Announcement day: 18-300mm f/3.5-5.6G ED VR and 24-85mm f/3.5-4.5G ED VR lenses

Today Nikon announced two new lenses that have been rumored for weeks:

AF-S DX NIKKOR 18-300mm f/3.5-5.6G ED VR

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

Press release:

Nikon Expands Acclaimed NIKKOR Lens Lineup with the Addition of the New 18-300mm VR All-in-One High Power Super Zoom Lens and the 24-85mm VR Lens

New Lenses for FX and DX-Format Photographers Include the AF-S DX NIKKOR 18-300mm f/3.5-5.6G ED VR Lens, A Super Zoom Lens with Astounding 16.7X DX Zoom, and the AF-S NIKKOR 24-85mm f/3.5-4.5G ED VR lens, A Versatile Everyday Lens for FX Shooters

Today, Nikon Inc. announced the addition of two new lenses to the legendary NIKKOR lineup, the AF-S DX NIKKOR 18-300mm f/3.5-5.6G ED VR and the AF-S NIKKOR 24-85mm f/3.5-4.5G ED VR lenses. The new 18-300mm VR lens is a versatile and compact 16.7X all-in-one super zoom DX-format lens, while the new 24-85mm VR lens is an ideal standard zoom for any FX-format photographer. These optics were designed to meet the needs of all types of photographers, from those looking to capture everything from family outings to elusive wildlife and stunning landscapes. The new 18-300mm and 24-85mm lenses deliver the performance and superior image quality that photographers of all levels have come to expect from NIKKOR lenses whether capturing still images or HD videos.

To capture stunningly sharp images with excellent clarity and color reproduction or HD video that exhibits sharp critical focus with a dramatic depth of field, the new 18-300mm VR and 24-85mm VR lenses will empower photographers with a variety of exclusive core NIKKOR technologies. Both lenses are equipped with Nikon’s Vibration Reduction (VR) II image stabilization system which provides the equivalent of a shutter speed approximately four stops faster. The built-in Vibration Reduction will help photographers create blur-free images and video while shooting handheld and in challenging lighting conditions. Two focus modes, manual-priority autofocus (M/A) and manual focus (M), are easily selected in both lenses as well. When either lens is in manual-priority autofocus (M/A) mode, users will be able to instantly switch from autofocus to manual focus operation by simply rotating the focus ring, even during AF servo operation. Additionally, both lenses feature an internal focusing system, providing fast focus without changing the length of the lens while retaining working distance through the focus range, and Nikon’s Silent Wave Motor (SWM) technology designed to deliver fast, accurate and quiet AF performance. The lenses also boast Nikon’s Super Integrated Coating (SIC) which provides superb color reproduction, color consistency and reduced flaring.

“Whether a pro on assignment, a photo enthusiast or an indie cinematographer, all Nikon users appreciate and rely on the vast selection and reliability of NIKKOR lenses for all of their imaging needs,” said Bo Kajiwara, director of marketing, Nikon Inc. “The new AF-S DX NIKKOR 18-300mm VR and AF-S NIKKOR 24-85mm VR lenses are fully optimized to capture stunning images and videos while meeting the growing needs of photographers of all levels around the world.”

The NIKKOR 18-300mm VR Lens: Nikon’s Longest Focal Range

Building on the popularity and versatility of Nikon’s telephoto zoom lens lineup which includes both the NIKKOR 18-200mm f/3.5-5.6 and 28-300mm f/3.5-5.6 VR lenses, the new 18-300mm f/3.5-5.6G ED VR lens is Nikon’s longest focal range ever, with an astounding 16.7X ultrahigh-ratio zoom range. The DX-format 18-300mm VR lens is surprisingly compact, lightweight and covers a focal range from wide-angle 18mm to super-telephoto 300mm, equivalent to a focal length of 27mm to 450mm in FX/35mm format. At the 300mm focal length setting, the lens’ large f/5.6 aperture enables photographers to shoot at faster shutter speeds with shallow depth-of-field. This new super telephoto zoom lens is ideal for taking stills when travelling and for all around general photography including landscapes, portraits and distant subjects. The 18-300mm lens is also excellent for recording HD video as it can be used for wide establishing shots, medium close-up shots and extreme telephoto sequences when the users want to separate the subject from the background.

The construction of the AF-S DX NIKKOR 18-300mm f/3.5-5.6G ED VR lens consists of 19 optical elements in 14 groups with three Extra-low Dispersion (ED) glass elements that effectively minimize chromatic aberration, even at the widest aperture settings, and three aspherical lens elements that virtually eliminate aberrations at wide aperture settings. The new lens also incorporates a nine rounded blade diaphragm to help achieve a natural looking dramatic separation between subject and background.

The AF-S DX NIKKOR 18-300mm f/3.5-5.6G ED VR also has a dedicated zoom lock switch which secures the lens barrel at its minimum length and will prevent the lens from sliding during transportation. Additionally, the 18-300mm VR lens is ideal for capturing close-ups with great detail, as it offers a 1.48 ft. minimum focusing distance at 300mm, as well as a maximum reproduction ratio of 1:3.2X.

The NIKKOR 24-85mm VR Lens: The Standard Zoom for FX Shooters

Ideal for photographers seeking an FX-format compatible standard zoom lens, the new AF-S NIKKOR 24-85mm f/3.5-4.5G ED VR lens delivers sharp, crisp and high-quality images and can be assigned as an everyday walkabout lens. Covering the frequently used focal-length range of 24mm to 85mm, this lens is a great companion for any FX-format shooter and is ideal for shooting stills of landscapes, architecture, head and shoulder portraits, candid shots or group shots. For HD video shooters, the 24-85mm VR lens is a natural choice when filming landscapes, large groups of people or when wide field establishing shots or medium close-ups are needed. The 24-85mm lens is a great everyday lens that is compact, lightweight and easy to carry on any photo assignment or family adventure.

In addition to the lens’ built-in Vibration Reduction (VR) technology, the AF-S NIKKOR 24-85mm f/3.5-4.5G ED VR lens features Auto Tripod detection which recognizes when the camera is mounted on a tripod, even during HD video recording, to help deliver specialized VR correction. The lens construction of the 24-85mm VR lens consists of 16 optical elements in 11 groups with one Extra-low Dispersion (ED) glass element, three aspherical lens elements and a seven rounded blade diaphragm.

Price and Availability

The AF-S DX NIKKOR 18-300mm f/3.5-5.6G ED VR lens will be available at the end of June 2012 for the suggested retail price (SRP) of $999.95*. The AF-S NIKKOR 24-85mm f/3.5-4.5G ED VR lens will also be available at the end of June 2012 and will have a suggested retail price (SRP) of $599.95*. For more information on these new NIKKOR lenses and other Nikon products, please visit

About the NIKKOR brand

With a comprehensive assortment of FX and DX-format lenses and focal lengths, from the ultra-wide 10-24mm to the super telephoto 600mm VR, Nikon photographers have come to rely upon the NIKKOR core technologies that contribute to their optical superiority. NIKKOR is the brand name for Nikon’s photographic lenses, which are precision crafted to the most exacting standards in Nikon’s own glassworks. In 1933, Nikon marketed its first camera lens under the NIKKOR brand name, the "Aero-NIKKOR” for aerial photography applications. Since then, NIKKOR has been used as a brand name for Nikon’s lenses that symbolizes durability, high image quality and optical excellence.

About Nikon

Nikon, At the Heart of the Image™. Nikon Inc. is the world leader in digital imaging, precision optics and photo imaging technology and is globally recognized for setting new standards in product design and performance for its award-winning consumer and professional photographic equipment. Nikon Inc. distributes consumer and professional digital SLR cameras, NIKKOR optics, Speedlights and system accessories; Nikon COOLPIX® compact digital cameras; 35mm film SLR cameras; Nikon software products and Nikon sports and recreational optics as well as the new Nikon 1 advanced camera with interchangeable lens system. In 2012, production of NIKKOR lenses surpassed 70 million, creating a new milestone in Nikon’s heritage of superior optics. For more information, dial (800) NIKON-US or visit, which links all levels of photographers to the Web's most comprehensive photo learning and sharing communities. Connect with Nikon and other photographers on Facebook at and get the latest news and information from Twitter by following @NikonUSA.

*SRP (Suggested Retail Price) listed only as a suggestion. Actual prices are set by dealers and are subject to change at any time.

Specifications, equipment and release dates are subject to change without any notice or obligation on the part of the manufacturer.

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    • Sudheer

      WOW Picture of D600…Nice

      • Iris Chrome

        Is it me or does it look even smaller than the D7000?

        • Sahaja

          No, it looks taller than the D7000

    • looks like d7000 with a few good stickers!

      • But the mirror is fullframe sized and there are some subtle changes to the design.

    • CHEWs

      OMG! Those photos of the D600 actually look legit. no?

  • Sam

    is anyone else a little surprised at the *relatively* high price of the 24-85?

    • Tonio

      Yeah for a kit lens it’s very pricey. Maybe they want to make the kits look super attractive. ($400 less than if bought separately!)

      • Tonio, we’re not talnking about a 500$ camera kit lens but about a 1800$ camera kit lens. It will have a decent build quilaty, some weather sealing and is a 16-58 equivalent in dx so it offers more FOV.

    • John

      No. Seems “normal” for today’s lens prices.

    • nulee

      yes it is….. probably have to wait for used one or refurbished

    • Merv

      Looks about the right price to me since it is an FX lens

    • iamlucky13

      I’m not terribly surprised by the price. I was hoping for $400-500, but if it’s well built and focuses fast, then $600 isn’t utterly out of line. Remember that being for an FX body, it’s necessarily physically larger and requires more polished glass than a DX lens, and it will be produced in smaller quantities than a DX lens, so it gets less economy of scale.

      It’s natural to compare it to the 18-55 DX. The 24-85 has a bit wider field of view that is obvious, but there’s quite a few other differences, too:

      – Ultrasonic motor so you’ve got instant AF override
      – ED element – not that flare is a serious issue in the 18-55, but still welcome
      – More aspherical elements – should have less coma and other aberrations than the 18-55 – I had the non-VR version, and coma was bad on it.
      – Internal focus – fewer external moving parts to bump
      – Proper focus ring – the ring on the 18-55 sucks.
      – Half stop faster at telephoto end

      And for all that, the maximum dimensions are only very slightly bigger, although it will feel much bigger because of the weight and that wide 72mm front element.

      On the downside, the MTF chart doesn’t really look any better than on the 18-55. I’m rather shocked that the 18-300 looks as good, and in some areas better. I guess it doesn’t matter quite as much since the pixel density on FX is usually lower than DX, but still surprising. Hopefully it does better stopped down and has minimal distortion.

      On the whole, a respectable kit lens. I still think it should be $100 cheaper.

      • Bondi Beach

        It is great to see that the MTF diagram for the 24-85 is so much better than the previous AF-S version. Hopefully that will mean that the lens gives good results a little bit wider than f/8. It seems pretty similar to the 24-120 f/4 – maybe a touch better long, and not as good wide? As you say, the 18-300 MTF is awesome – amazing for a 16.7x zoom

  • John

    Looks like an improvement over the previous 24-85AFS (which I own and use on my D700 with perfectly fine results).

    • Kim

      “Improvement”, may be, but it is a half centimeter fatter, one centimeter longer, 70 grams heavier and takes 72mm filter (old=62mm).
      I doubt it will be any sharper, as the extra elements are only a “nessesary evil” to implement the VR system.
      I own the old one, and intend to keep it until test prove the new one to be optically better 🙂

      • Wastl

        You are shure you own the old one??? My 24-85 AF-S lens (which I use almost every time) takes 67mm filters by the way 😉

  • Big deal………more heavy, non-contrast overpriced zooms that cripple creativity. Go prime lenses or sell your camera.

    • Bit it

      Big deal, another opinionated douche with nothing positive to say and trys to cripple the conversation. Go fuck yourself or sell your shit somewhere else

      • BartyL

        I probably shouldn’t approve your comment, but I do.

      • oldhkr


      • Ass hat

        Of COURSE you’re from Yakima. It all makes sense now. And your pictures aren’t even decent. Maybe one out of every 100 is ok and one out of 200 is creative and good.

    • Merv

      Not everyone uses their camera for creativity and artistry, do you think all those D3200 and D5100 cameras are targeted towards artists and the creative types?

      • Global

        The D3200 and D5100 actually are targeted at artists. Artists purchase the minimum of what they need to accomplish their vision. They save money for the next project, because they have a need/desire to make projects. Sometimes only a prime can accomplish a certain job — but generally speaking zooms are far more versatile and offer similar quality when stopped down, capable of delivering the exact same vision of art (other than perhaps bokeh or crystal sharpness – which are generally overrated by gearheads, but far less noticed by the general public).

    • Vicious

      If those pics were any indication of the greatness of primes I’d never bother with them.

  • mo

    I still can’t understand why the price for the 18-300 is high!! I mean with the 28-300 costing the same, I’d rather buy it instead as it will work on both dx and full frame bodies.

    • Iris Chrome

      On DX one will be 27-450, the other will be 42-450… that and whatever other differences in design I’m too tired to look up (ED and AS elements, IF… etc).

    • Because the range between 18-28mm is much more difficult to engineer than the range between 200-300mm. The angle of view difference is huge at the wider end. #Guessing

      • mo

        Yes you both are correct. However, currently I’m using mostly the 35mm F1.8 on a DX body. It is not as wide as 18 or 28 but it is still a good all around lens and you will still be able to compose in most situations. The thing is with FX bodies starting to be affordable, many people will go for them in the future either as their only camera or as a second body with a DX. So by having the 28-300, you still have an option to use it on either type. This advantage is probably more noticeable with primes like the 85mm and 50mm. Anyways, I’d be happy to have either one 🙂 but with this price tag then good luck upgrading my camera anytime soon.

  • D400

    Wow, the 18-300 is only $150 more than 18-200

  • Josef

    I am actually surprised that the 24-85mm is only going to run $599. It’s cheaper than the 16-85mm dx lens and is faster on the long end.

    I wonder how it will compare to the latest 24-120 lens. Lighter weight and smaller are big pluses for me and I rarely need focal lengths longer than 70mm or so anyway. Theoretically, with a smaller zoom range, it might be better.

  • Dancook

    Hm… Why are the sample images of the 24-85 only 200-400 kByte in size?

  • Cuius

    Another filter size – will help the sale of step-up rings

    • Martijn

      you’re right, those step-up rings are so damn expensive

  • Bare

    24-85 is ideal kit lens for upcoming D600.

    • Anonymous Maximus

      and for D800 too! It will be a perfect f/8 travel & landscape lens.

  • Raizee

    Hi Nikon. DX prime lens plox.

  • Landscape Photo

    The sample images from this new 24-85mm VR are heavily downsampled. Where are the full-size ones?

  • Benny

    I prefer fix lensess. also I’m waiting for new 80-400.

  • N

    Not a surprise, Nikon releases two more unnecessary lenses. It sure would be nice to see a worthwhile update or new lens for the amateurs. Are we ever going to see a 500mm lens or greater that is reasonably priced? If Sigma can make a 150-500mm for under $1000, can’t Nikon make a 500mm lens that is at least cheaper than the current 500mm f/4 VR? I’d be thrilled to see a decent 500mm or 600mm lens, even an f/5.6 for <$2000. The 300mm f/4 is another lens that is so overdue for a VR update. Instead Nikon makes dozens of lenses all in the overlapping mid-range, where there are more good lenses than anyone could ever use.

  • Dweeb

    Well those are the last two lenses I need. Maybe they could re-market their old 80-400 as a “Classic” like Zeiss/Hasselblad does with their 50 Distagon.

  • jan de wit

    Yeah we want a new 80-400 and pretty soon please before i am old and grey

  • Eiaculeitor

    The 18-300 will be great for the D400/D7100. The 24-85 great for the D600 paired with the 70-300. Perhaps one could get D600+24-85VR+70-300VR for the same price as the D800 body only. Not bad!

    • Guenther

      24 or 28mm is nothing to discuss. So take the 28-300 and that’s it! You allways have instantly the focal length you need without the risky change of lens.

      The 24-85 is unnecessary because of the 24-120. And the 24-120 is unnecessary because of the 28-300.

      More usefull would be a 24-120/2.8 (D800) or a 28-200/4.0 (D600).

  • Young Boy

    Sample images are indeed a bad joke! Almost absurd, to put this “thumbnails” as prove of a high quality! And the only 18 focal length pic was chosen to hide any corner softness! I’m sick of this marketing department BS! :-// I guess nobody will buy 1000$ lens for facebook pictures! Btw – who will? When Tamron 18-270 is 650$ and 55-300 is 400$? Unless they make some absurd “rich football mummy kit” for 1111$ with D3100 as a free present, I honestly don’t see market for this… Still no cheap wide angle DX prime, still no cheap f4 telephoto… All is marketing nowadays, horrible world…

  • n/a

    as a happy 18-200 owner, I must say it is a convenience lens, and as such it is a little bit on the heavy and bulky side…

    looking into 18-300 specks, unless it is way better optically (judging from 28-300, I doubt it) – wtf: 1.5x heavier, more bulky. makes no sense to me…

    • Mav

      Does the 9 bladed diaphragm, compared to the 7 on the 18-200, make a big difference?

      • n/a

        99% of the shots you will notice no difference at all

        • Orb Emmel

          I am the owner of an 18-200mm, and well (though not proud, it wasn’t what I should have bought considering my expectations, though it’s a fine lens).

          I think we’ll have to wait and see how good it is, but I’m not excited by the 18-300mm. Big and heavy, and not convinced that it’ll be as good as I would like above 200mm.

          I’d rather have a more expensive but “pro-built” 17-55mm or 16-85mm f/2.8 or f/4 that would cover FX (so I can use it on the future D600 ;)), and then a 70-200mm f/4…

          But that’s just me. I still bet the 18-300mm will outsell the 18-200mm…

  • Dean Forbes


  • Jonas

    Don’t fall for it!! It’s a trap!! Etc.

    I bought the 18-200 mm, totally buying into the “convenience” aspect, but I never use it today except for dedicated 200 mm photography, at which there are far better choices for better prices. If you’re planning for a trip and getting a good camera, this one will gimp on the optics and if you’re OK to gimp on the optics, you can just as well buy a much lighter and cheaper Fujifilm X10 or X-S1 instead of this 18-300 mm lens.

    As for DSLR photography, I do 90% of my general “travel” shooting within 24-70 mm (DX focal lengths). Superzooms will just ruin the optical advantage a good DSLR will give you and make it pointless to lug around with one.

    • Orb Emmel


      Wish I would have known that BEFORE I bought my 18-200mm…

    • Guenther

      The question is: what makes a picture good or perfect? Is hardware the only factor?

      You don’t get perfect technical quality with zoom lenses. But it helps you to find the right composition. And sometimes help superzooms to get a pretty picture, maybe not technical perfect but beautiful.

      If you have lot of time and a motif which doesn’t change and you can take tons of equipment with you, than take fix lens for perfect technical quality.
      If you are at home and you would take pictures of your lively children, than take a fast pro-zoom.
      If you are on backpack travel and every gram counts or on a afternoon walk with your family, than take a superzoom.

      • Orb Emmel

        That was the point… So-called superzooms are convenient. Almost ONLY convenient.

        Even when kinda sharp, they’re never fast. Optically, I doubt you can have a fast, optically near-perfect superzoom, all in a small and light package… at least with current technology.

        But, yeah, from time to time, I’d rather have my “superzoom” and take not-so-technically-perfect pictures, instead of not taking pictures because I couldn’t carry all the awesome-fast-pro-lenses. Would I go as far as 18-300mm ? Well, first I’d have to see the performance from 200 to 300mm and then… I don’t even know.

        So : fine lens, sure. Not what I’m looking for to do the photography I do, sure too.

    • Rob Ueberfeldt

      I bought the 18-200 to replace my two kit lenses 18-55 and 55-200. I was doing doing a lot photography of paintings for a couple of artist friends. With the kit lenses I was always having to swap lenses between smaller paintings and medium size paintings. The 18-200 did the job admirably, I worked in subdued light on a tripod to avoid glare and reflections. I used manual focus with VR off and always got sharp shots and complements from the artists.

  • lolly

    NR admin, Nikon caught you sleeping last night … Nikon broke the news on Facebook just after midnight 😀

    • I was few minutes late, I was looking into the leaked D600 pictures.

      • lolly

        no problem … you deserve the rest 😉

  • I really don’t think an 18-300 makes sense. Going beyond 200 on DX really requires a tripod which puts things outside of the casual shooting all in one range. The 24-85 is, very interesting, and will probably be very popular with D600 buyers as well as those picking up used D700’s.

    • Why would it require a tripod, if high iso performance is good?

  • Anonymous Maximus

    The news for sum of both lenses don’t seem to have gathered interest of even the 1/10th of D600 news. Compare the entries. Duh!

    It should have been the opposite… As being the first compact VR FX, the 24-85mm VR is a more exciting item than the D600 which is offering nothing special other than its low price.

    • Z


      Quality of lens is important but more when wide open. Otherwise the IQ from a D800 + 24-85mm VR will beat an upsampled D600 + 24-70mm at any focal (both @ f/5.6).

      Q- Which would you prefer:
      * Mediocre res. camera with high-end lens
      * High res. camera with mediocre lens

      2. option is wiser, because most lenses give equivalent IQ around f/8. You can stop down, but you can’t trim up your camera resolution 😉 Btw, we the new 24-85mm VR may be closer to high-end lens IQ than mediocre. All you need is to stop down a little, and VR will compensate the slower shutter speed.

  • No no no no… While I love the idea, we need to update some needed lenses:

    80-400mm AF-S VRII

    Come On!!!!!

    • Orb Emmel

      I’d rather see…

      – 300mm f/4 AF-S VR
      – Any real affordable DX wide prime (like 14 or 16mm f/4), though I think I’ll give up on that and buy a D600 to have access to wide primes, instead 😉
      – 70-200mm f/4 (see Canon…)

      • Young Boy

        Eeeeeexactly! That’s what I wrote above, this 18-300 is only engineering masturbation which will be sold in hundreds – affordable wide prime for dx only and light 300 mm with f4 VR (to ask that will be only dx is too much, so let it be fx). Canon L line seems to be untouchable – do they have some sort of agreement? :S

  • fishix

    Looking at the MTF charts, doesn’t the 18-300 outperforms the 18-200 (and also 70-300 on the 300mm end)? Am I missing anything here?

  • Undecided

    Which will be better for a D7000?, 16-85 + 70-300 OR 18-300? With the 18-200 was easier because one won 2mm wide plus 100mm tele, but now the tele advantage is gone…. it’s a harder decision….. and the MTF charts look exceptionally good for the 18-300!

    • Ken Rockwell

      I will see how real world images look… I think it could be a decent all-around lens, but not sure that I am willing to take the compromised images (the images will be compromised, super zooms always are, at least a bit).

      • Young Boy

        Honestly, for normal folks, who are not Rockwells and Rockefellers, price difference between 55-300 and 18-300 is simply impassable. (D3XXX and D5XXX users.) For D7XXX and above – image quality and not portability should be priority, I can’t imagine profi sport photographer with this slow-af lens documenting events!

      • Young Boy

        Unless you are Rockefeller or Rockwell, I can’t see normal folk to fork so much more in compare to 55-300 dx! For people with under 1000$ cameras lens price is decisive factor and I don’t think they are going to pay almost twice the price of camera body for single lens. For those with D7k or D300s – imagine quality and not portability should be highest priority – I can’t imagine sport photographer using this slow AF lens at some critical event. So only some rich pensioners left, but I’m not sure VR can compensate Alzheimer.

  • Impressed

    There are available full versions of the sample images from these new lenses in the flickr group of Nikon France:

    IMHO the samples are impressive, specially for the 18-300 (shot on a D7000). We have a new king here!

    • Anonymous Maximus


    • Landscape Photo

      I especially liked this sample image:

      Excerpts from its file info:

      Camera Model: NIKON D4
      Firmware: ViewNX 2.2 W
      Date/Time: 2012:04:13 19:14:22
      Shutter speed: 1/250 sec
      Aperture: 7.1
      Exposure mode: Av
      Exposure compensation: +1
      Flash: Off
      Metering mode: Multi-segment
      ISO: 1250
      Lens: 24 to 85mm
      Focal length: 56mm
      Focal length: 56mm (in 35mm film)
      AF mode: AF-C
      Image size: 4928 x 3280

  • Zaphod

    Why could they not have put VR in to the 2.8 zoom instead. Now you have to chose and you can’t get it all.

    • Global

      Weight & cost and compromising the image quality.

      This lens tells me that Nikon does NOT have a plan to make a 24-85/4 VR any time soon. But they still might make a 24-70/4 VR, you never know.

      A 24-70/2.8 VR is not likely, but with pressure from competitors, it might have to happen eventually.

      • Landscape Photo

        A 70-200mm f/4 VR is more plausible. Canon has got one, but Nikon? To be smaller than the f/2.8 version, but optically better than 70-300mm f/4-5.6 G.

      • Guenther

        24-70/VR is not likely? And what is with a 24-70/VRIII which maybe can fix moving object (in combination with continuous autofocus)?

  • Magnus

    [NR] admin, do you think this means there is a
    Nikon AF-S 28-450/3,5-5,6 G ED VR
    (FX) in the pipeline?

    • Landscape Photo

      Sorry answering before admin, but that lens will be too bulky, while the 28-300mm VR is already 800g & 115mm long. It will override it’s reason to be made.

      Imo, a 28-135mm f/3.5-5.6 VR in a similar shape to the new 24-85mm VR would be a more sensible move from Nikon.

      • Global

        28-500/VR is not going to be made by Nikon. And, by the way, 28 is a horrible starting point. 24 is really the standard now. Lets not go backwards. The 28-300 should have been 24-300 or 24-270, etc. More likely Nikon will be looking at a 70-400 VR (most likely) or a 100-500 VR (not likely).

        I personally would like to see a 400-600/VR, which would be a great addition, and possible, since we already have 24 up through 300 in every kind of form.

        • Guenther

          24 or 28mm is not such a big difference in the picture (sometime I wish 14 or 20mm on my 24-70) but a big difference in contruction.
          It allows anyone to dream of a 20-300/1.4 without distorations.

          But in real I would prefer a 28-300 with good optical quality together with a good price than a 24-270 with poorer quality and/or a much higher price.

          But for indoor use, I would like (dream of) a 14-50(70).

        • I would prefer a 5.6 version of the 200-400 or just a plain 400 mm 5.6. Nikon had such in the pre-AF and and pre-VR days, why oh why not now?.

          Also I would like the 200 mm micro nikkor updated with VR…

      • Landscape Photo

        Typo: it’s -> its 🙂

    • Don’t think so.

  • Z

    24-120mm or 28-300mm were all of an epic fail, considering the offered IQ for their price & size.

    But this VR 24-85mm rocks !!!

    • Guenther

      You’re right for the 24-120/4.0. But a 24-120/2.8VR as a new pro-lens would be a great thing!
      Than the 24-85 make sense as a cheaper mid-zoom (for use on the D600/D700)

      And the 28-300 is the perfekt allways on lens for all FX cameras (sometimes I want no big photobag).

  • Kevin

    wow… and 18-300mm, that will be an amazing vacation lens!

  • David

    So they added VR to the 24-85 they made from 2002-2006?

    • Jan

      If it is the same lens it will be a disapointment. I have the 24-85 3.5 – 4.5 and it fails to impress compared to prime lenses in the same focal length. Yes, all of them.

  • fransvh

    Guess, stop talking about your disappointing lenses.

    Read this article

    If the difference between images taken with a Canon G10 and a medium format camera are hard to see on a 12×19 print.
    How visible in print are the differences between, lets say a 24/70 2.8 and a 24/120 4.0.?

  • Landscape Photo

    This sample is no worse than if it were photographed with a 24-70mm f/2.8 at the same aperture:

    And VR is a bonus which can easily make up for the 1-2 stop slower aperture (though only valid for static scenes). If they keep high QC standard to eliminate any disturbing sample variation, I’m sure this lens will sell like hotcakes for $600.

  • Jan

    After a little testing i did find some significant improvement by fine tuning the auto focus.
    At the extreme -20 setting the lens is now a pretty good performer so thanks, i now don’t need to invest in the 24-70mm.

    • Z

      I got your pun 🙂 But anyway I didn’t find fine tuning much useful in some zooms, since they usually need different calibration parameters with different focal settings.

  • Landscape Photo

    I had both 24-85mm f/3.5-4.5 and 28-200mm f/3.5-5.6 G with my D700.

    In the meantime I used the latter much more, because it had better corner sharpness when stopped down. It was a little smaller too. More important, the 28-200 offered an indispensable versatility over 24-85. 28mm is not much different than 24mm, but 200mm is when compared to 85mm. Then I sold it to buy a better copy of 28-200mm, which gave sharper results at the tele end (yes, sample variation is for real).

    I still use that 28-200m G as a quality walkaround lens, but suspect its resolving power may not be sufficient for D800, esp. in the corners.

    And will the new 24-85mm VR be better than its predecessor? Will it be good enough for D800 at least when stopped down to f/8? We’ll see…

    I’m still expecting a 28-135mm (or so) VR cousin of this new lens soon, since 28-x lenses has less compromise than 24-x lenses.

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