According provided by lens Nikon DX AF-S Nikkor 10-24mm 1: 3.5-4.5G ED SWM IF Aspherical many thanks to the reader of Radozhiva - Sergey Dyakov.
Nikon AF-S 10-24 mm f / 3.5-4.5G DX
Nikon DX AF-S Nikkor 10-24mm 1: 3.5-4.5G ED SWM IF Aspherical (I'll call it Nikon 10-24mm f / 3.5-4.5G for short) is a good ultra wide angle lens for Nikon DX cameras. At one time, he became an addition to the professional model. Nikon 12-24mm f / 4G.
Nikon 10-24mm f / 3.5-4.5G gives widest viewing angle of all native Nikon DX classic (diagonal) lenses, its diagonal angle of view at 10mm focal length is 109 °. Of course, if you want to shoot even wider, then only a fisheye lens can come to the rescue. Nikon DX AF Fisheye Nikkor 10.5mm 1: 2.8G ED, but, unlike classical lenses, the fisheye has a prohibitively high level of distortion.
A complete list of Nikon DX series lenses can be found here.
Nikon AF-S 10-24 mm f / 3.5-4.5G DX
Main technical characteristics of Nikon DX AF-S Nikkor 10-24mm 1: 3.5-4.5G ED SWM IF Aspherical:
| Review Instance Name | Nikon DX AF-S Nikkor 10-24mm 1: 3.5-4.5G ED SWM IF Aspherical US6006381 |
| Basic properties |
|
| Front Filter Diameter | 77 mm, plastic thread for filters |
| Focal length | 10-24 mm EGF for Nikon DX cameras is 15-36 mm |
| Zoom ratio | 2.4 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 10, 12, 15, 18, 20, 24 mm, mark of bayonet mount and hood mount |
| Diaphragm | from F / 3.5 to F / 22 at 10 mm of focal length; and from F / 4.5 to F / 29 at 24 mm of focal length. The lens is deprived of the aperture control ring, control is via the camera menu (G - lens type) |
| MDF | 0.24 m in auto focus mode and 0.22 m in manual focus mode over the entire range of focal lengths, maximum magnification ratio 1: 5. |
| The weight | 460 g |
| Optical design | 14 elements in 9 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 |
| Manufacturer country | Made in China |
| Instructions | See, mirror 2 |
| Period | From April 2009 to the present day (at least until the summer of 2017). In May 2017 supplemented by a lens Nikon DX VR AF-P Nikkor 10-20mm 1: 4.5-5.6G. |
| Price | View -> |
The lens has a rather complicated optical scheme, which uses as many special elements as in Nikon 12-24mm f / 4G.
Nikon AF-S 10-24 mm f / 3.5-4.5G DX
The main differences between Nikon 12-24 / 4 and Nikon 10-24 / 3.5-4.5
Overall, Nikon 10-24mm f / 3.5-4.5G and Nikon 12-24mm f / 4G very similar to each other, the main differences between them:
- Nikon 12-24 / 4 refers to professional lineup Nikon Nikkor lenses, has a gold ring near the front lens and is on the list of Nikon NPS professional equipment. The Nikon 10-24 / 3.5-4.5 is a common lens for photo enthusiasts.
- Nikon 10-24 / 3.5-4.5 gives wider viewing angle. The difference between 10 mm and 12 mm of the focal length is felt quite strongly (109 ° versus 99 ° along the diagonal of the frame).
- Nikon 12-24 / 4 has constant maximum hole 1: 4 over the entire range of focal lengths. Nikon's maximum aperture 10-24 / 3.5-4.5 changes as the focal length changes. Nikon 10-24 / 3.5-4.5 is slightly lighter at the wide end than Nikon 12-24 / 4, but also slightly darker at the long.
- Nikon 10-24 / 3.5-4.5 has rubber protective seal near the mount, and Nikon 12-24 / 4 does not have (which is rather strange).
- Nikon 12-24 / 4 has virtually internal zoom (does not change its size during zooming). Nikon 10-24 / 3.5-4.5 changes its size during zooming, but the movement of the trunk of the lens is insignificant and does not greatly interfere with convenience (the difference in size at different focal lengths is shown in the picture below).
- Nikon 12-24 / 4 has a lot more high price tagthan Nikon 10-24 / 3.5-4.5.
- Nikon 12-24 / 4 is more old design. Nikon 10-24 / 3.5-4.5 is 6 years younger.
Nikon AF-S 10-24 mm f / 3.5-4.5G DX
Assembly
Nikon 10-24mm f / 3.5-4.5G is made in China only. To the touch he nice and weightyThe Nikon 10-24mm f / 3.5-4.5G uses large 77mm professional diameter large filters.
The focus ring is plastic, and the zoom lens is rubberized, wide and comfortable. As befits a good lens, the Nikon 10-24mm f / 3.5-4.5G has a metal mount and also a rubber seal near its mount. Thus, the Nikon 10-24mm f / 3.5-4.5G has at least some hint of dust protection.
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. The trunk of the lens does not spontaneously protrude, the zoom ring rotates a little tight.
In terms of build quality, the Nikon 10-24mm f / 3.5-4.5G is no worse than the more advanced Nikon 12-24mm f / 4G.
Nikon AF-S 10-24 mm f / 3.5-4.5G DX
Focusing
Nikon 10-24mm f / 3.5-4.5G focuses very quietly thanks to 'SWM'to the 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 of the body frame (trunk) wave-wise moves back and forth, but does not rotate around its axis. From 24 mm to 15 mm, the length decreases, from 15 to 10 mm increases again. The maximum lens length is achieved at 24 mm focal length. The movement of the trunk does not cause any inconvenience.
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.
It’s rather unusual that the lens uses different minimum focusing distance depending on the focus mode. I only saw this in Nikon 18-55mm 1: 3.5-5.6GII VR II... In auto focus mode, the MDF is 0.24 m, and in manual focus mode, 0.22 m, with a maximum magnification ratio of 1: 5. The closest focusing distance is available over the entire focal length range.
Nikon 10-24mm f / 3.5-4.5G has a window with distance scale in meters and feet. The distance scale contains only 3 distance values (0.5, 0.3 and 0.24 m) and "infinity". The focusing distance scale is almost 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.
Nikon AF-S 10-24 mm f / 3.5-4.5G DX
Diaphragm
The lens uses an aperture of 7 rounded blades. On covered diaphragms, you can get 14 ray stars from point light sources.
There are marks with a focal length on the zoom ring, the following is a list with the minimum numbers F available for these marks:
- 10 mm - F / 3.5
- 12 mm - F / 3.8
- 15 mm - F / 4.0
- 18 mm - F / 4.2
- 20 mm - F / 4.5
- 24 mm - F / 4.5
Like all modern Nikon Nikkor lenses, the Nikon 10-24mm f / 3.5-4.5G does not have an aperture control ring, all control is carried out using the camera controls.
Nikon AF-S 10-24 mm f / 3.5-4.5G DX
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 10 mm of focal length and F / 3.5. When closing the diaphragm, sharpness at the edges and corners returns to normal. The sharpness at the corners and edges is worse than that of Nikon 12-24mm f / 4G.
10 mm noticeable barrel-shaped distortioninherent in similar wide-angle lenses. 18 and 24 distortion becomes pillow-shaped, and its level is much lower than 10 mm.
The lens tolerates side and backlight well. At the edges and corners of the image are chromatic aberration.
You can download RAW source files at this link (41 files in '.NEF' format, 600 MB). All photos in the gallery above were taken on Fujifilm FinePix S5 Pro (part using protective filter Hoya HD UV 77mm Made in Japan). More examples of photos on this lens can be seen with me here и here.
Sergey Dyakov, the owner of the lens, also shared his photographs taken on a Nikon 10-24mm f / 3.5-4.5G and camera Nikon D7100:
You can download RAW source files by this link.
Nikon AF-S 10-24 mm f / 3.5-4.5G DX
Work on FX cameras
Nikon 10-24mm f / 3.5-4.5G will work correctly with all Nikon DSLR cameras (full list here).
Although the Nikon 10-24mm f / 3.5-4.5G is designed to work with Nikon DX crop cameras, the lens can also be used on Nikon FX full-frame cameras. If you use the 'FX' framing mode for shooting on Nikon FX cameras, then in the focal length range of 12-17 mm it will be noticeably stronger vignetting. In the range of 17-18 mm vignetting small, and in the range from 18 to 24 mm is practically absent. Unfortunately, the edges and corners of the frame in images from a full-size camera in the range from 18 to 24 mm are not sharp and with a large number of chromatic aberrations. Vignetting from a medium-thickness filter disappears in the range of 18-24 mm.
You can download RAW source files by this link (10 files in the '.NEF' format, 115 MB). All photos were shot on Nikon D700 in the 'FX format (36x24)' mode.
Please note that Nikon 10-24mm f / 3.5-4.5G may show 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 AF-S 10-24 mm f / 3.5-4.5G DX
My experience and recommendations
I have been using the Nikon 10-24mm f / 3.5-4.5G for 2 weeks, even taking it to several weddings. As it turned out, the Nikon 10-24mm f / 3.5-4.5G is a nice lens, generally no worse than the more expensive one Nikon 12-24mm f / 4G. I think that for a wide-angle lens, every millimeter of focal length plays a role, therefore I would prefer this Nikon 10-24mm f / 3.5-4.5G instead of Nikon 12-24mm f / 4G.
For the money that they ask for Nikon 10-24mm f / 3.5-4.5G, it is better to buy a fast lens Tokina AT-X PRO SD 11-20 F2.8 (IF) DX.
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
Nikon AF-S 10-24 mm f / 3.5-4.5G DX
Lens prices
Real prices for Nikon AF-S 10-24 mm f / 3.5-4.5G DX lens can be viewed here, or in the price block below:
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Nikon AF-S 10-24 mm f / 3.5-4.5G DX on the camera Fujifilm FinePix S5 Pro
Results
The Nikon 10-24mm f / 3.5-4.5G remains the widest native zoom lens for Nikon DX cameras so far. Everything in it is at the proper level. I did not find any strong flaws during the creation of this review and came to the conclusion that the Nikon 10-24mm f / 3.5-4.5G is very similar to Nikon 12-24mm f / 4G.
UPDATE: May 31, 2017 a new similar lens was released Nikon DX VR AF-P Nikkor 10-20mm 1: 4.5-5.6G.
Material prepared Arkady Shapoval. Training/Consultations | Youtube | Facebook | Instagram | Twitter | Telegram
Arkady, it’s just right for you not only to display the image data, but also to sign architectural structures would be informative. Photos are like postcards. Thanks for the review, I especially liked the list of lenses from third-party manufacturers at the end of the article: take a closer look, take a look
Fuji photo is much juicier. on d7100 (I use it myself) the photos are faded and dull. why is that?
"Picture control" to help you
Well, the advantages of a CCD matrix should be considered
So it RAW shown without any processing. 20 minutes and from 7100 will be what you want. JPEGs from 7100 are even too juicy. In Picture Control I set natural colors.
And what are RAVs showing?
I am using Photoshop and Lightroom. In general, there is a sea of programs, starting with relatives, from camera manufacturers.
yes the picture with pyatpro is cool)))
How I love shiriki, mmm ... Excellent copy from nikon. There would be a price in the region of 15-20 thousand, as for a Canon 10-18is - there would be a must-have glass. Why Nikon raises the price tag on his cropped shiriks so much is a mystery.
And yet, it's a pity that Nikon does not indicate anywhere about dust and moisture protection. Is this rubber skirt at the bayonet an indicator of protection or not? There is also little information about this on the net ... I myself shot without fear in the rain only at 50 1.4g (I watched what Kai Wong was shooting for him in the rain) and shot at 70-300vr. I think there are no questions by 24-70 2.8 or 70-200 2.8, they are protected. But with the optics of the middle price category, not everything is so simple. Canon in this sense is more transparent. A significant part of elek is dusty (including inexpensive types 17-40 4) and this is indicated on many sites.
the first sign of dust and moisture protection is that the rear lens does not go anywhere and does not create the effect of a vacuum cleaner
But at 70-300vr the rear lens rides, as does the trunk. At the same time they are filmed in the rain, I've been shooting without problems more than once. Somehow I even had to click the reconstruction of the Second World War with this glass almost 3 hours in the pouring rain. It fully passed the test. At the same time I read about the death of a camera or glass in the rain when using 18-105vr, 55-200vr or 18-55vr. They don’t have a skirt, maybe it’s all the same in her?
Personally, I just cannot agree with the fact that "the first sign of dust-moisture protection is that the rear lens does not go anywhere."
Arkady, take the nikkor 28-300G VR and nikon d700 in your hands, twist the protective lens from the viewfinder and move the zoom sharply - you will feel a draft in the eye! This 28-300 has already pumped so much dust into a 700-ku and its matrix that I just want to break it, but the versatility and compactness do not allow me to do this. on nikkor 24-70 2,8 and nikkor 70-200 - the rear lens does not move, so there is no vacuum cleaner effect that will pump cold or hot air with dust into your hot or cold carcass and condensation will appear on the mirror and on the matrix!
This is understandable, but what does the moisture protection or dust protection of the lens have to do with it? Think about the fact that the same 24-70 and 70-200 also move the lenses inside the frame of the case and also take air from somewhere and how this affects the inner surfaces of the lenses. The effect of a vacuum cleaner does not directly relate to the protection of the lens from external factors.
24-70 have small holes in the rim of the front lens - it itself pumps the dust under the lens, but does not pump anything into the carcass))) nikon - such a nikon) Nikon 70-200mm f2.8 VR does not drive anything outside and does not lengthens - it is generally the most "clean"))) but very expensive (
By the way, some modern lenses still have an aperture control ring. For example, almost all lenses in the Fujifilm system. Well, many modern manuals.
I mean the Nikon system.
Andrew, fixed.
Images of people are too flat [sorry for the outlandish words that are missing in the language :)] I would even say too flat. Perhaps this is inherent in many super-wide. In most photos where a guy with a girl is present, they seem to be photographed) Maybe this is due to the use of some softbox with a flash in order to remove almost all the contrasting shadows? I can’t understand, but it looks a bit wild)
Puff + shirik, yes
Shirik, that’s the point)
I do not agree, rather the opposite - excessively convex.
and I would say too crooked)))
Arkady, how is this lens compared to canon 10-18 STM?
Given that the latter is cheap a half times.
10-18 did not use, I can not answer now.
If you will, I will say a few words about 10-18is. It is very sharp throughout the entire range, it did not compare with this nikkor, compared with sigma 10-20, canon 10-22 and canon 17-40 in ff. Goes toe to toe with 17-40, and slightly overtakes 10-20 and 10-22, especially in the corners. Moreover, it is sharp with an open, in contrast to 10-22. Plus, it has a pretty nice color rendering, not 17-40, but better than 10-20 sigma. And as a bonus - stub. True, unlike the stubs on telephones, its work is not so noticeable. But still, 10mm can be removed at a shutter speed of half a second without smearing. This means you can even shoot a night city or landscapes after sunset. The scatter of focal points is a bit small, but still more than on the 11-16 token 2.8. And thanks to the stub on the canon, you can shoot even in great darkness (if you do not shoot motion). So 10-18is is an excellent shirik, and given its price and small size, it is simply a must for all canonists :)
A good thing is shirik. We took Sigma 10-20 and Nikkor 55-300 on the last trip, in old European cities 55-300 is almost useless, on the streets it is very narrow, but in nature the TV set looks better. The pictures come out interesting, I think that this type of lens should be in your arsenal.
Considering the cost of this lens and the fact that it is cropped, I see the point of buying it only in two cases 1. The crop needs a wide angle URGENTLY and the aperture is not important. 2. You will always or long stay on the crop. In other cases, IMHO, sell your crop + cost 10-24 add a little more and you have FF. And on FF it is much easier to get a wide (ultra-wide) angle, and even a high-aperture one (with 20mm 1.8G for example), which on the crop will no longer make sense.
Yeah, used FF for 50 and 20 / 1.8G for 50 - here you have a wide "bright" angle on FF. Only 100k. For normal money, now 10-24 can not be thrown off at all. Maximum 20 thousand and then you can sell for weeks. And what can now be taken from the shirikov on the FF? That's right, only the ancient sigma-tamrons 17-35 and not the fact that they will be better than 10-24 or 12-24.
All good is good money.
Tokina 16-28 2.8 gives just gorgeous sharpness. If it gets into focus, and the lenses along the axis are clearly calibrated.
I took this one time, focus on medium distances smeared three meters, I had to return. But the sharpness is not worse than the native Nikon's for wild money, and costs 600-700 bucks.
And what do 20 / 1.8G give as a gift to FF?
Your sarcasm is incomprehensible. Well, Nikon does not have a wide-aperture width for a crop for reasonable money. If you want a wide-aperture angle - a straight road to FF. Well, let's not sit at 3200 and save for 14-24 2.8. That's bullshit. The alternative is only Tokina 116 per crop.
I've been shooting at 10-24 for almost a year now. I will say this - this glass is not for everyday use. only for certain tasks. for example, interiors or photo fun. This lens has no drawing, and it does not need it, there are other glasses for these purposes. the assembly is good, the zoom itself does not come out. the sharpness is awesome. if anyone is interested, an example of a little bit below.
In addition to autofocus with light cameras, the other gotcha with the Tokina is that it usually takes a while to get one after you order it. It is very popular because it is in many ways a better lens then either of the Nikons, and costs less.
Costs less, yes. Would never say it's better.
Can not understand. They write that Tokina AT-X PRO SD 11-20mm F2.8 (IF) DX works on FF, how ???
I recently pofotkat at 10-24 at around 12 mm. such a suspicion that the focus scale does not quite match the real focal. those. to the object can be 30cm, and the scale shows half a meter. but it will need to be thoroughly tested with a ruler.
about the question of Dmitry;
but what is incomprehensible here? All DX glasses are compatible with FX.
Good evening.
I bought a lens from this review - Nikon 10-24mm f / 3.5-4.5G - after use, I understand that it is very soapy (at different apertures). What does it mean?! That I got a bad copy or are there any other secrets? Tell me please!
Thanks in advance!
I suspect that the lens is not successful, unless of course you have clocked the fine-tuning of autofocus. For here is Arkady's phrase from the review: "The lens is very sharp in the center at any focal length and at any aperture value."
Most likely a problematic lens, because I have a 10-20 sigma for Nikon, which is a priori worse than 10-24, but it is also quite sharp.
Also, as an option, the requirements for sharpness are overestimated, tell me how you determine it and which of the available ones is sharp in your opinion.
another good alternative is Samyang 8mm, only the negus has manual focusing, but the price is somewhere around 150 cu per used instance
Good afternoon, Arkady. I shoot on the D7100, I have wanted a shirik for a long time and now I bought this lens from my hands. I am dissatisfied with the picture, but I cannot understand the reason. Here is an example, the aperture is closed to f / 6.3, but everything that is not in the center of the frame is blurry / out of focus. With other lenses available (18-140mm and 35mm f / 1.8) this is not a problem. Is the glass to be adjusted or is this a feature that you need to put up with? If necessary, I can take other pictures, if you tell me which scene and settings to set. Anything above 20mm is acceptable, but wider is blur at the edges
Here are the full sizes:
1) http://s017.radikal.ru/i444/1610/ae/b754f1008d61.jpg
2) http://s019.radikal.ru/i602/1610/bf/72d7c91c5479.jpg
"The edges and corners are not as sharp as the Nikon 12-24mm f / 4G."
и
“The Nikon 10-24mm f / 3.5-4.5G is a nice lens, no worse than the more expensive Nikon 12-24mm f / 4G.”
The first sentence indicates the specific advantage of 12-24, and further indicates that 10-24 is no worse. I would rephrase.
Fixed
I also want to write an impression of this model. I managed to buy a good used copy, but only on the third attempt. I don’t know how it is with new lenses, but with used lenses the picture quality is very different: soapy areas of the frame, double or triple contours, curvature of the image field are noticeable. If you want to save on width and not lose quality, then first ask the seller to send pictures with focus to infinity with an open aperture and medium (5,6-8), as well as different focal lengths, by e-mail. For 10-24 there will be a minimum of 6 test frames (at 10, 15 and 24 mm). For the test, the urban landscape is perfect. After the purchase, you need to clean the used lens well from fingerprints on glasses, dust, etc. Then the protective filter is wound and forward to shooting with the lens at half price !!
An excellent native shirik, if you can afford it and do not want to take Sigma AF 10-20mm f / 3.5 instead
I liked how the description and for good reason chose as the best shirik https://buynbest.ru/luchshij-shirokougolnyj-obektiv-nikon/#alter
You yourself understand that well B \ Y soap does not just appear, perhaps because of this they were sold ....
Here is the man in the center
Man on the edge.
As for the big puff, I try not to bother. Put the SB-400 on the synchronizer, and go. Of course, 700 will be better, but if there is no hurry, I’ll get around the 400th.
The same place, half an hour earlier. Glass DX18-140, it seems to me a little cut.
Today I walked into the park wearing a DX10-24. The sun is winter and low, yet it dazzles. The first photo in the sun.