Nikon выпускает два новых зум-объектива 18–55 мм формата dx для начинающих // новости фотоиндустрии // fotoexperts

Использование встроенной вспышки

При использовании встроенной вспышки следите за тем, чтобы объект был на расстоянии как минимум 0,6 м, и снимите бленды для предотвращения виньетирования (теней, появляющихся в тех местах, где край объектива загораживает встроенную вспышку).

Тень

Виньетирование

Когда объектив установлен на следующих фотокамерах, встроенная вспышка может не быть в состоянии осветить объект полностью в диапазонах, которые меньше указанных ниже:

Фотокамера	Положение зума	Минимальное расстояние без виньетирования
D5600/D5500/D5300/D5200/D3500/D3400/D3300	18 мм	1,0 м
24, 35, 45 и 55 мм	Без виньетирования

Comparison to Older 18-55mm Lenses

There is a big mess in all the names and types of the small and inexpensive 18-55mm Nikkor zooms that Nikon produced since 2005. The orientation is difficult since there are eight different versions of this lens (in five generations, the last three of which are either stabilized or non-stabilized). Nikon currently ships two types of 18-55mm zoom, either with or without optical stabilization. While “only” 4 different versions are sold at the time being, you may still easily encounter older versions on the grey market. The first three generations were notorious for poor build quality and low optical performance, so I do not recommend buying them at any price. If considering the 18-55mm focal range, I recommend buying either of the last two generations (depending on your DSLR body type – see the compatibility chart below).

Type	Released	Purchase
AF-S DX Nikkor 18-55mm f/3.5-5.6G ED	2006	Not Recommended
AF-S DX Nikkor 18-55mm f/3.5-5.6G ED II	2007	Not Recommended
AF-S DX Nikkor 18-55mm f/3.5-5.6G VR	2014	Not Recommended
AF-S DX Nikkor 18-55mm f/3.5-5.6G VR II	2014	Recommended
AF-P DX Nikkor 18-55mm f/3.5-5.6G VR	2016	Recommended

In this review, I will focus on comparing the latest AF-P version with the older AF-S VR II version. Just for the sake of highlighting the progress of the last two generations, I also include the 2007 generation in the following comparison table:

Feature	AF-P 18-55mm VR	AF-S 18-55mm VR II	AF-S 18-55mm ED
Focal Length	18-55mm	18-55mm	18-55mm
Maximum Aperture	f/3.5-5.6	f/3.5-5.6	f/3.5-5.6
Minimum Aperture	f/22-38	f/22-36	f/22
Lens Elements	12	11	11
Lens Groups	9	8	8
Aspherical Elements	2	1	1
Angle of View	76° – 28°50′	76° – 28°50′	76° – 28°50′
Focus Motor	Pulsing (AF-P)	Silent Wave (AF-S)	Silent Wave (AF-S)
Minimum Focus Distance	0.25m	0.28m	0.28m
Maximum Reproduction Ratio	0.38x	0.30x	0.31x
Diaphragm Blades	7 (rounded)	7 (rounded)	7 (rounded)
Design	Collapsible	Collapsible	Standard
Sharpness	Good Center, Solid Corners	Good Center, Average Corners	Average Center, Poor Corners
Chromatic Aberration	Well Controlled	Poorly Controlled	Poorly Controlled
Rotating Front Element	No	No	Yes
Instant Focus Override	Yes	No	No
Filter Size	55mm	52mm	52mm
Size	64.5mm x 62.5mm	66mm x 59.5mm	79mm x 73mm
Weight	205g	195g	265g
Released	2016	2014	2007
VR Version Available	Yes	Yes	Yes
In Production	Yes	Yes	No
VR Version Price	$246	$246	$50-70

So how to discern those which I recommend from those that I would not (not even for total beginners)? As a rule of thumb, you can use the following rule: the latest two generations of 18-55mm lenses that offer much better performance, have a button on the side of the lens barrel – this button is pushed to get the lens into the ready position.

NIKON D750 + 18-55mm f/3.5-5.6 @ 55mm, ISO 100, 1/80, f/8.0

Usage on FX Bodies

Even if using a full-frame body is not the purpose of this DX lens, it is interesting to notice that this small glass can still be used on an FX body with some (expected) caveats. From 18-24mm, the lens does not cover the full FX sensor, i.e., you will get black rounded corners. However, it is possible to use most of the FX sensor (without much cropping) in the focal range of 24-55mm, albeit with noticeable vignetting. The edges are pretty soft, but that is compensated by very good center performance. I found myself in situations when I was glad I could mount this lens on my D750 and get decent results (such as night photos of architecture).

NIKON D5300 + 18-55mm f/3.5-5.6 @ 32mm, ISO 100, 1/640, f/8.0

Image Quality

I used Imatest to check the quality of photos captured by the AF-P 18-55mm when paired with the 24MP Nikon D3400 ($499.99 at Dell Technologies) . At 18mm f/3.5 the lens scores 2,203 lines per picture height on a center-weighted sharpness test, which gives stronger preference to the center areas of our test chart. That’s better than the 1,800 lines we like to see at a minimum, but image quality is not uniform. The central two-thirds of the image are quite sharp, bettering 2,200 lines with ease, but the outer third drops down to 1,127 lines, delivering noticeably blurry results.

Stopping down to f/5.6 improves edge performance. The average score increases to 2,774 lines, and edges are crisp at 2,009 lines. Image quality is even more consistent at f/8, with both the center and edges coming within 100 lines of the averaged 3,273-line score. Peak performance is at f/11 (3,401 lines), while there’s a drop in image quality at f/16 (2,999 lines) and f/22 (2,372 lines).

At 35mm the maximum aperture is f/4.5 and the average score is 2,247 lines. Just like the results at 18mm, the strong performance carries through much of the frame, but edges are blurred (1,363 lines). At f/5.6 there’s modest improvement (2,427 lines), but edges are still weak (1,555 lines). You’ll need to stop down to f/8 (3,078 lines average, 2,264 lines at the periphery) in order to capture images that are crisp throughout the frame. Performance is even better at f/11 (3,301 lines), before trending downward at f/16 (3,030 lines) and f/22 (2,522 lines).

At 55mm the maximum aperture is f/5.6 and performance is quite even across the frame, nearing the 2,818-line average score at the outer third of an image. Stopping down to f/8 boosts overall sharpness to 3,135 lines, with similar results at f/11 (3,180 lines). The same downward turn is visible at f/16 (2,894 lines) and f/22 (2,342 lines).

Distortion is also a factor in image quality. At 18mm the lens shows strong barrel distortion (4.3 percent), which gives straight lines a distinctive outward curve in images. Distortion goes away quickly as you zoom; it’s gone by 35mm. If you shoot JPGs you can compensate for it by enabling in-camera distortion control, just be aware that some of your frame will be cropped out, slightly narrowing the wide angle coverage, when this feature is turned on. Raw shooters can compensate for distortion using software tools like Adobe Lightroom ($9.99/Month at Adobe) .

Finally we look at how even light is cast onto the image sensor. At 18mm f/3.5 the corners of the image are dimmer than the center by 2.5 stops (-2.5EV), even with the D3400’s Vignette Control set to Normal. There is a High setting for JPG shooters who want to further compensate for this effect in-camera, and again, Raw photographers can apply corrections in Lightroom.

Stopping down to f/5.6 drops the deficit to -1EV, which is noticeable, but not distracting, in field conditions. At narrower apertures it becomes negligible. At 35mm f/4.5 the corners show a bit of dimness, -1.2EV, but again, stopping down further eliminates the issue. Illumination is quite even from corner to corner at 55mm.

Vibration Reduction

This lens is being sold in two versions: the non-VR version is cheaper ($196 versus $246 USD) and lighter (195g versus 205g) compared to the stabilized VR version. You can discern one from the other only by a written sign on the lens – no VR switches can be found on the stabilized version. It does not have a “Normal” and “Active” VR switch, which I personally do not miss since I hardly ever change VR from Normal to Active. However, it also generally lacks any VR on/off toggle switch.

NIKON D5300 + 18-55mm f/3.5-5.6 @ 34mm, ISO 100, 1/100, f/7.1

With fully compatible bodies, the VR function can be turned on/off through the in-camera menu. I am not very happy about this since quite a few partly compatible bodies (such as D7100) do not support this feature, so VR cannot be turned off. Check if you have the latest camera firmware installed, as Nikon promised to include this feature in compatible bodies.

Even if VR can be turned off in some bodies, I still think it is not the optimal solution: it is easy to forget about the in-camera setting and shoot with VR turned off.

Apart from this nuisance, I cannot complain about the efficiency of the stabilization as such. I was shooting with the 18-55mm handheld most of the time and used my tripod only for very few shots to do some side-by-side testing. With VR on, I could shoot at prolonged shutter speeds. Typically, 1/10 or 1/15 of a second was not a problem (on a 24 MP body). I got a few decently sharp 1/5 sec photos (even at 55mm). Overall, this lens’s Vibration Reduction (VR) system works very well; I would judge the advantage as approximately 2 – 4 EVs thanks to VR, depending on your conditions and hand-holding technique.

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Autofocus Speed and Accuracy

The third generation of the Nikkor 18-55mm was the first-ever lens in the Nikon line-up featuring the new AF-P technology. Compared to the previous generation of ultrasonic engines (Silent Wave Motor, or SWM, referred to as “AF-S”), the new stepping motor technology (abbreviation for auto-focus pulsing, referred to as the “AF-P”) is faster and quieter. Quieter is not the right word – it is simply silent. The benefits are clear both for video shooting and for shooting stills. Focusing is very smooth, even in Live View Mode, where AF-S lenses tended to hunt back and forth before nailing the focus. The new focus motor is so silent that it is not audible in the video’s soundtrack (typically a problem in AF-S lenses).

Similar to my experience with the DX 70-300mm AF-P telephoto zoom, my real-life shooting experience shows that this lens focuses silently, accurately, and reliably. I estimate that this lens focuses roughly 30% faster than the older 18-55mm AF-S VR II lens. Focusing in low light with the D5300 was no problem either.

Speed and muteness of the sound is not the only advantage. The AF-P version offers instant manual override, unavailable on the previous 18-55mm AF-S version. It is an excellent feature in case you are shooting under challenging conditions, and the lens is hunting. You can then help the lens “find” the proper range and snap into focus. Manual override has been featured in most of the recent Nikkor lenses – except for the cheapest 18-55mm kit lenses – it is praiseworthy that Nikon finally included this technology in the cheapest lenses too.

Nikkor 18-55mm allows for a maximum magnification of 0.17x (1:1.26) at the closest focusing distance of 0.25m (0.9 feet). Zoomed in to 55mm, this gives you decent close-up photography (near macro magnification) possibilities. I tried to shoot insects on my lavender flower bed, and I was quite happy with the ratio of in-focus shots. Photographing shy insects is not recommended with this lens, as 55mm is too short, and you have to be just a few centimeters away from your subject, which may frighten it and make it move away.

NIKON D5300 + 18-55mm f/3.5-5.6 @ 55mm, ISO 400, 1/320, f/5.6

My only complaint concerns the missing AF ON / OFF switches (typically signed as M/A and M on Nikkor lenses). I repeat here what I wrote in the AF-P 10-20mm wide-angle review: even though one should praise Nikon for designing a faster and quieter focusing lens, I realized that, combined with the missing on-the-lens switch, I experienced some frustrating moments. When shooting with the entry-level D5300 body, I often had to opt for manual focus (in-camera setting) while making some panoramas.

First, doing this in the camera menu takes longer (do not underestimate how crucial this might be in some moments). What’s more, I repeatedly forgot to re-set the original setting (getting back to normal autofocus), and hence I ended up with a handful of out-of-focus shots. My fault, obviously, but I just want to highlight that it is easier to forget about this with AF-P lenses. Faster and noise-less focusing also has its drawbacks. One can easily lose the previous habit of controlling focus acquisition through the short yet visible and audible refocusing process. The AF-P lenses are different in this aspect, and you do not notice when they acquire proper focus compared to older lenses. So just pay attention to other indicators (such as the camera beep – which I hate, or the blinking circular control in the viewfinder). Anyway, I wish this lens came with the AF-S / AF-M switch.

Introduction

B&H Photo — Video — Pro Audio

This new Nikon 18-55mm AF-P is a significant improvement over the old 18-55mm VR II, and it’s better than any other 18-55mm because no other 18-55mm is sharper, it focuses essentially silently, and most importantly it focusses instantly and has instant manual-focus override. Other brands are softer, and no other 18-55mm offers autofocus anywhere near this fast or has instant manual-focus override.

This lens was announced worldwide in January 2016, but not in the USA until August 2016.

The old 18-55mm VR II doesn’t focus very fast, and requires moving a switch to get to manual focus. Good riddance.

Nikon’s 18-55mm P is extraordinary in that unlike every other 18-55mm kit lens, its new stepper autofocus motor lets it focus essentially instantly, even in near total darkness, even on the cheapest D3300 camera.

It focuses so close that you won’t need a macro lens.

This is the world’s first 18-55mm kit lens with instant manual-focus override, it’s also the first with ultra fast focussing. Canon’s 18-55mm IS II still sounds like a kid’s toy as it focuses, slowly.

New & Good

● Stepper motor for ultrafast AF

● Instant manual-focus override; just grab the ring

● Silent operation ideal for movies.

● 12-element optical design, one more element than the old 18-55mm VR II.

Missing

● No switches; VR and AF/MF now controlled in camera menus (but you can just grab the ring any time for instant manual-focus override).

Nikon 18-55mm AF-P extended to 30mm. bigger.

Совместимые принадлежности

55 мм навинчивающиеся фильтры
Задняя крышка объектива LF-4
Чехол для объектива CL-0815
Бленда с байонетным креплением HB-N106

Совместите метку крепления бленды (●) с меткой установки бленды (), как показано на Рис. q, а затем поворачивайте бленду (w) до тех пор, пока метка ● не совместится с меткой закрепления бленды (—○).

Присоединяя или снимая бленду, удерживайте ее рядом с меткой на основании и не сжимайте ее слишком сильно. Виньетирование может иметь место, если бленда неправильно установлена. Бленду можно переворачивать и устанавливать на объектив, когда он не используется.

Руководство по покупке хорошего объектива Nikon

Маркировка объективов Nikon

Рассмотрим самые популярные обозначения на объективах для зеркальных фотоаппаратов Nikon:

AF

Autofocus — значит, что объектив будет работать с автоматической фокусировкой на камерах, которые оснащены механическим мотором автофокусировки, например Nikon D90, Nikon D300s, Nikon D7000, D700 и т.п. Внимание! На младших моделях, таких, как:Nikon D3000, Nikon D3100, Nikon D5000, Nikon D5100 автофокус работать не будет, поэтому фокусировку вам придется наводить руками

AF-S

Autofocus-silent — означает, что объектив оснащен тихим приводом фокусировки, другими словами, в него уже встроен механический мотор фокусировки, что позволяет использовать его на младших моделях, таких, как: Nikon D3000, Nikon D3100, Nikon D5000, Nikon D5100. Объектив с таким же успехом будет работать и на старших моделях, например Nikon D90, Nikon D300s, Nikon D7000. У объективов с такой маркировкой АВТОФОКУС будет на ВСЕХ современных камерах!

Ai/Ai-s/Ai-D

Это семейство объективов с полностью ручной фокусировкой. Если вы новичок и только разбираетесь в основах фотосъёмки, не рекомендую вам приобретать подобные объективы, пока вы не наберётесь достаточного опыта.

D

Объективы с такой маркировкой умеют передавать камере информацию о дистанции фокусировки. Это необходимо для правильной работы современных вспышек с алгоритмом i-TTL

G

Такую букву можно заметить на многих современных объективах. Она означает электронное управление диафрагмой. Т.е. вам не придётся, как в старых объективах, крутить кольцо диафрагмы для выставления её значения.

VR

Vibration Reduction — подавление (компенсация) вибраций, т.е. в объективе присутствует стабилизатор изображения. Это незаменимая вещь, если вы снимаете статичные сцены на больших выдержках, т.к. оно подавляет «дрожание рук» при съёмке.

IF

Internal Focusing — внутренняя фокусировка. То есть, при фокусировки, из объектива не будет ничего выдвигаться/выезжать, соответственно, весь процесс происходит внутри объектива

Это важно при использовании светофильтров, таких как градиентные,поляризационные и т.п. Прочитать подробнее о фильтрах для фотоаппарата можно в нашей статье Фильтры для объективов

PC

Perspective Control — семейство специальных объективов, которые помогают регулировать перспективу за счёт сдвига оптического угла (так же известны, как tilt-shift)

ED

Extra-Low Dispersion — означает наличие в объективе элементов из ED-стекла, которые обеспечивают качественную, резкую, чистую картинку без хроматических аббераций на максимально открытой диафрагме

N (или NCC)

Nano Crystal Coating — означает нанокристалическое покрытие, что устраняет внутренние переотражения в объективе. Другими словами, избавляет вас от бликов света, например от солнца, которые попадают в кадр. Такое покрытие имеют объективы золотой серии Nikon, цены на которые начинаются примерно от 1000$.

AS

Aspherical — такая маркировка говорит об асферических линзах, которые корректируют различные абберации и улучшают качество картинки. Так же, они имеют уменьшенный вес и размер, засчёт малого количества компонентов оптической схемы (линз).

SWM

Silent Wave Motor — наличие ультразвукового мотора автофокусировки, обеспечивающий быструю, точно и бесшумную фокусировку. Используется в объективах серии AF-S.

FX

Полностью совместимы с полнокадровыми камерами (35мм сенсор, либо плёнка), например d700, D3x, D3S, D4 и т.п. Такие объективы так же можно ставить и накропнутые камеры (D3000, D7000, D300s и т.п.), но у вас будет изменён угол обзора.

DX

Данные объективы совместимы только с кропнутыми камерами (D90, D7000, D5100 и т.п.). При установке на полнокадровую камеру, у вас будет сильное виньетирование (затемнение) по углам кадра.

Conclusions

The Nikon AF-P DX Nikkor 18-55mm f/3.5-5.6G VR is a solid, inexpensive starter lens. It’s bundled with the entry-level D3400, and is a solid choice for the first time SLR owner. But if you’re looking to buy it on its own, consider some alternatives. Its retail asking price is modest for a zoom lens, but if you’re willing to spend a bit more money, you can get a more versatile lens with a longer zoom range and a wider aperture for better image quality in low-light—specifically, the $500 Sigma 17-70mm F2.8-4 DC Macro OS HSM. Our favorite zoom for APS SLRs is another Sigma lens, but it’s vastly different than the 18-55mm or 17-70mm—the 18-35mm F1.8 DC HSM sports a wide f/1.8 aperture and superb image quality throughout its range, but that range is very short, and the lens is quite large and heavy.

Nikon AF-P DX Nikkor 18-55mm f/3.5-5.6G VR

3.5

See It

$246.95 at Amazon

MSRP $249.95

Pros

Compact, collapsible design.
Strong average sharpness throughout range.
Pulse motor for smooth, quiet Live View focus.
Optical stabilization.

Cons

Narrow aperture.
Barrel distortion and strong vignette at 18mm.
Weak edge performance at wider angles.
Plastic lens mount.

The Bottom Line

The Nikon AF-P DX Nikkor 18-55mm f/3.5-5.6G VR is a fine starter lens, but it’s a better value when bought along with a camera at a discount.

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Ghosting, Flare and Shooting Against the Sun

I love shooting against the low sun, so one of the very crucial features is how a lens can handle direct sunlight or any other strong source of light. Similar to other AF-P lenses, the 18-55mm AF-P handles all this exceptionally well:

NIKON D5300 + 18-55mm f/3.5-5.6 @ 55mm, ISO 100, 1/160, f/9.0

Even if this lens does not feature any high-end Nano Crystal Coating, it still does a great job dealing with direct light. When the sun was in the frame, I could not get any nasty ghosting, flare, or any significant loss of the micro-contrast. Only a small tiny colorful dot appears in the middle of the frame. Sidelight hitting the front glass is often more challenging, but I could not spot any significant troubles here either.

NIKON D5300 + 18-55mm f/3.5-5.6 @ 18mm, ISO 100, 1/25, f/6.3

Similar to the Nikkor AF-P wide-angle (10-20mm), this kit lens does not render nice sun stars. The shape is more distracting, and the light rays can even appear curved. Getting a small irregular sunstar-shape is still possible, but only when the light source is tiny. This means that the sun has to be partly shaded by other objects.

NIKON D5300 + 18-55mm f/3.5-5.6 @ 18mm, ISO 100, 1/50, f/7.1

Compatibility

It has a traditional mechanical diaphragm actuator, not an E diaphragm, so its diaphragm works on all Nikons.

It works great on my D3300, D500 and D810.

Nikon says forget it on any of the D1, D2, D3 or D4 series, the D800, D700, D610, D600, D300 series, D200, D100, D90, D80, D70 series, D60, D50, D40 series, D7000, D5100, D5000, D3200, D3100 or D3000. It also won’t work on any .

Nikon cautions that you need to have the latest firmware installed for it to work on the D5500, D5300 or D3300.

The problem is that the new AF-P autofocus motor system only works on camera models originally introduced since about 2013. If your camera is too old, the focus system, even in manual mode, won’t work at all, making the lens completely useless with no workaround.

Distortion

The amount of Distortion is also quite typical for an inexpensive kit lens. At 18mm, there is a noticeable amount of barrel distortion (+4.3%) and still relatively high distortion (+3.0%) at 24mm. As you zoom in further, it gets to moderate levels and disappears entirely by 35mm. Barrel distortion remains absent from 35mm until 55mm, where it turns to slight pincushion distortion. Even if the barrel distortion at the short end is quite heavy, correcting it via software during post-production is not very difficult in Lightroom (or any similar software). Furthermore, the latest Nikon DSLRs automatically correct this lens distortion (you need to have the “Automatic Distortion Correction” function set to ON).

NIKON D5300 + 18-55mm f/3.5-5.6 @ 18mm, ISO 100, 1/125, f/8.0

Аббревиатура и технические характеристики

Bokeh

A smooth and silky bokeh is not expected from an inexpensive slow kit lens. However, you can achieve shallow depth of field photos when zooming in to 55mm and shooting objects at the closest distance of 25 cm. The quality of bokeh this lens produces is (subjectively) OK. Highlights render as heptagonal (and almost circular shapes), albeit with some outlines. Below are some image samples that show the lens bokeh performance:

NIKON D5300 + 18-55mm f/3.5-5.6 @ 52mm, ISO 200, 1/20, f/5.6NIKON D7100 + 18-55mm f/3.5-5.6 @ 55mm, ISO 100, 1/160, f/8.0NIKON D7100 + 18-55mm f/3.5-5.6 @ 55mm, ISO 100, 1/60, f/9.0

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Sample Images

10 August 2016. Nikon D3300, Nikon 18-55mm AF-P at 18mm, f/3.5 hand-held at 1/4 at Auto ISO 900, Perfectly Clear. bigger or full-resolution perspective-corrected file to explore on your computer (mobile devices rarely display high resolution files properly).

10 August 2016. Nikon D3300, Nikon 18-55mm AF-P at 18mm, f/3.5 hand-held at 1/4 at Auto ISO 720, Perfectly Clear. bigger or full-resolution file to explore on your computer (mobile devices rarely display high resolution files properly).

Palm Paradise, Sevilla, Andalucia, España, Monday, 29 July 2019. Nikon D3500, Nikon 18-55mm VR AFP at 22mm at f/5.6 at 1/125 at Auto ISO 100, Perfectly Clear. bigger, full-resolution or camera-original file.

Fine home, Sevilla, Andalucia, España, Monday, 29 July 2019. Nikon D3500, Nikon 18-55mm VR AFP at 18mm at f/7.1 for 30 seconds at ISO 100, Perfectly Clear, perspective correction in Photoshop CS6. bigger, full-resolution or camera-original file.

The wind is blowing, so of course the tops of the palm trees and other plants aren’t sharp in this half-minute time-exposure.

Gentlemen, Rancho Mirage, California, Thursday, 01 August 2019. Nikon D3500, Nikon 18-55mm VR AFP at 32mm at f/4.5 hand-held at 1/15 at Auto ISO 1,600, Perfectly Clear. bigger, full-resolution or camera-original file.

Image Stabilization (VR) works great, so it’s easy to hand-hold in low light.

Yellow Parking Pole, Rancho Mirage, California, Thursday, 01 August 2019. Nikon D3500, Nikon 18-55mm VR AFP at 55mm at f/9 at 1/320 at Auto ISO 100, Perfectly Clear. bigger, full-resolution or camera-original file.

08 August 2016. Nikon D3300, Nikon 18-55mm AF-P at 48mm, f/9 at 1/320 at Auto ISO 100, Perfectly Clear. bigger or full-resolution file to explore on your computer (mobile devices rarely display high resolution files properly).

10 August 2016. Nikon D3300, Auto Distortion Correction OFF, Nikon 18-55mm AF-P at 18mm, wide-open at f/3.5 at 1/2,000 at Auto ISO 100, Perfectly Clear. bigger or full-resolution file to explore on your computer (mobile devices rarely display high resolution files properly).

The distortion goes away with Distortion Correction ON, and even wide-open the 18-55mm is ultrasharp.

10 August 2016. Nikon D3300, Auto Distortion Correction OFF, Nikon 18-55mm AF-P at 55mm, wide-open at f/5.6 at 1/640 at Auto ISO 100. bigger or camera-original file to explore on your computer (mobile devices rarely display high resolution files properly).

The most difficult thing for a zoom to do well is to be sharp at its tele setting wide-open, and here the 18-55mm AFP is wonderfully sharp. Many lenses need to be stopped down to be this sharp.

Lobstermania, 08 August 2016. Nikon D3300, Nikon 18-55mm AF-P at 31mm, f/4.2 hand-held at 1/13 at Auto ISO 12,800, Perfectly Clear. bigger.

08 August 2016. Nikon D3300, Nikon 18-55mm AF-P at 38mm, f/4.8 at 1/60 at Auto ISO 1,100, Perfectly Clear. bigger.

Katie and gumdrop at lunch, 02 August 2016. Nikon D3300, Nikon 18-55mm AF-P at 55mm, f/5.6 at 1/100 at Auto ISO 800, Perfectly Clear. bigger or full-resolution file (after Perfectly Clear) or camera-original file (before Perfectly Clear) to explore on your computer.

Технические характеристики

Тип	Объектив типа G AF-P DX со встроенным микропроцессором и байонетом F
Фокусное расстояние	18–55 мм
Максимальная диафрагма	f/3,5–5,6
Устройство объектива	12 элементов в 9 группах (включая 2 элемента асферической линзы)
Угол зрения	76°–28° 50´
Шкала фокусного расстояния	Градуировка в миллиметрах (18, 24, 35, 45, 55)
Информация о расстоянии	Выход на фотокамеру
Зум	Ручной зум с использованием независимого кольца зуммирования
Фокусировка	Автофокусировка с управлением шаговым электродвигателем; отдельным кольцом фокусировки для ручной фокусировки
Подавление вибраций	Смещение линз с помощью электродинамических сервоприводов (voice coil motors (VCM))
Минимальное расстояние фокусировки	0,25 м от фокальной плоскости ( ) при всех положениях зума
Лепестки диафрагмы	7 (скругленное отверстие диафрагмы)
Диафрагма	Полностью автоматическая
Диапазон диафрагмы	Фокусное расстояние 18 мм: f/3,5–22 Фокусное расстояние 55 мм: f/5,6–38 Отображаемая минимальная диафрагма может изменяться в зависимости от размера шага экспозиции, выбранного с помощью фотокамеры.
Замер экспозиции	Полная диафрагма
Установочный размер фильтра	55 мм (P = 0,75 мм)
Размеры	Примерно 64,5 мм в диаметре (макс.) × 62,5 мм (расстояние от крепежного фланца объектива фотокамеры при втянутом объективе)
Масса	Примерно 205 г

Компания Nikon оставляет за собой право в любое время без предварительного уведомления изменять внешний вид и технические характеристики устройств и программного обеспечения, описанных в данном руководстве. Компания Nikon не несет ответственность за ущерб в результате ошибок, которые могут присутствовать в настоящем руководстве.

Подавление вибраций (VR)

Когда объектив AF-P DX NIKKOR 18–55 мм f/3,5–5,6G VR установлен на фотокамеру, то подавление вибраций можно включить или выключить с помощью параметра Оптический VR в меню режима съемки ( Оптический VR). При выборе Вкл. функция подавления вибраций вступает в действие, когда спусковая кнопка затвора нажимается наполовину. Подавление вибраций уменьшает смазывание, вызываемое дрожанием фотокамеры, что позволяет использовать выдержку до 4,0 остановок длиннее, чем это имело бы место в других случаях, увеличивая диапазон доступных значений выдержки. Влияние VR на выдержку измеряется в соответствии со стандартами Camera and Imaging Products Association (CIPA; Ассоциация производителей фотокамер и устройств обработки изображений); объективы формата FX измеряются с помощью цифровых зеркальных фотокамер формата FX, объективы формата DX измеряются с помощью фотокамер формата DX. Зум-объективы измеряются при максимальном увеличении.

Подавление вибраций

При использовании подавления вибраций нажмите спусковую кнопку затвора наполовину и подождите, пока изображение в видоискателе стабилизируется перед нажатием спусковой кнопки затвора до конца.
Когда включена функция подавления вибраций, изображение в видоискателе может быть размытым после спуска затвора. Это не является признаком неисправности.
Когда фотокамера панорамируется, подавление вибраций применяется только для движений, которые не касаются оси перемещения панорамы (например, если фотокамера снимает горизонтальную панораму, то подавление вибраций будет применяться только для гашения вертикальных сотрясений), это позволит снять панораму плавно широкой дугой.
Если фотокамера оборудована встроенной вспышкой, подавление вибраций будет выключено во время зарядки вспышки.
Подавление вибраций обычно рекомендуется, когда фотокамера установлена на штативе, хотя Вы можете предпочесть выключить эту функцию в зависимости от условий съемки и типа штатива.
Подавление вибраций рекомендуется, когда фотокамера установлена на монопод.