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Viltrox AF 16mm F1.8 Z-mount Review: Even Better on Nikon?
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May 13, 2024
Photographer Dustin Abbott shares a deep dive review of the new Nikon Z-mount version of the Viltrox AF 16mm F1.8 Z. Tested on a 45MP Nikon Z8 | This video is sponsored by Fantom Duffel. Visit https://store.fantomwallet.com and use code DUSTIN20 to get 20% off | Read the Text Review: https://tinyurl.com/Vil16Zreview | Visit the Image Gallery: https://tinyurl.com/Vil16Zpics | Purchase the Viltrox AF 16mm F1.8 @ Viltrox https://tinyurl.com/BuyVil16Z (use code DUSTINABBOTT for 8% off) | B&H https://bhpho.to/3UyJHvs | Nuzira https://tinyurl.com/NUZ16Z | Adorama https://howl.me/cmduufDxvTr | Amazon https://amzn.to/3ycG7j7 | Amazon Canada https://amzn.to/44zQR7a | Amazon UK https://amzn.to/4bOld8D | Amazon Germany https://amzn.to/4b8rSKQ Check out the DA Merch here: https://bit.ly/TWIMerch | Become a Patron: https://www.patreon.com/dustinabbott | On the Web: http://dustinabbott.net/ | Sign up for my Newsletter: http://bit.ly/1RHvUNp | Instagram: http://bit.ly/DLAinsta | Facebook: http://on.fb.me/1nuUUeH | Flickr: http://bit.ly/1UcnC0B | 500px: http://bit.ly/1Sy2Ngu Follow Craig @ https://www.instagram.com/craigstoffersen/ Want to support this channel? Use these affiliate links to shop at: B&H Photo: http://bhpho.to/1TA0Xge Adorama: https://howl.me/cjU0LKdp3LN Camera Canada: http://bit.ly/DLACameraCan Sony Canada: https://www.thesonyshop.ca/?ref=abbott Amazon: https://amzn.to/3HrY64d Amazon Canada: https://amzn.to/3qG1p18 Ebay: http://bit.ly/DustineBay Into the AM Clothing: https://bit.ly/intotheAMda and use code DUSTIN10 for 10% off Make a donation via Paypal: https://www.paypal.com/paypalme/dustinTWI ============================= Table of Contents: ============================= 0:00 - Intro and Concept 1:08 - Fantom Duffel
View Video Transcript
0:00
Hi, I'm Dustin Abbott and I'm here today to give you my review of, for the first time
0:15
the Nikon Z or Z mount version of the Viltrox AF 16mm f1.8
0:22
This is the first of the reviews I've done on my new Nikon Z8 body
0:27
I've been enjoying getting to become familiar with it and start to do some lens reviews
0:31
on it. Now, as the Nikon Z mount platform has begun to open up, it has become much more interesting
0:37
to someone like myself. The Viltrox AF 16mm f1.8 quickly became one of my favorite E-mount wide angle prime lenses
0:47
when it was released about a year ago. And so today's review not only explores how well it makes that transition to Nikon Z mount
0:57
but also the fact that Viltrox has managed in their fashion to add even more innovation
1:03
in this transition. And we'll explore that as a part of today's review right after a word from our sponsor
1:09
Today's episode is brought to you by the Phantom duffel, a new unique convertible duffel bag
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you're ready to check out. Now to start off, things look very similar here on the exterior
2:03
There is a very slightly different lens profile as you can see from this photo that is due
2:06
to the fact that the Z mount is significantly larger in diameter than what Sony's E mount is
2:13
This means that while there's a bit of a taper here on the E mount version, the lens stays
2:17
a little bit wider at that point. Now because that's not the widest point on the lens, the overall diameter of the lens
2:23
actually stays the same. It's 85.2mm in diameter or 3.35 inches. The length however is just a little bit longer to accommodate for the difference in the flange
2:34
distance between the two mounts. And so the Nikon Z mount version is 105mm or 4.13 inches in length
2:42
So that adds about 4mm to the overall length. And because it is just a little bit larger, it weighs just a little bit more
2:49
It's 565 grams or 19.4 ounces. So it's gained 15 grams in this transition
2:56
Now while this isn't a small lens, it's what I would call a medium size lens, it obviously
3:01
feels maybe a little bit more natural a fit here on a very beefy body like the Nikon Z8
3:09
body as opposed to some of the smaller either Nikon bodies or going back to some of the
3:14
Sony E mount versions. So your tolerance for that may vary somewhat
3:18
I noted from the user reviews over the past year for the Sony version that there are some
3:23
people that objected to the weight, others thought that the quality of the lens certainly
3:29
made up for that. I tend to be more in the latter case, but I do understand the reserves from the former
3:34
So you're going to have to make a decision for yourself whether or not that that is a
3:38
fit for you. I will note that the lens is fairly close, not quite identical, but very, very close
3:43
in size and weight to the Nikkor 20 millimeter F1.8 S lens
3:48
And so there really isn't necessarily smaller, lighter options when you're talking about
3:53
this kind of focal length and certainly not if you want that larger maximum aperture
3:58
Now this lens is at a whole new level for features even compared to a lot of the first
4:03
party lenses here on Z mount. It has a lot going on for it and they've managed to add an additional feature that
4:10
we didn't see on the E mount version before. So first of all, when it comes to the aperture iris here, we have some variety of ways to
4:18
approach that. We have an aperture ring that allows you to choose with one third stop detents
4:25
You can go past a hard stop into the A mode and go into automatic, but the lens also has
4:31
a de-click option on the side. And so if you click that, you now can smoothly rack through the whole aperture there
4:38
And so that gives you some additional options for doing aperture racking, you know, kind
4:42
of your control of aperture. So that is obviously very welcome. There is an AF-MF switch, which again is always welcome to me
4:51
And then there are actually two custom function buttons on the side
4:55
Now the first top function, function number one button is going to work through whatever
5:01
you have assigned to custom button functions in your actual camera body
5:05
And so obviously that's going to be useful for whatever function you have applied
5:08
The second function button is designed around the top mounted LCD screen and that LCD screen
5:15
allows you to do something like setting up, say AB focus to where you choose one focus
5:20
point and then a second focus point. And with the touch of that button, you can rack between those two different focus points
5:26
which is obviously going to be very useful in certain kinds of application
5:30
Now that LCD screen on the top, you know, some people consider it to be a gimmick, others
5:35
consider it to be useful. You'll have to determine for yourself where you fall in that particular debate
5:42
But what it does give you is a few bits of information on there. First of all, it provides the kind of old fashioned distance scale and that is where
5:50
both probably the chief objection is, and that some people feel like the distance scale
5:54
information is not always accurate. And so, you know, how important distance scale is to you is your mileage is going to vary
6:01
on that obviously. But it will also give you information like the aperture, which, you know, I have to debate
6:07
how important that is considering that the aperture ring is literally right next to it
6:11
And so that might be easier to see itself. But more importantly, it's going to give you your positions for presetting your AB focus
6:18
and the ability to interact with that screen. And so you can program that in a useful kind of way
6:23
So I think that there is useful applications for it, but the truth of the matter is much
6:27
like the Zeiss Batis lenses that I've reviewed in the past, this probably isn't a deal breaker
6:32
kind of feature, but it can be useful. And it seems to be a feature that Viltrox is going to embrace on some of their higher
6:39
end lenses, like the upcoming Lab Series. Now beyond that, we have a weather sealing gasket, and this is a professional grade of
6:47
weather sealing. You can see from this diagram, there are 12 different seal points, gaskets throughout
6:52
the lens itself, plus a coating on the front element to help with fingerprints and also
6:57
with moisture there. We do have a metal manual focus ring. And in this case, I did notice that the focus throw was longer on the Z-Mount version
7:07
There's a little bit more than 360 degrees of rotation there. I do find that the distance scale here, one useful thing for it is it does allow for a
7:15
little bit more repeatable focus pulls, if that's a priority to you. And I will also note that just on a basic level versus the Sony E-Mount version, Nikon's
7:25
implementation of manual focus is preferable to me. There's a little bit more going on there, and so I really appreciate that, some of the
7:32
manual focus aids that are there. And so I did enjoy the manual focus experience a little bit more on Z-Mount than what I did
7:39
on Sony E-Mount. The lens has a USB-C port on the actual lens mount, which has become pretty ubiquitous
7:47
for them. But what is new here is that they've actually added a Bluetooth module into the lens itself
7:52
And so there is a new Viltrox lens app that will allow you to do direct firmware updates
7:59
right now, do firmware updates to the lens itself. And so that becomes probably the simplest means of doing firmware updates, even though
8:06
they still have the USB-C port as another option. Now the promise is that they're going to add more function through this app in the future
8:14
And so it'll be interesting to see where all they go with that. But even on the basic level, this is probably going to be your easiest way to do firmware
8:20
updates in the future. So something certainly worth checking out. But I can see them, you know, being able to do, say, your A-B focus programming and then
8:29
pulls remotely, which could be a very interesting application to make sure that you're not introducing
8:33
any kind of vibration into your shot. Again, that's conjecture, but we'll see where they go with that
8:40
Up front we have a 77mm front filter thread. Very important in a wide angle, wide aperture lens like this, that you can use traditional
8:48
circular filters on there. And it's one of the features that I praised on the E-mount version of the lens
8:54
Really glad to see that as a part of this design. The lens hood is included, as is a lens pouch
9:01
The lens pouch itself doesn't give you a lot of protection value
9:05
The lens hood itself is just okay. The biggest reason, my biggest complaint about it is that it doesn't always lock in
9:12
place here. When it's in position, it doesn't lock the way that you would like
9:17
And so it is possible for it to get bumped. I noticed, for example, I had a few shots that were ruined because I had taken it out
9:23
of my camera bag. It obviously bumped in that transition and I hadn't noticed it
9:27
And so it was just a little bit off kilter, but even a little off kilter will introduce
9:31
some mechanical vignette in the corners. And so it's something you're going to have to watch out for
9:36
And it's an area that I would like to see improvement from Viltrox, either adding a
9:40
lock or adding a better just kind of locking mechanism when it gets into that final bayonet position
9:47
Overall, however, though, it's really hard to complain over a lens that costs $550
9:53
And if you use discount codes, you can get it closer to $500. This is a ton of lens for the money and a huge value proposition
10:00
Now on the autofocus side of things, obviously that is another area where I was really interested
10:04
in seeing how the lens performed. As I'm becoming more familiar with Nikon's focus system here, I'm really interested to
10:11
see how it compared to the Sony side of things. So focus motor remains the same
10:17
This is a lead screw type STM focus motor. It is extremely quiet in operation, so you're not going to have any kind of issue with focus sound
10:26
I also noted that focus changes are very fast. Now, of course, wide angle lenses are a little bit easier on that metric for the simple reason
10:33
that there's a bigger depth of field, thus fewer focus possibilities. So they do tend to focus a little bit faster, but this is noticeably fast
10:42
Even indoors, I found that focus changes were pretty close to instantaneous
10:46
Outdoors, obviously even more so in better light. I also found that there was very good focus accuracy
10:53
It focused locked on my subject. It delivered well-focused, well-detailed results. I will note that, and it seems to be a trend across multiple lenses I'm currently reviewing
11:03
and that is that sometimes when you have a close focus subject, the camera lens tends
11:08
to prefer to focus on the background subject rather than the foreground subject
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And so you sometimes have to play with it a little bit, either focusing down towards
11:16
your feet, something nearby to get focus in the right zone, and then it will lock on that
11:21
foreground subject better. But that does tend to be kind of maybe a vulnerability in the focus system itself on this Z8 camera
11:30
and maybe less lens-specific since it seems to be doing the same thing on all three lenses
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that I'm currently testing. Now one of the key improvements here on Nikon version, it's kind of ironic at this point
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Sony has developed a well-deserved reputation for being a little bit more open-sourced in
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terms of its focus algorithms. They have not prevented third-party development on their platform
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And as a result, there are more Sony E-mount lenses in total, I think, probably than any
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platform ever in the history of photography. So kudos to them on that front
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However, on the upper end of things, there's been some imposed limitations that have come
12:06
from Sony, namely when it comes to the lens like this, is that you get a maximum burst
12:11
rate of 15 frames per second with any non-Sony lens. So obviously that applied to this lens, even with something like my Sony Alpha 1, which
12:18
can shoot at 30 frames per second. This Z8 can also shoot at 30 frames per second
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But although Nikon was slow to open up the Z-mount protocols, they've also not imposed
12:29
the same kind of limitations. So as a byproduct, I can shoot at 30 frames per second with this Viltrox lens, the first
12:35
time I've been able to do so. And I found that autofocus could keep up
12:39
I shot a number of sequences here where I had my son kind of run and jump off a wall
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as I was at a lower angle, just to see how it tracked his face during that rapid movement
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And it seemed to do a very effective job. And I was able to get that in just a little over a second, that whole sequence
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It's actually a little under a second. I had about 29 shots in a little under a second
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So it shows that I'm getting the full burst rate out of that, which is fantastic, obviously
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for Z-mount shooters. Now on the video side of things, I found that focus was also very good
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Focus pulls are well damped. They're smooth and confident. There's no settling or pulsing or anything like that
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It's not like super fast, but it's controlled. It's damped in between those two points
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Though, of course, you can, through the actual tuning in the camera body, you could turn
13:26
that speed up if you so desire. But for this purpose, I was satisfied with what I saw there
13:32
It was a little bit more of a detriment at the more standard focus speeds when I was
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doing my hand transition because it's not as reactive as what I would like
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So again, if you want, if you're in a more reactive setting, you may need to turn that
13:44
up to get your most effective focus results. But what I did find is that tuning for real world shots, where I'm transitioning from
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one focus point to another, it does tend to be a little bit more cinematic in the process
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So there's nothing jarring. And the fact that focus breathing is quite low on the lens is a benefit as well
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It means that you're going to get very cinematic looking focus pulls and focus transitions
14:08
while shooting video. So that is obviously fantastic. Making this, even though it's heavy, makes it a good gimbal lens
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Great focal length, obviously, for wide angle shots. And there is, the distortion is a little bit complex, as we'll see in just a moment, but
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it's also extremely minimal. So this is not a bad idea for if you're looking for something for doing interior shots
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If you know, if you're doing maybe for real estate photography and you want to do walkthroughs
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or something similar, not a bad option here. Nice wide angle of view, not so wide that things look weird, however, and fairly low distortion
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So kudos to Viltrox. This is a useful lens for video work on a variety of fronts
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So finally, let's talk about image quality. And obviously these are the same optics as what we saw before, but I'll just kind of
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examine how they play out on a different kind of camera system
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We will do a detailed optical breakdown at the end of the review if you're interested in that, but I'll give you an overview here if you want to get in and out quicker
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One thing is definitely noticeable is in more recent Viltrox lenses, going back a little
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over a year ago, is that the optical glass was improved. I understand that there is a partnership with Hoya and that has improved their optical glass
15:19
and it is improved. I really like the colors I see off the lens now and they are noticeably improved
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The lens continues to have the benefit of having low chromatic aberrations, both of
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the longitudinal and lateral type. There is, as noted, some minor distortion
15:34
The distortion itself is minor, but it is nonlinear and so manually correcting it is
15:39
not easy. Now there is a profile in software that will allow you to correct that and I believe it
15:45
will correct somewhat in camera. However, I will note that on the vignette side of things, it corrects a little bit of
15:51
vignette, but certainly not a sufficient amount. Now on the vignette side of things, I did see just a little bit more vignette on Z mount
15:57
than what I saw on Sony E mount. Not a huge amount, but maybe an additional around plus 10 to correct for
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In this case, I'm all the way up to over 90 in trying to correct for it, so we're approaching
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over three stops in terms of shading in the corner. Certainly noticeable and as noted, the correction profile in camera does not fully deal with
16:19
that, so I think you're probably going to want to do some post-processing
16:23
Now on the sharpness side of things, there's great sharpness at f1.8 in the center of the
16:28
frame, good sharpness in mid-frame, and good sharpness in corner, but there is a much noticeable
16:34
improvement in the mid-frame in the corners, not at f2, but at f2.8
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From there on through f8, you have fantastic sharpness all across the frame
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You'll start to see some diffraction at f11, though 45 megapixels is not terribly high
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as far as resolution these days, and so it's not bad at f11, but will be much more noticeable
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at f16 and f22, which is minimum aperture that will be soft softening due to the effects
17:00
of diffraction. The bokeh quality here is not bad. You can get reasonably soft backgrounds, but is limited by the fact that this lens
17:11
has a quite low minimum focus distance of 27 centimeters and a maximum magnification
17:16
of only 0.10 times. So you can't get particularly close to anything, thus don't expect your backgrounds to be strongly
17:23
blurred out. As a byproduct, bokeh is probably not your chief concern with this lens, but it is okay
17:30
There's a little bit of outlining sometimes in specular highlights, but again, it looks
17:35
pretty decent overall. I found that flare varied a little bit depending on the aperture value, and so I think the
17:42
lens is actually fairly good at large apertures. As you stop the lens down, the flare patterns become a little bit more defined, and so you're
17:49
going to have to compose accordingly, and so we'll call it a mixed result when it comes
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to flare. I did note also if the sun was just a little outside of the frame, you could get some shafts
18:00
of light coming in. Nothing too distracting, however. I also found that coma performance is fairly good with this lens, and so obviously it's
18:07
going to be a very attractive night sky lens. Again, large maximum aperture for a wide angle lens, great wide angle of view
18:15
There's not really much like this on Z Mount currently, and so this could be a really appealing
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astral lens, particularly considering that it is very reasonable in price. And that brings us to our conclusion
18:26
I really think that this lens fills a hole in the Nikkor lineup
18:31
Sony obviously has had a ton of lenses, and even there I found this to be a very useful lens
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On Z Mount, I think it's going to be even more useful because that focal length is going
18:41
to be covered by some zoom lenses, but not really by prime lenses with maximum aperture
18:46
as large as this. You add that to the fact that this lens is incredible value for the money
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As noted before, if you use the code Dustin Abbott at the Viltrox store, you can get this
18:55
lens for right over 500 bucks. That is an incredible value when you consider that, say again, the Nikkor 20mm f1.8s is
19:05
basically double that. If you're going to talk about a zoom that's going to cover this focal length, you're going
19:09
to pay even more. If you shoot wide angle infrequently or it's not your primary, obviously this is a relatively
19:19
small investment to get a very high quality, high performing, feature rich lens
19:24
I think that this lens, it's been a fantastic seller on Sony
19:27
I expect it to be no less on Nikon as well. If you want more information, I do have a whole new review from the Nikon perspective
19:35
of things that you can find linked in the description down below. There's some buying links there as well
19:40
If you want a deeper dive into the optical performance, let's jump into it right now together
19:53
We'll start by taking a look at vignette and distortion here. You can see on the left side, an uncorrected raw image
19:59
There is only a very minor amount of barrel distortion that is there
20:04
You can see, however, though, it's not necessarily easy to correct for because what happens is
20:09
that because it's not linear, if you try to correct for it, the center kind of pulls into
20:14
a pin cushion distortion. There's really no easy way to correct for it manually because it is nonlinear
20:22
At the same time, however, most of the time you could get away with just not even correcting it and probably not notice very much
20:28
Vignette on the other hand is quite heavy. You can see here that it's strong in the corners
20:32
This is a plus 91 to correct and you can see I could probably go all the way up to the
20:37
maximum of 100. So there's a lot of vignette there to deal with
20:42
Now longitudinal chromatic aberrations are very well controlled. You can see taking a look here at these plum tree blossoms, very high contrast in the edges
20:50
of these. You can see that fringing as we head out of focus is just really well controlled
20:55
There's great detail on the subject and you can see there's no fringing in the image
20:59
There is a little bit of lateral chromatic aberrations and I've got this extremely magnified
21:04
at this point. So it fills the frame. So this is well over 200% more than what you're going to typically see
21:10
You can see at this high level of magnification, there is a tiny bit of fringing there, but
21:14
it is really minimal. So how about a look at resolution and contrast
21:18
This is 200% magnification on the 45 megapixels of the Nikon Z8
21:24
So in the center of the frame, you can see just fantastic. There's a fair bit of more there due to not having that low pass filter
21:32
And so as a byproduct, sharpness though looks great. We move towards the mid frame
21:37
You can see that it isn't as amazing as it was in the center
21:41
This still looks very good, just a little bit less. So when we get to this point, likewise here, again, you could see a little bit of drop
21:48
off from here to here. We move down to the corners. There's still a decent amount of detail there
21:53
You can see that all throughout, it's just contrast really isn't as good
21:56
In that sweet spot though of the center two thirds, sharpness is just amazing
22:01
And you can see here even going deeply cropped into this, that the detail is just fantastic
22:07
Very fine rendering of all of those little details. So I'm very impressed with that
22:12
Stopping down to F2 gives a very minor contrast boost. You can see that the darks are a little bit deeper here in the center of the frame
22:20
It's not enough to cause a significant improvement to the mid frame or the corners yet
22:24
But if you stop on down from F2 to F2.8, you can see a significant improvement in the corners
22:30
more detail, better contrast, and then obviously some brightening as the effects of the vignette
22:35
are starting to lift. From F2.8 to F4, you see an even more significant boost to the contrast in the corners, which
22:42
are now looking very crisp. And by F5.6, they are tack sharp
22:47
I mean, just really great detail. So that means your landscape images are going to be sharp all across the frame
22:52
Now in the center of the frame, you can see that the sharpness peaks here at F5.6
22:56
F8 is just very slightly less sharp and contrasty. In the corners, it looks roughly the same
23:03
We've got a nice even performance. By F11, diffraction is starting to show up just a little bit
23:08
And so it's a little softer. And by the time you hit the minimum aperture of F22, you can see that diffraction has severely
23:15
softened the image. Coming back to F5.6 for a moment. We've already looked at this corner
23:20
I'm going to look over here at the other side now. It looks about equally sharp
23:24
Upper left corner, looking very, very sharp. And then upper right corner
23:29
And we can see looking good here as well. So we've got a nice centering here as well
23:35
Now as noted, maximum magnification is not fantastic, 0.10 times. Contrast and detail look pretty decent up close
23:44
So at least it is fairly strong on that point. So as a byproduct of not being able to get particularly close, it's going to be rare
23:50
that you can strongly blur out a background. But we'll take a quick look at bokeh here just in case
23:55
You can see that there definitely is a little bit of outlining, almost like a bubble effect
24:00
on some of the specular highlights. Either you like that or you don't
24:04
But you can see that there's good detail on the subject. And then the background itself is reasonably soft other than that outlining
24:11
Again, there's just not going to be a lot of situations to create this
24:15
As noted, the colors in Viltrox lenses have really improved. And you can see here at a landscape aperture that there's just good detail everywhere we
24:24
look in the frame. Definitely one of the advantages of a wide angle lens like this is the ability to get
24:30
so much in focus at the same time. One more shot here. And again, if we punch in to look at the details here in the image, it looks beautiful
24:38
Colors are very nice. And then we can see even coming back here to the rocks, even though focus is out here
24:44
a lot of this is still in focus and it's only until you get to the very front here
24:48
where things are less in focus. Here's another image that shows nice color
24:52
It also shows a nice sunburst effect from the nine aperture blades
24:57
Now shooting wide open, you can see that there's a little bit of a glow effect, a little tiny
25:02
bit of ghosting artifact, nothing that's too destructive here. We stop on down and that flare pattern becomes more pronounced
25:11
You get some of this kind of prismatic effect around the blades. Again, it's still not terrible
25:15
It's not really all that destructive to the image. And as noted previously in our summation, you can see that the sun is right outside
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the frame. You will get some of these kind of shafts of light coming into the frame
25:26
That is an optical defect, obviously, but it's not a terribly destructive one
25:30
So finally, let's take a look at coma. Now this night was supposed to be perfectly clear
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You can see that the weatherman didn't get it perfect. Little clouds came in, but we can still see the stars behind them
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So in the center of the frame, even at F1.8, really, really nice and clean, no problems there
25:46
We look off towards the edge of the frame. There is a little bit of coma smear
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You can see, however, that it's not severe in any way, shape or form
25:55
And so this is a perfectly useful lens for shooting the night sky and really a pretty
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good result overall. So hopefully a deep dive into the optics has given you a better sense whether or not this
26:06
is the lens for you. As always, thanks for watching all the way to the end
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Have a great day and let the light in
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