Nikon NIKKOR Z 28-135mm f/4 PZ 28-135mm

With optical quality in the 97th percentile, this is one of the sharpest zooms we've tested. The power zoom is a video shooter's dream, offering smooth, remote-controllable focal length changes that no stills-focused lens can match. Just be aware you're trading a fast aperture and built-in stabilization for that video-centric design, so a well-lit scene and a Z body with IBIS are your best friends here.

This is where the lens shines. The 97th percentile optical score isn't just a number. In real-world terms, it means this lens resolves detail like a champ from 28mm all the way to 135mm. Chromatic aberration is basically a non-issue thanks to that ED glass, and the Meso Amorphous Coating does a stellar job killing flares and ghosting, even with a bright light source in the frame. The power zoom is the star of the show for video. It's smooth, variable in speed, and can be controlled via the rocker on the lens, the camera body, or remotely. That's a huge deal for solo shooters and small crews.

Autofocus is driven by a stepping motor, and it's a quiet, confident performer. It's not going to rip your subject's face off with speed like some of the top-tier sports lenses, but for tracking a speaker walking across a stage or a bride down the aisle, it's more than up to the task. The minimum focus distance of 34cm gives you a useful 0.25x magnification, which is handy for detail shots, though it's not a true macro lens by any stretch. The 9-blade diaphragm produces decent, if not class-leading, bokeh. It's pleasant enough, but don't expect the creamy background melt of an f/1.2 prime.

The most direct fight is with something like the Sony G Master SEL70200GM2. The Sony is a stop faster at f/2.8, has best-in-class autofocus, and includes optical stabilization, but it lacks the power zoom and the extra 65mm of reach on the long end. For pure video work, the Nikon's power zoom is a unique advantage. The Canon RF 28-70mm f/2.8 IS STM is another strong competitor, offering a faster aperture and stabilization in a similar range, but again, no power zoom. If you're a hybrid shooter who splits time evenly between stills and video, the Canon or Sony might be more versatile. But if your world is video-first, the Nikon's smooth zoom and internal mechanism make it a standout tool that the others can't quite match.

Pricing on this lens is all over the map, with a spread of $1170 across different vendors. You can find it as low as $2272, which is a solid deal for a professional video tool with this optical pedigree. At the high end of $3442, it's a much tougher sell, and you'd be wise to shop around. For a lens that can replace a bag of primes for corporate and event video work, the lower end of that price range makes a lot of sense. You're paying for the power zoom and the top-tier optics, and if those are features you need, the price per performance ratio is strong.

The NIKKOR Z 28-135mm f/4 PZ lands in the 97th percentile for optical quality in our database, which puts it among the absolute best glass we've tested. That's a serious statement, and it's backed up by a sharp, contrasty image across the frame thanks to 4 aspherical and 3 ED elements. But the real story here is the power zoom. This is a lens built from the ground up for video shooters who need smooth, controlled focal length changes without jostling the camera. It's a 4.8x zoom range that covers wide establishing shots to tight close-ups, all at a constant f/4 aperture, which keeps your exposure consistent as you zoom.

At 1120g, it's not a featherweight, but for a full-frame power zoom with this reach, it's manageable on a rig. The stepping motor AF is quick and practically silent, landing in the 86th percentile for autofocus performance. It's not the fastest focusing lens we've ever seen, but it's more than capable for the kind of deliberate, controlled video work it's designed for. The big trade-offs are in the aperture and stabilization departments. An f/4 max aperture is a bit slow for low light or shallow depth of field work, and the lack of built-in VR means you'll be relying on your Z body's IBIS.

Stills-focused photographers and low-light shooters should look elsewhere. The f/4 aperture is a real bottleneck for subject isolation and shooting in dim conditions, landing in the 24th percentile. If you're not going to use the power zoom for video, you're paying a premium for a feature you don't need and carrying extra weight for the privilege. A standard f/2.8 zoom will give you a stop more light, better bokeh, and often built-in stabilization for a similar or lower price, making it a much smarter buy for pure photography.

The NIKKOR Z 28-135mm f/4 PZ is a specialist's tool that absolutely nails its brief. It's not an all-rounder. It's not for low-light artists or bokeh fanatics. But for a documentary filmmaker, event videographer, or corporate shooter who needs a single, reliable lens with a versatile range and the smoothest power zoom this side of a broadcast ENG lens, it's one of the best options on the market. The optical quality is genuinely stunning, and the video-centric features are perfectly executed. Just know what you're signing up for: you'll need good light and a camera with solid IBIS to get the most out of it.