This time, we’re going to talk about Best Nikon Lens For Product Photography. There is a lot of information about Best Lens For Product Photography Sony on the internet, of course. Social media are getting better and better quickly, which makes it easier for us to learn new things.

The best Canon cameras and lenses for product photography and best nikon z lens for product photography are also linked to information about Best Camera For Product Photography. As for other things that need to be looked up, they are about Product Photography Lens and have something to do with 10 Best Lenses for Breathtaking Product Photography & Videography. Best Nikon Lens For Product Photography - Nikon Z Third-Party Lenses

232 Reference List: Best Nikon Lens For Product Photography | 10 Best Lenses for Breathtaking Product Photography & Videography

  • Americans just don’t get this lens, because Nikon messed up its name. The 135mm DC, or “Defocus Control,” lens, is among Nikon’s sharpest lenses ever. Defocus control doesn’t mean soft focus, it means “background softness control.” The DC feature is really Bokeh optimization. - Source: Internet
  • Carry only one of these 50 or 55mm lenses at a time. The MICRO-Nikkors are sharper, even at infinity, than the f/1.4 and f/1.8 lenses. - Source: Internet
  • The only downside is that it won’t work well under low-light conditions due to its small f/2.8 aperture. Again before making a lens purchase, check for compatibility to prevent issues. - Source: Internet
    1. Irix 21mm f/1.4 Dragonfly A great third-party portrait lens for full frame Nikon DSLRs Specifications Mount: Nikon FX Elements/groups: 15/11 Diaphragm blades: 11 Autofocus: no Stabilizer: None Minimum focus distance: 0.3m Dimensions (WxL): 99x95mm Weight: 816g Today’s Best Deals View at BHPhoto (opens in new tab) View at BHPhoto (opens in new tab) Check Amazon (opens in new tab) Reasons to buy + Solid build and handling + Bright max aperture + Superb bokeh quality + Top sharpness Reasons to avoid - Manual focus only - No filter thread - Source: Internet
  • Wide-angle zoom: Nikon Z 14-24mm F/2.8 S A great lens with all the trimmings Specifications Type: Zoom Sensor size: Full-frame Focal length: 14-24mm Maximum aperture: f/2.8 Image stabilizer: No Weather seals: Yes Minimum focus distance: 0.28m Filter size: 112mm Dimensions: 89x125mm Weight: 650g Today’s Best Deals View at Walmart (opens in new tab) View at Amazon (opens in new tab) View at Best Buy (opens in new tab) Reasons to buy + Spectacular maximum viewing angle + Includes filter attachment thread - Source: Internet
  • A perennially popular kit lens option with cameras like the Nikon D750 and D780, it’s also a wise buy in its own right. The generous 5x zoom range stretches from a wide maximum viewing angle to useful telephoto reach and image quality remains impressive throughout, boosted in handheld shooting by 3.5-stop optical stabilization. Considerably more compact and lightweight than the latest Nikon AF-S 24-70mm lens and at only half the purchase price, it’s a good choice if you don’t need the faster f/2.8 aperture - Source: Internet
  • This Nikkor lens was made with such incredible precision that it didn’t need to be pumped full of grease to fill up the internal slop of cheaper lenses of its day. It is so well made that it works with little or any lubrication, so it can work in temperature extremes and needs only a tiny flick to move the settings. Notice how it moves so easily, but that there is no play in any of the movement. - Source: Internet
  • This feature would be helpful when recording a video with sound. When you use the lens for product photography, it is not as important. No sound, no problem. - Source: Internet
  • This Nikkor offers a wider viewing angle than a standard zoom lens, along with a faster f/1.8 aperture. It’s great for shooting everything from architectural interiors to expansive landscapes and cityscapes, and the night sky. Sharpness is mostly excellent, apart from at the edges of the frame when using very wide apertures, and build quality is very good even though the lens is refreshingly compact and lightweight. It’s quite pricey to buy but good value nonetheless. - Source: Internet
    1. Nikkor Z 14-30mm f/4 S A great ultra-wide lens for full frame Nikon Z cameras, and it’s both compact and affordable too Specifications Mount: Nikon Z FX Elements/groups: 14/12 Diaphragm blades: 7 Autofocus: Pulse (stepping motor) Stabilizer: None Minimum focus distance: 0.28mm Maximum magnification: 0.16x Filter thread: 82mm Dimensions (WxL): 89x85mm Weight: 485g Today’s Best Deals View at Amazon (opens in new tab) View at Walmart (opens in new tab) View at Best Buy (opens in new tab) Reasons to buy + Small for a ultra-wide zoom + Superb corner-to-corner sharpness Reasons to avoid - Still not cheap for an f/4 zoom - No focus distance scale - Source: Internet
  • The best lenses for product photography can make a good dramatic effect on this photo-subject isolation technique. For instance, this Nikon AF-S DX lens’ fast f/1.8 max aperture is perfect for creating softly blurred backgrounds. - Source: Internet
  • Product Photography Lens Requirement Canon EF 50mm f/1.8 STM Sharpness through the higher f/stops, at least f/11 ✓ This lens is sharpest through f/11 but acceptable at f/16-22 A high f/stop range, f/16 or higher ✓ This lens goes to F/22, a rarity among 50’s Pass the DxO test on Low distortion, Chromatic Aberration, Sharpness ✓ Yes. Check the DxO Rating Wide depth of field, even at the near limits ✓ A low minimum focus distance so we can get close to the product and fill the frame. A low minimum focus distance (MFD) so we can get close to the product and fill the frame ✓ 13.75” MFD, the lowest of any standard (non-macro or specialty) 50mm lens Affordable price ✓ Only $125 - Source: Internet
  • Choosing the best Nikon lenses means answering one easy question and one slightly harder one! First, which Nikon do you have – is it a Nikon Z mirrorless model or a Nikon DSLR. They use two different lens mounts and, on top of that, come in two sensor sizes – full frame (FX) and APS-C (DX) – which affects the lenses available. The second question is… what do you want to shoot? - Source: Internet
  • The focal length of a lens determines the angle of view – how much of the scene will be captured. It is correlated with the magnification (or zoom) – how large individual elements will be. Mathematically speaking, focal length is the calculation of the optical distance between the focal point of a lens and the sensor in the moment when the subject is in focus. - Source: Internet
  • Both Nikon Z and Nikon DSLR cameras come in two sizes: full frame or APS-C (DX). You can use any full frame lens on a DX camera, but there will be a ‘crop factor’ which makes the lens’s angle of view look narrower. This doesn’t matter much with telephoto, portrait or macro lenses, but with smaller DX format cameras you need ultra-wide lenses and standard zooms designed for the smaller format. You can use DX lenses on a full frame camera, but they will automatically crop to the smaller sensor size. - Source: Internet
  • The plastic mounting plate is arguably less durable than a metal mount, but helps to contribute to the lens’s incredibly light weight of just 135g. Other downsizing features are that the zoom range and aperture rating are both fairly modest, equating to 24-75mm in full-frame terms and shrinking to f/6.3 at the long end. - Source: Internet
  • The 13mm is not a fisheye. Straight lines stay straight. In fact, just to show off, the 13mm has less distortion than zooms or most other normal and wide lenses! Drop a ruler on lines in the image, and they’re straight. - Source: Internet
  • Canon EF-S 18-135mm f/3.5-5.6 IS STM – (for crop-frame cameras) You get a very versatile focal length for various needs of product photography. The lens is well-priced and, for Canon, offers a good price-quality ratio. - Source: Internet
  • Nikon AF-S VR Micro-NIKKOR 105mm f/2.8G IF – Expect good focusing and magnification ratio. It is a lens dedicated to macro photography. - Source: Internet
  • The best part of the Z 14-24mm f/2.8 S, is that you can easily mount filters on it when using the right hood. While 112mm filters are not cheap, it surely beats any third party solution with giant filters that take up a lot of room. The biggest drawback of the Z 14-24mm f/2.8 S is its price – you are going to be shelling out over $3K for the lens and a good set of 112mm filters. - Source: Internet
    1. Nikon AF-S 50mm f/1.8G This low-cost Nikon lens is great for low-cost portraits on a DX DSLR Specifications Mount: Nikon FX Elements/groups: 7/6 Diaphragm blades: 7 Autofocus: Ultrasonic (ring-type) Stabilizer: None Minimum focus distance: 0.45m Maximum magnification: 0.15x Filter thread: 58mm Dimensions (WxL): 72x52mm Weight: 185g Today’s Best Deals View at Best Buy (opens in new tab) View at Walmart (opens in new tab) Check Amazon (opens in new tab) Reasons to buy + Good all-round quality + Affordable to buy Reasons to avoid - Some distortion - 7-blade aperture - Source: Internet
  • As an S series lens, the Nikon Nikkor Z 70-200mm f/2.8 VR S has the same weather-sealing as the 24-70mm, along with that mini screen display for the focus scale that’s visible in the dark, a custom control ring, and two shortcut buttons. This time, the lens is actually less expensive than the F-mount equivalent, but it’s still not cheap. - Source: Internet
  • While any Z lens will mount to any Z camera, watch out for lenses with a DX in the name. DX lenses are built specifically for the smaller APS-C sensor of the entry-level Nikon Z 50 and will not fill the frame of the larger Z 6 and Z 7. By contrast, full-frame Z lenses can be used on the Z 50, although the image will be cropped compared to how those lenses look on the Z 6 or Z 7. - Source: Internet
  • Announced alongside the Nikon Z6, the Nikon Z7 is a very similar camera in almost every way, except it has a higher resolution sensor (45 megapixels rather than 24) and a lower base ISO (64 rather than 100). The point of these changes is to allow for the highest possible image quality if using the camera with a sharp lens. However, if you’re happy with 24 megapixels and ISO 100, you can get practically the identical camera for hundreds of dollars less by buying the Z6 instead. (The Z6 even has a faster frame rate of 12 FPS rather than 9 FPS to boot.) Read our Nikon Z7 review for more. - Source: Internet
  • Another great but affordable lens from the Nikon lineup, the AF-S DX 55-200mm f/4-5.6G that is not only versatile but powerful as well. Its focal length of 55-200mm enables you to take product portraits and telephoto shots. - Source: Internet
  • Nikon made its name with its manual-focus lenses. They made a zillion different types. These below are the specific lenses I carry when I shoot a manual-focus camera like my F, F2, F2S, F2AS, F3, FA, FE, FE2, FM, FM3a & etc. Any of the manual lenses work great; these are just what I prefer to cover everything. - Source: Internet
  • Its quiet AF unit “rxd” stepping motor and moisture-resistant construction make it one of the best lenses for product photography. Its fast f/2.8 aperture gives you the best color rendition of any object you are shooting. - Source: Internet
  • Sometimes we all feel the need for speed, and an f/2.8 zoom just won’t cut it. This prime lens gives the same generous viewing angle as a Nikon 24-70mm f/2.8 or 24-120mm f/4 at their shortest zoom setting while being more than one or two f/stops faster respectively. It’s therefore great for freezing action under low lighting conditions, enabling a faster shutter speed without needing to bump up your camera’s ISO setting. - Source: Internet
  • Some might miss the faster f/1.4 aperture rating of many 50mm primes for DSLRs, but this f/1.8 lens still delivers beautiful bokeh and only costs about a quarter of the price of Nikon’s top-notch Z 50mm f/1.2 S lens, which is also about 2.5 times heavier. - Source: Internet
  • Nikon AF-S FX Nikkor 50mm f/1.8G (for full-frame cameras) Treat this lens as an entry-level option for product photography. It has a standard focal length and a good price. - Source: Internet
  • If I had to put together a list of my favorite Nikon Z prime lenses, it would certainly start with the Z 20mm f/1.8 S. Similar to its F-mount brother, the lens is a top choice for architecture and landscape photography, except it is way sharper in comparison, and has less optical issues to deal with. - Source: Internet
  • I prefer bringing just my 28-300mm VR, but if you need f/2.8 and don’t mind bringing more lenses along, the 24-70mm f/2.8 E VR is a flawless state-of-the-art lens, a favorite of professionals. - Source: Internet
  • There are a lot of factors which affect the quality of the final image and lenses are the most important. You should make sure that the lens gives you overall sharpness, from corner to corner. Especially, when you plan to crop detail images from a high-resolution picture. - Source: Internet
  • On the way to the wildlife refuge, I was sitting on the back of a tractor that rode through pretty dusty areas. I did not realize how dusty it was until I looked at my 70-200mm f/2.8 S – it was covered in micro dust! Thankfully, the lens is sealed very well against dust and moisture, so I did not have any issues with the lens after the trip. I gently wiped off the dust, and the heavy rain I encountered later took care of cleaning the lens for me. I wouldn’t risk doing this to a non-pro lens… - Source: Internet
  • The little lens might feel a bit plasticky, and it lacks any weather-seals, but it certainly punches above its weight in terms of performance. Autofocus is fast and near-silent, optical VR (Vibration Reduction) gives a 4.5-stop advantage in beating camera-shake, and image quality is super-sharp. - Source: Internet
    1. Macro lens: For subjects so close they’re right under your nose. Regular lenses can focus quite close, but not close enough to fill the frame with tiny insects and other close-up subjects. But macro lenses are designed to get much closer, and are optically optimised to give crystal-clear close-ups. - Source: Internet
  • In case you want to use a full-frame lens with a crop sensor camera you need to recalculate the effective focal length multiplying it by the crop factor (e.g. 1.5). To show it on an example, crop lenses with focal length 35-135mm used in a full-frame camera will have an effective focal length of ~50-200mm. - Source: Internet
  • Macro photography is demanding. Product pictures shot with macro lenses offer high level of detail at the cost of focus difficulties. The background and more distant features of the product suffer from low depth of field – they can get blurry and disturb the overall impression of the image. Think of a bracelet with a diameter of 5cm where only the front part stays in focus in the resulting picture. - Source: Internet
  • It remains possible to use some DX lenses (for crop sensors) on a full-frame camera body. The cameras should automatically switch to DX mode and use only a part of their sensor, one of the same size as in case of a crop frame camera. This, however, happens only if the camera has the “auto-cropping” option and at a loss of resolution. Still, beware of mount compatibility issues between DX lenses and full-frame cameras – always check the specifications. - Source: Internet
  • Manual macro lens: Laowa 100mm F2.8 2:1 Ultra Macro APO This manual lens has a super-sized 2x macro magnification Specifications Type: Prime Sensor size: Full-frame Focal length: 100mm Maximum aperture: f/2.8 Image stabilizer: No Weather seals: No Minimum focus distance: 0.24m Filter size: 67mm Dimensions: 72x125mm Weight: 638g specifications Colour Black Condition New, Refurbished Today’s Best Deals View at Amazon (opens in new tab) View at BHPhoto (opens in new tab) View at Adorama (opens in new tab) Reasons to buy + Extra-large 2x magnification factor + Smooth and precise manual focus ring Reasons to avoid - No autofocus - No electronic communication with camera body - Source: Internet
  • You may have realized so far that the parameters of lenses are a complicated multi-dimensional question. To your help in confusing situations come websites such as Digital Photography Review, which offer lens comparison engines and articles. There will be many details listed in a clear table form and an option to compare several lenses. Try this link for their useful comparison tool. - Source: Internet
  • Sale Nikon AF-S Nikkor 50mm f/1.8G Lens Fast, upgraded f/1.8, compact FX format prime lens. The picture angle with 35 millimeter (135)… - Source: Internet
  • In some situations, when you cannot move the camera further from your product (e.g. when using a fixed position in an automated photo booth), you need to manipulate the product. Otherwise, the lens may turn out to be useless. - Source: Internet
  • If you can’t afford the Nikon Nikkor Z 24-70mm f/2.8 lens, the Nikkor Z 24-70mm f/4 is another sharp lens. It doesn’t have the low-light or background blurring power of the f/2.8 version, but it’s much more affordable. - Source: Internet
  • This is an impressive lens that was built for the Panasonic Micro Four Thirds mirrorless cameras. It has a 25mm focal length and f/1.7 aperture that makes it possible to shoot in low-light conditions and control the depth-of-field (DOF)—making it an excellent choice for shooting product videos. - Source: Internet
    1. Portrait lens: For flattering features and background blur. The best portrait shots combine an undistorted perspective with soft background blur. A regular zoom lens might give you the right perspective, but only a dedicated portrait lens with a wide maximum aperture can give those atmospheric blurred backgrounds. - Source: Internet
  • If you want to have a lens that covers something in-between the 20mm and 50mm primes, the Z 35mm f/1.8 S is the obvious choice. Similar to all other Z primes, it is insanely sharp, and works exceptionally well in low-light situations: - Source: Internet
  • Nikon only made these to special order, and only made a few hundred of them across 20 years. Customers who took factory delivery in Japan were treated to a ceremony where the lens was blessed by a Shinto priest. I’ve only seen two in my life, both in captivity, and never seen one in the field. - Source: Internet
  • For what you get, it does represent good value for money. You can expect to pay around $6,000 for the body. The downside is that you will need to buy a Hasselblad lens pack. The cost of a basic pack comes in at around $8,500. - Source: Internet
  • The only competitor in the same price point range to this lens is the Canon EF 100mm f/2.8L IS USM Macro Lens ($900), which like the Tamron is a 1:1 and has a handy image stabilization built in. If you are considering the newer Tamron VC lens then you may also want to test this Canon competitor. However, if you’re looking to save money, then stick with the older model Tamron 90mm at the $400 price point. - Source: Internet
  • But with a lot of different options available in the market, you may struggle to find the right lens for you. Don’t worry. We’ve got you covered with this updated list of the best cameras that you can use for product photography. - Source: Internet
  • When you use a fixed lens, you will always have the same focal length, the same angle of view. Although the work can be less comfortable and present some limitations, you will always get the same focal length results. The standard lens, which is 50mm, has a focal length near the optimal 44mm, similar to human vision. - Source: Internet
  • The journey about the best Nikon lens for jewelry photography ends here. Getting the best lens is essential to get the perfect shot with enough details. And, you have to always consider the focal length, aperture, and field depth at their best. - Source: Internet
  • Like the Nikon Z 14-24mm F/2.8 S, it boasts the same fast and constant aperture rating, and the same layout of multi-function OLED display, tertiary customizable control ring and customizable Lens Function button. Pro-grade build quality and handling characteristics are therefore identical, making you feel right at home when swapping between the two lenses. - Source: Internet
  • One of its main driving features is the zoom drive system that can be precisely controlled for zooming. Another key feature is the Multi-Actuator Floating Inner Focus System-a control mechanism for the lens groups inside it. This ensures quiet footages even at quick zoom shifts and focal length changes. - Source: Internet
  • Because of Micro-NIKKOR’s 1.0x max reproduction ratio and 40mm focal length, it is one of the best lenses for product photography. It’s not zoomable, so it only serves as a close-up lens for Nikon DSLRs. - Source: Internet
  • Nikon’s first internal-focusing 300mm /2.8 lens of 1977 quickly became the news and sports photographers standard long lens. It was fast enough to shoot indoor sports, and the internal-focusing design let it focus from near to far with the flick of a finger. - Source: Internet
  • Fast-focusing is not the most important feature of a product photography lens as your item does not move. This is what you should think about when considering the purchase of lenses to shoot action: e.g. in a reportage or in sports photography. - Source: Internet
  • First, this lens is not made for manual focus. You have to push the shutter button down a little bit to allow it focus at the ring. This is super annoying, especially when trying to make very fine-tune adjustments. - Source: Internet
  • Each lens has a focusing distance limitation – the minimal distance from which the lens can focus on the product. When the distance between the camera and the item is smaller than provided in the lens specification, it will not be able to catch focus properly. You might have to move the camera away from the product. - Source: Internet
  • In situations where you don’t need to go ultra-wide, the Nikon Z 24-70mm f/2.8 S is another exceptional lens. When going through my Lightroom catalog, the focal lengths I use the most in any given year are between 24 and 70mm, so my most used lenses are typically 24-70mm, 24-105mm and 24-120mm. Optically, I have not seen a lens that can beat the Nikon Z 24-70mm f/2.8 S, and that says a lot about its performance. - Source: Internet
  • If you want a versatile lens for product photography, the Sigma 24-105mm F4.0 Art might be the right lens for you. Because, as specified from its name, the 24-105mm lens enables you to take product photos using both wide-angle shots and macro shots. - Source: Internet
  • If you are getting into product photography, setting up a studio for your business or an established photographer, these 2 lenses are great ways to round out your studio. They’re super affordable and you can do about 98% of all product shots at a super high quality. Pairing them with 6d Mark I or II is a winning combo. - Source: Internet
  • When it comes to lenses, they all have faults to a bigger or smaller extent, so be as precise as you can. Keep in mind the quality contributors we mentioned above – focal length, aperture, magnification ratio, and so on. The comparison engine will provide plenty of information you will find useful – compatibility, prices, physical descriptions. - Source: Internet
  • The most demanding portrait photographers often favor 85mm lenses with a super-fast f/1.4 or even f/1.2 aperture rating. This helps to give an ultra-tight depth of field as well as enabling pacey shutter speeds even under very low lighting, which helps to freeze any motion on the part of the subject. - Source: Internet
  • The aperture shrinks to a fairly ‘slow’ f/6.3 at longer zoom settings but that’s the trade-off for the lens having a fairly small, lightweight build. Although designed predominantly for full-frame Z-series cameras, the lens also works really well with the DX format Nikon Z50, where it has an effective zoom range of 36-300mm. The inclusion of optical VR (Vibration Reduction) is also a key advantage when using the lens on a Z50, which lacks in-body stabilization. - Source: Internet
  • The mighty Nikon AF-S 14-24mm f/2.8G ED (opens in new tab)(seen above) might seem the most obvious contender for an ultra-wide landscape zoom for Nikon’s FX-format DSLRs, but we actually prefer the equivalent Sigma 14-24mm f/2.8 DG HSM Art (opens in new tab). Compared with both of those, Nikon’s 16-35mm lens naturally has a less generous maximum viewing angle and aperture rating, but is less expensive to buy and has the advantages of featuring a filter attachment thread and optical stabilization. For landscape photographers, it’s the most sensible option. - Source: Internet
    1. Ultra-wide zoom: For when you need to get more into the frame. Most people imagine a telephoto zoom to be the most useful extra lens you can have, but actually a wide-angle zoom can be even more useful, especially if you are interested in travel photography and capturing cramped interiors, big landmarks or narrow city streets. Read more: Best wide-angle lenses for Nikon - Source: Internet
  • Remember that these so-called “replacements” may have a different mode of operation, i.e. you will need to calibrate your body with the lens from time to time. Otherwise, you might obtain an unwanted effect of back or front focus. This means that the focal point in the taken picture is shifted in relation to the point you chose while taking the picture. - Source: Internet
  • This lens unit is surprisingly light, given its zoom range of 45 to 175 mm. Its zoom is internally built,, so the lens does not extend. It has a power zoom feature (optional) that you can use for both video and stills. - Source: Internet
  • For the more experienced photographer readers out there, the VR version is the revamp of the classic Micro-Nikkor. When comparing the VR to its predecessor, it may feel heavier than you’re used to due to the integration of the vibration reduction technology. Although the Micro-Nikkor VR lens is chunkier, buying it is a significant upgrade. - Source: Internet
  • Here are the best-performing Nikon lenses for jewelry photography we’ve sorted. From high budget to the affordable range, this list contains lenses for all. Also, we didn’t only focus on macro photographic lenses, but there are also versatile lenses for multiple usages. Let’s check them all out! - Source: Internet
  • 85mm is a favorite focal length among many portrait photographers — and the Nikkor Z 85mm f/1.8 S is likely to become the most loved lens for Z portrait photographers. Like other Z lenses, the 85mm is optically excellent, but also sits at a reasonable price. - Source: Internet
  • The Nikon 18-55mm f 3.5-5.6G AF-S DX VR Nikkor Zoom Lens is a versatile lens that offers a wide range of focal lengths and a quiet autofocus system. - Source: Internet
  • Like the Z DX 16-50mm above, this lens stands out as an excellent optical performer, as sharp, if not sharper than 2016’s (but still current) 70-200/2.8 FLE and sharper than the fully professional 70-200/2.8 VR II, and it’s lightweight, collapses for travel, focuses super fast and close, and sells for next to nothing. - Source: Internet
  • Nikon’s DX lenses have a smaller image circle intended for DX cameras like the Z30, Z50, and Zfc. These lenses can still technically mount on the FX cameras, although your camera will automatically crop all your photos 1.5x when you do so, in order to avoid black corners. In general, I recommend using these lenses only on a DX camera. - Source: Internet
  • Wide-angle lenses are prone to distortion, but you’ll have trouble spotting any in the Nikkor Z 24mm f/1.8. Barrel distortion is minimal, and chromatic aberration (colored fringing around the edges of objects) is equally tough to find. The biggest flaw that’s occasionally noticeable in real-world shooting is a slight vignette, but that’s easy to edit out later. - Source: Internet
  • A reason why the LUMIX G lens is one of the best lenses for product photography is that even in low-light situations, you will still be able to shoot sharp photos. This is because of its powerful optical image stabilizer (OIS) feature. If you are shooting in areas with strong lighting, this lens’s Nano Surface Coating minimizes flaring and ghosting. - Source: Internet
  • Macro lens: Nikon Z MC 105mm f/2.8 VR S Nikon’s biggest and best Z-mount macro lens Specifications Type: Prime Sensor size: Full-frame Focal length: 105mm Maximum aperture: f/2.8 Image stabilizer: Yes Weather seals: Yes Minimum focus distance: 0.29m Filter size: 62mm Dimensions: 85x140mm Weight: 630g Today’s Best Deals View at Walmart (opens in new tab) View at Amazon (opens in new tab) View at Best Buy (opens in new tab) Reasons to buy + Super-sharp image quality + Refined handling exotica Reasons to avoid - Quite expensive to buy - Naturally bigger than Nikon’s 50mm MC lens - Source: Internet
  • Sigma AF 105/2.8 MACRO EX DG OS HSM – This prime lens can do its job for macro photography. A good magnification ratio would be its key advantage. - Source: Internet
  • Now let’s look at the second question more closely – which lenses to get. Some photographers have a very clear idea about their favorite subject matter and it’s pretty easy to recommend lenses. Other photographers like to experiment with all kinds of subjects – so if that sounds like you, then you might need a few different lenses, not just one! - Source: Internet
  • Firstly, the camera model is important. It will be the body that makes good use of the lens potential. If you need to choose and do not have an unlimited budget, it is better to acquire a crop-sensor camera and its dedicated lenses. - Source: Internet
  • If you are looking for lenses to be used in photography automation solutions (e.g. Orbitvu Alphashot) your choice will be limited to camera brands supported by the photography automation system. Nowadays it will usually be Canon, since Canon provides the most versatile support for third party solutions. In case of Orbitvu automation you can find more detailed information on our compatibility webpage. - Source: Internet
  • Big isn’t always beautiful. The slimline form factor of the DX format Nikon Z50 mirrorless camera is one of its main attractions, making this standard zoom the perfect partner. With its cunning, retractable design, it almost qualifies as a pancake lens, with a retracted length of just 32mm. - Source: Internet
  • 2.Nikon AF-S 14-24mm f/2.8G ED Nikon’s widest-angle F-mount rectilinear zoom lens for FX DSLR Specifications Mount: Nikon FX Elements/groups: 14 elements in 11 groups Diaphragm blades: 9 Autofocus: Ultrasonic (ring-type) Stabilizer: None Minimum focus distance: 0.28m Maximum magnification: 0.15x Filter thread: none Dimensions (WxL): 98x132mm Weight: 1,000g Today’s Best Deals View at Amazon (opens in new tab) View at Best Buy (opens in new tab) View at Walmart (opens in new tab) Reasons to buy + Extreme viewing angle + Fast, constant aperture + Solid build quality Reasons to avoid - Performance could be better - Expensive to buy - No filter attachment thread - Source: Internet
  • Think of how to showcase your product in the best way possible. For example, if you’re selling cosmetics, then you might need a lens that can take great macro shots. But if you’re selling cars or motorcycles, then a lens that takes excellent wide-angle shots might be more suited for you. - Source: Internet
  • Nikon has released the AF-S DX Micro-NIKKOR 40mm f 2.8G Close-up Lens for Nikon DSLR cameras. The lens offers photographers a compact and lightweight alternative to more popular NIKKOR lenses, such as the AF-S NIKKOR 60mm f 2.8G ED lens. - Source: Internet
  • And if you shoot with the Z5, Z6 or Z6 II, you will get plenty of sharpness from the 14-30mm f/4 S, even in extreme corners. Personally, I own an excellent copy of the 14-30mm f/4 S and I love it for its versatility. It is light, small, and considerably cheaper than its 14-24mm f/2.8 S brother. Spencer also owns this lens, and he has been able to capture stunning images with it: - Source: Internet
    1. Sigma 85mm f/1.4 DG HSM | A A great third-party portrait lens for full frame Nikon DSLRs Specifications Mount: Nikon FX Elements/groups: 14/12 Diaphragm blades: 9 Autofocus: Ultrasonic (ring-type) Stabilizer: None Minimum focus distance: 0.85m Maximum magnification: 0.12x Filter thread: 86mm Dimensions (WxL): 95x126mm Weight: 1,130g Today’s Best Deals View at Adorama (opens in new tab) View at Walmart (opens in new tab) View at Amazon (opens in new tab) Reasons to buy + Beautiful image quality + Sophisticated design Reasons to avoid - Comparatively huge - Heavy compared to Nikon - Source: Internet
  • A fully-manual lens, the Laowa has no built-in electronics. As such it’s a purely manual-focus affair and the aperture also needs to be set using the lens’s control ring rather than from the host camera. However, it’s still possible to engage the in-body stabilization of Z-series full-frame cameras, by entering the lens’s details in the ‘Non-CPU lens data’ section of the Setup menu. - Source: Internet
  • The 28-300mm VR replaces all the lenses we used to haul around. The only thing it doesn’t do is replace an ultra-wide lens like the 16-35mm VR, or allow us to shoot sports in dim light like the 70-200mm f/2.8 VR FL. If you need anything longer, you’ll get better photos by getting closer with the 28-300mm VR than you will by using a longer lens like the 600mm VR from farther away. - Source: Internet
  • Here, professional photographers come up with a technique called focus stacking to remedy this issue. It is available for all lenses as it depends on focusing solely. Several photos are shot with focus on different areas of the product and then “stacked” onto each other using post-processing software. The result is usually a crisp sharp image of the product with maximum depth of field (read on to “lens settings” section for more on depth of field manipulation). - Source: Internet
  • But, which one to buy? No worries! We got you. We have searched around the market and sorted some of the best Nikon lenses for jewelry photography. You will get to know in detail about the lenses on your scroll. Have a look! - Source: Internet
  • The Tamron 28-75mm F/2.8 is a full-frame lens built for Sony’s mirrorless cameras. Its focal length allows capturing photos and videos in both wide-angle shots and portraits for your marketed products. - Source: Internet
  • The Nikon Z series is in its infancy, yet the mirrorless line already has nearly a dozen native lenses. While you can also use F-mount DSLR lenses via an adapter, the Z-mount lenses are one of the biggest perks to the new mirrorless system. Thanks to a wider mount, shorter flange distance, and improved optical designs, every Z lens that we’ve tested has been exceptionally sharp. - Source: Internet
  • It all depends on where you are on your journey. Although it is important to buy a high quality camera and lenses for product photography, you will also have other investments to make. It may include lighting equipment, a dedicated laptop or computer, and of course, lenses. - Source: Internet
  • Check the aperture up. A wide-open lens will allow more light to enter the camera, which can help to create a brighter image overall. Conversely, a narrow aperture, or f-stop, will keep the lens from letting much light in and make your pictures darker. - Source: Internet
  • The Nikkor Z 24mm f/1.8 is weather-sealed and feels very high end. But, that premium fit and finish results in some heft. While designed for mirrorless, the Z 24mm is actually heavier and larger than Nikon’s similar F-mount lens. The extra few ounces, however, are worth the excellent optical performance. - Source: Internet
  • For such a wide-angle lens, sharpness is epic across the entire image frame, even when shooting wide-open at f/1.8. The ultra-low level of barrel distortion and negligible color fringing are also highly impressive, while the combination of both Nano Crystal Coat and Super Integrated Coating are highly effective at minimizing ghosting and flare. The ultra-wide viewing angle enables exaggerated perspective effects, especially in close-ups where you can take advantage of the very short 0.2m minimum focus distance. - Source: Internet
    1. Nikon Z 400mm f/2.8 TC VR S Professional sports and wildlife lens with built-in teleconverter Specifications Mount: Nikon Z Elements/groups: 25/19 Diaphragm blades: 9 Autofocus: ring type Stabilizer: yes Minimum focus distance: 2.5m Maximum magnification: 0.17x Filter thread: Rear, drop-in Dimensions (WxL): 156x380mm Weight: 2,950g Today’s Best Deals View at Crutchfield (opens in new tab) View at Adorama (opens in new tab) Check Amazon (opens in new tab) Reasons to buy + Jaw-dropping performance + Fast aperture + Built-in tele-converter Reasons to avoid - Heavyweight build - Super-heavyweight price tag - Source: Internet
  • Also, this lens can capture clear images up to 1.3 inches (3.2 cm) wide at a distance of up to 10 feet (3 meters). And this lens is perfect for photography enthusiasts who want to take close-up shots of flowers, insects, jewelry, and other small objects. - Source: Internet
  • varifocal lens (zoom lens) – allows the focal length to be adjusted within a range (e.g. 27-70mm, 25-105mm, etc.); - Source: Internet
  • I had the lens focus racked to it’s nearest limit, to simulate a small product. We go to the near limit when want to get close to the product to fill the frame but as we get closer to the near limit of the lens, the area of sharp focus shrinks. The near limit on the lens is about 13 inches away from the camera, filling the frame and giving a generous depth of field which is what makes this lens so special. This lens doesn’t have a Depth Of Field Scale on it. - Source: Internet
  • Another factor to consider is the level of detail you want to capture in your photos. If you’re simply taking product photos for a website or catalog, then a standard camera lens will probably suffice. But if you’re trying to capture every last detail of a small product, then a macro lens is essential. - Source: Internet
  • Both types of still life photography can be put into practice with the help of a traditional or automated photo studio. Your studio setup will require different lenses for different purposes. And indeed, the decision whether you wish to engage in commercial or product photography will be defining your choice of lens. - Source: Internet
  • A macro lens is a camera lens that allows you to take close-up photographs of small objects. In product photography, a macro lens is used to take photos of small products such as jewelry, watches, luxury pens, and other products. Macro lenses are designed to handle very close focusing distances (12-inches or less) and take very sharp and highly detailed images. - Source: Internet
  • A few months ago, I wrote a post describing the optical qualities of the “Nikon Z Lens Trinity“, where I praised Nikon’s three pro-grade Z mount lenses for their remarkable performance in a lab environment. I have now had a chance to use these lenses for many months, and I continue to be amazed by the results I get when using both the Z6 II and the Z7 II. If you are looking for one lens combination that does it all, the Z trinity is very hard to beat, especially considering how remarkable each lens is in this group. - Source: Internet
  • This article is a bird’s eye view of all Nikon Z-Series products available at the moment, including cameras, lenses, and official accessories. My hope is that photographers considering a Nikon Z camera will find this a helpful guide to figure out what equipment is out there. While this article only covers Nikon-brand products for the Z system, there are numerous compatible third-party lenses which I will cover in a future article. I’ll be updating this guide as new products are announced for the Z system so that it always remains as current as possible. - Source: Internet
  • It really boils down to how much you want that extra f/stop of aperture, the larger lens making f/2.8 available throughout the zoom range. It also has handling extras shared with Nikon’s other ‘trinity’ zooms, including a multi-function OLED display that can show aperture, focus distance, depth of field and the exact focal length. There’s also a handy customizable Lens Function button. - Source: Internet
  • A prime is determined by its fixed focal length and aperture. You can’t adjust them to go from a wide-angle lens to a telephoto lens, which is a great option to have. But with a dedicated focal length and aperture, you can produce images of higher quality. - Source: Internet
  • Aperture is one of the exposure parameters, next to shutter speed and ISO. It indicates the hole of variable diameter inside the lens, through which light travels into the camera body and onto the image sensor. Simply speaking, It regulates the amount of light which the camera sensor will receive. Thus, it correlates to image brightness and affects the image quality and its depth of field. - Source: Internet
  • The look and feel of Nikon’s f/1.8 prime lenses is entirely consistent across the range, so handling feels entirely natural when you’re swapping from one to another. Similarly, they’re all well-built and feature weather-seals. The 50mm gives a natural viewing perspective on any of Nikon’s full-frame Z-series bodies, while also working well as a portrait prime on the DX format Nikon Z50. The only drawback with the latter is that the lens doesn’t feature optical stabilization and the Z50 has no sensor-shift stabilization, so camera-shake can be a problem. - Source: Internet
  • Portrait prime: Nikon Z 85mm F/1.8 S Ready for your close-up? Specifications Type: Prime Sensor size: Full-frame Focal length: 85mm Maximum aperture: f/1.8 Image stabilizer: No Weather seals: Yes Minimum focus distance: 0.8m Filter size: 67mm Dimensions: 75x99mm Weight: 470g specifications Colour Black Condition New, Refurbished Today’s Best Deals View at Walmart (opens in new tab) View at Amazon (opens in new tab) View at Best Buy (opens in new tab) Reasons to buy + Great sharpness and lovely bokeh + Fairly compact and lightweight Reasons to avoid - Quite pricey for an 85mm f/1.8 lens - No additional control ring - Source: Internet
  • Physics aside, for product photography, you should choose a lens with a focal length of at least 50mm or preferably, a higher one. Lenses with a focal length smaller than 50mm can force you to deal with the wide-angle distortion. An example of this fault is visible in the first picture below. The longer the focal length when photographing an object of the same size, the further you have to move it away from the object. Thus, when choosing a lens, remember about the size of the studio space you use. - Source: Internet
  • When it comes to jewelry photography, the right lens is essential. There are several factors to consider when choosing the right lens for your needs, including focal length, aperture, and field of view. Here are a few tips to help you choose the best lens for your jewelry photography needs: - Source: Internet
  • When you need longer focal lengths, the Nikon Z 70-200mm f/2.8 S is another near-perfect lens. You don’t even need to stop this lens down – it simply shines at f/2.8! Here is my favorite image of a Javelina from my recent trip to Arizona: - Source: Internet
  • The 24-70mm f/2.8 lens is considered a workhorse by many photographers, thanks to the versatile zoom range and the bright aperture. The Nikkor Z 24mm f/2.8 S is a pro-level lens designed to stand up in several genres, from wedding photography to sports. The Z mount lens is even sharper than Nikon’s similar F-mount version — albeit, more expensive. - Source: Internet
  • It has a smaller body when compared to other cameras but you can still produce high quality images. Many photographers say that this camera “feels” right when they use it. Needless to say, it is compatible with a range of Canon EF s lenses. That is another reason why you should consider choosing this camera. - Source: Internet
  • Autofocus is fast and accurate, based on a stepping motor system that’s agile for stills and enables smooth, super-quiet focus transitions for movie capture. The five-stop optical VR (Vibration Reduction) is a massive bonus, considering that the Nikon Z50 lacks in-body stabilization. Although the lens has a slightly plasticky, low-budget feel and lacks weather-seals, it performs very well and delivers sharp, crisp image quality. All in all, it’s a highly attractive lens at the price. - Source: Internet
  • Superzoom: Nikon Z 24-200mm F/4-6.3 VR A neat all-purpose travel lens Specifications Type: Zoom Sensor size: Full-frame Focal length: 24-240mm Maximum aperture: f/4-6.3 Image stabilizer: Yes Weather seals: Yes Minimum focus distance: 0.5-0.7m Filter size: 67mm Dimensions: 77x114mm Weight: 570g specifications Colour Black Condition New, Refurbished Today’s Best Deals View at Walmart (opens in new tab) View at Amazon (opens in new tab) View at Best Buy (opens in new tab) Reasons to buy + Superb image quality for a superzoom + Optical image stabilization Reasons to avoid - Telephoto range is a little limited - ‘Slow’ aperture at the long end - Source: Internet
  • The design is typical of Nikon’s Z-mount primes, with a large, well-damped focus ring that can be assigned to other functions when you’re in autofocus mode. A simple A/M switch enables easy switching between the two. Even so, it lacks the additional control ring that’s featured on Nikon’s most up-market Z-mount zoom lenses. - Source: Internet
  • On the other hand, a telephoto lens has a focal length ranging from 55mm to 600mm or more. It can be either a prime or a zoom lens. With a telephoto lens, you can focus more on the objects to make a point of attention as opposed to the wide-angle lenses where the background is the target. - Source: Internet
  • The zoom and focus are supposed to be loose and slippery. This was the sports and action lens of its day. No one was silly enough to shoot zooms on tripods pointed down, so creep wasn’t the issue. - Source: Internet
  • From us, here comes a recommendation shortlist of lenses from various brands. We paid attention to the focusing parameters and all the factors we mentioned earlier. It would be important for you to remember that all producers use different mutually incompatible mounts for their lenses. The mount can differ from DSLR to mirrorless even within one brand. Build your set carefully also minding whether you use a crop-frame or full-frame camera. - Source: Internet
  • First, lens compatibility. You can fit Nikon DSLR lenses to Nikon Z cameras with Nikon’s FTZ adapter, but it’s not ideal as a long-term solution. You can’t fit Nikon Z lenses to a Nikon DSLR. - Source: Internet
  • This 13mm is also unusual in that it has little to no distortion of straight lines. Unlike zooms and most fixed lenses like the current 14mm f/2.8 and 14-24mm AF-S, make a photo of the horizon along the bottom or shoot a brick wall, and everything stays straight and square. Of course even the slightest tilt on your part throws everything into a bizarre angular array of converging and diverging lines, but that’s the fun. - Source: Internet
  • One thing that’s not evident in this test is how little distortion you get from the 90mm lens. If we were to pull back to match the 50mm framing as discussed above, you notice less spherical distortion around the edges of the frame, however this may just be a trait found by using longer lenses in general. This is usually easy to correct for in Lightroom, nonetheless, yet another reason to love this lens. - Source: Internet
    1. Nikon AF-S DX 40mm f/2.8G Micro A small but mighty macro lens for Nikon DX format DSLRs Specifications Mount: Nikon DX Elements/groups: 9/7 Diaphragm blades: 7 Autofocus: Ultrasonic (ring-type) Stabilizer: None Minimum focus distance: 0.16m Maximum magnification: 1.0x Filter thread: 52mm Dimensions (WxL): 69x65mm Weight: 235g Today’s Best Deals View at Amazon (opens in new tab) View at Best Buy (opens in new tab) View at Walmart (opens in new tab) Reasons to buy + Small and lightweight + Good general-purpose prime Reasons to avoid - Short working distance - No stabilization - Source: Internet
  • For still-life photos, the Sony 55mm F1.8 Sonnar T FE ZA is the best lens for the job. It provides sharp details and accurate color reproduction. - Source: Internet
  • To compensate for a small depth of field, we push the f/stop to its max, which on this lens is f/22. Typically when we do this on a cheaper lens, the image quality falls apart because the aperture is using a very small part of the lens. However, as you can see on the example, it’s still tac sharp and you can see printing on the target the third reason why we like this lens. - Source: Internet
  • This lens is useful for small products and detail photos. As you can see in the example below, its ability to go 1:1 macro and still have a decent depth of field is pretty remarkable. We can go to f/32 and get front to back depth of field in most situations. It’s a very sharp lens and we prefer it over the 50mm when possible because of this. - Source: Internet
  • The Z 50mm f/1.8 is two-thirds of an f/stop slower than an f/1.4 lens but it nevertheless delivers beautifully smooth and creamy bokeh, which is often the main goal when creating dreamy-looking portrait images. Moreover, it’s razor-sharp, so you can really bring out supreme levels of detail in the eyes. - Source: Internet
  • The AF-S DX Micro-NIKKOR 40mm f/2.8G is a great lens to work with for sharp and vivid macro shots of your products. One of its main advantages is its Close Range Correction (CRC) system that automatically adjusts the lens group to achieve better results. It also utilizes Nikon’s Silent Wave Motor System, so it offers fast but silent autofocus capabilities. - Source: Internet
  • Vignetting is an optical problem which causes the lens to underexpose image corners when comparing to the centre of the image. Its level is higher when using lower aperture values, which may happen when aiming at a blurred background. In varifocal lenses vignetting will decrease with the growth of focal length. - Source: Internet
  • There are also a number of lens-specific accessories such as replacement caps, cases, and lens hoods. You can find the full list here if you need a replacement. I only included accessories in the list above if they are exclusively meant for Nikon Z cameras. Plenty of Nikon’s other accessories are compatible with the Z cameras as well as some DSLRs or point-and-shoot cameras. That list is below: - Source: Internet
  • The Nikon Z MC 105mm f/2.8 VR S Macro is the newest release, which we have just received. I anticipate this lens to do extremely well, and not just for macro photography! Spencer is currently out testing the 105mm f/2.8 VR S for macro and landscape photography needs, so we will update this section very soon! - Source: Internet
  • If you are a bit puzzled about which one to choose from the options we’ve given, we prefer the Nikon AF-S DX Micro-NIKKOR 40mm f/2.8G Close-up Lens. This is a close-up lens within budget with the best review and extraordinary features like 9 elements in 7 groups, a Close-range correction system (CRC), a Silent wave motor (SWM), etc. - Source: Internet
  • This is not a new technology, but not many lenses incorporate it in their systems. Most of the lenses use electrical image stabilization, which is not as efficient as the optical IS technology. It’s not as vital as the above points for product photography, but it makes it a lot easier to take videos. - Source: Internet
  • The “nifty-fifty” Z 50mm f/1.8 S is one of the earlier releases from Nikon, and yet its optical performance was a clear example of the excellence of the Z mount lenses. Portrait and wedding photographers love 50mm prime lenses for their versatility, since they work well for photographing candid moments, both indoors and outdoors. - Source: Internet
  • This manual focus lens outperforms its newer 85mm f/1.4 D autofocus sibling. In fact, its so good that even after the f/1.4 autofocus lens came out, for about the about the same price, Nikon kept making these for 10 more years! - Source: Internet
  • Inside, the lens houses two autofocus motors which allow it to perform better than an F-mount lens with an adapter. The autofocus works well even up close or with backlit subjects — a situation where we’ve seen other lenses struggle. Still, this lens didn’t solve the low light autofocus issues with the Z bodies. - Source: Internet
  • For close-up shots, the Micro-NIKKOR 105mm is a great lens. But if you’re aiming for a versatile lens, then the Sigma 24-105mm F4.0 Art is a better choice. - Source: Internet
  • Like Tamron’s other recent ‘G2’ lenses, this is the second generation of the company’s 90mm VC USD macro lens. This means it features a host of upgrades including improved optical performance, nano-structure coatings, weather-seals, and a fluorine coating on the front element. It also adds a new ‘hybrid’ image stabilizer that counteracts horizontal and vertical shift, as well as the more usual angular vibration or ‘wobble’. This makes stabilization much more effective in close-up shooting, especially compared with the regular stabilizer in Nikon’s competing 105mm VR macro lens. It matches the Nikon for build quality and image quality as well, making the Tamron the best Nikon-fit lens for extreme close-ups. - Source: Internet
  • This lens is the obvious telephoto counterpart to the Z DX 16-50mm F/3.5-6.3 VR standard zoom. It’s so obvious, in fact, that the DX format Nikon Z50 camera is often sold in a twin-lens kit that includes both optics. Naturally, as a telephoto zoom, it’s not as tiny as the 16-50mm lens, but it’s still very small and lightweight, thanks to a retractable design and a weight-saving construction that employs a plastic rather than metal mounting plate. - Source: Internet
  • With an epic feature set matched by the top-notch build quality, all-around performance, and image quality, this is a stunning 70-200mm f/2.8 zoom lens. It builds on the success of previous editions, bringing a raft of new features including fluorite glass, uprated optical stabilization, and an electromagnetically controlled aperture diaphragm, although the last of these makes it incompatible with some older Nikon DSLRs. The only catch is that the Sigma 70-200mm f/2.8 DG OS HSM Sports (opens in new tab) lens performs every bit as well and is much less expensive to buy. - Source: Internet
  • If you’re in the market for a DX (APS-C) format fast prime built exclusively for your Nikon Z 50 or Z fc, you won’t find many own-brand options. This is one of a trio of compact, affordable yet high-quality f/1.4 autofocus prime lenses from Viltrox, its companions having focal lengths of 33mm and 56mm. Already available in other mount options, they’re strong performers that are great value for money and give you prime time that you simply can’t get from Nikon. - Source: Internet
  • Nikon’s FX lenses have a larger imaging circle that covers the entire full frame (FX) camera sensor. They also mount on Nikon’s DX cameras without any issues. In fact, we encourage Nikon DX users to consider these lenses, since the dedicated DX lineup is somewhat limited at the moment. - Source: Internet
  • More expensive lenses allow you to use the same minimum aperture value throughout the entire zoom range. The most expensive lenses (so-called fast lenses) allow you to achieve very large apertures in the range of f/1.2-f/2. In the case of product photography, this is usually not important as small apertures are rarely used due to very shallow depth of field. - Source: Internet
  • Compatible with DX and FX in DX crop mode formats, this lens can perform well in low-light environments. Keep in mind that AF-S DX is a prime lens, meaning it is not capable of zooming. So, you must adjust your own position closer or further away from a subject for a more optimal shot. - Source: Internet
  • Even if you already own a Nikon DSLR, there’s good reason to upgrade to the new mirrorless system and invest in the best Nikon Z lenses. Compared to Nikon’s historical range of F-mount 35mm and digital SLRs, the larger-diameter 55mm flange for Z-mount mirrorless cameras and its closer proximity of just 16mm to the image sensor means greater freedom in lens design. One resulting improvement is superior sharpness across the whole image frame, compared with anything we’ve seen from Nikon’s F-mount lenses. - Source: Internet
  • An extension tube (sometimes also called a closeup tube or an extension ring) is an attachment that goes between your camera body and your lens. Extension tubes don’t have any glass elements inside; all they do is get your lens farther away from your camera body. The farther away the lens is from the camera body, the closer the focus distance and also the greater the magnification. Extension tubes essentially allow you to convert any standard lens into a macro lens for a fairly cheap price (~$20-40). - Source: Internet
  • All the earlier 50mm f/1.8 lenses since 1978 are also all excellent, including the 50mm f/1.8 AF (non-D), 50mm f/1.8 Nikkor manual focus, and the 50mm f/1.8 Series E. - Source: Internet
  • Since this isn’t an S-line lens, the two logical options are a compact, variable-aperture zoom, or a rebrand of Tamron’s 70-180mm f/2.8. 85mm S: No details known, although the size of the lens in Nikon’s silhouette image implies it will be f/1.2. - Source: Internet
  • Overall performance and image quality is simply stunning. The only niggle is that the lens is a little larger than most 70-200mm f/2.8mm zooms, and it’s certainly no lightweight at nearly 1.5kg. - Source: Internet
  • No details known, although the size of the lens in Nikon’s silhouette image implies it will be f/1.2. 135mm S: No details known; an f/1.8 lens definitely makes the most sense, but a wild f/1.2 lens is an outside possibility - Source: Internet
  • Sigma C 18-200/3.5-6.3 C DC MACRO OS HSM – (for crop-frame cameras) This Sigma, while in macro mode, offers a better magnification ratio than most standard lenses. - Source: Internet
  • The Nikon Z 14-24mm f/2.8 S was my most used lens on this trip. It came very handy when shooting icebergs on the black beach, as well as when coming across rainbows while traveling the ring road: - Source: Internet
  • Like the other two lenses, it features a multi-mode OLED digital display and a third control ring, which can be assigned to various functions like control of aperture, ISO and exposure compensation. It also features the usual Lens Function button, but adds a second rank of ‘L-Fn 2’ buttons between the zoom and focus rings. These are typically used for AF-On or AF-Hold but, again, can be switched to other functions via the host camera’s custom settings menu. - Source: Internet
  • Its f/2.8 lens is fast and ideal for close up snaps with narrow depth of field. Its macro photography capability captures most details in an object as well. - Source: Internet
  • Many of our readers are non-photographers, so in the image above I want to show the difference between the 50mm and the 90mm lens. This shows the maximum closeness you can get to the product and how it fills the frame, any closer the area of sharp focus will be beyond the product. For the image on the closeup on the left, this does not mean you need to be this close up though, it is just the maximum. If you continue to pull your camera back physically, you can eventually match the same framing as the 50mm and still have good/better focus. The issue becomes that as you pull the camera back further and further you can run out of room in your studio space, in which case you could switch back to the 50mm. - Source: Internet
  • We have experience with the 2012 version and of course the 2004 and they both perform similarly, except the autofocus on the newer VC lens is way better. Just like the 50mm discussion, the autofocus doesn’t really matter in a product photography studio environment where manual focus is king, but if you want something a little more versatile you can get the newer 2012/2016 model. I will say that I’ve tested this lens in a portrait environment and it does not handle particularly well. DxO writes a highly detailed technical comparison of the 90 – 100 mm macros that is a must read if you’re in the market. - Source: Internet
  • Nikon currently makes three wide-angle Z-mount primes, all of which have an f/1.8 aperture rating. The 35mm lens is great for street photography and the 24mm gives a more generous viewing angle, but the 20mm has the obvious advantage of going even wider than a standard 24-70mm zoom. - Source: Internet
  • What makes LUMIX G one of the best lenses for product photography is nano surface coating technology. It reduces flaring and ghosting, resulting in extremely clear photo results. Some users even observe its capabilities to be that of a 50mm lens, which is a close approximation to what the human eye sees. - Source: Internet
  • I want to point out that these are not the best or the fanciest lenses out there. In my opinion, price should always be a consideration when buying photography gear. These 2 lenses are the best lenses for product photography, taking cost into consideration. These are the best bang for your buck. Since most of our readers are small business owners whom are considering DIY, this is significant since as you spend more on gear, the costs start to eclipse the cost of hiring a professional. - Source: Internet
  • Setting up camp at the telephoto end of Nikon’s Z-mount ‘trinity’ lenses, along with the wide-angle Z 14-24mm f/2.8 and standard Z 24-70mm f/2.8 zooms, this 70-200mm really is something rather special. - Source: Internet
  • As a pro-level lens, the exterior is weather-sealed and feels built to keep shooting for years. The focus scale is actually a mini digital screen — which means it’s still visible in the dark. While pricey, the build quality, versatility, and image quality make the Nikkor Z 24-70mm f/2.8 one of the best Z lenses for pros that can’t afford to take the time to constantly switch between primes. - Source: Internet
  • The lens is also compatible with the AF-S DX VR Micro-NIKKOR 60mm f 2.8G IF-ED, as well as the AF-S DX VR Micro-NIKKOR 35mm f 1.8G IF-ED. - Source: Internet
  • As with many things in life, the answer is – it depends. If you’re just starting out in product photography, having a macro lens is probably not essential. But if you’re serious about taking high-quality product photos, then a macro lens will give you the ability to capture incredible close-up detail that simply isn’t possible with a standard camera lens. - Source: Internet
  • No details known (except that it’s non-S-line; i.e., a slightly lower-end lens). 600mm S: No details known, but likely f/4. - Source: Internet
  • If you shoot with a 24 MP camera body like the Z6 II, these lenses resolve plenty of detail and would make a very nice and lightweight kit when compared to their f/2.8 equivalents. Sadly, Nikon has not yet released the Z 70-200mm f/4 S (which is not even on the Z lens roadmap yet), so for now most of us will have to settle for the 24-200mm f/4-6.3 VR, which is a decent lens, but certainly not without compromises. Once Nikon releases its Z 70-200mm f/4 option, the lightweight / budget trinity kit will change to the following: - Source: Internet
  • One of the main factors to consider when deciding whether or not you need a macro lens is the type of products you’ll be photographing. If you’re shooting large products such as furniture or appliances, then a macro lens probably isn’t necessary. But if you’re shooting small objects such as jewelry or watches, then a macro lens will give you the ability to capture incredible detail that simply wouldn’t be possible with a standard camera lens. - Source: Internet
  • It’s quite pricey for an 85mm f/1.8 lens but, whereas this aperture rating often signifies the ‘budget’ option in DSLR primes, the Z-mount lens is a high-quality item with a tough, weather-sealed construction and excellent handling. As we’re used to seeing in other Z-mount f/1.8 primes, the manual focus ring can be assigned to other functions when in autofocus mode, but there’s no additional control ring to enable this during autofocus. Ultimately, it’s a great lens for portraiture that delivers superb results. - Source: Internet
  • – The farther away the lens is from the camera body, the less light that hits the sensor. This can be a problem when shooting in low-light conditions. Extension tubes will have a significant impact on your depth of field (making it too shallow). Shallow depth of field (also called “small” or “narrow”) means that only a part of the image is in focus. - Source: Internet
  • Nikon’s latest and greatest F-mount ‘trinity’ standard zoom for DSLRs is built like a tank and is relatively large for this class of lens. Image quality and overall performance are the key aspects of the design, with no concession to keeping the size and weight down. It’s certainly super-sharp but relatively uninspiring in terms of color fringing and distortions. - Source: Internet
  • When it comes to product photography, you need to be careful about the lens you choose. To get the right perspective and the right scaling in your image, lenses need the right features. And that’s what this buying guide is all about. Let’s get into it, shall we? - Source: Internet
  • Nikon is designating this lens a “compact” series lens for DX cameras. 26mm: Nikon is designating this one a “compact,” non-S series lens, too, but it’s full frame. It seems like an odd lens given that there is already a compact 28mm f/2.8 FX lens, but a silhouette image of the lens implies that it will be a true pancake lens, even smaller than the 28mm f/2.8. - Source: Internet
  • Nikon’s ‘kit’ zooms supplied with its DX and FX format bodies offer pretty good performance and image quality, along with big savings when you buy the camera and lens as a complete package. However, they have limitations in zoom range, maximum aperture and overall quality, and since this is lens you’ll be using for much of your everyday photography, you might want to think about getting a better one. More up-market standard zooms may have a faster, constant aperture of f/2.8 to enable faster shutter speeds in poor light and better background separation (defocus). Alternatively you might want a standard zoom with a longer focal range than your kit lens to cope with a wider range of shooting situations. - Source: Internet
  • I won’t hide that I am a huge fan of this lens – it works very well for any kind of everyday photography, and its subject isolation capabilities are also great! While the Z 50mm f/1.2 S is an insane lens, it is bigger, heavier and much more expensive in comparison. If all I did was portraiture, I would certainly consider investing in the Z 50mm f/1.2 S, but for all other needs, the f/1.8 S version is clearly a much better choice. - Source: Internet
  • The Nikkor Zoom Lens is perfect for close-up shots as it offers a wide angle of view and a fast maximum aperture of f 5.6. With all the features like a vibration reduction system and faster aperture, this lens is perfect to keep your shots smooth, even when handheld. - Source: Internet
  • Look in the camera bag of a seasoned filmmaker or photographer and you’ll likely see f/1.8 prime lenses in a range of popular focal lengths for Nikon Z series mirrorless cameras. Nikon’s line of f/1.8 lenses give you a variety of focal lengths featuring fast, wide apertures with beautiful, soft, rounded bokeh to separate your subjects from the background. The transition from tack-sharp foreground to dreamy background is smooth and natural—placing emphasis where you want it. - Source: Internet
  • Chromatic aberration is an optical problem of a lens. It happens when there is high contrast between the white background and dark edges of an item. A frequent risk for product photographers, as they usually use white backgrounds. - Source: Internet
  • This lens is a steal. It’s my favorite DX lens, since when I shoot a DX DSLR, I’m traveling basic and light (I bring my Full-Frame DSLR If I’m shooting something serious). I’ll grab this one lens and leave everything else at home, and this is also a great lens to add to the 18-300mm for people photography in low-light. - Source: Internet
  • 4K videotape is cropped with slower autofocus. Native lens options are still limited. View on Amazon - Source: Internet
  • These lenses are the ones with adjustable focal length and aperture. You can choose a focal length from as little as 24mm to as long as 600mm with an advanced lens. It means both the wide-angle and telephoto lenses are accessible for you. The sweet spots are the 24-100mm or 55-200mm lenses. - Source: Internet
  • If you photograph items of different sizes, a varifocal lens will allow you to adjust the zoom level to the subject size at any moment. When using a prime lense the only option to zoom-out the image is to move the camera and the lens further from the object. With a zoom lens you can simply make the zoom wider (smaller focal length) without changing the camera position. - Source: Internet
  • See the Nikon NIKKOR 300mm f/2.8 ED-IF review, and the History of Nikon 300mm f/2.8 lenses. - Source: Internet
  • Having the right focal length is important for two reasons. First, the focal length determines your focus on the object or the background. For product photography, you need the lens to focus on the product rather than the background. - Source: Internet
  • The Z 14-30mm stands out because it’s the first-ever Nikon lens wider than 16mm that can take a normal screw-in front filter. Older lenses, like the huge 14-24mm f/2.8, had bulbous front elements that were completely unprotectable. - Source: Internet
  • Each of the f/1.8 lenses in the NIKKOR Z line feature the S-Line designation which signifies NIKKOR quality at its absolute best. S-Line lenses push Nikon’s tradition of optical excellence and innovation to unprecedented new heights with superior performance and resolution and specialized technologies—all while taking full advantage of the large Nikon Z mount. - Source: Internet
  • Vignetting may occur more frequently when using a varifocal lens and its maximum and minimum focal lenghts. The risk hides also here in the potential distortion (see below). These two faults make the use of 50mm and above prime lens the standard choice for product photography. - Source: Internet
  • If you were to ask for my most favorite lens among the whole Nikon Z line-up, it would surely be the Z 14-24mm f/2.8 S. Nikon pretty much addressed every issue with the F-mount version of this lens – I honestly did not expect it to be this good. It is sharp from center to corner, even wide open, but stop it down a little and you get some of the most detailed images you have ever seen. - Source: Internet
  • Two separate autofocus drive motors deliver super-fast AF speed with remarkable accuracy and consistency, even when tracking fast-moving objects. The lens also features highly effective optical VR (Vibration Reduction) which works superbly well in tandem with the in-body stabilizers of full-frame Z-series cameras. The optical path includes no less than six ED (Extra-low Dispersion) elements, one short-wave refractive element and one fluorite element. - Source: Internet
  • What results is this rather boring close-up image of the target above, but this test image reveals how close we can get to the product and also the incredible depth of field we can get from it as well. This is helpful if the object is smaller than 1 inch like a piece of jewelry. With this lens we can get close enough to fill the frame with the product utilizing the whole sensor and have enough depth of field to photograph most things. In practice, we would typically pull back to increase the depth of field and set the f/stop no higher than f/20, with the sweet spot being around f/14 for increased sharpness. - Source: Internet
  • Nikon AF-S Nikkor 50mm f/1.8G Lens Fast, upgraded f/1.8, compact FX format prime lens. The picture angle with 35 millimeter (135) format is 47 degree and the maximum reproduction ratio is 0.15X - Source: Internet
  • I live and breathe product photography. For the last 9 years, I’ve been the President of Products On White Photography, an ecommerce catalog photography firm whose goal is to create the highest quality product photograph with the easiest process. Today, our team of 6 full time product photographers have delivered over 100 product photos a day almost entirely with the equipment that I’m recommending in these articles. These 2 lenses are our go-to after years of experimenting. - Source: Internet
  • Another thing to note is that the Tamron 28-75mm F/2.8 lens does not have stabilization. But this is not really a setback due to Sony’s in-body image stabilization (IBIS). - Source: Internet
  • We hope you will get a tonne of satisfying results. Setup your studio, equip it with a good camera supported by an optimal lens and the journey begins. The experience and practical knowledge of lens specifications will come with time. - Source: Internet
  • There are actually 4 models of this lens besides this 2004 lens that we like, which is denoted by the “Di” but missing the “VC USD”. The original 90 macro was created prior to the 2004 which is unrated and very difficult to find. We have one and it works great but we like the 2004 version better. - Source: Internet
  • Once you’ve got a Nikon camera and a kit lens, a telephoto zoom is a good first additional purchase. In fact, it’s probably the best Nikon lens for beginners to get. With telephoto, we often recommend getting a full-frame (FX) lens even if you’ve got a smaller DX format Nikon DSLR. That’s because there’s no penalty in focal range and magnification – the ‘crop factor’ of the smaller sensor increases the effective focal length of the lens, which is just what you want from a telephoto! The other advantage is that if you do upgrade to a full-frame Nikon in the future, you can carry on using your telephoto lens. - Source: Internet
  • Sigma makes an inexpensive 12-24mm zoom that may be wider, but it’s not a professional lens, its not a Nikon lens, and it distorts slightly. Nikon’s 14mm f/2.8 and 14-24mm AF-S are not quite as wide, and have more distortion. - Source: Internet
  • Every shot taken on the Sony 55mm FE F1.8 ZA, has sharp details, accurate color reproduction, low lens distortion, and no visible vignetting. It is just simply impressive. But before you buy it, just make sure it fits your mirrorless camera first. - Source: Internet
  • We’ve been thoroughly impressed, not only with all of Nikon’s up-market S-line lenses for Z-series cameras, but also by the levels of image quality and all-round performance from the more budget-friendly range. Even the Nikon Z 24-200mm f/4-6.3 VR is a standout lens, without the usual compromise in image quality that you’d normally associate with a ‘superzoom’ lens. - Source: Internet
  • Autofocus is super-fast, based on two separate drive motors, manual focus works with smooth precision, and the third control ring works brilliantly well for stepless aperture control when shooting movies. Image quality is absolutely fabulous. There’s no denying it’s a pricey lens, but it’s a real gem. - Source: Internet
  • The 85mm looks similar to the rest of the Z mount primes with a sleek, minimalist design. For the wider aperture and longer focal length, the 85mm is fairly compact and weighs just over a pound. The lens is also weather-sealed. - Source: Internet
  • Nikon’s Silent Wave Motor (SWM) uses ultrasonic waves to provide fast, accurate, and near-silent autofocusing up to 7.8 inches (0.2 meters) away from your subject. Overall, it’s the best lens I’ve ever used on my Nikon Z5. - Source: Internet
  • If you want a really fast lens in an even smaller package than either of these, Nikon’s 20mm f/1.8G AF-S is a unique ultra-speed ultrawide. None of Sony, Canon, or Fuji make a lens this wide and fast; it’s also ideal for photographing the Milky Way. I bring my 20mm f/1.8 when I’m travelling light instead of the 16-35mm VR. - Source: Internet
  • – this means that you won’t be able to focus on distant objects. A cheaper extension tube that does not include electrical contacts will not allow you to control the focus of your camera. Extension tubes with electrical connections can be used for autofocus and electronically adjusting the lens aperture. - Source: Internet
  • If you want to go lightweight, or do not want to spend the money to get the 14-24mm f/2.8, the Nikon Z 14-30mm f/4 S is the next best option. It might not be super sharp at 30mm, but it does extremely well at wider focal lengths, which is what you would use this lens for anyway. - Source: Internet
  • No details known; an f/1.8 lens definitely makes the most sense, but a wild f/1.2 lens is an outside possibility 200-600mm: No details known (except that it’s non-S-line; i.e., a slightly lower-end lens). - Source: Internet
  • When choosing a lens for product photography, you need to take into account the depth of field you need, the aperture that you are going to use and the quality that is available at this aperture. Different lenses will have different quality at different aperture values. In general, it’s best to keep aperture values of f/16 or below (f/11, f/7). - Source: Internet
  • Like the other Z lenses we’ve tried, this lens offers superior sharpness when compared to the average DSLR lens. Sharpness extends well to the edges, and while f/2.8 is a bit sharper f/1.8, we didn’t have any hesitations shooting wide open. - Source: Internet
  • No details known, but I strongly suspect an f/1.2 lens. 70-180mm: Since this isn’t an S-line lens, the two logical options are a compact, variable-aperture zoom, or a rebrand of Tamron’s 70-180mm f/2.8. - Source: Internet
  • The 50mm prime lens is a special lens in photography. When paired with a full frame dslr camera body, this lens length is supposed to mimic the human eye’s field of view. This is why you’ll find it standard as a starter lens when learning. For product photography, this is a good go-to lens length because the field of view is wide enough to photograph most items larger than 6 inches without getting distortion. - Source: Internet
  • Own-brand Nikon lenses are often relatively expensive compared with third-party equivalents from the likes of Sigma and Tamron. That’s certainly the case with this lens, which is much pricier than the likes of the Sigma 14-24mm f/2.8 DG HSM Art (opens in new tab)and the Tamron SP 15-30mm f/2.8 Di VC USD G2 (opens in new tab), the latter boasting the bonus of optical image stabilization. The Nikon is solidly built and delivers good all-round performance but loses out slightly to the Sigma for outright image quality.. - Source: Internet
  • Some motors are more silent than others, and some are faster than others. For Canon, there are two lenses, such as the STM (Stepping Motor) and USM (Ultra-Sonic Motor). For Nikon, there are motors like SWM (Silent Wave Motor). - Source: Internet
  • With a maximum aperture of f/2.8, this lens is also great for low-light photography. Moreover, there are a few things to keep in mind. First, this lens is specifically designed for Nikon DX-format cameras. Second, it’s compatible with the Nikon D3300 and D3200 cameras, but not the D4 or D5 cameras. - Source: Internet
  • Technically, magnification ratio is the size ratio at which the photographed object is thrown on the sensor of the camera. A 2cm wide ring shot with a 1:1 magnification lens will be depicted on the sensor with a size of 2cm, while a 1:2 lens will render a 1cm object on the sensor. Simply speaking, look for a higher magnification ratio to achieve better results. - Source: Internet
  • Nikon recently launched two Z-mount ‘Micro’ lenses. The Z NC 50mm f/2.8 is a relatively simple, low-budget affair and, while it’s capable of excellent results, the working distance between the front of the lens for full macro magnification is uncomfortably close at just 5cm or 2 inches. The all grown-up 105mm is a much more sophisticated affair and the working distance is a more comfortable 15cm or 6 inches. - Source: Internet
  • Are you looking for the best lens for product photography? Are you struggling to make an optimal decision within your budget? We know there are literally too many factors to consider when choosing the best lengths for your product photography but we’re here to help. From this article you will learn about the significant features of lenses, understand them and take a look at various examples and brands. Most important aspects of choosing a lens will be taken into account step by step, and not forgetting those related to the budget. - Source: Internet
    1. Sigma 14-24mm f/2.8 DG HSM | A An ultra-wide lens for full frame Nikon DSLRs, with incredible image quality Specifications Mount: Nikon FX Diaphragm blades: 9 Autofocus: Ultrasonic (ring-type) Stabilizer: None Minimum focus distance: 0.26m Maximum magnification: 0.19x Filter thread: None Dimensions (WxL): 96x135mm Weight: 1,150g Today’s Best Deals View at Walmart (opens in new tab) View at Best Buy (opens in new tab) Check Amazon (opens in new tab) Reasons to buy + Epic image quality + Excellent handling + Weather-sealed body Reasons to avoid - There’s no filter thread - Source: Internet
  • Nikon has few telephoto options for the Z mount that don’t require an adapter, but the Nikkor Z 70-200mm f/2.8 VR S may be the only telephoto lens you need. It offers 200mm of reach with a bright f/2.8 aperture and is one of the only full-frame Z lenses with image stabilization (which Nikon calls VR, for Vibration Reduction). The lens VR works in combination with internal stabilization on the Z 6 and Z 7 cameras, ensuring that your images remain tack-sharp even at 200mm. - Source: Internet
  • This lens is special because its sharp, even in the corners, even wide-open at f/1.4. It is worlds better than today’s 35mm f/1.4 (which is a manual focus lens made since 1969) or the manual focus 28mm f/2. - Source: Internet
  • The 55mm FE F1.8 ZA of Sony is one the best lens that you’ll find in the market. In fact, it has become one of the standard lenses for mirrorless cameras. Although it may seem like it’s overkill to use this lens for product photography, it’s a small price to pay to create impactful marketing materials. - Source: Internet
  • The lens has a fast f/1.8 aperture and the Nikon Silent Wave Motor mechanism that enables quick but silent autofocus capabilities. So this is good for both product photos and videos. Again, before buying, check if your camera is compatible with this lens. - Source: Internet
  • This pro-grade Nikon super-telephoto zoom is massively improved over the original ‘AF’ lens which had dreadfully slow autofocus and relatively ineffective optical stabilization. The ‘AF-S’ edition puts that to rights with speedy ring-type ultrasonic autofocus and 4-stop VR. However, its telephoto reach is a little limited by the latest standards and it’s very pricey to buy. On balance, we prefer the much less expensive Nikon AF-S 200-500mm f/5.6E ED VR (opens in new tab). - Source: Internet
  • For extreme close-ups, this Laowa lens gives you massive 2x or 2:1 magnification, which is twice as much as from regular 1.0x or 1:1 macro lenses, so it can reproduce small objects at twice life size on the camera’s image sensor. The result is the capture of near-microscopic levels of detail, which are all but invisible to the naked eye. - Source: Internet
  • The lens is sharp from 24mm to 70mm at every aperture, but you will get the best out of it if you stop down to the f/4-f/5.6 range. When shooting in low-light conditions, being able to shoot wide open is a huge benefit, especially when combined with the in-body image stabilization of Nikon Z camera bodies. Here is a sample image of wildlife that Spencer managed to capture at 70mm f/2.8: - Source: Internet
  • Macro lenses can be single-focal length or double-focal length. The difference is the minimum distance a lens can focus at and the maximum magnification an image can show. For example, a double-focal macro lens focuses at close distances but magnifies the image. - Source: Internet
  • When traveling to Iceland a couple of weeks ago, I thought about what lenses I wanted to bring with me to the trip. I wanted to make my camera bag as lightweight as possible, while making sure that I cover ultra-wide-angle to telephoto focal lengths. Additionally, I wanted to make sure that I take lenses that can withstand tough weather conditions, since Iceland weather is always unpredictable. So I went for the f/2.8 trinity kit… - Source: Internet
  • The AF-S Nikkor 50mm f/1.8G great Nikon lens to use if you’re looking to shoot product portraits. It has a wide f/1.8 aperture and a 50mm focal length enabling you to shoot product portraits well, even under low-light conditions. So you’ll be able to use dim backgrounds to create dramatic effects without having to result in low image quality. - Source: Internet
  • The 28-80mm G focuses more closely than other Nikon lenses, often eliminating the need for a macro lens. It autofocuses faster than any other Nikon AF lens, including the AF-S lenses. Just try one; it’s uncanny how instantly and exactly it focuses. - Source: Internet
  • A wide-angle lens usually has a focal length between 8mm to 24mm. This is the ideal range for this genre. These lenses focus more on the background, delivering nice landscape images. - Source: Internet
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