Nikkor PC-E Nikkor 24mm f/3.5D ED review
Nikon’s Nikkor PC-E Nikkor 24mm f/3.5D ED is a tilt-shift lens showing Nikon’s recent dedication to high-end professional equipment. Providing support for both the DX and full-frame FX sensor, a wide angle lens of this calibre ought to be the architectural photographer’s dream. Simon Stafford investigates...
Nikon has manufactured shift lenses for many years but, to date, its only model to incorporate a tilt movement has been the PC Micro-Nikkor 85mm f/2.8D, which was released during 1999. I recall writing a review of that lens shortly after it became available in which I commented how useful a wide-angle tilt-shift lens would be; after all, at the time Canon offered three such lenses in focal lengths of 24mm, 45mm, and 90mm respectively.
Over the intervening years my repeated requests to Nikon for such a lens met with the same stock response about its market research suggesting there was no demand! At long last my dream, and I suspect that of many Nikon photographers, has come true with the introduction of the Nikkor PC-E Nikkor 24mm f/3.5D ED. This lens is the first of a trio of specialist tilt-shift optics: the PC-E Nikkor 45mm f/2.8D ED and PC-E Micro Nikkor 85mm f/2.8D ED are also now available.
Essentially, a shift lens projects an oversized image circle (relative to the sensor format of the camera). This permits the lens to be shifted laterally relative to the camera’s sensor to alter the composition, while allowing the back of the camera to remain parallel to the subject, thus avoiding the linear distortion apparent when a camera with a conventional lens is slanted to achieve the same framing. In the case of the PC-E 24mm it produces a maximum diagonal angle of view of 101° compared with 84° for a conventional 24mm wide-angle lens.
The Nikkor PC-E Nikkor 24mm f/3.5D ED offers ±11.5mm shift and ±8.5° of tilt either side of the central lens axis, and can also be rotated 90° left and right about the lens mount with click-stops at each 30° step; however, the two movements are set to operate in perpendicular planes. Should you require the lens to be modified, so the movements work in the same plane, it must be returned to Nikon.
This Nikkor PC-E Nikkor 24mm f/3.5D ED is manual focus only; the minimum focus distance is just 21cm, which is impressive and will no doubt increase its appeal for food photographers and the like. It has a conventional aperture ring with half-stop positions between f/3.5 and f/32. The final position on the scale, which is marked “L”, locks the aperture at its minimum value and allows the aperture to be set via the appropriate command dial on the D3, D300 and D700 cameras. Furthermore, the aperture is controlled automatically when used with these models eliminating the need to adjust it manually prior to making an exposure. All other compatible cameras require the aperture to be set manually using the ring and closing the lens to the taking aperture by pressing the electronic stop-down button.
In addition to the usual requirements of an optical formula for a conventional lens to render high resolution, flat field focus and even illumination across the frame, a tilt-shift lens needs to be engineered meticulously to ensure it remains absolutely parallel to the plane of the recording medium when shift movement is applied, and that tilt movements to modify depth-of-field characteristics using the Scheimflug principle can be controlled with great precision. In the PC-E Nikkor 24mm f/3.5D ED Nikon has succeeded on all fronts by producing an exquisitely engineered lens that is a pleasure to use; the focusing action is a delight with just sufficient resistance to prevent any unwanted displacement of the ring occurring. The tilt-and-shift movements are equally smooth; they are controlled by two knurled knobs set at right angles to each other with smaller locking knobs on the opposite side of the lens respectively.
The locking knob for shift is disproportionately small but the reason for this becomes apparent as soon as you attempt to rotate the lens to orientate the shift movement parallel to the long edge of the frame. Due to a lack of clearance the shift-control knob prevents the lens being turned to position the aperture scale markings and stop-down button on its topside. The only solution is to rotate the lens in the opposite direction (the locking knob for shift is sufficiently small to pass beneath the overhang of the viewfinder prism head of all compatible cameras) but as a consequence the lens is now effectively upside-down and without aperture-markings ontop. Another limitation that applies to the use of upward shift parallel to the short edge of the frame on most cameras, except the D3, D300 and D700: the overhang of the viewfinder head restricts movement. A further point to be aware of is the close proximity of the lens rotation control and the lens unmount button. Press the former of these and you could engage the latter, potentially leading to dire consequences.
Image quality is outstanding: the Nikkor PC-E Nikkor 24mm f/3.5D ED renders vibrant colours with plenty of contrast. It displays a high degree of resolution across the field of the FX sensor, or 35mm format even at maximum aperture, while stopping down to around f/11-f/16 delivers the maximum potential in this respect. It exhibits a remarkably flat field with very good control of chromatic aberrations, flare and ghosting. However, at very close focus distances there are traces of barrel distortion.
At f/3.5 with full shift (±11.5mm) applied even illumination extends to the edge of the frame but, as you might expect, resolution is compromised noticeably at the periphery of the image circle, while closing the lens down to its minimum aperture in this condition causes a considerable fall-off in illumination in this same region; limiting shift to ±8mm prevents this effect. Again optimum performance in terms of resolution was achieved around f/11-16. None of these issues are apparent on the DX format Nikon DSLR cameras, which have a more restricted angle-of-view.
Conclusion:
We’ve waited a while for a wide perspective control lens to come along and, after our experiences with the Nikkor PC-E Nikkor 24mm f/3.5D ED during this test do not disappoint.
Angle-of-view, combined with a sparkling optical performance, together with the unmatched level of control offered over perspective and depth-of-field, make the Nikkor PC-E Nikkor 24mm f/3.5D ED an obvious choice for the architectural, landscape and natural-history photographer.
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Discuss: The end of large format field and rail cameras altogether?
Info: www.nikon.co.uk
| Price | £1300 |
| Focal length | 24mm |
| Aperture range | f3.5 – f32 |
| Construction | 13 elements in 10 groups (with three ED glass elements, three aspherical lenses, one with Nano Crystal coating) |
| Minimum focal distance | 0.21m |
| Diaphragm | 9 rounded blades for near-circular aperture |
| Filter size | 77mm |
| Focusing | Manual focus only |
| Dimensions DxL | 82.5x108mm |
| Weight | 730g |
