Nikon Z 24-105mm f/4-7.1: The Perfect Travel Lens for Full-Frame Beginners [2025]

The Nikkor Z 24-105mm f/4-7.1: Your Gateway to Full-Frame Photography [2025]

Let me be straight with you: buying your first full-frame camera is terrifying. You've just dropped serious money on a body, and now you're staring at lens prices that make your wallet cry.

Then Nikon's Z 24-105mm f/4-7.1 shows up at your door in a box the size of a soda can.

At $550 (about £530), this lens shouldn't exist. It's genuinely one of the most pragmatic pieces of gear I've tested in years. Not the flashiest, not the fastest, but it does something that most premium lenses don't: it solves real problems for real people without making you choose between your house payment and your hobby.

This isn't a lens that's just "good enough." It's a lens that makes you question why everything else costs so much. Over the last few weeks, I've tested it on everything from landscape hikes to street photography to client work, and every time I pack it, I remember why Nikon designed it this way.

Here's what you need to know.

TL; DR

• Compact and lightweight: Weighs just 435 grams and fits in most camera bags without sacrificing portability
• Exceptional value proposition: $550 at launch makes this the most affordable full-frame travel zoom on the market
• Versatile focal range: 24-105mm covers wide angles, standard framing, and mild telephoto for travel photography
• Practical aperture: f/4 at wide, f/7.1 at telephoto handles daylight shooting without needing expensive neutral density filters
• Real limitation: The variable aperture and plastic construction feel a bit cheap compared to premium alternatives, but the trade-off is weight and cost

The Nikon Z 24-105mm f/4-7.1 lens is highly suitable for travel and general photography but less so for professional work due to its limitations in low-light and lack of weather sealing.

Why Nikon Built This Lens (And Why It Matters)

Nikon didn't build the Z 24-105mm as an afterthought. This was a deliberate engineering decision.

When full-frame mirrorless cameras first launched, the ecosystem was rough. You had premium zooms that cost $1,800+, or you were stuck with older F-mount lenses via an adapter. For someone buying their first Z5 or Z6, that meant either going broke or compromising on versatility.

Nikon looked at this gap and asked a simple question: what does an average photographer actually need?

Not ultra-fast apertures for low-light theatre work. Not advanced bokeh rendering for wedding portraits. Just a lens that covers the focal lengths people actually use while weighing less than a pound and costing less than a used smartphone.

That's the entire philosophy baked into this lens.

The Z-mount ecosystem needed an entry-level travel zoom that didn't make first-time full-frame buyers feel like they were settling. This lens proves you don't need to spend $2,000 on glass to get professional results.

What's genuinely smart is the aperture design. By allowing the aperture to narrow as you zoom (f/4 at 24mm, stepping down to f/7.1 at 105mm), Nikon eliminated unnecessary glass elements. That kept weight and cost reasonable without sacrificing image quality in practical daylight scenarios.

This is engineering constraint turned into a feature.

The Specifications That Matter

Focal Length and Field of View

The 24-105mm range is something most photographers don't think carefully enough about. Let me break down what this actually means in practice.

At 24mm, you're in wide-angle territory. Not ultra-wide like a 14mm, but wide enough to capture landscapes, architecture, and environmental portraits without distortion becoming obvious. In a city environment, 24mm lets you step back just enough to show context around your subject.

At 105mm, you're into mild telephoto. This is where street photographers and travel shooters live. It compresses distance, frames tighter shots, and keeps you physically separated from subjects. A 105mm lens doesn't feel "zoomed in" like a 200mm—it feels natural, like a longer version of what your eye sees.

The 4.4x zoom ratio is moderate. You're not getting the insane 5x or 6x zooms that some travel lenses offer (like the Tamron 28-200mm), but you're not stuck with a narrow range either. It's the Goldilocks zoom: broad enough for 90% of travel situations, constrained enough that designers didn't need to compromise on sharpness or introduce excessive distortion.

Aperture Performance and Light Gathering

This is where the Z 24-105mm gets interesting, because it breaks the rule that all travel zooms have to be slow.

The f/4 maximum aperture at 24mm is genuinely useful. It's bright enough for hand-held shooting in overcast daylight without cranking ISO into the stratosphere. Compare this to the older Nikon Z 24-70mm f/4 S, which also maxes out at f/4—so you're not losing anything at the wide end.

Where the lens shows its budget-friendly nature is at 105mm, where it narrows to f/7.1. Yes, that's narrow. Yes, you'll need more light at the long end. But here's the thing: most people aren't shooting 105mm telephoto in dark basements. When you zoom in to frame a tighter shot, you usually do it because you have enough light to work with.

I tested this in direct sunlight, overcast conditions, and golden-hour evening light. At 105mm f/7.1, ISO 100-400 kept shutter speeds well above 1/500th of a second. The optical stabilization (more on that in a moment) made 1/125th completely reliable.

Where you'd struggle is indoors without flash, or shooting video in non-ideal light at the long end. But for travel and daylight photography? The aperture design makes total sense.

Optical Stabilization

The lens includes Vibration Reduction (VR) with 4.5 stops of correction, according to Nikon's specs.

In real-world testing, I could reliably hand-hold at 1/125th second at 105mm without blur. At 24mm, I was getting sharp shots at 1/30th. That's genuinely impressive for a $550 lens. You can travel without a tripod and still get sharp images in soft light.

The stabilization also helps with video. If you're shooting 4K video on your Z5 or Z6 at the 105mm end, the VR takes some of the herky-jerky feeling out of handheld movement.

New lenses retail at

Physical Design and Build Quality

Size and Weight

This is where the lens makes its strongest case.

At 435 grams (about 15.4 ounces), this lens is legitimately tiny for its focal range. The entire lens, from the front element to the rear, is roughly the size of a soda can lying on its side. It fits in small camera bags, clips to backpacks, and doesn't feel like a burden after hiking for three hours.

Compare this to the Tamron 28-200mm f/2.8-5.6 (which has a longer range but wider aperture): that lens weighs 690 grams. The Canon RF 24-105mm f/4L IS USM: 700 grams. The older Nikon Z 24-70mm f/4 S: 630 grams.

Nikon chose to save weight by narrowing the aperture at telephoto, and that trade-off is worth it for travelers.

Build Materials and Durability

Here's where I'll be honest about the compromises: the barrel is plastic, not metal. The focus and zoom rings are plastic. The internal mechanisms are simplified compared to premium lenses.

Does it feel cheap? A little bit. If you're used to the Z 24-70mm f/2.8 S with its metal barrel and weather sealing, this will feel plasticky in your hands.

But here's the reality: plastic isn't inherently worse. It's lighter. It doesn't conduct cold in winter (metal lenses get genuinely uncomfortable in freezing weather). And at

After weeks of testing, the zoom ring still turned smoothly, the focus ring had consistent resistance, and there were no creaks or rattles. It's built competently, just with less premium materials.

The lens lacks weather sealing, which is the main trade-off. If you're shooting in light rain or dusty desert conditions, you'll want to be careful. For general travel use, in dry conditions, it's fine.

Optical Performance: What You Actually Get

Sharpness Across the Frame

I tested sharpness both at the center and edges, across the entire focal range.

At 24mm, the lens is sharp from corner to corner at f/4 and f/5.6. The edges have a slight softness at f/4 that clears up by f/5.6. By f/8, you've got solid edge sharpness, though diffraction is starting to matter.

In the 50-70mm sweet spot, this lens is genuinely excellent. Sharpness from center to edges, even wide open. This is why a lot of travel photographers zoom into this range and just leave it there.

At 105mm, the lens is sharp in the center but shows more softness at the edges, even at f/7.1. You need to stop down to f/8 or f/11 to get corner sharpness. This is typical of budget telephoto designs—the optical formula prioritizes center sharpness because that's where most photographers frame their subjects.

For social media, this is completely invisible. For fine art prints or heavy cropping, you'll want to be aware of this limitation.

Distortion and Chromatic Aberration

The wide end (24mm) shows moderate barrel distortion. Straight lines at the edge of the frame bow outward. It's noticeable in architectural photography if you're shooting buildings head-on. Nikon's built-in lens corrections (in-camera and in Lightroom) handle this perfectly, though.

At 105mm, you see slight pincushion distortion (opposite problem—straight lines bow inward). Again, manageable with automatic corrections.

Chromatic aberration is very well controlled. Even looking at high-contrast areas (branches against bright sky), color fringing is minimal, even at f/4. This is one area where modern optical design really shows—budget lenses are actually pretty good at CA now.

Autofocus Speed and Accuracy

The lens uses a stepper motor for focus, which is standard for budget lenses. It's not as fast as the ultrasonic motors in premium glass, but it's accurate and near-silent.

Focus tracking speed: approximately 0.5 seconds from minimum focus to infinity. For travel photography where you're mostly locked onto landscape infinity focus or predictable subject distances, this is plenty fast.

Where you'd notice the slower focus is continuous video autofocus or tracking fast-moving subjects. For photography, it's completely adequate.

Minimum focus distance of 0.35 meters at the wide end means you can get reasonably close for environmental portraits. At 0.75 meters at the telephoto end, you're limited to standard portrait distances, not macro-style close-ups.

Travel Photography: Where This Lens Excels

Street Photography in Cities

The 50-70mm range is where this lens becomes a street shooter's tool. The angle of view feels natural—not too wide (which draws attention), not too narrow (which creates compression that looks unnatural at short distances).

I spent a day shooting in an urban environment, and the focal length let me frame decisive moments without being obvious about it. At 70mm, I could photograph across a plaza without people realizing I was shooting them.

The autofocus is quiet and accurate enough that I wasn't hunting for focus on moving subjects. Sharpness is consistent frame to frame.

Landscape and Environmental Photography

At 24mm, the lens covers classic landscape framing. You can include foreground, middle ground, and sky in a single shot. The distortion is manageable for most landscape work.

I tested this on a hiking trip, shooting mountain vistas, valley compositions, and wide environmental shots. The f/4 aperture gives you enough depth of field at typical shooting distances that focusing is forgiving.

Where this lens shows its value: you're covering 90% of landscape compositions with a single, lightweight lens. You're not juggling a 16-35mm and a 70-200mm.

Casual Portrait Work

At the 85-105mm range, you get mild compression and background separation that's flattering for portraits. The bokeh isn't creamy—you're at f/7.1 at the long end, so separation is subtle—but it's present.

I shot some casual portraits (friends, family), and the focal length was flattering. Noses didn't look distorted, eyes weren't emphasized unnaturally. Background separation was gentle and natural.

For social media portraits or casual family photos, this lens is completely competent. For professional portrait work where bokeh quality matters, you'd want something faster.

Travel Vlogging and Video

The 24-105mm range for video is genuinely useful. You can establish wide shots at 24mm, then zoom to 105mm for detail shots and cutaways, all without changing lenses.

The VR helps with handheld movement. The autofocus is quiet and accurate. Exposure tracking as you zoom is smooth.

The main limitation is the f/7.1 maximum at the long end. In indoor lighting situations or later in the day, you'll need to use higher ISO or rig additional lighting.

For travel vlogging in daylight scenarios, this lens is excellent.

The 24-105mm f/4 lens offers a balanced zoom range with a consistent aperture, ideal for travel photography. Estimated data for comparison.

Cost-Benefit Analysis: Is It Worth $550?

Price Compared to Alternatives

Let's be clear about what $550 actually means in the lens market.

The Sony E 28-200mm f/4-6.3 costs about the same, offers a longer zoom range (28-200mm vs. 24-105mm), but is designed for APS-C (crop sensor) bodies, not full-frame. Different market.

The Canon RF 24-105mm f/4L IS USM is $1,299—more than double the price for similar specs. Yes, it has weather sealing, a metal barrel, and a constant f/4 aperture. You're also carrying 700 grams instead of 435 grams.

The Tamron 28-200mm f/2.8-5.6 for Sony is about $800 and offers a longer reach. It's heavier (690g), more expensive, and overkill if you don't need the extra zoom range.

For full-frame, the Z 24-105mm is genuinely the most affordable option that covers this range.

Real-World ROI: What You Can Actually Do

A first-time full-frame buyer with the Z 24-105mm can:

• Produce professional-looking travel photography without spending $3,000+ on glass
• Cover most focal lengths for casual work without changing lenses
• Travel light with a versatile system that fits in a small backpack
• Learn full-frame photography without the financial pressure of expensive equipment
• Keep options open to specialize later (add a fast 50mm, add a telephoto, add a macro lens)

The psychological weight of owning budget-friendly gear is important. You're less afraid of using it, less precious about protecting it, more willing to experiment.

When the Price Doesn't Make Sense

If you're a professional who needs weather sealing, consistent f/4 aperture, or metal barrel durability, spend the extra money on premium glass. The Z 24-105mm isn't built for daily commercial work in harsh conditions.

If you're a serious low-light photographer (concerts, theaters, indoor events), this lens will frustrate you. f/7.1 at telephoto means you're constantly fighting ISO and shutter speed in dim environments.

If you already own a comprehensive lens collection and are looking for a specialized tool, this probably isn't the lens for you.

But if you're buying your first full-frame system, or you want a reliable travel lens without obsessing over gear, the price-to-performance ratio is genuinely hard to beat.

Autofocus Technology and Performance

Focus System Details

The Z 24-105mm uses a stepper motor driving a focus-by-wire system where you spin the focus ring and a motor adjusts lens elements. This is different from the ring USM (ultrasonic ring motors) in premium glass.

Stepper motors are more affordable to implement, quieter than some alternatives, and accurate enough for most situations. The trade-off is speed—a premium USM motor might refocus in 0.3 seconds, the stepper takes about 0.5-0.7 seconds.

In practice, for still photography, this difference is invisible. You're not shooting a burst of focus-tracking shots. You compose, the lens focuses, you shoot. The focus speed is never the limiting factor.

Contrast Detection vs. Phase Detection

The Z-mount uses contrast detection autofocus—the camera finds focus by analyzing contrast in the scene and adjusting lens elements until contrast is maximized.

This is slower than phase detection (used in DSLRs), but it's more accurate because it actually achieves optical focus rather than predicting it. For still photography, this is a win. For continuous video autofocus, it's slower and more prone to hunting.

With the Z 24-105mm specifically, autofocus performance is reliable for stills and acceptable for casual video.

Real-World Autofocus Behavior

I tested autofocus in various scenarios:

Single subject framing: The lens focuses accurately. Half-press the shutter, confirm focus, shoot. Completely reliable.

Continuous tracking: Less reliable. The lens hunts occasionally when tracking moving subjects, especially at the 105mm end. Serviceable for casual video, not ideal for sports or action.

Low-light focus: In dim lighting (late golden hour, indoors), focus speed slows perceptibly. This is a limitation of both the lens and the contrast detection system.

Manual focus: The focus ring is responsive and precise. Focusing manually is easy and tactile. The focus ring doesn't have electronic feedback (no focus peaking or confirmation), but that's normal for this lens class.

Video Performance: Can You Shoot 4K?

4K Video Capabilities

The Z 24-105mm is compatible with all Z-series cameras' video modes: 4K at 24p, 25p, or 30p, all the way to 8K on some bodies (like the Z9).

The lens itself imposes no technical limitations. You can shoot 4K at 24-105mm without issues. The VR helps stabilize handheld footage, though professional video work typically uses tripods anyway.

The autofocus is the constraint here. Continuous video autofocus hunts occasionally. If you're doing interview-style video where the subject is static, this is fine. If you're doing run-and-gun video work where focus needs to track smoothly, you'll want to use manual focus or faster lenses.

Color Science and Exposure Tracking

Nikon's cameras handle exposure beautifully with this lens. The metering system is integrated into the camera body (all lenses on Nikon Z-mount are fully electronically controlled), so exposure tracking is automatic and reliable.

Color rendering is dictated by the camera body and firmware, not the lens. With Nikon's standard color profile, video looks natural and slightly warm. In-camera recording to Pro Res or H.265 gives you flexibility in post-production.

Practical Video Limitations

The variable aperture is the main limitation. At the 105mm end (f/7.1), you need bright light for fast shutter speeds. In lower light, you'll be pushed to ISO 1600-3200, which introduces noise on most Z-series cameras.

No internal focusing means focus breathing (slight change in focal length during autofocus) is present. For cinematic work, this is noticeable.

These aren't deal-breakers for travel vlogging or casual video work. They become issues only when you're doing professional production work or shooting in challenging light conditions.

The Z 24-105mm lens at $550 is the most affordable full-frame option, offering a balance of price and functionality compared to more expensive alternatives.

Comparison: How It Stacks Up

Nikkor Z 24-105mm vs. Premium Alternatives

vs. Canon RF 24-105mm f/4L IS USM ($1,299)

Canon's version has a constant f/4 aperture (brighter at telephoto), weather sealing, metal barrel, and slightly faster autofocus. Nikon's version is half the price, half the weight, and genuinely adequate for 90% of the same use cases. Choose Canon if you're shooting in harsh weather or need maximum lens speed. Choose Nikon if you want travel-friendly simplicity.

vs. Tamron 28-200mm f/2.8-5.6 ($799)

Tamron covers a longer range (28-200mm vs. 24-105mm) and has a brighter f/2.8 at the wide end. Nikon starts wider (24mm vs. 28mm) and is significantly cheaper (

vs. Nikon Z 24-70mm f/4 S ($1,099)

Nikon's premium zoom stops at 70mm instead of going to 105mm. The f/4 constant aperture is brighter at telephoto, and build quality is superior (metal barrel, weather sealing). But it's more expensive and doesn't give you the mild telephoto reach. For most travelers, the 24-105mm is the better choice.

vs. Used Z 24-70mm f/2.8 S ($1,200-1,400 used)

A used premium zoom is tempting. You get better build quality and a constant f/2.8 aperture. But you're still paying 2x-3x the price, and you lose the 70-105mm focal length range. For new photographers, the 24-105mm makes more sense.

Real-World Workflow: Adapting to the Variable Aperture

Exposure Compensation Strategies

Shooting with a variable aperture zoom requires one mental adjustment: your exposure parameters change as you zoom.

When you zoom from 24mm to 105mm, the aperture goes from f/4 to f/7.1. If you want consistent exposure, you either increase ISO or slow down the shutter speed.

In practice, this means:

1. Set your ISO based on the longest focal length (105mm at f/7.1). If you need ISO 400 at 105mm to maintain 1/250th shutter speed, lock ISO to 400 even at the wide end.

2. Take advantage of extra light at the wide end by shooting faster shutter speeds or using smaller apertures for more depth of field.

3. Use the camera's auto ISO and let it adjust as you zoom. Most photographers find this simpler than manual ISO adjustments.

Once you've done this a few times, it becomes automatic. You're not consciously thinking about it—you're adjusting your composition and framing naturally.

Depth of Field Considerations

The variable aperture also means depth of field changes as you zoom. At 24mm f/4, even at a close focusing distance (like f/4), you have tremendous depth of field. At 105mm f/7.1, depth of field is shallower but still substantial.

For landscapes and travel work, this is actually an advantage. You get enough depth of field for sharpness without needing tiny apertures (f/16) that introduce diffraction.

For portraits, you'll want to understand that at 105mm f/7.1, background separation is subtle. You're not getting bokeh-centric portraits. You're getting nice depth of field that separates the subject from the background in a natural way.

Handling Backlit Situations

Backlit scenarios (shooting toward light sources) are where variable aperture lenses show their constraints. At f/7.1, you have less ability to reduce bright backgrounds through shallow depth of field.

I tested this scenario: shooting a subject with bright sky behind them. At 105mm f/7.1, the sky was bright and blown out. A constant f/2.8 lens would blur the sky more, making the subject stand out.

With the Z 24-105mm, you work around this by:

• Positioning the subject in shade
• Using reflectors to balance exposure
• Accepting that the background will be bright
• Shooting at a different angle

This is a real limitation, not a fatal one. It's why professional portrait lenses have faster apertures.

Practical Testing: Real-World Results

Sunny Day Performance

On bright, sunny days, this lens is absolutely unbeatable. The f/4 at the wide end and f/7.1 at telephoto are plenty for full daylight shooting. I tested this on a beach, in a city, and hiking.

Shutter speeds stayed above 1/1000th second at ISO 100. Images were sharp, colors were vibrant, and I never felt limited by the lens.

Overcast and Golden Hour

In overcast conditions, the lens handles itself well. At f/4, I was shooting 1/125th second at ISO 200-400. The VR made handheld shooting at these settings reliable.

During golden hour (late afternoon/early evening), I had to push ISO to 800-1600 at the 105mm end while maintaining 1/250th shutter speed. Completely manageable on modern Nikon cameras (Z6, Z6 II) with excellent high-ISO performance.

Shadow and Low-Light Performance

Indoors and in heavy shadows, the lens shows its limitation. At f/7.1 and 105mm, I was at ISO 3200-6400 to maintain usable shutter speeds. This is where faster lenses (f/2.8, f/4) show their value.

For a travel lens specifically designed for daylight use, this is acceptable. Most travel photographers aren't shooting indoors in museums or concert halls.

The Nikkor Z 24-105mm offers a balanced mix of affordability and portability, making it a strong contender against more expensive alternatives. Estimated data based on feature comparison.

Lens Accessories and Compatibility

Filter Thread Size

The lens has a 62mm filter thread. This is smaller than the 77mm standard on some premium lenses, but it means filters are affordable.

I tested it with a circular polarizer and a neutral density filter. Both threaded smoothly and didn't introduce vignetting.

For a travel kit, I'd recommend: one circular polarizer (for landscapes), one ND filter if you want to shoot long exposures, and a basic UV filter for lens protection. Total cost: under $80.

Lens Cap and Hood

The lens comes with a removable front cap and a bayonet-mount rear cap. Neither is fancy, but both work.

Nikon sells an optional lens hood (HB-60) for about $30. It's plastic (fitting with the rest of the budget design), but it does reduce flare and protects the front element. Worth buying for travel.

Lens Bag Considerations

At 435 grams and compact dimensions, this lens fits in surprisingly small bags. I tested it with:

• Peak Design Sling Bag: Easily fits with the camera body and one extra lens
• Lowepro Whistler BP 450: Plenty of room with additional gear
• Generic camera backpack: No issues whatsoever

For travel specifically, this lens's compact size is one of its greatest assets.

Full-Frame Sensor Advantages with This Lens

Why Full-Frame Matters Here

The Z 24-105mm is designed for full-frame cameras, not APS-C. This means:

• At 24mm, you get true wide-angle perspective (not 38mm equivalent on crop sensor)
• The 105mm end is more telephoto-like (not 168mm equivalent) with less magnification
• Image quality uses the full sensor area, extracting maximum detail from each optical design

If this lens were designed for APS-C, it would probably be 16-70mm, offering similar compositional variety in a smaller field of view.

Full-frame gives you compositional flexibility that's hard to overstate. That true 24mm wide angle is genuinely useful for travel photography.

Autofocus Performance on Different Camera Bodies

I tested the lens on multiple Z-mount cameras:

Z5: Contrast detection focuses reliably and accurately. Slightly slower, but you notice only if you're doing continuous action shooting.

Z6/Z6 II: Autofocus is responsive and quick. The 24.2MP sensor pairs well with this lens's optical resolution.

Z9: Autofocus performance is similar to the Z6 II, with the added benefit of weather-sealed camera body (the lens itself isn't sealed).

The lens performs identically on all bodies because autofocus is controlled by the camera firmware, not the lens itself. Your results depend more on which Z-body you pair it with.

Handling and Ergonomics

Focus and Zoom Ring Feel

The focus ring is smooth with moderate resistance. It's easy to turn but doesn't rotate on its own (no "drift"). The rubber grip is textured and comfortable.

The zoom ring is stiffer. You need deliberate motion to zoom, which prevents accidental zooming when carrying the camera. The zoom ring is positioned closer to the camera body (on the left side when holding normally), which is ergonomic for right-handed shooters.

Both rings feel adequate, not premium. They work smoothly for weeks without any creaks or grinding.

Balance on Camera Bodies

On the Z5 (the most affordable Z-mount body), the lens balances perfectly. The compact lens doesn't tip the camera nose-heavy. On the Z6/Z6 II, balance is also good.

This is one practical advantage over the Z 24-70mm f/2.8 S, which is front-heavy and requires a more pronounced grip to balance.

Weather Resistance (Or Lack Thereof)

The lens isn't weather sealed. Light rain or spray is fine, but I wouldn't expose it to sustained moisture or dust.

For travel in wet climates (tropical locations, rainy seasons), you'll want to use an umbrella or keep the lens in a dry bag between shoots. Not a huge limitation, but something to plan for.

The Nikon Z 24-105mm f/4-7.1 excels in affordability and versatility, making it a practical choice for first-time full-frame users. Estimated data.

Long-Term Durability and Reliability

Seal Longevity

After weeks of testing, the lens showed no dust ingress, no oil on the rear element, and no changes in autofocus speed or accuracy. The plastic barrel hasn't warped or cracked.

For a budget lens, this is genuinely reliable. The engineering is conservative—fewer complex elements means fewer failure points.

Common Issues (From User Reports)

Online forums report occasional autofocus hunting in very low light, which I can confirm. This isn't a defect—it's a limitation of the design. In low light, contrast-based autofocus struggles. Manual focus works fine in these scenarios.

No reports of mechanical failure, fungus growth, or optical degradation among users I consulted.

Warranty and Support

Nikon backs this lens with a one-year limited warranty covering manufacturing defects. It's not a multi-year premium warranty, but it's standard for this price point.

Service is straightforward through Nikon service centers. Repairs are inexpensive because the construction is simple.

Who Should Buy This Lens (And Who Shouldn't)

Ideal Users

First-time full-frame buyers: You get professional versatility without the sticker shock. A complete system (Z5 + this lens) comes in around

Travel photographers: The compact size, light weight, and 24-105mm coverage make this the quintessential travel lens. You're not changing lenses or carrying heavy gear.

Content creators and vloggers: The focal range and decent autofocus performance let you shoot a variety of compositions without swapping lenses. Video performance is respectable in daylight.

Photographers learning full-frame photography: The lens's limitations (variable aperture, plastic construction) teach you important lessons about exposure, composition, and working within constraints.

Budget-conscious photographers: If you want full-frame image quality without spending $2,000+ on glass, this lens makes that financially possible.

Who Should Look Elsewhere

Professional photographers: You need weather sealing, faster apertures, and premium build quality. Spend the extra money on a constant-aperture zoom or prime lenses.

Low-light specialists: Concert photographers, theater shooters, and indoor event photographers need faster glass. The f/7.1 at telephoto will frustrate you.

Macro photographers: The close-focusing capability is limited. If you need close-up work, pair this with a dedicated macro lens.

Telephoto enthusiasts: If you regularly shoot beyond 105mm (wildlife, sports), you'll want a dedicated telephoto lens. This lens's reach ends where telephoto really begins.

Pixel peepers obsessing over corner sharpness: At 105mm f/7.1, corner sharpness is soft. If you're cropping aggressively or printing large at full resolution, you'll notice limitations.

Practical Buying Advice and Alternatives

Where to Buy and Current Pricing

The lens retails for $549.99 (£529.99 in the UK) at major retailers including B&H Photo Video, Adorama, and directly through Nikon's website.

Online retailers occasionally run discounts (5-10% off during sales events). At

Bundling Considerations

If you're buying a Z5 body, some retailers bundle this lens at a small discount. The Z5 + Z 24-105mm f/4-7.1 bundle pricing sometimes comes to $1,100-1,150, which is a better deal than buying separately.

Why Not Used or Refurbished?

The lens is relatively new (launched in 2021), so used market prices haven't dropped dramatically. A used 24-105mm might run

Refurbished units from Nikon directly run about $450, include a warranty, and are indistinguishable from new. If you see Nikon Refurbished stock available, that's a smart buy.

Resale Value

If you buy this lens and later upgrade, resale value holds reasonably well. Budget lenses typically drop 20-30% in value over two years. At

Expansion Path: What Comes Next

Adding a Second Lens

If you outgrow the 24-105mm range, natural additions are:

Ultrawide (14-24mm): Gives you dramatic landscape capability beyond the 24mm start. The Nikon Z 20mm f/1.8 or used Z 14-24mm f/2.8.

Telephoto (70-200mm): Extends your reach for wildlife, sports, or compressed-perspective portraits. The Nikon Z 70-200mm f/2.8 is the premium option.

Prime lens: A Z 50mm f/1.8 gives you faster aperture and shallower depth of field for portraits.

The beauty of starting with the 24-105mm is that you learn what you actually need before investing more money.

Macro and Specialty Glass

Once you've explored general photography with the 24-105mm, specialty needs become apparent. If you're shooting product photography, macro lenses make sense. If you're doing astrophotography, ultra-wide lenses become necessary.

The 24-105mm teaches you the fundamentals before you specialize.

Technical Specifications Summary

FAQ

What is the Nikon Z 24-105mm f/4-7.1 best used for?

The Z 24-105mm is optimized for travel photography, general-purpose shooting, casual video content creation, and everyday use where versatility matters more than specialized performance. The 24mm wide end covers landscapes, while the 105mm telephoto handles portraits and distant subjects. It's an excellent choice for photographers who want one lens that covers most situations without changing glass. The compact size and light weight make it ideal for hiking, vacations, and situations where carrying multiple lenses isn't practical.

How does the variable aperture affect my exposure settings?

The variable aperture means the maximum aperture narrows as you zoom from f/4 at 24mm to f/7.1 at 105mm. In practice, this means you'll need to adjust either your ISO or shutter speed as you zoom to maintain consistent exposure. For example, if you need ISO 400 at 105mm to maintain 1/250th shutter speed in certain light, you might use ISO 200 at 24mm with the same shutter speed (because f/4 is brighter than f/7.1). Most photographers simply set auto ISO and let the camera handle exposure adjustments automatically. This is one of the trade-offs that keeps the lens compact and affordable.

Is this lens suitable for professional photography?

The Z 24-105mm is competent for some professional work (editorial travel, lifestyle content, casual commercial work), but it lacks features that professional photographers typically require. The plastic barrel and lack of weather sealing mean it's not suitable for outdoor shoots in rain or dusty conditions. The variable aperture limits low-light performance—at f/7.1, telephoto shooting indoors or in evening light becomes challenging. The optical performance is respectable but not premium-grade; corner sharpness at 105mm is soft. For professional work requiring weather sealing, fast apertures, or weather-sealed construction, premium alternatives are more appropriate. Many professionals use the 24-105mm as a travel/backup lens rather than their primary tool.

What's the difference between this lens and Nikon's Z 24-70mm f/4 S?

Nikon's Z 24-70mm f/4 S (

How does autofocus performance compare to premium lenses?

The Z 24-105mm uses a stepper motor for autofocus, which is slower and less sophisticated than the ultrasonic ring motors in premium lenses. Autofocus speed is approximately 0.5-0.7 seconds from minimum focus to infinity, compared to 0.3 seconds on premium glass. Accuracy is excellent for stills—the camera achieves reliable focus quickly. For continuous video autofocus or tracking moving subjects, the lens occasionally hunts and may lose focus momentarily. For still photography and video with static subjects, autofocus performance is completely adequate. The difference becomes noticeable only when doing professional video work or continuous action photography where fast, predictive autofocus is critical.

Can I use this lens for video production?

Yes, the Z 24-105mm is viable for video content creation in daylight scenarios. The autofocus is quiet and generally accurate for video with static subjects. The VR helps stabilize handheld video footage. The 24-105mm range is versatile for establishing shots, mid-frame compositions, and detail close-ups without changing lenses. Limitations include occasional autofocus hunting, which is noticeable in video; the f/7.1 maximum at telephoto, which requires bright light; and minor focus breathing (slight focal length change during autofocus). Professional video work benefits from manual focus and faster lenses. For travel vlogging, You Tube content, and casual video documentation in daylight, this lens is excellent.

Is weather sealing important if I don't shoot in rain?

Weather sealing protects against dust, moisture, and condensation. If you're shooting only in dry, controlled conditions (studio, fair weather outdoor shoots), the lack of sealing is a non-issue. If you travel to varied climates, shoot near water, or work in dusty environments, the absence of weather sealing becomes a limitation. The lens itself can handle brief exposure to light rain (not sustained soaking), but you risk dust and moisture affecting optical elements over time. For travel photography, where you encounter unpredictable conditions, carrying a weather-sealed body (like the Z6 II with sealing) and using lens protection (lens hood, protective pouch) provides insurance without the cost of weather-sealed glass.

How does this lens handle backlit photography?

At f/7.1 maximum aperture (at the long end), backlit scenarios are limiting because you have less ability to blur bright backgrounds through shallow depth of field. When shooting subjects with bright sky behind them at 105mm f/7.1, the background remains bright and potentially blown out. Professional lenses with constant f/2.8 apertures can compress backgrounds more dramatically. With the Z 24-105mm, you work around this limitation by repositioning subjects into softer light, using reflectors to balance exposure, or accepting that backgrounds will be brighter than they might be with faster glass. This isn't a fatal limitation—many accomplished photographers shoot with similar apertures and simply adjust their composition accordingly.

What's the minimum focusing distance, and does it matter?

Minimum focus distance is 0.35 meters at 24mm and 0.75 meters at 105mm. At the wide end, 0.35m (13.8 inches) allows fairly close focusing, suitable for environmental portraits and detailed shots. At 105mm, 0.75m (29.5 inches) means you need to maintain some distance from subjects. For macro work or extreme close-ups, these distances are limiting—you can't fill the frame with small objects. For general travel and portrait photography, the focusing distances are practical. If close-focus capability is important to your work, a dedicated macro lens is a better choice than this general-purpose zoom.

How does build quality compare to more expensive lenses?

The Z 24-105mm uses plastic barrel, plastic zoom and focus rings, and plastic internal mechanisms—all appropriate for a

Should I buy used or wait for sales?

At

The Bottom Line

The Nikon Z 24-105mm f/4-7.1 is exactly what first-time full-frame buyers need: versatility without complexity, affordability without sacrifice, and practicality without pretension.

You're not getting a lens that'll impress gear enthusiasts at photography meetups. You're not getting premium build quality or a constant f/4 aperture. You're not getting weather sealing or cutting-edge optical design.

What you're getting is this: a lens that lets you explore full-frame photography without the sticker shock. A travel companion that covers 90% of real-world compositions. A tool that teaches you the fundamentals of exposure, composition, and focus without forcing you to spend $2,000+ to learn.

I've tested expensive lenses that convinced me I'd wasted money on the premium model. I've tested budget lenses that left me frustrated and angry. This lens is neither. It's just competent, useful, and honest about what it is.

If you're buying your first full-frame camera, you're going to feel like you overspent on the body. The Z 24-105mm proves you don't need to compound that with lens costs. At $550, it's the most practical decision you'll make in a full-frame system.

Start here. Learn the fundamentals. Build your skills. Add specialized lenses later if you need them. But for travel, for learning, for genuine photographic work that doesn't require specialty glass, this lens is more than adequate.

It's genuinely hard to recommend anything else at this price point.

Key Takeaways

• The Nikkor Z 24-105mm f/4-7.1 is the most affordable full-frame travel zoom at $550, making premium photography accessible to first-time buyers
• At 435 grams, the lens is remarkably compact and portable, fitting easily in travel bags without sacrificing versatility
• Variable aperture (f/4 to f/7.1) keeps the lens lightweight but requires exposure adjustments when zooming—a worthwhile trade-off for travel
• Sharp performance in daylight scenarios but shows limitations in low-light work at the telephoto end, which is acceptable for its intended travel use
• Build quality is honest plastic construction that works flawlessly but lacks weather sealing—a reasonable compromise at this price point

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