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Nikon 12-24mm f/4G AF-S DX
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The Nikon 12-24mm f/4G AF-S DX
Nikon’s premier wide angle zoom for digital cameras only, the 12-24 features silent wave motor for rapid, quiet autofocus; ED glass elements to minimize chromatic aberration, and a 7 blade diaphragm.Our opinion: Overall a very good wide angle zoom. It’s a bit smaller and lighter than the Tokina of the same range. Perhaps a bit sharper, but that’s arguable.
Comparing the ultra-wide crop-sensor camera lenses is an extremely difficult task, so I’ll put the summary first: they all deliver excellent image quality and you can’t go wrong with any of them. To my ‘just taking pictures’ assessment, they are all excellent. There are some differences though, so I’ll try to point those out so you have a better chance at choosing the one that’s best for you.
The Sigma 8-16 f/4.5-5.6 is the widest (and remember, 8mm is 20% wider than 10mm, so it’s a very real difference). Not quite as sharp in the corners as the others, and lower maximum aperture, but it’s really pretty good, especially considering it’s the widest of the wide.
The Nikon 10-24 f/3.5-4.5G shows a fair amount of barrel distortion at 10mm (note to self: never take girlfriend’s portrait with this lens) and doesn’t have the best corner sharpness of the group. It’s got the largest range and is fast to autofocus, which makes it a great wide-angle walkaround lens. If I was mostly going to shoot at 15-24 and occasionally shoot wider, this would be a great choice. If I was going to take lots of 10mm scenic shots, I’d probably look at one of the others – they’re a bit better at 10mm.
The Sigma 10-20 f/3.5 has a bit more distortion than the others but delivers very nice images and is also built well. It does everything well.
The Nikon 12-24 f/4G has exceptional center resolution and is very flare resistant, but does show some field curvature at 12mm. It’s a very good lens, maybe better than the competition, but not as much better as its price would suggest.
The Tokina 11-16 f/2.8 (version I or II, they aren’t very different) gives you the widest aperture if you’ll be working in low light (with ultra wides, depth of field is rarely an important point), but it’s a bit soft at f/2.8, so the aperture advantage isn’t huge (I usually shoot it at f/3.5 if I can to get it sharper). It has very little vignetting and distortion, probably the least of the group. It does show quite a bit of chromatic aberration at times, but overall it may be the best image quality of the group.
The Tokina 12-24 f/4 PRO is built like a sturdy tank (and therefore a bit heavier). It’s a good lens but does tend to give low contrast images when shot into the sun and has a tendency to show some chromatic aberration when objects are backlit. This is the one I’d take if conditions were rough: I pity the rock this bad boy falls on. Poor rock.
But like I said above: they’re all excellent. We hardly ever get anything but happy comments about any of them.
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