Nikon Nikkor Z 70-200mm F2.8 VR S Review (2024)

Nikon's first built-for-mirrorless pro zoom lens, the Nikkor Z 70-200mm F2.8 VR S ($2,599.95), is an important one. A quality telezoom is an almost required tool for event photography and reportage. The Z 70-200mm delivers the quality pros want—stabilized optics, an all-weather build, and compatibility with teleconverters—at a price that's in line with similar lenses for other systems. That's still substantial, especially for hobbyists, but it isn't avoidable for Z users, at least for now. We'll have to wait and see if Nikon releases a more affordable F4 edition, but it's not yet on the system roadmap.

Made for Z Mirrorless

Telephoto lenses are almost always a bit bulkier than shorter zooms and prime lenses, and the Z 70-200mm is no exception at 8.7 by 3.5 inches (HD) and 3.0 pounds. Canon's RF 70-200mm F2.8 is notably smaller (5.8 by 3.5 inches, 2.6 pounds), but gets there by telescoping out when zooming. Canon's take is unique in the industry, though. The Nikkor Z's internal zoom design is more common—it makes for a larger housing, but cuts down on moving parts.

(Jim Fisher)

Nikon does buck one trend in design—the 70-200mm is finished in black, rather than the gray or white you see with many bigger lenses. Canon and Sony use the lighter finish, one that promises to reflect sunlight to keep the optics cooler on sunny days. Is there a practical difference? Nikon has been using black barrels for its telephoto lenses for years with no ill effect, so it's not anything over which to fret.

Construction is top-notch. The barrel is metal, and the lens includes internal seals to protect your camera system from dust and splashes. It ships with a soft zippered case, front and rear caps, and a reversible hood. The front element supports the 77mm filter size and includes the standard anti-reflective, as well as fluorine anti-smudge protection.

(Jim Fisher)

It's a long lens, so you'll want to use the included foot if you're using it with a tripod. You'll still need to attach a quick release plate. The foot is removable, though. Kirk sells a replacement with an Arca dovetail design, so it can slide right into compatible mounts.

The lens includes three control rings in total. Nikon includes a control ring on its Z series; here it's placed right near the lens mount. It can be used to set the aperture, EV compensation, or ISO. It turns pretty easily, making it difficult to turn slowly enough for the right adjustment. It gets in the way too often, but you can turn it off if you'd like.

Nikon Z 7 II, 101mm, f/2.8, 1/250-second, ISO 64 (Jim Fisher)

Zoom and focus are larger, and both rubberized. The zoom ring is the farthest forward—it turns with a bit of welcome resistance. You don't have to apply as much torque as with an extending zoom, but it's not loose to the point where you can adjust it with just an index finger.

The focus ring is right in the middle of the barrel. It's narrower than the zoom ring, and turns with similar resistance. Focus response varies based on how quickly the ring turns—slower movement for more precision, and quick turns for more dramatic shifts. You'll also enjoy a decent (1:5) macro rating—the lens is able to focus to about 1.6 feet.

(Jim Fisher)

A focus limiter switch is included, so you can set the lens to focus on distant subjects only, or to look for focus across its entire range. It's joined by an AF/MF toggle switch and programmable function L-Fn and L-Fn2 buttons.

There's only one L-Fn on the lens, on the left side, but L-Fn2 is included four times. They're positioned just behind the zoom ring and placed 90 degrees apart. An OLED information panel rounds things out—tapping its Display button toggles between the f-stop, focal length, or set focus distance.

Nikon Z 6 II + TC-2x, 230mm, f/5.6, 1/250-second, ISO 200 (Jim Fisher)

Autofocus is available as well. Response is speedy, with elements moving from the closest focusing distance to infinity in just about a second. There's very little visible change in the framing as focus changes—this minimized breathing effect is beneficial for video, but not a big deal for photography.

Nikon has put its vibration reduction (VR) tech into this lens. It works in conjunction with the in-camera IBIS on Z cameras for better compensation than either system would net on its own. With the 45MP Z 7 II I netted blur-free shots at 200mm at shutter speeds at 1/8-second consistently. Results are more hit and miss at longer durations, but I got a spattering of decent results at 1/4, 1/2, and 1 second.

(Jim Fisher)

The lens works with both Z teleconverters, the TC-1.4x ($549.95) and TC-2x ($599.95). I used it a bit with the TC-2x, which sits between the lens and camera. It turns the 70-200mm F2.8 into a 140-400mm F5.6, a more useful focal range for distant subjects. It adds some versatility for photographers who need to work at a longer focal length.

At press time, Nikon doesn't have longer zooms available for the Z system, but it does have both 100-400mm and 200-600mm lenses on its system roadmap.

In the Lab

I tested the 70-200mm F2.8 with the Z 7 II and software from Imatest. On the whole, the combination nets photos with excellent quality, even when shot wide open.

Nikon Z 7 II, 200mm, f/2.8, 1/200-second, ISO 90 (Jim Fisher)

The sharpest results come at 70mm. The lens captures images with outstanding resolution when shot wide open (4,570 lines), with a flat field of focus that nets sharp results right up to the edge of the frame.

See How We Test Cameras and Lenses

Images show a little less contrast at 135mm, netting results that are at the top of our excellent range for the Z 7 II (4,400 lines) from f/2.8 down through f/11. Resolution is weakest at 200mm, but it's still very good wide open (3,800 lines), and excellent when stopped down to f/8.

You can stop down further, to f/22, but doing so introduces diffraction, an optical effect that softens detail. Narrowing the aperture also reduces the amount of background blur, and changes the shape of defocused highlights. At f/2.8 they show a slight cat's eye shape, but take on a more pleasing round shape at f/4.

Bokeh at f/2.8 (top) versus f/4 (bottom) (Jim Fisher)

The optics show a bit of pincushion distortion when you use the lens with in-camera corrections turned off. Likewise, turning off peripheral illumination correction nets photos with dimmed edges at f/2.8. When they're turned on, you get images free of distortion, with a pleasing, modest vignette at wider apertures.

Premium Build and Pricing

The Nikkor Z 70-200mm F2.8 VR S is a lens that will please demanding photographers working with the Nikon Z system. It checks all the right boxes—fantastic optics, sturdy, all-weather construction, and reliable autofocus.

Nikon Z 6 II + TC-2x, 340mm, f/5.6, 1/400-second, ISO 220 (Jim Fisher)

It doesn't do anything drastically different in terms of design. Rival Canon tried a collapsing design for its first made-for-mirrorless 70-200mm, but Nikon sticks with the tried and true internal zoom design. It makes for a bigger overall lens, but I definitely prefer Nikon's traditional approach.

There are a few things that could be done better. I'm still not a fan of the Z series lens control rings, and for the price the tripod foot should support Arca tripod heads natively. But all in all, there's a lot more good than bad here.

(Jim Fisher)

It's a good thing, as there aren't any alternatives for Z cameras—third parties haven't jumped in, and Nikon is still working on building out the library. If you have the FTZ lens adapter, you can use an SLR lens instead. The AF-S Nikkor F4G ED VR is a good choice for photographers who want a lighter kit, while the Sigma 70-200mm F2.8 DG HSM Sports is there if you're more concerned about saving money without missing out on an F2.8 aperture, and both are priced under $1,500.