The Nikon 24-120mm REDEFINED

In 1996, Nikon introduced the AF-D Zoom-Nikkor 24-120mm f/3.5-5.6D IF. It was the first of its kind to have such peculiar focal lengths with 5x-power zoom. It turned out to be a very attractive zoom lens, though, considering the shortest focal length offered at the time by other competitors was at 28mm. It was also a popular lens; I had owned it for a short period of time.

With the AF-S VR Zoom-Nikkor 24-120mm f/3.5-5.6G ED-IF, new possibility in photography is within reach. For example, one can shoot with this lens handheld at much slower shutter speeds without the sacrifice of image quality (its sharpness). This high-power zoom combines the highly regarded Nikon’s technology of the Silent Wave Motor (SWM) and Vibration Reduction (VR). The SWM offers a super smooth and ultra-quiet operation with lightning AF response and speed, while its VR feature helps maintain and improve sharp images that may have otherwise caused by camera shake.

Camera/Lens Compatibility, Features, Operations

It is likely that future Nikon Nikkor lenses will be of G-type. This is the second AF-S G-type zoom lens in the non-fixed aperture design (the first one being the AF-S 24-85mm f/3.5-4.5G IF-ED). Being a G-type lens, there is no physical aperture ring. The aperture (f-stop) must be selected via the command dial on the camera body (once the lens is attached). And, therefore, it is important to note that this zoom lens will only work properly on newer Nikon AF SLR bodies. The following camera bodies will maintain full compatibility with this lens: N65/F65, N75/F75, N80/F80, F100, F5, D100 and D1-series. The Nikon N55/F55 is compatible with the G-type, but not the AF-S or VR features.

For any other AF bodies, such as F4, N90-series or N70, to name a few, minimal operation is possible. For instance, when attached to Nikon F4, only exposure modes in P and S are operational (since the F4 does not have the command dial to control the aperture setting). Its AF-S (SWM) is operational, but VR is inoperative. Technically, it appears that the AF-S and VR function each has separate electrical contact for operation (for camera-and-lens communication). The lens has 10 electrical contacts, while my F4 has only 7. The Nikon F100 or F5 (including those film-based SLRs listed above) have 8. The Digital SLRs D1-series or D100 have 9 electrical contacts.

Compared to the AF-S 24-85mm f/3.5-4.5G IF-ED, the AF-S VR 24-120mm f/3.5-5.6G IF-ED is much sturdier and well constructed. But similar to the AF-S 24-85mm, its zooming and focusing rings are placed in reversed order (with zoom ring near the front barrel and focus ring at the middle of the body), as opposed to “normal” Nikon zoom lenses, which have their focus ring placed toward the front barrel.

The Nikon AF-S VR 24-120mm f/3.5-5.6G IF-ED is clearly a “redefined” AF-D 24-120mm f/3.5-5.6D IF zoom lens. In addition to the SWM and VR technology, the new zoom lens incorporates two ED (Extra-low Dispersion) glass elements and two Aspherical elements combined with Nikon Super Integrated Coating for superior color, contrast and sharpness, and overall minimal optical distortion. I will have more to say regarding its optical performance in the following sections.

Similar to the first 24-120mm generation, the new AF-S VR version still incorporates a two-cam design on its front barrel that extends the physical body when the lens is set at 120mm focal length. When it is set at 24mm (in its collapsed state), the lens retains a compact size that measures less than 4 inches. The markings of the focal length on the zoom ring are 24mm, 28mm, 35mm, 50mm, 70mm, 85mm, and 120mm. The front barrel still retains a 72mm filter size. The front 72mm cap carries a new design, where you can easily remove even when the hood is attached to the lens. The new lens has a smaller and slender body (in diameter) compared to the old version. I particularly like the way the zooming ring of the new AF-S VR 24-120mm operates. It turns clock-wise to “zoom” from 24-120mm, in contrast to the counter clock-wise rotation of the old version. The zooming and focusing rings each has different rubberized pattern, recognizable by touch; both are very smooth in operation.

The front barrel does not rotate during focusing or zooming, a benefit from its Internal Focus (IF) design. Unlike its predecessor, the AF-S VR version has a window for focus distance scale just behind the focus ring, but no depth-of-field scale. Close focusing capability is still retained.

Being an AF-S and VR lens, there are two separate switches on its barrel: one for the VR and the other for the AF-S (M/A & M) operation. When the switch is set to M/A, focus override can be achieved instantly by turning the focus ring, while the shutter release button is still depressed halfway. If you let go the focus ring and re-depress the shutter release button, the lens will refocus on a subject according to where the AF sensor of the camera is located within the frame. For a complete manual operation (and to save power drain), the switch must be set to M. The VR switch has only two functions: on and off.

Specifications

Nikon AF-S VR Zoom-Nikkor 24-120mm f/3.5-5.6G ED-IF

Maximum Aperture: f/3.5 at 24mm, f/5.6 at 120mm
Aperture Range: f/3.5-f/22
Diaphragm: rounded 7 blades
Lens Construction (Elements/Group): 15/13
Focus Distance: 0.5 m – infinity at all zoom settings
Filter size: 72mm
Dimensions (diameter x length): 3.0x3.7 inches
Weight: 20.3 oz

PERFORMANCE

Handling and Operations

One of several things I didn’t like about the old 24-120mm f/3.5-5.6D IF was the dedicated lens hood HB-11. Its shape was like a pan and style-less. Worse yet, it did not come with the lens and must be purchased separately. Sometimes, I wondered if the hood really did anything at all to help control flare, except perhaps to provide protection for the front optical element. Not the new AF-S VR 24-120mm, its lens hood (HB-25) is provided, and it has such an appealing look with a tulip-shaped design. With the hood attached, the lens is completely transformed.

This lens balances far better than its predecessor. Weighing only about 20 ounces (the old version weighs 19.6 ounces), it balances quite well on most camera bodies. Autofocus is swift, accurate and extremely quiet (but not ultra-quiet like my 17-35mm lens). Due to its smoothness in operation, it is very difficult to determine that the VR is active when it is switched on. The only thing I can tell that the VR is working is when I shoot at a slower shutter speed, and when I get back the resulting images.

With its zoom ring near the front barrel, it takes a bit to get used to. During my first try, I always mistakenly grab the focus ring and turn, thinking it is the zooming, despite the fact that each has a distinctive texture. But mind you, I totally forgot about the distinctive pattern when concentrating on a subject (an experience I first had with the AF-S 24-85mm zoom in the past). After a day with this lens, I feel quite at home with its operations. And the zooming ring near the front barrel now seems to handle better than the one on the old version. It seems to fall into place where my figures rest while supporting the lens with my palm.

Optical Performance

In my opinion, the most important aspect of a lens’ performance is its optical quality. The AF-S VR 24-120mm f/3.5-5.6G ED-IF is quite appealing, both in terms of mechanical performance and handsome looks. What about its optical performance? Is it as impressive as its other attributes?

For this lens, I am particularly interested in testing its optical performance in combination with its VR operation. Therefore, all of my images were made handheld and with its VR turned on.

VR: Off vs. On

With the VR off, this lens is just an ordinary lens, much like its predecessor or any other lenses, vulnerable to camera shake at slower shutter speeds. I was able to obtain acceptable sharp images with the lens set at 120mm exposed for 1/90 sec. Here I had to brace my elbows to minimize camera shake. However, I was more comfortable shooting at 1/125 sec; with the same focal length, and I could achieve noticeable sharp images.

With the VR on, this lens does magic. Nikon claims that the VR can enable you to shoot at a shutter speed 3 times slower than what you can normally and steadily handhold the lens. To test this out, I made a series of images with different shutter speeds, while keeping the aperture fixed to maintain consistency. It is not easy to produce a situation where only the shutter speed can be varied without affecting the aperture, since f-stops and shutter speeds are intimately related. (A studio light can produce such lighting effect). But a spotlight (stage light) in the auditorium at my university can vary the intensity to allow roughly four stops of exposure value; and I have a friend who can gain access to use the equipment.

I made two sets of exposures, setting the zoom at 85mm and 120mm. The corresponding shutter speeds were 1/125 sec, 1/60 sec, 1/30 sec, 1/15 sec and 1/8 sec. At 85mm, I was able to get sharp images at 1/8 sec, but it was less sharp for 120mm. I believe my hands are not quite steady. However, if you have steady hands, you can shoot at much slower shutter speeds. Nevertheless, I am quite satisfied shooting at 120mm for a time of 1/15 sec.

It is important to note that even though this zoom features VR technology, its operation is limited, compared to the AF-S VR 70-200mm f/2.8G ED-IF. The VR on the AF-S VR 24-120mm does not have the “active” operation mode. It appears that the VR is only operating in “normal” shooting mode where the lens is assumed to be stationary. Its operation is to maintain focus tracking to avoid camera shake at slower shutter speeds and/or when the subject is not stationary. I have tried shooting the lens from a moving vehicle and have found that images were not sharp.

Since the Nikon F5 is quite excellent with its continuous dynamic autofocus tracking with lock-on, I have tested this lens with the F5 using its Single Servo and Continuous Servo with dynamic autofocus tracking. The F5’s dynamic autofocus tracking with lock-on in combination with the VR feature definitely helps achieve sharp images of moving subjects combined with slow shutter speeds. I suspect the dynamic autofocus tracking with lock-on on the N80/F80 or F100 should yield similar results.

Optical Quality

The overall optical quality of this zoom lens is excellent. Images are sharp and very contrasty with outstanding color and detail. The 2 ED glass elements no doubt take credit for its exceptional picture definition, particularly its high contrast, saturation and color fidelity. I have shot with this lens using the aperture between f/3.5-f/11 and with focal lengths set roughly at 24mm, 28mm, 35mm, 50mm, 85mm, 105mm and 120mm. The resulting images were very sharp. Images are extremely sharp across the film plane at f/8 and f/11 for the tested focal lengths in the range 35-120. I judge it to be the optimum performance on this lens.

Performance between 24mm and 35mm is average. Contrast is also low. Exposure seems to be consistent throughout the film plane, with the exception of 24mm focal length where vignetting is observed. Light fall-off is observed at 24mm at wide open. Image sharpness at 24mm and 28mm improve when stopped down to f/11.

The rounded 7-blade diaphragm makes it perfect for rendering out-of-focus elements soft, more pleasing and natural. For those who use this lens to shoot portraiture, this feature will be greatly appreciated and rewarded, especially for shooting backlit subjects, where bright or hot spots do not accentuate the background or compete with the main subject.

It is my experience that the old version vignettes severely at its widest angle (24mm) when a filter with thick ring is used. With the AF-S VR version, I have shot with a Nikon A2 (warming) filter and found no vignetting, except light fall-off at wide open (noted above). I would recommend using a moderately thin filter ring when using the lens at its widest angle. I have found most Tiffen filters to have an unusually thick ring compared to other brand names, such as Hoya, Heliopan or Nikon.

I have no other lens in similar focal range to compare its optical performance with. The logical choice is to compare it to that of its predecessor. Virtually all of my images shot with the old AF-D 24-120mm version were of negative films, and most of them were misplaced or thrown away. It is therefore impossible for me to make a careful comparison. However, I have compared its optical performance (in the 24-85mm focal range) with the AF-S 24-85mm f/3.5-4.5G ED-IF. In terms of sharpness, my slides show that the AF-S 24-85mm performs better than the AF-S VR 24-120mm in the wide-angle focal range, particularly at 24mm and 28mm; even at 35mm. Both lenses display superb color and vivid saturation, but I believe the AF-S 24-85mm is sharper overall.

As usual, there is strong optical (barrel) distortion at the widest angle (24mm)—a similar weakness that I found in the old 24-120mm AF-D version still exists in this new version. The pincushion distortion at the long end, particularly at 120mm, is also visible but very mild. I notice pincushion distortion starts to show toward 120mm.

Flare is very well controlled in most situations. Ghosting is very minimal, particularly at short focal lengths. Its lens shade should be put on at all time. I like the way this zoom handles backlit situations with minimal or no effect of flare, very impressive indeed.

DISCUSSION and CONCLUSION

The AF-S VR 24-120mm f/3.5-5.6G IF-ED is an impressive zoom lens. The VR technology defies the concept that guards against shooting a lens handheld at slow shutter speeds. With respect to f-stop, the AF-S VR 24-120mm is not really a “fast” lens by definition. But its VR feature enabling one to handhold a shot at much slower shutter speeds that even a fast lens cannot dare to compete is impressive. Armed with the VR technology, it is very hard to call the AF-S VR 24-120mm a “slow” lens.

The Nikon 50mm f/1.4D is indeed a very fast lens, due to its large aperture of f/1.4. It allows one to photograph in dim light without using flash. But the very concept of “fast” in relation to wide aperture (bigger diaphragm) is no longer an issue with the AF-S VR 24-120mm. Say, you photograph with a 50mm f/1.4 lens in dim light using film with ISO 50. To ensure possible image sharpness, you are forced to shoot with the lens set at f-stop of f/1.4 and shutter speed at 1/60 sec. With a steady hand, you may be able to shoot at 1/30 sec with the lens stopped down to f/2. In this scenario, the 50mm lens sacrifices greater depth of field; and lets assume for the moment that depth of field is also important but must be sacrificed in favor of sharp images for a selected subject. A fast lens now has its limitation. With the AF-S VR set at 50mm, you can shoot at f/5.6 for 1/4 sec (three stops slower than the 50mm lens). I have tested this hypothesis and found that I could obtain sharp images at 50mm at f/5.6 exposed for 1/4 sec.

This ability proves that the AF-S VR lens is most desirable for virtually all applications of photography where a tripod is not available or impossible to use. I have used this lens to photograph a wedding in a church, and loved its total silence, quick operation and convenience.

The AF-S VR 24-120mm f/3.5-5.6G IF-ED currently sells between $550-$650, depending on where you get it (USA or Grey). The practical question is “Is it worth it to invest in such a lens?” At this price, it is a little bit high to be regarded as a consumer lens. But, if we consider its features and capabilities (compared to its predecessor or any other lenses out there), this price is not really that high. When I first bought my AF-D 24-120mm f/3.5-5.6D IF, I spent $465 for it, ordered directly from a camera store in NY.

With that said, I have come up with only a few points to list for PROS and CONS. And it is clear that the high price is not geared toward the lens’ optical quality, but its features and operations:

PROS:

1. Fast and quiet operation
2. Superb handling, far better than its predecessor (or any other lenses out there)
3. Image stabilization for slower shutter speeds (you’d be surprised at how slow a shutter speed to shoot with this lens!)
4. Overall optical performance is better than its predecessor (however, not enough evidence to support this finding…take this as a tendency only)

CONS:

1. High price
2. Full operation limited to newer AF SLR bodies
3. Semi-robust, a sturdy built, but not solid (compared to high-end Nikkor lenses, such as Nikon 17-35mm f/2.8 or similar class), comparable to Nikon 24-85mm f/2.8-4 zoom lens.

In my opinion, we are not paying the high price for its superb optical quality. We are paying for the convenience, features and its superb handling. I can easily obtain sharper images with my cheap manual focus zoom lens Nikon 75-150mm f/3.5 Series E (in normal shooting situation, i.e., with reasonably fast shutter speeds). But if you are the type of person who prefers to handhold the camera, you will find that this lens is one of a kind, at least the first one.

For those who prefer to travel light, your camera bag now gets even lighter, with the tripod left at home or in the trunk of your car. Convenience is the name of the game.

For those who often shoot weddings, this zoom lens will no doubt allow you with the flexibility to shoot without a tripod. With it, the ability to react quickly to picture taking opportunity is quite rewarding. I recently used this lens to cover a wedding dinner banquette for my brother in-law. The focal coverage of 24-120mm was perfect. The VR feature allowed me to shoot at a much slower shutter speed without resorting to using flash. I was able to expose for the ambient light and use flash only as fill (in slow synch mode). I also brought with me Nikon 35-70mm f/2.8, 80-200mm f/2.8 and 17-35mm zoom lenses, but I ended up using the AF-S VR 24-120mm during the entire shooting session, except a few semi-formal portraits that I needed to take with my 80-200mm f/2.8 securely mounted on my tripod.

With the new AF-S VR 24-120mm, acceptable or sharp images can be obtained in a shooting condition that the old 24-120mm (or any other lenses without the VR feature) cannot achieve. If you think you can handhold a lens at 120mm and shoot at shutter speed of 1/60 sec to get sharp images, the VR capability will enable you to shoot three times slower. This means you can shoot at a shutter speed of 1/8 sec at 120mm. Consider the possibility, the convenience. This is incredible!

After the event of the Nikon AF-D 24-120mm f/3.5-5.6D IF zoom, other lens makers started to produce zoom lenses in this focal range. For example, Tamron came up with its 24-135mm f/3.5-5.6 zoom. Sigma also introduced its 24-135mm f/2.8-4.5 member. Tokina came up with its widest focal range of all: Tokina 24-200mm f/3.5-5.6. I have never tried any of the above lenses, but sure enough none is equipped with AF-S and VR operation. Suffice it to say that Nikon still retains its status being the leader of the pack, because the AF-S VR stands distinct among the crowd with its silent, smooth operation and the capability of shooting at a much slower shutter speeds.

For rating, I give 5 stars for its superb handling, features and operation; 4 stars for its optical quality. Therefore, this lens appropriately deserves a total of 4 stars.

Finally, my recommendation on this zoom lens depends on your shooting habit, particularly if you are inclined to shoot handheld at slower shutter speeds. Here convenience, features and capabilities are key to getting this lens. If you are looking for super sharp images, you may be disappointed by it. But I am very impressed with the results—its optics—I got from it so far. If you don’t need the VR technology, you would do very well with the Nikon AF-S 24-85mm f/3.5-4.5G ED-If, which I highly recommend.

And, lastly, for digital SLR users (particularly, Nikon D1-series, D100 or the new D2H), you will benefit greatly from its central concentration of images inside the 24x36mm frame (of 35mm format). That is, the result of a 1.5x factor increase in focal length translates to sharper images across the frame, an added advantage over 35mm film-based SLR users like myself. Therefore, the optical quality of the AF-S VR 24-120mm f/3.5-5.6G ED-IF will be a tad better than conventional film SLR, both in terms of sharpness and optical distortion.

Note: I was told that the earlier production has some problem with a loose front cam tube, and image quality at the 24mm focal length was poor and non-uniform and with heavy distortion. I would suggest you examine it before making a purchase. Ordering from an internet is playing with a lucky draw. Expect sample variation in this type of lens.