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  • Nikon 16-35mm f/4G ED VR II AF-S IF SWM Nikkor Wide Angle Zoom Lens for Nikon Digital SLR Cameras
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Nikon 16-35mm f/4G ED VR II AF-S IF SWM Nikkor Wide Angle Zoom Lens for Nikon Digital SLR Cameras

by Nikon
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List Price: $1,259.95
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  • AF-S Nikkor 16-35mm f/4G ED VR lens
  • 24-52.5mm effective focal length with APS-C sensor cameras
  • Ideal for wide-angle and "normal" shots
  • Maximum aperture: f/4
  • Lens construction: 17 elements in 12 groups

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19 new from $1,256.95 5 used from $1,079.00 2 refurbished from $1,259.00
Important Warranty Information: All Nikkor autofocus lenses from Nikon Inc. USA include four years of Nikon Extended Service Coverage at no charge. Be sure to look for the Nikon ESC certificate with every Nikkor lens purchase you make.

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Frequently Bought Together

Nikon 16-35mm f/4G ED VR II AF-S IF SWM Nikkor Wide Angle Zoom Lens for Nikon Digital SLR Cameras + B+W 77mm Clear UV Haze with Multi-Resistant Coating (010M)
Price for both: $1,323.82

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Technical Details

  • Brand Name: Nikon
  • Model: 2182
  • Lens Type: Zoom lens
  • Minimum focal length: 16 millimeters
  • Maximum focal length: 35 millimeters
  See more technical details

Nikon AF-S Nikkor 16-35mm 1:4G ED VR lens: Review by dpreview.com

Read the full Nikon AF-S Nikkor 16-35mm 1:4G ED VR lens review at dpreview.com
Conceived as a relatively inexpensive alternative to the highly-regarded AF-S 14-24mm 1:2.8G, this lens features Nikon's latest 'VR II' stabilization unit in a high quality magnesium alloy body. We've put it through our usual battery of tests to see how it performs.

Read the full Nikkor 16-35mm 1:4G ED VR lens review at dpreview.com


Product Details

  • Product Dimensions: 52,559 x 5,118.1 x 10,629.9 inches ; 1.5 pounds
  • Shipping Weight: 7 pounds (View shipping rates and policies)
  • Shipping: This item is also available for shipping to select countries outside the U.S.
  • ASIN: B0037KM0XA
  • Item model number: 2182
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (88 customer reviews)
  • Date first available at Amazon.com: February 8, 2010

Product Description

From the Manufacturer

Nikon's versatile 16-35mm f/4G ED VR AF-S Nikkor Zoom lens is perfect for travel, land and cityscapes, and general photography.

Nikon VR II (Vibration Reduction) Image Stabilization
Vibration Reduction, engineered specifically for each VR NIKKOR lens, enables handheld shooting at up to 4 shutter speeds slower than would otherwise be possible, assuring dramatically sharper still images and video capture.

Nano Crystal Coat
Further reduces ghosting and interior flare across a wide range of wavelengths for even greater image clarity.
16-35mm Lens Construction
2 Extra-low Dispersion (ED) Elements
Offers superior sharpness and color correction by effectively minimizing chromatic aberration, even at the widest aperture settings.

3 Aspherical Lens Elements
Aspherical lens elements virtually eliminate coma and other types of aberration, even when shooting at the widest available aperture.

Internal Focus (IF)
Provides fast and quiet autofocus without changing the length of the lens, retaining working distance throughout the focus range.

Exclusive Nikon Silent Wave Motor (SWM)
Enables fast, accurate and quiet autofocus.

M/A Focus Mode Switch
Enables quick changes between manual and autofocus operation.

Rounded 9-Blade Diaphragm
Renders more natural appearance of out-of-focus image elements.
16-35mm Wide MTF Chart16-35mm Tele MTF Chart

Product Description

The Nikon 16-35mm f/4G AF-S ED VR NIKKOR Lens is released as a new category of NIKKOR lenses. It is equipped with vibration reduction (VR II) offering camera shake compensation equivalent to a shutter speed increase of approximately four stops and a Silent Wave Motor (SWM), and supports the maximum aperture of f/4 through the full range of focal lengths. The lens also utilizes exclusive Nikon technologies such as the application of Nano Crystal Coat and construction that includes ED and aspherical lens elements. The extremely effective vibration reduction and coverage for wide angles of view make this lens perfect for sports, press and landscape photography.
Nikon's development of the FX format, currently consisting of D3-series and D700 digital-SLR cameras, has received tremendous support from professional and advanced amateur photographers. Thyis lens is compatible with the FX format. Minimum focus distance - 0.29m at a focal length of 16mm or 35mm, 0.28m at a focal length between 20mm and 28mm No. of diaphragm blades - 9 pcs. (rounded) Filter/attachment size - 77mm Diameter x length - Approximately 82.5(dia) x 125 mm (extension from the camera's lens-mount flange) Weight - Approximately 680 g Supplied accessories - 77mm Snap-on Front Lens Cap LC-77, Rear Lens Cap LF-1, Bayonet Hood HB-23, Flexible Lens Pouch CL-1120

Customer Questions & Answers

Customer Reviews

This is a very good lens!
Victor Mine
It disappears after 24mm and is very effective in shading the 26-35mm focal range of this lens.
LGO
Images are sharp, with great contrast and excellent, accurate color rendition.
JJA

Most Helpful Customer Reviews

459 of 472 people found the following review helpful By LGO on April 21, 2010
I am making this review of the Nikkor 16-35mm from the perspective of someone who also owns a Nikkor 17-35mm and a Nikkor 14-24mm. This review of this lens is made primarily with this lens mounted on a 12mp Nikon FX body, the Nikon D700.

I just got my copy of the Nikkor 16-35mm f/4G VR AF-S and did some back to back testing of this lens against the Nikkor 17-35mm f/2.8 AF-S. In almost all instances except when one needs to shoot at f/2.8 (but of course!), the Nikkor 16-35mm outperforms the 17-35mm handily. The improvements in acuity (sharpness), color and contrast are easily noticed. The improvement in corner-to-corner sharpness against the Nikkor 17-35mm is considerable.

How useful is the VR on this lens? This is best answered in the tests I made.

I conducted a back to back test of the 16-35mm vs the 17-35mm at night and observed that I can easily take good shots with this lens at 1/2 second at 35mm. My shots taken at the same shutter speed and focal length with the 17-35mm were not as sharp or were easily blurred. I needed to increase my shutter speed to 1/15 before I could get better results with the 17-35mm. Yet even then, the images taken with the 16-35mm were still sharper.

To raise the bar even higher, I installed the 16-35mm on my D300 where it has the equivalent field of view of 24-52mm. I shot the 16-35mm with the D300 at 35mm for an equivalent 52mm. I installed the 17-35mm on my D700 and shot at 17mm. Shooting the same scene at the same shutter speed and at the same aperture setting, I was able to get sharper images with the D300/16-35mm than I could with the D700/17-35mm despite the longer 52mm equivalent field of view vs. the 17mm of the D700/17-35mm. The images of the D700 were of course cleaner but not as sharp.
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82 of 84 people found the following review helpful By Craig T. Harding on July 11, 2010
I have never owned the 14-24 or the 17-35, but wanted a great wide lens for scenics and just because wide is fun if used correctly. My problem was this. When looking at my scenics in Lightroom, I measured the focal length average for keepers over around 5 years. I converted crop to full frame and found that my sweet spot was 24mm. With the 14-24, I'd always be fighting that. I'd always be forced to swap lenses when I tried to go beyond that sweet spot. I need range on both sides of 24mm to be happy. Make sense? That left me with the 17-35 or a prime lens until the release of this new lens. I rented a 17-35 and tried the 20 f/2.8 and 24 f/2.8 and was just not convinced by any of them. I also wanted a pro-quality build. I had planned a trip to the Grand Tetons for June and was going to buy the 24 f/2.8 because I'd run out of ideas when Nikon released this 16-35 f/4.

Prior to this, I've never purchased any piece of equipment without reading everything and allowing the reviews to come out. This time I prepaid and ordered. With trepidation I awaited my new lens. Let me tell you. I should not have worried. This has been one of my best purchases since I switched to Nikon in 1968. I don't pixel peep and don't need to with my copy. It's razor sharp edge to edge at f/5.6 and beyond until around f/16. The only negatives for me are high purple fringing in the far corners at 16 f/4 which are easy to fix during processing. Nikon does it for you if you shoot JPeg, which I don't of course, but all software does it very easily. Mostly, I don't shoot quite that wide or wide open anyway.

This lens almost stayed glued to my D700 during my trip out west and I was extremely happy with its performance in all ways.
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122 of 132 people found the following review helpful By Glenn Carpenter on March 22, 2010
I knew the moment I heard about this lens that I'd need to get one. The chief problem I have with every other FX/film-sized wide angle lens is that they are either immense, heavy and extremely expensive; or quite mediocre* and not as wide as I'd like (and a few lens-generations old by now, as well). I had no doubt, given the excellence of nearly every recent Nikon lens, that it would be superb in terms of color, sharpness and focus performance - and only really wondered, before I'd seen it in person, whether its size would be appropriate for my use as a casual amateur photographer.

It is, almost, perfect.

First, though, having shot with it a fair bit now on both FX and DX, I can see that to convey an understanding of this lens and how it fits into the Nikon lineup it's helpful to have some understanding of the difference between the design requirements of FX and DX lenses. This is something I've been writing about a bit in my recent reviews as I keep noticing the misperceptions implied by a lot of comments I'm noticing. I'm seeing comments already in reviews of this lens, for example, that it is bigger than it needs to be as a wide-angle f/4 zoom. I see comments in reviews of DX lenses that they should have been designed as FX lenses, so that they could work on both formats. And I see comments about nearly all zooms that they should have been designed with larger max apertures, even if it would have made the lens slightly more expensive.

All these comments reveal a lack of understanding about the inherent physics of optics and the design and manufacture of lenses.

For an FX lens to have exactly the same optics on FX as an equivalent DX lens would have on DX, the FX lens would need to be 3.4 TIMES BIGGER than the DX lens.
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