According provided by Nikon DX AF-S Nikkor 12-24mm 1: 4G ED SWM IF Aspherical lens is huge thanks to the store www.fotika.com.ua, where can I find a huge number of different used photographic equipment.
Nikon 12-24mm f / 4 DX AF-S
Nikon DX AF-S Nikkor 12-24mm 1: 4G ED SWM IF Aspherical (abbreviated as Nikon 12-24mm f / 4G) is a good wide-angle zoom lens for Nikon DX crop cameras.
The Nikon 12-24mm f / 4G has a gold ring on the case, near the front lens, which is a sign of a top-class Nikon Nikkor lens. Nikon 12-24mm f / 4G is on the Nikon Professional Photographic List NPS (Nikon Professional Services)... In fact, the Nikon 12-24mm f / 4G is a professional lens, although I personally would class it as a semi-pro or an advanced amateur lens. A complete list of Nikon DX lenses that have a golden ring near the front lens can be found here.
A complete list of Nikon DX series lenses can be found here.
Important: in 2006 the lens was updated. Outwardly, there is no difference between the older and newer sub-versions. Nikon reserves the right to update products and not specify this in the instructions. Usually the lens is updated to improve internal mechanics and optics. Externally, the lens remains identical to its predecessor. Repairers are well aware of such updates, who claim that the same lens in the middle can be radically different. Lenses manufactured after 2006 have a serial number that begins with a '3'. Lenses manufactured before 2006 have a serial number starting with '2'. The difference in optical and mechanical performance is unknown to me.
Nikon 12-24mm f / 4 DX AF-S
Main technical characteristics of Nikon DX AF-S Nikkor 12-24mm 1: 4G ED SWM IF Aspherical:
| Review Instance Name | Nikon DX AF-S Nikkor 12-24mm 1: 4G ED SWM IF Aspherical 313569 |
| Basic properties |
|
| Front Filter Diameter | 77 mm, plastic thread for filters |
| Focal length | 12-24 mm EGF for Nikon DX cameras is 18-36 mm (that's right, EGF recalculated even for Nikon DX lenses!) |
| Zoom ratio | 2 x |
| Designed by | for digital cameras Nikon DX |
| Number of aperture blades | 7 rounded petals |
| Tags | focusing distance in meters and feet, focal lengths for 12, 15, 18, 20, 24 mm, bayonet mount tag and lens hood mounts |
| Diaphragm | from F / 4 over the entire range of focal lengths to F / 22. The lens is deprived of the aperture control ring, control is via the camera menu (G - lens type) |
| MDF | 0.3 m over the entire range of focal lengths, maximum magnification ratio 1: 8.3 |
| The weight | Until 2006, the weight of the willow object was 485 g; after 2006, the weight was 465 g |
| Optical design | 11 elements in 7 groups, 3 aspherical elements (aspherical elements are shown in blue in the optical diagram) and 2 ED elements (shown in yellow in the optical diagram, the image is clickable). |
| Lens hood | Nikon HB-23, plastic, bayonet type, this lens hood is also suitable for the following lenses: |
| Manufacturer country | MADE IN Japan |
| Instructions | See, mirror 2 |
| Period | From March 2003 to the present day (at least until the summer of 2017) |
| Price |
It is very bad that finding accurate weatherproof information for Nikon Nikkor lenses is very difficult or even impossible. Despite the fact that the Nikon 12-24mm f / 4G lens with a gold ring, in its instructions there is not a single hint of any protection of the lens from the influence of the external environment. Also, on the lens I did not find a rubber seal between the lens mount and the camera, therefore, most likely, the lens does not have dust and moisture protection.
Nikon 12-24mm f / 4 DX AF-S
Assembly
Nikon 12-24mm f / 4G is made in Japan. To the touch he nice and weightyWith a weight of almost 500 grams, the Nikon 12-24mm f / 4G uses large 77mm professional diameter large filters.
Disgrace but plastic focus ring, narrow and not very comfortable, the zoom lens is rubberized, wide and comfortable. This is typical of modern Nikon lenses, as is metal mount.
Compared to full-width Nikon ED AF-S Nikkor 17-35mm 1: 2.8D SWM IF Aspherical, which was in my review at the same time, the Nikon 12-24mm f / 4G seems to be just a child’s toy.
There is a bayonet mount mark and a mark on the case for quick installation of the hood. The lens uses a plastic hood HB-23, which is fixed in special grooves located near the front lens of the lens. The hood can be installed in the opposite direction for transportation. In this position, access to the zoom ring is practically not lost.
When changing the focal length, the rear lens moves in the middle of the lens body like a pump - it draws in and pushes out air. This behavior of the rear lens is called 'vacuum cleaner effect', which can increase the amount of dust that accumulates in the camera.
It is rather unusual that many Nikon 12-24mm f / 4G lenses come in a silver box (shown at the end of the review), instead of the more usual golden one. It is unknown why Nikon chose to ship this particular lens with a new box design.
Nikon 12-24mm f / 4 DX AF-S
Diaphragm
Diaphragm lens consists of only 7 rounded petalswhich form a fairly even hole. It is a pity that for a lens with a gold ring Nikon stinted at a full 9-blade aperture. Diaphragm closes to F / 22 over the entire range of focal lengths.
Maximum f / 4 aperture is available over the entire range of focal lengths. F / 4 is exactly 1 stop (2 times) less than F / 2.8. The difference between F / 4 and F / 5.6 is also exactly 1 stop (2 times). Do not confuse the aperture value (F-stop) and aperture ratio (T-stop).
On covered apertures, the lens gives the effect of a 14-ray star (example) Some sprocket rays may bifurcate.
Nikon 12-24mm f / 4 DX AF-S Focus Distance Scale
Focusing
Nikon 12-24mm f / 4G focuses quietly enough thanks to 'SWM'-motor (Silent Wbird Motor - quiet wave motor) and refers to the lens'AF S'type (with built-in motor focusing), and therefore it will automatically focus on any Nikon digital SLR camera.
Auto Focus Speed - high. While working on cameras Nikon D700 и Fujifilm FinePix S5 Pro I had no complaints about the accuracy, tenacity and speed of auto focus.
During focusing, the front and rear lenses remain stationary, as the lens uses internal focusthat is indicated on the case by the letters'IF'-'Iinternal Focus' - 'Inner Focus'.
When changing the focal length the front lens of the lens wave-wise moves back and forth and rotates around its axis. Due to the successful design, all movements occur inside the lens barrel and we can assume that it uses internal zoom (does not change its size when changing the focal length). It turns out that if you install a filter on the lens, then visually the lens will not change its size either during focusing or during a change in focal length, therefore, any filters can be used without problems.
The minimum focusing distance is 30 cm and, frankly, for a 12 mm focal length, 30 cm is too much. For instance, Nikon DX AF Fisheye Nikkor 10.5mm 1: 2.8G ED It has an MDF equal to 14 cm, which makes it possible to use the unusual transmission of perspective with an ultra-wide-angle lens much more widely.
Nikon 12-24mm f / 4G has a window with distance scale in meters and feet. The distance scale contains only 3 distance values (1, 0.5 and 0.3 m) and “infinity”. The focusing distance scale is practically useless. There is no depth of field scale, as well as marks for working in the infrared spectrum. In manual focusing mode, the ring rotates 90 degrees, when reaching the extreme positions it does not rest against it, but continues to slide without affecting focusing.
On the lens housing you can find focus switch 'M / A - M'. In the 'M / A' position, auto focus works with constant manual focus priority. The 'M / A' mode is very convenient and useful - for manual focusing or focus correction, you do not need to additionally switch the lens to the 'M' mode. The switch is small and uncomfortable, it is easiest to leave it in the 'M / A' position and forget about its existence.
Nikon 12-24mm f / 4 DX AF-S with Nikon HB-23 hood
Compatibility and Features
Nikon 12-24mm f / 4G will work correctly with all Nikon digital SLR cameras (full list here).
Although the Nikon 12-24mm f / 4G is designed to work with Nikon DX crop cameras, the lens can be used on full-frame Nikon FX cameras. If you use the 'FX' crop mode for shooting on Nikon FX cameras, the strongest vignetting will be noticeable in the focal length range of 12-16 mm. In the range of 16-17 mm, vignetting is almost invisible, and in the range from 18 mm it is completely absent. Unfortunately, the edges and corners of the frame in pictures from a full-frame camera in the range from 18 to 22 mm are not sharp and with a lot of chromatic aberrations. Using a hood in the 16-24mm range does not affect vignetting. Vignetting from a medium thickness filter disappears in the range of 19-24 mm.
You can download RAW source files by this link (21 files in '.NEF' format, 300 MB). All photos were shot on Nikon D700 in the 'FX format (36x24)' mode.
In addition, the lens can be used in 'DX' crop mode on all full-frame Nikon FX digital cameras. In this mode, only the central part of the camera sensor, equal in size to the Nikon DX sensor, will be used, which will avoid vignetting using a cropped lens on a full-frame camera. To do this, in the camera menu, just turn on the 'Image area' -> 'Select. image area 'and select the' DX format (24x16) 'value there. In Live View, there will be a full simulation of the cropped camera, and when sighting through JVI there is one trick.
Cunning: if in the menu of full-size cameras in the setting "AF point illumination" select "Off", then after turning on the crop mode "DX 24x16 format" (in fact - cropping) an unused area of the image visible in JVI, will be darkened, which will greatly facilitate sighting / photography using the Nikon DX lens.
If on Nikon FX cameras select 'Image area' -> 'Auto. DX Crop '->' On ', then after attaching a Nikon DX lens to such a camera, the camera will automatically use' DX Format (24x16) '.
Also, note that the Nikon 12-24mm f / 4G in the pictures may give built-in flash shadow (The amount of shadow depends on the used focal length and the specific model of the camera, as well as on the lens hood and focusing distance).
Nikon 12-24mm f / 4 DX AF-S with hood in transport mode
Image quality
The lens is very sharp in the center at any focal length and at any aperture value. The sharpness at the edges and corners is noticeably worse by 12 mm of focal length and F / 4. When closing the diaphragm, sharpness at the edges and corners returns to normal.
At 12 mm on the Nikon 12-24mm f / 4G, you can see the barrel-shaped distortion inherent in similar wide-angle lenses. At 18 and 24, the distortion becomes pillow-shaped, and its level is much lower than by 12 mm.
The lens tolerates lateral and backlight well, in a strong backlight you can see only a few small glare (in the examples, excessive glare from the filter, not from the lens). Nikon 12-24mm f / 4G has a good contrast. Due to the large MDF, short focal length and low aperture ratio, the bokeh effect of the lens is weak (example at maximum values).
The only disappointing thing is the rather strong chromatic aberrationthat appear at the edges and corners of the image. If not for them, then the lens could be called “perfect”.
When using a lens on Nikon DX cameras, vignetting from a medium-thick filter is not noticeable at any focal length.
Sample photo on Nikon DX AF-S Nikkor 12-24mm 1: 4G ED SWM IF Aspherical
You can download RAW source files at this link (59 files in the '.RAF' format, 803 MB). All photos were shot on Fujifilm FinePix S5 Pro. Most of the photos were shot using cheap polarizing filter CITIWIDE CPL 77mm, which I took to Lviv to protect the lens from mechanical damage. Please note that sometimes it is the light filter that creates the extra glare. All photos in this gallery are on-camera JPEG without processing.
Movement and rotation of the front lens in the middle of the frame during changing the focal length of the Nikon DX AF-S Nikkor 12-24mm 1: 4G ED SWM IF Aspherical
My experience and recommendations
When I leafed through the instructions from Nikon 12-24mm f / 4G, I seriously thought about the fact that this is a lens of 2003 of development and it is already about 12 years old and it still does not have a replacement that takes into account super-megapixel modern cameras. In the instructions for the Nikon 12-24mm f / 4G, as examples of use, only such old people appear Nikon D100, series D2, series D70 и Nikon D50.
Nikon DX AF-S Nikkor 12-24mm 1: 4G ED SWM IF Aspherical and Nikon ED AF-S Nikkor 17-35mm 1: 2.8D SWM IF Aspherical
The Nikon 12-24mm f / 4G is generally better than other similar wide-angle lenses from third-party manufacturers. But the price of the new Nikon 12-24mm f / 4G is very high (due to the gold ring and silver box?), And instead I would have bought it without hesitation Tokina 128 (almost 3 times cheaper) or brand new Tokina AT-X PRO SD 11-20 F2.8 (IF) DX (two times cheaper). Tokina’s wide-angle and ultra-wide-angle lenses are pretty good, and some are even better than the original Nikon 12-24mm f / 4G.
Alternatives
Below is a list of all ultra-wide angle lenses with auto focus support for cameras with an APS-C sensor (crop Kf = 1.5-1.6X) whose focal length is less than or equal to 14 mm.
Tokina (for different mounts):
With moderate aperture:
- Tokina 124 AT-X PRO SD 12-24 mm F4 (IF) DX Aspherical, for Nikon F, Canon EFS
- promaster Digital af 12-24 XR EDO F4 Aspherical, previous lens under the 'ProMaster' brand
- Tokina 124 AT-X PRO SD 12-24 mm F4(IF)DX II aspherical, for Nikon F, Canon EFS
- Tokina 128 AT-X Pro SD 12-28 mm F4 (IF) DX Aspherical, for Nikon F, Canon EFS
- Tokina AT-X PRO SD 12-28 F4 (IF) DX V, Canon EFS only
Aperture:
- Tokina AT-X PRO SD 11-16 F2.8 (IF) DX ASPHERICAL, since 2007, for Nikon F, Canon EFS, Sony A
- Tokina AT-X PRO SD 11-16 F2.8(IF)DX II ASPHERICAL, since 2008, for Nikon F, Canon EFS, Sony A
- Tokina AT-X PRO SD 11-16 F2.8 (IF) DX V, for Nikon F, Canon EFS
- Tokina atx-i 11-16mm F2.8CF, since 2019, for Nikon F, Canon EFS, black/white
- Tokina atx-m 11-18mm F2.8E, since 2022, for Sony E, black/white
- Tokina AT-X PRO SD 11-20 F2.8 (IF) DX ASPHERICAL, from 2014, for Nikon F, Canon EFS
- Tokina atx-i 11-20mm F2.8CF, since 2020, for Nikon F, Canon EFS, black/white
- Tokina AT-X PRO SD 14-20mm F2 (IF) DX, from 2015, for Nikon F, Canon EFS
fisheye:
- Tokina 107 Fisheye 10-17 mm F3.5-4.5DX AT-X, for Nikon F, Canon EFS
- Tokina 107 Fisheye 10-17 mm F3.5-4.5 DX NH AT-X, for Nikon F, Canon EFS
- Tokina 107 Fisheye 10-17 F3.5-4.5 DX AT-X V NH, Canon EFS only
Tamron (for different mounts):
- Tamron SP 10-24 mm 1: 3.5-4.5 Di II B001, from October 2008, for Nikon F, Canon EFS, Pentax K, Sony A. Japan / China / Vietnam
- Tamron 10-24 mm F/3.5-4.5 Diii VC HLD-B023, from February 2017, for Nikon F and Canon EFS
- Tamron Aspherical LD DI II SP AF 11-18 mm 1: 4.5-5.6 [IF] A13, since 2005, for Nikon F, Canon EFS, Sony A. Konica Minolta AF DT Zoom 11-18mm 1: 4.5 (22) -5.6 D and Sony 4.5-5.6 / 11-18 DT (SAL1118) lenses are built on the same optical scheme )
- Promaster Digital EDO AF Aspherical LD (IF) 11-18 mm 1: 4.5-5.6, previous lens under the 'ProMaster' brand
- Tamron 11-20 mm F / 2.8 Di III-A RXD B060, from April 2021, only for Sony E
Sigma (for different mounts):
- Sigma 4.5 mm 1: 2.8 EX DC HSM CIRCULAR FISHEYE, since 2007 for Canon EFS, Sigma SA and Nikon F. Since 2008 for Pentax K and Sony / Minolta A
- Sigma 10 mm 1: 2.8 DC FISHEYE HSM, from 2007 for Canon EFS, Sigma SA and Nikon F. In 2008 a version for Pentax K and Sony / Minolta A was released
- Sigma 8-16 mm 1:4.5-5.6 DC HSM, since 2010, Canon EFS, Nikon F, Pentax K, Sigma SA, Sony/Minolta A
- Sigma 10-20 mm 1: 4-5.6 DC EX [+ -HSM, + -D], since 2005 for Canon EFS, Sigma SA, Nikon F, Pentax K and Sony / Minolta A. Since 2008 for 4/3 SLR system. 'D' prefix for select Nikon and Sony / Minolta A only. HSM motor only available for Canon EFS, Sigma SA, Nikon F and 4/3. The Pentax K and Sony / Minolta A versions have a different appearance (there is no focusing distance window). There are two sub-versions: with a matte finish and with a velvet finish on the body.
- Sigma 10-20 mm 1: 3.5 DC HSM EX, since 2009, for Canon EFS, Nikon F, Pentax K, Sigma SA, Sony / Minolta A
- SIGMA 10-18 mm 1:2.8 DC DN C, from 2023, for Sony E, FujiFilm X and Leica L
Nikon DX (for Nikon F mount):
- Nikon DX AF Fisheye Nikkor 10.5 mm 1: 2.8G ED
- Nikon DX VR AF-P Nikkor 10-20 mm 1: 4.5-5.6G
- Nikon DX AF-S Nikkor 10-24 mm 1: 3.5-4.5G ED SWM IF Aspherical
- Nikon DX AF-S Nikkor 12-24 mm 1: 4G ED SWM IF Aspherical
- Nikon Nikkor ZDX 12-28mm 1:3.5-5.6PZ VR
Canon EF-S / EF-M
EF-S (Mirror APS-C)
EF-M (Mirrorless APS-C)
RF-S (mirrorless APS-C)
Pentax DA (+ Samsung / Schneider-Kreuznach, for Pentax K mount):
- SMC Pentax-DA 1: 2.8 (22) 14 mm ED [IF] (Pentax 14)
- SMC Pentax-DA FISH-EYE 1: 3.5-4.5 10-17 mm ED [IF] (Pentax 10-17) (FISHEYE, most likely optically identical Tokina Model 107)
- HD Pentax-DA FISH-EYE 1: 3.5-4.5 10-17 mm (FISHEYE, most likely optically similar to Tokina 107 NH)
- HD PENTAX-DA * 1: 2.8 11-18 mm ED DC AW
- SMC Pentax-DA 1: 4 12-24 mm ED AL [IF] (Pentax 12-24) (most likely optically identical Tokina Model 124)
- Samsung Zoom Lens Fisheye D-Xenon 10-17 mm 1: 3.5-4.5 AL, copy Pentax 10-17optical scheme from Tokina Model 107
- Samsung Zoom Lens D-Xenon 1: 4 12-24 mm ED ALcopy Pentax 12-24optical scheme from Tokina Model 124
- Schneider-Kreuznach D-Xenogon 1: 3.5-4.5 10-17 mm ED AL, copy Pentax 10-17optical scheme from Tokina Model 107
- Schneider-Kreuznach D-Xenon 1: 4 12-24 mm ED AL, copy Pentax 12-24optical scheme from Tokina Model 124
Sony / Minolta (A or E):
E-mount (E):
- Sony E 4 /10-18 OSS (2012)
- Sony E 4 /10-20G PZ (2022)
- Sony E 1.8 /11 (2022)
A-mount (A):
- Sony 4.5-5.6 /11-18 DT (SAL1118) (most likely optically identical Tamron model a13)
- Konica Minolta AF DT Zoom 11-18 mm 1: 4.5 (22) -5.6 D (most likely optically identical Tamron model a13)
Samsung NX
- Samsung Lens 1: 3.5 10 mm Fisheye
- Samsung Lens 1: 4-5.6 12-24 mm ED I-FUNCTION
Fujifilm x
- FUJINON ASPHERICAL LENS SUPER EBC XF 8 mm 1:3.5RWR
- FUJINON ASPHERICAL LENS SUPER EBC XF 14 mm 1: 2.8 R
- FUJINON ASPHERICAL LENS NANO-GI XF 8-16 mm 1: 2.8 R LM WR
- FUJINON ASPHERICAL LENS SUPER EBC XF 10-24 mm 1: 4 R OIS
- FUJINON ASPHERICAL LENS SUPER EBC XF 10-24 mm 1: 4 R OIS WR
Zeiss (E / X)
- ZEISS Distagon Touit 2.8 /12 T* (Sony E-mount, Fujifilm X-mount)
VILTROX (E/X/Z)
- Viltrox AF 13mm 1: 1.4 STM ASPH ED IF C (2021, Sony E-mount, Fujifilm X-mount, Nikon Z-mount)
Leica CL/TL/T/L
- Leica SUPER-VARIO-ELMAR-T 1: 3.5-4.5 /11-23 ASPH. (2014)
- Leica SUPER-VARIO-ELMAR-TL 1: 3.5-4.5 /11-23 ASPH. (2014)
Samyang (E / X)
- Samyang AF 12/2E + Samyang AF 12/2X (2021, Sony E-mount, Fujifilm X-mount)
Yongnuo (E/X/Z)
Yongnuo 11mm 1:1.8 DA DSM WL S/X/Z (2023, Sony E-mount, Fujifilm X-mount, Nikon Z-mount)
Do you know more similar lenses? Or do you have experience with any of them? Then be sure to share your thoughts in the comments.
An accurate list of all Nikon DX Nikkor lenses
- 10.5 mm/ 2.8G AF Fisheye [gold ring]
- 35 mm/1.8G AF-S
- 40 mm/2.8G AF-S Microphone
- 85 mm/3.5G AF-S VR Microphone
- 10-20 mm/4.5-5.6G AF-P VR
- 10-24 mm/3.5-4.5G AF-S
- 12-24 mm/4G AF-S [gold ring]
- 16-80 mm/ 2.8-4IN AF S VR [gold ring]
- 16-85 mm/3.5-5.6G AF-S VR
- 17-55 mm/2.8G AF-S [gold ring]
- 18-55 mm/3.5-5.6G AF-S [black / silver]
- 18-55 mm/3.5-5.6GII AF-S [black / silver]
- 18-55 mm/3.5-5.6G AF-S VR
- 18-55 mm/3.5-5.6GII AF-S VR
- 18-55 mm/3.5-5.6G AF-P
- 18-55 mm/3.5-5.6G AF-P VR
- 18-70 mm/3.5-4.5G AF-S
- 18-105 mm/3.5-5.6G AF-S VR [Thailand / China]
- 18-135 mm/3.5-5.6G AF-S
- 18-140 mm/3.5-5.6G AF-S VR [Thailand / China]
- 18-200 mm/3.5-5.6G AF-S VR [Japan / China]
- 18-200 mm/3.5-5.6GII AF-S VR
- 18-300 mm/3.5-5.6G VR
- 18-300 mm/3.5-6.3G VR
- 55-200 mm/4-5.6G AF-S [black / silver, Japan / China]
- 55-200 mm/4-5.6G AF-S VR
- 55-200 mm/4-5.6GII ED VR
- 55-300 mm/4.5-5.6G AF-S VR
- 70-300 mm/4.5-6.3G AF-P
- 70-300 mm/4.5-6.3G AF-P VR
Silver Box For Nikon DX AF-S Nikkor 12-24mm 1: 4G ED SWM IF Aspherical
Lens prices
Actual prices for the lens can be viewed:
- Magazilla
- E-Catalog
- Social mart
- either in the price block below:
Comments on this post do not require registration. Anyone can leave a comment. Many different photographic equipment can be found on AliExpress.
Nikon DX AF-S Nikkor 12-24mm 1: 4G ED SWM IF Aspherical on the legendary camera Fujifilm FinePix S5 Pro
Results
Nikon 12-24mm f / 4 - not the “widest”, but Best Original Wide Angle Zoom Lens for Nikon DX Cameras (at the time of writing the review). Nikon 12-24mm f / 4G attracts with its good image quality, good assembly, internal zoom, fast internal auto focus, constant maximum relative aperture, golden ring and by the way. Of the shortcomings I highlight overpricedtoo large MDF and HA along the edges and corners of the image. Competitors have options for such lenses with a much lower price tag and, at the same time, with similar image quality.
UPD: Nikon 12-24mm f / 4 - the very first and oldest lens in the Nikon DX line of lenses (the very first cropped lens for Nikon's APS-C digital cameras).
UPD: on May 31, 2017 a new similar lens was presented - Nikon DX VR AF-P Nikkor 10-20mm 1: 4.5-5.6G.
Material prepared Arkady Shapoval. Training/Consultations | Youtube | Facebook | Instagram | Twitter | Telegram
the photos are just magical
Lviv is beautiful!
...
But Tokin is still a rulid!
I took a couple of weeks to test the Tokina AT-X AF PRO DX (12-24mm f / 4). I didn’t like the quality of the resulting images at all - color rendition, contrast. If we compare with the photos that Arkady brought, Nikon 12-24mm is much more interesting.
dragging then for the correct comparison, the lens is taken by ONE photographer, on ONE camera, in ONE place.
You didn’t shoot all the same)))
Lynx, what is “dragging that”?
Actually, only in a fashionable way)))
not fashionable, but as Spider says http://lurkmore.to/Паук
In this case, Lynx correctly said, for example ...
You are certainly right here. But even in comparison with Nikon 18-105mm on my camera, the shots from Tokins look worse.
It is in vain that you cast a shadow on Tokina 124, this is a wonderful shirik-landscape, tried several analogs and settled on Tokina AT-X 12-24mm F / 4 PRO DX II, here they compared Nikon 18-105 “frames” and this Tokina)), duck here is the last one on a cut in quality, reliability and a picture higher than this, in general, a good whale.
In the temple, the lens worked smartly. Even on F4, all the frescoes and bas-reliefs are visible. And Fujik on ISO 800 still pulls. And I want a fullframe, not arms from my shoulders)))
How I love shirikov reviews ... Excellent specimen. But I was not pleased with the too narrow wide angle. 12mm on the crop is somehow quite modest. Every millimeter is important there. Very cool fuj photos. I take pictures of them with sigma 10-20 4-5.6 (but a little wider :)). In general, since it was indicated in the article that information about sigma can be shared in the comments, I will say that 10-20 is an excellent alternative to any widths for Canon and Nikon crops. Sharp, fast, reliable. I had these sigmas on both systems and nowhere did they disappoint me. I cannot say, for example, about Tamron 10-24 (soapy, very lame and somehow unreliable). Tokina 116 2.8 pleased me with aperture ratio and constructiveness, but again, too little focal range (now 11-20 2.8 has appeared - this is the case, but expensive). In my opinion, every millimeter is important for the width - it changes the perception of the picture. And the spread from 10 to 20 mm is the very thing. For example, according to my feelings, an increase of 2 mm in canon 10-22 compared to sigma 10-20 is not particularly needed, but the lack of 2 mm in canon 10-18is is already felt. In general, for those who do not have money for Nikon 12-24 or who lacks its width, take sigma 10-20 4-5.6 (but not 3.5, read a lot of reviews and faced the soapiness of this lens and inoperative open apertures myself).
Thank you :)
normal sharpness at the tamron and even aspherical plastic glasses over the years do not spoil anything as they wrote somewhere.
general tokina 12-28 topic
as I understand it is planned to review 17-35 2.8? ))) when about to wait?
within 10 days
From Sigma we can say about 10-20, a very good lens for its price category
Wow! Krasatun!
Very good overview. The quality has improved markedly. Thanks. I especially thank you for the examples of photos on FX - you rarely find such examples.
I also like Sigma 10-20 F4-5.6. Although it gives a very strong distortion, but the price is relatively low.
what kind of distortion?
He seems to stretch the diagonals - for a landscape it is the most - there is volume, but with portraits or group photos you have to "trick". Those who got to the edges acquire very bizarre forms :) Somewhere I saw examples of photographs in which the photographer creatively approached his distortions - it turned out very interesting. The lighter version is said to have much less distortion.
all widths pull corners.
if you do not want elongated angles but want a wide angle, then fish to help you.
was at a forum of landscape painters, so they don’t shoot at all.
50 and even 135 are used, then panaramas are glued.
A normal portrait and a shirik are incompatible concepts for me. I don't take into account various creative experiments.
I agree for commerce, but it's normal for a home, you can get the hang of it, especially if you don’t want to change the lens on the go and then clean the matrix or pictures at the computer. At focal length 20, he’s quite a naught.
on 10-24 a portrait can be taken on a chest if in the center of the frame.
and if 12-28 then it’s generally chocolate.
but now 12-28 is unbearable ((
Just the distortions of Sigma, it seems to me, are minimal in comparison with other competitors. Well, or in any case not so cut the eyes.
Arkady, and if you choose between the 17-55 2.8 tamron with the 2nd version stub and this nickname, what will be more interesting? I think tiki tamron gives old man
Different lenses for different tasks. A purely shirik and a purely station wagon cannot be compared directly and choose “more interesting”. If, nevertheless, I would be faced with a meaningless choice “this nikkor or tamron”, then I would definitely take nikkor.
tamronchik .. tamronchik .. flat boring tamronchik "type of aperture for the poor", without any pattern, will make a shirik at its maximum value.
yeah, jva times.
Shooting landscapes, I somehow compared this nikon with a 17-50 D80 tamron with an aperture of 5,6-8 at minimum focal lengths (12 and 17, respectively) - the tamron turned out to have noticeably worse sharpness at the edges, although this specimen at one time was chosen from several and was very successful.
Well, the choice is not so meaningless, 12-24 and 17-55, between 12 and 17 is not such a big difference, but the long end is much longer than 24 versus 55, and the constant aperture ratio is 2.8 versus 4, the difference is very good. tangible, and if you cover from 2.8 to the same 4, the sharpness will not be worse. I will not write about the dignity of the stub. BUT again this one ... I did not hold it in my hands, it is difficult to judge. Thank you for your opinion
The bottom line is that 12 and 17 mm are a huge difference, since every millimeter plays a huge role in this range. Again, completely different lenses.
I also wanted to say that the difference between 12 and 17 is huge (in particular for landscapes)
A palpable difference is already clearly visible between 16 and 18 (and it would seem that there are these 2 mm) - and here as many as 5
The glass is of course super ...
The glass is nice, but I would have preferred tokinu 12-24, 11-16 or something like that - this is objectivity, if a good copy comes across.
Nikon 12-24 is two heads taller than TOKINA AND BY QUALITY OF IMAGES, AND BY QUALITY OF ASSEMBLY, AND BY DESIGN
Peter, and for the price of 2 shovels higher.
Heads
it's true
Ken Rockwell has a different opinion about the number of goals. He counted them the same way. http://www.kenrockwell.com/tokina/12-28mm.htm Recommendations For Nikon section
5 reasons for the superiority of DSLRs over all other cameras:
http://www.ferra.ru/ru/digiphoto/review/5-reasons-why-dslrs-are-still-the-best/#.VbD9HkBtCFo
Offtop.
water diluted with water ...
I really liked the lens. I will take it. Where would I get some now. Having looked at the photo from the review, I realized that the gutter is tearing everyone.
alas, not always and not in everything.
If we are talking about shiriks, Nikon 16-35f / 4Vr owners, please share your thoughts and doubts. There will hardly be a review ...
I would like to see how people are shooting on this lens.
Share, please.
https://pixelpeeper.com/
on 12mm
24mm
Everywhere about 16-35 good reviews, but LensTip "lowered" it below the baseboard.
are you about nikon 16-35 / 4? the situation there is very strange. I had two of them, nightmares in optics. exactly the same problems that lenstip pointed out.
I sent one of them to the Nikon service, they sent me back with a conclusion - everything is normal, it should shoot so soapy :) in general, see a specific instance, maybe this model has a slag like sigma in 70% of copies? :)
This lens was developed by a team of engineers who later went to Tokina.
the subsequent magnificent Tokin shiriks are their work.
this lens is not particularly washed out, if there are 11-16 / 2,8 and 12-28 / 4 Tokins on the market.
I read about this and absolutely agree, all of these glasses even externally looked like twins, and according to Nikon's characteristics, I think I didn’t run a lot from Tokina, except for the price.
A bit at a loss…. If we are really talking about the Nikkor 16-35 F4, then using this glass, I do not consider it mediocre at all. Quite the opposite. Do you know a lot of wide zooms with a gorgeous stabilizer for FULL FRAME? Comparing with Tokina, didn't you confuse anything? On the 16-34 F4 crop I like it even better. The full-frame D600 is not very high-resolution, but examples can be viewed here https://yadi.sk/d/hvvBq1XgiPnMU anyone interested ... There is an opinion that Samyang 14 F2.8 (I also have it) has higher optical performance. Not certainly in that way; - not SAmyang, but Nikkor 16-35 has it in full (taking into account the complex of circumstances). Although…. It's my personal opinion; - I do not impose on anyone.
I used this Nikon 16-35 / 4 VR for several days / I confirm what Alexander said. This is one of the best ultra-wide full-frame zooms of any manufacturer. Only Tamron 15-30 / 2.8 is better than it. But I returned it because I compared the photos with Voigtlander 21 / 3.5. The results are not in favor of Nikon, and by a wide margin. But if someone needs a zoom, and even with a stabilizer and from Nikon himself, then there is nothing better. By the way, it has a sufficiently high microcontrast, not that it reaches a very high level, but it is sufficient for professional work ...
Friends sent a Nikon 16-35 f / 4VR from Moscow two days ago. took in a coherent, sell two versions, Chinese and Japanese, Chinese for 6 thousand rubles. cheaper. The first impression is twofold. at 100% crop - soap, and the drawing itself is pleasant, juicy. This is my first shirik, it is interesting to play with the perspective, in general there is a field for creativity. Carcass B 7000. We will master, but not fix, oooh not fix in sharpness.
f22 h16
I would like to help you. Judging by the photo (cut down very much, of course), it is clear, 15 o'clock in the afternoon, there is enough light, focal 16, the aperture is very tightly clamped to F22, shutter speed 1/15 second, ISO 100. Ripples are visible on the water, a slight breeze; - foliage and vegetation in motion. Let's start with the fact that the maximum sharpness of this lens at an aperture of 5.6 is permissible up to 7.1, but further closing the aperture will deteriorate the image due to diffraction; - 22 is clearly overkill. Next, the biggest mistake is the exposure of 1/15 second. This is a VERY LONG exposure! Despite the fact that you have the most powerful stabilizer, but the shake of foliage, grass, water, will give a daub on the frame anyway. Moreover, judging by the angle, they were shooting handheld, without a tripod. Landscapeists take photographs from a heavy tripod, in calm weather, with a pre-lift of the camera mirror using a remote control, and even then they are not always happy with the result. Set the shutter speed to 1/200 - 1/400; - this will somewhat solve the problem. There are persistent rumors that a computer malfunction in 99 cases out of 100 sits in front of the monitor. By analogy, we can say that the quality of the lens, and therefore the photo…. right, in our hands! You need to know the materiel…. How else?
I also want to help myself and find out - where can I get the data on lenses about the maximum sharpness and the diffraction threshold (although this is already with the camera, not with the lens)?
and specifically for this lens - basically I see a photo from it at f9, f11, though the shutter speed is about 30s, i.e. do you mean aperture value when shooting handheld?
Information about the maximum sharpness and other features of the lens for various parameters, I usually find on aflences.ru
Thank you, I’ll teach my materiel so as not to hit the face with dirt :)
the page does not open :(
Sorry, typo) Correct: http://aflenses.net/
Thanks for the information, I clamped the diaphragm to 22, I wanted to show the movement of water, but apparently without the filter it would not work.
Most likely I am far from the first and obviously not the last with my question, but!
Who is “to blame” for such sharpness of pictures - camera, lens or photographer? No matter how much I read reviews on Radozhiv, all the pictures are just a fairy tale, and regardless of the upholstery (so it looks like its influence is minimal).
I understand that my D5100 from 18-105 is not the level of technology that Arkady takes, but damn, I do not believe you can’t squeeze out of my camera anymore.
Here is an example of a snapshot (half from this review, half mine), it’s a pity that you can’t upload an unshrunken snapshot. If you look at 1: 1, then like sharpness of norms and no grease, the whole picture seems somehow soapy. And most of them I have, and many, even with a pixel-by-pixel examination of sharpness, do not.
Maybe the fault is a safety filter, or maybe Alexey’s picture is not so soapy due to the polarizer, there are fewer reflections and the building seems sharper !?
Arcadia’s shot is more contrasty, so it seems sharper
Well, yes, maybe the polarizer also makes a contribution.
You need to compare 100% crop, with the same lenses.
18-105 is not super sharp, the level of detail is also average - I am the owner of the same bundle. If you shoot in Jpeg you can add a bit of sharpness to the picture control, if it's RAW, then in post-processing.
In this review, the lens is generally from the 'pro' series.
Put another glass and see the difference.
>> ... you can add some sharpness to the picture control ...
I added, but a little, if you add more, contours appear around the objects.
At the expense of contrast, apparently, is also partly true. I also noticed (although this only seems possible) that if you disable ADL, just disable it, and not set it to a minimum, then the sharpness increases slightly. When ADL is enabled, the difference in contrast between its modes is not visible, therefore Auto is installed.
Look at such optics Nikkor 18-55mm 1: 3.5-5.6GII ED, you will be surprised at the sharpness, it is present at all focal points.
12-24 AND FUJI CLASS COMBINATION
Once upon a time I was received on this ship in the Oktyabrat. There was a time!
The lens is cool, but not very popular. People prefer 10-24, albeit with lower build quality, image quality is not worse. The extra two millimeters on the ultra width are very noticeable.
This is one of the three Nikonogvsky zooms that have high micro contrast and are fully suitable for professional work. It's not the cameras, it's the lenses. The rest of the zooms are 17-55.2,8 for the crop (and it is the only one of its kind with a high microcontrast!), And all the old 80-200.2,8 zooms except manual, especially the D version. All other zooms from Nikon and most other manufacturers do not have such micro contrast, even new ones. Of course, there is a certain number of fixes and this is where the really professional equipment ends. All Leik lenses are famous for their micro contrast in the first place, which creates a vivid picture, especially in difficult lighting conditions. Zeiss and Voitlander lenses too, and some old lenses. Buy new cameras and use budget or even prof. zooms but with low micro-contrast, this means throwing money down the drain and trying to get good photos with the help of unsuitable equipment.
What is your post for? Anyone who shoots not on the lenses you listed, threw money away? But nothing that at least contrast, at least micro-contrast, you can wind up in fs?