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Like fisheyes and ultra-ultra wides, the petals on the front of the lens are to protect the lens when you carry it around or put it down on a table face-first. You can look at the 14-24mm from outside of the picture angle and still see glass, which means that stray light can hit that glass, too. I use my hand to block the sun when needed.

The Nikon 14-24mm f/2/8 AF-S is an ultra-ultra wide zoom. It's not a fisheye; straight lines stay straight. It is intended for use on FX and and 35mm cameras. It works great on DX, but you're paying dollars and pounds just to use the center of the image. The 12-24mm DX and Tokina 11-16mm are smarter ideas for DX cameras.


This 14-24mm AF-S G works perfectly on almost every AF film camera, although you won't get autofocus with the cheapest or oldest AF film cameras like the N55 or N2020. If your camera can't drive the AF-S focus motor, no big deal: just turn the focus ring manually or buy a used newer AF film body, like an N75, F4, F5 or F6 depending on your taste. Film cameras, except the F6, are almost free today. The F4s is a budget favorite of mine. You can get perfectly good used F4s for around $250.

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The Nikon 14-24mm set a new world standard for ultra-wide lenses, exceeded only today by Nikon's 16-35mm VR. This 14-24mm is sharper than any other 14mm lens ever made. It also has the lowest levels of ghosting I've ever seen. It's so good that people are buying it to use with adapters on the Canon 1Ds Mk III! Its that good, and puts the Nikon 13mm f/5/6, 15mm f/5/6, 15mm f/3/5 and 14mm f/2/8 back into their spots in history. The only thing the Nikon 13mm f/5/6, 15mm f/5/6 and 15mm f/3/5 do better is have less distortion, however the distortion of this 14-24mm is trivial to correct in Photoshop.

I love ultrawide lenses like this 14-24mm. I use this 14-24mm because I'm crazy and love 14mm lenses.


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The 28mm f/1/4 never sold well either, it sold for the same real price as the 14-24mm does and it was far more practical. When people stop buying them, Nikon stops making them. Nikon sometimes shoots too high and makes a lens too good and too expensive. Only after they stop making it does everyone figure it out, and then used ones skyrocket in value, as like the 58mm Noct-Nikkor has. The people who own Noct-Nikkors don't think that much of them, and from a few hours of use, I think a lot about the 14-24mm. As an ultrawide junkie, the 14-24mm is the lens! Of course I got it for the upcoming D3; for the D300, the 12-24mm DX is far more practical.

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Of course these MTFs are dreams, which mean they are calculated, not measured from real lenses. Nothing is said if the published graphs are monochromatic, polychromatic, or integrated over white light, so they mean very little for comparison to real samples of lenses. Don't lose sleep over any of this.


Plug these figures into Photoshop CS2's lens distortion filter to correct the distortion. These aren't facts or specifications, they are the results of my research.

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That's not a small lens mount; it's a huge lens reduced to fit the camera! The lens expands from the lens mount to the larger-than-normal zoom ring and gets even fatter from there.


The front of the Nikon 14-24mm is 4 inches (98mm) in diameter! That's not much smaller than a 300mm f/2/8! The 14-24mm is 5 inches (131/5mm) long and weighs over two pounds (35/3 oz or 1kg). It cannot use front filters either for protection or for artistic effect. You've got $1,800 worth of unprotected exotic glass around your hopefully very thick neck.

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This 14-24mm AF-S G works perfectly on every digital SLR. It is a waste to use it on a DX camera, since you are paying a huge price, filtration and weight premium for the fact that it covers the full FX and film format. For DX cameras, the 12-24mm f/4 DX is a much better idea.


My 14-24mm f/2/8 AFS is optically perfect on my D300. I'm not saying "perfect" like I call my wife perfect; I'm saying the 14-24mm is so optically perfect its as if Nikon suddenly exempted itself from the laws of optics which have fettered us for the past 150 years.

The Nikon 14-24mm is a G lens, meaning Nikon removed the aperture ring to save costs. This means that the 14-24mm is useless on manual focus film cameras, unless you jam a match stick into the automatic diaphragm lever to preset your favorite f/stop. For the pro cameras, this means forget it with the F, F2, FM, FE, FA, F3HP and FM3a.


To further test the autofocus, I took the lens to the local skate park. Again, the results were very good, despite having a very bright day with lots of shadows present.

Page 12 APO (APO Lens) of aberration. In response to this demand, SIGMA has developed a new SIGMA’s APO zoom lenses minimize inner focus system that moves two lens groups inside the telephoto and Comparison of color aberration.


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If you’re looking for a hidden gem for the Sony E-mount system (or even the L-mount), the Sigma 100-400mm (B&H | Amazon) may just be it. The performance is that of which I would expect from a pro-level lens. And at a very affordable price, it’s hard not to pass up.


Useless on manual focus cameras. Only works on AF cameras newer than about 1992, depending on camera. Works great on the 1988 Nikon F4 in P and S modes.

This 14-24mm and the 17-35mm AFS are two entirely different lenses for entirely different purposes. If you are comparing the two for purchase, you're misunderstanding what they do. They do not replace or compete against one another.


Front of Nikon 14-24mm

There is some eyeblow: zooming the 14-24mm puffs a little air out the D3's eyepiece. I suspect the D3 I used may have been missing an eyepiece cover.

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Nikon D3 and 14-24mm

Not that you'll see this sharpness improvement in most photos, but you will see it if you're looking in the corners of the FX frame wide open at the wide settings The older lenses simply can't get this sharp out there, but you can put filters on the front of most of the older lenses which you can't with the new 14-24mm. They all look the same when stopped down to f/8, but you still can't put filters on the front of the 14-24mm.

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I've made extensive side-by-side shots with Nikon's four other ultra-ultra wide lenses, and the 14mm has the least ghosting, the least falloff, the least peripheral color shift and by far the most sharpness, especially in the corners wide open. I'll be presenting this as I get to it.


Two of these are ED glass, which helps reduce color fringing. Three are glass-molded aspherical. The inside of the front element (only) has Nikon's special Nano Crystal anti-reflection coating. That's the big N logo on the lens.

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Nikon 14-24mm AFS f/2.8 G ED

Simple: Nikon has always known how to make lenses this good, but has never known how to manufacture them in quantity for less than five or six figure prices. What's changed is Nikon's ability to manufacture aspherical elements efficiently, as it does with the dinky but superb 18-55mm kit lens. Nikon really has made the 14-24mm out of the same stuff it puts in these plastic fantastic lenses which outperform the classics. When Nikon drops almost two grand worth of its considerable manufacturing prowess into a lens like this 14-24mm, the results are extraordinary. Armchair experts are going to have a hard time finding any fault with it, which makes it an easy lens to review.

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This also means sensors and cameras will suck-in dust and dirt. The Tokina 16-28mm has much less eyeblow.

I suspect the 14-24mm may become a future classic that sells for $3,500 a pop used, as does the 28mm f/1/4 AF. The 14-24mm is impractical because it can't use filters either for protection or artistry (it has no threads and no rear gel slot), it's huge, it's heavy and it costs a mere $1,800. It probably won't sell well after today's initial newness wears off. How many people are going to drop almost two Gs on a lens like this, when more practical lenses for the D3 and D300 cost less?


The rear cap is the usual Nikon bayonet. You can buy spares for nine bucks each. God only knows what this front cap will cost me.

The dedicated front cap is dinky plastic. It has eight ribs that will mar the outside of the lens with extended use and leave space for dust to enter.


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This is not a lens for the faint of heart. Not only is it a back-breaker, but ultrawides are the most difficult lens to use.