Entry-level digital cameras are typically bundled with a zoom lens, a convenient choice but one that doesn't quite get the bokeh look or low-light performance that creators seek when upgrading from a smartphone. The Nikkor Z DX 24mm F1.7 ($279.95) slots in as one of the best values in the system thanks to its low price, versatile angle of view, background-blurring optics, and dust- and drip-resistant build. Photographers who want a small, light prime and don't want to spend much money should get this one. If you can increase your budget, the larger Viltrox 27mm F1.2 Pro ($578) gathers twice as much light for even softer backgrounds and remains our Editors' Choice among bright, prime lenses for the Nikon Z DX system.

Design: Small and Light for Everyday Carry

The Z DX 24mm F1.7 is made just for the APS-C sensor format used by cameras like the Nikon Z 30, the Z fc, and the Z50II. Because of this, the lens is smaller and lighter than similar options for full-frame systems, coming in at 1.6 by 2.8 inches (HD) and 4.8 ounces, with support for 46mm filters. It's a far smaller lens than the Viltrox 27mm F1.2 Pro (3.6 by 3.2 inches, 1.3 pounds), but to be fair, the Viltrox is larger because of its brighter f/1.2 optics. Viltrox also makes a small 25mm F1.7 Air lens (2.5 by 2.1 inches, 6.0 ounces) for Nikon Z, and though I've not yet had a chance to review it, the $176 Viltrox 25mm is an even stronger value option on paper than the Nikkor Z 24mm.

(Credit: Jim Fisher)

On the other hand, if you are later eyeing an upgrade to a full-frame camera body, you can use a full-frame lens like the Nikkor 24mm F1.8 S on either sensor size without restrictions. In contrast, the Z 8, the Z6III, or the Z 5 full-frame will crop its sensor to capture a lower-pixel, APS-C area when the DX 24mm F1.7 is attached. A 24mm lens on a DX sensor sees about the same angle of view as a full-frame 35mm prime, a popular focal length for everyday photography, environmental portraits, documentary and reportage, and similar scenes. If you prefer a tighter view, the Viltrox 27mm F1.2 and the Sigma 30mm F1.4 DC DN Contemporary do a better job capturing scenes that isolate a single subject from the background, and the Sigma 16mm F1.4 DC DN Contemporary is there if you prefer a roomier frame.

(Credit: Jim Fisher)

The Z DX 24mm uses glass optics (a 9-element/8-group formula), but the exterior is all plastic, down to the lens mount. It's not a bad choice, given how light the lens is. For what it's worth, Nikon's composite materials are sturdy and the prime certainly doesn't feel like a budget lens in the hand. It's rare to see it in such an affordable lens, but the Z DX 24mm includes internal seals to protect it from dust and drips, meaning you can use it comfortably in moderate precipitation with the Z50II and other weather-sealed Nikon Z cameras. For comparison, the less expensive Viltrox 25mm F1.7 doesn't have any sort of weather sealing.

(Credit: Jim Fisher)

Nikon bundles a compact lens hood with the lens. Using it is optional but it doesn't add too much length and protects the front glass from fingerprints and scratches, along with reducing instances of flare. The hood secures via the lens's filter threads but includes its own front 46mm thread so you can easily add a variable ND or polarization filter.

Controls and Focus: Competent Autofocus for Snapshot Photography

There's not much to the DX 24mm F1.7 in terms of controls: It has one control ring and nothing else. The ring is multipurpose, however, so you can configure it in the camera to work for aperture, EV compensation, ISO, or manual focus control. Don't worry if you opt for something other than manual focus—when you change your camera's focus setting to manual, the ring changes over to focus control automatically and reverts to its previous state when you switch back to autofocus.

(Credit: Jim Fisher)

The manual focus experience is pretty good. The control ring turns smoothly but with just enough resistance to avoid sloppy motion. There's some noise from the motor when setting focus, a faint whir that's also audible during autofocus drive. The lens is a little slower than instant when driving focus and tends to hunt back and forth for a split-second before locking in. Even so, I had great luck snapping candid photos of pets with the Z50II using AF-C focus. Focus landed on the subjects' eyes consistently, even when they were moving toward or away from the camera.

(Credit: Jim Fisher)

The lens focuses on subjects as near as 4.7 inches from the focal plane, good for 1:4.8 life-size reproduction. This puts the 24mm F1.7 outside the realm of a true macro lens—it won't hone in on tiny details like the compound eyes of an insect like a big, dedicated macro prime such as the Nikkor Z MC 105mm F2.8 VR S—but it's a good lens to use for groups of flowers, pet headshots, and other scenes where you're up close and personal to your subject.

(Credit: Jim Fisher)

Image Quality: Detailed Images With Soft Bokeh

I tested the DX 24mm F1.7 with the 20.9MP Z50II and Imatest software in our lab to get a handle on its resolving power. It scores in the excellent range (2,400 lines) at f/1.7 and f/2, and crosses into outstanding through the rest of its f/2.8-11 aperture range (2,600-3,000 lines). Most lenses support smaller apertures, typically f/16-22 is the minimum, but I didn't really miss having the narrower options here as resolution typically suffers when stopping down beyond f/11.

(Credit: Jim Fisher)

The lens shows some inward pincushion distortion and, at wider apertures, a vignette. If you use your camera for JPG images or movies, it will apply corrections to compensate, straightening lines and brightening corners. If you use Raw capture you'll need to apply corrections when processing photos, however. Both Adobe Lightroom and Lightroom Classic include a profile for the lens that applies correction on catalog import.

The prime does a very good job against a backlight. I made some photos with the sun low in the sky behind a subject and see strong contrast in the foreground with no signs of false color from reflections.

(Credit: Jim Fisher)

The lens is capable of a very shallow depth of field when used at wider apertures. The background blur is pleasing. I noticed softer edges around defocused highlights and couldn't spot any onion skin texture in them, a combination that lends itself to cleaner backgrounds. There is some false purple and green color (longitudinal chromatic aberration) visible in backgrounds, especially in busier scenes with areas of high contrast placed behind the plane of focus. In all, I'm pleased with the character of the bokeh, though I'll caution that you'll want to use the lens at f/1.7 or f/2.0 for scenes with brightly defocused highlights as the 7-blade aperture takes on a polygonal shape starting at f/2.8.

(Credit: Jim Fisher)