Nikon Z 24‑70mm f/2.8 II
Voice-Coil Focus Motor (VCM; 2025 ~ today)
Sample Images Intro New Good Bad Missing
Specifications USA Version Performance
Compared User's Guide Recommendations
Z9 Z8 Z7II Z6III Z6II Zƒ Z7 Z6 Z5II Z5 ZR Zƒc Z50II Z50 Z30
Z System Z Lenses All Nikon Lenses Flash
Nikon Z 24-70mm f/2.8 II VCM (77mm filters, 23.7 oz./673g, 0.8'~1.1' (0.24m~0.33m) close focus, 0.32× macro ratio, $2,797). bigger.
I got mine at B&H. I'd also get it at Crutchfield, at Amazon or at Adorama, or get it used at eBay (How to Win at eBay), or get it used at KEH.
This 100% all-content, junk-free website's biggest source of support is when you use those or any of these links to my personally approved sources I've used myself for way over 100 combined years when you get anything, regardless of the country in which you live — but I receive nothing for my efforts if you take the chance of getting it elsewhere. Nikon does not seal its boxes in any way, so never buy at retail or any other source not on my personally approved list since you'll have no way of knowing if you're missing accessories, getting a defective, damaged, returned, dropped, incomplete, gray-market, store demo or used lens — and my personally approved sources allow for 100% cash-back returns for at least 30 days if you don't love your new lens. I've used many of these sources since the 1970s because I can try it in my own hands and return it if I don't love it, and because they ship from secure remote warehouses where no one gets to touch your new lens before you do. Buy only from the approved sources I've used myself for decades for the best prices, service, return policies and selection.
April 2026 Better Pictures Nikon Z Z Lenses All Nikon Lenses All Nikon All Reviews
Z 28-75mm f/2.8 (2022 ~ , 67mm filters, 19.9 oz./565g, 0.62'/0.19m close focus, 0.34× macro ratio, one-third the price and just as sharp in actual use 😃)
Original Z 24-70mm f/2.8 STM (2019 ~ 2026, 82mm filters, 28.3 oz./803g, 1¼'/0.38m close focus, 0.22× macro ratio)
AF-S 24-70mm f/2.8G ED VR (2015 ~ today, 82mm filters, 37.6 oz./1,067 g, 1.3'/0.4 m close focus, 0.28× macro ratio)
AF-S 24-70mm f/2.8G ED (2007 ~ today, 77mm filters, 31.8 oz/902g, 1¼'/0.38m close focus, 0.27× macro ratio)
Sample Images top
Sample Images Intro New Good Bad Missing
Specifications USA Version Performance
Compared User's Guide Recommendations
More samples throughout this review at Bokeh, Falloff, Lateral Color, Macro, Spherochromatism and Sunstars.
These are just snapshots; my real work is in my Gallery.
Daytona Sunrise Orange (RPO code G1H, paint code WA408Y) C6 Corvette, 9:10 AM, Saturday, 13 April 2026. Nikon Z5 II, Nikon SB-400 flash, Nikon Z 24-70mm f/2.8 II at 60mm at f/11 at 1/200 at Auto ISO 100, -0.7 stops exposure compensation (LV 14.6), Radiant Photo software to add light. bigger or camera-original © 5.4 MB JPG file.
Porsche Hood Emblem edition 2008↔2022 (2¾"/7cm tall) on a Speed Yellow Cayman, 9:15 AM, Saturday, 18 April 2026. Slight crop from Nikon Z5 II vertical shot, Nikon Z 24-70mm f/2.8 II at 70mm at f/11 at 1/250 at Auto ISO 100 (LV 14.9), as shot. bigger or camera-original 24 MP © 3.7 MB JPG file.
BMW M850ix Convertible, 11:18 AM, Saturday, 18 April 2026. Nikon Z5 II, Nikon SB-400 flash, Nikon Z 24-70mm f/2.8 II at 70mm at f/8 at 1/250 at Auto ISO 100 (LV 14.0), Radiant Photo software to add light to the deep, dark shadows while retaining highlights. bigger or camera-original 24 MP © 5.1 MB JPG file.
I also used a curves adjustment layer in Photoshop to lighten the shadows even more in this harshly-lit scene. I should have brought a larger flash for fill, but tough, I was out for fun rather than pictures.
Del Taco, 2:27 PM, Sunday, 19 April 2026. Nikon Z5 II, Nikon Z 24-70mm f/2.8 II at 56mm at f/8 at 1/1,000 at Auto ISO 100 (LV 16.0), Radiant Photo software to add light. bigger or camera-original 24 MP © 4.8 MB JPG file.
Introduction top
Sample Images Intro New Good Bad Missing
Specifications USA Version Performance
Compared User's Guide Recommendations
I buy only from these approved sources. I can't vouch for ads below. |
Better than most "Mark II" models which are usually only cosmetic updates, this Z 24-70mm f/2.8 II VCM is a completely different lens from the original Z 24-70mm f/2.8.
This lens has completely new optics and is the world's first internal-zoom 24-70mm f/2.8, with a lot less weight and a modern VCM (voice-coil autofocus motor) for much faster focus than the original Z 24-70mm f/2.8.
I'm not a fan of 24-70mm lenses because I find 70mm no longer than a normal lens. I want a general-purpose zoom to make it to at least 105mm (a full 50% longer than 70mm), and preferably all the way to 200mm to save me from having to haul around an additional 70-200mm and have to change lenses every other shot. Nikon plays on people's fears and insecurities to cajole them into buying two expensive f/2.8 lenses (which almost made sense back in the days of film where anything above ISO 100 was a stretch and VR was often completely absent), but today with digital's high ISOs and stabilized bodies, I see no need for f/2.8 lenses even for shooting handheld outdoors at night.
Nikon makes so many different lenses because we're all different, but don't think I'm suggesting anyone use a 24-70mm f/2.8 lens for anything other than indoor events and close action shots in the dark. For my work I prefer the much less expensive, much lighter and equally sharp single-lens solution, the Z 24-200mm VR, which adds optical image stabilization absent in this $2,800 lens. Canon's RF 24-70mm f/2.8L IS USM and Canon's $1,200 RF 28-70mm f/2.8 IS STM also have optical stabilization lacking in this new lens (luckily it works swell if you have in-camera stabilization).
This doesn't feel like a luxury or professional product, it's too darn plasticy and the zoom is too stiff. If you showed me this lens and the equally optically superb Z 28-75mm f/2.8 and didn't tell me the price, I'd pick the Z 28-75mm f/2.8 because it's much lighter and neither is stabilized.
Of course many of you prefer to haul a lens like this along with a 70-200mm, and thus here's my review. Yes, this is an extraordinarily sharp lens, but so are all Nikon Z lenses today if you know how to use them properly. This isn't 1967 when it was tough finding a sharp zoom.
I got my Z 24-70mm f/2.8 II at B&H. I'd also get it at Crutchfield, at Amazon or at Adorama, or get it used at eBay (How to Win at eBay), or get it used at KEH.
New since the original Z 24-70mm f/2.8 intro top
World's lightest 24-70mm f/2.8: I measure 4.6 oz (130.2g) lighter than the original Z 24-70mm f/2.8.
Completely new optical design with 14 elements in 10 groups, down from 17 elements in 15 groups.
Adds an element with an ultra-fine mesoporous coating.
11-blade diaphragm, up from 9 blades.
Nikon's first lens with a VCM Voice-Coil autofocus Motor rather than the slower STM stepper motor of the original Z 24-70mm f/2.8. (Sony has been using VCMs, a.k.a. Super Linear XD motors, for years).
Autofocus claimed 5× faster than the original Z 24-70mm f/2.8, which was pretty slow.
Claimed only half as much focus breathing as the original Z 24-70mm f/2.8.
Autofocus tracking while zooming claimed 50% better. Nikon doesn't explain how it measures "better."
Closer close focus: 0.8' ~ 1.1' (0.24m ~ 0.33m) versus 1.15' (0.38 m).
Adds a Focus Limit switch — which does almost nothing.
Larger macro ratio: 0.32×, up from 0.22×.
77mm filters, down from 82mm.
0.63" (16mm) longer, but 0.20" (5mm) smaller in diameter.
Hood now has a filter-access door for rotating filters.
Optional clicks added on the third control ring, selectable with a slide switch. Clicks make this ring useful for the first time!
Now has 2 programmable L-fn buttons, up from just one 1.
No more OLED display, which was pretty useless.
Good intro top
Internal zoom: doesn't grow as zoomed to longer focal lengths.
Almost no flare or ghosts when pointed into the sun, which is exceptional and unusual.
Internal focusing: doesn't change length as focused.
Fast autofocus.
Sharp.
Almost completely invisible focus breathing, even without any correction.
The third rear programmable control ring has an On-Off switch for the clicks!
Stops down to f/22.
AF/MF switch.
"Case" & locking hood included.
The hood has a secret door for adjusting polarizers and graduated ND filters.
Bad intro top
Stiff zoom ring, with some stiction, making it much less pleasant to use all day, and requires a firm hand for precise adjustment.
Crappy plastic filter threads, typical of consumer lenses in 2026 🤮.
Still big and expensive.
No optical image stabilization, you have to depend on in-camera stabilization — if you have it. Seriously? Even Canon's $1,200 RF 28-70mm f/2.8 IS STM has optical stabilization
Missing intro top
No optical image stabilization.
No VR switch for in-camera stabilization (this lens has no stabilization).
The Focus Limit switch doesn't do much of anything.
Mounting index dot is the same white as everything else, so it doesn't stand out when you need to find it to mount your lens.
No marked aperture ring — but the rear ring defaults to this and can be reprogrammed.
No focus or depth-of-field scales.
No infra-red focus indices.
Will not work with any teleconverters.
Nikon Z 24-70mm f/2.8 II VCM. bigger.
Specifications top
Sample Images Intro New Good Bad Missing
Specifications USA Version Performance
Compared User's Guide Recommendations
I got my Z 24-70mm f/2.8 II at B&H. I'd also get it at Crutchfield, at Amazon or at Adorama, or get it used at eBay (How to Win at eBay), or get it used at KEH.
Compatibility specifications top
This lens works only on Nikon's Z-series mirrorless cameras.
It does not so much as even mount on any other camera.
It will not work with the Nikon Z TC 1.4× or 2× teleconverters because it has no room at the back to accommodate the converter's protuberances.
Name specifications top
Nikon should have called this the VCM (Voice-Coil Motor) version rather than the "II," as this is a completely different lens with completely different optics and technology then the original, not simply a Mark Two.
In olden days Nikon would make very minor tweaks to their pro lenses every few years and would call them "II," with exactly the same optics and focus system with very minor improvements.
Nikon calls this the Nikon NIKKOR Z 24-70mm f/2.8 S II:
NIKKOR: Nikon's brand name for almost all their lenses since 1932.
Z: For Nikon's mirrorless cameras, only.
S: Subliminally suggests sexual satisfaction. The "S" designation has no other purpose than subliminal seduction; Nikon and electronics and automobile and every kind of marketer have been using letters like "S" and "X" in model numbers since the 1940s for this same reason. Nikon called their first 1946 rangefinder lens mount the "S" mount, then went whole-hog to the "F" SLR mount in 1959, used "S" again when they updated their AI lenses to AI‑S in 1983, then they created AF‑S lenses in 1998, and here it is again.
II: Nikon's second Z 24-70mm f/2.8 lens.
Nikon's Model Number: 20129.
It also has:
ARNEO Coat: Magic anti-reflection coating that's especially good for use in high-speed lenses.
Aspherical: Specially curved glass elements for sharper pictures.
CRC: Close-Range Correction, also called "multi-focus system," optimizes the lens design as focused more closely.
E: Electronic diaphragm. Silent operation.
ED: Magic Extra-low Dispersion glass for reduced secondary chromatic aberration.
G: Gelded; has no aperture ring.
IF: Internal focusing; nothing moves externally as focused.
M: Meso Amorphous Coat, Nikon's newest and most advanced antireflection coating, better than any of Super Integrated Multicoating, Nano or ARNEO coatings.
Nano Crystal Coat (N): Magic anti-reflection coating that has a continuously variable index of refraction that's far more effective against ghosts and internal reflections than traditional multicoating.
SR: Short-wavelength Refractive, a new optical material that helps reduce spherochromatism.
VCM: Voice-Coil (focus) Motor.
∅77: 77mm filter thread.
Optics specifications top
Internal Optical Construction. Aspherical, ED and plain-old optical glass elements.
14 elements in 10 groups.
Internal zooming: doesn't change length as zoomed. Nikon also claims it doesn't shift its weight much as zoomed.
Internal focusing: doesn't change length as focused.
CRC close-range correction, also called "multi-focus system," optimizes the lens design as focused at different distances.
3 Aspherical elements for extra sharpness.
2 ED elements: magic Extra-low Dispersion glass for reduced axial secondary chromatic aberration.
Nikon Super Integrated multiCoating (SIC).
Front fluorine coating to resist dirt and smudges.
Meso Amorphous and ARNEO coatings.
Diaphragm specifications
Nikon Z 24-70mm f/2.8 II VCM. bigger.
11 rounded blades.
Electronically actuated.
Stops down to f/22.
Filters specifications top
Crappy plastic 77mm filter thread.
Coverage specifications top
Full-Frame (24 × 36mm) and APS-C (16 × 24mm).
Focal Length specifications top
24~70mm.
When used on an APS-C camera, it sees the same angles of view as a 35~105mm lens sees when used on a full-frame or 35mm camera.
See also Crop Factor.
Angles of View specifications top
84º ～ 34⅓º diagonal on FX.
61º ～ 22⅚º diagonal on DX.
Autofocus specifications top
Nikon claims - and I kid you not - "Silky Swift Voice Coil Motors," also called SS VCMs. Cute.
No external movement as focussed, so no air or dust is sucked in.
Focus Scale specifications top
No.
Not on lens, but may be displayed in-camera.
Infinity Focus Stop specifications top
No.
You have to focus somehow to get precise focus at infinity, just like at every other distance.
Depth of Field Scale specifications top
No.
Not on lens, but may be displayed in-camera.
Infrared Focus Index specifications top
No.
Close Focus (distance from subject to image plane) specifications top
24mm: 0.79 feet (0.24 m).
28mm: 0.79 feet (0.24 m).
35mm: 0.89 feet (0.27 m).
50mm: 0.99 feet (0.30 m).
70mm: 1.09 feet (0.33 m).
Maximum Reproduction Ratio specifications top
1:3.1 (0.32×) at 70mm.
Reproduction Ratio Scale specifications top
No.
Not on lens, but may be displayed in-camera.
Image Stabilizer specifications top
NONE.
Caps specifications top
LC-77B front cap, included.
LF-N1 Z-mount rear cap, included.
Hood specifications top
HB-117 locking hood for Z 24-70mm f/2.8 II. bigger.
HB-117 hood, included.
It has a locking pawl so it won't fall off in use.
It also has a secret door for adjusting polarizers and graduated ND filters.
Its interior seems much more black than older hoods, as if painted by an ultrablack pigment. Cool.
"Case?" specifications top
Nikon CL-C2 case. This is a case? bigger.
CL-C2 "case," included.
They're kidding, right? It's just a bag, and not even padded. Geesh.
A tube sock works much better.
Nikon now warns that this sack will not protect the lens from damage if dropped — duh.
Size specifications top
3.31" ø maximum diameter × 5.60" extension from flange.
84mm ø maximum diameter × 142mm extension from flange.
The original Z 24-70mm f/2.8 was 3.50" (89mm) ø × 4.96" (126.0mm) extension from flange.
Weight specifications top
23.735 oz. (672.8 g), Actual Measured Weight.
Rated 23.8 oz. (675g).
The original Z 24-70mm f/2.8 weighed 28.325 oz. (803.0g).
The Z 28-75mm f/2.8 weighs only 19.9 oz./565g for one-third the price.
Announced specifications top
12:02 AM, Thursday, 21 August 2025, NYC time.
Promised for specifications top
Mid-September 2025.
Included specifications top
Lens.
LC-77B front cap.
LF-N1 Z-mount rear cap.
Packaging specifications top
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Box. bigger. |
Box End. bigger. |
Microcorrugated cardboard box with internal corrugami formers.
No silica gel.
Model Number specifications top
20129.
Price, U. S. A. specifications top
24 April 2026
$2,797 at B&H, at Crutchfield, at Amazon and at Adorama, or get it used at eBay (How to Win at eBay), or get it used at KEH.
Getting a Legal U. S. A. Version top
Sample Images Intro New Good Bad Missing
Specifications USA Version Performance
Compared User's Guide Recommendations
I got my USA Version Z 24-70mm f/2.8 II at B&H. I'd also get it at Crutchfield, at Amazon or at Adorama, or get it used at eBay (How to Win at eBay), or get it used at KEH.
This section applies in the U. S. A. only.
Your box must include a USA Warranty Card sitting on the top as you open it, and the serial number must match the one on the bottom of your lens, otherwise you have no warranty:
U. S. A. Warranty Card. bigger.
If you don't have this card, if the card doesn't say "VALID IN THE CONTINENTAL UNITED STATES" or the serial number on the card doesn't match the one on your camera lens exactly, you got ripped off with a gray market version from another country. All legitimate cameras and lenses come with printed warranty cards, even if you prefer to register online. (The serial number on the outside of the box doesn't have to match, but if it doesn't it means you bought from a shady dealer who took cameras lenses out of boxes and then resold these used lenses cameras as new.)
The U. S. A. warranty card comes from "Nikon Inc.," the U. S. A. office; the Japanese headquarters is "Nikon Corporation."
The warranty is also valid only if you are the original purchaser and only if it was purchased from an authorized dealer. All because a store or someone claims to be authorized doesn't mean they are. That's why I buy only from my personally approved sources.
Shifty dealers may include copies of a card from a legitimate U. S. A. product in a gray-market box, hoping you won't check serial numbers and catch their fraud. A card with the wrong serial number means nothing other than that you have no warranty coverage.
Nikon stopped offering 5-year lens warranties in 2021 in an effort to save themselves money at our expense.
Always be sure to check your box, warranty card and serial numbers while you can still return it, or just don't buy from unapproved sources or at retail so you'll be able to have your camera serviced and get free updated firmware as needed.
This is why I never buy anyplace other than from my personally approved sources. You just can't take the chance of buying elsewhere, especially at any retail store, because non-USA versions have no warranty in the U. S. A., and you may not be able to get firmware or service for it — even if you're willing to pay out-of-pocket for it when you need it!
Nikon U. S. A. enforces its trademarks strictly. It's unlikely, but possible that US customs won't let your camera back in the country if you bought a gray-market version in the U. S. A., carried it overseas, and try to bring it back in. (If you take the chance of buying one overseas, be sure you have a receipt to prove you bought it overseas and be prepared to pay duty on it.)
If a gray market version saves you $500 it may be worth it, but for $300 or less I wouldn't risk having no warranty or support.
Get yours from the same places I do and you won't have a problem, but if you take the risk of getting yours elsewhere, be sure to check everything while you still can return it.
Performance top
Sample Images Intro New Good Bad Missing
Specifications USA Version Performance
Compared User's Guide Recommendations
Overall Autofocus Manual Focus Breathing
Distance Recording Bokeh Distortion Ergonomics
OLED Display Falloff Filters Flare & Ghosts
Lateral Color Fringes Lens Corrections Macro
Mechanics OLED Display Sharpness
Spherochromatism Stabilization Sunstars
I got my Z 24-70mm f/2.8 II at B&H. I'd also get it at Crutchfield, at Amazon or at Adorama, or get it used at eBay (How to Win at eBay), or get it used at KEH.
Overall performance top
This expensive lens has superb optics, as all Nikon's f/2.8 zooms have always had, and its lighter weight is wonderful.
Nikon does not want you to think about the smaller, lighter Z 28-75mm f/2.8 (67mm filters, 19.9 oz./565g, 0.62'/0.19m close focus, 0.34× macro ratio) which is just as sharp in actual use 😃 for about a third the price!
Autofocus performance top
Autofocus is fast, essentially instantaneous if it doesn't have to motor in or out that much. It's still almost instantaneous even if it has to motor all the way from close-focus to infinity, bravo!
Speed is more a factor of Nikon's Z cameras than the lenses. I've never been impressed with autofocus in the Nikon Z system, since I also shoot Canon as well which isn't necessarily faster, but often more accurate and better at tracking moving objects. These are subtle differences are only perceptible if you shoot both systems every other day, and realize that the occasional out-of-focus frames we get with Nikon are usually in focus with Canon. In other words, Nikon Z shooters seem to accept sloppier AF performance as normal, while as a frequent Canon shooter out-of focus frames and losing tracking more often stands out to me.
This lens is as good as it gets with Nikon, while if I'm shooting action, I'll grab my Canon.
Manual Focus performance top
Manual focusing is entirely electronic; the manual focus ring isn't connected to anything other than a digital encoder.
Just grab the front focus ring at any time for instant manual-focus override.
Better than any other brand, even if you're in AF-C and grab the manual-focus ring, it just swaps to manual focus instantly and stays in manual focus. Other brands will try to fight you for focus if you're in continuous AF, while this lens just does what you tell it to do.
Bravo!
Focus Breathing performance top
Focus breathing is the image changing size (growing and shrinking slightly) as focused in and out. It's important to cinematographers that the image not breathe (change size) as focus gets pulled back and forth between different actors as they speak. The image is said to breathe because it expands and contracts as the focus follows the dialog back and forth.
The image from this lens gets only very slightly larger as focused more closely. I doubt anyone will ever see it in actual use; I only could see it by stopping down to f/22 and pulling focus all the way from infinity to its close-focus distance and specifically looking for it. This is great performance.
Bravo!
Focus Distance Recording performance top
I do not see the focused distance shown in the lower left of my screen in Photoshop's lens correction filter.
Bokeh performance top
Bokeh, the feel, character or quality of out-of-focus areas as opposed to how far out of focus they are, is neutral to good if very far out of focus, but poor if only somewhat out of focus.
It looks OK with strongly out-of-focus backgrounds as seen behind my weather station. Here are my usual photos from headshot distance wide-open. I'm focused on the DAVIS logo. Click any for the 24 MP © 2.5 MB camera-original file:
Made-in-U. S. A. Davis 6357 Vantage Vue Wireless Sensor Suite (use with WeatherLink console), 10 April 2026. Nikon Z5 II, Nikon Z 24-70mm f/2.8 II at Auto ISO 100 at 1/4,000, 1/4,000 and 1/4,000 at Auto ISO 100 (LV 15.0), Radiant Photo software to add light.
Click any for the 24 MP © 2.5 MB camera-original file.
However, with less defocus it can get ugly. See how the highlights behind the car shot at f/8 aren't soft blurs, but more like doughnuts?
BMW M850ix Convertible, 11:18 AM, Saturday, 18 April 2026. Nikon Z5 II, Nikon SB-400 flash, Nikon Z 24-70mm f/2.8 II at 70mm at f/8 at 1/250 at Auto ISO 100 (LV 14.0), Radiant Photo. bigger or camera-original 24 MP © 5.1 MB JPG file.
Here's a crop from the top center left directly from the camera-original 24 MP © 5.1 MB JPG file:
1,200 × 900 pixel (5× magnification) crop from above. bigger or camera-original 24 MP © 5.1 MB JPG file
The background doesn't simply blur away. It can remain distracting.
The bokeh of the Z 28-75mm f/2.8 is much smoother.
As always, if you want to throw the background as far out of focus as possible, shoot at 70mm at f/2.8 and get as close as possible.
Distortion performance top
There is no visible distortion when shot with Distortion correction ON.
Heaven help you if you turn Distortion correction off (or if you shoot raw data rather than JPG images and whatever software you use to create visible images from raw data doesn't correct the distortion), then there is strong barrel distortion the wide end and strong pincushion distortion at 70mm.
I can't recall any lens I've measured in the past 20 years with distortion this strong. Even the Z 28-75mm f/2.8 has only about half as much distortion as this $2,800 lens, but so long as you keep correction ON, you're good with any of them. Nikon should have prevented us from disabling correction, as it does with many other lenses.
For more critical scientific use, use these corrections in Photoshop's lens correction filter.
These aren't facts or specifications, they are the results of my research that requires hours of photography and calculations on the resulting data.
On Full-Frame at 30' (10m) |
Correction factor to use with images made with correction ON in Z5 II |
Correction factor with uncorrected images |
24mm |
+0.60 | +5.60* |
28mm |
+0.50 | +2.60* |
35mm |
+0.50 | -0.80* |
50mm |
+0.10 | -4.00* |
70mm |
±0.00 | -4.00 |
© 2026 KenRockwell.com. All rights reserved.
* Slight waviness remains after this correction.
Ergonomics performance top
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Nikon Z 24-70mm f/2.8 II VCM. bigger. |
Nikon Z 24-70mm f/2.8 II VCM. bigger. |
Stiff zoom ring, with some stiction, makes it much less pleasant to use all day, and requires a firm hand for precise adjustment.
The zoom ring requires two fingers to zoom easily. It doesn't simply flick back and forth with one gentle fingertip like the zoom of the Z 28-135mm f/4 PZ, 2007's AF-S 24-70mm f/2.8G ED or 1986's AF 70~210mm f/4.
Zoom and focus are internal, so nothing moves around as you shoot.
Handling is straightforward, with two big rings and a third narrow one.
There's a switch to select clicks or no clicks for the rear control ring.
The rear control ring usually sets the aperture, but oddly I've never been able to set it to control shutter speed, which it ought to do automatically in S exposure mode.
Like most VCM lenses, optical groups flop around inside the lens when it's not being controlled by a camera.
There's no VR switch; you have to set this in a menu for in-camera stabilization. (this lens has no VR, but we need the switch to control in-camera stabilization.)
Falloff performance top
Falloff on full frame is invisible with vignette control at its default of NORMAL, except a little bit at f/2.8 where there is some minor falloff. It's gone by f/4.
I've greatly exaggerated the falloff by shooting a gray field and placing these on a gray background; it will not look this bad in actual photos of real things:
Falloff on full-frame at infinity, correction at its default of NORMAL:
© 2026 KenRockwell.com. All rights reserved. |
If you save only raw data rather than create JPG images in-camera, whatever software you use to create visible images from that raw data later may or may not correct this as is done in-camera as JPGs. You're on your own there; I don't bother with raw data.
If you go out of your way to turn off the correction, or possibly in some raw software, this is what you get. There is some falloff at f/2.8, which goes away by f/4 to f/5.6:
Falloff on full-frame at infinity, correction deliberately turned OFF:
© 2026 KenRockwell.com. All rights reserved. |
Filters, use with performance top
There's no need for thin filters, unless you want to stack them.
I only can stack two standard 77mm filters before I get vignetting at 24mm on full-frame.
Go ahead and use your standard rotating polarizer and grad filters, but look out if you want to stack one with another filter.
It's not a big deal if you get vignetting; crop it or zoom-in a little.
Most lenses are less picky about this.
Be careful with polarizers at 24mm; the sky's natural polarization can appear as a dark band in the sky.
Flare & Ghosts performance top
Flare and ghosts are extremely well controlled.
See examples at Sunstars; I can't see any flare or ghosts!
Lateral Color Fringes performance top
There are no lateral color fringes as shot on Nikon cameras as JPG, which by default correct for any that may be there.
White Gate, 1:12 PM, Monday, 13 April 2026. Cropped from Nikon Z5 II, Nikon Z 24-70mm f/2.8 II at 32mm at f/8 at 1/250 at Auto ISO 100 (LV 14.0), exactly as shot. bigger or camera-original 24 MP © 5.4 MB JPG file.
If you shoot raw and then use non-manufacturer software to process that data into images then there is the possibility that there might be some, but I doubt it.
There is nearly no spherochromatism, which therefore is unlikely to cause color fringes on things that aren't in perfect focus at large apertures. Spherochromatism is a completely different aberration in a different dimension than lateral color fringes and can't be corrected electronically.
Lens Corrections performance top
The Z9, Z8, Z7 II, Z6 III, Z6 II, Zƒ, Z7, Z6, Z5 II, Z5, Zƒc, Z50 II, Z50 and Z30 correct for any or all of distortion, diffraction and falloff (vignette control). Each of these three may be turned ON or OFF as you like.
The Z9, Z8, Z7 II, Z6 III, Z6 II, Zƒ, Z7, Z6, Z5 II, Z5, Zƒc, Z50 II, Z50 and Z30 always correct for lateral color fringes (lateral chromatic aberration). This is part of Nikon's secret sauce and never appears in any menu.
Macro Performance performance top
It gets very close, but so close that it is difficult to avoid blocking your own light. Here I am at the close-focus at 70mm, and it focuses even more closely at 24mm:
How I made the snaps below at 70mm at the close-focus distance. bigger.
As expected it's super sharp, even at f/2.8:
At 70mm at f/2.8
It's sharp, and miraculously spherochromatism is not a problem and bokeh is swell:
Casio G-Shock Solar Atomic Watch at close-focus distance, 10 April 2026. Nikon Z5 II, Nikon Z 24-70mm f/2.8 II at 70mm at f/2.8 at 1/4,000 at Auto ISO 100 (LV 14.9), Radiant Photo software to add light to the shadows while retaining highlights. bigger or camera-original © file.
1,200 × 900 pixel (5× magnification) crop from above. bigger or camera-original © file.
If this 1,200 × 900 pixel crop is about 3" (7.5cm) wide on your screen, then the complete image printed at this same large magnification would be about 10 × 15" (25 × 38cm).
If this 1,200 × 900 pixel crop is about 6" (15cm) wide on your screen, then the complete image printed at this same extreme magnification would be about 20 × 30" (50 × 75cm).
If this 1,200 × 900 pixel crop is about 12" (30cm) wide on your screen, then the complete image printed at this same insanely high magnification would be about 40 × 60" (1 × 1.5 meters).
At 70mm at f/8
Casio G-Shock Solar Atomic Watch at close-focus distance, 10 April 2026. Nikon Z5 II, Nikon Z 24-70mm f/2.8 II at 70mm at f/8 at 1/500 at Auto ISO 100 (LV 15.0), Radiant Photo software to add light to the shadows while retaining highlights. bigger or camera-original © file.
1,200 × 900 pixel (5× magnification) crop from above. bigger or camera-original © file.
If this 1,200 × 900 pixel crop is about 3" (7.5cm) wide on your screen, then the complete image printed at this same large magnification would be about 10 × 15" (25 × 38cm).
If this 1,200 × 900 pixel crop is about 6" (15cm) wide on your screen, then the complete image printed at this same extreme magnification would be about 20 × 30" (50 × 75cm).
If this 1,200 × 900 pixel crop is about 12" (30cm) wide on your screen, then the complete image printed at this same insanely high magnification would be about 40 × 60" (1 × 1.5 meters).
Mechanical Quality performance top
Nikon Z 24-70mm f/2.8 II VCM. bigger.
This 24-70/2.8 II is a mostly plastic lens with some metal trim that's made in Japan. It's a consumer-build lens at a price that will make pros feel right at home. What could be better?
This doesn't feel like a $2,800 USD lens. Most of the exterior and the control rings are plastic, and the mount seems to be aluminum rather than brass. Such is what people accept in 2026. The plastic filter threads are a crappy touch, but again, this is the typical disposable quality for which people pay top dollar today.
It's not like 1983 when I moved from Minolta to Nikon (rather than to Canon) mostly because all of Nikon's AI-s manual focus lenses of that era were made of 100% metal and made-in-Japan to last a lifetime — and beyond. Its sad today that people expect to toss these away in ten years, which is what the "10" means inside the ↓↑ spinning arrows on the bottom of the lens.
Exterior Finish mechanics performance top
Black plastic.
Exterior mechanics performance top
Plastic.
Hood mechanics performance top
Plastic bayonet.
Front Bumper mechanics performance top
None.
Filter Threads mechanics performance top
Crappy plastic, easy to cross-thread 🤮🤮🤮!!!
1mm-thick Vanity Identity Trim Ring at Front of Lens mechanics performance top
Metal.
So?
Hood Bayonet Mount mechanics performance top
Plastic.
Gold ED Band mechanics performance top
None.
Focus Ring mechanics performance top
Rubber-covered plastic.
OLED Display performance top
None.
This was a fairly useless feature in the older model, so no tears shed by me here.
Zoom Ring mechanics performance top
Rubber-covered plastic.
Rear Programmable Function Ring mechanics performance top
Hard bare metal.
Slide Switches mechanics performance top
Plastic.
Rearmost Barrel Exterior Section mechanics performance top
Anodized Aluminum.
Identity mechanics performance top
Nikon Z 24-70mm f/2.8 II VCM. bigger.
Simply painted around the front of the lens, also "24-70/2.8 S II" engraved on top rear of barrel and filled with paint.
Internals mechanics performance top
Hard to tell, but seems like a mixture of metal and plastic.
Dust Gasket at Mount mechanics performance top
Yes.
Mount mechanics performance top
Seems like aluminum.
Markings mechanics performance top
Mostly engraved and filled with paint.
Serial Number mechanics performance top
Laser engraved on the bottom of the barrel:
Nikon Z 24-70mm f/2.8 II VCM. bigger.
Date Code mechanics performance top
None found.
Noises When Shaken mechanics performance top
Like most VCM lenses, it often sounds like there are loose parts flopping around inside when shaken like a Shake Weight — because there are.
There are lots of optical parts floating around on tracks inside the lens. These are locked-down when attached to an awake camera, but when the camera is off and all the time the lens is off the camera they are no longer locked-down, and flop around all over the place.
It's easy to look into the back of the lens when it's off the camera and you can see two separate optical groups floating around on separate tracks.
This is normal.
Truth & Ethics mechanics performance top
Made domestically in Japan. How about that? It's about time.
Sharpness performance top
Lens sharpness has nothing to do with picture sharpness.
Every lens made in the past 100 years is more than sharp enough to make super-sharp pictures if you know what you're doing. The only limitation to picture sharpness is your skill as a photographer. It's the least talented who spend the most time worrying about lens sharpness and blame crummy pictures on their equipment rather than themselves. Skilled photographers make great images with whatever camera is in their hands; I've made some of my best images of all time with an irreparably broken camera! Most pixels are thrown away before you see them, but camera makers don't want you to know that.
If you're not getting ultra-sharp pictures with this, be sure not to shoot at f/11 or smaller where all lenses are softer due to diffraction, always shoot at ISO 100 or below because cameras become softer at ISO 200 and above, avoid shooting across long distances over land which can lead to atmospheric heat shimmer, be sure everything is in perfect focus, set your camera's sharpening as you want it (I set mine to the maximum) and be sure nothing is moving, either camera or subject. If you want to ensure a soft image with any lens, shoot at f/16 or smaller at ISO 1,600 or above at default sharpening in daylight of subjects at differing distances in the same image.
People worry waaaaay too much about lens sharpness. It's not 1968 anymore when lenses often weren't that sharp and there could be significant differences among them; ever since about 2010 all new lenses are all pretty much equally fantastic, especially these top-end f/2.8 zooms.
This lens is super sharp corner-to corner at every aperture, limited by your vision as an artist and of course by heat shimmer and by diffraction at the smallest apertures. Avoid f/16 and smaller unless you really need them for extreme depth of field because diffraction takes its toll. See also How to Calculate the Sharpest Aperture.
 |
 |
MTF at 24mm at f/2.8. |
MTF at 70mm at f/2.8. |
Nikon's MTF charts at 10 cyc/mm and 30 cyc/mm. Sagittal (radial) shown as solid lines. Meridional (tangential) shown as dashed lines.
While it's usually valid to compare rated MTFs between different lenses of similar vintage from the same maker, every maker measures or simply calculates MTF very differently, and therefore one cannot compare these curves between brands. For instance, Sony seems to ignore diffraction and simply calculate overly optimistic MTFs that hug 100%, which no real lens can do at f/8, while other brands are more realistic and include diffraction. Only Canon offers any insight on how they arrive at their curves.
See also my article on MTF and Canon's article on MTFs.
Spherochromatism performance top
Spherochromatism, also called secondary spherical chromatic aberration or "color bokeh," is an advanced form of spherical and chromatic aberration in a different dimension than lateral chromatic aberration and therefore cannot be corrected with software or automatic corrections. It happens mostly in fast normal and tele lenses when spherical aberration at the ends of the color spectrum (red and blue) are corrected differently than in the middle of the spectrum (green).
Spherochromatism can cause colored fringes on out-of-focus highlights, usually seen as green fringes (the middle of the spectrum) on background highlights and magenta fringes (the red and blue ends of the spectrum added together make magenta) on foreground highlights.
Spherochromatism is common in fast lenses of moderate focal length when shooting contrasty items at full aperture. It goes away as stopped down.
This lens has nearly no spherochromatism, bravo!
Only if you set up a deliberate test you might see slight cool fringes behind and warm fringes ahead of the plane of perfect focus:
Mondaine A132.30348.11SBB at close-focus distance, 10 April 2026. Nikon Z5 II, Nikon Z 24-70mm f/2.8 II at 70mm at f/2.8 at 1/4,000 at Auto ISO 100 (LV 14.9). bigger or camera-original © file.
1,200 × 900 pixel (5× magnification) crop from above. bigger or camera-original © file.
If this 1,200 × 900 pixel crop is about 3" (7.5cm) wide on your screen, then the complete image printed at this same large magnification would be about 10 × 15" (25 × 38cm).
If this 1,200 × 900 pixel crop is about 6" (15cm) wide on your screen, then the complete image printed at this same extreme magnification would be about 20 × 30" (50 × 75cm).
If this 1,200 × 900 pixel crop is about 12" (30cm) wide on your screen, then the complete image printed at this same insanely high magnification would be about 40 × 60" (1 × 1.5 meters).
Image Stabilization (VR) performance top
This lens has NO Optical Image Stabilization (OIS, IS or VR (Vibration Reduction)), however it works well along with the built-in stabilization of my Z5 II.
"Percent Perfectly Sharp Shots" are the percentage of hand-held, free-standing with no support or bracing, frames with 100% perfect tripod-equivalent sharpness as viewed at 300%.
Looking at images from my Z5 II at 300% on my 100 DPI monitor from 2½ feet (76cm) away are the same as scrolling around a 15 × 10 foot (4.5 × 3 meters!) print, from just 2½ feet (76cm) away — and images are still perfectly sharp most of the time hand-held at 1/4 of a second. Bravo!
Of course we all will get different results hand-holding. While your speeds will vary, the number of stops of improvement should be the same for all of us regardless of who's shooting.
Hand tremor is a random occurrence, so at marginal speeds some frames will be perfectly sharp while others will be in various stages of blur — all at the same shutter speed.
This rates what percentage of shots are perfectly sharp, not how sharp are all the frames:
At 24mm
| % Perfectly Sharp Shots on Stabilized Z5 II | 1s |
1/2 |
1/4 |
1/8 |
1/15 |
1/30 |
1/60 |
1/125 |
1/250 |
| Stabilization ON | 0 |
33⅓ |
80 |
100 |
100 |
100 |
100 |
100 |
100 |
| Stabilization OFF | 0 |
0 |
6¼ |
14 |
31 |
64 |
58 |
100 |
100 |
I see about a 3½ stop real-world improvement.
At 70mm
| % Perfectly Sharp Shots on Stabilized Z5 II | 2s |
1s |
1/2 |
1/4 |
1/8 |
1/15 |
1/30 |
1/60 |
1/125 |
1/250 |
| Stabilization ON | 0 |
10 |
38 |
75 |
90 |
100 |
100 |
100 |
100 |
100 |
| Stabilization OFF | 0 |
0 |
0 |
0 |
0 |
10 |
19 |
41 |
92 |
100 |
I see a 4¾ stop real-world improvement.
Sunstars performance top
With an 11-bladed rounded diaphragm, I get 22-pointed sunstars on brilliant points of light at the smaller apertures.
Ignore the crazy rainbows at small apertures; these are sensor artifacts caused by interference among the divisions between pixels on the sensor. These are made visible because we're using enough exposure to show the dark underside of a huge palm tree, and then putting the blinding disk of the mid-day sun in it. Doing this will show everything due to the insane lighting range.
Click any to enlarge:
Click any to enlarge.
Compared top
Sample Images Intro New Good Bad Missing
Specifications USA Version Performance
Compared User's Guide Recommendations
I got my Z 24-70mm f/2.8 II at B&H. I'd also get it at Crutchfield, at Amazon or at Adorama, or get it used at eBay (How to Win at eBay), or get it used at KEH.
Overall
Nikon makes many different lenses because we're all different, but don't think I'm suggesting anyone use a 24-70mm f/2.8 lens for anything other than indoor events and close action shots in the dark.
For my work I prefer the much less expensive, much lighter and equally sharp single-lens solution, the Z 24-200mm VR, which adds optical image stabilization absent in this $2,800 lens. Canon's RF 24-70mm f/2.8L IS USM and Canon's $1,200 RF 28-70mm f/2.8 IS STM both have optical stabilization.
All these lenses have superb optics and sharpness. Only this newest Z 24-70mm f/2.8 II has internal zoom. Every other 24-70mm f/2.8 is a "pumper" zoom, but seeing how stiff is the zoom on this new lens, I strongly prefer the effortless precision of the one-fingertip zoom of my original 2007 AF-S 24-70mm f/2.8G ED, which of course works great on my FTZ/2.
This newest Z 24-70mm f/2.8 II has a different focus motor than older lenses, while it otherwise has no significant new technology: not even optical VR.
The differences are in size, weight, cost, controls and ergonomics.
Any perceived differences in sharpness are in your imagination, or usually due to poorly performed comparisons where there are more variables involved than simply the lenses.
This new lens excels if you want the fastest possible AF speed on Nikon, but honestly the limitations are more in the Nikon Z cameras than this lens. The Nikon Z AF system has never impressed me, so you're at the mercy of your camera rather than the AF performance of a lens.
If autofocus performance is important to you, I find Canon superior, and so is Sony, but as Nikon lenses go, this is the fastest yet.
I only see this expensive Z 24-70mm f/2.8 II as a lens for full-time pros who need something mechanically tougher than the Z 28-75mm f/2.8, or of course you guys who must have the newest and best.
Otherwise I fail to see the value of this lens standing on its own if I ignore the asking prices.
Versus the original Z 24-70mm f/2.8 STM (2019 ~ 2026)
Z 24-70mm f/2.8 STM (82mm filters, 28.3 oz./803g, 1¼'/0.38m close focus, 0.22× macro ratio).
The original Z 24-70mm f/2.8 STM is bigger and heavier beast, and has a foolish OLED display that turns off every ten seconds unless you press a button, like a 1970s LED digital watch.
It has relatively slow autofocus.
I've already listed what's different at the top.
Versus the Ultralight Z 28-75mm f/2.8 (2024 ~ today)
Nikon Z 28-75mm f/2.8 (67mm filters, 19.9 oz./565g, 0.62'/0.19m close focus, 0.34× macro ratio).
This is the lens I prefer for general use as a fast midrange zoom. Its autofocus is more than fast enough, and it's also much lighter than the Z 24-70mm f/2.8 II and costs only about one-third as much!
I find the optics of the much lighter and less expensive Z 28-75mm f/2.8 just as superbly sharp (Nikon does not want you to know that it's just as sharp in actual use 😃!), and the Z 28-75mm f/2.8 has only half the distortion if uncorrected and better bokeh.
Both lenses have similar bokeh with the greatly out-of-focus backgrounds behind my weather station that I show in my reviews.
What my review of the Z 28-75mm f/2.8 didn't show is that the bokeh of the Z 28-75mm f/2.8 is good at smaller apertures and with slightly out-of-focus backgrounds, while in these cases the bokeh of this new Z 24-70mm f/2.8 II is nasty.
The Z 24-70mm f/2.8 II doesn't feel like a luxury or professional product, it's too darn plasticy and the zoom is too stiff. If you showed me the Z 24-70mm f/2.8 II and the equally optically superb Z 28-75mm f/2.8 and didn't tell me the price, I'd pick the Z 28-75mm f/2.8 because it's much lighter — and neither is stabilized.
My biggest reservation with this inexpensive Z 28-75mm f/2.8 is that it has no AF/MF switch. If this is important to you as it often is to me, this is a very annoying omission by Nikon.
Versus the first AF-S 24-70mm f/2.8G ED (2007 ~ today)
Nikon AF-S 24-70mm f/2.8G ED (77mm filters, 31.8 oz/902g, 1¼'/0.38m close focus, 0.27× macro ratio).
I compared my new Z 24-70mm f/2.8 II to my AF-S 24-70mm f/2.8G ED on my FTZ. I bought my AF-S 24-70mm f/2.8G ED in 2007. It's just as sharp; super sharp out to the edges even wide-open at f/2.8.
The AF-S 24-70mm f/2.8G ED costs only about half as much new, or one-sixth as much (about $465) used if you know How to Win at eBay.
I greatly prefer the light and precise one-finger zoom of my 2007 AF-S 24-70mm f/2.8G ED, as well as its much tougher mostly metal construction.
Of course it's bigger and heavier, but neither of the AF-S 24-70mm f/2.8G ED or my new Z 24-70mm f/2.8 II has VR, and each focuses about as closely.
When out shooting we're changing the zoom settings continuously. I love a lens that glides immediately from wide to tele with but the gentle glide of one fingertip rather than needing to have to wrench the zoom ring with my whole hand all day long.
The AF-S 24-70mm f/2.8G ED has a slower, more rattly "silent" AF. It's fast enough for me, but if you want essentially instantaneous focus in good conditions as well as silence, my new Z 24-70mm f/2.8 II is faster and much quieter.
The AF-S 24-70mm f/2.8G ED has a real mechanically-coupled manual focus ring, not the weird electronic encoder that drives the AF motor found in the Z 24-70mm f/2.8 II and most other mirrorless lenses.
Versus the Z 28-135 f/4 PZ
Nikon Z 28-135 f/4 PZ. (95mm filters, 42.4 oz./1,204g with foot as shown, 39.3 oz./1,114g without, 1.1~1.9'/0.34~0.57m close focus, 0.25× macro ratio.)
Want an impressive, well made professional lens that zooms like a dream with a fingertip? Get the Z 28-135 f/4 PZ!
I will complete my review of the Z 28-135 f/4 PZ in May 2026, and from my usage so far it's a surprisingly astounding lens for still photography — and this mostly metal professional gem costs less than the consumer-grade plastic Z 24-70mm f/2.8 Mark II I'm reviewing here!
The Z 28-135 f/4 PZ is pitched for video use and looks like a cinema lens from ARRI or ZEISS, at a fraction of the price.
The Z 28-135 f/4 PZ is much nicer, zooms twice as far and and costs less than the Z 24-70/2.8 Mark II, but it is certainly bigger and heavier.
This Z 28-135 f/4 PZ make it easy to set a precise focal length for perfect cropping with but one slow finger either on the variable-speed Tele/Wide rocker lever, or the electronic zoom ring. The big rubber blocks make the zoom ring easy to move and find it by feel.
You can go unnoticed shooting the Z 24-70/2.8 Mark II, while you will get noticed with the Z 28-135 f/4 PZ around your neck. The tripod foot comes off.
If you're looking at the Z 24-70/2.8 II because you like owning the finest products, you'll be happier with the Z 28-135 f/4 PZ that feels more related to the Z 58mm f/0.95 "Eye of God," especially with the same deeply engraved yellow markings.
I LOVE having the zoom go twice as far to 135mm rather than the wimpy 70mm end of the other lenses. I don't notice the difference between 28mm and 24mm on the wide end.
Versus Canon RF
Canon RF 24-70mm f/2.8L IS USM (82mm filters, 31.7 oz./897 g, 0.69~1¼'/0.21~0.38m close focus, 0.30× macro ratio).
Canon RF 28-70mm f/2.8 IS STM (67mm filters, 17.3 oz./491g, 0.8'/0.25m close focus, 0.24× macro ratio).
Canon lenses don't matter if you already own a Nikon body, but if you're considering one of these lenses and a new Nikon Z body, I prefer the Canon system for its generally more useful range of lenses, better autofocus intelligence and hit rate, better customer support in the USA and the fact that most of Canon's gear is made domestically in Japan rather than being farmed out to the lowest bidder (The Z 24-70mm f/2.8 Mark II is one of the few Nikon products actually made in Japan today.).
Canon's RF 24-70mm f/2.8L IS USM and Canon's inexpensive RF 28-70mm f/2.8 IS STM both have optical stabilization, sorely lacking in all of Nikon's offerings other than the AF-S 24-70mm f/2.8 VR from 2015.
The RF 24-70mm f/2.8L IS USM is a big meaty and superb lens.
The basic RF 28-70mm f/2.8 IS STM is the lightest lens here. It collapses for carrying, and it has the same superb image quality as all of these lenses.
Not only do both Canon lenses have optical image stabilization and stabilizer ON/OFF switches, even the inexpensive RF 28-70mm f/2.8 IS STM has an AF/MF switch sorely lacking in the Nikon Z 28-75mm f/2.8!
HINT: I love that I'm here to help you rather than sell you expensive gear. If money matters, the RF 28-70mm f/2.8 IS STM is so much less expensive than the Nikon Z 24-70mm f/2.8 II that you can buy an RF 28-70mm f/2.8 IS STM and a basic Canon full-frame body for about the same price or less than the Nikon Z 24-70mm f/2.8 II by itself!
Personally I'd rather buy and shoot the RF 28-70mm f/2.8 IS STM on an R6 II (or an old and much cheaper used R6) than the Z 24-70mm f/2.8 II on any body from Nikon! Technically the results will be the same, but for ergonomics and improved system autofocus I prefer in Canon.
User's Guide top
Sample Images Intro New Good Bad Missing
Specifications USA Version Performance
Compared User's Guide Recommendations
I got my Z 24-70mm f/2.8 II at B&H. I'd also get it at Crutchfield, at Amazon or at Adorama, or get it used at eBay (How to Win at eBay), or get it used at KEH.
See also Nikon's own User Manual.
Rear-Ring Clicks On or Off user's guide top
I leave the click ON for controlling aperture.
Feel free to turn off the clicks if you prefer:
Click Switch for the Rear Control Ring. bigger.
More Controls user's guide top
Nikon Z 24-70mm f/2.8 II VCM. bigger.
There are two programmable Lens Function (L-Fn) buttons.
No matter how you program these in your camera they both do the same thing. There are two so you always have one handy whether shooting horizontally or vertically.
A - M Switch user's guide top
A: Auto Focus. You have instant manual focus override by turning the focus ring at any time.
M: Manual Focus, only. AF won't respond.
Full / LIMIT Switch user's guide top
This is a focus limiter. It restricts the range over which the lens can autofocus.
Leave it in FULL.
The LIMIT position prevents the lens from autofocusing closer than 0.33 meters (1.1 feet), which is the lens' usual close focus limit at 70mm.
The lens usually can focus more closely as zoomed wider. This switch lets you be sure you can zoom the lens regardless of how close you've been able to focus at wider settings. In other words, it prevents you from focusing so close at wider settings that you wouldn't be able to zoom to 70mm at that distance.
The lens' close focus distance at 24mm is usually 0.24m. Setting it to LIMIT simply means that it will only focus to 0.33m rather than 0.24m at 24mm.
If I hadn't told you this, you'd think it was broken as its effects are almost imperceptible.
I agree, this is a silly switch. It should have been a VR switch, but noooooo, Nikon forgot to ask me.
Vibration Reduction (VR) Switch user's guide top
There is no VR switch 🤮! Boo!!!
You may want to program a camera Fn button to control this.
Recommendations top
Sample Images Intro New Good Bad Missing
Specifications USA Version Performance
Compared User's Guide Recommendations
I got my Z 24-70mm f/2.8 II at B&H. I'd also get it at Crutchfield, at Amazon or at Adorama, or get it used at eBay (How to Win at eBay), or get it used at KEH.
Be sure to get it only from my recommended sources so that you can just send it back if you don't love it. You never have to guess about how well it will work for you; order it and see for yourself. That's why I've used B&H and Adorama since I was a kid in the 1970s: I can try it in my own environment with my own other gear and if I don't love it, back it goes.
See my Comparisons and Introduction for suggestions about which lens may be best for your purposes. This is the most expensive 24-70mm f/2.8 you can get for your Z-mount camera, but lenses a third the price will take the same pictures if you're more interested in great pictures than simply having the most expensive lens.
I use a clear (UV) protective filter instead of a cap (exactly like an iPhone) so I'm always ready to shoot instantly. I only use a cap when I throw this in a bag with other gear without padding — which is never. The UV filter never gets in the way, and never gets lost, either.
The best protective filter is the relatively indestructible 77mm Hoya multicoated HD3 UV which uses hardened glass and has special coatings that really do repel dirt and fingerprints.
For less money, the B+W multicoated 010 MRC is an excellent filter, as is the 77mm Nikon Clear (NC - UV), the 77mm Canon PROTECT and the basic multicoated 77mm Hoya UV filter, but the Hoya HD3 is the toughest and the best.
If I was working in nasty, dirty areas and don't want to spring for the HD3 filter, I'd use a plain glass (uncoated) 77mm Tiffen UV filter instead. Plain glass filters are much easier to clean with soap and water or Windex out in the field, but more prone to ghosting.
Nikon's 77mm Circular Polarizer II is my favorite polarizer. The 77mm Hoya HD3 HRT Polarizer uses bulletproof glass, and the Canon 77mm Circular Polarizer is also superb.
Filters last a lifetime, so you may as well get the best. The Hoya HD3 stays cleaner than the others since it repels oil and dirt, and will outlast this lens.
All these filters are just as sharp and take the same pictures, the difference is how much abuse they'll take and stay clean and stay in one piece. Since filters last a lifetime or more, there's no reason not to buy the best as it will last you for the next 50 years. Filters aren't throwaways like digital cameras which we replace every few years, like it or not. I'm still using filters I bought back in the 1970s!
I got my Z 24-70mm f/2.8 II at B&H. I'd also get it at Crutchfield, at Amazon or at Adorama, or get it used at eBay (How to Win at eBay), or get it used at KEH.
This 100% all-content, junk-free website's biggest source of support is when you use those or any of these links to my personally approved sources I've used myself for way over 100 combined years when you get anything, regardless of the country in which you live — but I receive nothing for my efforts if you take the chance of getting it elsewhere. Nikon does not seal its boxes in any way, so never buy at retail or any other source not on my personally approved list since you'll have no way of knowing if you're missing accessories, getting a defective, damaged, returned, dropped, incomplete, gray-market, store demo or used lens — and my personally approved sources allow for 100% cash-back returns for at least 30 days if you don't love your new lens. I've used many of these sources since the 1970s because I can try it in my own hands and return it if I don't love it, and because they ship from secure remote warehouses where no one gets to touch your new lens before you do. Buy only from the approved sources I've used myself for decades for the best prices, service, return policies and selection.
Thanks for helping me help you!
Ken.
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The biggest help is when you use any of these links when you get anything. It costs you nothing, and is this site's, and thus my family's, biggest source of support. These places always have the best prices and service, which is why I've used them since before this website existed. I recommend them all personally.
If you find this page as helpful as a book you might have had to buy or a workshop you may have had to take, feel free to help me continue helping everyone.
If you've gotten your gear through one of my links or helped otherwise, you're family. It's great people like you who allow me to keep adding to this site full-time. Thanks!
If you haven't helped yet, please do, and consider helping me with a gift of $5.00.
As this page is copyrighted and formally registered, it is unlawful to make copies, especially in the form of printouts for personal use. If you wish to make a printout for personal use, you are granted one-time permission only if you PayPal me $5.00 per printout or part thereof. Thank you!
Thanks for reading!
Ken.