Vignetting
When it comes to vignetting, the Nikon Z DX 50-250mm VR is actually quite decent – I expected to see far more of it from a compact kit lens. Take a look at the below chart:
As you can see, there is about a stop of light loss in the extreme edges at 50mm, which gets reduced quite a bit at 70mm. However, it comes back stronger at longer focal lengths starting from 135mm. If you are a Lightroom user, vignetting correction applies automatically upon import, so you don’t have to worry about it.
Here is the worst-case scenario of vignetting at f/5.3, infinity focus, as illustrated by Imatest:
Using filters with telephoto lenses is not a problem – you will not see any darkening issues as a result of thick filter use.
Recommendations
Get one! More specifically, get one as part of a kit as a promotional item for very little extra money. This lens is ultra sharp, focuses ultra-close and fast, has instant manual-focus override, it’s light and small and collapses and is inexpensive.
I got my 50-250mm at B&H (I actually got the kit with both the 16-50mm and 50-250mm lenses). I’d also get it at Adorama, at Amazon or at eBay if you know How to Win at eBay. It also comes as part of a kit at B&H, at Adorama, at Amazon and at Crutchfield.
I use a clear (UV) protective filter instead of a cap so I’m always ready to shoot instantly. I only use a cap when I throw this in a bag with other gear without padding — which is never. The UV filter never gets in the way, and never gets lost, either.
The very best protective filter is the Hoya multicoated HD3 62mm UV which uses hardened glass and repels dirt and fingerprints.
For less money, the B+W 62mm 010 is an excellent filter, as are the multicoated version and the basic multicoated Hoya filters, but the Hoya HD3 is the toughest and the best.
Filters last a lifetime, so you may as well get the best since it will last longer than you will and you’ll use it on whatever lens you have in 2038. The Hoya HD3 stays cleaner than the others since it repels oil and dirt, but costs almost as much as this lens, so for today, a basic multicoated Hoya filter is more than good enough.
All these filters are just as sharp and take the same pictures, the difference is how much abuse they’ll take and stay clean and stay in one piece.
This 100% all-content website’s biggest source of support is when you use those or any of when you get anything, regardless of the country in which you live. Nikon does not seal its boxes in any way, so never buy at retail or any other source not on since you’ll have no way of knowing if you’re missing accessories, getting a defective, damaged, returned, , store demo or used lens. I use the stores I do because they ship from secure remote warehouses where no one gets to touch your new camera before you do. Buy only from the for the best prices, service, return policies and selection.
Thanks for helping me help you!
Ken, Mrs. Rockwell, Ryan and Katie.
Ken Rockwell. All rights reserved. Tous droits réservés. Alle Rechte vorbehalten.
Specifications
I got my 50-250mm at B&H (I actually got the kit with both the 16-50mm and 50-250mm lenses). I’d also get it at Adorama, at Amazon or at eBay if you know How to Win at eBay. It also comes as part of a kit at B&H, at Adorama, at Amazon and at Crutchfield.
Name
NIKKOR: Nikon’s brand name for all their lenses.
Z: For Nikon’s mirrorless cameras.
DX: Won’t work well on FX cameras.
VR: Vibration Reduction.
Also has:
Stepper (Pulse) autofocus motor: silent and ultra fast.
Electronic diaphragm.
Magic Extra-low Dispersion glass for reduced secondary chromatic aberration.
; has no aperture ring.
Internal focusing; nothing moves externally as focused.
∅62: 62mm filter thread.
Optics
Nikon 50-250mm internal optical construction, collapsed position. Aspherical andED elements.
16 elements in 12 groups.
One ED extra-low dispersion element, which helps reduce secondary axial chromatic aberration.
Nikon Super Integrated multicoating (SIC).
Nikon 50-250mm. bigger.
7 rounded blades.
Electronically actuated.
Stops down to f/22~32.
Focal Length
50-250mm.
This 50-250mm lens used on a DX camera sees the same angle of view as a 75~375mm lens sees when used on a full-frame or 35mm camera.
See also Crop Factor.
No external movement as focussed, so no air or dust is sucked in.
Stepper motor.
Caps
LC-62B 62 mm snap-on front cap, included.
LF-N1 Z-mount rear cap, at least if the lens is ordered by itself. Will just have a translucent «transit cap» if ordered as part of a kit.
Size
3.0″ Ø maximum diameter × 4.4″ extension from flange when collapsed.
74 mm Ø maximum diameter × 110mm extension from flange when collapsed.
14.105 oz. (399.8g) actual measured weight.
Rated 14.3 oz. (405 g).
Included
LC-62B 62 mm snap-on front cap, included.
LF-N1 Z-mount rear cap, at least if the lens is ordered by itself. May just have a translucent «transit cap» if ordered as part of a kit.
February 2023
$377 at B&H, at Adorama, at Amazon and at Crutchfield.
Less if ordered as part of a kit.
About $250 used if you know How to Win at eBay.
July 2021
$347 at B&H, at Adorama, at Amazon and at Crutchfield.
Less if ordered as part of a kit.
About $250 used if you know How to Win at eBay.
October ~ December 2019
Getting a Legal USA Version
This section applies in the USA only.
I got my 50-250mm at B&H (I actually got the kit with both the 16-50mm and 50-250mm lenses). I’d also get it at Adorama, at Amazon or at eBay if you know How to Win at eBay. It also comes as part of a kit at B&H, at Adorama, at Amazon and at Crutchfield.
You should have a Nikon USA Warranty Card as shown in the video at . If you don’t have this card, if the card doesn’t say «4 YEARS USA EXTENDED SERVICE COVERAGE» or if the serial number on the card doesn’t match the one on your lens exactly, you got ripped off with a gray market version from another country. (The serial number on the box doesn’t have to match, but if it doesn’t it means you bought from a shady dealer who took lenses out of boxes and then resold them as new.) This is why I never buy anyplace other than from my . You just can’t take the chance of buying elsewhere, especially at any retail store, because non-USA versions have no warranty in the USA, and you won’t even be able to get firmware or service for it — even if you’re willing to pay out-of-pocket for it when you need it!
Nikon USA enforces its trademarks strictly. It’s unlikely, but possible that US customs won’t let your camera back in the country if you bought a gray-market version in the USA, carried it overseas, and try to bring it back in. (If you take the chance of buying one overseas, be sure you have a receipt to prove you bought it overseas and be prepared to pay duty on it.)
If a gray market version saves you $200 it may be worth it, but for $50 or less I wouldn’t risk having no warranty or support.
Always be sure to check your box while you can still return it, or just don’t buy from unapproved sources or at retail so you’ll be able to have your camera serviced and get free updated firmware as needed.
Get yours from the and you won’t have a problem, but if you take the risk of getting yours elsewhere or at any retail store, be sure to check everything while you still can return it.
Меры предосторожности при использовании
- Не поднимайте и не держите объектив или камеру только за бленду объектива.
- Следите за чистотой контактов процессора.
- Из-за конструкции системы подавления вибраций объектив может дребезжать при встряхивании. Это не указывает на неисправность.
- Заменяйте переднюю и заднюю крышки объектива, когда объектив не используется.
- Чтобы защитить внутреннюю часть объектива, храните его вдали от прямых солнечных лучей.
- Не оставляйте объектив во влажных местах или в местах, где он может подвергаться воздействию влаги. Ржавление внутреннего механизма может нанести непоправимый ущерб.
- Не оставляйте объектив рядом с открытым огнем или в других местах с очень высокой температурой. Сильный нагрев может повредить или деформировать внешние детали из армированного пластика.
- Быстрые изменения температуры могут привести к повреждению конденсата внутри и снаружи объектива. Перед переносом объектива из теплого помещения в холодное или наоборот поместите его в пакет или пластиковый футляр, чтобы замедлить изменение температуры.
- Мы рекомендуем поместить объектив в футляр (приобретается отдельно), чтобы защитить его от царапин во время транспортировки.
Уход за линзами
- Удаление пыли обычно достаточно для очистки стеклянных поверхностей объектива.
- Пятна, отпечатки пальцев и другие жирные пятна можно удалить с поверхности объектива с помощью мягкой чистой хлопчатобумажной ткани или салфетки для чистки объектива, слегка смоченной небольшим количеством этанола или чистящего средства для объектива. Аккуратно протрите от центра к краям круговыми движениями, стараясь не оставлять разводов и не касаться линзы пальцами.
- Никогда не используйте для очистки объектива органические растворители, такие как растворитель для краски или бензол.
- Фильтры нейтрального цвета (NC) (приобретаются отдельно) и т.п. можно использовать для защиты передней линзы объектива.
- Если объектив не будет использоваться в течение длительного времени, храните его в прохладном сухом месте, чтобы предотвратить появление плесени и ржавчины. Не хранить под прямыми солнечными лучами или с нафталиновыми или камфорными шариками от моли.
Lens Sharpness, Contrast and Color
When it comes to lens sharpness, the Nikon Z DX 50-250mm VR behaves similarly to other consumer-grade Nikon 55-200mm telephoto lenses. It is quite good, but not stellar, especially towards its long end. Let’s take a look at the lab results measured by Imatest, from 50mm all the way to 250mm:
At its maximum aperture of f/4.5, the lens behaves very similarly at 50mm as the Z DX 16-50mm VR, with solid overall sharpness. Once stopped down to f/5.6, it gets even sharper in the center of the frame.
Lens sharpness stays strong when zoomed in to 70mm, showing slightly better mid-frame and corner sharpness.
However, once you start getting to the telephoto range, sharpness starts to drop. At 135mm, the lens shows slightly weaker overall performance, with f/5.6 being the sweet spot of the lens.
Things basically go downhill from here. The lens is decent at 200mm, but the sharpness drop is already noticeable, especially in the mid-frame and the extreme corners.
And as expected, the lens is at its worst at 250mm, especially wide open. You will need to stop the lens down to f/8 to get sharper results.
For comparison, take a look at the Nikon-provided MTF chart:
I did not notice any significant issues with focus shift when measuring lens sharpness.
When it comes to contrast and color performance, while it is certainly not at the level of pro-level Nikon lenses, it is quite good for a kit lens. Colors look quite natural and pleasing to my eyes.
NIKON Z 50 + NIKKOR Z DX 50-250mm f/4.5-6.3 VR @ 62mm, ISO 200, 1/250, f/5.0
Bokeh
The bokeh performance of the lens is quite good, but don’t expect anything mind-blowing – after-all, this is a budget telephoto zoom lens. The biggest issue with this lens is its limited maximum aperture of f/4.5 to f/6.3, which is not ideal for good subject separation. Still, if you zoom in with the lens and stand close to your subject, you can get pretty decent results. Background out-of-focus highlights look rather pleasant, although they certainly show defined edges.
NIKON Z 50 + NIKKOR Z DX 50-250mm f/4.5-6.3 VR @ 135mm, ISO 100, 1/250, f/5.3
If you only have the Z DX 16-50mm and 50-250mm lenses, the latter is going to be the better choice in terms of bokeh performance.
Nikkor Z DX 50-250mm: In the Lab
I used the 20.9MP Z fc and Imatest software to check the Nikkor Z 50-250mm’s optical performance in the lab. The lens scores quite well when photographing an SFRplus resolution target, notching outstanding results for the Z fc’s sensor throughout its range (2,600-2,900 lines), even when used at its wide-open f-stop setting.
Z fc, 250mm, f/6.3, 1/400-second, ISO 8000 (Credit: Jim Fisher)
Our testing is camera-dependent, so we can’t speak to how the lens will perform if Nikon introduces a higher pixel count DX sensor camera, but for the current line the lens is top-flight when it comes to getting sharp photos with plenty of contrast.
The optics show a bit of pincushion distortion, an effect that causes straight lines to be drawn with an inward curve, and show dim corners at the wide aperture setting when you use your camera in Raw mode. Lightroom Classic includes a correction profile for the lens, however, so you’ll have an easy fix when processing images. If you use your camera in JPG mode, the distortion and vignette are removed automatically.
Z fc, 250mm, f/6.3, 1/500-second, ISO 110 (Credit: Jim Fisher)
We couldn’t spot any signs of false color in images; both lateral and longitudinal chromatic aberration are effectively suppressed. That means you won’t have to contend with purple halos around power lines and tree branches, nor are you likely to spot purple and green color in the transitions between the plane of focus and defocused background.
Background blur is generally pleasing, especially at closer distances between lens and subject, situations where depth of field melts backdrops away into nothing. I couldn’t spot any double edges or hard edge soap bubbles around highlights, defocused points of light generally rounded with soft edges.
Z fc, 50mm, f/22, 1/640-second, ISO 100 (Credit: Jim Fisher)
Flare is also well controlled. You can photograph right into the sun or other strong backlight with comfort. We couldn’t spot any ghost-like light blobs at wide apertures, though you may have to adjust your framing a bit to avoid them when stopping down to the minimum aperture. At the smallest f-stop (f/22-32 depending on the zoom setting) you can induce the sun star effect, turning bright points of light into multi-point starbursts. The tines aren’t as clearly defined as we see in wide lenses that show the effect, but if you’ve got a telephoto landscape scene and would like to create a sun star, the lens does a decent job.
Unboxing
The box is completely unsealed. Just like packages of ice cream that kids open, lick and put back in store freezer sections or mouthwash that’s been gargled and put it back on the store shelf, there is no way to know if anyone else has been fiddling with your lens, swapping parts and accessories, or even if it’s a dropped, returned, damaged or used lens.
I got my 50-250mm at B&H (I actually got the kit with both the 16-50mm and 50-250mm lenses). I’d also get it at Adorama, at Amazon or at eBay if you know How to Win at eBay. It also comes as part of a kit at B&H, at Adorama, at Amazon and at Crutchfield.
Especially with a plastic lens like this, it’s critical to buy only from an , since they ship from automated warehouses where no shifty salesmen or other customers ever getting to touch your new lens before it ships. While new $5 CDs, DVDs, Blu-Rays and bottles of milk and drinking water are sealed and quite obvious if anyone’s opened them, paradoxically Nikon doesn’t bother sealing anything, so your only insurance is to buy only from a .
Introduction
The Nikon Z DX 50-250mm F4.5-6.3 VR is a versatile super-telephoto 5x zoom lens for Nikon DX APS-C sensor mirrorless cameras, where it provides a 75-375mm equivalent focal length in 35mm full-frame terms.
The Z DX 50-250mm F4.5-6.3 VR for Nikon was first announced in October 2019. This lens is made in Thailand.
It features 16 elements in 12 groups, including one extra-low dispersion element to help limit spherical aberrations and distortion, while the Super Integrated Coating suppresses flare and ghosting.
The Nikkor Z 28mm has a minimum focusing distance of 50cm / 1.64ft with a maximum magnification of 0.23x.
It features a rounded 7-blade diaphragm which creates an attractive blur to out-of-focus areas of the image and an internal focusing mechanism which means the lens barrel doesn’t move.
This lens uses a stepping motor for fast, quiet and precise auto-focusing and full-time manual focus override is also possible.
The Vibration Reduction image stabilization system reduces camera shake by up to 5 stops for sharper handheld shooting.
The Nikon Z DX 50-250mm F4.5-6.3 VR lens is priced at £379 / $349 in the UK and USA, respectively.
Help Me Help You
I support my growing family through this website, as crazy as it might seem.
The biggest help is when you use any of when you get anything. It costs you nothing, and is this site’s, and thus my family’s, biggest source of support. These places always have the best prices and service, which is why I’ve used them since before this website existed. I recommend them all personally.
If you find this page as helpful as a book you might have had to buy or a workshop you may have had to take, feel free to help me continue helping everyone.
If you’ve gotten your gear through one of my or helped otherwise, you’re family. It’s great people like you who allow me to keep adding to this site full-time. Thanks!
If you haven’t helped yet, please do, and consider helping me with a gift of $5.00.
As this page is copyrighted and formally registered, it is unlawful to make copies, especially in the form of printouts for personal use. If you wish to make a printout for personal use, you are granted one-time permission only if you PayPal me $5.00 per printout or part thereof. Thank you!
Mr. & Mrs. Ken Rockwell, Ryan and Katie.
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Distortion
As expected from a telephoto lens, distortion is not a big issue at most focal lengths. Imatest measured 1.87% barrel distortion at 50mm, which switches to pincushion distortion at 100mm and stays that way all the way to 250mm:
However, keep in mind that this is based on an uncorrected RAW file. By default, distortion correction is automatically turned on when mounting this lens on a Nikon Z camera, and you cannot turn it off. So you will never see the barrel or pincushion distortions when composing images in the field. When importing images into software like Lightroom, distortion correction applies automatically to all RAW images, so you will never see any distortion issues in your images when post-processing either.
NIKON Z 50 + NIKKOR Z DX 50-250mm f/4.5-6.3 VR @ 74mm, ISO 400, 1/200, f/5.6
Sample Images
The thumbnails below link to full-sized samples taken with the Nikon Z DX 50-250mm F4.5-6.3 VR lens mounted on a Nikon Z50 camera.
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1/400s · f/6.3 · ISO 1600 375mm (35mm)
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1/400s · f/6.3 · ISO 1400 375mm (35mm)
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1/80s · f/4.5 · ISO 200 75mm (35mm)
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1/160s · f/5 · ISO 800 157mm (35mm)
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1/400s · f/6.3 · ISO 200 375mm (35mm)
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1/400s · f/6.3 · ISO 320 375mm (35mm)
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1/400s · f/6.3 · ISO 450 375mm (35mm)
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1/400s · f/6.3 · ISO 160 375mm (35mm)
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1/320s · f/6.3 · ISO 560 255mm (35mm)
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1/400s · f/6.3 · ISO 720 375mm (35mm)
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1/400s · f/6.3 · ISO 200 375mm (35mm)
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1/80s · f/8 · ISO 500 75mm (35mm)
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1/200s · f/8 · ISO 1250 165mm (35mm)
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1/400s · f/8 · ISO 2200 375mm (35mm)
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1/320s · f/8 · ISO 1400 285mm (35mm)
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1/400s · f/6.3 · ISO 720 375mm (35mm)
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1/250s · f/5 · ISO 100 153mm (35mm)
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1/80s · f/8 · ISO 125 75mm (35mm)
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1/400s · f/8 · ISO 1250 375mm (35mm)
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1/250s · f/4.5 · ISO 100 75mm (35mm)
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1/400s · f/6.3 · ISO 400 375mm (35mm)
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1/500s · f/6.3 · ISO 100 375mm (35mm)
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1/800s · f/4.5 · ISO 100 75mm (35mm)
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1/500s · f/4.5 · ISO 100 75mm (35mm)
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1/400s · f/6.3 · ISO 280 375mm (35mm)
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1/400s · f/6 · ISO 110 345mm (35mm)
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1/400s · f/22 · ISO 1400 375mm (35mm)
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1/320s · f/22 · ISO 1100 285mm (35mm)
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1/80s · f/22 · ISO 1250 75mm (35mm)
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1/400s · f/22 · ISO 4000 375mm (35mm)
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1/160s · f/5.6 · ISO 100 75mm (35mm)
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1/400s · f/6.3 · ISO 450 375mm (35mm)
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1/320s · f/5.6 · ISO 180 255mm (35mm)
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1/200s · f/5.6 · ISO 100 75mm (35mm)
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1/400s · f/6.3 · ISO 560 375mm (35mm)
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1/200s · f/5.6 · ISO 250 187mm (35mm)
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1/500s · f/5.6 · ISO 100 147mm (35mm)
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1/400s · f/6.3 · ISO 640 375mm (35mm)
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1/400s · f/6.3 · ISO 320 375mm (35mm)
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1/400s · f/6.3 · ISO 500 375mm (35mm)
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1/400s · f/6.3 · ISO 450 375mm (35mm)
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1/400s · f/6.3 · ISO 320 375mm (35mm)
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1/640s · f/6.3 · ISO 100 78mm (35mm)
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1/640s · f/6.3 · ISO 100 375mm (35mm)
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1/400s · f/6.3 · ISO 320 375mm (35mm)
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1/125s · f/8 · ISO 100 76mm (35mm)
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Previous Page
« Sharpness: 5
Next Page
Lens Specs »
- Ease of Use
- Sharpness: 50mm
-
100mm
-
150mm
-
200mm
-
250mm
- Sample Images
- Lens Specs
- Rating & Conclusion
- Main Rivals
- Review Roundup
Worthwhile Addition to Your Kit
If you’re starting out with a Nikon DX mirorrless camera, the Nikkor Z DX 50-250mm F4.5-6.3 VR is a lens that should be on your shopping list, especially if you have an interest in taking photos of field sports, wildlife, and other scenes where longer lenses excel. The basic Nikkor Z DX 16-50mm doesn’t cut the mustard for those types of photos.
Z fc, 250mm, f/6.3, 1/1,000-second, ISO 320
No one is going to accuse the Z DX 50-250mm of being a pro-grade lens, but family photographers and budding enthusiasts are sure to appreciate its friendly carry size and lightweight, even if it means the f-stop isn’t extra bright and that weather protection is omitted. The affordable price helps too, and you can save a few dollars more if you get it in a bundled kit along with a new camera body.
There aren’t any clear alternatives to recommend. Tamron’s 70-300mm mirrorless zoom costs more and is built a bit better, but doesn’t include optical stabilization, so it’s not a good match for DX Nikons, none of which have stabilized sensors.
Nikon is short on midrange options for telezoom customers, but if you have an FTZ adapter and can still find an older SLR lens in stock, the Sigma 100-400mm F5-6.3 Contemporary or Tamron 100-400mm F4.5-6.3 Di VC USD for Nikon F SLRs are sensible step-up options, priced around $800 apiece.
Most telephoto lenses made for Z mount are much more expensive. The Nikkor Z 100-400mm comes in around $4,600. Nikon has a 200-600mm on its development roadmap, and while we expect it to be a mid-priced lens because it is not part of the premium S-Line, details and a release date are unknown at this time. Put it all together and it makes the Z DX 50-250mm great value for Nikon and our Editors’ Choice telezoom for Z DX camera owners.
Handling and Autofocus
At under a pound, the Z DX 50-250mm is light for a telezoom. It balances well on the Nikon Z fc, the camera with which I tested it, and should work even better on the Z 50 since it includes a handgrip, a feature you don’t get with the Z fc.
(Credit: Jim Fisher)
The zoom action is smooth, but with some resistance, so the barrel doesn’t creep outward when you walk with the camera hanging at your side. The zoom ring has a rubberized wrap, with raised ridges for a bit of extra grip. The barrel is marked at the 50, 70, 100, 135, 200, and 250mm focal settings.
A second control ring is included for manual focus. It’s fairly slim and while it’s not rubberized, it has some knurling to help you find it by touch. Manual focus response is nonlinear, which means you can make fine adjustments by turning it slowly, and more dramatic changes with quicker twists.
Z fc, 100mm, f/5, 1/160-second, ISO 800 (Credit: Jim Fisher)
If you’ve got the camera set to autofocus you can use the manual focus ring to adjust different camera settings instead—EV, ISO, and aperture options are available. It’s a useful feature in theory, but in practice the ring is very touchy to use. It takes great care to dial in small adjustments, and it’s too easy to make a big change to exposure with an accidental touch. Nikon has added sensitivity control for this function to one camera to date, the $5,500 Z 9, but we hope to see that ability added across the board, as it makes the control ring more functional.
Autofocus is driven by an STM focus motor, a type that delivers smooth and quiet results for photos and video. Focus speed is quite good, the lens snaps from in to out of focus with immediacy for the most part. There’s some hesitation in dim light, especially when zoomed in, but that’s not out of the ordinary for a telezoom with a relatively dim aperture.
Z fc, 250mm, f/6.3, 1/400-second, ISO 3600 (Credit: Jim Fisher)
The lens focuses as close as 1.6 feet (0.5m) at the 50mm focal length and manages 3.2-feet (1.0-meter) focus when zoomed to 250mm. It does the best macro work at 250mm, offering up 1:4.3 reproduction. You can’t make images at 1:1 as you can with a dedicated macro prime like the Nikkor Z MC 50mm F2.8, of course, but we welcome the versatility in a long lens.
