made lens that includes the one feature I really want; VR.

Its tighter, variable aperture can be a constraint for low-light work, admittedly. If you’re a portrait or wedding photographer, don’t try to rely on this lens beyond 70mm in low light. Get yourself the 70-200mm f/2.8 VR S, or the 70-180mm f/2.8 if you’re on a budget.

Other than that caveat, for almost all types of photography or videography, this is the best all-around zoom that I’ve ever reviewed!

Check Pricing & Availability

The Nikon Nikkor Z 24-200mm f/4-6.3 VR is currently priced at $896.95, which does not include any instant savings or rebates. (This probably means that you might expect to find it for $50-100 less, once or twice a year!)

Yes, I prefer this focal length more than the “nifty fifty” 50mm (equivalent) focal length. That is, on full-frame, I prefer 35mm more than 50mm. So, on Nikon DX cameras with their 1.5x crop factor, this means I prefer 24mm instead of a ~35mm focal length.

I strongly believe that you’ll feel the same way I do, especially if you’re interested in capturing a little bit more of your subjects’ environment. That’s what I love most about this exact focal length; it’s not “too wide” that it turns every image into a dramatic landscape scene. It also has enough shallow depth of field to still give that portrait look, the subtle background blur that isolates your subjects.

Without any further, ado, let’s dive into this Nikon Z 24mm f/1.7 DX review!

Nikon Z DX 24mm f/1.7 | Specifications

• FOCAL LENGTH & ANGLE OF VIEW: 24mm, 61° (36mm full-frame equivalent)
• LENS MOUNT(S): Nikon Z mirrorless (DX 1.5x crop)
• APERTURE & RANGE: f/1.7 to f/11, 7 rounded blades
• STABILIZATION: No
• AUTOFOCUS: Quiet STM motor
• MANUAL FOCUS: Yes, electronically controlled
• OPTICAL CONSTRUCTION: 9 elements in 8 groups
• MECHANICAL BUILD: Mostly plastic, no weather sealing
• MAGNIFICATION & FOCUS DISTANCE: 0.19x, 4.7 in. (11.9 cm)
• FILTER THREADS & HOOD: 46mm, cone-shaped hood w/ 46mm threads
• SIZE: 2.8 x 1.6 in. (70 x 40 mm)
• WEIGHT: 4.8 oz (136g)
• PRICE: $276.95

Nikon Z DX 24mm f/1.7 Review | Who Should Buy It?

As I have mentioned in my Nikon Z50 ii Review, and a few other Nikon mirrorless camera and lens reviews, one of the biggest reasons why I love Nikon’s system is that it’s so easy for me to recommend it. Simply put, the question “who should buy it?” is so easy to answer, because Nikon’s lineup offers such a smooth transition from “total beginner” to “high-end professional”.

Let me put it this way: if you’re just starting out, you can get a lens like this DX Z-mount 24mm f/1.7, and a camera like the Nikon Z50 ii, …and you’ll be getting a nearly identical experience compared to the full-frame (FX) Nikkor Z 35mm f/1.4 and the Nikon Z5 ii. The controls are incredibly similar, and the image results are beautiful as well.

With most other systems, you don’t get to feel the same level of continuity as you potentially upgrade from a beginner camera to a prosumer or flagship pro camera.

So, whether you have lofty goals of being a professional portrait photographer some day, or you actually just want professional results as a lifelong hobbyist, …this is the perfect lens for you.

Portrait & Wedding Photography / Video

I really love this focal length for portraits and weddings; I think it’s actually my top recommendation for candid types of portraits, wedding photojournalism, and all sorts of things!

This lens is perfect for those types of dynamic environments where one minute you’re snapping the perfect detail pic of an aesthetic plate of food, and the next minute you’re clicking group portraits of 3-5 friends.

I also love how compact and lightweight this particular 24mm f/1.7 is, because it really allows me to “disappear” as either a guest at a wedding/event, or even as the working professional. That’s one problem with gigantic portrait lenses such as a 70-200mm f/2.8, or any f/1.2 prime… They’re so obnoxiously huge, that it’s very difficult to point your camera in anyone’s direction without them becoming aware, and likely self-conscious.

However, with a lens like this, you can capture gorgeous, professional results, while maintaining the outward appearance of being a casual observer, and an active participant in what’s happening around you.

Video: Vloggers & Content Creators

Although portrait & wedding professionals also make video content, of course, I was mainly referring to photographers in the previous section. However, make no mistake, this lens is also perfect for video.

Whether you are an all-around lifestyle content creator, or you’re looking to do professional work in events, weddings & portraits, or other things such as travel, you will really like this lens, too.

There is only one caveat, though, and that is this: If you’re exclusively a vlogger, then 24mm on 1.5x crop is definitely too “tight” of a view. Especially when you activate digital stabilization, which adds even more cropping to your video frames; this lens is going to be have more like a 40-50mm lens. 

That’s great for general B-roll video, but again, if you’re primarily a vlogger, you’ll want something wider. I’d recommend the Nikon 12-28mm DX, which I also just reviewed. I do wish that Nikon would create another DX prime, anywhere in the range from 12mm to 16mm, for vloggers. Surely, such a prime is in the works! Until then, this lens gets my recommendation for video work of all types, with this asterisk for vloggers in particular. 

Candid Street Photography, Travel, Vacation

Even if you have no interest in posed portraits or any sort of professional work along those lines, I still strongly recommend having a prime like this. It’s a perfect balance for all-around everyday photography. Whether you’re just commuting around town, hanging out with friends & family, …or you’re on an epic vacation that you’ve been saving up for all year, this could be the lens that stays on your camera most of the time.

Of course, I’d pair this lens with at least one zoom, as well. The 12-28mm for those who want to emphasize landscapes, or the 16-50mm for those who want to do a little bit of everything, or the Nikon DX 55-250mm for those who photograph lots of wildlife and/or action sports.

Landscape & Nightscape Photography

 Once again, I do wish that Nikon would make a 15mm or 16mm f/1.4 or f/1.7 DX prime lens, and/or a 10mm or 11mm f/1.8. Any lens along those lines would be much better for both landscapes and nightscapes, since the night sky often demands a much wider focal length than the equivalent of 35mm.

Having said that, I did find this Nikon Z 24mm f/1.7 to be excellent at night; with decent image quality even wide open and in the image corners. Furthermore, when stopping down, it becomes incredibly sharp across the entire image frame. Still at this focal length, I’d probably rather have a zoom for general landscape photography.

Nikon Z DX 24mm f/1.7 Review | Pros & Cons

I will go over the pros and cons of this lens from the standpoint of, a beginner photographer who has professional aspirations. In other words, I believe this lens does deliver professional results on a beginner-friendly budget! There are a few caveats, but they’re minor and I honestly think Nikon hit the nail on the head with this prime.

Image Quality: Sharpness

A 35mm lens is often very “easy to make sharp”, so the bar has been set very high by virtually all competitors. Having said that, this sub-$300 lens delivers resolution that would have you mistaking the results for any of the competitors that cost two or three times more, easily.

It’s not flawlessly sharp, to be sure. There is some faint softness wide-open at f/1.7, and the best results are gained at around f/2.2, or f/4 if you’re really pixel-peeping the corners.

Honestly? Considering that the emphasis of most users will be to achieve a flattering aesthetic when capturing pictures of people and other casual subjects, I think the overall image quality is a perfect balance of resolution and a smooth “character” to the image results. But, more on the bokeh next…

Image Quality: Bokeh

Indeed, one of my favorite things to do with a lens like this is to use it wide-open and get buttery-smooth background blur. Honestly, that’s part of the whole point of having a prime lens. Compared to a kit lens such as the Nikon 16-50mm, which is severely restricted in terms of how much background blur can be achieved at any focal length.

Wide-open at f/1.7, the background blur is gorgeous. Even when stopping down to f/2.2 or f/2.8, the results are very flattering, and perfect for group photos of 3-5 people.

Image Quality: Colors & Contrast

I use Nikon’s built-in Picture Controls pretty religiously, and I’m always switching back and forth between the “Landscape” color mode for all outdoor/nature scenes, or the “Natural” mode for portraits & other everyday imagery, (and video) …or of course the in-camera monochrome mode, sometimes.

These in-camera settings aren’t going to harm your raw files; you can change them later in post-production. But I like to set them in-camera to make my colors and contrast really perfect when showing people photos on the back of the camera. Then, in Lightroom or Capture One, I can re-apply those same Picture Controls, and achieve virtually the same beautiful color response as I did in-camera.

With this particular lens, the results speak for themselves: gorgeous colors, and no, I am not editing most of these images at all, aside from setting the Picture Control!

Image Quality: Vignetting & Distortion

As with virtually all modern mirrorless lenses, you’ll want to use the built-in lens profile that is automatically applied to JPG and raw image files. The vignetting is minimal and the distortion is virtually nonexistent!

The only caveat to this is if you’re doing low-light work with extremely high ISOs, especially time-lapse images of the night sky. In these scenarios, the noise can create a horrible pattern if the distortion correction is turned on, in rare cases. So, for me as a nightscape photographer, I just got in the habit of, “better safe than sorry” and I turn off the distortion and/or vignetting correction when photographing the night sky.

Image Quality: Sunstars & Flare

With an odd number of aperture blades, (7) this prime lens has double the number of sunstar points, actually. (17) As with many modern mirrorless lenses, the points of the sunstars aren’t very…pointy. They’re more open-ended, which is slightly less appealing, but not really a big deal since this isn’t a dedicated cityscape lens.

Image Quality: Color Fringing, Aberration, Coma & Astigmatism

Usually such affordable lenses fall short in this technical category of a review. In other words, a nightscape photographer with a critical eye might say that a lens is “trash in the corners”.

I’m happy to report that even in the image corners, things like coma, astigmatism, and other aberrations are relatively minimal! I wouldn’t hesitate to run this lens wide-open for a nightscape time-lapse.

Image Quality: Macro & Close-Up Photography

I love using “normal” primes for close-up work; even if they don’t say “macro” in the name of the lens, they’re still highly capable! With that in mind, the maximum magnification of 0.19X seems rather underwhelming, but the results speak for themselves. As long as you’re not specifically looking for macro-level magnification factors, you’ll be delighted with the close-up results from this lens.

I did find that when getting to the absolute minimum focusing distances, it helped to stop the lens down to about f/2.2 or f/2.8 in order to get crisp, sharp results. Otherwise, softness does creep into the images. The good news is, at such close distances you won’t see you bokeh suffer any hit at all when stopping down just a little.

Nikon Z 24mm f/1.7 DX Review | Design & Durability

Physically, this is clearly a budget-friendly lens. The mount itself is plastic, as well as the rest of the lens barrel. This isn’t really a big problem compared to a metal mount, however, because the lens is so stubby that it’s simply not possible to exert any sort of stress on the mount! Your only concern will be mild wear-and-tear if you’re incessantly swapping lenses for 5+ years.

There isn’t any weather sealing, either, so again, just take decent care of this lens and you’ll be fine. I’ve taken innumerable lenses out in a light rain, or into a dune field, and all you need is a bit of common sense and everything will be fine.

Focus Breathing & Gimbal Balance

For video shooters of any type, these are important metrics for any lens review. I will flat-out refuse to own a giant, heavy lens if I think I’ll be using it on a gimbal for video work, period. Thankfully, this is an excellent balance even on the lightest types of gimbals. Also, focus breathing is minimal; you won’t really notice it unless you’re doing absolutely static scenes and are racking focus back and forth a lot.

Ergonomics & Portability

Whenever a lens is this tiny, I always fear for its image quality. Of course, I already mentioned and demonstrated how good the image quality is! So, now I get to remind you just how tiny and lightweight this thing is. It’s about as small as a very old 50mm f/1.8 prime lens, which means it is perfectly pocketable in most jacket pockets. (I never recommend actually stuffing a whole camera into a pocket, by the way; I’m just giving you a sense of scale!)

Autofocus Performance & Manual Focus

With such tiny glass elements, a single STM motor is all that is needed to make focusing snappy, responsive, and reliable. It’s virtually silent, too; you’ll never hear it if you’re using any sort of external microphone for your video work.

The manual focus is electronically controlled, as with most all AF mirrorless lenses. The dampening and sensitivity is excellent; focusing on challenging subjects such as stars is very easy.

Features & Customizations

This is a minimal, no-frills lens. It omits the AF/MF switch, as many compact, budget-friendly mirrorless lenses do these days. It only has the one manual focus ring, unlike some of the other Nikkor primes that have both a dedicated manual focus ring and a “control” ring which can be customized.

The one neat feature of this lens is that its hood, which is tiny, thread-in, and cone-shaped, actually maintains the filter threads  at its front. This means you can still mount the lens cap, at the front of the hood. I generally leave this hood off, however, because it is designed in a way that gives the appearance of a control ring, and a couple of times I tried turning the hood expecting to perform either manual focus or the custom function.

Value

For well under $300, it’s impossible to deny that this lens offers an incredible value. Honestly, even if the image results were downright mediocre or even underwhelming, I’d still consider the ~$277 price tag to be “fair”.

I’ll do some more comparisons next, but here’s the bottom line: Nikon’s full-frame, 35mm options range in price from double, nearly triple, to a staggering 10X more than this 24mm f/1.7. Apples VS oranges? Yes, of course, especially at that highest end of exotic glass. Still, for the entry-level photographer who wants truly impressive results, (instead of feeling pressured to upgrade sooner than later) …this is the lens for you.

Nikon Z DX 24mm f/1.7 Review | Compared To The Competition

First, the comparison I had promised previously: If you’re comparing this 24mm f/1.7 DX lens against the FX options, here are some shocking numbers:

• Nikon Z 35mm f/1.4: $ 597
• Nikon Z 35mm f/1.8 S: $847
• Nikon Z 35mm f/1.2 S: $2797

 So, as you can see, a good 35mm prime lens can get incredibly expensive, very quickly. Which is why I’m so happy to recommend this prime lens to DX shooters; it’s an incredible bargain at under $300. (In case you’re wondering, I’d classify the image results as somewhere in between the Nikon 35mm f/1.4 and the Nikon 35mm f/1.8 S. In other words, you’re getting the results of a $700 full-frame lens, basically.)

Since there aren’t any other Nikon DX prime lenses in this range, we must next compare the 24mm f/1.7 against other alternatives. For example, Nikon’s full-frame 26mm f/2.8 is also incredibly compact, but it costs $397-497, and has a slower f/2.8 aperture. I don’t recommend it unless you’re absolutely certain that you’re going to upgrade your crop-sensor camera body to full-frame in the very near future.

Next up is Nikon’s 28mm f/2.8, which is actually very affordable at $227, (when a $70 savings is available, that is) …but again, it’s an f/2.8 prime. I think it’s a very reasonable choice for those who want the flexibility of upgrading from DX to FX without having to dump a DX lens. However, you’ll have to consider how the focal length will affect your shooting style. Personally, I actually love 28mm on both APSC and full-frame, so it’d be a perfectly acceptable choice for me. In fact, for anyone who think they might one day own BOTH a Z50 ii and a Z5 ii, I’d recommend the 28mm f/2.8 instead of this DX 24mm f/1.7.

Unfortunately, we don’t yet see Sigma’s full lineup of APSC lenses available for Nikon’s Z mount, but they’re likely coming sooner or later. If you aren’t in a rush to cover this focal length, it might be worth waiting. Personally, though, I wouldn’t wait. Just get this lens and enjoy the perfect coverage of a favorite focal length now, or on your next adventure!

I would be remiss if I didn’t mention the other systems out there. Fujifilm has an impressive 23mm f/1.4 that is perfectly suited for professional work on APSC cameras, plus a few other options. If you want to stick with an APSC system even for professional work, as opposed to mixing and mingling your crop-sensor system with a full-frame one, then Fujifilm is basically your only choice.

On the Sony E-mount, once again, there isn’t a perfectly matched competitor, really. Sony’s 24mm primes are much like Nikon’s: expensive and made for full-frame. The dedicated APSC lenses are all third-party options, such as Sigma’s 23mm f/1.4. (Again, I bet that lens will arrive on Nikon’s Z mount sooner or later, and yes it is a gem!)

Speaking of third-party options that may or may not be available on the Z-mount sometime soon, Rokinon/Samnyang does make a great full-frame 24mm f/1.8 that I love. We have no word about when that brand duo will be allowed to make Z-mount lenses, as far as I know.

Last but not least, Canon’s RF mount does get some benefits; their full-frame 24mm f/1.8 is a great lens, but it’s ~$600. Canon also makes a 28mm f/2.8, like Nikon, but it’s a sub-par “pancake” optical formula. Oh, and you do finally get Sigma’s excellent 23mm f/1.4 “Contemporary” at your disposal, if you have ~$600 to spend.

All in all, Nikon has definitely filled a unique niche with their Nikkor DX 24mm f/1.7. The price point and the performance make it a strong reason to consider not just it but the whole Nikon DX system as a whole.

Nikon Z DX 24mm f/1.7 Review | Conclusion

To sum up this whole review, I need only repeat that previous statement about competitors: Nikon did a perfect job of filling a niche need in the APSC lens market. A 24mm prime on a 1.5x crop is a perfect all-around lens, and I think almost every photographer should have one. I truly do prefer the ~35mm focal length equivalent, instead of a 50mm prime.

Of course, some of you might really prefer 50mm, and that is, quite literally, “normal”! I’m just speaking from my years of experience doing all sorts of photography; mainly portraits and weddings, but also, almost everything else from theater and stage performances, to food and product photography. Almost every time, I want a prime like this.

Honestly? If Nikon makes some sort of prosumer “Z500” any time soon, I would actually consider the Nikon DX system to be 99% professionally ready. I’d still like to also see some f/2.8 zooms for APSC as well, at least for weddings. But for portrait work, and almost everything else, Nikon’s Z mount is looking more and more attractive for the entry-level range as well as the paid professional on a budget.

With that said, I definitely recommend checking out the Nikon Nikkor DX 24mm f/1.7.

Check Pricing & Availability

The Nikon Z 24mm f/1.7 DX is available for $296.95, without any discounts at present. That’s already an incredible price, so I recommend it outright, however, a modest savings of $25-50 might eventually pop up once or twice a year, if you’re patient. If you’re looking at sticking with the Nikon DX system for a while, though, I say just jump on this awesome lens right away!

Of course, it does depend on your subject matter, and your creative style. Spoiler alert, however: a wide-angle zoom is an incredible tool that many creative folks can use, for photo and video imagery alike.

There are a few key strengths, and a few drawbacks as well. Simply put, I’m thrilled with the excellent image quality; the Nikon 12-28mm definitely offers professional results. Having said that, as its nomenclature makes clear, this is a variable aperture lens, and with its APSC crop, the 12mm wide end is equivalent to a relatively modest 18mm full-frame equivalent. Honestly? At under $300, (currently with a small instant savings) …I can’t complain, and I highly recommend this lens. But, don’t take my word for it; read on, check out the imagery, and see for yourself!

Nikon Nikkor Z DX 12-28mm f/3.5-5.6 PZ VR | Specifications

• FOCAL LENGTH & ANGLE OF VIEW: 12-18mm, APSC DX crop, 18-42mm full-frame equivalent. (99° to 53°)
• LENS MOUNT(S): Nikon Z-mount, DX (1.5x) crop factor
• APERTURE & RANGE: f/3.5-5.6 maximum aperture, f/16-25 smallest aperture
• STABILIZATION: Yes, optical VR (Vibration Reduction) 4.5 stops effective stabilization
• AUTOFOCUS: Yes, silent stepper motor
• MANUAL FOCUS: Yes, electronically controlled
• OPTICAL CONSTRUCTION: 
• MECHANICAL BUILD: Plastic & metal, electronic zoom control, internal focus & zoom movements
• MAGNIFICATION & FOCUS DISTANCE: 0.21x, 7.5″ (19 cm) close-up distance
• FILTER THREADS & HOOD: 67mm filter threads, no hood included
• SIZE: 2.8 x 2.5″ (72 x 63.5 mm)
• WEIGHT: 7.2 oz (205 g)
• PRICE: $296.95 (Instant savings $60)
  (B&H | Adorama | Amazon)

Nikon Z 12-28mm PZ VR Review | Who Should Buy It?

I’ll get right to the point for you: the Nikon Nikkor Z DX 12-28mm f/3.5-5.6 PZ VR is a great little lens. It’s not an exotic, professional optic, obviously. However, the results are stunning, and the package is an excellent value for the money.

So, who should buy it? First and foremost, it’s a no-brainer for any beginner content creator who likes the idea of having a sweeping wide-angle view. Whether you do photo or video, whether your subject is yourself, other people, events, landscapes, or nature, …you could really use a wide-angle zoom.

Having said that, this is definitely an ultimate vlogging lens. The zoom range is perfect, and provides an ample wide angle even if you’re using one of the slightly cropped video formats on the Nikon Z30 or Nikon Z50 ii. The optical stabilization is very impressive, so if you want, you don’t have to use the electronic stabilization on the Nikon Z30, which means you get the full width of that sensor at your disposal for excellent, crisp video quality. (Or, if you do use digital stabilization for whatever reason, the 12mm focal length still allows for a “plenty wide” angle despite the 1.23X crop factor.

One of the biggest benefits of this lens is its compactness, combined with the electronic control of the zoom. This makes it a great choice for any video creators who are going to be using a gimbal such as the Hohem iSteady MT2, or a selfie grip such as the SmallRig grip for the Nikon ML-L7 wireless remote.

The DX 12-28mm PZ VR is also an awesome travel, adventure, & landscape or cityscape lens for your Nikon Z50 II, too. In my experience, the f/3.5 aperture at the wide end is just barely enough to get stunning quality nightscapes, thanks to Nikon’s incredible DX sensor. (Which is currently found in each of Nikon’s DX Z-mount cameras, including the one I haven’t mentioned yet, the retro style Nikon Z fc.)

I’ll also emphasize that this makes a great choice for things like real estate, architecture, and cityscapes, of course. Here’s the thing, though: for things like real estate interiors, and nightscapes, I do wish it was just a bit wider. I would have loved to see this as a 11-24mm lens, or even a 10-20mm. It would have still been a perfect vlogging lens, and it would have been immensely more versatile for those other subjects, too.

For now, this wide-angle zoom range doesn’t have much competition on Nikon’s (native) Z-mount, so it’s easy to recommend this lens, despite its shortcomings. It’s incredibly affordable; less than half the price of any third-party ultra-wide that I might like to one day see arrive on the DX Z-mount.

Nikon Z 12-28mm PZ VR Review | Pros & Cons

I was very skeptical about testing this lens too rigorously, mainly because of its tiny size and tiny price. Well, let’s just say that considering the performance, I’m surprised Nikon didn’t charge $500+ for the DX 12-28mm! It is an excellent performer.

Nikon Z 12-28mm PZ VR | Image Quality

One thing I had to keep in mind is that Nikon’s DX cameras currently all have 20-megapixel sensors. This doesn’t place too high of demands on an optic, especially considering that competitors in the APSC market are hitting 30 and 40 megapixels. (Honestly, though, that’s total overkill for most photographers & videographers, and I’ve loved Nikon’s various iterations of its 20 megapixel sensor since the days of the D500.)

Sharpness

The Nikkor glass in the 12-28mm f/3.5-5.6 is doing an incredible job of easily out-resolving Nikon’s DX sensor. In other words, I think that if/when Nikon ever bumps up their DX sensors to 24, 30, or more megapixels, this lens will have absolutely no problem resolving such dense pixels.

Even with the aperture wide open, and even in the corners of the images, the results are very impressive. Not just for a beginner-oriented “kit” zoom with a variable aperture, but even for the standards of a serious landscape or nightscape photographer. I was thoroughly impressed by both the wide-open and stopped-down sharpness.

Bokeh, Colors & Contrast

If you get really close-up with some of your subjects, you’ll enjoy nice, smooth background blur. However, as a 12-28mm lens with a relatively small aperture range, don’t expect much discernible background blur at all when working at normal distances. That’s just the nature of being “stuck” at f/5.6 at the long end of your zoom range. (This is the full-frame equivalent to 42mm and an f/8 aperture, basically)

The images in general are gorgeous, and all the dramatic, beautiful views you may see on your travels, vacations, and everything else will be rendered with vibrant colors, crystal-clear contrast, etc.

Sunstars & Flare

These more subtle nuances of image quality also deliver as expected. That is, the sunstars are quite decent when you stop down the aperture to f/8 or tighter, and flare dots are virtually nonexistent except maybe a little bit in extreme backlighting conditions.

On some rare occasions, if you literally let full sun shine directly into the image frame, you might catch a glimpse of the RGB sensor pattern, but that’s a relatively dramatic example of what you generally shouldn’t do with your camera anyways.

Vignetting & Distortion

Now it’s time for me to say the same thing about almost every mirrorless lens, especially the wide-angle lenses: This lens’ correction profile is undoubtedly hiding quite a bit of distortion and vignetting that you probably don’t want to see. For most folks, this is totally fine.

However, here is where things get VERY interesting: This particular Nikkor, for reasons unknown, has completely “baked in” the correction profile. Toggling the profile button on and off in Adobe Lightroom does nothing, and the “Built-in Lens Profile applied” notice lingers. In other words, this means Nikon has no desire to let you see “under the hood” of this lens’ optics! 

Why should you care? Well, usually, the lens profile can cause horrible banding patterns if you’re applying excessive editing to extremely high-ISO images. In the case of this lens, there is no such problem. 

Even if I crank the Texture, Clarity, and Dehaze sliders all the way to +100, this lens exhibits ZERO banding patterns, and that is very impressive. Honestly? I hope that whatever Nikon decided to do with this lens, they do it with more lenses. I understand that some pros may not want this “baked in” system with the most exotic lenses. But, maybe, for all DX lenses in the future?

Color Fringing, Aberration, Coma & Astigmatism

Surprisingly, yes, the Nikon Z DX 12-28mm f/3.5-5.6 PZ VR makes a decent nightscape photography lens. I would obviously rather have an f/2.8 zoom at the very least, or preferably something like an f/1.8 DX prime in the 10-12mm range.

Having said that, things like aberrations, coma, & astigmatism aren’t that bad. (The image corners are more likely to be plagued by noise due to the ISO limitations of the camera sensor, and the vignetting correction that is being applied.)

Nikon Z 12-28mm PZ VR | Design & Durability

Nikon engineers did an impressive job making this lens. As I’ve said before, the size is very impressive, considering the zoom range and the image quality. Overall, the design is minimal yet sturdy. I did not feel hesitant to take the lens out in dusty or rainy weather, although I would have liked to have a lens hood included!

Ergonomics & Portability

Obviously, portability is one thing that I can’t talk about enough. Just to give you an idea, (Although this is totally apples to oranges) …the Nikon Z 14-24mm f/2.8 S weighs 1.4 lbs, while this little thing weighs just 7 oz; less than half a pound. I only mentioned that for dramatic effect; it’s more fair to compare this lens against, say, the Nikon Z 14-30mm f/4, (1.07 lbs) or the Nikon Z 17-28mm f/2.8 (~1 lb).

Autofocus Performance

Nikon’s stepper motor technology is excellent, and especially on the Nikon Z50 ii which has Nikon’s latest AF system that includes subject detection and 3-D tracking, I had zero complaints about this lens’ autofocus performance. 

Features & Customizations

As I hinted, this is a relatively bare-bones lens; no AF/MF switch, no custom function button; just a zoom ring and a focus / control ring.

I do appreciate that Nikon’s “command ring” can be programmed to do other things, however. Unlike Sony lenses’ aperture ring, which is just an aperture ring, you can program the Nikkor’s ring to do other things such as ISO control or EV compensation. This makes for a very easy way for a vlogger to bump their exposure up or down with just a bump from one finger.

Value

Currently priced under $300, this lens is well into “cheap” kit lens territory. Honestly, though, don’t let the price fool you. Nikon delivered a real gem with the 12-28mm DX. I do want to complain about the fact that a hood is not included, though.  

Nikon Z 12-28mm PZ VR Review | Compared To The Competition

There isn’t really any direct competition that is native to the Z mount. If you want a Z DX lens that goes this wide, this Nikkor is your only option.

However, just for fun, we could consider some other competitors, since I think you will find it interesting. (Translation: this Nikon 12-28mm is quite attractive!)

For example, Sony makes a 10-20mm f/4 PZ, and it is similarly tiny,  plus it goes significantly wider. However, it costs nearly $1000! It’s a “G” lens, though, with nifty features like a wide/tele zooming lever, an AF/MF switch, and a custom function button.

Or, how about Canon’s RF-S system? Their 10-18mm lens costs only $330, has stabilization, and also goes to 10mm. Not a bad deal, but I haven’t reviewed that particular lens yet so I can’t speak to its results.

Honestly, what I’m more interested in is, if/when Tamron, Sigma, and other third parties may be allowed to make a Z-mount DX lens. Sigma has already made their 16mm f/1.4 lens for Nikon Z DX cameras; it’s about $500. Unfortunately, the excellent Sigma 10-18mm f/2.8 is not yet on the Nikon Z mount, (a ~$600 lens) …nor is the Tamron 11-20mm f/2.8 (a ~$660 lens).

As you can see, there isn’t really a better way to go about this. Nikon really hit the sweet spot in terms of value and performance. So, although this is basically the only option unless you’re interested in using the FTZ adapter and a DX DSLR lens, …this is your best (and only) choice.

Nikon Z 12-28mm PZ VR Review | Conclusion

All in all, I’m really happy with what Nikon did with the DX 12-28mm f/3.5-5.6 PZ VR. It’s not perfect, but it’s excellent. It’s incredibly portable, and yet delivers professional results in most conditions.

If you’re a content creator who does any amount of vlogging, selfies in general, or just adventurous travel photo/video, you must own this lens. It pairs beautifully with a Nikon Z30 for those who do nothing but vlogging, and it also goes great on the Nikon Z50 ii, or a Z fc.

Personally, as someone who does a ton of nightscape photography, as well as portrait photography for work, I honestly would have liked to see the focal length be just a touch wider. An 11-24mm, or 10-20mm focal range would have been great. However, having the 28mm long end does make this a much more versatile B-roll lens, and I appreciate that.

Similarly, I wish it had an f/2.8 aperture, at least at the wide end. We know from at least a couple other lenses that it shouldn’t necessarily blow out the weight scales to do so, although it likely would have put the lens in a $400 or $500 price range.

So, such as it is, I highly recommend the Nikon Z 12-28mm f/3.5-5.6 PZ VR. It’s well worth the investment for many different types of content creators.

Check Pricing & Availability

The Nikon Nikkor Z DX 12-28mm f/3.5-5.6 PZ VR is available currently for $296, which does involve a $60 instant savings.

(B&H | Adorama | Amazon)

Should you buy a Sony A6700 instead? What about a Fujifilm X-S20? The alternatives do have allure, especially when you consider the abundance of APSC lenses available for the other system mounts. However, the Nikon Z50 II has at least one thing that other brands don’t: Nikons are some of the most intuitive, easiest to use cameras on the market. Furthermore, the Z mount as a whole offers one of the most seamless transitions between APSC and full-frame systems, too!

In this article, I will compare the Nikon Z50 II against its competition in key areas such as image quality and autofocus reliability. Honestly, though? If you’re shopping for a compact, affordable digital camera that delivers professional results, I sincerely believe you should try out this camera before any others.

For both photography and video, the Nikon Z50 II is a compelling choice. Whether your world is that of a wanderlust traveler, or a stay-at-home parent, all types of content creators should consider it. Even if you’re a working pro who is looking for a complimentary camera for your flagship full-frame setup, the Z50 ii does not disappoint!

So, without any further ado, let’s dive in…

Nikon Z50 II Specifications

• SENSOR: 20.9 megapixel APSC CMOS sensor
• LENS MOUNT: Nikon Z (Nikkor DX) APSC (1.5x crop)
• STILL IMAGES: 5568×3712 px
• VIDEO: 4K 30p H.264/H.265 8/10-bit, 1080p @ 120 fps
• ISO: 100 to 51200
• AUTOFOCUS: 231-point hybrid AF, 3-D Tracking, Subject Detection
• SHOOTING SPEED (FPS): 30 FPS @ 1.2x add. Crop & JPG
• SHUTTER SPEEDS: 1/4000 sec to 900 sec, max flash sync 1/250 sec
• STABILIZATION: no
• VIEWFINDER: 2.36M dot OLED, 1.02x magnification
• LCD: 3.2 in, 1.04M dot LCD Touchscreen, fully articulating (side)
• CONNECTIVITY: Wifi & Bluetooth using “SnapBridge” app
• STORAGE: SDXC/SDHC, UHS-II
• BATTERY: EN-EL25 (1250 mAh)
• BODY CONSTRUCTION: 
• SIZE: 5 x 3.8 x 2.6 in. (127 x 96.8 x 66.5 mm)
• WEIGHT: 17.46 oz / 495 g (body only)
• PRICE: $906.95
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Nikon Z50 II Review | Who Should Buy It?

The Nikon Z50 ii is one of the most well-spec’d digital cameras priced under $1,000. In fact, it’s one of the most professional-feeling “entry level” cameras I have ever held! So, right away, if you’re looking for maximum value, the Nikon Z50 ii is one of my top recommendations.

We do need to break down the details of exactly which types of photographers, videographers, and content creators ought to consider the Z50 ii, and why…

All-Around Content Creator (Photo & Video)

At its core, considering the 20-megapixel sensor, the impressive all-around build quality, and the overall feature set, the Nikon Z50 is a perfect choice for the content creator who needs to do a little bit of everything.

I like it more than all of the dedicated vlogging cameras for two huge reasons… Firstly, because it has a viewfinder, and I absolutely need one for the times when I just want to take photos in a traditional manner. Secondly, I appreciate the  all-around build quality & design, from the durability to the ergonomics. The Z50 ii is equally “effortless” to use no matter which way you are holding/aiming the camera.

Having said that, there’s a reason why I’m listing “content creator” first and foremost on what will be a long list of recommendations. Simply put, this camera’s 20-megapixel sensor is behind all of its competitors in terms of resolution. The alternatives  are at 24, 26, ~30, and even 40 megapixels! So, if you’re making a lot of huge prints from your imagery, this might not be the best choice for you. However, the resolution is perfect for everyone who primarily shares their images on digital platforms.

(NOTE: considering the sharpness of Nikkor lenses, you’re still going to be able to make considerably large prints from the Z50 ii images; A 16×20” or 20×30” print should be no problem!)

Travel Photography & Video

Again, for those who are focused on either just photography, or both photo and video, the Z50 ii is an excellent camera for travel. Family vacation, or wilderness adventure; either way, you want a camera that is portable, durable, and just lets you focus on the moment at hand… 

Everyday Candid & Street Photography

Even those of you who don’t travel much, or at all; if you really like photography and just want to have a camera with you every day, the Z50 is a great choice. We’re getting into the territory where style and fashion can become a topic, however, and this causes me to mention the Nikon Z fc. If you really want a stylish retro looking camera, then the Nikon Z fc has basically the same sensor, but in an even smaller package. (Presumably, a hypothetical Nikon Z fc II might also include the desirable updates to autofocus and overall performance that the Z50 II has, by the way…)

All in all, though, what I like about the Z50 II is that it just “gets out of the way” of letting you take pictures. The ergonomics and menu interfaces are excellent. (It seems that ALL retro style digital cameras, unfortunately, have multiple “quirks” that either require a lot of getting used to, or are simply inferior. More on this later…

Real Estate, Commercial, & Editorial Photography

On the one hand, if you photograph real estate for clients that mostly use digital media for their listings, the Z50 II is a perfect example of how you can pay your bills with a truly modest professional tool. Just get the right lens for the job, (my Nikon Z 12-28mm review is coming soon!) …add a tripod… and you’re all set!

The same thing applies to a lot of other high-end pro work. Maybe you do food photography, or apparel; the Z50 II is a well-rounded camera. It can start you off in a new career as a photographer, and then it can act as a seamless transition to a flagship pro camera, and remain a useful 2nd or backup camera, too.

On the other hand, if the client does require high-resolution images, then the Z50 II is at a distinct disadvantage, of course.

Portrait & Wedding Photography

Here is where I have to recommend an alternative, at least for working pros. For most photographers who do work such as weddings or portraits, features like dual card slots and sensor stabilization become highly necessary. Indeed, I would be doing you a disservice if I didn’t recommend saving up for a camera like the Nikon Z5 II, even though it’s nearly double the price.

Having said that, here’s the deal: if you’re just starting out, the Z50 II is still one of the best beginner cameras for an aspiring pro. In fact, I dare say that no other “upgrade path” on the market will feel as seamless as the Nikon system. You can jump to a Z5 II and barely have to change anything about how the camera feels & operates. I’ll discuss this more later, but other entry-level cameras just don’t offer quite the same user experience.

Action Sports & Wildlife Photography

The same theme of my advice goes well here too: if you’re a wildlife photographer who mainly uses a Z6 III, you might want a 2nd camera with a different lens. So, again, I cannot emphasize enough how helpful it is to have two cameras that are as similar as possible when it comes to how the ergonomics feel, where the buttons are, etc.

All that is to say, the Z50 II is more than adequate for high-speed action sports & wildlife; especially if you’re okay with JPG capture, you’ll get up to the new (insane, in my opinion) industry standard of 30 FPS.

Landscape & Nightscape Photography

With just 20 megapixels at its disposal, I would like to lump together all of the photography genres in which you might be making enormous prints. Maybe it’s landscape photography, or maybe it’s back to portraits & weddings. Either way, there’s no avoiding this reality: 20 megapixels is plenty for most things, but it’s still the lowest-resolution sensor on the market.

The Z50 II does have excellent image quality, however, with dynamic range and high ISO image results that make it one of the best APSC sensors we have ever reviewed. All you need to do is keep the resolution in mind if you’re an adventurous landscape photographer who makes “huge” prints measured in feet or yards/meters.

Nikon Z50 II Review | Pros & Cons

Now that we’ve talked about genres of photography, let’s briefly go over the nitty-gritty details of how the Nikon Z50 II actually performs. Spoiler alert: The image quality for both video and stills is incredible. The (digital) sensor stabilization, when combined with a lens that has optical stabilization, is shockingly good. The autofocus performance is impressive, and overall, as I’ve been saying, the camera is just a delight to use.

Image Quality (Stills)

Although its resolution is clocked at 20 megapixels, resolution is, of course, just a number. How do the images out of the Nikon Z50 II actually look? Gorgeous. Colors and contrast are vibrant and clear. Dynamic range is impressive, almost on par with full-frame sensors though not quite. In fact, even the high-ISO noise levels are almost on par with full-frame sensors, too! This is one of the most impressive aspects of the Z50 II, and indeed the 20-megapixel sensor that Nikon has been sticking with for a while now. It’s an incredible sensor, and hard to beat.

Dynamic Range Test, ISO 100

I dare say that if you’re not really a pixel-peeper, you’ll be hard-pressed to notice a difference between the Z50 II images and those from any full-frame Nikon camera. The dynamic range at ISO 100 is incredible; its shadow recovery (and highlight recovery) will drop your jaw. The noise levels at high ISOs are also virtually indistinguishable from full-frame, as long as you keep it modest and correctly expose your images around ISO 3200 or so.

That’s how good this sensor is. Most folks, in my opinion, ought to consider this much more strongly, than any megapixel comparison. (SIDE NOTE: 30-40 megapixels on APSC is severely hampered by diffraction, anyways! 20-24 MP on APSC is the approximate sweet spot for those who care about per-pixel detail.)

Video Quality

Of course, 20 megapixels is more than enough for impressively sharp 4K video footage. To be specific: You can get extra-sharp 4K 30p video from the sensor’s full width, or if you want 4K 60p video, you’ll have to use the crop mode. (It’s still rather sharp!)

Furthermore, the Z50 II offers HLD and Log video formats, as well as a waveform display, and even a headphone port for audio monitoring. All this, when combined, really makes the Z50 II stand out from any ~$1K peers; indeed it is aimed squarely at giving the ~$1,400 APSC cameras a run for their money!

Design & Durability

I’ve never hidden the fact that I love how Nikon cameras feel; ergonomically they have always been my favorite. Thankfully, the Z50 II did not disappoint. Usually, lightweight cameras make a lot of painful compromises in terms of the ergonomics & handling. Especially as someone with large hands, I really fumble with most cameras in this size/weight category.

The Z50 II does no such thing. It’s got a full-size grip, a full-size viewfinder, and it feels very rugged and durable in-hand. In fact, the Z50 II looks and feels nearly identical to the Nikon Z5 II, and even quite close to the Nikon Z6 III!

Autofocus Performance

Honestly, the original Nikon Z50 was already truly impressive. Now, autofocus performance is one of the biggest leaps forward for its replacement. Nikon has added the much better subject tracking interface that we’ve seen on flagship cameras such as the Z6 III and Z8, known as 3-D tracking.

It performs incredibly well, and furthermore, the overall implementation is just infinitely better than the older interface for subject tracking.

All in all, reliable, fast autofocus makes the Nikon Z50 II a great choice for new photographers, AND a worthwhile upgrade for existing Z50 users.

Overall Performance

Here’s where I get to really sing praise to Nikon’s overall user experience. Not only is the Nikon Z50 ii decently fast and reliable, but also, there is just an effortlessness to the handling in general. So, before we talk about exact speed tests & spec sheets, keep this in mind: when a camera just seems to be easy to use, you miss fewer moments than if you carefully choose whichever camera is a few nanoseconds faster in one metric or another.

With that in mind, the Nikon Z50 ii offers an impressive 11 FPS with its mechanical shutter. You can get up to 30 FPS with the electronic shutter, which is common for flagship pro cameras. However, the caveat is that you also get bumped into JPG only capture when you go beyond 11 FPS. This could be a deal-breaker for some, but I’ve honestly never encountered a scenario in which I needed 30 FPS but didn’t also actually prefer the significant file savings of capturing JPG.

Features & Customizations

The Nikon Z50 II gives a balance of user-friendliness and advanced customizability. On the one hand, you can just pick up the camera, press all the buttons, and figure everything out almost effortlessly. On the other hand, you can also dive into the menus and customizations, and rapidly achieve a highly optimized camera that operates like a professional tool.

Indeed, that’s one of the main things I really like about the Z50 II. It’s got dual command dials for easy manual control, and as many dedicated buttons as they could have possibly crammed onto such a small camera!

It does lack two key features that stop me from recommending it as a full-time pro camera; there’s no sensor stabilization and no dual card slots. If you’re looking for a truly flagship- featured APSC camera, you’ll have to spend a bit more money and get something like a Fujifilm X-T5, …or maybe wait and see if Nikon releases a Z60 or Z70?

Ergonomics & Portability

Speaking of how awesome the handling of this camera is; I’d like to point something out: side-by-side, the Nikon Z50 II appears almost identical to the Nikon Z5 II which costs twice as much, and even the Nikon Z6 III which is a full-fledged pro camera!

That’s is what I’ve been talking about repeatedly throughout this review; You just don’t get this level of synchronization from any other brand. We’ll talk about specific competitors soon, but simply put, just glance at the oddball design & ergonomics of a Sony A6700 or a Canon R7, and compare them against their own full-frame siblings. To put it nicely, it’s ergonomic chaos.

This makes the compactness and light weight of the Z50 II all the more impressive.

Battery Life

Hey, I finally found something to complain about! In short, Nikon made a notable compromise with the Z50 II’s battery capacity, in order to save weight and make the camera as compact as it is. The EN-EL25A battery is only rated to about 230 clicks. 

Now, keep in mind that if I’m shooting in high-speed burst mode then I can easily get double, triple, or quadruple that number. Either way this rating is still about 65% of the battery life that you can expect from Nikon cameras with the EN-EL15c battery. An extra OEM battery costs ~$70, but a brand-name 20,000 mAh USB battery costs ~$50 and the Z50 II can operate directly via USB-PD power, or rapidly charge the battery via USB when the camera is off.

Value

 For the price, you won’t find any other APSC camera on the market with the same feature set and overall quality. The Z50 II stands quite alone in its sub-$1K price range, offering a professional control layout and full-frame image quality.

If you want even more of the features that really set a pro camera above the rest, you’ll need to pay ~$1300 or more to get IBIS, dual card slots, etc. (Even the highest-end Micro Four Thirds cameras cost a lot!)

This should come as no surprise, because value has always been one of Nikon’s greatest strengths overall. Their entire line of camera bodies offers an excellent balance of performance and affordability. Furthermore, their lens lineup also offers an equally balanced range from very affordable options to the most exotic, flagship glass.

Nikon Z50 II Review | Compared To The Competition

The competitors that are better than the Z50 II are going to cost hundreds more. Cameras such as the Sony A6700, the Canon EOS R7, or the Fujifilm X-S20, all offer at least one or two key advantages: sensor stabilization, and in the case of the R7, dual card slots as well.

However, those cameras will set you back $1,300 to $1,400. Furthermore, as I’ve mentioned, I dislike the ergonomics (and menus) of all those cameras; none of them feel similar to their respective professional siblings. 

If you’re looking for a truly flagship APSC camera, you’ll have to pay $1700 for a Fujifilm X-T5, or $2000 for a Fujifilm X-H2. Honestly? At that point, I see a Nikon Z5 II (~$1700) as a better option, of course.

This certainly depends on how much video you do, by the way. The Z50 II’s video capabilities are comparatively “modest”, and some of the Fujifilm and Panasonic (Micro Four Thirds) options out there do indeed offer superior video capabilities. Honestly, though, I found the Z50 II’s video files to be absolutely beautiful, so I have no complaints there.

One trend that I would like to address is that of the retro style cameras. We’ve seen a ton of them from Fujifilm over the years, and Nikon has had the Z fc as well as the Zf. Should you consider the Zfc instead of the Z50 II? Well, first of all, no; if I want a retro style camera, I’ll wait for a Zfc II that offers the same AF system improvements. Having said that, as much as I love the look of retro style cameras, they always seem to have too many compromises in practical functionality for me. I absolutely love the grip of the Z50 II, as well as its modern control layout, and I’d dearly miss those things on any retro style camera.

Last but not least, there are only a few other cameras that cost the same as, or less than, the Z50 II. I won’t even mention them, because I honestly would rather not recommend them. Even if you’re on an extremely tight budget, the Z50 II is the mirrorless interchangeable lens camera you should just save up for!

The only caveat to this is, of course, the fact that if you’re ENTIRELY a vlogger, (meaning, you absolutely do not need a viewfinder on your camera) …then the Nikon Z30 is essentially a Z50 II but without the viewfinder. (Plus a few other subtle differences that make it a better vlogging camera, but with the same durable build quality and overall design.)

Nikon Z50 II Review | Conclusion

With the Nikon Z50 II, you can confidently capture photos and video of a rather wide variety of subjects. It’s not the absolute fastest camera, and its resolution is indeed modest by today’s standards. But the images are gorgeous, and the camera itself just feels effortless to use.

As both a working professional and a hobbyist, I like Nikon’s whole approach to this camera and the lenses available for it. Want a pro level camera and lenses, without feeling compelled to upgrade to something 2-3X more expensive someday? Grab the Z50 II and 2-3 of the right Nikkor lenses for your genre of photography / video, and you’ll be happy for a lifetime of content creation. Want a backup or 2nd camera that perfectly complements your flagship pro body & lenses? The Z50 II is it.

I’m still looking forward to seeing more DX lenses available for the Nikon Z mount, both name brand and third party. Maybe an 8-16mm f/4 DX for landscape photographers, or a 33mm or 57mm f/1.2 DX for serious portrait photographers. Honestly, though? The existing options are already excellent, and I really can’t think of any other reason to hesitate. (Oh, except it will probably go on sale for ~$100 off sooner or later!)

Nikon Z50 II Pricing & Availability

The Nikon Z50 II is available for $906.95 as a body only, for those who are upgrading and already have existing Nikon Z-mount lenses. There are also many other lens kits available, including my personal favorite for all-around casual photography, the Nikon 24mm f/1.4 DX. ($1183.90 kit)

• $906.95 (body only)
• $1046.95 (kit w/ Nikon Z 16-50mm DX)
• $1183.90 (kit w/ Nikon Z 24mm f/1.7 DX)
• $1263.90 (kit w/ Nikon Z 12-28mm DX)
• $1296.95 (kit w/ Nikon Z 16-50mm DX & 50-250mm DX)
• $1343.90 (kit w/ Nikon Z 18-40mm DX)
  
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