Why pros love the NIKKOR Z 24-70mm f/2.8 S II

A new approach

Beyond the technical performance and the convenience of covering multiple focal lengths, the biggest change this lens introduced to my photography was psychological. It subtly altered the way I approach certain scenes.

Zoom lenses are often associated with a reactive way of working, quickly adjusting focal lengths to respond to changing situations. Interestingly, I found the opposite happening here. The flexibility of the 24-70mm range encouraged me to think more carefully about framing, perspective and how different elements interact within the scene. In many situations it pushed me toward a more deliberate and proactive way of photographing.

Architecture and the freedom to go wider

Architectural photography has long been central to my work, and at 24mm this lens is wide enough for many architectural interiors and exteriors while maintaining a natural perspective, where clean lines and spatial balance are important.

Panoramic photography has been part of my practice for the past seven years, particularly when photographing cathedral interiors. These large spaces allow creative ways to emphasise scale and perspective. When creating perspective panoramas, where vertical lines must remain straight, I often reach for 24mm or 50mm rather than using an ultra-wide lens. Building a wider scene by stitching multiple frames instead of cropping from a very wide lens has become second nature to my workflow.

Just that little bit more

When travelling light and keeping gear to a minimum, ultra-wide lenses are not always the first choice to pack. Yet every so often we find ourselves needing just a little more width. In those moments, capturing two or three frames at 24mm provides a flexible solution. At the Rijksmuseum, I paused to admire art conservators carefully working on a Rembrandt painting. Two frames were enough to create a wider composition while preserving the natural perspective of the scene.

From reactive to proactive

While architecture became a major focus in my photography, the curiosity that drives my work still comes from the streets. When I’m not photographing interiors, I instinctively look for interesting street scenes.

Fast prime lenses often encourage photographers to isolate subjects with shallow depth of field. Working at f/2.8 changes that dynamic. More of the scene remains in focus, which requires more deliberate framing and greater awareness of what’s happening within the space.

Coming from an architectural mindset, I quite enjoy this approach. Instead of isolating subjects, the surrounding environment becomes part of the story, helping to build relationships between people and the spaces they move through. What surprised me most was that using a zoom lens did not make the process more reactive. Instead, it allowed me to anticipate multiple compositions within the same scene.

Outside the Rijksmuseum one afternoon, soft winter sunlight illuminated a busy crossing. Cyclists moved through the frame while pedestrians crossed the road, creating layers of activity. Being able to zoom quickly without changing lenses allowed me to prepare for several possible compositions as the scene unfolded. Autofocus using AF-C with 3D tracking was fast and dependable, allowing me to concentrate entirely on timing and framing.

Slowing down

I’ve also found myself using slower shutter speeds more frequently with this lens, particularly during blue hour and night photography on a tripod. Working this way encourages a slower pace. Subtle motion within the frame introduces a human presence without making people the central subject. Instead, the focus shifts to the relationship between architecture, movement and atmosphere.

Slower shutter speeds also make it possible to keep ISO levels lower in dim light. In situations where there isn’t time to set up a tripod, I’ve occasionally been able to handhold exposures around 1/2, 1/10, or 1/20 second to introduce a touch of motion blur while still retaining detail in the scene. Whenever possible, though, I still prefer working from a tripod for maximum stability and careful framing.

Whatever the weather

I also enjoy photographing in misty or lightly drizzling conditions, where moisture in the air can add atmosphere and soften the light. While I didn’t have the opportunity to test the lens in heavy rain, it’s reassuring to know that it is weather-sealed and features an internal zoom design, meaning the barrel does not extend. That added confidence allows me to focus more on the scene in front of me.

Final thoughts

The NIKKOR Z 24-70mm f/2.8 S II has been a very welcome addition to my kit. It is a dependable performer: fast to focus, relatively lightweight for its class and consistently reliable across a wide range of lighting conditions. Paired with cameras such as the Z8 and Z6III, autofocus is quick and precise, making the lens feel responsive and effortless to work with.

Over time, my photography has gradually moved away from extremely shallow depth of field toward images that include greater depth and context. In that sense, the 24-70mm range fits naturally into how I now photograph. It encourages compositions where subjects and environments coexist within the frame.

Zoom lenses have always involved a balance between weight, optical performance and flexibility. Yet for photographers who understand how to work within those trade-offs, that versatility becomes a powerful creative tool. It allows precise control over framing, perspective and depth, refining a composition little by little and building layers of interest until everything falls into place.

Despite being one of the lightest lenses in its class at the time of writing, the NIKKOR Z 24-70mm f/2.8 S II delivers excellent optical performance while remaining responsive and dependable in daily use. For me it strikes that balance beautifully. It’s a technically excellent lens that encourages a careful and considered approach to framing, helping me shape scenes where subjects, space and light work together in harmony.