It took Nikon nine years to finally release an update to its popular workhorse standard zoom lens in the form of the Nikon 24-70mm f/2.8E ED VR, which gained a few new features compared to its predecessor, including the much desired image stabilization. Nikon engineers have always put extra effort and emphasis on updated professional-grade lens designs, typically delivering outstanding performance. However, the release of the Nikon 24-70mm f/2.8E ED VR lens has been one of the most controversial in Nikon’s recent history, thanks to the negative attention it received from the photography community. Many reviewers criticized the lens heavily for its performance, claiming it to be a soft lens when compared to its predecessor, the Nikon 24-70mm f/2.8G. And some even put it as the winner in the “worst lens release of 2015” category. Did Nikon engineers really screw up in updating one of the most popular pro-grade lenses? That’s exactly what I wanted to find out when I started reviewing the 24-70mm f/2.8E VR lens.
Before I talk about the optical properties of the lens, let’s take a quick look at what the Nikon 24-70mm f/2.8E VR is all about.
1) Lens Overview
A 24-70mm f/2.8 zoom lens is considered to be a workhorse lens for many professional photographers, since it can be used for many different kinds of photography needs – from wide-angle landscapes and panoramas, to portraits and events. Thanks to its constant aperture of f/2.8, fast autofocus motor and state of the art optics, the Nikon 24-70mm f/2.8E VR is not only designed to focus quickly and accurately in low-light environments, but also made to yield exceptional sharpness, color and microcontrast in images. With a complex optical design involving a total of 20 elements in 16 groups, the optical design of the Nikon 24-70mm f/2.8E VR is quite a bit more complicated compared to its predecessor (which only has a total of 15 elements in 11 groups). One of the biggest changes in the optical formula is the introduction of Nikon’s first ever Aspherical ED (Extra-low Dispersion) lens element, which according to Nikon, is supposed to deliver highest optical precision and performance.
The “E” designation on the Nikon 24-70mm f/2.8E VR indicates electromagnetic diaphragm mechanism, which not only eliminates the aperture lever on the back of the lens, but also provides very precise control of the lens diaphragm. Nikon started switching its modern lens designs on pro-level and enthusiast-level lenses to electromagnetic diaphragm, so it was expected that Nikon would add it to the 24-70mm update. Similarly, Nikon added the latest coating technologies on the lens, including Nano and fluorine coating (both on the front and the rear elements) to repel and easily remove potential dirt and moisture.
In addition, Nikon added Vibration Reduction (VR) image stabilization technology to the lens, allowing for up to four stops of compensation when shooting hand-held. This was a big change to the lens and something many photographers, including myself, were waiting for, as image stabilization can be very useful when shooting in low-light conditions. The introduction of image stabilization, along with the above-mentioned optical changes obviously resulted in a noticeably larger and heavier lens. Compared to its predecessor, the Nikon 24-70mm f/2.8E VR grew from 83 x 133mm to 88 x 155mm in barrel size and gained a total of 170 grams. The lens filter thread also grew from 77mm to 82mm.
All of the above, combined with a high-quality build and full weather sealing came at a pretty large price increase – Nikon set the MSRP of the lens $500 higher than its predecessor’s initial MSRP, to a whopping $2,399.95.
2) Summary of Optical Performance
Before putting the lens through its paces in my lab environment, I decided to take a photography tour with the lens and see how it would perform in real life in the field. To my surprise, I did not see any optical problems with the lens – it performed admirably, showing amazing sharpness, colors and micro-contrast, something we are used to seeing from such high-end lenses. Based on my field observations I wrote my first impressions, praising the lens for its overall performance and versatility. And yet after I got home and tested the lens, I could not believe what I was seeing – the Nikon 24-70mm f/2.8E VR just could not resolve all the fine detail that was present when shooting in the field.
At first, I was a bit confused by this phenomenon, thinking that perhaps I somehow managed to damage my lens sample (although I never dropped and bumped the lens anywhere). So I requested a few more copies of the lens to see how they would do. Over a period of the next 6-9 months, I tested three more lens samples, all of which showed very similar results – the lens would do quite well in the field, but when shooting test targets at close distances, it showed pretty average, sometimes even abysmal results, particularly in the center of the frame. It became clear that Nikon certainly changed something in the lens and it turned out that it was done for a good reason. Basically, Nikon decided to address the weak corners (the biggest shortcoming of its predecessor) by changing the balance of sharpness across the frame. Instead of concentrating all the resolving power to the center of the lens as it was done on the 24-70mm f/2.8G, the new optical design was aimed at distributing that sharpness all the way to the extreme edges. This came with its own set of problems, as the center of the frame was no longer as stellar as it used to be. In addition, the balance of sharpness was also pushed towards infinity, giving less priority to subjects at very close distances – which is probably why many early reviews indicated poor sharpness numbers. You can see this clearly in the Optical section of this review, where I show numbers measured by Imatest, along with 100% crops from extreme corners, all shot at infinity focus.
What does this all mean? With the updated optical design and optimizations, Nikon essentially made the new 24-70mm f/2.8E VR a much more balanced lens in terms of sharpness. This can certainly upset some portrait photographers who are used to seeing maximum sharpness in the eyes of their subjects when shooting at close distances with a high-resolution camera, but at the same time, the even spread of sharpness certainly does make many landscape and architectural photographers happy, as we no longer have to worry about soft corners in our images.
The above is a short explanation of the reasons behind the aforementioned controversy surrounding the new Nikon 24-70mm f/2.8E VR. Let’s take a look at the lens in more detail and see what else has changed.
3) Lens Specifications
- Fast f/2.8 constant aperture with an electromagnetic diaphragm
- Sensational image quality and sharpness with virtually no distortion
- 4 stops of Vibration Reduction for handheld and low-light shooting
- Nonstick glass makes it easier to wipe off water, dirt and smudges
- Evolution of Nikon’s legendary 24-70mm workhorse
- Mount Type: Nikon F-Bayonet
- Focal Length Range: 24-70mm
- Zoom Ratio: 2.9x
- Maximum Aperture: 2.8
- Minimum Aperture: 22
- Maximum Angle of View (DX-format): 61°
- Minimum Angle of View (DX-format): 22° 50′
- Maximum Angle of View (FX-format): 84°
- Minimum Angle of View (FX-format): 34° 20′
- Maximum Reproduction Ratio: 0.27x
- Lens (Elements): 20
- Lens (Groups): 16
- High Refractive Index Elements: 1
- Compatible Format(s): FX, DX, FX in DX Crop Mode, 35mm Film
- VR (Vibration Reduction) Image Stabilization: Yes
- Diaphragm Blades: 9
- Distance Information: Yes
- Nano Crystal Coat: Yes
- ED Glass (Elements): 2
- Fluorine Coat: Yes
- Aspherical (Elements): 3
- Super Integrated Coating: Yes
- Autofocus: Yes
- AF-S (Silent Wave Motor): Yes
- Internal Focusing: Yes
- Minimum Focus Distance: 1.2ft.(0.38m)
- Focus Mode: Manual, Manual/Auto
- E-type: Yes
- Filter Size: 82mm
- Accepts Filter Type: Screw-on
- Dimensions (Approx.): 3.4×6.0 in (Diameter x Length), 88.0×154.5mm (Diameter x Length)
- Weight (Approx.): 38.4 oz. (1070g)
- Supplied Accessories: LC-82 82m snap-on front lens cap, LF-4 rear lens cap, HB-74 Bayonet Hood, CL-M3 Semi-soft Case
4) Lens Handling
One of the strengths of the Nikon 24-70mm f/2.8G has always been its superb build, handling and ergonomics. Such lenses are made to last a lifetime (and more), so Nikon decided to play it safe on the new 24-70mm f/2.8E VR, by keeping it pretty much the same as its predecessor. This means that the new 24-70mm f/2.8E VR retains the same strong magnesium barrel that houses all the glass and electronics, most of which are supported by metal components and reinforcements. Judging by the weight of the lens, there isn’t much plastic on and in the lens, aside from the tough plastic on the exterior of the lens barrel. In short, the lens is built very well, definitely to the highest Nikon standards. Although the Nikon 24-70mm f/2.8E VR gained 170 grams of additional weight, if you are not bothered by the weight of the 24-70mm f/2.8G, you will not notice a big change. The lens is still nicely balanced on higher-end DSLRs like the Nikon D810 and D5, although it might feel a bit front-heavy on lighter DSLRs like the Nikon D750.
The change in the overall size of the lens resulted in the larger 82mm filter thread, which means that if one is considering to move up from the 24-70mm f/2.8G, they would potentially have to invest in all new filters and filter holders. Personally, the change to 82mm did not bother me as much, since I already owned a few 82mm filters from using other 24-70mm lenses like the Tamron 24-70mm f/2.8 VC and the Canon 24-70mm f/2.8L II. Seeing other more modern 24-70mm lens designs, I expected an increase in filter thread size…
The Nikon 24-70mm f/2.8E VR is made to withstand both dust and moisture quite well, so it is nicely weather-sealed. The first sample I shot with saw some brutal weather (around 5 degrees Fahrenheit) and despite the freezing conditions, the lens performed flawlessly. Earlier this year, I subjected another copy of the lens to light rain and I did not see any build-up of moisture inside the lens and I did not see mechanical or electronic issues afterwards. Like other pro-grade lenses, this one is made for tough weather conditions. That said, I would still take extra precautions when switching between drastically different weather conditions. For example, if you shoot in extreme cold, make sure not to bring the lens to very warm conditions right away, as it will build up condensation and possibly introduce moisture inside the lens. Use a sealed bag when shooting in such environments to prevent potential lens damage and fungus build-up.
Just like on the Nikon 24-70mm f/2.8G, the focus ring feels soft and responsive, making it easy to manually focus with a thumb and index fingers while shooting images or video. When you move the focus ring and reach the focus limit, the ring continues rotation with a little more resistance, instead of an abrupt stop, just like on all modern AF-S lenses. Zooming in and out is smooth and I did not experience any stiffness issues at any particular focal length. The lens does not suffer from lens creep when pointed up or down vertically.
The HB-74 bayonet lens hood is very large and makes the lens looks enormous in size, almost like a telephoto lens. Despite its size, I highly recommend to keep it on the lens at all times, because it does help in dealing with lens flare and it certainly does a great job at protecting the front element. The HB-74, just like the HB-40 has a lock mechanism and therefore holds tightly and securely on the 24-70mm, unlike other hoods that come off by rotating the hood. While storing or transporting the lens, you can conveniently reverse the hood and it won’t take up any additional space.
Overall, the Nikon 24-70mm f/2.8E VR handles very well and after using the lens extensively for the past year, I cannot complain about its build quality.
5) Focus Speed and Accuracy
When it comes to focus speed, the Nikon 24-70mm f/2.8E VR does not disappoint – thanks to the latest generation Silent Wave Motor (SWM), the lens focuses very quickly and silently. Autofocus accuracy is also excellent, whether you shoot in daylight or low-light conditions. I have used the Nikon 24-70mm f/2.8E VR at dusk and dawn quite a bit and the lens snapped into focus pretty much every single time. When using phase detection autofocus, it helps to shoot with a latest generation DSLR that has better light sensitivity range and improved AF system – that certainly makes a difference. Overall, there is not much to add here, as the Nikon 24-70mm f/2.8E VR certainly does deliver in the autofocus department.
6) Lens Sharpness and Contrast
While the previous generation 24-70mm f/2.8G is a wonderful lens overall, it has a couple of serious optical flaws, such as a wavy field curvature, which when focused in the center quickly degrades sharpness in the mid-frame and the extreme corners of the frame. In fact, one can observe sharpness dropping significantly in some areas outside the center frame, then coming back again. Such optical flaw is clearly visible in Nikon’s MTF charts at the shortest focal length (observe the wavy nature of the blue lines on the right chart, which belongs to the Nikon 24-70mm f/2.8G):
Although Nikon certainly attempted at fixing the field curvature with the new optical design, it is still there. As you can see from the left chart, there is a drop of sharpness in the mid-frame, then the sharpness comes back towards the edges of the frame. It is certainly a lot less noticeable though, especially once you stop down a little.
Looking at the above chart, one can notice that Nikon shows superior optical performance from the center all the way to the edges of the frame. Keep in mind that such MTF charts are mostly simulated and the data is simulated for focusing at infinity. As you will see below, focusing on a subject at close distances shows a completely different picture.
Zooming in towards 70mm, we can also notice changes in the MTF graphs (Left: Nikon 24-70mm f/2.8E VR, right: Nikon 24-70mm f/2.8G):
Nikon promises a much more even performance across the frame compared to its predecessor, although we can see that the older 24-70mm f/2.8G certainly did better in resolution slightly outside the center frame. However, the edges are where we see huge differences – take a look at how sharply downward the curve goes on the old 24-70mm f/2.8G and how it stays high on the 24-70mm f/2.8E VR. This basically shows that Nikon made significant changes to the lens design and the corners should be looking a lot better now compared to before.
Now the big question is, do the above MTF charts actually match lab and field tests? To answer this question, we will first take a look at some Imatest numbers. Here is how the lens looks at 24mm:
Considering that a stellar lens would yield around 3,000 in Imatest figures, the above chart does not look all that impressive, does it? The Nikon 24-70mm f/2.8G certainly shows better center sharpness here, as you will see further down in this review. However, pay attention to how close the mid-frame and the extreme corner bars are to the center bar – this is an indication of excellent sharpness across the frame.
Now let’s see how the lens does at longer focal lengths:
At 35mm, there is a slight drop in sharpness at maximum aperture in the center, but the mid-frame and the corners still stay impressively good. Interestingly, stopping down does little to increase the extreme edges of the frame, as they already look pretty incredible!
Similar to the Nikon 24-70mm f/2.8G, the 24-70mm f/2.8E VR also starts to take a hit when zoomed in towards 70mm. As you can see, we observe an overall drop of sharpness at 50mm, with the center area taking the biggest hit. Stopping down to f/5.6 brings the center sharpness back, which becomes the sweet spot of the lens.
And lastly at 70mm, the lens still suffers in terms of sharpness at maximum aperture. Stopping down to f/5.6 again yields the best result, although the corners don’t look as impressive as they looked earlier.
Now what do the above numbers correspond to in the real world? Let’s take a look at four different images shot at f/2.8, f/4.0, f/5.6 and f/8, roughly @ 35mm, infinity focus (Left: f/2.8, Right: f/4.0):
All of the above crops are 100% crops without sharpening or lens corrections applied to them. As you can see, aside from differences in vignetting, the image at f/2.8 is only slightly less sharp than the image at f/4. Starting from f/4 all the way to f/8, the corners look pretty much the same. Now that’s a huge achievement on behalf of Nikon if you ask me! In fact, the Nikon 24-70mm f/2.8E VR does better in the corners than many other prime lenses!
Overall, the sharpness performance of the new Nikon 24-70mm f/2.8E VR is very impressive. While its center sharpness might not look exemplary, the lens produces much more even, balanced results across the frame.
The above numbers might not make much sense, since there is no reference data to compare with. For this reason, I would strongly recommend that you check out the Lens Comparisons section of this review!
In terms of contrast and colors, the Nikon 24-70mm f/2.8E VR is a top class performer. The images are vivid and beautiful, definitely the signature of pro-level lenses.
Lenses like the Nikon 24-70mm f/2.8E VR are typically not optimized to yield beautiful background highlights and the presence of aspherical lens elements makes things even worse, because aspherical glass often causes ugly onion-shaped bokeh. Overall though, bokeh on the 24-70mm f/2.8E VR looks pretty decent when the highlights aren’t too bright:
Keep in mind that while the out of focus areas look good wide open, if you were to photograph bright lights in the background, the highlights might not look this pretty. If you want pretty bokeh, I would recommend to use a dedicated portrait lens instead, such as the Nikon 85mm f/1.4G.
The previous generation Nikon 24-70mm f/2.8G showed a pretty heavy amount of vignetting at the shortest focal length of 24mm, getting better at longer focal lengths. Let’s take a look at how the new Nikon 24-70mm f/2.8E VR does in comparison:
Looks like the new optical design not only did not address the vignetting issues – it made them worse. As you can see, there is a pretty significant amount of vignetting at all focal lengths when shooting wide open. Stopping down, however, drastically reduces vignetting and once you are at the f/5.6 mark, you only need to take care of the darker corners at 24mm.
Here is the worst case scenario, showing rather strong amount of vignetting at 24mm in the extreme corners, infinity focus:
In all honesty, vignetting is not a big concern. I often do not touch vignetting exhibited by a lens, since I like how it draws the attention of the viewer towards the center of the frame. Every once in a while, however, I will remove vignetting in post-processing software, which can be taken care of with a single click.
9) Ghosting and Flare
The Nikon 24-70mm f/2.8E VR is equipped with Nano Crystal Coat, which certainly helps in reducing flares and ghosting. Shooting against the sun might result in some flares and ghosts showing up in your images, so do not be surprised to see them when pointing your camera towards the sun, or any other bright light source. Keep in mind that the amount of ghosting and flare will depend on where the bright source of light is in the frame. For example, if you put the sun towards the extreme edges, you will most likely see those artifacts. If you carefully place your light source in the frame, you might have no ghosting and flare to deal with.
And if that becomes an issue, check out my article on how to remove ghosting and flare in images.
Let’s take a look at how the lens handles distortion:
As you can see, barrel distortion is rather heavy at 24mm, which then transforms to pincushion distortion at 35mm and then gets stronger again between 50 and 70mm. I personally do not worry about distortion problems on my lenses, because they are very easy to fix in Photoshop and Lightroom. In fact, Lightroom already has a lens profile for the Nikon 24-70mm f/2.8E VR, which is nice, since all you have to do is check “Enable Profile Corrections” under “Lens Corrections” and all distortion will be automatically removed from your images, as I pointed out in my Lightroom Lens Correction article.
11) Chromatic Aberrations
Chromatic aberrations are pretty strong at wide focal lengths and gets to lower levels at 70mm, as seen below:
Still, it is a bit disappointing to see that the new Nikon 24-70mm f/2.8E VR does worse than its predecessor when it comes to CA. Lateral chromatic aberration is particularly worst at 35mm. Again, chromatic aberrations are easy to fix in post-production and Lightroom can easily take care of it in via Lens Corrections.
12) Nikon 24-70mm f/2.8E VR vs Nikon 24-70mm f/2.8G
Now let’s take a look at how well the Nikon 24-70mm f/2.8E VR does optically compared to the previous-generation Nikon 24-70mm f/2.8G. Here are both lenses at 24mm:
The difference in center sharpness is pretty clear – the 24-70mm f/2.8G does noticeably better, especially at the f/2.8-f/4 range. However, take a look at how much better the new 24-70mm f/2.8E VR looks in the mid-frame and the corners. There is simply no comparison here, even when stopped down to f/8!
As we zoom in to 35mm, we can see that the situation does not get any better for the 24-70mm f/2.8G. While it is noticeably sharper in the center, the new 24-70mm f/2.8E VR simply blows it away everywhere else.
And the same thing can be observed at 50mm, with the new 24-70mm f/2.8E VR significantly outperforming its predecessor in the corners. Interestingly, the 24-70mm f/2.8E VR at f/2.8 is as sharp as the 24-70mm f/2.8G stopped down to f/5.6!
Lastly, at the longest end of the zoom range, we can see that both lenses suffer sharpness-wise at maximum aperture. However, once stopped down to f/5.6, the 24-70mm f/2.8E VR outperforms the 24-70mm f/2.8G even in the center.
As I have pointed out earlier, when the new Nikon 24-70mm f/2.8E VR is directly compared to its predecessor, it shows slightly worse center performance, but has much better mid-frame and corner performance. So its sharpness is much more evenly spread out in comparison, making it a much better lens for photographing landscapes and architecture. This is especially noticeable when photographing subjects at infinity.
Also, let’s not forget that the 24-70mm f/2.8E VR has some bells and whistles such as fluorine coating and image stabilization that the 24-70mm f/2.8G does not. Image stabilization alone is a huge advantage, as it can save a lot of shots when shooting hand-held in low-light situations. Many of the images presented in this review were shot hand-held and being able to shoot without a tripod often saved me quite a bit of time and hassle. For example, I would have normally never risked to capture a shot hand-held at 1/10th of a second @ 32mm on a DX camera. Thanks to image stabilization, I was able to easily pull it off without even thinking about it:
13) Nikon 24-70mm f/2.8E VR vs Tamron 24-70mm f/2.8 VC
What if we were to compare the Nikon 24-70mm f/2.8E VR to the Tamron 24-70mm f/2.8 VC? Both lenses compete directly with one another, since they cover exactly the same range and feature image stabilization. Here are the two lenses at 24mm:
Right off the bat, we can see that the Tamron 24-70mm f/2.8 does better in the center, similar to the 24-70mm f/2.8G. However, take a look at its corner performance – it is drastically worse in comparison. In fact, even stopping the Tamron down to f/8 does not bring it to the same sharpness levels the Nikon 24-70mm f/2.8E VR can get to.
Things don’t get any better for Tamron as we zoom in to 35mm. As you can see, the Tamron 24-70mm f/2.8 VC still have pretty poor corner performance in comparison to the Nikon 24-70mm f/2.8E VR.
At 50mm, Tamron starts out much stronger in the center, but at the cost of mid-frame and corners. Here, the Nikon 24-70mm f/2.8E VR still reigns with its impressive overall performance. Once again, Tamron cannot get close to what Nikon can deliver even when stopped down to f/8.
Lastly, we can see that the Tamron 24-70mm f/2.8 VC gets significantly worse at 70mm. Now the Nikon 24-70mm f/2.8E VR is as sharp in the center and significantly better everywhere else at f/2.8, and once stopped down to f/5.6, it takes off big time without letting the Tamron catch up.
Overall, it is pretty clear that the Nikon 24-70mm f/2.8E VR is a much better lens sharpness-wise when compared to the Tamron 24-70mm f/2.8 VC. You also cannot compare the two in terms of autofocus speed and accuracy. Nikon is a one step ahead of Tamron in autofocus performance and when it comes to image stabilization, I personally found Nikon’s VR to be about a stop better than Tamron’s, so Nikon leads there as well. Obviously, there is a huge difference in price between the two lenses, so one has to assess what lens fits their particular needs based on their budget.
14) Nikon 24-70mm f/2.8E VR vs Canon 24-70mm f/2.8L II
Last year I had a chance to test the Canon 24-70mm f/2.8L II on a number of different camera bodies, including the Canon 5DS. To my surprise, Canon’s updated 24-70mm f/2.8L II lacked the resolving power to be able to show all the details in the extreme corners. Take a look at the below unsharpened crop from the bottom right corner of an image:
I immediately thought that I had a faulty lens, so I requested another copy of the 24-70mm f/2.8L II to test, as it was hard to believe that such a high-end lens would yield such poor results. After a few weeks I was able to obtain another copy of the same lens and this time I put it on the Canon 5DS R, which lacks a low-pass filter. Here is the corner crop from the same area of the scene:
Ouch, this one turned out to be even worse! And no, this was not something one could blame bad focusing on, since here is how the center of the frame looked on the same image, showing plenty of detail (no sharpening applied):
After these two lens samples and the challenges I had with obtaining a sharp image from the center of the frame all the way to the extreme corners, I came to conclusion that Canon’s 24-70mm f/2.8L II is simply not sharp enough to be able to resolve extreme corner details. This is especially true on a high-resolution DSLR like the Canon 5DS / 5DS R.
In comparison, here is what the extreme corners on the Nikon 24-70mm f/2.8E VR look like at the same aperture:
Although the crop is taken from a different scene, it is pretty clear that the Nikon 24-70mm f/2.8E VR is a much sharper lens at the edges of the frame.
Without a doubt, the Nikon 24-70mm f/2.8E VR is an amazing lens in many ways. Although it is a pretty expensive piece of glass, considering how well it compares to its competition, I would not hesitate to recommend it to those who want the ultimate image quality from their gear. Nikon engineers did a remarkable job by optically redesigning the lens and adding all the bells and whistles we have come to expect from the latest and greatest. Although some compromises had to be made, Nikon still managed to bring us the best 24-70mm on the market.
As you can see from the earlier sections of this review, the Nikon 24-70mm f/2.8E VR is nowhere near what some reviewers claimed it to be. It is a stellar lens in many ways, bringing much more even balance in sharpness when compared to its predecessor and the competition. It might not have that “bite” in center sharpness the Tamron 24-70mm f/2.8 VC or the Nikon 24-70mm f/2.8G have, but it makes it up by showing very impressive mid-frame and corner performance, something no other 24-70mm DSLR lens is capable of reaching, including the Canon 24-70mm f/2.8L II. Based on my careful research of four separate lens samples, I came to conclusion that the accusations towards the 24-70mm f/2.8E VR are either totally unfounded, coming from non-photographers, or are based on a single lens sample that might have been damaged. For example, DxO’s review of the 24-70mm f/2.8E VR, where the tester concluded with “disappointing DxOMark scores” shows just how bad some lens reviews and research can be (DxO tests a single lens sample and their testing methodology is questionable). Sadly, many photographers trust such bogus data / reviews conducted by non-photographers and make wrong purchasing decisions as a result. In all honesty, I personally only trust one review source from a non-photographer, and that’s my friend Roger Cicala at LensRentals.com. He is the only person out there who takes the time and patience to conduct proper research involving more than a single lens sample. If looking at numbers and stats gives you a headache, my suggestion would be to find real photographers who actually own and use the lens you are interested in buying and read what they have to say (I always recommend reading more than one opinion). In this particular case, I bet you would find many who love and praise the Nikon 24-70mm f/2.8E VR…
Overall, I am very happy with the performance of the Nikon 24-70mm f/2.8E VR and I can confidently recommend it to our readers. Nikon enthusiasts and professionals finally have a well-balanced standard zoom that provides very even, prime-like performance. This in itself is a huge achievement on behalf of Nikon.
16) Where to Buy
You can order your copy of the Nikon 24-70mm f/2.8E ED VR lens at B&H for $2,196 (as of 11/21/2016).
17) More Image Samples
All Images Copyright © Nasim Mansurov, All Rights Reserved. Copying or reproduction is not permitted without written permission from the author.
Nikon 24-70mm f/2.8E VR
- Optical Performance
- Bokeh Quality
- Build Quality
- Focus Speed and Accuracy
- Image Stabilization
- Size and Weight
Photography Life Overall Rating