2017 The Nikon AF-S Nikkor 16-35mm F4G ED VR Specification Review

Nikon AF-S Nikkor 16-35mm 1:4G ED VR, Nikon lens is one that also has a sharpness that is ideal for photography, declared in Feb 2010, has the difference of being the world’s first ultra-wideangle lens to function visual picture stabilizing. It’s designed mainly for use on full-frame DSLRs, as a less-expensive alternative to companies the 17-35mm 1:2.8D or the 14-24mm 1:2.8G, but is also completely suitable for DX systems on which it provides a 24-50mm comparative variety. It can be seen as a solution to The canon eos EF 17-40mm F4 L USM, which has long been popular as a (relatively) affordable, lightweight, light and portable yet the finest great quality extensive zoom; indeed we suspicious many Nikon lovers will be expecting it’s the first in a sequence of F4 top quality zooms. However a quick look at the specifications piece reveals that incorporating visual stabilizing has led to a lens that’s remarkably greater than the Canon, at the best part of five inches wide long and a lb and a half in weight.

Nikon AF-S Nikkor 16-35mm F1.4G ED VR review
Nikon AF-S Nikkor 16-35mm F1.4G ED VR review

The inclusion of stabilizing also means a more complicated visual system than is conventional a relatively slowly extensive zoom capability. New ipod nano Amazingly covering is also used to fight surface. The stabilizing system satisfies Nikon’s ‘VR II’ requirements, appealing distinct pictures hand-held at shutter rates of accelerate to four prevents more slowly than would usually be possible. Concentrating uses a ring-type AF-S engine for speed and quiet, and full-time bypass of the main concentrate range is available.

Headline Features

  • 16-35mm central duration range; F4 continuous highest possible aperture
  • Optical picture stabilizing – 4 prevents claimed
  • Ring-type ultrasound focusing with full-time guide override
  • F install for Nikon and Fuji DX and FX structure DSLRS

Nikon AF-S Nikkor 16-35mm F4G ED VR Body And Design

Judging from the body of the Nikon AF-S Nikkor 16-35 mm also has a slim body ingrasp by photography. The 16-35mm is an extremely well-made contact lens, with a great traditional of fit and complete. The covering is created out of top quality plastic materials, and according to Nikon, the inner gun barrel development uses light and portable mineral magnesium steel. There’s also a degree of climate weather closing, most obviously a dense rubberized closure around the contact lens install.

Nikon AF-S Nikkor 16-35mm F1.4G ED VR Body And Design
Nikon AF-S Nikkor 16-35mm F1.4G ED VR Body And Design

The structure is entirely traditional, with wide zoom capability and concentrate jewelry, and a couple of easily-accessible changes on both sides of the gun barrel to manage the concentrate and stabilizing ways. Both cruising and concentrating are fully inner (which supports the overall impact of solidity), and extemely sleek operating.

Lens body system elements

  • The contact lens uses Nikon’s revered F install, and conveys with the body system digitally via a variety of contact hooks, while management over the aperture is technical using a steel handle. A rubberized closure around the outside of the install defends against dust and water ingress into the camera.
  • The narrow line is 77mm, which is the de facto traditional for professional contacts, and common across much of Nikon’s collection. It does not move on autofocusing, which should please narrow users. The top part factor goes forward and backward within the limits of the contact lens gun barrel on cruising.
  • The petal-type HB-23 bonnet is provided as traditional, and bayonets strongly onto the front part side of the contact lens. It’s 36mm deep and turns around for storage. If this bonnet looks somehow acquainted to owners of the 17-25mm F2.8D, 12-24mm F4G DX and 18-35mm F3.5-4.5D, that’s because it’s distributed to these contacts.
  • Even with the bonnet changed you’ll need to find a significant space in your bag to carry the 16-35mm around. The bonnet is 4.25″ (108mm) in size, and when the contact lens comes up and ready to go with both contact lens hats on, the overall length is the best part of 6″ (15cm).
  • The zoom capability band goes 80 levels clockwise from 16mm to Negatives, with all motions inner to the gun barrel. The ribbed rubberized hold is 22mm wide, and the zoom capability activity is sleek and accurate.
  • The concentrate band is 28mm wide, and goes 60 levels clockwise from infinity to 0.28m. It does not move during auto-focus, and the full-time guide system allows remodelling of the concentrate when the contact lens is set to the M/A method. Again concentrate is inner, and the activity is sleek, accurate and well-damped.
  • A small distance range is put before the concentrate band. It has marks in both feet and metres for just three ranges aside from infinity. The concentrate band goes a little bit past the infinity indicate, obviously to allow for the effects of normal temperature modifications.
  • The part of the contact lens gun barrel has a acquainted pair of changes to manage the auto-focus and picture stabilizing systems. They’re similar in size and feel, so you can’t tell them apart by touch alone.

Nikon AF-S Nikkor 16-35mm F4G ED VR Test Results


Sharpness is often great and very reliable across the structure even start up, with relatively little to be acquired by avoiding down. The exemption is at Negatives, where our evaluation example revealed obvious asymmetry causing in wide-open smooth, and needed avoiding down to F8 to get really great outcomes. Overall, ideal outcomes seem to be acquired at F5.6-F8.


We consider falloff to become obvious when the area lighting drops to more than 1 quit less than the middle. As might be thought for a complete structure lens used on DX, falloff is minimal at all central measures and apertures.

Macro Focus

The 16-35mm isn’t the best lens in the entire globe for close-ups, then again we would not anticipate it to be. Our calculated highest possible zoom capability is 0.28x, at least concentrate range of 26cm, which translates to a working range of about 9cm from the top of the lens to the topic.

Image quality is OK but not amazing, with our evaluation example again suffering from the asymmetry described previously. Sharpness in the middle of the structure is completely appropriate at F4 but the sides are remarkably smooth, and don’t completely improve up in our analyze graph taken until about F16. On the plus side there’s almost no distortions and little chromatic aberration.


Control of surface is a crucial function of a superwide lens; with such an extensive viewpoint of the entire globe, shiny mild resources will find themselves in the structure regularly. Capturing substantially in shiny summer months sunlight, we saw few surface issues unless the sun was either in or just outside the structure.

Nikon AF-S Nikkor 16-35mm Flare
Nikon AF-S Nikkor 16-35mm Flare Photo By Azis Photography

Place the sun in the structure, though, and you’ll get surface styles which are not especially eye-catching, and which become progressively noticeable on avoiding down. At F4 they’re rather dissipate, but can still be obviously noticeable, and by F11 or F16 they’re remarkably described (as in the example below left). In highly backlit circumstances the tale is somewhat identical – there’s little apparent surface at bigger apertures, but quit down and undesirable styles and streaking can become much more apparent. This isn’t the best managing of surface we’ve ever seen from a wideangle zoom capability, but neither is it the most severe.

Chromatic Aberration

Our studio room assessments display that horizontal chromatic aberration is often very low, and with most latest cameras any recurring fringing will be eliminated instantly, both from the out-of-camera JPEGs and the RAW information prepared through Nikon’s application. However if you’re using an mature digicam, or shooting in RAW then managing with third-party transformation application, then shade fringing will start to become noticeable.

Nikon AF-S Nikkor 16-35mm Chromatic Aberration
Nikon AF-S Nikkor 16-35mm Chromatic Aberration Photo By Azis Photography

The examples below display the type of fringing you can anticipate to see. Even at its most severe, at 16mm on the D3X, it’s hardly undesirable, and you’d have to be making a large create to see it. On the D300 the CA is somewhat less noticeable in these 100% plants, although this is mainly due to the reduced pixel depend. Regardless it’s easily correctable in raw transformation when needed.

Barrel Distortion at 16mm

As proven by our studio room assessments, the lens is impacted with significant gun barrel distortions at 16mm on complete structure (indeed at 4.5% it’s more than we’ve seen from many Small Four Thirds contacts, which depend on incorporated application modification to give appropriate images). This indicates that if you capture a structure with directly collections towards the side of the structure, they’ll end up disconcertingly curved, and you’ll probably want to make use of some modification in post-processing to get image to look right. Therefore if you’re sensitive to to both distortions and post-processing, this really isn’t the lens for you.

Nikon AF-S Nikkor 16-35mm Barrel Distortion at 16mm
Nikon AF-S Nikkor 16-35mm Barrel Distortion at 16mm Photo By Azis Photography

The example below reveals this in exercise. The image on the remaining is a directly transformation in Adobe Camera Raw (with a little CA modification used on get rid of fringing), and the gun barrel distortions is making the support beams rather a different form. On the right is the same image, but now with distortions modification used for Adobe photoshop (+8 in CS4’s Lens Correction narrow, along with a little viewpoint modification to get rid of converging verticals). This gives outcomes that are more than appropriate with regards to geometry, although at the cost of a minor loss in position of viewpoint.

See More Another Nikon Lens News Below :

Nikon AF-S Nikkor 16-35mm F4G ED VR Specifications

Street price • US: $1160
• UK: £880
Date introduced February 2010
Maximum format size 35mm full frame
Focal length 16-35mm
35mm equivalent focal length
Diagonal Angle of view (FF) 107º – 63º
Diagonal Angle of view (DX) 83º – 44º
Maximum aperture F4
Minimum aperture F22
Lens Construction • 17 elements/12 groups
• 2 ED glass elements
• 3 aspherical elements
Number of diaphragm blades 9, rounded
Minimum focus 0.28m / 0.9ft
Maximum magnification 0.25x at 35mm
AF motor type • Ring-type ultrasonic
• Full-time manual focus – A/M and M/A modes
Focus method Internal
Zoom method Internal
Image stabilization • VR II, 4 stops claimed
Filter thread • 77mm
• Does not rotate on focus
Supplied accessories • Front and rear caps
• HB-23 Hood
• CL-1120 Lens Pouch
Weight 685g (1.5 lb)
Dimensions 82.5mm diameter x 125mm length
(3.2 x 4.9 in)
Lens Mount Nikon F only
Other • Weather sealing
• Reports focus distance information to camera body