Review: AF Zoom-NIKKOR 28-105mm f/3.5-4.5 D

AF Zoom-NIKKOR 28-105mm f/3.5-4.5 D

Back in the day, this lens was an upgrade to the AF-Zoom NIKKOR 28-70 f/3.5-4.5 D, both of which provided superior optical quality. It was introduced in 1998 and was often bundled with the F100, making it a film-era lens. Discontinued in 2006, it enjoyed an eight-year life cycle, and it will be exactly sixteen years old come this september.

The beauty of this lens is its versatility, but when you combine that with its sharpness and low distortion you come up with a real winner. Its very useful range 3.75x zoom range of 28-105mm make it a lens you can keep on you camera at all times. It’s speed is a cut above average, topping out at f/4.5 instead of the usual f/5.6 at upper limit of its zoom range. This is good for photogs who want to take advantage of its other useful feature: Macro capability.

Modern lenses typically have a close focusing range under two feet at all zoom settings, and here the 28-105 D doesn’t disappoint. At 105mm, this allows you to get pretty darn close. But this lens has a macro “switch” which unlocks the focus ring and extends its travel, allowing you to focus as close as 8.4", at which point you can achieve a 1:2 reproduction ratio. This is the same as Nikon’s 55mm, 105mm and 200mm manual focus lenses! So, although it is 1-1/3 stop slower, this lens can essentially take the place of a macro lens in your outfit.

What’s Missing Two features that distinguish a macro lens from a standard lens (besides the reproduction ratio capability) are a long focus ring travel, and reproduction ratio markings on the focus scale. This lens has a rather short focus ring travel, although it is extended in macro mode (the reason for having the switch is to optimize travel for both scenarios) and no markings other than an orange line to denote the macro range.

What’s Included A direct-coupled focus ring, which has no “slop” when rocking back and forth to fine tune the focus. This is very import, as it differentiates this D lens from a G lens in which the outer focus ring is coupled to the inner barrel vs. a gearing system. This makes manual focusing on a G lens quite a challenge.

There’s a little trick to using this lens. If you use in macro mode with autofocus, and try to “retract” the lens barrel by zooming it all the way back to 28, it might stop at 50 requiring you return the macro switch to the normal mode. You can’t! That is, if the lens is still focused in the sub 0.5 meter range, the switch won’t slide to the normal position. And, since you can’t rotate the focus ring by hand in AF mode on any D lens, you have to either switch to MF mode, or simply autofocus on a distant object. You then simply flip the switch and zoom all the way back in. A small price to pay for such versatility.

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Aperture Ring Yes. Works with both digital and manual focus film bodies.

Auto Focus Relatively slow. Mechanical focus linkage allows AF only with cameras equipped with a motor. Noise it about average for a D Lens.

Bokeh Not yet evaluated.

Close Focus 1.7 feet at all focal lengths (0.7 feet in Macro mode from 50mm to 105mm).

Color Rendition Not yet evaluated.

Compatibility Works with all Nikon digital cameras, but will not autofocus on D40, D60 D3000 and D5000 series bodies. Works with all autofocus and manual focus film bodies.

Construction 16 elements in 12 groups, including 1 hybrid aspherical element. Plastic outer barrel, metal inner barrel, metal mount; no rear gasket.

Country of Origin Japan.

Coverage 135 film, FX and DX.

Diaphragm 9 curved blades.

Distortion Much better than the average zoom, it’s negligible except at 28mm.

DX Performance When used on a DX camera this lens has a very usable range of 42-157.5mm, and is faster at the long end than the average lens it its class. It provide nearly a 1:1 reproduction ratio in macro mode. 42mm is the optimal “normal” focal length, while on a FX camera, 105mm is a typical focal length for macro lenses.

EXIF Encoding The focal length is accurately recorded at all zoom settings.

Extension Tubes Even with all three of the tubes from the Kenko Auto Extension Tube Set DG stacked, I was able to achieve autofocus. The addition of the tubes allows you to achieve greater than 1:1, but more importantly they increase your working distance at lesser magnifications.

Falloff Minimal; usually visible only at 28mm @ f/3.5. Never a problem on DX.

Filter Thread Plastic, 62mm. Rotates with zoom, but not focus.

Ghosts and Flares Reasonably good resistance when pointed directly into the sun.

Included Standard center-pinch front lens cap, LF-1 rear cap.

Lateral Color Fringes Not yet evaluated.

Macro Outstanding macro capability for a general-purpose lens. In macro mode, achieves a reproduction ration of 1:2, which can be extended to 1:1.3 (nearly 1:1!) simply by shooting in DX Crop Mode.

Manual Focus Focus scale with no depth-of-field scale, but infra-red index at 28 and 105mm. Hard stop at infinity. Focus ring is smooth, well-damped and direct-couple to lens barrel, making manual focus easy despite its short travel, which is extended in macro mode.

Maximum Reproduction Ratio 1:5.2; 1:2 (macro mode at 105mm), 1.2.7 (macro mode at 50mm)

Optional Accessories HB-18 Hood, CL-49 Hard Case or Pouch #62

Price Paid $149.00 (pre-owned). Original 1999 price: $290.00

RoHS Compliance None.

Sharpness Sharp at all apertures, but borders are softer at 105mm at large apertures.

Size 2.9" (D) x 3.2" (L)

Spherochromatism Not yet evaluated.

Sunstars Not yet evaluated.

Teleconverters Nikon TC-200, TC201 and TC-14A (manual focus). Tested with the Kenko Teleplus MC-7, it performed flawlessly on the D610 with full autofocus capability even in low light. The MC7 correctly reports its maximum aperture range as f/7.1-9 to f/45-57 (56mm-210mm respectively).

Variable Aperture Range

Full-Frame (FX)	APS-C (DX)	f-Stop Range
28mm	42mm	f/3.5-f/22
35mm	52.5mm	f/3.8-f/22
50mm	75mm	f/4-f/25
70mm	105mm	f/4.2-f/29
85mm	127.5mm	f/4.5-f/29
105mm	157.5mm	f/4.5-f/29

Versatility Good for: wide angle, portrait, close-up and macro. Not the best choice for sports photography, hand-held night photography or infrared.

Vibration Reduction (VR) None.

Vignetting Not yet evaluated.

Weight Approximately 17 ounces.

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Build Quality ★★★★

Optical Quality ★★★★★

Value ★★★★★

The Bottom Line Ever since I first heard about the 28-70mm D by a fellow photographer in Starbucks, I was intrigued. I wanted to add an AF Zoom D lens to my collection for compatibility with both my film and digital bodies, and to be sort of “period” to my N80. A little research turned up this lens, which was every bit as good optically, but offered far more utility as a macro lens. The current 24-85mm D, while seemingly fast at f/2.8-4, is nowhere near as sharp as this lens. While not quite as wide as the 24mm, 28 is quite versatile and really handy on DX, where it’s considered “true normal” at 42mm.

Being well-suited for both FX and DX use, compatible with film bodies via its aperture ring and being such a great macro performer, this was the perfect choice for a D Zoom lens addition to my outfit. I feel as though I’ve finally gotten myself the macro lens I’ve been wanting for some time. In use, it’s really comfortable and well-balanced on the D610, and surprisingly easy to focus. And The two minor points that make this lens not absolutely perfect are the stiff aperture ring (typical of D lenses) and the rotating filter threads (typical of “kit” lenses). But neither of these are deal breakers.

Without autofocus motors, VR electronics and lead-free solder, D lenses seem to be more of an “investment” than G lenses, and provide a more traditional feel to shooting with a DSLR. And this particular D lens is one that I highly recommend.

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First Impressions: AF Zoom-NIKKOR 28-105mm f/3.5-4.5 D

AF Zoom-NIKKOR 28-105mm f/3.5-4.5 D.

Once again, I am blown away by the excellent customer service at KEH Camera with my purchase of a previously-owned AF Zoom-NIKKOR 28-105mm f/3.5-4.5 D…

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Review: AF-S Zoom NIKKOR 24-85mm f/3.5-4.5 G ED VR

AF-S NIKKOR 24-85mm f/3.5-4.5 G ED VR

This lens is basically an update to a previous G lens with the same zoom range and variable aperture. It adds VR, which increases its versatility greatly, allowing it to capture images under more challenging lighting conditions.

Although this lens is offered as a bundle with several full frame bodies, it’s anything but a “kit” lens. Having a slightly wider and longer range than an 18-55mm does on an APS-C body, it’s essentially the full-frame equivalent of that lens, but with a metal mount, rear gasket, bayonet hood, stationary filter ring and focusing scale. Tack on outstanding performance, and this quickly becomes a must have.

Because Nikon has shown restraint with regard to focal length range, this lens comes in at a price that gives it great value. Its extra speed at the long end set it apart from similar offerings. Some may say that the range of 24-85mm seems limiting, but I find it to be an ideal compromise between a very useful range, and a compact, easy to handle form factor.

It’s faster that the typical lens in its class, and its minimum aperture of f/4.5 at 85mm makes it a significant 2/3 stop faster. With a hard stop at 85mm it’s ideal for portraiture, where its nearly 4-stop VR advantage make it behave more like f/1.4. Unlike “kit” lenses, it has a metal mount, making it more durable, although it has the typical build quality of a non-professional G lens.

In the real world, this lens is very easy to live with. In room light, I’ve shot at 85mm with a low ISO at 1/6 sec. That’s four stops right there, and at times I’ve pushed it one more with surprising results. The combination of focal length range, speed and VR performance are in perfect balance. This lens simply does not try to do more than it can, and what it does do, it does well.

What’s missing from this lens is the active VR mode. I’ve never used it on my DX 16-85mm and it seems unlikely that with a maximum focal of 85mm that I would be using it for sports photography. For that I can simply use my 70-300mm f/4.5-5.6 which does have active VR mode. A depth of field scale and infrared index would also have been nice, but these omissions are typical of G lenses.

What’s included is the usual storage pouch, and a bayonet-mount tulip-style lens hood. As tulip hoods go, it’s a pretty extreme one with deeply cut sides, which actually helps a little when used with a polarizer. If you opt for the Hoya Screw-in Rubber Zoom Lens Hood, it will vignette in the range 24mm to about 35mm where the corners peak through a tiny bit. Not to worry though, since this lens has good resistance to ghosts and flaring, so a hood is not essential.

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Aperture Ring None. Aperture is controlled through the command dial on the camera body.

Auto Focus Built-in Silent-Wave motor makes this lens compatible with professional, semi-professional and entry-level cameras. Average focus speed and very accurate.

Bokeh Like most zoom lenses which seek to achieve optimum sharpness, the bokeh is a compromise. For best results, shoot in close proximity to the subject at 85mm at f/4.5.

Close Focus 7.25" from the lens. Works well with close-up filters and short extension tubes.

Color Rendition Typical of most NIKKOR AF-S lenses.

Compatibility Works with Nikon Digital SLRs and AF film SLRs such as the F6, F100, F5, N80  and N75. On the N90s, N70 and F4 you won’t have VR, Aperture Priority or Manual exposure modes.

Construction 16 elements in 11 groups, including 1 ED glass element and 3 aspherical elements. Polycarbonate outer and inner barrel, metal mount, rear gasket.

Country of Origin China.

Coverage 135 film, FX and DX.

Diaphragm 7 curved blades.

Distortion Considerable, but corrected in-camera for JPEGS, and can be corrected easily during post-processing.

DX Performance When used on a DX camera this lens has a very usable range of 36-127.5mm, and is faster at the long end than its DX equivalent, the AF-S DX Zoom-NIKKOR 16-85mm f/3.5-5.6 G ED VR. When used on an FX camera in DX crop mode, its range is extended to 127.5mm, although at lower resolution.

Extension Tubes Tested with the Kenko Auto Extension Tube Set DG, it hunts and finds with the shortest tube, but rarely finds with the longest tube. Therefor use with autofocus in not entirely out of the quesiton. Manual focus should be fine, were VR will be preserved.

Falloff Visible only wide-open at 24mm, and corrected in many of the newer cameras.

Filter Thread Plastic, 72mm. Does not rotate with either zoom or focus rings. With more than one filter, very slight vignetting occurs at 24mm, which can be prevented by taking the Filter Leap of Faith. If you’re using this lens with Cokin filters, you won’t encounter vignetting at 24mm with the standard filter holder as long as you use it without a screw-in filter. Also, you can use one section of the modular hood, as long as it’s mounted as close to the lens as possible. If you use unusually thick filters, such as the P173 Varicolor Polarizer, you’ll get just a tiny bit of vignetting at 24mm, which is gone by 35mm.

Ghosts and Flares Very well controlled, making a lens hood largely unnecessary, except for protection or “coolness factor”.

Included Standard center-pinch front lens cap, LF-4 rear cap, HB-63 plastic tulip-style lens hood, CL-1118 pouch.

Lateral Color Fringes Virtually none at 24mm, and only very slight blue-yellow fringes at 50 and 85mm.

Macro About average performance for a standard zoom. Close focusing at 7.25" from the lens enables a reproduction ratio of 0.22x. Switching to DX Crop mode increases that to 0.33x.

Manual Focus Focus scale with no depth-of-field scale or infra-red index. No hard stop at infinity. Manual override at all times. Focus ring is smooth, has slight play making it a challenge to rock back and forth for precise focusing.

Maximum Reproduction Ratio 1:4.5 (0.22x)

RoHS Compliance 10 years.

Sharpness Always super-sharp in the center, and almost as sharp in the borders and corners at 50mm. At 24 and 85mm, the sides and corners are a little softer, becoming optimally sharp at f/11 (24mm) and f/5.6 (85mm).

Spherochromatism Virtually none.

Sunstars Soft, 14-pointed, becoming sharper with underexposure.

Teleconverters Tested with the Kenko MC7, there is perpetual hunting. Autofocus use not recommended, but should be fine for manual focus, where VR is preserved.

Variable Aperture Range

Full-Frame (FX)	APS-C (DX)	f-Stop Range
24mm	36mm	f/3.5-f/22
35mm	36mm	f/4.0-f/25
50mm	75mm	f/4.2-f/29
70mm	105mm	f/4.5-f/29
85mm	127.5mm	f/4.5-f/29

Versatility Good for: wide angle, portrait and close-up; macro with closeup lenses or extension tubes. Not the best choice for sports photography, hand-held night photography or infrared.

Vibration Reduction (VR) 4 stop improvement claimed. In the field, 3 stops are more common.

Vignetting More that one filter vignettes a small amount at 24mm. This lens is a good candidate for slim filters, or use of oversized filters with a step-up ring.

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Build Quality ★★★★

Optical Quality ★★★★★

Value ★★★★★

The Bottom Line Purchasing this lens as a bundle with the Nikon D610 was a much better experience than if I had purchased my D90 with the plastic-mount 18-105mm. This lens is a huge improvement over previous offerings, having considerably better performance in the corners, a better build and the all-important VR. It is also quite compact and easy to keep with you. This is the lens I keep on my D610 at all times.

The range of 24-85mm was well chosen. The “hard stop” at 85mm give credibility to this as a portrait lens, where its faster f/4.5 maximum aperture performs similar to f/1.4 with VR for stationary subjects. In the field, if I need more reach I switch to DX crop mode at “L“ resolution, where it maxes out to 127.5mm.

I would highly recommend this lens to any first-time, full-frame Nikon owner, and also to those DX owners with a plan to purchase a full-frame camera in the future. For those who already own a full-frame Nikon, it’s definitely a worthwhile addition to your kit.

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Review: AF-S DX Nikkor 35mm f/1.8 G

AF-S DX NIKKOR 35mm f/1.

The traditional 50mm f/1.8 “normal” lens is the standard in SLR photography. It provides the most natural perspective, simulating what the human eye sees, and is fast enough for most existing light applications. With the introduction of the DX format with its 1.5x crop factor, a new standard had to be developed, which the AF-S 35mm satisfies.

On a DX, or APS-C sensor camera, 35mm translates to 52.5mm in the full-frame world of 35mm. This lens combines that “normal” perspective with an f/1.8 maximum aperture to create a “normal” lens for DX cameras with the performance users have come to expect in a standard 50mm f/1.8 lens.

This is the “normal” lens of today; everything you need, and nothing you don’t. Tack sharp down to the next to lowest aperture, and more than a full stop faster than the typical compact digital camera. The aperture ring and focus scale have been omitted, and the cost savings put into the excellent optics and autofocus system. It’s not designed to be a wide angle lens as its focal length suggests, but rather a solution for those seeking the traditional, fixed-focal length standard lens in the DX format.

That said, unlike most DX lenses, when used on an FX or 35mm film camera the image circle almost covers the full frame. Wide open, it provides a Holga 135BC-like “black corner” effect, which can be quite effective. So although it will not substitute for the AF-S Nikkor 35mm f/1.4G, its use on an FX/35mm body remains a distinct possibility.

On an APS-C body, it does indeed provide the angle of view comparable to that of a normal lens. However, it’s close focus distance extends its macro capability. It would not be my first choice for use with extension tubes though, due to a short working distance.

What’s missing from this lens is a focus scale. However, this saves cost making this the sharpest, fastest lens for its price in the Nikon lineup. Along with this omission are a depth of field scale and infrared index, all features we have come to appreciate in “Normal” lenses.

What’s included is the usual storage pouch, and a reversible bayonet-mount circular hood. The reversibility of these hoods works particularly well in prime lenses, as they often block the zoom ring. And with autofocus, access to the focus ring is less essential.

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Aperture Ring None. Aperture is controlled through the command dial on the camera body.

Auto Focus Built-in Silent-Wave motor makes this lens compatible with professional, semi-professional and entry-level cameras. Average focus speed and very accurate.

Bokeh As this is technically a wide-angle lens, the bokeh suffers and ranges from fair to poor.

Close Focus 12". Short working distance when used with close-up filters and extension tubes.

Color Rendition Typical of most NIKKOR AF-S lenses.

Compatibility Works with Nikon Digital SLRs and AF film SLRs such as the F6, F100, F5, N80  and N75. On the N90s, N70 and F4 you won’t have VR, Aperture Priority or Manual exposure modes.

Construction 8 elements in 6 groups, including hybrid aspherical element. Rear focusing. Polycarbonate outer and inner barrel, metal mount, rear gasket.

Country of Origin China.

Coverage DX (APS-C).

Diaphragm 7 curved blades. Stops down to f/22

Distortion Considerable, but corrected in-camera for JPEGS, and can be corrected easily during post-processing.

FX Performance When used on an FX camera, the image circle does not quite make it to the corners, resulting in severe vignetting. However, this can create a pleasing “Holga Dark Corner” effect at larger apertures and when cropped square.  At larger apertures, the frame can be cropped smaller resulting in the equivalent of a 40mm lens.

Extension Tubes Because of its faster aperture, this lens works well with extension tubes in autofocus mode.

Falloff Negligible. On FX cameras, creates a pleasing, Holga-like “Dark Corner” effect.

Filter Thread Plastic, 52mm. Does not rotate with focus ring, so it works well with polarizers.

Ghosts and Flares Very well controlled, making a lens hood largely unnecessary, except for protection or “coolness factor”.

Included Standard center-pinch front lens cap, LF-1 rear cap, HB-46 reversible circular plastic lens hood, CL-0913 pouch.

Lateral Color Fringes None when used with cameras that correct for this. Visible on the D40.

Macro The minimum focus of 12" is better than average, but not as good as others. Works well with closeup lenses and extension tubes. May be reversed with the use of the Nikon BR-2A Reversing Ring and Nikon BR-6 Auto Diaphragm Ring used with a cable release for stepless aperture adjustment.

Manual Focus No focus scale or hard stop at infinity, making this lens a poor candidate for manual focus photography. Manual override at all times in AF mode. Focus ring is smooth, but has a mechanical feel and slight play making it a challenge to rock back and forth for precise focusing. It is not fluid like a dedicated manual focus lens.

Maximum Reproduction Ratio 1:6.1 (0.16x)

RoHS Compliance 10 years.

Sharpness The edge sharpness of this lens is greatest at f/2.8, with the center peaking at f/4, and nearly identical at f/5.6. At f/1.8, the border sharpness drops off to only “good/very good” levels. So, you really can’t go wrong from wide open to f/5.6, but for the sharpest images, work from f/2.8 to f/5.6.

Spherochromatism Slight at f/1.8, with green fringing in the background and magenta in the foreground.

Sunstars Soft, 14-pointed, becoming sharper with underexposure.

Teleconverters Because of its faster aperture, this lens works well with teleconverters in autofocus mode.

Versatility Great for portrait and close-up, handheld night photography and light macro work with closeup lenses, extension tubes or reversing rings. Not the best choice for infrared due to the lack of a focus scale, but will autofocus with variable results.

Vibration Reduction None. Due to its fast aperture, VR is largely unnecessary. 

Vignetting No vignetting problems even with one or more thick filters. When used with a polarizer, use of the Hoya Screw-In Rubber Zoom Lens Hood does not cause vignetting.

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Build Quality ★★★★

Optical Quality ★★★★★

Value ★★★★★

The Bottom Line
Shooting with the AF-S 35mm is an exercise in nostalgia. It takes me back to my SLR roots, yet brings them up-to-date. It exposes new photographers to tradition and best practices, making every camera a lightweight, low-light performer.

The surprise is how well it performs on full-frame body in FX mode. With minor cropping, it can produce images equivalent to a “very normal” 43mm lens, and with square cropping simulate a Holga image with its signature “dark corner” characteristic. I highly recommend this lens for any photographer using an APS-C or full-frame Nikon.


Originally published on 8/26/2013, this  is an update to a previous review.