NIKKOR Z 26mm f/2.8 lens review

This page contains reviews of NIKKOR Z 26mm f/2.8 .

Lens Summary

Price	It's not cheap
Size	Very compact
Weight	The lightest possible
Ease of use	Minimal but good
AF performance	It's fast, but it has its drawbacks.
Resolution performance	Mostly good
Bokeh	Smooth bokeh when shooting close-ups
chromatic aberration	Good correction
distortion	Correction Required
coma aberration	stand out in a corner
Vignetting	Correction may be required depending on the case.
flare resistance	Good
Overall evaluation	Expensive but excellent compact lightweight lens

Evaluation：

Despite being compact and lightweight, the texture, operability and performance are all of a high standard. Although the optical performance feels like it needs to be corrected in some areas, it is well made considering the size of the lens. The resolution performance across the entire focus range is very high, helped by the extendable focus, and you can experience a stable sharpness over a wide range of the frame. There are a few drawbacks, but there are many things you can understand in advance, and if you can buy it with a high price tag, you should be satisfied.

Foreword

A very compact wide-angle prime lens for full-frame cameras announced in February 2023. Despite the release of the Z 28mm F2.8 in 2021, some people may have been surprised to see a similar focal length and F-value prime lens released so soon after. However, as can be seen from the price, which is almost double that of the Z 28mm F2.8, this lens has a different concept.

Compared to the Z 28mm F2.8, the overall length is about half. Considering that it has a wider angle of view, it is surprisingly compact. However, unlike the inner-focus 28mm, the Z 26mm F2.8 uses a full-group focusing system (and a retractable structure in which the lens barrel extends slightly when the camera is turned on), so please note that there is a change in the overall length of the lens.

Looking at the composition, it uses more aspherical lenses than the 28mm F2.8, and achieves a small number of lenses with 6 groups and 8 lenses. It can be seen that they have spent money to make it smaller. It seems that they have also put effort into achieving a good balance between optical performance, and looking at the MTF, it seems that the resolution performance, especially in the centre and surrounding areas, is better than the 28mm. The drop-off towards the corners is noticeable, but it still seems to have well controlled astigmatism.

Despite its compact size, it has been designed to be dustproof and drip-proof, and sealing has been applied to various parts. It's great that it combines portability and weather resistance.

specifications

lens mount	Z mount
Supported sensor size	Full frame
focal length	26mm
Lens construction	8 lenses in 6 groups
Aperture	F2.8-F16
Aperture blades	7
Minimum focusing distance	0.2m
Maximum magnification	0.19倍
Filter diameter	52mm
image stabilisation	-
Teleconversion lens	-
Coating	Super-Ingrated Coating
Size	φ70.0×23.5mm
Weight	125g
weather sealing	Support
AF	Stepping motor
Aperture ring	-
Other controls	-
Accessories	Lens cap LC-K108 Rear cover LF-N1 Lens hood HB-111

NIKKOR Z 26mm f/2.8 Review

Appearance and operability

Boxes and accessories

The box has a design based on black and yellow, which is typical of NIKKOR Z. There have been no changes since the launch of the Z system in 2018.

In addition to the lens itself, a lens hood, a screw-on cap, and a user manual and warranty card are included. Unlike S-Line lenses, a lens pouch is not included.

Appearance

Unlike the plasticky Z 28mm F2.8, this lens has a lot of metal parts on the exterior. It's compact, but the texture is very good. However, the front lens periphery is made of plastic parts. The only control is the control ring, and there is no AF/MF switch. The lens hood is a bayonet type, and there is no filter socket on the body.

The exterior design is simple, with almost everything printed except for the ‘NIKKOR’ logo.

Hands-on

As Nikon themselves call it a ‘pancake lens’, it is a compact lens that fits in the palm of your hand. It is also light, weighing only 125g, and even when combined with an APS-C camera, it does not lose its balance. The metal exterior gives it a cool, high-quality feel when you pick it up. However, the lens hood is made of plastic, and there is a gap in the texture between the hood and the main body, which is a little disappointing.

Front and back

The front lens element is very small for a lens with a 26mm wide-angle lens. It is surprising that the maximum aperture is ‘F2.8’ with this lens. It seems to be a design that is suitable for mirrorless lenses with a short back focus. By the way, the focus is a retractable type, and the inner barrel near the front lens element extends forward.

The front lens element is too small, so it seems difficult to maintain. There is no mention of a fluorine coating, so you may want to be careful about getting it dirty.

In contrast to the front lens, the rear lens is a large aspherical lens. It is positioned right up against the lens mount, so you should be careful not to touch it with your fingers or anything.

The lens mount is made of metal and secured with four screws. It is more solidly made than the plastic mounts of the 28mm and 40mm. It is dustproof and splashproof, with rubber seals around the edges. This is a different design from the Z 28mm and Z 40mm, which have plastic parts covering the mount instead of seals.

Focus ring

It has a small but firm (probably metal) control ring that you can grip. By default, you can use it to focus, but you can also use it to adjust the aperture and ISO settings on the camera. It has a good resistance and smoothness that makes it comfortable to use. I think this is a strength of the lens.

The stroke when operating the focus changes depending on the rotation speed. When turning slowly, the entire focus range can be moved in about 180 degrees, and when operating quickly, the entire range can be moved in about 90 degrees. It has a good balance of stroke that is suitable for fine adjustment and quick operation, and it seems like it could be used even for full manual. The tendency for the focus position to jump when making fine adjustments is not noticeable, and it operates more smoothly than you might expect.

Lens Hood

A plastic dome-shaped lens hood is included. Although the texture is significantly inferior to that of the main body, the inner tube extends when focusing, so we recommend using the hood regularly to protect it.

As a point to note, the hood cannot be locked unless it is attached so that the ‘NIKKOR’ is directly above it. It is possible to attach it in a direction that is not directly above, but it cannot be locked, so it will easily fall off. It is a nuisance that there is no indicator when attaching it, but I think you will get used to it after repeatedly attaching and detaching it.

The all-group-advance focus is completed within the hood, so by attaching a protective filter, it effectively becomes an inner focus.

It has a 52mm diameter filter socket at the front. As the front lens is not compatible with fluorine coating, it is better to attach a protective filter in situations where dirt is likely to adhere. However, it is a shame that the lens hood is not useful in this case.

Lens cap

The usual knob-type cap is not included, and a plastic cap to cover the lens is included instead. Like the lens hood, the texture is inferior to the main body. Felt fabric is attached to the inside to prevent it from slipping off easily with just the right amount of resistance.

When attached to the main body, the cap can be placed over the control ring. The cap can also be placed over the lens hood or when a protective filter is attached.

Example of use

Fitted to the Z 7. It is more compact than the Z 28mm, and you can carry it around with you as if you were just carrying the body. The lens does not stick out more than the camera grip, so I definitely feel that its portability and storage capacity are its strengths, despite its minimal size.

AF・MF

Focus Speed

It uses a stepping motor drive for its focus mechanism. You might expect it to move slowly, but it actually works quite quickly. Although it is slower than lenses with inner focus or multi-focus drive, it is still fast enough to keep up with subjects that are approaching from close range. However, it does make a certain amount of noise, so you need to be careful when shooting video or in situations where quietness is required.

Breathing

Focus breathing refers to the change in the angle of view depending on the focus position.If the change in angle of view is significant, the field of view will expand or contract during focusing, potentially causing distractions and affecting autofocus stability. Ideally, it is better to have no focusing breathing. In order to check the effects of breathing, we took the following photos with the lens stopped down to the minimum aperture, at the minimum shooting distance and at infinity.

The change in angle of view at the point of focus is very large. This is particularly noticeable with the NIKKOR Z series, which has many well-controlled lenses. This is a troublesome characteristic, especially for video recording, but it can also be a concern when you want to focus on the periphery of a still image.

The change in angle of view appears to vary linearly across the entire depth of field. As a result, even when the shooting distance is long, the change in angle of view is noticeable. As a result, there is a possibility of failure to focus or misalignment of focus when you want to focus on the periphery. It is better to use AF in the centre or around the centre.

AF accuracy

As mentioned above, there are no problems in the centre, but there are cases where autofocus fails when using the periphery or corners.

MF

Despite the fact that it is a ‘pancake, sliding focus’, it can handle fine adjustments with smooth operation.

Resolution Chart

Test conditions

Camera body:Z 7
Interchangeable lens:NIKKOR Z 26mm f/2.8
Pearl Optical Industry Co.
‘[HR23348] ISO12233-compliant 8K resolution test chart (for still cameras)’
Olympus HYRes 3.1 analysis software
The lighting environment is constant indoors.
Tripod, self-timer 10 seconds, electronic shutter
RAW output
ISO 100
RAW development in Adobe Lightroom Classic CC
・Sharpness: Off
・Noise reduction: Off
・Chromatic aberration correction: Off
Focus on each point to be analysed and take a picture
(image plane curvature is difficult to measure at close range, so check at infinity)
Note that this is a test at close range (infinity may be even better).
If you adjust the sharpness when developing JPEG or RAW images, the values may improve. Please note that the values given here are the ‘minimum values’.

Test results

Despite being a compact, lightweight wide-angle lens, it produces good results even with close-up resolution charts. This is an area where the Z 28mm f/2.8 is not so good, but it seems that the all-group pull-out focus system, which has minimal aberration fluctuations, has paid off with this lens. Although the uniformity at f/2.8 is not so good, if you stop down to f/4~f/5.6, the image quality in the corners and periphery will improve dramatically. From then on, the results are excellent with high uniformity.

Centre of frame

You can get very sharp results from wide open aperture. Even if you stop down the aperture, the results will not improve, but you can use it to concentrate on improving the peripheral image quality and adjusting the depth of field. In comparison, the Z 28mm F2.8 is slightly softer, and even if you stop down the aperture, you cannot get results as sharp as the 26mm.

Middle of frame

Compared to the centre, F2.8 is a little soft, but if you stop down to F4, the resolution is almost the same as the centre and is good. There is no significant improvement after F4.

Four corners of frame

Even at maximum aperture (F2.8), there is no significant drop in performance, and results are similar to those in the periphery. However, there is strong vignetting and a decrease in contrast that is thought to be caused by coma aberration. By stopping down, the shortcomings are improved and results are almost the same as in the periphery. For a 26mm pancake lens, these are impressive results.

Sample

At F4, the image is already very homogeneous, and peak image quality is achieved at F5.6-F8. If you use it for snapshots by stopping down to F8, you can use it for everything from close-ups to long-distance shots with stable, low-variation image quality.

Comparison with competing lenses

The NIKKOR Z 24-50mm f/4-6.3 also has excellent performance, but its peak resolution performance does not match that of the 26mm f/2.8. The NIKKOR Z 28mm f/2.8 and NIKKOR Z 24-70mm f/4 S show a noticeable drop-off in the periphery when shooting close-ups. While it may be rare to worry about the image quality of the corners and edges when shooting close-ups, the Z 26mm f/2.8 is the best option for a wide-angle lens in such cases.

far-field resolution

Test environment

Date of shooting: 3rd March 2023, fine weather, light breeze
Camera: Nikon Z 7
Tripod: Leofoto LS-365C
Head: SUNWAYFOTO GH-PRO II
Exposure: ISO 100, Aperture Priority AE

Test results

For a small, lightweight wide-angle 26mm pancake lens, it has a sense of stability right to the corners of the frame. I expected the image quality to be a little worse in the corners, but I was pleasantly surprised. When you stop down the aperture, the image quality improves right to the corners, and the vignetting is also improved, giving the image a slight boost in contrast.

Centre of frame

It demonstrates very good resolution performance from the maximum aperture of F2.8. It is sharp down to the finest details, and the contrast is high. The image quality is at its peak from F2.8, and there is almost no change even when the aperture is stopped down. The image quality is maintained up to F8, and from F11 to F16 the image quality gradually deteriorates due to diffraction.

Middle of frame

Compared to the centre, the contrast appears to be slightly lower, but you can still get good results with a sense of stability. If you narrow it down, the image quality improves slightly, but there is almost no difference from the peak. You can get similar results up to F8.

Four corners of frame

Surprisingly, there is no significant drop in image quality towards the corners. The contrast of the details is slightly lower than the surrounding areas, but the distortion of the image is not noticeable, and it is possible to obtain sufficiently good results depending on the image processing. Although the contrast and vignetting are resolved when the aperture is narrowed, there is no dramatic improvement compared to F2.8.

curvature of a surface

What is surface curvature?

This refers to the fact that the shooting distance at which the image is in focus differs from the centre to the four corners. For example, even if the image is in focus at a shooting distance of 1m, if the subject is moving back and forth around 1m at the edge of the frame, there is a possibility of field curvature.

Although there are few lenses that have noticeable field curvature, in recent lenses, aberration may increase and become noticeable at close distances. However, there are few opportunities to take photos of flat subjects at close range, so even if there is some image curvature, there is no need to worry.

However, if there is an effect even at infinity, you should be careful. If you are trying to achieve a pan-focus effect, for example in a landscape, there is a possibility that you will end up with an unintentional out-of-focus image. As there is no way to correct this aberration, the only way to avoid the problem is to increase the F-number to widen the depth of field.

Test results

Whether the focus point is in the centre or in the corner, there doesn't seem to be much difference for a flat subject. If anything, the contrast is lower in the corner due to the influence of coma aberration, and the accuracy of the focus point tends to decrease.

Lateral chromatic aberration

What is lateral chromatic aberration?

A colour shift that appears mainly around the edges and corners of the frame. Unlike longitudinal chromatic aberration, the effect of correcting this aberration using the aperture is small, so it is necessary to correct it at the stage of optical design. However, it is possible to digitally correct chromatic aberration using the image processing engine built into the camera body. This makes it possible to correct chromatic aberration, which is difficult to correct optically alone, and recently, there have been lenses that prioritise the correction of other aberrations over chromatic aberration correction. In particular, mirrorless systems tend to rely on post-processing.

Test results

This is a compact, lightweight wide-angle lens, but the lateral chromatic aberration appears to be corrected very well. This good result is certainly reflected in the image, and even in high-contrast situations, colouring is barely noticeable. There is also no colouring in the bokeh, which is difficult to correct.

Longitudinal Chromatic Aberration

What is longitudinal chromatic aberration?

Longitudinal chromatic aberration is a colour shift that occurs in front of and behind the plane of focus. If the area in front of the plane of focus is mainly purple fringing, and the area behind the plane of focus has unnatural green colouring in the out-of-focus area, then the main cause is likely to be longitudinal chromatic aberration. This is more likely to occur with large-aperture lenses such as F1.4 and F1.8, and in such cases it is necessary to close down the aperture to improve the situation. It is possible to correct this using development software, but it is more difficult to process than lateral chromatic aberration, so it is best to suppress the aberration optically if possible. However, when suppressing longitudinal chromatic aberration with a large-aperture lens, the product price tends to be higher. Lenses that perfectly correct for longitudinal chromatic aberration have high contrast on the focal plane from wide open aperture, so you can expect a punchy resolution.

Test results

If you look closely, you can see that there is a very slight amount of longitudinal chromatic aberration, but this is unlikely to be a problem in real-life photography. For a compact, lightweight lens, it is well corrected. Although this is not longitudinal chromatic aberration, the depth of field when the aperture is closed appears to widen towards the far side. There is a slight effect of focus shift, but it is not an amount that would be overly worrisome in real-life photography.

Distortion

What is Image Distortion?

Distortion is the phenomenon where a straight line does not appear straight on a flat surface. It is particularly noticeable in cases where there are many straight lines, such as in man-made objects or when the horizon is visible, and it is divided into two types: barrel distortion, which is similar to the fisheye effect, and pincushion distortion, which causes the centre of the image to appear squeezed.

This is a relatively easy aberration to correct, but it is difficult to manually correct for distortions that have a special shape, such as ‘bamboo hat-shaped’ distortion. In this case, a correction profile that matches the lens is required.

Test results

Coma aberration

What are coma and astigmatism?

Coma and astigmatism are mainly the failure of a point of light to appear as a point of light in the four corners of the frame. For example, this can be seen in artificial lights, stars and illuminations in night scenes. Even during the day, bright point light sources such as sunlight filtering through trees can also have an effect. As this problem cannot be corrected in post-processing, it is necessary to correct it optically.

Although it can be improved by narrowing the aperture, in situations where shutter speed is important, such as night scenes and astrophotography, it is not possible to narrow the aperture, and optical correction may be necessary.

Test results

This is a point of weakness due to the various aberrations of this lens. There is a slight amount of coma aberration that is noticeable towards the corners of the frame. This may be the cause of the reduced contrast at the corners of the frame. To improve this, you will need to stop down the aperture by two stops. This is consistent with the results of the resolution test for close-up and distant scenery.

Spherical aberration

Foreground and background blur

What is a beautiful blur and a noisy blur?

The evaluation of bokeh tends to be subjective, but I personally think that ‘soft, diffused bokeh’ is beautiful, while ‘sudden bokeh or hard-edged bokeh’ is not so good (or is a unique depiction). However, everyone has their own preferences, so there may be people who prefer the opposite. For reference, here are some examples of ‘blurred bokeh’ and ‘hard-edged bokeh’. The difference in the tendency of the depiction is mainly due to the state of correction of spherical aberration, and when the bokeh on either side is soft, there is a tendency for the bokeh on the other side to become hard.

Back Blur

The bokeh quality in front and behind is not neutral, with the bokeh behind being a little softer and the bokeh in front leaning towards a hard tone. It may be that the correction for spherical aberration is not perfect. However, there are few opportunities for bokeh in front with wide-angle lenses, so it can be said that the fact that the more important bokeh behind is soft is a good trend.

Front Blur

Bokehball

Effects of Vignetting and Spherical Aberration

If vignetting is strong, the bokeh at the four corners of the frame will be elliptically deformed or partially missing. The only way to solve this problem is to close down the aperture. However, closing down the aperture will make the bokeh smaller and in some cases the shape of the aperture blades may become visible, so it is necessary to compromise on the amount of vignetting depending on the situation.

If the amount of vignetting is small, it is possible to get a circular bokeh from wide open to the four corners. Ideally, a lens with little vignetting is preferable, but to eliminate it, it is necessary to fundamentally increase the size of the lens. There is a need to strike a balance between portability and cost, so some kind of compromise is necessary.

If the correction of spherical aberration is not perfect, there will be a difference in the depiction of the bokeh in front and behind (as shown in the review of bokeh in front and behind). In this case, one side will have a smooth depiction with blurring, while the other side will have a hard depiction like double-line bokeh.

Test results

Although it is a small, lightweight lens, it uses three aspherical lenses in its construction. This special lens is prone to irregular bokehball depending on the polishing conditions, and is known as ‘onion bokeh’. The 26mm F2.8 is noticeable for its concentric circles of what appears to be onion bokeh. You should be careful when using it with high-contrast backgrounds, as this can cause bokehball. However, the colour fringing caused by chromatic aberration is not very noticeable, so the image is not extremely noisy.

Vignetting is also noticeable, but it seems to be well controlled for a pancake-sized wide-angle 26mm lens. It improves when you stop down the aperture, but the corners of the bokeh (due to the aperture blades) are more noticeable than that, so it seems better to give up on the vignetting.

Sample of a boke

Close range

Despite being a pancake lens, you can still get a large bokeh effect by making use of its close-up performance. In this case, the bokeh is smooth and the results are mostly satisfactory. Furthermore, the in-focus area is sharp, so the impression is that the subject is well separated. As mentioned above, the bokehball in the high-contrast area is noticeably uneven in a concentric circle pattern, but it doesn't seem to have such an impact on the overall image that it would negate the image. Even when stopped down, the pleasant image quality continues, and it can be used without any problems right up to the minimum aperture of F16.

Short range

As the shooting distance increases, the bokeh naturally becomes smaller. The wider areas of the frame still look smooth and beautiful, but the bokeh in the four corners looks a little noisy. This may be more due to the influence of coma aberration than the influence of vignetting. For this reason, if you stop down the aperture, the corner rendering improves (because the coma aberration converges). The bokeh becomes smaller, but you can get a stable bokeh in the corners at around F5.6.

Medium range

Furthermore, if the shooting distance is increased, the bokeh in the central area becomes a little noisy, and the four corners become even more noticeable. Both can be calmed down by slightly narrowing the aperture, so if you are concerned about this, you might want to adjust it to around F4~F5.6.

Portrait

The following are the results of taking pictures of a tripod that is 170cm tall while changing the distance and aperture.Even if you frame the whole body, you can still get a slight blur, but it is difficult to separate the subject from the background. If you look closely, the blur is noisy, but it is small in size so it doesn't stand out. If you get close to the subject, up to about knee level, the blur will become larger, but at the same time the noisy depiction will also stand out. In this case, it may be better to slightly narrow the aperture. If you get close to the subject, up to about bust level, you can get a good blur.

Vignetting

What is vignetting?

Unnatural drop in light intensity around the frame.
The light intensity is lower than in the central area, and there is insufficient exposure in the four corners of the frame. This mainly occurs with large-aperture lenses and wide-angle lenses.

Although this is a phenomenon that can be easily corrected using software, it is necessary to be careful about the fact that it can cause noise, as the insufficient exposure is covered by post-processing correction (sensitization). In particular, when using high sensitivity for nightscape or starry sky photography, there is a possibility that noise will appear strongly.

Minimum focusing distance

As you would expect from a compact, lightweight wide-angle lens, vignetting is noticeable at the maximum aperture of F2.8. If you have a flat subject or background, it is probably better to use the vignetting correction. Closing down to F4 greatly improves the situation, but even closing down further does not completely eliminate it.

Infinity

Compared to the minimum shooting distance, vignetting is even more noticeable. Even with non-flat subjects, you will notice strong vignetting, so vignetting correction is essential at all times if you do not want vignetting. It improves when you stop down the aperture, but there is still some noticeable vignetting across the entire aperture range.

Backlight resistance, sunstar

centre

When a strong light source is directly in front of the lens, flare occurs around the light source. If you stop down the aperture, the flare will be reduced, but it will converge and become a noticeable ghost. Depending on the situation, it may be noticeable. The number of ghosts is small, probably because the lens has a small number of elements. Depending on the situation and aperture value, it may be troublesome.

corner

There is less flare and ghosting than when the light source is in the centre, and even when the aperture is narrowed, the effect of ghosting is minimal.

sunstar

The sunstars begin to become sharper from around F11, but even if you stop down to F16, they will not become tapered sunstars. If you want to stop down to get sunstars, it is better to use a cross filter or something similar.

Summary

Good points

Good texture of the metal exterior
Compact and lightweight
Dustproof and splashproof
Smooth focus ring
Good resolution performance even when taking close-up photos
Good resolution performance in long-distance shots
Good chromatic aberration correction
Soft background blur
Fairly good resistance to backlighting

This is a small, lightweight pancake lens that takes great photos. It has low resolution performance and low aberration variation, from close-up to long-distance shots, and it is possible to obtain stable results over a wide range of the frame. It is also easy to control residual aberration, and it has few quirks, which is good. Considering that the performance of the Z 28mm F2.8 tends to deteriorate when shooting close-ups, the stability of the Z 26mm is clearly its strength. Although the price is a little high, it has a robust lens barrel with a good texture, so you can also get the joy of owning it.

Bad points

Expensive for a 26mm f/2.8
Only a control ring for operation
Plastic lens hood (a gap in texture with the main body)
Filter socket only compatible with hood
All-group focusing (negative points for AF speed, AF drive noise, and breathing)
Slight field curvature
Onion-shaped bokeh
Large barrel distortion
Vignetting that requires correction
Prominent coma aberration

There are a few drawbacks, but many of them are within the range that you can imagine from a ‘small, lightweight wide-angle lens’. Vignetting and coma aberration can be controlled with the aperture, and distortion can be corrected properly with soft correction. Concentric circles of bokehball cannot be avoided, but there are probably not many scenes where you would notice it with a 26mm F2.8 lens.

One thing that was a little disappointing was the plastic lens hood. It's undeniable that it has a cheaper feel than the main body, and the white lens name printed on the front also seems to emphasise the cheapness. I'd like to use it without the hood, but considering the inner tube that extends with the full-group extension system, a hood is essential. I can only hope that a stylish lens hood made by a company other than the manufacturer will appear.

The focus performance is clearly inferior to the Z 28mm F2.8, which can be purchased at half the price. Although it is not slow for a telescopic focus, it is not as good as the 28mm, which has a floating inner focus structure, and the drive noise is not quiet. Furthermore, the focus breathing is noticeable, so it is not compatible with video recording.

Conclusion

Personally, I like it even more than the Z 28mm F2.8 I got before. The wide 26mm angle of view, the stable image quality even when shooting close-ups, the compactness and lightness, etc. There are a few drawbacks, but they're within acceptable limits when you consider the advantages. The problem is that you can buy the Z 28mm F2.8 for half the price. If you're focusing on still images, I recommend the 26mm. If you're planning to use it for video shooting as well, I recommend the 28mm.

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Example

The original data is available on Flickr.