On February 13, 2025, Nikon announced their newest Z Mount lens: the Nikon Z 28-135mm f/4 PZ. The “PZ” in the name stands for “Power Zoom” – one of many ways in which this lens is meant for videographers or hybrid shooters. At $2600, this is a very specialized lens, but it also represents an exciting new step for Nikon in the realm of videography. Here’s what you need to know.
The Nikon Z 28-135mm f/4 PZ
Specifications
Full Name: Nikon NIKKOR Z 28-135mm f/4 PZ
Mount Type: Nikon Z Mount
Focal Length: 28-135mm zoom (4.8x zoom)
Angle of View (Full Frame): 75° to 18°
Maximum Aperture: f/4
Minimum Aperture: f/22
Aperture Blades: 9, rounded
Filter Size: 95mm
Lens Elements: 18
Lens Groups: 13
Special Elements: 4 aspherical, 3 ED, 1 aspherical ED
Image Stabilization: No
Internal Focusing: Yes
Internal Zoom: Yes
Control Rings: Zoom, focus, custom
Function Button: Yes (duplicated on side and top)
Switches: Zoom lever and A/M switch
Focus Motor: STM
Minimum Focus Distance: 34 cm (13 inches) at 28mm; 57 cm (22 inches) at 135mm
Maximum Magnification: 0.25× (1:4)
Mount Material: Metal
Weather/Dust Sealing: Yes
Dimensions (Length × Diameter): 178 x 105 mm (7.0 x 4.1 inches)
In addition to these physical specifications, the Nikon Z 28-135mm f/4 PZ has a number of handling-related features that are tailored to videography. The focus and zoom rings are knurled for compatibility with follow-focus accessories. The lens is tailored for use with the High-Res Zoom feature found on the Nikon Z8 and Z9, allowing you to zoom from 28mm into (the cropped equivalent of) 270mm while maintaining 4K quality. Nikon designed the 28-135mm f/4 PZ to zoom internally and maintain a similar distribution of weight at different focal lengths, which makes it a natural fit for video gimbals.
As for the power zoom capability itself, it allows for some useful features not found on other Nikon lenses. First, the zoom lever on the side of the lens allows you to zoom very smoothly (at any of 11 pre-selected speeds). Beyond that, Nikon says that with camera firmware updates, it will be possible to customize the zoom ring angle and the direction of rotation. And it will also be possible to control the zoom operation remotely from a computer or phone using NX Tether, NX Field, or SnapBridge.
The Nikon Z 28-135mm f/4 PZ is made with video accessories in mind
Impressions
The Z 28-135mm f/4 PZ lens is a new step for Nikon, and a big one – especially coupled with their acquisition of RED last year. It signifies that Nikon sees high-end video as one of their future business avenues, and they also see the Z Mount as being capable of joining the existing PL and EF mount lenses that currently dominate that space.
That’s especially clear given that this lens was paired with the announcement of the RED Komodo-X and V-Raptor X, the first cameras from RED with a Nikon Z mount. The 28-135mm f/4 PZ, then, makes sense either as a hybrid still/video lens (paired with something like the Nikon Z8 or Z9), or as part of a dedicated, higher-end cine setup from RED.
For videography, the biggest potential downside that I see is that the 28-135mm f/4 PZ is not completely parfocal – in other words, the focus point of this lens will change somewhat as it is zoomed. Nikon does mention that “shifts in focus position and the center of gravity that occur with zooming have been minimized,” but stops short of claiming the lens is actually parfocal. If you want to maintain the focus point while zooming, you may need to compensate with continuous autofocus or pull focus manually.
I look forward to testing how close to parfocal the Nikon Z 28-135mm f/4 PZ really is, and whether continuous autofocus is able to keep up with large changes in focal length quickly on this lens.
The large lens hood on the Nikon Z 28-135mm f/4 also includes a window for filter access
Finally, if you’re purely a stills photographer, I don’t think this is likely the lens for you. It’s designed with video features in mind, both where handling and optics are concerned, and the result is a fairly large and expensive lens. Although the optical construction includes many of Nikon’s best technologies, much of that is in service of a lens that zooms internally and doesn’t have significant focus breathing. Whether or not it outperforms something like the Nikon Z 24-120mm f/4 S in a lab environment is an open question, and I wouldn’t be shocked if the answer is no. Of course, I look forward to testing it and finding out!
Pre-Order Links
The Nikon Z 28-135mm f/4 PZ will be available beginning in April at an MSRP of $2599.95. You can pre-order the lens today at the links below:
Nikon releases the NIKKOR Z 28-135mm f/4 PZ standard zoom lens for the Nikon Z mount system
In pursuit of superior operability and functionality that supports professional videography with built-in power zoom
February 13, 2025
Nikon Corporation (Nikon) is pleased to announce the release of the NIKKOR Z 28-135mm f/4 PZ, a standard zoom lens that is compatible with full-frame/FX-format mirrorless cameras for which the Nikon Z mount has been adopted. Development of this product was announced on October 30, 2024.
The NIKKOR Z 28-135mm f/4 PZ is a standard zoom lens equipped with a power zoom*1 that covers a broad range of focal lengths — from 28 to 135 mm. It offers videographers superior operability and functionality in situations that require agility, such as when shooting documentaries or shooting on location solo, and when reshoots aren’t an option. As the first NIKKOR Z lens with a zoom lever, the NIKKOR Z 28-135mm f/4 PZ not only achieves smooth zooming but also allows users to choose from 11 different zoom speeds*2 to match their creative needs and enable a wide variety of zoom styles. In addition, shifts in focus position and the center of gravity that occur with zooming have been minimized, allowing the user to shoot with confidence, even when constantly changing the focal length. The NIKKOR Z 28-135mm f/4 PZ also supports a variety of video accessories that help videographers capture the footage they want on location, as well as offering remote control capabilities using a computer or smartphone. Thanks to the superior NIKKOR Z optical performance, this lens enables users to capture beautiful high-resolution 8K video while supporting efficient video shooting.
Nikon will continue to pursue a new dimension in optical performance while meeting users’ needs, contributing to the development of imaging culture, with the hope of expanding possibilities for imaging expression.
1 The camera must be running the latest firmware to use some functions.
2 Firmware may require updating before using this feature. See the product page for compatible cameras. We plan to add support for some models with a future firmware update.
Primary features
The NIKKOR Z 28-135mm f/4 PZ supports a convenient 28-135 mm range of focal lengths, allowing for a variety of compositions without changing lenses.
The lens supports dynamic close-ups with a minimum focus distance of just 0.34 m in the 28 mm to 50 mm range and 0.57 m in the telephoto range.
When used with the Nikon Z9, Hi-Res Zoom can be used for an angle of view equivalent to that of the 270 mm focal length with 4K video recording.
Zooming speed can be selected from 11 speeds and assigned to the zoom lever or one of the camera’s Fn buttons.
Zoom ring angle and direction of rotation can be customized to suit individual preferences.*1
Synchro mode enables simultaneous optical zoom and Hi-Res Zoom using a single control with video recording.*2
Professional video accessories, including matte boxes and follow focus systems, are supported.
Adoption of an internal zoom mechanism allows for comfortable zooming without concern for shifts in the center of gravity that may upset the balance of the camera-lens setup, especially useful when using a gimbal.
Adoption of Nikon’s best anti-reflection coating, Meso Amorphous Coat, significantly reduces ghosts and flares.
Adoption of a stepping motor (STM) ensures fast and quiet autofocusing.
Optimized for video recording with a design that suppresses focus breathing.
Support for linear MF drive enables smooth focusing.
Comes with a rectangular lens hood that helps users control the amount of light entering the lens for less ghosts and flares. A filter adjustment window allows users to adjust circular polarizing and variable ND filters while the hood is attached.
Zooming can be controlled remotely from a computer, smartphone, or tablet using NX Tether, SnapBridge, or NX Field.
L-Fn buttons, to which functions can be assigned, are positioned on the side and top of the lens for smooth operation of assigned functions even when shooting in vertical (portrait) orientation.
The lens is designed with a Nikon yellow ring around its mount.
Nikon’s fluorine coat applied to the front lens element effectively repels dust, water droplets, grease, and dirt.
Designed with consideration for dust- and drip-resistance.*3
1 Firmware may require updating before using this feature. See the product page for compatible cameras. We plan to add support for some models with a future firmware update.
2 Control ring operation is not supported.
3 Thorough dust- and drip-resistance is not guaranteed in all situations or under all conditions.
About Spencer Cox
I'm Spencer Cox, a landscape photographer based in Colorado. I started writing for Photography Life a decade ago, and now I run the website in collaboration with Nasim. I've used nearly every digital camera system under the sun, but for my personal work, I love the slow-paced nature of large format film. You can see more at my personal website and my not-exactly-active Instagram page.
I’m going to test it out, but realistically, no – it’s unlikely to be worth the extra price over the 24-120mm f/4 S if you don’t intend to record videos with it.
Rob H
February 15, 2025 4:09 am
Of modest interest is the lack of an ‘S’ in the model designation. It will be interesting to see if this is intentional in terms of sealing, lens quality etc. or alternatively a new nomenclature for similar lenses in the series, where ‘S’ may be assumed (somewhat implied with the inclusion of a gold ring at the mount).
Good point! I’m assuming the latter – that the “S” is implied given the gold ring and high-end features of this lens. But it may also be Nikon’s way of signaling that this lens doesn’t supersede something like the 24-120mm f/4 S for stills.
Just a quick question – together with this lens RED announced their cameras (with global shutter and incredible dynamic range) to have native Z mounts. The Komodo X is an effective 20 MP 6K “crop” camera with global shutter and a dynamic range unknown to the Z system. Just imagine the 800 PF on a Komodo X ! As someone who is doing both video and photography I am wondering if photographylife intends now to expand its reviews to the RED camera series – I guess you could also take pictures with a RED video camera as opposed to take video with a photo camera. This difference is going to merge away anyhow.
Realistically, I don’t see us reviewing RED cameras right now, but I’m with Jason that I’d like to! If Photography Life is able to expand and hire more writers in 2025-26, it will happen.
I fully understand, but to me the option to use Nikon Z glasses natively on the Komodo X got me fully excited. I would really like to try one out and to compare that with my Z9 / Z6 III 12 Bit Nraw footage. Also to see how an exported still compares to a 14 bit still picture. As an example I find a tiff export from DaVinci Resolve based on a 12 bit Nraw much better compared the jpegs from the precapture mode.
Pieter Kers
February 15, 2025 2:49 am
About being parfocal: the usual way to focus is: to zoom in, then focus and then zoom out. The focus should remain within the larger depth of field of the wider zoom. If Nikon has not done that right i think it is not well designed. Even the 14-24mm Z lens is parfocal in this sense. That is a great video lens.
I’ll predict that it will be a lot closer to parfocal than most zooms, and that it will pass the test you describe. Nikon is surely aware that the lens’s target audience cares about these things.
bg5931
February 15, 2025 12:33 am
I think there’s a typo in the MSRP in the specs list. It’s expensive but not quite that expensive. ;)
Hello, should you try the lens for photos too?
I’m going to test it out, but realistically, no – it’s unlikely to be worth the extra price over the 24-120mm f/4 S if you don’t intend to record videos with it.
Of modest interest is the lack of an ‘S’ in the model designation. It will be interesting to see if this is intentional in terms of sealing, lens quality etc. or alternatively a new nomenclature for similar lenses in the series, where ‘S’ may be assumed (somewhat implied with the inclusion of a gold ring at the mount).
Good point! I’m assuming the latter – that the “S” is implied given the gold ring and high-end features of this lens. But it may also be Nikon’s way of signaling that this lens doesn’t supersede something like the 24-120mm f/4 S for stills.
It isn’t a gold ring at the mount.
“A yellow ring signifies this is a Z mount video lens…”
— Nikon UK
www.nikon.co.uk/en_GB…35mm-f4-pz
Just a quick question – together with this lens RED announced their cameras (with global shutter and incredible dynamic range) to have native Z mounts. The Komodo X is an effective 20 MP 6K “crop” camera with global shutter and a dynamic range unknown to the Z system. Just imagine the 800 PF on a Komodo X ! As someone who is doing both video and photography I am wondering if photographylife intends now to expand its reviews to the RED camera series – I guess you could also take pictures with a RED video camera as opposed to take video with a photo camera. This difference is going to merge away anyhow.
It would be interesting to review one indeed, especially now that Nikon owns RED!
Realistically, I don’t see us reviewing RED cameras right now, but I’m with Jason that I’d like to! If Photography Life is able to expand and hire more writers in 2025-26, it will happen.
I fully understand, but to me the option to use Nikon Z glasses natively on the Komodo X got me fully excited. I would really like to try one out and to compare that with my Z9 / Z6 III 12 Bit Nraw footage. Also to see how an exported still compares to a 14 bit still picture. As an example I find a tiff export from DaVinci Resolve based on a 12 bit Nraw much better compared the jpegs from the precapture mode.
About being parfocal: the usual way to focus is: to zoom in, then focus and then zoom out. The focus should remain within the larger depth of field of the wider zoom.
If Nikon has not done that right i think it is not well designed.
Even the 14-24mm Z lens is parfocal in this sense. That is a great video lens.
It’ll certainly be parfocal from 135-270 mm though. ;)
I’ll predict that it will be a lot closer to parfocal than most zooms, and that it will pass the test you describe. Nikon is surely aware that the lens’s target audience cares about these things.
I think there’s a typo in the MSRP in the specs list. It’s expensive but not quite that expensive. ;)
Fixed, thank you!
The key designed is for the app. Movie or Doc … not parafocal not exactly focus no breath. What is it for. Wonder.