As professional photographers, we get all kinds of questions: what are the best lenses for wedding photography? What is the best dslr camera for video? Which lens is the best for landscapes? In all of these situations, there is never just one “best” option. While it’s true that there is no magic camera or lens that can resolve every problem, a photographer with a good choice of lenses will be able to capture a wider range of subjects from portraiture to sports. There are professional photographers who shoot using only one lens (there even used to be a yearly contest called The Lens Buyer Project where the winner had to use one fixed focal length for an entire year). So in reality, there are many “best” lenses for photographers out there. And if you’re looking to buy new equipment, here’s a list of some high quality lenses and camera bodies in every price range…
The best lens for Nikon is how you determine what the best Nikon Camera lenses are. There are so many different types of lenses available it can become overwhelming. There are some general rules you should follow when selecting a lens and those rules come in this article.
If you are looking for a great lens for photography, this is it! It takes amazing photos and makes them more beautiful! The details and colors are well balanced so the viewer can really enjoy your work.
Best lens for nikon d5600
The Nikon 18-200mm f/3.5-5.6G AF-S ED VR II provides affordable versatility, I decided to buy it because it’s one of the best lenses for day-to-day shooting. It is also a very good lens for beginners, it’s light, fast and has many useful functions.
It’s not always easy to know which camera lens is the best for taking photographs with your Nikon camera. Different cameras have different ‘native’ focal lengths, and you can use a lens which isn’t designed for your camera, but it won’t always be as good as a lens designed for your specific model of camera.
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Best lens for photojournalism Nikon
All things held constant, prime lenses are far sharper at any given focal length than their zoom counterparts. The trade off, of course, is that you don’t have the convenience of changing the composition of an image with only a twist of the wrist.
One field where zooms seem to make the most sense is in photojournalism, since you’re oftentimes constrained with where you can shoot. But the truth of the matter is many photojournalists prefer primes. Myself included.
The reasons will vary from photographer to photographer, but two reasons I prefer fixed focal length lenses are that they tend to offer faster apertures, which help in do-or-die situations where light is all but nonexistent, and that the constraint of primes often leads to better images, as it makes me use my own legs as a means of composing images.
Regardless of why I, you or any other photographer chooses primes, I’ve decided to bring together the top five prime lenses for anyone looking to get into photojournalism.
To ensure I leave out as few people as possible, many of the lenses I’ve chosen were done so with a bit of leniency so that I can provide lenses for as many mounting options as possible across Canon, Nikon, Sigma and Sony. The lenses presented are done so in order of focal length, from smallest to largest, all based on a full-frame camera system.
CANON 15MM F/2.8 FISHEYE | NIKON 16MM F/2.8 FISHEYE
Fisheye lenses aren’t for every occasion. Many times, I’ve seen them overused or used in a situation where a wide-angle lens would better get the job done. That said, there are times where fisheye lenses can truly make for a unique visual experience.
A few examples from personal experiences are using a fisheye for ultra-wide stadium shots at sporting events and using them inside/behind a net during a match. The former allows a far more expansive view of the entire environment. Rather than capturing only the band or only the stadium or only the sunset in the background, you can capture all three while adding a unique twist. The latter works because it gives a perspective that no human could ever experience within the constraints of a game. There’s little better than seeing a hockey puck slip between the legs of a goalie as he looks back in terror as it slides across the plane of the goal.
Of course, fisheyes can be used for non-sporting events, such as concerts and events that draw large crowds. But it’s always important to keep in mind that less is more. One or two fisheye images in your portfolio is more than enough. Too many and things can get extremely boring extremely fast.
CANON 24MM F/1.4 | NIKON 24MM F/1.4 | SIGMA 24MM F/1.4
Best lens for documentary photography
Traveling and taking photos is bringing to of the most wonderful things together. Photographer Mitchell Kanashkevich has been capturing his travels for years, ending up with plenty of award-winning photographs. In this video, he shares his thoughts about the best lenses for travel and documentary photography. Would you agree with his choice?
Of course, this topic is fairly subjective and depends on the type of travel photography you want to shoot. Also, it depends on whether you shoot with a full frame, an APS-C body or Micro 4/3. While just one lens would be too limiting, you sometimes must limit yourself to only one, for whichever reason. In this case– which one should it be? Here are Mitchell’s thoughts on the matter.
LENSES FOR FULL-FRAME CAMERAS
In Mitchell’s opinion, a go-to lens for full frame cameras should be a 24-70mm. In his case, it was a Canon 24-70mm f/2.8 while he used Canon gear. Here are some equivalents for other camera models:
- Sony FE 24-70mm f/2.8 GM
- Nikon AF-S NIKKOR 24-70mm f/2.8E ED VR
- Sigma 24-70mm f/2.8 DG OS HSM Art for Canon
- Sigma 24-70mm f/2.8 DG OS HSM Art Lens for Nikon
- Tamron SP 24-70mm f/2.8 DI VC USD for Canon
On the minus side, Canon 24-70mm f/2.8 doesn’t have in-lens stabilization and it’s rather heavy and bulky. If you don’t have in-camera stabilization, this can make it difficult to take perfectly sharp photos. Also, with the bulkiness of the lens (and the full-frame camera), it’s hard to be discreet, which some photographers might see as a problem.
PANASONIC LUMIX MICRO 4/3
Mitchell has decided to switch to lighter gear, so he is now shooting with Panasonic Lumix Micro 4/3 system. In this case, he doesn’t recommend a 24-70mm equivalent (12-35mm), and there are a few reasons for it.
First, there’s a 2x crop factor, which he finds problematic in terms of aperture. When you multiply the maximum aperture, f/2.8 by the crop factor of 2, you get the images that look as if they were shot at f/5.6. Another problem is the size because he doesn’t see this lens as too discreet. While the 12-35mm f/2.8 is still a versatile lens, Mitchell wouldn’t make it his first choice with the Micro 4/3 system.
But which lens is his first choice when it comes to the Micro 4/3 system? It’s a 30 or 35mm equivalent prime. Mitchell’s first lens of this kind was an Olympus 17mm f/1.8 (34mm equivalent). Today he uses Panasonic Leica 15mm f/1.7. He points out that you can shoot all kinds of situations with such a tiny lens without interrupting the moment. A small lens like this keeps the spontaneity of the scene. On the minus side, it is limiting because the focal length is fixed. But you can always try and turn it to your advantage.
LENSES FOR APS-C CAMERAS
With APS-C sensors, the crop factor is 1.5 or 1.6 rather than 2. You’ll get a shallower depth of field and slightly better low light performance than with the Micro 4/3. Still, it’s not the same as with the full frame cameras. On the other hand, you’ll still have a versatile lens that can cover you in all kinds of situations. Here’s the list of 24-70mm equivalent lenses for various APS-C bodies:
- Canon EF-S 17-55mm f/2.8 IS USM
- Fujifilm XF 16-55mm f/2.8 R LM WR
- Sony E PZ 16-50mm f/3.5-5.6 OSS
- . AF-S DX NIKKOR 18-55mm f/3.5-5.6G VR II
Finally, here are a few more 30 or 35mm equivalents for different camera systems:
- Sony E 20mm f/2.8
- Fujifilm XF 23mm f/2R WR
- Sigma 35mm f/1.4 DG HSM Art for Canon
- Canon EF 35mm f/1.4L II USM
As I said, this topic is subjective and we all have different styles and preferences when it comes to travel and documentary photography. Although I prefer primes, I still use the 18-55mm kit lens when I travel. I know it’s not the best lens there is, but for my needs, it gives me the versatility I like to have while traveling and when I want to pack light.
What’s your favorite lens for travel and documentary photography? If you had to limit yourself to only one, which one would it be?
Sleeper primes for nikon fx
Nikon’s full-frame camera lineup is impressive, but perhaps even more so is the extensive collection of FX-format (full-frame) lenses. Below are 10 of the best FX lens models from wide-angle and portrait to telephoto, along with 7 more that just missed the cut. We’ve included both zoom and prime lenses, and instead of picking only the most expensive pro-level options, we’ve considered value as well. That means you’ll find some nice budget lenses on this list like the 50mm f/1.8 and telephoto 70-300mm f/4.5-5.6 that make full-frame photography much more accessible.
1. Nikon 24-70mm f/2.8E VR
Category: Travel/portrait
Weight: 37.7 oz.
What we like: Adds vibration reduction to an already exceptional lens.
What we don’t: Some people think the “E” is slightly less sharp at the center than the older “G” version.
For a super versatile FX lens that produces professional-grade images, the 24-70mm f/2.8E is one of the most popular options in Nikon’s full-frame lineup. It’s extremely sharp across its zoom range, focuses quickly and accurately, and has minimal distortion. We also like the sturdy metal build, which adds weight to the lens but makes you feel like you will own it for many years to come (provided you take good care of it, of course). For everything from travel photography to portraits, the 24-70mm f/2.8 can replace a handful of specialty prime lenses without much of a drop-off in image quality.
For background, there has been much discussion over which Nikon 24-70mm f/2.8 version is best. The older “G” version of this lens (described below) originally was released in 2007 and is known for being tack sharp, particularly in the center of the image. The newer “E” version was released in 2015, including all-important vibration reduction and improved sharpness around the edges. Some people, however, have argued that there was a slight drop in center sharpness on the E, not to mention it’s heavier and more expensive by about $600. We think both are excellent lenses and the choice probably should come down to whether or not you want VR.
2. Nikon 50mm f/1.4G
Category: Travel/portrait
Weight: 9.9 oz.
What we like: Excellent low light performance and creamy bokeh.
What we don’t: Some barrel distortion, although it’s certainly not a deal breaker.
For just about any type of photography or camera, a quality 50mm lens makes a whole lot of sense. And the 50mm f/1.4G happens to be one of Nikon’s top prime lenses: it’s sharp, performs extremely well in low light, has fast and accurate autofocus in most circumstances, and impressive bokeh. Compared to other f/1.4 prime lenses like the Sigma 50mm Art, the Nikon is cheaper and lighter at less than 10 ounces. At around $450, it’s a no-brainer in our book.
What are the shortcomings of this lens? It has some barrel distortion that can be noticeable when shooting straight lines, which is an uncommon trait on Nikkor primes. And there is a decent amount of plastic in the build, which on the flip side, does help keep cost and weight down. But these are small gripes about an otherwise outstanding lens, which can do everything from portraits to travel and street photography. For those looking to save, Nikon’s 50mm f/1.8G below is slower in terms of aperture but less than half the price. We love the speed of the f/1.4 and the unique photos that it can produce, but both are excellent lenses.
3. Nikon 14-24mm f/2.8G
Category: Wide angle
Weight: 34.2 oz.
What we like: Nikon’s top wide-angle zoom.
What we don’t: Heavy and no vibration reduction.
For professionals and discerning enthusiasts, the 14-24mm f/2.8 is Nikon’s top wide-angle zoom. It’s exceptionally sharp, autofocus is fast and accurate, and the f/2.8 maximum aperture is impressive for a lens of this type. In addition, we love the focal length range: many camera manufacturers go for a 16-35mm as their top wide-angle zoom, which doesn’t go as wide as this Nikon and has crossover with the 24-70mm f/2.8, our top pick.
If the cost and weight of the Nikon 14-24mm f/2.8 are too much for you to swallow—not to mention this lens is now over a decade old and counting—there are some interesting alternatives below. The Nikon 16-35mm f/4 is slower in terms of aperture but costs and weighs significantly less. If you have a need for speed, the Sigma 14-24mm hits that sought-after f/2.8 and is a nice value at around $1,200. And the Nikon 20mm f/1.8 is an interesting prime option that is the lightest and least expensive of the bunch. But none can match the optical performance or build quality of the Nikon 14-24mm f/2.8, which remains the cream of the wide-angle crop.
See the Nikon 14-24mm f/2.8G
4. Sigma 35mm f/1.4 Art
Category: Travel/portrait
Weight: 32 oz.
What we like: Sharp, fast, and much cheaper than the Nikon 35mm f/1.4.
What we don’t: Heavy and focus may need calibration.
Third-party lenses come and go but few have true staying power for the most discerning of photographers. Sigma’s Art series is an exception, offering ultra-fast prime lenses that can go head-to-head with just about anything that Nikon makes. In this case, we like the Sigma 35mm f/1.4 more than Nikon’s 35mm f/1.4, which costs nearly $1,500 and isn’t markedly better in terms of performance. You can opt for the Nikon 35mm f/1.8 below, but we jump at the opportunity to shoot at f/1.4 whenever possible, especially if you use at this focal length frequently.
Similar to other third-party lenses used on Nikon camera bodies, autofocus can be an annoyance with the Sigma 35mm f/1.4 (it’s also made for Canon and Sony cameras, so the one-size-fits-all build has its shortcomings). A number of users have reported focus inaccuracies out of the box that require calibration either manually or via Sigma’s USB lens calibration dock. And despite the impressive build quality, this lens is heavy for a prime at 2 pounds. But if 35mm is your focal length, we highly recommend giving Sigma’s Art series a serious look.
See the Sigma 35mm f/1.4 Art
5. Nikon 70-200mm f/2.8E VR
Category: Telephoto
Weight: 50.4 oz.
What we like: Sharper, lighter, and focuses better than the older “G” version.
What we don’t: Pricey and heavy.
The 70-200mm f/2.8 is a staple for many professionals—it’s great for everything from portraits to outdoor photography. And Nikon outdid itself with the recent 70-200mm f/2.8E. We loved the older G version, but they managed to improve a whole lot of things on the E: it’s even sharper, lighter, focuses better and closer, and has a more modern feel with handy features like four memory focus buttons. All things considered, we think it’s the most impressive FX lens Nikon has released in years.
As we mentioned above, this is a lens built for professionals and enthusiasts and there are reasonable alternatives. The Nikon 70-200mm f/4 has the same focal length range, weighs over 20 ounces less, and costs roughly half as much. There’s also the 70-200mm f/2.8 from Tamron, which gets you the same fast maximum aperture at the sacrifice of some overall performance and build quality. However, we can’t help but love the creamy bokeh and incredibly crisp images produced by the Nikon f/2.8E. For those who prioritize image quality over all else, it’s a must-have telephoto lens for FX.
Didn’t find what you were looking for above? Then be sure to also check out additional articles on photojournalist equipment, photojournalist camera gear or prime lens travel. Once again, don’t forget to hit the share button with family and friends if you found these articles helpful.
