Wide-angle lens for Nikon: review of the best models, characteristics and reviews. Which lens will fit your Nikon DSLR? Lens compatibility

To determine the lens you need, think about what exactly you want to capture. There are several types of photography: landscape, portrait, macro photography, reportage photography, etc. Although there are several universal lenses, most good glasses are still “tailored” for specific purposes.

Kit lens 18-55 f/3.5-5.6 VR

This is the most versatile lens. The focal length of 18-55 mm encourages you to try yourself: with such a lens you can get a good landscape, a good portrait, and even macro photography. On the other hand, zoom lenses with variable focal lengths have a big disadvantage - weak aperture, so a photo with a standard universal lens may seem dim and dark.

Nikon portrait lenses 35 mm f/1.8G DX, 50 mm f/1.8G and 85 mm f/1.4G

Portrait photography, especially wedding photography, requires lenses with fast apertures. But, in this case, such an advantage as a variable focal length is lost, and the photographer will have to increase or decrease the distance to the subject on foot. This is not very convenient, but it pays off well with bright, rich photos with beautiful bokeh. In terms of quality, these three lenses are equivalent, only the focal length differs. As a rule, Nikon 85mm f/1.4G is used more by professionals.

Shooting nature, landscapes - Nikon 16-35 mm f/4G VR

For landscape photo shoots, as well as photographs where the widest possible viewing angle is needed (for example, where you need to accommodate greatest number people), it's worth taking a wide-angle lens. The Nikon 16-35mm f/4G VR zoom may be an ideal option, since the variable focal length will allow for creativity and will not limit the width of the frame.

Nikon 28-300 mm f/3.5-5.6G VR superzoom for travel photography

For travel photography, where the aperture required for portrait photo sessions is not required, you can use classic superzoom options, such as the Nikon 28-300 mm. Such a lens will make it possible to capture the smallest details that are far from you. It can also be used for photographing wildlife, since the focal length allows you to not get too close to the subject.

Nikon 105 mm f/2.8G VR Micro-Nikkor macro lens

For lovers of macro photography, there is a fixed focal length lens Nikon 105 mm f/2.8G VR Micro-Nikkor. There are also other macro lenses, but at the moment Nikon 105 mm is ideal in terms of aperture and focal length ratio. Other Nikon lenses designed for macro photography can only be used in the studio, using tripods and artificial lighting.

Choosing a lens for a DSLR or hybrid camera is not an easy task, especially for beginners. There is so much information at once, so many different nuances that need to be taken into account! Where to start? How can you learn to “read” the technical characteristics of a lens and use them to understand whether it is suitable for your camera or your tasks? About all this in a series of articles devoted to camera lenses. And we will start it with a discussion of the very basics - the most important characteristics of photographic optics and their influence on the resulting images.

Why do I need another lens? I already have a whale one!

Interestingly, according to statistics, among users SLR cameras Only a few purchase and actively use more than one lens. Most amateur photographers, having switched to SLR or hybrid cameras, use a kit lens - often quite mediocre in design, "soapy" in terms of sharpness and "dark" in terms of aperture ratio, as well as with a slow autofocus. And they don’t even realize how much better their work can become with the right choice of high-quality optics! Thus, in essence, a DSLR camera turns from a tool with great creative potential into an expensive and very bulky “point-and-shoot” – and yet, as a rule, it is bought precisely with the goal of improving the quality and raising the level of one’s photographs.

When the abundance of choice is not pleasing

But novice users SLR cameras can also be understood. After all, they have just solved the most difficult task of choosing a first camera, they still confuse aperture with shutter speed, they shudder at the words “photosensitivity” and “white balance”, and even the incomprehensible optical terms “zooming”, “chromatism”, “vignetting” - otherwise and, what’s more, “MTF”, “field characteristics”, “low dispersion glass” and “tilt shift” - can scare away even the most inquisitive from the task of choosing the next lens. So they have been shooting for years with the help of a single “whale glass”, periodically wondering why their work is quite far from the photographs of experienced photographers and craftsmen.

Of course, purchasing a new lens is unlikely to immediately make you a pro. After all, renowned minimalist photographers such as Henri Cartier-Bresson are known for capturing all their best images with a single 50mm Leica lens. But this will allow you not only to look at the world differently through the camera’s viewfinder, but also to shoot scenes that were previously simply inaccessible to your camera.

However, this matter, as has already been said, is not easy. Table technical characteristics for modern lenses it can contain dozens of lines with complex technical terms. But among them there are two most important ones, without understanding which the choice and use of a lens is simply impossible. This is the focal length and aperture ratio.

"Shiriki" and "teles"

Lens focal length determines its field of view - essentially, the angular dimensions of the space that can be conveyed in the picture with its help. There are wide-angle (wide-angle, “shiriki”, etc.), normal (standard, “standard”) and long-focus (telephoto, “telephoto”, telephoto) lenses. Already from the names themselves it is easy to understand what is what - wide-angle lenses allow you to capture large plot space, telephoto - by analogy with telescopes - are designed for shooting distant objects and zoom in well. Well, normal lenses convey space and perspective in much the same way as human eyes perceive them.

Thus, if sometimes it happens that you want to photograph an architectural landmark or an impressive landscape, and with regret you see in the viewfinder that it does not fit entirely into the frame even at the maximum zoom distance, then you need a wider-angle lens. If the subject of your photo turns out to be too small, and when you try to get closer it flies away or runs away, it’s time to think about purchasing a “telephoto”.

The focal length of a lens is indicated in millimeters and is most often specified for the so-called “35mm equivalent”. It sounds complicated, but it’s much easier to remember: wide-angle lenses have an equivalent focal length of up to 36 mm, normal lenses - 36-70 mm, telephoto lenses - from 70 mm or more. Modern lines of lenses in the arsenals of their manufacturers are very extensive, and among them you can find ultra-wide-angle lenses 8-14 mm type " fish eye"(when shooting with which, you have to be vigilant to ensure that your own legs are not included in the frame), and super-telephoto 300-1000 mm, which are very reminiscent of telescopes not only in their name, but also in appearance:

Where does the “crop factor” come from??

When photographers shot on 35mm film, the focal length numbers on the lenses were clear and unambiguous, and therefore it was easy to remember what a particular field of view corresponded to in the viewfinder. But our life has become significantly more complicated with the advent of digital photography - unlike standard photographic film, there are many variations on the size of the camera matrix.

Full-frame matrices measuring 35x24 mm (i.e., the size of a film frame) produce a very high-quality image and maintain the angle of view intended by the manufacturer for all 35 mm lenses installed on them. However, they also cost incredible amounts of money. That’s why among photographers, when talking about cameras, the word “full frame” is pronounced with a certain aspiration and a special intonation, implying both a different level of quality and a different price level.

Most DSLR and hybrid cameras for amateur photographers have APS-C, or half-frame, matrices. Obviously, a smaller sensor size, all other things being equal, narrows the field of view through the same lens, which leads to the emergence of the concept of crop factor, also called the focal length multiplying factor. For Canon APS-C DSLRs it is 1.62x, and for similar Nikon ones it is 1.52x. Cameras of the Four Thirds system (Olympus, Panasonic) have even smaller matrices, and accordingly, the crop factor is even greater - 2.0x. As a result, the same lens in combination with matrices different sizes will give different angles of view:

When talking about the focal length of a lens in terms of “wide-angle” and “telephoto”, it is always worth clarifying which camera it is installed on. For example, the old Soviet lens “Helios-44” with a 50 mm DF, thanks to the M42 thread mount, can be used both on a film “Zenith” and on a full-frame digital camera (say, a Canon EOS 5D Mark II through an adapter). At the same time, he will maintain the same angle of view. But you can also install it on APS-C Canon EOS 600D or Pentax K-5 DSLRs - in this case, the resulting angle of view will be equivalent to about 75 mm, and the lens will go from normal to “light telephoto”. If you “screw” it to the Olympus E-PL2 or Panasonic Lumix DMC-G3, then the focal length indicated on the lens must already be multiplied by 2, and from a 50 mm “standard” it will turn into the most “portable telephoto” with an angle of view equivalent to 100 mm FR at full frame.

Therefore, when choosing a lens, every DSLR owner should keep in mind the crop factor of his camera, and focus on the historically accepted 35 mm equivalent, multiplying the FR of the lens in question by it.

“Portrait” lenses: focal length and perspective

A small lyrical digression. Important rule, which every photographer should learn, is this: the focal length of a lens determines only its field of view. Which, in turn, does not in any way affect the transmission of perspective in the photograph. The nature of perspective, that is, the ratio of sizes between objects in the picture, is determined only by the distance from the camera to them, but not by the size of the lens's FR.

To shoot the same object at the same scale with a wide-angle lens, the photographer is forced to get closer to it. But at the same time, the nature of the transfer of perspective will also change.
(Photo: http://berniesumption.com)

So don’t believe it when they tell you that “you can’t take portraits with a wide-angle lens because of distortion.” Distortions about which we're talking about, arise not because of the wide angle of view, but because the photographer, trying to take a close-up, came too close to his model. In fact, “taking portraits wide” is very possible - you just need to step back and include the torso, and sometimes even the legs, of the model in the composition.

But it’s really usually not worth photographing people’s faces from a distance closer than 2 meters (or better yet, 3-5). In this case, the proportions of the face are distorted, the nose and cheeks become larger, the ears become smaller, and it usually looks grotesque and unattractive.

In the photo on the left, the error is not that the wide-angle lens was selected, but that the shot was taken too close up at a close distance. In the photo on the right, the error has been corrected - the photographer has moved away from the model, but because of this he is forced to use a longer lens. (Photo: http://www.flickr.com/photos/crazytallblond/1196701508/)

And one more note. Focal distance is sometimes confused by beginners with the minimum focusing distance ( MDF, MDF, focusing minimum distance). Despite some similarity in Russian terms, these two quantities are in no way related to each other. FR determines the angle of view, and MDF determines how extremely close an object can be to the camera in order to get a sharp picture.

Many photographers use wide-angle lenses and their features for portraits - but not classic ones, but creative, non-standard ones.
(Photo: http://leggnet.com)

"Zoom" and "fix"

The focal length of a lens is determined by its design, and therefore in ancient times all lenses had a fixed FR (hence the jargon “fix”). Then it was believed that to obtain maximum picture quality optical formula lens (i.e. the number, shape and relative placement of the lenses of which it consists) for wide-angle, normal, telephoto and other types of lenses should be different. As experience has accumulated and optical technology has improved, it has become clear that sometimes quality can be sacrificed slightly for the sake of convenience - which is provided by a variable focal length. In Russian, this is officially called zoom, but among the people, tracing paper from English – “zoom” – has taken root.

The zoom lens has two rings: zoom and focus.
Markings indicate the limits of focal length change
and lens aperture in wide-angle and telephoto positions

The zoom range (zoom) is indicated as a pair of minimum and maximum FR (for example, 18-55 mm), or as a magnification factor (for example, 24x). IN the latter case understand what exactly the minimum and maximum focal lengths inherent in this lens, “24x” is impossible from the number alone, since it can be 10-240 mm, 20-480 mm, etc.

For many photographic tasks, the ability to quickly change the focal length without changing the lens has proven to be so valuable that over the past 30 years, zoom lenses have greatly replaced prime lenses. And most photographers would rather give up the ability to manually focus than the zoom lever on the camera or the ring on the lens. It must be assumed that banal human laziness also played a significant role here, because “zooming in” or “faring out” a picture without leaving the same spot is often much easier than approaching or moving away from the subject. Very few people think about the fact that changing the focal length affects not only the size of the image in the viewfinder, but also the transfer of perspective (due to the different distance from the camera to the object). It has gotten to the point where inexperienced photographers blame distortions in the proportions of faces and body parts of people in photographs when shooting at close range at a “wide angle”... “whale zoom distortions,” being fully confident that this effect does not exist in expensive zoom lenses. Although, in order to understand the reasons for this phenomenon, it is enough for any person to use his innate “lens”, taking a closer look and seeing with his own eyes the dependence of the transfer of perspective and proportions on the distance to the object at which you are looking.

On primes there is only one ring – the focusing ring.
The markings of such a lens directly indicate
constant focal length and aperture ratio

Lenses with a fixed FR, colloquially “prime lenses,” still have significant advantages over zooms. First, their design is simpler, so the lenses themselves are usually smaller, lighter, and less expensive than zooms in the same range. Secondly, the optical formula of the “fix” is specially optimized to obtain the best image quality for a given frame, and is not a compromise, like zooms. Therefore, if you want to take pictures with the best resolution and virtually no distortion, it makes sense to choose a fixed lens. Finally, in lenses with a fixed FR it is much easier to obtain such a desirable characteristic as high lens aperture, which is discussed in more detail below.

Aperture and aperture

It’s not for nothing that photography is called light painting – without light it is impossible. In photography, it is also extremely rare that there is too much light - usually there is never enough of it, which forces us to use flashes, tripods and image stabilization systems, raise the light sensitivity of the matrix or lengthen shutter speeds, and hope that the photo will not drown in noise and will not be blurred from the movement of the camera or object in the frame.

The maximum amount of light that the lens is capable of transmitting to the matrix is ​​actually called aperture ratio. It is indicated by the so-called aperture number, written after the letters “f/” or “F”, for example, “F2.0” or “f/16”. The lower this number, the higher the aperture - it seems counter-intuitive, but it’s just the way it is, and an f/2.0 lens lets in more light than an f/8 lens. At the same time, “f/8” and “F8” are simply different shapes records of the same value. Another synonym for aperture ratio and aperture number is relative aperture. All three terms mean the same thing - how “light” or “dark” the lens in question is, how much light it can let into the matrix.

Using the aperture, you can reduce the amount of light entering the matrix.
But it will not be possible to increase it beyond the maximum determined by the lens aperture.

Obviously, a high aperture lens is very desirable for all photographers. After all, you can always reduce the amount of light falling on the matrix using the aperture - that is, in essence, temporarily reducing the lens aperture, artificially blocking the path of light. But, alas, it will no longer be possible to increase it beyond the maximum specified by the design.

Blurring the background: what determines the depth of field

In addition to the ability to shoot in semi-darkness without the risk of blur, more short exposures(or without noise, at reduced ISO sensitivity), aperture (maximum aperture) of the lens affects another important parameter– depth of field. The higher the lens aperture, the narrower the area of ​​sharply depicted space in the photo may be. This allows you to visually separate the subject from the background - “blur the background”. And when you need to increase the depth of field in the photo, on the contrary, you can always close the aperture.

Above: Photo taken with the aperture wide open at f/1.4.
Bottom: The same shot with the aperture closed at f/16.

For portrait photography, a good lens is something you can and should invest in. Even a beginner's camera, if equipped with high-quality glass, will be able to take great pictures. But the opposite (a cool camera with an average lens) will not work. So perhaps, instead of spending money on an expensive camera, it is better to invest in a quality lens.

Choosing a lens for portraits is not so easy, but now we will look at what you need from portrait glass and which lenses are suitable for portraits.

What to consider when choosing a portrait lens?

We need to start from the beginning: variable or fixed focal length? We have already talked about the difference between the two types of lenses. So, if you take zoom lenses, their focal length can vary from 24mm to 70mm, from 70mm to 200mm, etc. The choice is huge and such lenses are convenient and extremely useful for a large number of shootings. Plus, they are much easier to transport (after all, you don’t need to take several glasses with you, one is enough).

A constant focal length will provide best quality and image clarity. If you know exactly what kind of shooting you are going to do, it is better to choose a prime lens.

For portrait photography, the ideal choice is a prime lens, as quality and clarity are very important in this type of photography.

Focal length

When choosing a portrait lens, be sure to decide on the desired focal length. Consider where you are going to shoot, how much space there will be, how much surroundings you will need in the photo, how close to the model you plan to be. For standard portraits, lenses with focal lengths from 35mm to 200mm are usually used. But in general, it all depends on preference, style and model.

How many lenses are you willing to carry with you?

If you find it most convenient to travel with one single lens, you should pay attention to zoom lenses. Glass with a focal length of 24-105mm is suitable for almost any shooting. But if you are a fan of prime glasses, but dream of shooting in different genres, you will have to stock up on a bag and additional lenses. Many professional photographers do just this, changing glass on the fly or even using multiple cameras with different lenses.

How many people will be in the frame?

If you plan to shoot with in large groups people, a wider angle lens will do to capture all the characters. You need to remember that a wide angle leads to distortion: people at the edges of the frame will either be larger or stretched out. So the width of the corner should not be too large either. Never forget that by taking a step back you will capture more people, without distorting the photo.

Space available when shooting

If you shoot outdoors, there are more options, depending on your preferences. Inside you will have to take a wider-angle glass. A 70-200mm zoom lens or a prime - 85mm lens is suitable for open spaces. The focal length is less suitable for indoor shooting.

bokeh

The larger the aperture (and less number f-steps), the more bokeh you get. If you want to take photos with beautiful, blurry bokeh, you can look at special portrait glasses.

Matrix size

To correctly build the exposure, it is important to take into account the matrix. Remember that the size of the sensor (crop or full format) will affect the focal length. That is, different distances will behave differently at different types matrices For example, 50mm will look longer on a cropped matrix.

Price

Of course, the size of your wallet plays a decisive role. Let us only remind you that it is better not to skimp on quality glass.

The best Canon portrait lenses

The best Nikon portrait lenses

With such a huge choice, the decision is not so easy to make. Therefore, it most often comes down to personal preference. We recommend that you always thoroughly familiarize yourself with the lens and try it in action before purchasing.

Choosing a kit lens for a Nikon camera

It is believed that it is better for a beginner to buy a camera with a kit lens that he likes. There is a reason for this, because until the photographer has realized his preferences and learned to understand lenses, it is unwise to buy expensive specialized optics; it is better to limit yourself to something universal and cheap at first. This is exactly the role that kit lenses play.

However, the decision to buy a camera with a “whale” does not relieve the pain of choice. After all, every manufacturer has a lot of kit lenses. Even the same “carcass” can be equipped with different glasses; in addition, you can choose “whales” from other devices of the manufacturer. So you have to make a choice from six or seven lenses, which differ quite significantly in price. Let's see what you can choose from when buying Nikon devices.

NIKON AF-S 18-55 mm f/3.5-5.6G DX VR

Optical design (elements/groups): 11/8.

Shortest focusing distance: 0.28 m.

Installation size for filter: 52 mm.

Diameter x length: 73x79.5 mm.

Weight: 265 g.

Price: 3500-4000 rubles.

The most popular whale Nikon lens. It is offered for almost all amateur and semi-professional DSLRs of the company. The main advantage of this lens is the price. Separately, it is expensive, but complete with the device, the overpayment directly for the “glass” will be 1500-2000 rubles. All kit lenses as a set are cheaper than individually, but it is with the 18-55 that the difference is most noticeable. There is no point in buying this lens separately, especially since it is quite difficult to sell it later (at least for a more or less adequate amount) on the secondary market.

Among professional photographers, lenses like 18-55 are contemptuously called plugs. But this applies to the Nikon 18-55 to a lesser extent. It would be hard to call this lens photographically worthless. It is very sharp, especially at aperture 5.6 and narrower, it reproduces colors and micro-contrast well, and focuses very quickly. Of course, in all these indicators the 18-55 is inferior to top-end lenses, however, you don’t want to immediately throw pictures from it into the trash. In the right hands, the 18-55 can shoot masterpieces. It's also Nikon's lightest and most compact zoom lens, and size and weight matter in some situations.

It would be strange if the company's cheapest lens had no flaws. 18-55 have enough of them. First of all, constructive. Even in appearance, 18-55 is very flimsy. The “trunk” that comes out when zooming in inspires particular distrust. Reviews also confirm this. Almost any fall, even from a small height, will damage the lens. And given its cost, repairs are not economically profitable. It’s rare, but it happens that even without external contact, the zoom drives or focusing motor break down.

In addition to reliability, there are also problems with ergonomics. The manual focus ring on the 18-55 is so small that it is virtually impossible to use (although there is a manual mode on the lens). In addition, the front lens of the 18-55 rotates when focusing, which makes using a circular lens on this lens polarizing filter in shamanic dances with a tambourine.

The disadvantages include a small range of focal lengths, as well as low aperture. However, the latter feature is characteristic of all whale “glasses”.

The frame was taken with an 18-55 lens on a Nikon D40, aperture 5.6

However, all the disadvantages fade into the background when it comes to price. 18-55 is cheaper, and much cheaper, not only for top-end “glasses”, but even for other “whales”. At the same time, it allows you to take quite decent pictures and gain experience. 18-55 can be recommended to those who are limited in funds or do not want to buy expensive lenses until they understand what exactly they need.

By the way, today you can find two versions of this lens in various kits. The newer one, marked VR, and the older one, where instead of VR there is the number II. They differ in the presence of an image stabilizer in the new lens. You definitely need to buy the VR version. A stabilizer on such focal lengths is not particularly needed, but the lenses cost the same. And if you don’t need to pay extra, then why not take a more functional “glass”?

The lens itself is a collection of compromises. And all because of the price, because 18-200 is not cheap at all. It is through the prism of cost that some of the characteristics are, to put it mildly, not impressive. The lens is “lame” and has a lot of distortion (for its price, of course) at wide angle and in the telephoto range. Not the best sharpness, especially at long focal lengths. Well, plus, the lens is as dark as all the “whales” listed in the review. But it costs completely different money...

But it is not all that bad. The lens is truly universal and can alone replace an entire backpack of optics. That's why travel photographers love him so much. In addition, the 18-200 has very good image stabilization latest generation, which gives an advantage in “safe” shutter speed up to four stops. The stabilizer partly compensates for the low aperture of the lens.

The frame was taken with an 18-200 lens on a Nikon D70, aperture 5.6

conclusions

Despite quite a large number of kit lenses, the choice comes down to two options: take the cheapest 18-55, shoot for six months or a year (although some outgrow the capabilities of this lens in a few months) and switch to expensive and specialized optics, or buy a more expensive “whale” and shoot with it long enough without thinking about purchasing other “glasses”. If you chose the second option, then we would recommend paying attention to 18-105. A modern lens with a stabilizer, a decent image and a relatively low price.

Good day! I’m in touch with you, Timur Mustaev. Today on the agenda is a continuation of the topic better optics for cameras. we looked at it in one of the previous articles. Agree, it would be strange not to talk about Nikon. After all, these are two leading companies producing amateur and professional photographic equipment!

Photographers, have you already chosen your photography direction? It is important for beginners on their way to try different genres, but for further development you will have to choose to improve in this particular area.

Accordingly, you already acquire knowledge and a camera. For example, starting with a simple Nikon D3000 or D3200, you will soon want something more advanced with more capabilities; so, the D7000 or D7100 will already be an order of magnitude higher. The same applies to private items - accessories, accessories and, of course, lenses.

What is important when you purchase portrait lens for nikon? When photographing a person, you want to convey all his emotions, facial features, small wrinkles - everything that makes his appearance unique.

Of course, good optics can best reflect all this in the image: adequate color balance, clarity, smooth blur, etc. also play a role.

They can be used here, but one cannot expect much results from them. Therefore, purchase at least one good portrait lens with a focal length ranging from 35 to 85 mm, but no less.

You can also buy a zoom that includes such F values, but photographers still prefer prime lenses. Below we will look at both categories of optical devices offered by Nikon and Sigma.

Fixed portraits

Fix stands for constant value focal length, that is, it cannot be changed; there is no zoom ring on the lens.

On the one hand, this may not be entirely comfortable in everyday shooting. But if you specialize in working with models and clients, and especially if you have to take photographs in a physically limited studio, then the primer will definitely please you. Its picture quality is usually higher than that of the zoom option.

Portrait lenses are famous for their aperture ratio, that is, good sensitivity to light: 1.4, 1.8, 2.8. Excellent indicators for spectacular bokeh, which certainly decorates the frame, and photo detail!
The pictures will be incredibly expressive (provided you have a high-quality lens system). So, what can stores offer us:

1. Nikon AF-S 50mm f/1.4G

Of course it's waiting for you beautiful bokeh! According to users of budget cameras, for example, D5100, D5200 and similar models, even with their devices you can get very sharp shots. That is, optics played an important role here.

In addition, Nikon 50mm is often compared with that of Canon, and the former wins in terms of quality!

The lens has a standard portrait focal length; you will be pleasantly surprised by its light weight.

But, unfortunately, the optics, which cost about 30 thousand - the price of a good amateur DSLR, are not without drawbacks, namely: visible aberrations.

2. Nikon AF-S 85mm f/1.8G

This lens has a slightly lower aperture ratio, but look at F - as much as 85 mm. You are provided with a clear display of real proportions, shapes human face and figures!

The lens also features internal focusing, unlike the 50mm. Remember that long lenses are always larger.

3. Nikon AF-S 35mm f/1.8G

Inexpensive and lightweight version of portraiture.

Due to the coefficient, it is quite suitable for filming people. At the same time, he has a wide angle, which means that both full-length and full-length portraits are available to him.

Often in small studios this is a problem, because you have to move just a couple of meters away from the model. Decent aperture. It fits perfectly on my old Nikon D3100.

4. Nikon AF-S 50mm f/1.8G

The most popular and inexpensive portrait lens. This lens is usually the second after the kit lens. In my practice, this was exactly the case. I am quite pleased with this lens. He does his job very well, despite his low price, compared to previous models.

Fast lens. Pictures in poorly lit rooms come out well. The bokeh effect really impresses me. He does his job with a bang.

5. Sigma AF 50mm f/1.4 EX DG HSM

Optics from another Japanese manufacturer.

Just like when choosing portrait glass for Canon, in this article I also advise you to take a closer look at the Sigma company. This is a standard lens with a standard F distance and excellent aperture.

Quite heavy, but otherwise full of merit. So, if we remember the fifty dollars from Nikon and compare it with this, then, to everyone’s joy, we will find an internal focusing system and generally fast automatic focus.

Thanks to Sigma it is created nice picture, with good sharpness, and possible distortions, including vientation, remain behind the scenes.

You might also consider the manufacturer's 70mm options - somewhere between the preferred 50 and 85mm - but the aperture will not open as wide.

Zoom lens for portraits

Zoom has the ability to set multiple focal lengths, depending on the range. For me the ideal options are the following:

1. Nikon AF-S 24-85mm f/3.5–4.5G VR

Notice how it covers all the common focal lengths that are useful for portrait photography? In my opinion, an incredibly convenient zoom. The optics cannot boast of the capabilities of an open aperture, like previous models - the lens is of average strength.

But it has another obvious advantage: VR, or . Now you don’t have to worry about the picture being blurred when the camera vibrates.

2. Nikon AF-S 17-55mm f/2.8G

The Nikon 17-55 had a smaller focus range. The aperture is quite good for portraits. At its price, it is a little expensive compared to the 18-55 kit lens, but it has an advantage in the quality of the resulting photographs. And it is compatible with most cameras that have Dx in the name.

3. Tamron SP 24-70mm f/2.8 Di VC USD

A chic lens from another Japanese company Tamron. Photo quality on top level. Price – yes, it’s not cheap, but it’s more than worth the money.

This is far from full list possible optics suitable for a photo shoot - portrait. I hope you were able to form your opinion about the presented products. Decide for yourself who will be among the top best lenses for the Nikon brand!

Conclusion

So, let's summarize. Which lens is better to choose from the ones listed above? I will say this, it all comes down to money. The higher quality the lens, the more expensive it is.

If you have a limited budget, but want to shoot portraits and try yourself in this genre of photography, then feel free to take the Nikon AF-S 50mm f/1.8G. A very good and reliable lens with good aperture.

If your budget allows for something more expensive, take a look at the Nikon AF-S 50mm f/1.4G or Nikon AF-S 85mm f/1.8G.

As for portraits with zoom, options 2 and 3 are very good. Again, if you have the budget for these lenses.

In custody. Remember, a clean lens is the key to good photos. Keep an eye on the frequency of your lens. You can, like me, with the help pencil And special cloth, which I bought on Aliexpress, and which have never let me down. I recommend that you have such assistants too.

And for a complete understanding, read the article.

See you soon, readers! You will find a lot of useful information in my articles - visit the site and be sure to subscribe!

All the best to you, Timur Mustaev.