Which wide-angle lens should I choose for Nikon? SLR cameras from this manufacturer can be divided into two groups. Models ranging from amateur cameras to the D500 have smaller APS-C image sensors (Nikon calls it DX), while cameras older than the D610 have full-frame (FX) sensors.

The selection of optics must be made in accordance with the sensor size, because a full-frame ultra-wide-angle lens will not provide the required angle of view on APS-C cameras.

The difference here is that you can use smaller DX format optics on lower resolution full frame FX cameras. It's not ideal, but if it was used on a DX model (eg a lens for example) and then the owner upgraded to FX, it should still be usable.

Sigma 10-20/3.5

This lens offers a brilliant combination of performance, technical characteristics and quality. Costs $399.99. It features a constant maximum aperture and no image stabilization.

It's newer, bigger and better than the original ultra-wides you can still buy, and not much more expensive than its predecessor. This is a professional, high-quality, high-aperture optic with a quiet annular ultrasonic zoom and a seven-blade diaphragm. The model is quite impressive and is equipped with a thread for a filter with a diameter of 82 mm. According to user reviews, its sharpness and contrast are excellent, uniform at all focal lengths. The color of the fringing is very well controlled, with distortion only becoming really noticeable at the short end of the range. This is a great lens for other small format models with an excellent price-quality ratio.

Sigma 8-16/4.5-5.6

Features an incredibly wide viewing angle and smooth autofocus with just 2x zoom and no filter ring.

The Sigma 10-20/3.5 lenses are a bit like modern classics in their specifications, performance and price, but if you need wider-angle optics, then this model is still worth paying attention to. It only has a 2x zoom, but at these focal lengths the extra 2mm makes a huge difference in the angle of view. The lens is quite long because the lens hood is built into the body, but the build is very good and the zoom ring operates smoothly, as does ultrasound system AF. According to users, the only downside to the ultra-wide angle is the more noticeable barrel distortion at the lower end of the range, but as an optic that provides the most possible review, she has no equal.

Nikon AF-S DX 10-24/3.5-4.5G

Like other lenses suitable for Nikon, this model, compared to similar third-party optics, seems too expensive ($796.95). In its favor is the presence of a 2.4x zoom, the same as the Tamron 10-24mm, although the latter will cost almost half the price. But Nikon's build quality and design are excellent, with ultrasonic autofocus that makes setup fast, quiet and smooth, along with excellent controllability. Image sharpness at the mid-aperture is no more impressive than most other competing lenses, but the manufacturer still maintains sharpness well wide open, and images remain sharp in the corners of the frame. Vignetting is also fairly well controlled.

Tokina AT-X Pro 12-28/4 DX

With a minimum of 12mm, this wide-angle lens for Nikon isn't quite as 'wide-angle' as most of its rivals, but it does offer a larger maximum zoom that gives it more versatility. It feels reliable and features the new SD-M silent AF based on the GMR (Giant Magnetoresistance) system. According to customer reviews, the optics still lacks a full-time manual mode, but you can quickly switch from manual to automatic focusing and vice versa using a switch on the lens. The amount of barrel distortion is disappointing at minimum zoom settings, but at long focal lengths it is virtually non-existent. The sharpness is respectable, although it is not as good as the Tokina 11-16 mm.

Tokina AT-X Pro 11-16/2.8 DX II

The comparatively paltry 1.45x zoom at both minimum and maximum focal lengths is unimpressive. But the specification that sets it apart from the rest is its widest f/2.8 aperture, which remains consistent across the entire range. This makes this one of the brightest on the market. An update to the previous model includes an AF motor, allowing it to be used with cheaper Nikon cameras such as the D3300 and D5500, which do not have built-in AF motors. Sharpness is good across the zoom range, although color fringing is a bit excessive and distortion levels are somewhat disappointing.

Full frame

Although the manufacturer's full-format cameras allow the use of ultra-wide-angle DX format optics, this option is reserved for emergency situations, since the camera must operate in crop mode, losing more than half of its resolution. Therefore, owners should invest in good Nikon lenses that match the sensor size.

Nikon AF-S 14-24/2.8

This lens is impressive in size, but its performance is exceptional. Nikon's top-end ultra-wide-angle zoom is designed for full-frame DSLR cameras, and it delivers amazing performance. Although the lens doesn't offer the widest field of view, it comes close, and does so with a constant maximum aperture of 2.8 and excellent image quality, and, quite remarkably, wonderful low levels distortions and aberrations. Of course, this comes at a cost ($1,696.95), and not just financially. According to owners, the lens is not only expensive, it is also large and heavy, with a very convex front lens, which requires a fixed petal-shaped lens hood and prevents the use of conventional filters. Autofocus is incredibly fast - faster than all of its competitors.

Tamron 15-30/2.8

This lens is not as wide as the previous model, but it still has a wider field of view than most others. Tamron has developed a line of fast zoom optics with a constant wide aperture of f/2.8, and this model takes it into the ultra-wide field, continuing its tradition of impressive build quality, weather-resistant design, ultrasonic autofocus and image stabilization. It's a large lens, but it balances well on full-frame Nikon cameras. According to user reviews, sharpness is impeccable from the center to the very edge of the frame across the entire zoom range. The edging color is well controlled and vibration compensation gives a 4 stop advantage.

Nikon AF-S 16-35/4G

The first wide-angle lens for Nikon with optical stabilizer. It is based on the second generation of vibration reduction system and provides a four-stop advantage. The lens lacks the focal length range and maximum aperture of competing models, but has become a popular and lighter alternative for landscape photographers - especially since it can accept standard filters. Its other advantages include silent ultrasonic AF with full-time manual adjustment and a waterproof connection. According to owners, the image quality is good, although barrel distortion is very noticeable at 16 mm.

Nikon AF-S 18-35/3.5-4.5

This is a variable aperture lens that is smaller and cheaper than the 14-24mm and 16-35mm models. The user loses a little in the angle of view, and the variable maximum aperture is cheaper, which hints at the amateur audience. The lens does not suppress vibration, although overall the build quality is poor good level. Another simplification is the integrated rather than nanocrystalline coating of the optics, although its resistance to ghosting and flare is still high. Owners report that chromatic aberration is well-controlled for a lens at this price point, and fine detail is captured very well, even at the edges of the image, although sharpness at the short end of the zoom range can't match the Nikon 16-35mm.

Sigma 12-24/4.5-5.6

This is the full frame equivalent of the APS-C Sigma 8-16mm format. With a 122-degree field of view at the shortest focal length, the lens surpasses anything available in a full-frame DSLR Nikon cameras without resorting to using a lens " fish eye" There's ultrasonic ring AF and excellent center sharpness throughout the camera's zoom, although it falls off towards the corners of the frame when using wide apertures at short focal lengths. According to owners, barrel distortion is quite well controlled, although it is often a weak point of ultra-wide-angle optics. The variable aperture isn't ideal, and there's no image stabilization, but if the widest possible viewing angle is the main requirement, then this lens should top the list of contenders.

Tokina AT-X 16-28/2.8

It's a heavy and large wide-angle lens for Nikon, weighing in at almost a kilogram, partly due to its constant f-number of 2.8. It has a quiet DC AF motor and a GMS module, which, according to the manufacturer, provides faster and quieter AF. This is certainly true compared to some older Tokina models. The optics are distinguished by the presence of a mechanism connected to a ring that serves to switch between manual and autofocus. According to the owners, this is very convenient, as it eliminates the need to manually set modes on the camera body or lens. Users found control and image quality to be very good, with strong center sharpness and subdued color fringing, although the corners could be sharper. The built-in lens hood helps avoid ghosting but eliminates the use of filters.

This article talks about the lenses that we believe any enthusiast or professional photographer who owns a Nikon system should have in their arsenal. We can confidently recommend the selected samples; each of them is the optimal choice in its class of optics, and together they cover almost all typical shooting scenes.

Read also

The Nikon system has nearly a hundred lenses to solve a variety of problems and for any budget. In addition, Nikon cameras are famous for their compatibility with their lenses of previous generations, therefore, taking into account the secondary market, the fleet of branded optics is extremely wide. However, we also included in this review lenses from third-party manufacturers that are alternative to branded optics in terms of capabilities and price.

All review lenses are divided into two large categories: the first is for cameras with APS-C (DX) sensors, and the second is for cameras with full-frame sensors (FX).

Versatile APS-C zoom

AF-S DX Nikkor 16-80mm f/2.8-4G ED VR

This versatile lens is rarely included with a camera; instead, Nikon cameras are usually equipped with a zoom with a focal length range of 18-55 mm. The AF-S DX Nikkor 16-80mm f/2.8-4G ED VR lens is perfect for replacing a standard zoom when its capabilities no longer suit the photographer.

NIKON D5600 / Nikon AF-S DX 16-80mm F2.8-4E ED VR Nikkor SETTINGS: ISO 200, F11, 1/500 s, 24.0 mm equiv.

NIKON D500 / Nikon AF-S DX 16-80mm F2.8-4E ED VR Nikkor SETTINGS: ISO 450, F2.8, 1/640 s, 24.0 mm equiv.

As befits a reportage lens, the AF-S DX Nikkor 16-80mm f/2.8-4G ED VR is equipped with a fast ultrasonic autofocus drive with continuous manual focus adjustment and an image stabilizer with an efficiency of up to 4 steps.

Tamron 16-300mm F/3.5-6.3 Di II VC PZD MACRO

Another interesting replacement for a standard zoom is Tamron's travel zoom with a minimum focal length of 16 mm. The field of view at this distance is 10% wider compared to the 18 mm focal length, which simplifies both landscape photography and working in tight spaces, and also emphasizes the perspective more intensely. The maximum focal length of 300 mm is common for travel zooms. The lens demonstrates quite decent image quality throughout the entire range of focal lengths. The length of the lens when folded is only 9.5 cm, weight - 540 grams, filter diameter - 67 mm.

The Tamron 16-300mm F/3.5-6.3 Di II VC PZD MACRO focuses from a distance of 39 cm, providing a shooting zoom of 0.34×, so the word MACRO in the name seems quite justified. The stabilizer adequately holds the image at a shutter speed of 1/20 s and a focal length of 300 mm, and also does not freeze, since it uses an electronic gyroscope. The lens hood is included in the package. In the line of travel zooms for Nikon cameras, this is not the only lens, but, in our opinion, it is the best in terms of its combination of advantages.

Wide-angle APS-C

AF-S DX Nikkor 10-24mm f/3.5-4.5G ED

Ultra-wide-angle zoom lens with 2.4x magnification and a field of view from 109° to 61°. The minimum focusing distance is only 24 cm, which allows shooting with a magnification of 0.20×. The lens, with a diameter of 82 mm and a length of 87 mm, is quite weighty - 460 grams. Ultrasonic autofocus, manual sharpening is always on, nothing rotates during focusing.

The optical design ensures minimal aberrations, high contrast and sharpness. This is not an empty advertising claim - the lens is indeed almost orthoscopic, with minor vignetting and well-corrected chromatic aberration. Despite its hefty price tag and its ability to only work with DX cameras, we recommend this lens to anyone who needs a good wide-angle zoom for all occasions.

Long throw APS-C zoom

AF-S DX Nikkor 55-300mm f/4.5-5.6G ED VR

This lens will be useful for those who lack maximum focal length in the “kit” lens included with the camera. The focal length in it changes by a factor of 5.5, the angle of view in the telephoto position is only 5°20’ - this is almost 10 times less than the field of view of a normal lens and approximately corresponds to the capabilities of 10x binoculars.

The built-in stabilizer allows you to shoot at a shutter speed 3 stops longer than what is considered safe when shooting without a stabilizer. The nine-blade diaphragm produces round bokeh highlights. The filters for this lens need a fairly affordable diameter, only 58 mm, and a lens hood is included in the kit. The AF-S DX Nikkor 55-300mm f/4.5-5.6G ED VR lens is not afraid of dust and moisture, which is especially useful since long-focus lenses are most often used to shoot outdoors.

APS-C portrait lens

AF-S Nikkor 85mm f/1.8G

A portrait lens is often the first of those that are purchased in addition to the standard zoom included with the camera. AF-S Nikkor 85mm f/1.8G is the optimal choice. The focal length allows you to shoot from a comfortable distance of 1.5-2 meters, which is convenient when shooting close-up. The aperture ratio by the standards of portrait optics is not record-breaking, but due to this the depth of field does not cause inconvenience in case of inevitable focusing errors. The 73 mm long lens weighs 350 grams, so the camera does not pull forward and is comfortable to shoot.

As the aperture closes, the pattern changes from pleasantly soft to razor-sharp, which is useful: different patterns suit different faces. This sets the AF-S Nikkor 85mm f/1.8G apart from universal optics, where the effect of the aperture is not so pronounced. In our opinion, based on , this is the optimal lens for a beginning portrait photographer. And for the experienced one too.

APS-C macro lens

AF-S Micro Nikkor 60mm f/2.8G ED

This lens is useful for those who do macro photography. It, as befits a macro lens, provides a shooting scale of 1:1 and a minimum focusing distance (18.5 cm). Inside there is an almost perfectly round 9-blade diaphragm. This lens does not have image stabilization, but it does come with a lens hood, and the front lens barrel does not rotate, so you can attach a macro flash to it.

The lens works equally well with full-frame cameras and cropped ones. In the second case, the field of view is 26°30’ diagonally, which is quite suitable for portrait photography. The razor-sharp design of a macro lens will not decorate every portrait, but, for example, for a male portrait or headshot, the AF-S Micro Nikkor 60mm f/2.8G ED on a crop camera is quite suitable.

Versatile APS-C Prime Lens

AF-S DX Nikkor 35mm f/1.8G

This is, without exaggeration, an excellent lens with a normal field of view, which is what we are talking about. Sharp straight from the open aperture, fast, with excellent resistance to oncoming light, light and compact. The field of view is 44° - almost ideal for natural perspective transfer.

NIKON D750 / Nikon AF-S 35mm f/1.8G ED Nikkor SETTINGS: ISO 450, F1.8, 1/40 s, 35.0 mm equiv.

With a weight of 200 grams and a length of 52.5 mm, the lens does not weigh on either the pocket or the camera, and the high-speed ultrasonic drive does not slow down the shooting - just right for street photography. AF-S DX Nikkor 35mm f/1.8G is an excellent addition to the standard DX format zoom, and often a replacement for it.

As expected, the debate about what format – DX or FX – a “professional level” camera should have has flared up with renewed vigor.

Nikon DX coming back to life?

When Nikon failed to release the D500 (then expected to be called the D400) a few years ago, many began to say that the full-frame DX format seemed to be dead, outside of the entry-level camera market. And this is not surprising! Remember how many complaints there were about the delay in the release of the D500, how many rumors circulated around the release date of this camera and its characteristics... Nikon, for its part, did everything to support users switching to professional cameras and FX format lenses. The company very quickly expanded its line of FX cameras, adding D4, D800/800E/810/810A, and also released a large number of FX lenses.

I think many would agree that Nikon's strategy of forcing users to upgrade to expensive full-frame lenses was wrong. In particular, due to the fact that the smartphone market began to develop at an incredible pace, squeezing out compact digital cameras, since smartphones could offer the user compact sizes, adequate prices and constantly improving camera characteristics.

How were things going for the DX format? Apart from several iterations of the D7000, users received several camera models and series, as well as several 18-XX lenses. Not a single professional-level DX camera or professional DX lens was released (with the exception of the Nikon 16-80mm VR). Over the past few years, the FX format has become synonymous with Nikon professional cameras.

I, among many, also switched to the FX format, despite the fact that it is more expensive, heavier, and also less convenient for shooting wildlife or other genres that require long focal lengths.

And suddenly Nikon once again stuns everyone with the release of the D500, which many have already put on a par with unicorns, the Loch Ness monster, Sasquatch and aliens from Area 51. After all, one glance at the characteristics of this camera was enough to understand that it is capable of reviving the controversy about the confrontation DX and FX formats, and even more - to erase some of the traditional differences between these two formats.

Do you still prefer FX?

Although I love the quality of the D800 series DSLRs, I've always had mixed feelings about the . If Nikon had released the D400 in a timely manner, I think I would have remained in the DX format camp. Beginning photographers often wonder about the advantages of the FX format over the DX format. And I still could not unequivocally advise such people to switch to the full-frame FX format, since for most photographers it will not provide any advantages over the DX format - neither in cost, nor in weight, nor in terms of practical application possibilities.

For the needs of most photographers and amateur photographers, the characteristics of FX format cameras are redundant, not counting the most demanding ones. Rapidly advancing technology is outpacing most people's ability to utilize the full potential of the photography equipment available to them.

When I ask someone why they are considering purchasing an FX camera, they look at me with surprise, as if the choice is so obvious that it cannot be questioned. But most amateur photographers actually cannot formulate the reasoning for their choice clearly enough. The most common answers are "because a full frame camera has better high ISO performance" or "because most online reviews say the FX format is better."

With the advent of the Nikon D500, such answers, from a technical point of view, may still be correct, but from a practical point of view, they are unlikely. After all, is the difference in the performance of cameras at high ISO really that important when using them for practical purposes (taking into account real photographs and without manic pixel-by-pixel examination of an image at a scale of 400%)?

Try to honestly (that's the key word) assess your needs and passions for shooting and printing photos, and then answer the question: "Which camera would you choose - the D500 or the D810?" Share your answer in the comments to this article.

Should the Nikon D500 be positioned only as an action camera?

DX format has an impressive and balanced set of features, quite sufficient for any genre of photography. I think the D500 will be the same workhorse that the Nikon D300 was at one time. Considering the shooting speed of the new Nikon camera, many are trying to classify it solely as a sports and wildlife camera.

In terms of resolution - about 21 MP - the D500 is only slightly behind the legendary Canon 5D Mk II and Mk III, and surpasses the Nikon D700, D3, D4, as well as all models. The resolution of the Nikon D5 and D500 sensors is identical, and the latter is inferior to the D5 only in the rate of fire. Other Nikon cameras, such as the D600/610 and D750, with an additional 3 megapixels of resolution, cannot claim a significant increase in resolution compared to the D500.

Therefore, the logic of positioning the Nikon D500 as a camera primarily for action photography does not seem entirely justified. Why the D500 - with a resolution superior to some flagship DSLRs and only slightly inferior to others - is positioned solely as a camera for sports and performance photographers wildlife? Just because it doesn’t have a built-in flash and the continuous burst shooting speed is high?

It seems that the Nikon D500 would be more logical to be considered as a full-fledged professional DX-format camera, which can force some users to change their view of the practical advantages of FX-format photographic equipment. It seems that with the release of this camera Nikon is trying to smooth out the impression that it is forcing photographers to switch to the FX format.

So, if you are one of the amateur and professional photographers who use a DSLR to shoot a wide variety of subjects - from portraits to landscapes - the Nikon D500 may be the best choice from the entire Nikon camera line. Another Nikon camera, the D7200, could have received this title if not for its two significant drawbacks: a small buffer volume and a low rate of fire.

Related Posts

Discussion: 6 comments

I answered this question for myself a long time ago - the D500 is quite sufficient for my needs. I plan to buy it.

Answer

Of course the 810th))
And for the money that you will have to pay for the camera!!! and.. optics, it’s still unknown which is better??
to fully promote the only really powerful feature... series shooting. (everything else is D300s)
And according to the picture of the FUJI X-Pro2 in the ratio of price quality + optics ..)) Nikon is better off keeping quiet ..)) while stamping cheap state employees, Nikon is 3 years late ..
I don't take video recording into account.

Answer

1. Yes, Fujik's picture sucks. Just as I painted the picture with blots, not pixels, it remains so. Already at ISO 3200 the noise, mother, don’t worry, and the colors float. The picture is flat and low-contrast. And I doubt that the fuj can focus quickly in low light conditions. Whereas the D500 is fine with this.
   The price of both cameras is almost the same. Nikon optics - the sea, for every taste. Personally, I would take the d500. And mirrorless cameras are still resting, especially in reporting.

   Answer

Of course, the Nikon D500 is not only suitable for action photography. This is a great professional camera for all those occasions when the 36 MP of the full-frame D810 is not required. First of all, I think the D500 will be suitable for reporters (all of them, not just sports reporters), for whom it will make their life easier in the literal sense of the word. Of course, the camera provides excellent opportunities for creative photography. Although here, from my point of view, the D7200 is not particularly inferior to it, since the “rate of fire” for creativity is not so much needed, and the extra 3 MP does not particularly bother anyone. The gain in price is noticeable.
Personally, I don’t see much point in switching from my D7100 to the D500 for now. Although, if the D500 had been released a year and a half earlier, I would have tried to take it to replace the D90. For those who are now planning to purchase photographic equipment in the appropriate price range, I recommend the Nikon D500.

Answer

The main problem with the D500 is the lack of new DH optics (with the exception of the very expensive 16-80)…

Answer

1. The main difference between FF and crop is WORKING ISO!!! (if you often have to work indoors)
2. Lens for DH - Sigma 18-35/1.8. Plague glass.

Answer

, D800E , D810 , D810a , D850 , , D3x , , D4s , , + (and its modifications) and Kodak DCS Pro SLR/n (and its modifications) + , S3 Pro UVIR , IS Pro .

List of all Nikon digital mirrorless cameras with Nikon Z mount

List of all Nikon Nikkor Z lenses for mirrorless cameras with Nikon Z mount

• Nikon Nikkor Z 58mm 1:0.95 S Noct (not officially presented)

Exact list of system mirrorless cameras with interchangeable lenses Nikon 1:

Nikon has released a range of mirrorless cameras with interchangeable optics And Nikon mount 1 and 1 Nikkor lenses (also called Nikon CX).

• , Nikon 1 J2 , Nikon 1 J3 , Nikon 1 J4 , Nikon 1 J5 .
• Nikon 1 S1, Nikon 1 S2
• Nikon 1 V1, Nikon 1 V2, Nikon 1 V3

It is best to use specially designed Nikon CX lenses (same as 1 Nikkor) on these cameras.

Exact list of all 1 Nikkor lenses:

UPD: in the summer of 2018, the Nikon 1 system ceased its development.

Nikon FX and Nikon DX digital cameras and lenses, their differences

Depending on the size of the sensor, Nikon digital SLR and mirrorless cameras are divided into two types: FX and DX. Lenses for these cameras are also marked in the same way.

FX lenses are designed for full-frame FX cameras (also called full-frame, or full-size, or Full-Frame).

DX lenses are designed for cropped DX cameras (also called crop cameras, or cameras with APS-C sensor size).

Nikon FX cameras have a matrix the size of a classic 35 mm film, while DX cameras have a smaller matrix, the so-called ‘cropped’ one, with a frame diagonal 1.5 times smaller than in FX.

The full-format camera is marked 'FX' on its body. Shown here with a full-frame lens

Before the advent of Nikon DX cameras, there were only full-frame cameras and Nikon FX lenses, which don't actually have an FX designation, since at that time there was no need to separate the full frame and the cropped one. Examples of lenses from full-frame cameras:

As you can see, the 'FX' prefix is ​​not indicated in the lens name. If there is no DX or CX designation on the lens, then it is a full-frame lens for an FX camera.

After the advent of Nikon DX digital SLR cameras, the manufacturer began producing DX lenses to save on glass, metal and plastic. And all lenses for cropped cameras already had the DX designation. Examples of DX lenses:

As you can see, all lenses have the letters DX in their names.

Important about DX and FX

Exact list of all Nikon DX cameras:

All Nikon DX series cameras have the same actual physical size of their sensor (matrix). Size is approximately 23.6 mm X 15.8 mm. Physical size is not directly related to the number of MegaPixels.

Exact list of all Nikon FX cameras

Very important, so important that everyone should know this: All Nikon FX series cameras have the same actual physical size of their sensor (matrix). The size is approximately 36 mm X 24 mm. Physical size is not directly related to the number of MegaPixels.

• All Nikon DX lenses can and should preferably be used on cameras with cropped Nikon DX series sensors (the exact list is listed above).
• All Nikon DX lenses can be used on full-frame cameras such as Nikon D3, D3x, D4s, D800E, D810, D810a, D850, but the camera will either use only part of its sensor to take a photo, or the resulting image will be incorrigible and other distortions at the edges and corners of the frame. This is due to the fact that DX lenses cannot project images onto the large sensor of FX cameras. Using DX lenses on FX cameras is not recommended. Full frame cameras can automatically recognize a DX lens and configure itself to work with it. Personally, I don’t see the point in buying an expensive full-frame DSLR camera and using more ‘simple’ DX lenses on it.
• For all Nikon FX cameras, it is recommended to use only Nikon FX lenses.
• All full-frame lenses (lenses from FX cameras) can be used on DX cameras without any problems, you just need to take into account the visual effect of the camera.

As an example, a shot taken with a full frame camera FX(Full Frame) and a cropped lens. The camera is set to full frame mode ‘image area FX‘. It can be seen that the cropped lens produces black corners (vignette) and the photo is not suitable for use.

If you take the same photo, but in camera mode, the image area DX', then the camera will automatically use only the central area of ​​its sensor and as a result the picture will be like from any other Nikon DX camera. Below is the same photo FX(Full Frame) in ' mode DX image area‘.

Indeed, full-frame Nikon FX cameras can use cropped lenses in the 'DX' crop mode. In this mode, only the central part of the camera sensor will be used, equal in size to the sensor used in Nikon DX cameras, which will avoid the use of a cropped lens on full-format cameras. To do this, in the camera menu, just enable the ‘Image area’->’Select. image area’ and select the value ‘DX 24x16 format’ there.

If we summarize the above points, it suggests small conclusion- regular FX lenses can be used on all types of cameras: FX and DX. And lenses from cropped DX cameras are not recommended for use on full-frame FX cameras.

Exact list of all Nikon DX lenses

Prime lenses:

1. Nikon DX A.F. Fisheye Nikkor 10.5mm 1:2.8GED with a gold ring ()
2. Nikon DX AF-S Nikkor 35mm 1:1.8G SWM Aspherical ()
3. Nikon DX AF-S Micro Nikkor 40mm 1:2.8G SWM ()
4. Nikon DX AF-S Micro Nikkor 85mm 1:3.5G ED VR SWM IF Micro1:1 ()

Wide-angle zoom lenses

1. Nikon DX AF-P Nikkor 10-20mm 1:4.5-5.6G VR ()
   
2. Nikon DX AF-S Nikkor 10-24mm
3. Nikon DX AF-S Nikkor 12-24mm 1:4 G ED SWM IF Aspherical with a gold ring ()

Versatile zoom lenses

1. Nikon DX AF-S Nikkor 16-80mm 1:2.8-4 E N ED VR Nano Crystal Coat SWM IF Asphericalwith a gold ring ()
   
2. Nikon DX AF-S Nikkor 16-85mm
3. Nikon DX AF-S Nikkor 17-55mm 1:2.8 G ED SWM IF Aspherical with a gold ring ()
4. Nikon DX AF-S Nikkor 18-55mm 1:3.5-5.6G ED SWM Aspherical [black/silver] ()
5. Nikon DX AF-S Nikkor 18-55mm 1:3.5-5.6GII ED SWM Aspherical [black/silver] ()
6. Nikon DX AF-S Nikkor 18-55mm 1:3.5-5.6G SWM VR Aspherical ()
7. Nikon DX AF-S Nikkor 18-55mm 1:3.5-5.6GII VR II ()
   
8. Nikon DX AF-P Nikkor 18-55mm 1:3.5-5.6G ()
9. Nikon DX AF-P Nikkor 18-55mm 1:3.5-5.6G VR ()
   
10. Nikon DX AF-S Nikkor 18-70mm 1:3.5-4.5G ED SWM IF Aspherical ()
11. Nikon DX AF-S Nikkor 18-105mm
12. Nikon DX AF-S Nikkor 18-135mm 1:3.5-5.6G ED SWM IF Aspherical ()
13. Nikon DX AF-S Nikkor 18-140mm 1:3.5-5.6G ED SWM VR IF Aspherical [Thailand/China] ()
14. Nikon DX AF-S Nikkor 18-200mm 1:3.5-5.6G ED SWM VR IF Aspherical [Japan/China] ()
15. Nikon DX AF-S Nikkor 18-200mm 1:3.5-5.6GII ED SWM VR IF Aspherical ()
16. Nikon DX AF-S Nikkor 18-300mm 1:3.5-5.6G ED SWM VR IF Aspherical ()
17. Nikon DX AF-S Nikkor 18-300mm 1:3.5-6.3 G ED SWM VR IF Aspherical ()

Telephoto lenses

1. Nikon DX AF-S Nikkor 55-200mm 1:4-5.6G ED SWM [black/silver, Japan/China] ()
2. Nikon DX AF-S Nikkor 55-200mm 1:4-5.6G ED VR IF SWM ()
3. Nikon DX AF-S Nikkor 55-200mm 1:4-5.6GII ED VR II ()
   
4. Nikon DX AF-S Nikkor 55-300mm 1:4.5-5.6G ED VR SWM HRI ()
5. Nikon DX AF-P Nikkor 70-300mm 1:4.5-6.3 GED()
6. Nikon DX AF-P Nikkor 70-300mm 1:4.5-6.3 GED VR ()
   

Professional Nikon DX lenses

It’s not out of malice that I called Nikon DX lenses more ‘simple’. It just so happens that all Nikon professional optics are full-frame lenses. The only professional lenses for Nikon DX cameras are:

These lenses have gold ring near the front lens- a sign of high-class lenses. These lenses are on the Nikon NPS (Nikon Professional Services) list.

Attention: Nikon Nikkor DX lenses indicate not the equivalent (EGF), but the physical real value of the lens. is a physical parameter of the lens itself that does not change when installed on different cameras. For both FX and DX lenses, to find out the EGF when used on cropped DX cameras, you need to multiply by Kf = 1.5X. For example, the EGF of a lens on a cropped camera will be 27-82.5mm (18*1.5 and 55*1.5). The relationship between focal length and viewing angle can be seen.

Healthy: If you select “Off” in the “AF point illumination” setting in the menu of full-length cameras, then after turning on one of the cropping modes (in fact, crop), the unused area of ​​the image visible in will be darkened, which will greatly facilitate sighting using cropped mode. Below is how unused areas are darkened when certain crop modes are enabled.

About the automatic focusing feature

The Nikon Nikkor lens is responsible for the ability to automatically focus the lens designations AF, AF-I, AF-S and AF-P.

What is the difference between AF-S/AF-P/AF-I and AF lenses? In an AF lens, focusing occurs due to the camera motor; in such cases they say that the camera has a 'screwdriver' or a focusing motor. On the contrary, in AF-S/AF-I/AF-P lenses, focusing is achieved by a motor directly built into the lens itself.

Lenses marked 'AF'

The designation 'AF-S' on the main name of the lens, which is usually written in gold letters. The photo shows

Almost always on AF-S lenses you can also find the prefix 'SWM', which means Silent Wave Motor (quiet wave / ultrasonic motor).

'SWM' mark on the lens information plate

Important: SWM motors come in two main types, parts.

If you use optics from other manufacturers, then you need to know for sure whether the lens has a built-in motor or not; each manufacturer has its own designations and does not overlap with the designations Nikon lenses Nikkor.

Important: Due to certain features associated with cameras, the following 'AF-S D' type lenses will not work normally on D3500 cameras (this only applies to these cameras):

1. Nikon ED AF-S Nikkor 300mm 1:2.8 D
2. Nikon ED AF-S Nikkor 400mm 1:2.8 D
3. Nikon ED AF-S Nikkor 500mm 1:4 D
4. Nikon ED AF-S Nikkor 600mm 1:4 D
5. as well as all lenses,

Lenses designated 'AF-P'

In January 2016, Nikon introduced Nikon Nikkor lenses in the 'AF-P' line. Designation 'AF-P' (A uto F ocus P ulse motor) indicates the presence of a fast and stepper focusing motor. 'AF-P' work similarly to 'AF-S', only quieter, faster and more accurate.

Designation 'AF-P' on the Nikon DX AF-P Nikkor 18-55mm 1: 3.5-5.6G lens

Please note that not all Nikon cameras will be able to work correctly with 'AF-P' lenses; for some cameras you will have to update the firmware to be fully compatible with 'AF-P'.

Full list of Nikon 'AF-P' lenses:

Autofocus with AF-P lenses will only work with cameras (exact list):

Automatic and manual focusing will not work with cameras (exact list):

Lenses designated 'AF-I'

Nikon AF-I lenses are on the side. The lenses themselves are like ‘AF-I’ (Auto Focus Internal Motor)- very rare lenses, and also very expensive. Some users mistakenly call them 'AF-1' ('AF-one').

Some of these lenses use a built-in focusing motor for focusing, built on the basis of conventional electric micro-motors, which are quite noisy during focusing. There is no exact data on what type of motor is used in Nikon AF-I lenses.

Attention: no and accurate information, will amateur level cameras work with such lenses. But, most likely, no mortal will ever install such a lens on a simple amateur camera.

Full list of Nikon AF-I lenses:

1. Nikon ED AF-I Nikkor 300mm 1:2.8D, 1992-1996
2. Nikon ED AF-I Nikkor 400mm 1:2.8D, 1994-1998
3. Nikon ED AF-I Nikkor 500mm 1:4D, 1994-1997
4. Nikon ED AF-I Nikkor 600mm 1:4D, 1992-1996

When choosing a lens, the most important parameters just its type (FX, DX) and focusing method. If you now know what kind of FX or DX camera you have, with or without a built-in focusing motor, then by choosing a lens based on just these two parameters you will get all the necessary functions for shooting.

Typically, lenses without a built-in focusing motor are cheaper than their motorized counterparts. If you have a camera with a motor, then in a certain sense you can save on lenses. As an example, you can look at this, which is very cheap:

About aperture control options

You can find another interesting thing on Nikon lenses designation - letter 'G'- a lens with such a letter can only control the aperture directly from the camera, and the lens does not have an aperture control ring.

G ('Gelded') lenses are actually impossible to use with some older film cameras, as there will be a permanent lock. Also, lenses with an aperture control ring (Non-G) can be used more flexibly for various types of photographic research, for example.

Myths: It is often said that there are 'D' and 'G' lenses, D - with an aperture control ring, and G - without an aperture control ring. In fact it's a delusion- the letter 'D' (or 'AF-D') indicates the possibility of transmitting the focusing distance to the object to the camera - this makes it easier to calculate the flash power for the correct one. The misconception is due to the fact that almost all ‘D’ lenses have an aperture control ring, because previously they did not distinguish between lenses with and without a ring.

The difference between a lens G and without G (using the example of lenses and )

A protrusion for reading the extreme position of the ring on a lens, which is a NON-G type lens, that is, one that has an aperture control ring.

Very important: In order to use a 'NON-G' type lens (with a ring) in exactly the same way as a G-type lens (control the aperture from the camera), you need to move the aperture control ring to the maximum F number value, usually F16, F22, F32 and switch a special lock on the lens that will fix the aperture control ring in a stationary position. Different lenses either snap the ring into the extreme position themselves, or require manual locking using a special switch. If this is not done, the error ‘fEE’ (ring not installed) will be displayed on the display on a number of cameras.

Some cameras allow you to control the aperture of autofocus NON-G lenses in metering modes A (priority) and M (manual) using the aperture ring. To do this, you need to find the item ‘Setting control dials’ -> ‘Setting aperture’ in the camera menu and set the value to ‘Aperture ring’. In S modes (priority