Today Nikon revealed three new lenses: AF-S Fisheye NIKKOR 8-15mm f/3.5-4.5E ED, AF-S NIKKOR 28mm f/1.4E ED and AF-P DX NIKKOR 10-20mm f/4.5-5.6G VR. While the latter 10-20mm f/4.5-5.6G VR is an addition to the DX line-up of lenses, the 8-15mm f/3.5-4.5E Fisheye and the 28mm f/1.4E lenses are pro-grade lenses designed specifically for full-frame cameras. Let’s take a look at these three lenses in more detail.
AF-S Fisheye NIKKOR 8-15mm f/3.5-4.5E ED
It has been a while since Nikon released a full-frame fisheye lens. The Nikon 16mm f/2.8D has not been updated since 1993 and while it is a great lens, it does not have the resolving power needed for the latest high-resolution cameras and it does not have all the latest optical technologies that Nikon has been incorporating into the current generation lenses. In short, it is long overdue for a refresh. The Nikon 8-15mm f/3.5-4.5E is a completely new lens that is targeted to compete with Canon’s 8-15mm f/4L fisheye and provide a much wider angle of view. At its widest focal length, the lens creates circular fisheye images with a 180° angle of view (vertical and horizontal), while producing full-frame fisheye images with a 180° diagonal angle of view at its longest focal length of 15mm.
As with all the current generation Nikkor lenses, the 8-15mm f/3.5-4.5E ED fisheye boasts the latest optical and coating technologies. Nikon incorporated an electronic diaphragm for precise aperture changes, silent wave motor (SWM) for quick and precise focusing, three ED glass elements for superb sharpness and chromatic aberration compensation, Nano Crystal Coat for drastic reduction of ghosting and flare in images and fluorine coating to prevent dust and water drops from sticking to the front element of the lens.
It is a fun lens that allows creating images that have a “Fisheye” look to them. If you are wondering why one would want to use such a lens, check out Bob Vishneski’s article “Why use Fisheye lenses?“. Take a look at a couple of sample images provided by Nikon USA to see what this lens is capable of:
Optically, the lens promises to be superb in terms of sharpness. Take a look at the following MTF charts:
If you don’t know how to interpret the above charts, check out my article on how to read MTF charts. On the wide end, the lens is supposed to have stellar sharpness and contrast, from the center of the frame, all the way to the extreme edges. The lens sharpness is going to drop a little when zoomed in to 15mm, with the extreme edges looking visibly softer compared to the center, which is expected from a fisheye lens. Still, the contrast and sharpness stay very high in most of the image frame, which is impressive. It looks like Nikon did a great job in making sure that the lens will resolve very well on high-resolution cameras like the Nikon D810 and its upcoming replacement.
The lens will retail for $1,249.95 and it is already available to purchase today.
AF-S NIKKOR 28mm f/1.4E ED
My personal favorite among the three newly announced lenses is the new Nikon 28mm f/1.4E ED. While the Nikon 28mm f/1.8G is a relatively recent release (see our in-depth review of the Nikon 28mm f/1.8G), it is an enthusiast-grade lens and hence it was never considered to be a replacement for the Nikon 28mm f/1.4D classic.
Nikon finally decided to update the beast with all the latest and greatest technologies it has to offer, and that’s how the new Nikon 28mm f/1.4E ED was born. Boasting a quick and accurate Silent Wave Motor (SWM), 9-blade rounded electronic diaphragm, Nano Coated glass, fluorine coated front element and a complex 14-element optical construction, 2 of which are ED and 3 of which are aspherical elements, the Nikon 28mm f/1.4E ED is a lens designed to deliver exceptional image quality and sharpness that surpasses the Nikon 24mm f/1.4G ED lens. Take a look at the MTF chart of the lens compared to 24mm f/1.4G (Left: Nikon 28mm f/1.4E ED, Right: Nikon 24mm f/1.4G ED):
We can see that the new Nikon 28mm f/1.4E is supposed to be sharper than the 24mm f/1.4G in the center. But take a look at the extreme edges – the 24mm f/1.4E is significantly worse in comparison. And that’s just at its widest aperture of f/1.4. Stopped down to f/2.8 and smaller, I expect the Nikon 28mm f/1.4E to be stellar.
Also, pay attention to how close sagittal and meridional lines are to each other. This is a sign of very low level of astigmatism and good bokeh. In fact, the MTF of the lens looks exceptionally good for a wide-angle lens – even the NIKKOR 35mm f/1.4G looks much inferior in comparison!
With the existing line-up of 20mm f/1.8G, 24mm f/1.4G, 24mm f/1.8G, 28mm f/1.8G, 35mm f/1.4G and 35mm f/1.8G wide-angle lenses, it is exciting to see that Nikon is filling the blanks with yet another superb lens release.
Based on my experience with Nikon primes, I have no doubt that the Nikon 28mm f/1.4E ED is going to be an exceptional lens that will appeal to many professionals. With its price tag of $1,999.95, it is not a cheap lens to buy, but let’s not forget that the Nikon 24mm f/1.4G also sells for the same amount, so the pricing is not unexpectedly high.
AF-P DX NIKKOR 10-20mm f/4.5-5.6G VR
Lastly, Nikon also announced the AF-P DX NIKKOR 10-20mm f/4.5-5.6G VR lens, a budget-friendly option for those who shoot with DX cameras. While it is nice to see yet another AF-P lens added to the DX line-up, I personally don’t see the point of yet another slow DX zoom wide-angle lens. The DX line-up already has the 10-24mm f/3.5-4.5G ED and 12-24mm f/4G IF-ED lenses and while the new 10-20mm is significantly cheaper than the other two, I would rather see Nikon release fast DX zoom and prime lenses that could bring weight benefits to the DX system. Why not release 20mm, 24mm, and 28mm DX primes instead? Why not make a few DX telephoto primes? It is sad to see only the 10.5mm DX Fisheye, 35mm f/1.8G DX, 40mm f/2.8G DX macro and the 85mm f/3.5G DX macro as the only DX prime options. That’s just a shame…
Anyway, I won’t spend much time exploring the new DX NIKKOR 10-20mm f/4.5-5.6G VR. You can see all the details yourself by checking out the lens in our lens database.
Official Press Release
Below is the full official press release from Nikon:
MELVILLE, NY (May 31, 2017 at 12:01 A.M. EDT) – Today, Nikon announced three exciting new wide-angle NIKKOR lenses to give a diverse array of users brilliant image quality and maximum versatility whether shooting vast landscapes, architecture, interiors, events and many other wide-angle applications. The new ultra-wide zoom and lightweight DX-format AF-P DX NIKKOR 10-20mm f/4.5-5.6G VR is an excellent value for budding shutterbugs and novice shooters looking to explore a wide-angle point of view, while the new AF-S Fisheye NIKKOR 8-15mm f/3.5-4.5E ED is an FX-format circular fisheye zoom lens for photographers and content creators who desire a truly unique perspective. Lastly, the new AF-S NIKKOR 28mm f/1.4E ED is a superior prime lens that provides professional and advanced photographers the ultimate in wide-angle image quality. Both the AF-S Fisheye NIKKOR 8-15mm f/3.5-4.5E ED and AF-S NIKKOR 28mm f/1.4E ED are the latest additions to the Gold Ring Series of NIKKOR lenses, a mark identifying Nikon’s premium lens offerings.
“Nikon continues to push the limits of optical excellence, while making new perspectives more attainable than ever before with our latest wide-angle NIKKOR offerings,” said Kosuke Kawaura, Director of Marketing and Planning, Nikon Inc. “Whether a photographer is a novice learning the art of landscapes, an enthusiastic video creator or a working professional shooter, Nikon now makes the wide-angle perspective achievable for everyone.”
AF-S Fisheye NIKKOR 8-15mm f/3.5-4.5E ED – Circular Fisheye for Photographers and Content Creators
Nikon’s first fisheye zoom gives photographers and filmmakers an FX-format lens with the look and feel of a circular fisheye and the versatility of a full-frame fisheye, all in one lens. The new lens design provides a creative circular 180-degree vertical / horizontal angle of view on full frame cameras, and zooms to a non-circular fisheye view (180-degree diagonal angle of view) on the long end of the focal range. The lens can also be used on DX-format cameras for a distinctive point-of-view and extreme wide-angle applications. When looking to push creative boundaries, the intriguing perspective from a fisheye lens should be considered to provide a distinct look to your photos and videos, such as a dramatic emphasis on a subject or an extremely wide interior point of view.The AF-S Fisheye NIKKOR 8-15mm f/3.5-4.5E ED is also the latest in Nikon’s Gold Ring Series of premier lenses and features a next-generation design for high-resolution Nikon DSLR cameras. Made for advanced photographers and creators, this durable lens is constructed of lightweight magnesium alloy, and employs internal focusing (IF) to retain its compact size, even while focusing. It is also Nikon’s latest lens to use an electromagnetic diaphragm for consistent exposure during high speed shooting, or smooth exposure control while capturing video.
The optical formula of the Fisheye NIKKOR 8-15mm consists of three ED elements to reduce chromatic aberration, while two aspherical lens elements minimize coma even at the widest aperture, and enable a more compact lens size. Additionally, the front lens element is coated with Nikon’s non-stick Fluorine coat to help resist dirt, fingerprints and smudges, while Nikon’s exclusive Nano Crystal Coat helps reduce ghost and flare.
AF-S NIKKOR 28mm f/1.4E ED – The Latest in The Gold Ring Series of f/1.4 Primes in the NIKKOR Line
The new AF-S NIKKOR 28mm f/1.4E ED is Gold Ring glass that provides maximum versatility for outstanding definition and sharpness regardless of shooting scenario. With a fast f/1.4 maximum aperture and nine blade rounded diaphragm, it affords a shallow depth of field with gorgeous bokeh and stellar low light performance, making it a great choice for shooting low light landscapes, interiors and events.The superbly balanced and solid body is composed of lightweight magnesium alloy, and features dust and water drop resistant sealing to withstand the elements, combined with a fluorine coating to resist dirt and smudges. The optical construction of the lens is engineered for the best possible wide-angle image quality. It consists of 14 elements in 11 groups, with three aspherical elements that virtually eliminate coma, aberration and distortion, with two ED glass elements that minimize chromatic aberration. The lens also uses Nikon’s Nano Crystal coat to reduce instances of ghosting and flare.
The new AF-S NIKKOR 28mm f/1.4E ED is a welcome addition to Nikon’s stable of impressive f/1.4 primes that give professional photographers and creators the highest levels of image quality and performance, which also include; The AF-S 24mm f/1.4G ED, AF-S NIKKOR 35mm f/1.4G, AF-S NIKKOR 58mm f/1.4G, AF-S NIKKOR 85mm f/1.4G and AF-S NIKKOR 105mm f/1.4E ED.
The AF-P DX NIKKOR 10-20mm f/4.5-5.6G VR – Ultra-Wide Zoom Lens That’s Compact and Portable
The new NIKKOR 10-20mm is an ultra-wide-angle DX-format zoom lens that opens new perspectives and possibilities for those new to photography, and is ideal for shooting travel and scenery, real estate, large group portraits or vlogging. This new lens combines superior image quality and an attainable price to give consumers wide-angle versatility with a lens that’s remarkably compact and lightweight.Like all NIKKOR lenses, the new AF-P DX NIKKOR 10-20mm f/4.5-5.6G VR provides advanced optical technologies for stellar image quality in any light, whether shooting a sun-drenched coastal vista, tight spaces or the night sky. The lens features the equivalent of 3.5 stops1 of Vibration Reduction (VR) performance, to help capture sharp images while handheld or in challenging light. Additionally, it utilizes Nikon’s Pulse Motor technology for super-fast and whisper quiet AF operation- which is especially useful when recording video. The optical formula contains three aspherical elements for excellent image quality with minimal distortion even at the widest focal length.
This is a versatile lens that not only excels at shooting expansive horizons, but also offers a remarkably close working distance that’s useful for images or showing up-close details when making product-related videos or how-to content. To get closer to capture small objects with big details, the lens has a close minimum focusing distance of only 8.6 inches (0.22 meters), bringing small objects to life in glorious size.
Price and Availability
The Nikon AF-S Fisheye NIKKOR 8-15mm f/3.5-4.5E ED will be available immediately for a suggested retail price (SRP)* of $1249.95. The AF-P DX NIKKOR 10-20mm f/4.5-5.6G VR and AF-S NIKKOR 28mm f/1.4E ED will be available in late June for a suggested retail price (SRP)*, $309.95 and $1999.95, respectively. For more information on these NIKKOR lenses as well as the latest Nikon products, please visit www.nikonusa.com.
Thanks for link to the fish-eye article. Always regarded the Nikkor 14-24 as my ‘fun’ lens, but now the 8-15 looks very tempting!
One year ago I thought I would never buy another DX lens but now I just pre-ordered the 10-20VR as a travel lens to complement the (IMO) superb 16-80VR for my go-to-camera the D500. I have the D810 and a whole slew of 1.4G’s but the AF system in the D500 is a game changer. The AI in the D500 guesses what I want in focus correctly 95% of the time so with it I just compose and shoot without worrying about the focus point. Brilliant.
I almost didn’t get the kit 16-80 lens and threw it in last minute and I’m so happy I did I find it the perfect compliment. I’m also finding I’m using my FX lenses on the D500 like the 24/1.4G, 35/1.4G, 105/1.4E, 24-70/2.8G, etc.
For wide I think the FX still has a definite advantage so most uses I’ll be shooting the D810 with 14-24, 20/1.8G but given the price of the new 10-20VR it was hard to resist especially for travel or when I just don’t want to carry a bulky system.
WOW, very impressive collection you have there sir :), I strongly would like to buy the 10-20mm myself for my d5600, please let me know your opinion about this lens, when you receive, because I’m sure we’ll receive with at least one month later only, many thanks!!!
Oh well. I had some experience with Nikon 12-24 f/4, initially I thought there was something wrong with my hands, it turned out that actually the lens produced results below my expectations, not me. And now, after several years of hopes that some day there will be a new true wide angle lens from Nikon, that day has come… but that new Nikkor 10-20, being AF-P, is not compatible with my fully capable and greatly performing Nikon DX camera… For me it seems the Japanese manufacturer just lost another $300 I’d be happy to spend on that lens.
Hello Valentine,
Yes, it’ll be an AF-P lens and yes it’s sad for older nikon DX users, but they are forced to do this, because canon made several years ago a 10-18mm IS STM lens with stepping motor, so to be similar they had to this with AF-P, with silent and super fast, almost instant autofocus, i have one 70-300mm VR AF-P and it’s a stellar, small, lightweight, super sharp lens, much better, than the older 70-300mm AF-S FX lens, compatibility you’ll find on their website, but it is from d3300, d5300 and I think from d7100, I’m using on a d7200 and d5600, this is the future for DX, small, lightweight, fast and silent focus, but cheap and plastic too, “unfortunately”…
..not really quite so old DX cameras nYcKo
I’ve copied this from kenrockwell.com (apologies if that’s not allowed)
“The problem is that the new AF-P autofocus motor system only works on camera models originally introduced since about 2013. If your camera is too old, the focus system, even in manual mode, won’t work at all, making the lens completely useless with no workaround.
It should work works great on the newest D3300, D500 and D810.
Nikon says forget it on any of the D1, D2, D3 or D4 series, the D800, D700, D610, D600, D300 series, D200, D100, D90, D80, D70 series, D60, D50, D40 series, D7000, D5100, D5000, D3200, D3100 or D3000. It also won’t work on any 35mm camera.
Nikon cautions that you need to have the latest firmware installed for it to work on the D5500, D5300 or D3300”.
Maybe a silly question, but I would still like to know. If I am standing at spot X with a 24mm f/1.4 lens, how far backwards would I have to step to get the same framing with a 28mm f/1.4 lens? Or, if I had a 28mm lens and switched to a 24mm lens, how far forward would I have to move?
My point being that the difference in framing is, at a guess, minimal, and if you own lens A instead of lens B, you could just “zoom” by sneaker (move).
The answer is, maybe a foot.
I just tried something, I put my 20mm lens on my D3 and my 24-70 on my D750 (fixed on 24mm). I then stood about 10 feet from a wall and with my 20mm I looked through the viewfinder and noted what was the lens covering. I Then took my D750 and the 24-70 (on 24mm) and in attempt to have the same coverage I needed to move only about 12″” further back. That’s it.
The difference between the 24mm to the 28mm is even smaller.
I love my 20mm and when photographing brides getting ready it helps me to have a nice environmental photo. The truth is though, I use it maybe in 1 percent of my photos.
Depending on what you do, it might be a big expense for small return.
Thanks for taking the time to do this. It kind of makes my point. If you have one or the other, it would seem to just make sense to move slightly to frame as needed, instead of owning both lenses. Having the wider lens would seem to me the approach to use. If you can not move, you can always crop the picture some to get the framing you need; while if you had the other lens, there is no way to “add” in the part that is not shot (unless you take multiple pics and stitch).
Obviously this only works for lenses that are so close in range.
Yes, one fixed and fast lens would do it all. I would go for the 20mm, but that’s me. I have the f/1.8 which is more affordable. For the amount of photos I take with it, I did not want to invest in the (much) more expensive f/1.4
Hi William and Motti, Apologies for my late reply to your discussion.
Assuming that the actual focal lengths, f1 and f2, of the two lenses are what they claim to be (which is not always the case) then to obtain the same framing of a flat two-dimensional subject, such as a wall:
d2/f2 = d1/f1, rearranging gives
d2 = d1⋅f2/f1, and
d2 – d1 = d1 x (f2/f1 – 1)
where d1 and d2 are the subject focus distances.
Using Motti’s example of d1 = 10 feet, f1 = 20 mm, f2 = 24 mm, we get:
(f2/f1 – 1) = 24/20 – 1 = 0.2, which is 20%, therefore the distance we need to step back with the 24 mm lens is 20% of d1 = 2 feet.
The problem with this approach is that the act of stepping back by 20% of the distance to the main subject in the scene changes the perspective of all non-flat three-dimensional scenes. Whether or not this shift in perspective matters to the photographer, and/or to their intended audience, heavily depends upon both the scene itself and the intended audience of the captured image.
NB: Absolutely no criticism intended. I’ve written the above just in case it is useful to you or to any other reader of Photography Life.
Nikon should give up on DX DSLR lenses altogether and leave that market to third parties (they pretty much have already anyway). Anyone who wants fast DX glass, just get the Tokina 14-20/2 or Sigma 18-35/1.8 and the 50-100/1.8; anything Nikon could make in that range won’t be better but certainly more expensive.
Nikon should move DX to mirrorless and come up with compact cameras and lenses. No easy task as they would need to play catch-up with Sony and Fuji.
Sold my last DX lens (18-140) today even though I still have a D500 DX body (exclusively used with tele lenses for reach). One chapter closed after some 13 years.
Dear Sir Schaefer!
I strongly disagree with your statement, because not everybody is a pro you know and earn money from photography, although I have/had many lenses in the past couple of years and I was always happy with the nikon DX bodies, currently I own a d7200 and a d5600, so I had the sigma 18-35 and sigma 50-150, excellent lenses and many UW lenses, like tokina 11-16, nikon 12-24 and frankly, none of them was capable to reproduce what a new sigma lens can do, until nikon started to make these fine, small, lightweight DX AF-P lenses, like the new 70-300mm VR AF-P, I had more, than 4,5 pcs. of the older FX version, but this new guy beats in every way, so we nikon DX users, especially new DX users need new, small, lightweight lenses, both prime and zooms as well, to be able to use fully these new extraordinary 24mp sensors from sony, but built in even greater nikon bodies, so my humble opinion is, that they should continue with the DX DSLR lineup and to bring some new small and capable lenses, we don’t need heavy, big, expensive FX lenses, like 85mm 1.8G, 70-300 AF-P, now 10-20 AF-P, maybe some 30mm 1.4. So I think a small DSLR, like d5600 with some small, great lenses is still better, than a mirrorless, except for video, but personally I think that is a secondary feature, anyway, WELL DONE NIKON, keep up, you still have many fans…
Well sir,I had three copies of tokina 11-16 f/2.8 and four copies of both nikon 12-24 f/4 and 10-24 f/3.5-4.5(Two for each).So disappointed for their poor performance,also not to mention that tokina was a little better.Now 10-20mm f/4.5-5.6 came in with that unappealing history in mind..I wonder how it will work in low-light condition with its slow apperture.I have recently bought/purchased tokina 14-20 f/2 and viola!I suggest you to have a look at it,if you don’t like to take your best shots for two hours and work on post processing for several hours afterwards!Now,I take my shots for that much time and spend less time on post-processing.Of course,I didn’t know that this is crappy lens that makes me work that much time on post processing!My initial thought was that my shots were crappy!But Tokina 14-20 f/2 changes everything.Of course,you need to have a good copy of that lens as well.
Well said. I agree. Sony and Fuji produce awesome mirrorless and if I was Nikon I would do exactly as you suggested and move from of DX to mirrorless. Nikon never listened to their clients and that’s why they are where they are.
Nasim asked for 20, 24, and 28mm DX primes. Those focal lengths already exist for FX and it is very unlikely that a DX lens will be significantly smaller (Nikon DX DSLR have the same flange-to-sensor distance as the FX ones). And if you got for either of those and the available 35mm DX, you may as well get the Sigma 18-35. IMHO, the majority of buyers who go for a D3x00 or D5x00 will stick to the kit lenses (and the new AF-P ones are certainly a welcome addition/replacement), and maybe add the 35 or one of the two macro lenses. Which leaves the D7x00 and D500 buyers as those glamoring for more options – but what are they really missing that can’t be filled with an FX lens. Some 14/15/16mm prime lens and possibly one even wider (8-10mm). Because of its price, the D500 takes a special place, being a niche camera for those who need its performance. Not sure that niche warrants a full DX lens system though.
I certainly don’t see mirrorless as being as superior to DSLR as many want us to believe, but it is obvious that Nikon is not top tier when it comes to live view AF and video with any of their current DSLRs. I am not even sure that shrinking camera bodies beyond the current size of a D3x00 or D5x00 body is desirable. But in some 16 years Nikon didn’t extend the DX lens system into a full system, even when DX was the only game in town. So I don’t see why they should do so now when overall camera sales are plummeting.
Nikon is in a tough spot now – Fuji and Sony are competing on the DX and FX sector and there’s also m4/3 to consider. The Nikon 1 Series obviously has been a failure and Nikon got cold feet with regard to the DL Series. The bulk of their profit comes from DX where they don’t have as complete a dedicated lens system as Fuji offers (Sony’s has holes too) but a lot of what’s missing can be had in FX or from third parties. The FX lens line-up is fairly complete, but here Sony is moving ahead with newer camera technology. I am certainly not in a position to determine which issue Nikon should tackle first, but it seems plain obvious that “business as usual” isn’t working anymore.
Smartphones have killed the P&S cameras. The higher-end compacts and “bridge” cameras eat into the lower-end DX and mirrorless interchangeable-lens cameras market. What’s going to be left standing in the end – the high-end DLSR and interchangeable-lens mirrorless. Certainly a much smaller market than what DSLR and mirrorless makers have been used too.
Fully agree with you, also I think, that they should kill d3xxx bodies, but in d5xxx I do see some future, at the moment they tend to be the most capable entry level DSLR’s, I started to use as a backup since the d5300 came out and the performance is excellent, but for sure they need new ART and, or new AF-P lenses, as for videos DSLR’s never will, or can compete with mirrorless, because of their phisical limitations, about the d7xxx series I think they are almost comparable with Nikon entry fx cameras like d610, even better, except low light performance, but the difference is minimal, so I don’t think they should kill DX DSLR’S, but they have to improve a lot in the near future, especially prime lenses, like the PF 300mm VR and of course at much lower price levels… :)
If Nikon wanted to flesh out the DX prime lineup for those concerned about size/weight, they could do so with a group of f/2 primes, say 14, 16, 18, 24 on the wide end (21, 24, 36 mm FX equivalent). They would be much smaller than the FX primes (just look at the FX 35/2 D), and would only be giving up 1/3 of a stop to the f/1.8 primes. Given the quality of modern sensors at higher ISOs, that’s not much to give up. Even better would be to add VR to these, negating the small aperture loss even more.
Been waiting for a cheap UWA lens for nikon for ages. I was open to 3rd party options too. But this 10-20mm is amazing. The price is amazing. I will buy it as soon as it hits shelfs. Thanks for the announcement Nasim
I actually think the new 10-20 lens is a great light option to add to a lightweight DX kit. My critical photography work is architecture and I primarily use the 14-24, 19 & 24 PC-E lenses with a D810 and D600. I currently also have a D5500 (was to be my wife’s but she did not take to it) with a 16-85 but adding a cheap 10-20 allows me to use it as a nice handheld option to be used for pre-shoot scouting, testing composition of shots before setting down my tripod, and the occasional tough shot where setting up a tripod is not practical. Here the VR will come in very hand if I can shoot at 1/2 second.
100% agree Glen, this will be perfect for my travel kit with d5600 and 70-300 AF-P VR, I almost took a 10-24mm, this lens will be much cheaper, lighter, smaller, faster & etc. And I’m sure it’ll have better results with these new 24mp sensors, so thanks Nikon!!!
Hi Glen,
I agree too. And I have to disagree with Nasim this time. There is a market for this lens. I believe it is targeted directly at the 10-18mm from Canon. So it proposes a great option for “beginners” and everyone who is not focused at ultra wide angle photography, but wants to at least add the option to his set up.
I agree too. If I was still shooting DX this would be at the top of my list for UWA. Yes, it’s slow, but I also expect terrific optical performance out of it and it’s so inexpensive! I’d probably prefer the Tamron equivalent and it’s slightly longer length, but that’s also significantly more expensive.