|Z||The lens is designed for Nikon Z digital mirrorless cameras.|
|Focal length range:||17mm - 28mm [1.6X zoom ratio]|
|Speed range:||F/2.8 across the focal length range|
|Maximum format:||35mm full frame|
|Mount and Flange focal distance:||Nikon Z [16mm]|
|Diagonal angle of view:||103.7° @ 17mm - 75.4° @ 28mm (35mm full frame)|
|79.5° @ 17mm - 53.6° @ 28mm (Nikon Z APS-C)|
|Lens construction:||13 elements - 11 groups|
|3 ASPH, 1 Super ED, 2 ED|
|Aperture control:||None; the aperture is controlled from the camera|
|Number of blades:||9|
|Zoom control:||Zoom ring|
|Zooming method:||Internal zooming|
|Closest focusing distance:||0.19m @ 17mm|
|0.26m @ 28mm|
|Maximum magnification ratio:||1:5.26 @ 28mm at the closest focusing distance|
|Focusing method:||Internal focusing (IF)|
|Focusing modes:||Autofocus, manual focus|
|Manual focus control:||Focusing ring|
|Autofocus motor:||Stepping motor|
|Focus mode selector:||None; focusing mode is set from the camera|
|Manual focus override in autofocus mode:||Determined by the camera|
|Vibration Reduction (VR)|
|Maximum diameter x Length:||⌀75×101mm|
|Weather sealing:||Dust-proof and water-resistant barrel|
|Fluorine coating:||Front element|
|Lens hood:||Bayonet-type HB-107 (petal-shaped)|
TOKYO - Nikon Corporation (Nikon) is pleased to announce the release of the NIKKOR Z 17-28mm f/2.8, an ultrawide-angle zoom lens that is compatible with full-frame/FX-format mirrorless cameras for which the Nikon Z mount has been adopted.
The NIKKOR Z 17-28mm f/2.8 is an ultrawide-angle zoom lens that covers the 17- to 28-mm range of focal lengths with a fast constant maximum aperture of f/2.8. This lens not only offers the excellent portability achieved with a total length of approximately 101 mm*1 and a weight of approximately 450 g, but also provides superior optical performance. Adoption of two ED glass, one Super ED glass, and three aspherical lens elements delivers stable resolution throughout the zoom range. The lens responds well to a variety of scenes and subjects for a broader range of expression utilizing the unique perspective afforded by an ultrawide-angle lens, as well as the fast f/2.8 maximum aperture and 0.19-m*2 minimum focus distance that enable dynamic expression to emphasize the primary subject.
In an effort to make the lens easier to use with video recording, the NIKKOR Z 17-28mm f/2.8 is equipped with high-speed AF control that realizes smooth focusing, even with moving subjects, plus a stepping motor (STM) and control ring that achieve even quieter and smoother operation.
The NIKKOR Z 17-28mm f/2.8 offers a fast constant maximum aperture of f/2.8 in a compact and lightweight body, yet is affordable. This ultrawide-angle lens is easy to carry around, both in town and while traveling, allowing users to enjoy expressing themselves through images as intended.
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 Distance from the camera's lens-mount flange.
*2 At the 17-mm zoom position.
*1 As of September 20, 2022.
*2 A function that shifts focus by a fixed amount according to the angle of control ring rotation, not the speed at which it is rotated, with manual focusing.
*3 Thorough dust- and drip-resistance is not guaranteed in all situations or under all conditions.
Melville, NY – Nikon Inc. has announced the NIKKOR Z 17-28mm f/2.8, the latest addition to the growing selection of extremely-capable and very affordable f/2.8 zoom lenses. This new full-frame lens combines the versatility of an ultra-wide angle of field view with the benefits of large fixed aperture, putting low light performance and gorgeous bokeh within reach.
“The amount of NIKKOR Z lenses continues to increase at a rapid pace, giving all kinds of creators mirrorless lenses built with the latest in optical innovation,” said Jay Vannatter, Executive Vice President, Nikon Inc. “The new NIKKOR Z 17-28mm f/2.8 is derived from the same mutual concept as the recent NIKKOR Z 28-75mm f/2.8 lens, establishing a series of affordable zooms that open a gateway to fast-aperture performance and absolute versatility.”
The NIKKOR Z 17-28mm f/2.8 is a lens for storytellers, captivating the viewer with vast landscapes, grand interiors or enveloping their senses with the starry night sky. The combination of the ultra-wide angle perspective and bright constant f/2.8 aperture liberates the creator, turning everyday scenes into impressive images and videos that grab the viewers’ attention or establish the scene. This wide aperture not only enhances the lens’ low light performance, but also creates a gorgeous out-of-focus area to make the subject pop. Scenes that were previously difficult to photograph are easier than ever to capture in vibrant detail, such as a packed dance floor at a wedding reception or a backlit subject within a cityscape.
The new NIKKOR Z 17-28mm f/2.8 is ready to go anywhere. This extremely lightweight and portable lens weighs in at only 450 g (15.9 oz), which is approximately 30% lighter than the NIKKOR Z 14-24mm f/2.8. It’s also lighter and more compact than the NIKKOR Z 14-30mm f/4 lens, and uses a 67mm threaded mount for circular polarizers or neutral density filters. The lens’ minimal weight and internal zooming make it easy to pack or carry anywhere, and create an ideal partner for gimbals since the balance of the lens never changes.
The lens is constructed for creators who aren’t afraid to go off the beaten path in pursuit of their content. The entire lens is sealed to prevent entry of dust and water droplets1, while the front element features an antifouling coating which makes it easy to wipe away dirt, smudges and fingerprints. The NIKKOR Z 17-28mm f/2.8 puts an emphasis on sharpness, utilizing an optical formula that employs a Super ED glass element for maximum image quality at all focal lengths.
Autofocus speed is blazing fast, thanks to the use of a high-speed stepping motor (STM), working seamlessly with Nikon Z mirrorless cameras to acquire critical focus on faces and eyes within the frame. The STM is also nearly silent, significantly reducing drive noise during video recording. Video content creators will especially appreciate the minimized focus breathing and click-less control ring for smooth exposure transitions. For additional versatility in photos and video, minimum focus distance is a mere 7.56 inches (0.19 m)2, letting users get close-up for products and beauty shots with a magnificently blurred background.
Like the Nikkor Z 28-75/2.8, the lens is a result of cooperation between Tamron and Nikon companies and known as the Tamron 17-28mm F/2.8 Di III RXD A046 in the Sony E system since 2019. It appears that Tamron was allowed to release a Nikon Z-mount version of the Tamron 70-300mm F/4.5-6.3 Di III RXD A047 in exchange for a license for Nikon to produce the 17-28 and 28-75, which are Tamron's optical developments.
Both the Nikkor Z 17-28/2.8 and 28-75/2.8 do not have the "S" marking, which Nikon puts only on professional lenses, however, in terms of specification, these models have all the features that a professional lens should have and are in no way inferior to Nikon S-series lenses. Their only drawback, perhaps, is the lack of a focus mode switch.
landscapes, interiors, buildings, cityscapes, full to mid-body portraits, photojournalism, weddings, parties, carnivals, live concerts, street, travel
Among autofocus lenses designed for 35mm full-frame mirrorless cameras only. Speed of standard and telephoto lenses is taken into account.
According to lens-db.com; among lenses designed for the same maximum format and mount.
You are already on the page dedicated to this lens.
Cannot compare the lens to itself.
A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.
Aspherical elements (ASPH, XA, XGM) are used in wide-angle lenses for correction of distortion and in large-aperture lenses for correction of spherical aberration, astigmatism and coma, thus ensuring excellent sharpness and contrast even at fully open aperture. The effect of the aspherical element is determined by its position within the optical formula: the more the aspherical element moves away from the aperture stop, the more it influences distortion; close to the aperture stop it can be particularly used to correct spherical aberration. Aspherical element can substitute one or several regular spherical elements to achieve similar or better optical results, which allows to develop more compact and lightweight lenses.
Use of aspherical elements has its downsides: it leads to non-uniform rendering of out-of-focus highlights. This effect usually appears as "onion-like" texture of concentric rings or "wooly-like" texture and is caused by very slight defects in the surface of aspherical element. It is difficult to predict such effect, but usually it occurs when the highlights are small enough and far enough out of focus.
Low dispersion elements (ED, LD, SD, UD etc) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. This type of glass exhibits low refractive index, low dispersion, and exceptional partial dispersion characteristics compared to standard optical glass. Two lenses made of low dispersion glass offer almost the same performance as one fluorite lens.
Canon's Super UD, Nikon's Super ED, Pentax' Super ED, Sigma's FLD ("F" Low Dispersion), Sony' Super ED and Tamron's XLD glasses are the highest level low dispersion glasses available with extremely high light transmission. These optical glasses have a performance equal to fluorite glass.
High-refraction low-dispersion elements (HLD) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.
High Index, High Dispersion elements (HID) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.
Anomalous partial dispersion elements (AD) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.
Synthetic fluorite elements (FL) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. Compared with optical glass, fluorite lenses have a considerably lower refraction index, low dispersion and extraordinary partial dispersion, and high transmission of infrared and ultraviolet light. They are also significantly lighter than optical glass.
According to Nikon, fluorite easily cracks and is sensitive to temperature changes that can adversely affect focusing by altering the lens' refractive index. To avoid this, Canon, as the manufacturer most widely using fluorite in its telephoto lenses, never uses fluorite in the front and rear lens elements, and the white coating is applied to the lens barrels to reflect light and prevent the lens from overheating.
High and specialized-dispersion elements (SR) refract light with wavelengths shorter than that of blue to achieve highly precise chromatic aberration compensation. This technology also results in smaller and lighter lenses.
Organic Blue Spectrum Refractive Optics material (BR Optics) placed between convex and concave elements made from conventional optical glass provides more efficient correction of longitudinal chromatic aberrations in comparison with conventional technology.
Diffraction elements (DO, PF) cancel chromatic aberrations at various wavelengths. This technology results in smaller and lighter lenses in comparison with traditional designs with no compromise in image quality.
High refractive index elements (HR, HRI, XR etc) minimize field curvature and spherical aberration. High refractive index element can substitute one or several regular elements to achieve similar or better optical results, which allows to develop more compact and lightweight lenses.
Apodization element (APD) is in fact a radial gradient filter. It practically does not change the characteristics of light beam passing through its central part but absorbs the light at the periphery. It sort of softens the edges of the aperture making the transition from foreground to background zone very smooth and results in very attractive, natural looking and silky smooth bokeh.
Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.
Format refers to the shape and size of film or image sensor.
35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.
APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.
Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).
Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.
As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.
A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).
This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),
CF – crop-factor of a sensor,
FL – focal length of a lens.
A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.
A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.
Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance can also be different.
The flange focal distance (FFD) is the distance from the mechanical rear end surface of the lens mount to the focal plane.
Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.
Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.
Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.
The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.
The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.
In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.
The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.
The distance from the front edge of the lens to the subject at the maximum magnification.
Determines how large the subject will appear in the final image. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".
Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.
Electronic manual focus override is performed in the following way: half-press the shutter button, wait until the camera has finished the autofocusing and then focus manually without releasing the shutter button using the focusing ring.
Provides highly accurate diaphragm control and stable auto exposure performance during continuous shooting.
There is no helicoid in this lens and everything is in focus from the closest focusing distance to infinity.
The entire lens optical system moves straight backward and forward when focusing is carried out. This is the simplest type of focusing used mainly in wide-angle and standard prime lenses. It has the advantage of introducing relatively little change in aberrations with respect to change in focusing distance. With telephoto and super telephoto lenses this method becomes less beneficial in terms of operability because of the increased size and weight of the lens system.
The rear group remains fixed and only the front group moves straight backward and forward during focusing. This method is primarily used in zoom lenses and allows to design comparatively simple lens construction, but also places restrictions on zoom magnification and size reduction.
The lens barrel section holding the front lens group rotates to move the front group backward and forward during focusing. This method of focusing is also used only in zoom lenses.
Focusing is performed by moving one or more lens groups positioned between the front lens group and the diaphragm.
Methods of internal and rear focusing have the following advantages:
Focusing is performed by moving one or more lens groups positioned behind the diaphragm.
Methods of internal and rear focusing have the following advantages:
The diaphragm must be stopped down manually by rotating the detent aperture ring.
The lens has two rings, one is for pre-setting, while the other is for normal diaphragm adjustment. The first ring must be set at the desired aperture, the second ring then should be fully opened for focusing, and turned back for stop down to the pre-set value.
The lens features spring mechanism in the diaphragm, triggered by the shutter release, which stops down the diaphragm to the pre-set value. The spring needs to be reset manually after each exposure to re-open diaphragm to its maximum value.
The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.
The aperture setting is fixed at F/2.8 on this lens, and cannot be adjusted.
As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.
Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.
At maximum aperture, the opening will be circular regardless of the number of blades.
Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).
For lenses with collapsible design, the length is indicated for the working (retracted) state.
A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.
Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.
Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.
Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.
A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.
The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.
Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.
Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.
Teleconverters increase the effective focal length of lenses. They also usually maintain the closest focusing distance of lenses, thus increasing the magnification significantly. A lens combined with a teleconverter is normally smaller, lighter and cheaper than a "direct" telephoto lens of the same focal length and speed.
Teleconverters are a convenient way of enhancing telephoto capability, but it comes at a cost − reduced maximum aperture. Also, since teleconverters magnify every detail in the image, they logically also magnify residual aberrations of the lens.
Scratched lens surfaces can spoil the definition and contrast of even the finest lenses. Lens covers are the best and most inexpensive protection available against dust, moisture and abrasion. Safeguard lens elements - both front and rear - whenever the lens is not in use.
The change of focal length is achieved by turning the zoom ring and the manual focusing - by turning the separate focusing ring.
Push/pull zooming allows for faster change of focal length, however conventional method based on the rotation of the zoom ring provides more accurate and smooth zooming.
The change of focal length happens when the photographer moves the ring towards the mount or backwards.
The lens features a zoom lock to keep the zoom ring fixed. This function is convenient for carrying a camera with the lens on a strap because it prevents the lens from extending.
To set the manual zoom mode, pull the zoom ring towards the camera side until the words "POWER ZOOM" disappear.
The Holy Trinity of lenses refers to a three-lens set that covers a focal length range from the ultra-wide focal length of 14-16mm all the way long to the telephoto focal length of 200mm. The set typically consists of a 16-35mm ultra-wide angle zoom lens, a 24-70mm standard zoom lens and a 70-200mm telephoto zoom lens and usually represents the best constant-aperture zoom lenses in a manufacturer's lineup. The set is designed to cover almost every genre of photography, be it landscapes, architecture, portraits, weddings, sports, travel or even wildlife (with teleconverter). However, it is also expensive, large and heavy.