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Why the New Nikon 14-24mm F2.8 S for Z Mount Is So Exciting

Chris Gampat
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09/16/2020
3 Mins read
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The Nikon 14-24mm f2.8 for Z mount is the much more exciting offering of the two lenses being announced today.

My jaw dropped and I became very excited when Nikon briefed us on the new Nikon 14-24mm f2.8 for Z mount lens. I’ve been very critical of Nikon. For a while, they were seemingly playing catch up. Nothing they created was unique. Though their Noct lens is one of a kind, it’s not attainable for most folks. With the new Z mount Nikon 14-24mm f2.8, Nikon will have 24 lenses in the lineup. It’s something special. The lens design is totally different from its DSLR predecessor. That’s thanks to the specs on the Z mount. The Nikon 14-24mm f2.8 for Z mount has an almost flat front. And the accessories that come with it will excite so many wide-angle shooters.

Nikon 50mm f1.2 S for Z Mount

It seems like Canons started a trend here! The new Nikon 50mm f1.2 S for Z mount cameras is the company’s first autofocus f1.2 lens. It’s larger than the f1.8 but nowhere near as mammoth as the Noct. All of Nikon’s top of technology is packed into this lens. But one of the coolest things about it is how the autofocus works. It uses dual STM motors: one near the front and one near the back. There are 17 elements in this lens, and they have to move quickly. Plus, there’s the top LCD panel and other tech from Nikon in there.

Here are the specifications in brief.

  • It’s relatively more massive than the 50m f1.8 but smaller than the Nikon 58mm f0.95 lens. The length is around 6 inches.
  • It focuses using two STM motors. This is the first 50mm f1.2 lens to use STM technology for a more efficient AF
  • 17 glass elements with 2 ED elements and 3 Aspherical elements
  • 9 aperture blades
  • Nanocrystal and arneo coating
  • Dust and moisture-proof
  • Info panel on the top similar to the 24-70mm f2.8
  • Lens function button on the side
  • Custom control ring. I foresee more experienced photographers setting this to aperture control
  • 82mm filter thread on the front.
  • $2099.95 price point. That’s $100 less than Canon’s competing lens, which we reviewed very positively.

Nikon 14-24mm f2.8 S for Z Mount

The more exciting lens is the Nikon 14-24mm f2.8 S for Z mount. This lens was designed for the mirrorless Z mount, so the engineers were able to make a lot of changes vs. the F mount offering. The back element is be closer to the sensor, and many of the other glass elements have been shifted more towards the back. As a result, the front element is the flattest we’ve seen. Nikon is boasting that it’s the lightest of the f2.8 wide-angle zooms on the market. Comparatively speaking, this is very innovative. It gives me a lot of hope for Nikon. And it seems like they’re not treating mirrorless like a step-child anymore. Here are the important specs for the Nikon 14-24mm f2.8 S lens.

  • It was redesigned around the Z mount. So the entire lens structure changed.
  • Despite the front element being very flat, you can’t mount a lens filter directly to the lens. So Nikon is including two lens hoods with it. The first is a standard petal-style lens hood. The second is more exciting. It lets photographers mount a massive 112mm filter on the front. Each of the hoods come with their own hard plastic lens cap. In the rear, you can put a 40.5mm gel filter.
  • The Nikon 14-24mm f2.8 S weighs only 650 grams. It’s also only around 5 inches in length.
  • There are two extra ED elements, totaling up to 4.
  • 3 Aspherical elements
  • 9 aperture blades
  • Info panel on the top similar to the 24-70mm f2.8
  • Weather resistance. Nikon is really touting this feature.

Sales start in November. I can’t imagine current Nikon shooters not picking this one up. In fact, I can’t imagine many photographers not lusting over this lens.

aperture Cameras canon elements lens lenses nikon Nikon 14-24mm f2.8 S Nikon 50mm f1.2 S weather sealing Z Mount
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Chris Gampat is the Editor in Chief, Founder, and Publisher of the Phoblographer. He provides oversight to all of the daily tasks, including editorial, administrative, and advertising work. Chris's editorial work includes not only editing and scheduling articles but also writing them himself. He's the author of various product guides, educational pieces, product reviews, and interviews with photographers. He's fascinated by how photographers create, considering the fact that he's legally blind./ HIGHLIGHTS: Chris used to work in Men's lifestyle and tech. He's a veteran technology writer, editor, and reviewer with more than 15 years experience. He's also a Photographer that has had his share of bylines and viral projects like "Secret Order of the Slice." PAST BYLINES: Gear Patrol, PC Mag, Geek.com, Digital Photo Pro, Resource Magazine, Yahoo! News, Yahoo! Finance, IGN, PDN, and others. EXPERIENCE: Chris Gampat began working in tech and art journalism both in 2008. He started at PCMag, Magnum Photos, and Geek.com. He founded the Phoblographer in 2009 after working at places like PDN and Photography Bay. He left his day job as the Social Media Content Developer at B&H Photo in the early 2010s. Since then, he's evolved as a publisher using AI ethically, coming up with ethical ways to bring in affiliate income, and preaching the word of diversity in the photo industry. His background and work has spread to non-profits like American Photographic Arts where he's done work to get photographers various benefits. His skills are in SEO, app development, content planning, ethics management, photography, Wordpress, and other things. EDUCATION: Chris graduated Magna Cum Laude from Adelphi University with a degree in Communications in Journalism in 2009. Since then, he's learned and adapted to various things in the fields of social media, SEO, app development, e-commerce development, HTML, etc. FAVORITE SUBJECT TO PHOTOGRAPH: Chris enjoys creating conceptual work that makes people stare at his photos. But he doesn't get to do much of this because of the high demand of photography content. / BEST PHOTOGRAPHY TIP: Don't do it in post-production when you can do it in-camera.
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