Because the glass elements in a camera lens are round, lenses project a circular image onto a camera’s sensor plane. This projected image circle must be large enough to cover the rectangular sensor, like so:
Lenses designed for Nikon DX generally project a smaller image circle because they only need to cover the smaller DX sensor. This enables a DX lens to be smaller and lighter, but also means that these lenses are not suitable, by design, for FX cameras. For the Canon ecosystem this law is absolute, as EF-S lenses, designed for a smaller APS-C size sensor, cannot be mounted on full frame EF bodies.
The great thing about Nikon is that they do their best to offer backward compatibility. Mounting DX lenses on FX bodies has always been possible, with the FX DSLR automatically cropping the image frame to only output the area covered by the DX sensor.
Additionally, you can set the camera to output the full FX frame regardless of the mounted lens, by accessing Shooting Menu -> Image Area -> Auto DX crop -> OFF.
You might expect this to spell trouble with DX lenses because of extreme vignetting. Indeed this is what one sees when mounting many types of dedicated DX lens, espsecially zooms, on FX bodies. Here is an example of what you see with a Nikon 18-200mm f/3.5-5.6G DX VR lens on a Nikon FX camera (single frame from a HD video sequence recorded with a Nikon D600):
The bad news is that high quality FX lenses like Nikon’s golden “trinity” are intimidatingly expensive, big and heavy.
The good news is that not all DX lenses behave as you might expect. Two DX lenses that I dearly love are my Nikon 35mm f/1.8G DX and my Tokina 11-16mm f/2.8 AT-X Pro DX. These two represent the best of DX as they are small, fast, light and affordable, yet still perform excellently. What many owners may not know is that both of these lenses cover the full FX frame circle!
Nikon 35mm f/1.8G DX on FX
Until recently, the only fast modern 35mm lens that Nikon offered for FX was the expensive professional 35mm f/1.4G prime. With the recent announcement of the 35mm f/1.8G ED the situation has improved a lot from the affordability perspective. Yet the 35mm f/1.8G DX is the most affordable still, and one of Nikon’s most popular lenses to date – for a reason!
How can you expect it to perform on FX? I was pleasantly surprised. As expected, FX corner performance is nothing to write home about, and some noticeable vignetting is visible. However at larger apertures (larger than F8) the vignetting is bearable. Large aperture prime lenses are often used to draw attention to a single object, and then corner sharpness is seldom crucial. Vignetting may be aesthetically pleasing, and can be corrected to some extent. The center performance remains impressive, as this is what the lens has been designed for.
This little 35mm’s small size makes it unobtrusive and truly portable – especially desirable qualities for street photography. 35mm counts as moderate wide angle on FX which allows for just a bit more flexibility in creating interesting compositions compared to a 50mm “normal” lens.
Here are some examples:
35mm f/1.8G DX at f/1.8 (straight from .NEF – distortion and vignetting not corrected)
35mm f/1.8G DX at f/5.6 (straight from .NEF – distortion and vignetting not corrected)
In my opinion these photographs are quite usable. With some vignetting correction in Adobe Lightroom, the photo at f/2.8 looks as follows – compare it to the supplied photo taken with the large Nikon 24-70mm f/2.8G ED – one of Nikon’s professional FX “trinity” lenses.
Both photographs below were taken at 35mm f/2.8, but which was taken with which lens? At a casual glance these photographs are hard to tell apart – the top photograph was taken with the 35mm f/1.8, while the bottom photograph was taken with the 24-70mm f/2.8.
Even zooming in to 100% pixel-level detail shows little difference, as the corners are out of focus anyway (in both cases, the 35mm f/1.8 is on the left):
Caveat: starting at f/5.6, and especially at longer distances, the smaller image circle does become visible. With decreasing apertures, vignetting increases in the extreme corners. Personally I mainly use fast prime lenses at large to medium apertures, so this need not be a problem. Be aware, however, that in very bright light without using an ND filter this lens will becomes less usable as you will have to resort to smaller apertures. This makes the 35mm f/1.8 DX lens great for street photography, but less so for e.g. studio work where depth of field needs is attained by smaller apertures.
Uncorrected image with focal point at infinity, f/5.6. Here vignetting is already becoming intrusive:
At f/22, vignetting is very clearly defined (just as the dust on my Nikon D600’s sensor):
Uncorrected image with close focal point, f/5.6. At this closer focal distance vignetting is much less pronounced than at infinity, and not as intrusive:
At f/22, vignetting is again clearly defined, but less severe than at longer focal distances:
Tokina 11-16mm f/2.8 AT-X Pro DX
The other lens that I want to talk about is the Tokina 11-16mm f/2.8. Regarded as one of the best ultra-wide-angle lenses for DX, it has the same performance on DX as a 16-24mm f/4.0 lens would have on an FX body. But what happens when you put it on an FX body?
At 11mm the vignetting is rather extreme:
At 15mm the vignetting starts to disappear:
As we zoom in to 16mm, vignetting becomes less and less of an issue, up to the point where there is almost no visible vignetting any more at 16mm f/2.8:
The corners can be improved by stopping down – here the extreme right-hand edge is shown at 15mm f/2.8 (left) versus 15mm f/5.6 (right):
The corner performance is noticeably degraded compared to dedicated FX lenses, but if you are willing to live with this you have a very affordable ultra wide angle lens for an FX camera, usable up to 15mm at an aperture of f/2.8! Keep in mind that the only other lenses that come close are the Tokina 16-28mm f/2.8 Pro FX or the excellent, but much more expensive Nikon 14-24mm f/2.8G ED.
Conclusion
In this post I showed you how to use two very different but popular DX lenses for something they were never meant to do. But against all odds, these lenses are surprisingly adept at their job and will be able to give you great creative potential without adding much in the way of cost. This is especially attractive for amateur photographers taking the leap from DX to FX.
If you can live with the limitations of such a set-up, at least your DX lenses may have some use before you fully move to FX. With them you can still enjoy the better low-light performance, brighter viewfinders and more control over depth of field that FX offers.
Do you know of any other DX lenses that work well on FX? We’d love to hear about it in the comments.
Some examples of the 35mm f/1.8, from the streets of Trento, Italy:
Some examples of the Tokina 11-16mm f/2.8, from the streets of Trento, Italy:
Very interesting article for me, even though Francois wrote this over 4 years back. I have a DX body (several years old) and two of the DX lenses mentioned: 18-200mm f/3.5-5.6G DX VR, and 35mm f/1.8G DX.
Over the past few years, I’ve been separately interested in both FX and mirrorless, but assumed either would make my DX lenses useless. Now with the Nikon Z6, a simultaneous leap to full-frame and mirrorless seems possible! Can I use my DX lenses on the Z6 body (with FTZ adapter), and avoid getting new Z-mount lenses?
I am in the same boat and interested to know how my DX lenses will work with z6 + FTZ.
I tried Sigma DC 17-50mm 1:2.8 EX HSM on Nikon Z6 with FTZ adaptor. Vignetting is neglectable, but i had to rely on the lens VR only. In body image stabilization didn’t work.
Dx Nikkor lenses as well as Dx formatted Sigmas work on the Z6. It auto crops the low/wide range to avoid the vignetting, you can turn that off (via menus) if you want to crop it yourself. so my 17-50 Sigma f/2.8 is more like a 25-50… but that is fine (low light auto with this lens is slow/inconsistent.. how well Auto focus works on carious Dx lens is specific to that lens… some do well, others not so much…
Using a Nikon D750 and selecting 1.2 Crop factor (16mb), the nikkor dx 10-20mm and dx 35mm f/1.8g performance improves and will produce 300+ dpi 11″x14″ prints. If interested in matching mexapixels to print performance, see this Thom Hogan article: www.dslrbodies.com/camer…print.html
Please subscribe me to your site–I was not able to subscribe from your website
I just bought a D750, have a large number of DX lenses for my D7000 incl a Sigma 10-20mm f3.5
I wasn’t aware of the fact that some DX lenses work the way described, and I’m quite excited to try them out tomorrow, disabling the auto crop DX function. I’ve been using Nikons since the late 1970s and have a nice collection of old AI lenses (manual focus, full frame) that work fine on the D750 in Aperture priority, but now I find manual focusing a bit of a pain (yet it didn’t bother me back in the 1980s and 1990s). I was somewhat resigned to the fact that I’d have to use them a lot, rather than the autofocusing DX lenses. The prospect of spending thousands on new FX lenses is a bit depressing, but I’ll buy a few over time. Thank you for writing this great article, it is encouraging. I will likely use the DX lenses on the D750 sometimes, just to clarify, does that give me the 1.5X effect on the FX camera? I think it does.
Yes, with your D750 in auto DX mode, your old DX lenses will have the equivalent focal length & depth of field of a lens that is 1.5 time the stated values on the lens.
Be aware though that the area of the sensor being used will be vastly reduced. There is also to shoot in 1.2x crop mode, which may allow more of your DX lenses to be used.
The following information about the D750 cop mode resolutions is courtesy of Amature Photographer Magazine…
D750 also has a 1.5x DX Crop mode as well as a 1.2x Crop Mode. Utilising the former reduces the image size to 3936×2624 pixels (a resolution of 10.3-million-pixels), whereas the 1.2x crop mode has the effect of reducing the resolution to 16.7 million-pixels from 24.3 million pixels, with a maximum image size of 5008x3336pixels.
Read more at www.amateurphotographer.co.uk/revie…KKylEP4.99
Tokina 50-135 F 2.8 else work at 135 mm
Hi David,
Today I have shot with the DX 35mm f1.8 mounted on my D850. I was blown away by the outstanding image quality of this cheapest Nikon lens.
I did use the vignetting control setting at normal at the D850. That’s all. The was no lens vignetting at all in the images, and the test images are razor sharp after. I performed autofocus finetuning with DX 35mm f1.8 mounted at the D850 and the results where perfect!
I bought the DX 35mm f1.8 years ago with my D7200 but left it most of the time attached to my D7200, which I even use from time to time for my professional work.
Now that I experienced the DX 35mm f1.8 on the D850, I will use this lens as I’m shooting the Milky Way next month to see how it performs.
Hi Raymond,
How was the result of the combination of 35mm DX lens on D850 for Milky Way?
Having z6 and 12-24DX. Please how did you switch off the auto crop by the menu? I sound rally interested, thanks
Hi guys,
a question , as you say the lens are working from 19mm are those ones from FX perspective, as you would have FX lens on FX body, or like if you have lens and put it on a crop factor. Should do now some interiours shot and worriying that 14mm for FX prime would be too wide and distorting. So something about 20mm might be perfect for the job. In that regard, which lens might work well? Will be tripodded so low F number is not a problem + bracketing. Thanks.
Francois,
Very pedagogic and educational!
Keep up the good work!
—–
I shoot quite a lot with DX lenses on FX, and those I use need very little cropping to get rid of the vignetting.
The three I use most are:
The Sigma 30/1.4 Art — a delightful little lens, but not the lightest there is!
The Nikon 40/2.8 micro — small, compact, and a little wonder. And light! My ‘normal’ lens!
The Nikon 85/3.5 VR micro — a very light lens that has a very nice bokeh, thus ideal for portraits. It does vignette more than the other two.
A couple more:
AF-P 70-300 DX VR — very sharp, very light, very fast focusing, but vignettes in the wide end.
The AF-P 18-55 DX VR — excellent, super fast focusing, but the lens shade vignettes a lot in the wide end, when used on an FX body.
Being a Nikon 1 enthusiast, using any FX, or DX, lens, on a Nikon 1 body, is a non-issue! If it is compatible (not all are, sadly).
Indeed Kevin M,
They are sort of complimentary. just remember that lenses are lenses and bodies are mechanical beasts and thanks to Nikon’s designers being the brilliant engineers they’ve been over the decades, compatibility and interchangeability has been their gift to us all, hence we Nikon owners have backwards ‘compatibility’ beyond what any other makers offer us. This gives the poor and the rich, access to a very wide range of focal lengths, enriched by long lasting structures, hence lots of second hand gear.
Good Photography/photographs are not just about gear, I always emphasise that the gear is the tool, the good photographer is the craftsperson and like quality craftsmen and women they learn to use and understand the quirks of the tools they’ve got and get on with the job. The art of photography might be said to come from the heart, not the gear!
I’m drifting again, comes from an accumulation of experience.
More to the point, I use both DX & FX (my first jump into digital because it (a D200) was available while FF’s were not). In part, this is why I use both DX & FX lenses and even though neither of these product lines (DX & FX) are magical metamorphopic (Have I invented a word here?) transformables, one or other of them do sometimes have advantages. For those looking on here, just keep in mind that an FX lens used on a DX Nikon does not change into a butterfly, it remains a grub!
Just one interesting example then:
One of the DX lenses I use is the Nikkor 12-24mm DX and by understanding this lens I can cut out the ‘vignetting’ in my mind and just shoot on my FX anyway, by understanding that it ‘is’ a ‘super-wide’ that will have this vignette problem but that, I can deal with it in Post Processing. Besides, the vignetting is pretty much gone by about the 15-18mm zoom range anyway (depending on how critical you are).
And yes, I did use the right phrase ‘Super-Wide’ but I’ll leave you, now with your improved understanding of this DX/FX phenomena just what focal length equivalent you will have when using the DX 12mm with an FX sensor which is, as you know, larger (wider) than the DX sensor; This does not reflect some sort of magical mechanical change in the body or the lens of course, it just reveals a physical gift from a DX lens to a big brother FX sensor.
So, if you are still with me, ask yourself what the DX lenses’ projection circle looks like over an FX sensor(?). Ignoring the post processing cropping concerns, you will find you may enjoy the wide angle surprise that is revealed.
Have fun Kevin – Hope you like wide angle.
Best of luck,
Ron