Nikkor Z 20mm F1.8 S Review | Nikon's Best Wide Angle Prime?

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Hi, I'm Dustin Abbott. As you can see,
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it's starting to get frosty around here.
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And I'm here today to take a look at the
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fourth for me of Nicor's F1.8 Sline
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series. I have previously covered the
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35,50 and 85 millimeter kind of
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traditional focal lengths and now I'm
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going back to the 20mm f1.8s.
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Of course, this is a lens like many of
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these that has been out for a number of
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years at this point. And my question is
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as I'm going back through them at a
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later date. How are they holding up
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against uh you know modern developments
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against newer uh competition that's come
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onto the market since they were
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released? Now, in this case, ironically,
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there really isn't much in terms of
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additional competition that's come on
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the market. There are very, very few 20
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millimeter lenses that exist, period.
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And certainly none of them with a 20 mm
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and a f1.8 or brighter maximum aperture
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here on Zmount. And so, in many ways, I
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think the 20mm f1.8 still occupies a
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fairly unique position in Nikon's lineup
1:14
or just lenses on Zmount in general.
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Now, this is the most extreme of the
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lenses in the series. It is the biggest.
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It is the heaviest. It is the most
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expensive. And so, while in some ways it
1:25
doesn't fully fulfill, I think the
1:27
mandate of the f1.8 Sline series, it
1:30
also, as we're going to see, continues
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to be a very, very good lens. And I know
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that from some of your feedback, this
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along with lenses like the 50mm f1.8
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tends to be one of your favorites in
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this lineup. And we're going to explore
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why that is in today's review. Before I
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jump in, however, I do want to say a big
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thank you to Nikon Canada for sending me
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a laner of this lens. As always, they
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have had zero input in this review. They
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will not see it before you, and the lens
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will be going back to them after this
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review is concluded. All of that aside,
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let's jump in. Let's take a look. All
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right, let's take a closer look at the
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build and handling here. Now, first of
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all, this is, as noted, the most
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expensive of the S-line lenses. It is
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$1,146
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in terms of its MSRP. That compares to
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Sony's 20mm f1.8 as $998
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and of course also on Sony not here on
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Zmount natively. But there's the Sigma
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20mm f1.4 that you can get for $989.
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So cheaper still and of course that lens
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can be used on Nikon via an adapter. Now
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as you can see compared to one of the
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smaller lenses in the series the 50mm
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f1.8 it is considerably bigger. Uh the
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this lens is 84.5 millimeters in
2:43
diameter. You can see it flares out
2:44
towards the front which is fairly unique
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to this lens and and so it makes a
2:48
little bit wider in diameter. That's 3.3
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in. It's also longer. It's 108.5 mm or
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4.3 in. So that is considerably larger
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in all dimensions than Sony's 20mm
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f1.8G. That lens is just 73.5 mm in
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diameter. has a 67 millimeter filter
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thread instead of the 77 millimeter
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filter thread here. It's also in terms
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of length, it's only 84.7
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millimeters long. And so that means that
3:16
it's 24 mm shorter than what this lens
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is. That's significant. Also, that makes
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this lens heavier because of its just
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sheer size. It's 505 g or 1.1 lb. And
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again, that compares to 373 g for the
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Sony.
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However, build quality is good. This
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lens has held up well. I've actually
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heard zero complaints from users
3:38
regarding any of the uh S-line lenses.
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Seems like the build quality has held up
3:42
well over the years that they have been
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out. This is a lens that has weather
3:47
sealing all throughout. And you can see
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from this diagram, it's there's about
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eight different seal points throughout a
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coating on the front element to help
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with, you know, fingerprints and then
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also moisture resistance. Terms of the
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features, they are pretty slim. Here
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we've got an AFMF switch and then we've
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got the customizable control ring here.
4:07
And obviously, you know, the primary
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function of that is going to be for
4:10
manual focus. However, depending on how
4:12
you set it up, you can assign a
4:14
different function. Now, having just a
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single ring instead of a dedicated
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customizer control ring means that the
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way that it often is going to work is
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that when it's in autofocus mode, you're
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going to end up with this functioning as
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an aperture ring. you switch to manual
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focus, it becomes a focus ring at that
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point. So, when you have it set up as an
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aperture ring, you can do aperture
4:36
racking. Though, I find with all of
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these customizable control rings on
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Nikon, there's quite a bit of lag. And
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so, if you're making like a major focus
4:44
changes, you have to kind of know that
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you have to stop earlier than what the
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indicator shows because it's going to
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continue to change for about a half
4:52
second after you stop doing input. At
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that point, the one thing that you lose
4:57
in this configuration also is the
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ability to have full-time manual
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override. And so, I mean, you can set it
5:03
up for that, but you're going to lose
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aperture control. I just wish there was
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that secondary ring that we see in a lot
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of Nikon's other lenses. Now, inside we
5:11
have nine aperture blades. They stay
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fairly round, circular, as you can see
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here. Um, you know, through large
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apertures, f1.8, f2, f2.8 shown here.
5:21
You can see when the lens is stopped on
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down, you're going to definitely see
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those the straight lines of those
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blades. As noted previously, we've got a
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77mm front filter thread, which is
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easily the largest in the series.
5:32
Minimum focus distance is 20 cm, giving
5:35
you a 0.19 times level of magnification,
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which is useful. And I did find that up
5:41
close results could be quite good. And
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so that just adds to the versatility of
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the lens. It does come with a lens hood
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here. I don't find Nikon's lens hoods,
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you know, particularly great. They're
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just kind of plasticky, but at the same
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time, it does the job. You can see it
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flares out to make sure you're not
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getting additional vignette there. And
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so, that does add to the profile of
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making the lens seem a little bit bigger
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and bulkier because it's not a
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particular deep lens hood, but it does
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flare out even wider. So, that does add
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to the overall diameter of the lens. In
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general, however, though, while it's not
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a lot of bells and whistles, it's a very
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functional package. I found that the
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lens handled great out in just using it
6:21
in real world situations. So, let's talk
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autofocus. Autofocus here, like the 85mm
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f1.8, comes from dual SDM focus motors
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that are driving autofocus. Clearly,
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Nikon felt with this lens being a little
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bit more of an extreme aperture uh focal
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length combination and with the 85
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millimeter that these are lenses that
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warranted just a little bit more thrust.
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And fortunately, in terms of basic
6:47
shooting, there is plenty of speed. In
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fact, in doing my formal test, you can
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see that autofocus goes from close to
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the distant subject pretty close to
6:55
instant. You know, there's not much of a
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lag there in between. And so, in terms
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of basic thrust for just general purpose
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shooting, there's plenty of speed there.
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It's fairly quiet in operation. I didn't
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really notice any kind of issues on that
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front. And likewise, when I was shooting
7:10
slowmoving action, again, I got very
7:13
good results. well focused, crisp,
7:15
detailed. Even at f1.8, everything looks
7:18
great. Unfortunately, when I tried to
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capture faster moving action, that's
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where the limitation showed up. And so,
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Nala came running towards me. And you
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can see that while focus started off
7:30
okay, as she progressively moved closer
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towards the camera, the camera never
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really caught up to her. And so, as a
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result, at best, I had focus on her hind
7:40
quarters, but never on her face. And so
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in terms of, you know, it was almost all
7:45
back focused at that point. And I think
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that that is where I' i've seen the
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limitation of most of these f1.8 S-line
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lenses as well, that they work fine
7:54
within certain parameters, but if you're
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trying to use them for action type
7:59
photography, particularly quick moving
8:00
action, they just can't quite seem to
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catch up. And so that seems to be, you
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know, maybe a focus algorithm type thing
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or just maybe those STDM motors in this
8:08
application are just not reactive
8:11
enough. And I think that that's why at
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least on the lenses, a few lenses that
8:16
are more tuned towards sports use that
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we are seeing them move towards a voice
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coil style motor instead. And I hope
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that in second generations of lenses
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like this in the future, they'll just go
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to voice coil in general because I feel
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like it's going to give that a little
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bit of additional thrust and precision
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that will allow for just a little more
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flexibility for sports. And I recognize
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very few people are going to use these
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for sports type lenses. But I do know
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that on, you know, other platforms that
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the lenses that would be competing with
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this lens, I think would be more
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capable. Certainly, I felt with the Sony
8:47
20mm f1.8G that I was just I was better
8:50
positioned to maybe get some faster
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action capture with that. So maybe
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something to aspire to for Nikon in the
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future. Now, on the video side of
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things, it is mostly good good news
9:02
there. I found like focus pulls were
9:05
smooth and um fairly well calibrated. I
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didn't see any kind of you pulsing or
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hunting or anything like that. There is
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a relatively low amount of focus
9:14
breathing and so I don't think that
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that's going to be any kind of issue
9:16
when I did the hand test for example.
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Very smooth transitions from eye to hand
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and back and forth. And because there's
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very little focus breathing, there's
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nothing that's kind of jarring that
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takes you out of the shot. And so all of
9:28
that was good on that front as well. I
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didn't really shoot any kind of action
9:32
uh while doing this. I mostly used it
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for scenics and landscapes and of course
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for that kind of thing. I felt like
9:37
Focus really did a great job. So, no
9:39
problems on that front as well. So, on
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the video side of things, I'm I think
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I'm even more upbeat than I would be for
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stills. Mostly for the reason that uh
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you know, while the focus motors aren't
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reactive enough for action while doing
9:52
stills, I think that probably for video
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work where a lot is going to be in focus
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most of the time, probably would be just
9:58
fine. All right, let's take a start by
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taking a look at the optical design.
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Here you can see we have a optical
10:04
design of 14 elements in 11 different
10:07
groups. And so that includes a total of
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three different extra low dispersion
10:11
glass elements. Then three aspherical
10:13
lenses as well in the design. The MTF
10:16
chart largely looks very good. We start
10:18
off with a very sharp center. Uh by the
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middle of the frame, we're still at very
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very good levels. I find anything at 80%
10:25
higher looks really excellent. and we do
10:28
tail off towards the end, but you'll
10:29
also see that there's very low
10:30
estigmatism. The sagittal and meridial
10:33
lines stay very very close together. And
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so although we're averaging out at maybe
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about 57% near the edge, the fact that
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there is low estigmatism means that that
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actually ends up looking a bit sharper
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than what the, you know, raw numbers
10:45
might suggest. Now, when it comes to
10:47
vignette and distortion, in my own test,
10:49
you can see that there's a minimal
10:51
amount of distortion, but some very,
10:52
very heavy vignette. And so as far as
10:55
correcting the distortion, we do have
10:56
some barrel distortion, but I was able
10:58
to correct that with a plus 9. You can
11:01
see it is a fairly linear correction.
11:03
There's a little bit of stretching
11:04
towards the corners, but in general,
11:05
that looks pretty good. Vignette, on the
11:07
other hand, required maxing out the
11:09
sliders to achieve that end result. And
11:12
so at the end of the day, the correction
11:13
profiles will deal with that obviously,
11:15
but you are going to end up with a bit
11:17
of additional noise in the corners of
11:19
images relative to what you're going to
11:21
see in the center because you're just
11:23
having to correct a lot of junk there in
11:25
the corners. Now, the correction profile
11:26
does do a good job. I found that
11:28
straight lines looked good. This is shot
11:30
at f2, so not much different than f1.8.
11:33
I would say that there's not really
11:35
evidence that vignette is negatively
11:36
impacting the image. So, I mean,
11:38
certainly it does help. Just as
11:40
mentioned, every electronic correction
11:42
does come with some kind of trade-off.
11:44
Now, when it comes to longitudinal style
11:46
chromatic aberrations, there's not much
11:47
to see here. There's a little magenta
11:49
before, a little bit of green afterward,
11:51
but it's not going to be strongly
11:52
pronounced. And of course, with a
11:53
wide-angle lens, there's not going to be
11:55
a lot of situations where you're going
11:56
to in the real world recreate what I've
11:58
done here. When it comes to looking at
12:00
my dad's old SLR, I see very little
12:02
fringing. There's a tiny bit of green
12:04
fringing in there, but you really can't
12:05
hardly see it. And in these various
12:07
shiny bits, not much there. I would say
12:09
there's a little bit of a yellow
12:11
fringing outlining the specular
12:13
highlights. I would say in general, most
12:15
people are not going to have really any
12:16
kind of real issues with this style of
12:18
fringing. And when it comes to lateral
12:20
style chromatic aberration, which tends
12:21
to impact wide angle lenses more, you
12:24
can see that it's it's it's really
12:26
really clean. We've got great looking
12:28
where I just noticed about that
12:29
aigmatism. You can see how well that's
12:31
showing up here where it's really really
12:33
crisp delineation between black and
12:35
white. I love that. Now, when it comes
12:37
to resolution, I am testing on a 45
12:39
megapixel Nikon Z8 body and this is 200%
12:43
level of magnification. You can see the
12:44
center of the frame as the MTF suggests.
12:46
High contrast, high detail. Looks
12:49
fantastic. Likewise, the mid-frame is
12:51
looking really, really strong. And as we
12:53
pan down here, I like I look at this
12:56
corner versus this corner. It's
12:57
basically identical. Very good. There we
12:59
can see all the way through this zone.
13:01
Very, very strong. Right out till about
13:03
this point. And then it's that last few
13:05
percentage points into the corners where
13:07
it does get softer. Now, in terms of
13:09
real world, how does that hold up?
13:11
Shooting a hotel interior here at f1.8.
13:14
If we just kind of pan around and look
13:16
at different places, we can see that
13:18
detail is looking really, really
13:20
awesome. You know, basically all
13:21
throughout the image, um, of course, the
13:24
advantage of an 20mm lens is that even
13:27
at f1.8, 8 most everything is in focus
13:30
most of the time unless you're focused
13:31
really closely. We're getting great
13:33
detail there. This shot out a hotel
13:35
window. You can see in the center of the
13:37
frame um the next morning, you know,
13:40
detail is really, really crisp. Contrast
13:42
is great. And even as I pan right out
13:44
here towards the edge, yeah, it's not as
13:47
crisp. You can tell it's a little
13:48
mushier here in terms of textures is
13:50
what it is here, but it's still very,
13:52
very within the range of fully usable.
13:54
Some people may wonder the value of
13:56
having a bright maximum aperture in a
13:58
wide-angle lens like this, but it does
14:00
allow you some extra creative options.
14:02
So, for example, here I can shoot just
14:04
making the foreground in focus. And
14:06
while it's not strongly out of focus, I
14:08
like what happens here where we have a
14:10
suggestion into the image and then I can
14:12
flip it around to where the eye is drawn
14:15
naturally towards the point of focus
14:16
right up down that path where it
14:18
increasingly gets into focus as you go
14:20
there. And so in both cases, I also feel
14:23
like the transition to defocus is decent
14:26
here. You know, it's not strongly out of
14:27
focus, but nothing harsh in the in
14:30
between areas there. So all of that is
14:31
good. Here we have Nala actually trying
14:33
to do her best Simba impression, but as
14:36
we zoom in there, we can see that also
14:38
shooting at f1.8. Lots of detail and
14:40
contrast here in the sweet spot of the
14:42
image. Now the mild bit of stop down
14:44
from f1.8 to f2, we can see that there
14:47
is potentially a little bit more
14:49
contrast. And I think that this test
14:50
text looks very slightly more crisp, but
14:53
you probably won't notice that uh
14:56
without a high level of magnification in
14:58
side by side. What I do notice is just
15:00
an overall better brightness that points
15:02
to better contrast, but particularly
15:03
here in the corners. I think we're
15:05
starting to see a little bit of natural
15:07
vignette lift. It's not significant at
15:09
this point, but it does look a little
15:10
bit better. That effect becomes much
15:12
more pronounced from f2 to f2.8. And you
15:15
can see that not only are the corners
15:17
looking better, they are definitely
15:18
looking much brighter. From f2.8 to f4,
15:21
the brightness isn't as noticeable in
15:23
terms of, you know, difference, but the
15:25
improved contrast and, you know,
15:27
slightly creeping further detail into
15:29
the corners is definitely starting to
15:31
get better. From f4 to f5.6, you see
15:34
that creep just getting increasingly
15:36
more. And from f5.6 to f8, the corners
15:39
get even better. I mean, look at this
15:40
text right here compared to right here.
15:42
It's becoming more readable at this
15:44
point. These corners I would consider to
15:46
be quite excellent. For a real world
15:48
example here, this is shot at f4. So
15:51
again, it's that advantage of basically
15:52
everything being in focus. Look at our
15:54
foreground. Looks nice and crisp. Good
15:56
contrast. As we pan up and look into the
15:58
main area here, we can see the mist
16:01
creeping in off the river and all the
16:04
detail is good. Right off here towards
16:06
the edge, very, very usable. Very good
16:09
detail. And so everything can basically
16:11
be in focus even at f4, which I really
16:13
like. Now, of course, defraction does
16:15
affect all lenses, all cameras.
16:18
Eventually, we have a medium. It's high
16:21
resolution, but it's medium compared to
16:22
what's available on full-frame. And so,
16:25
what I find is that defraction isn't
16:27
quite as pronounced on Nikon as what it
16:29
is, say with the higher resolution Sony
16:32
sensors. But even so, you do see that
16:34
from f11 to f16, there is a general
16:36
softening of the image. Though, I don't
16:38
think to the level where it's unusable.
16:40
So, I would say feel free to shoot
16:41
throughout the whole aperture range. you
16:43
can get good results all throughout.
16:45
Now, in terms of closeup results, I
16:48
would say that we have a quite a good
16:50
result here. Good contrast, good detail
16:52
on the textures. It's relatively flat.
16:55
You can see that, you know, we can still
16:56
out here towards the edge. These still
16:58
look in focus. I can still see crisp
17:00
lines on the top of the stamp there and
17:02
some detail there. So, overall, that's
17:04
pretty good. What's more here with this
17:06
up close result. Not only is the, you
17:08
know, up close detail and contrast
17:10
looking pretty good. I also really
17:11
appreciate the strong strong flare
17:14
resistance, which we'll talk more about
17:15
here in a moment. And so we have great
17:17
contrast holding up here even with the
17:19
sun like fully exposed there and
17:21
extremely bright. Colors I feel like are
17:24
nice and rich, good levels of saturation
17:26
and obviously good contrast and detail
17:28
in all these images. That helps a lot.
17:30
And here we see kind of all of those
17:32
things on display. Good color and
17:34
detail, but look at this flare
17:35
resistance. We've got that sun star, so
17:37
it's going to be 18 pointed from the
17:39
nine aperture blades, but flare
17:41
resistance is holding up extremely
17:42
strong. I don't see any ghosting
17:43
artifacts penetrating down here. You
17:46
know, shooting through this. Again, this
17:47
is really intense sun, and I wanted to
17:49
set up the shot. You see how well
17:51
contrast is held up all throughout this,
17:53
some tiny little bits of ghosting
17:55
artifacts, but I mean, so minimal that
17:57
in a color image, you really wouldn't
17:59
see them very much. Likewise here at
18:01
f11, you can see at this the angles I
18:04
you typically shoot towards the corners
18:05
because that's where you get the
18:06
strongest flare patterns. But as you can
18:08
see, there's just nothing of it. And if
18:10
I open up the aperture a little tiny bit
18:12
here, but nothing bad at all. If we pan
18:15
back and forth here, you can see that
18:17
overall contrast and detail holds up
18:19
well. And then stop down. There's no
18:21
real like bad angles where you get
18:24
really poor looking results. And so that
18:26
adds so much to a lens. and we go into a
18:29
shot like this where it's actually kind
18:31
of like double whammy high reflective
18:33
surface of the still water and you can
18:36
just see it's not really marred by
18:37
ghosting um at any point here and allows
18:40
me to get a really beautiful high
18:42
contrast result and this is the color
18:44
profile red um out of the camera. So
18:47
anyway, it looks really really fantastic
18:48
in general. I would say that this is a
18:50
really really strong optical performance
18:52
other than having more vignette than I
18:54
would prefer. So what's my conclusion?
18:55
Well, my first conclusion is sitting on
18:57
a metal park bench in these kind of
18:59
temperatures is not much fun. My
19:01
conclusion about the lens is that I
19:03
think that while this lens doesn't have
19:05
a lot of competition, I do think that it
19:07
has held up really really well and it
19:09
remains a really pretty quite excellent
19:12
wide-angle prime lens. It's a lens that
19:14
I certainly would find very useful in my
19:16
own kit. And while it's I think probably
19:19
maybe bigger than what it needs to be
19:21
because I don't think the performance
19:22
exceeds really what I saw from the much
19:25
smaller Sony 20 millimeter f1.8 which
19:28
was released just a few months after
19:29
this lens. I think that it's a lens that
19:32
really holds up quite well. And of
19:33
course the fact that a lot of Nikon's
19:35
bodies like the Z8 that I tested on are
19:37
fairly beefy makes it a little bit
19:40
easier to put bigger, heavier lenses on
19:42
there. Not to say that this lens is
19:43
absolutely big and heavy, but relative
19:45
to the competition, it is bigger and
19:47
heavier than many of them, but I really
19:50
like the image quality that I got out of
19:52
the lens. And what really kind of stood
19:53
out to me was how good the flare
19:55
resistance was. That's really important
19:57
to me in a wide angle prime lens because
19:59
it means that you're going to be able to
20:01
shoot in, you know, more challenging
20:03
lighting conditions. The wider the lens,
20:04
the more likely that a bright light
20:06
source is going to be in frame. So, the
20:08
more important that flare resistance is,
20:10
this lens does that really well. I felt
20:11
like colors were really beautiful. Uh
20:13
distortion is well enough controlled
20:15
particularly once you add in the
20:16
electronic corrections that uh it's
20:18
perfectly good for shooting interiors
20:20
and I got some cool shots while
20:22
traveling at a business conference. And
20:24
so I would say that uh in general I
20:27
really really like the images I got out
20:28
of the lens. I liked using it. So while
20:31
it's you know somewhat expensive, it's
20:33
definitely I would say the most
20:34
expensive lens in its class across a few
20:36
different platforms. But I also think
20:39
that you're getting relatively good
20:40
value for money because the performance
20:41
of the lens remains so strong. And of
20:43
course with the lens that's been out for
20:44
6 years, there always is a used market
20:47
if you're looking to acquire one and
20:49
maybe spend a little bit less money. If
20:51
you want more information, feel free to
20:53
check out my full text review which is
20:54
linked in the description down below. As
20:56
always, thanks for watching. Have a
20:58
great day and let the light in.

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Nikkor Z 20mm F1.8 S Review | Nikon's Best Wide Angle Prime?

Dustin Abbott