But generally landscape photography requires achieving a deep depth of field, for maximum sharpness from foreground to background. Given that fast maximum aperture lenses are more costly to build than slower ones, this means that photographers who only plan on shooting landscapes and nothing else can make a considerable saving by foregoing fast glass in favor of lenses with a maximum aperture of f/4 or slower.
Unfortunately any savings the landscape photographer might be able to make by sacrificing wide apertures is often cancelled out by the necessity to invest in the sharpest optics possible. And in searching of this holy grail, it’s important to understand that lenses tend to be at their sharpest at the center of the frame, but may vary considerably in how well they perform towards the edges.
Indeed, some lenses maintain sharpness right into the corners, while the optical performance of others quickly deteriorates as soon as you move away from the center. While the days of throwing a black cloth over the head and exposing glass-plate negatives with a wooden field camera may have long since passed (at least for most of us), landscape photography still retains something of the slow and deliberate working methods of yesteryear.
This is because a photographer is able to employ intelligent judgement in deciding precisely where to place the point of focus, whereas cameras are not widely known for their discerning intellect. As this system lacks the direct, tactile control offered by true manual focus, and can sometimes even result in a degree of lag, many photographers find using focus-by-wire lenses quite unsatisfying.
In some areas of photography, the technical requirements of that particular genre will often swing the debate in clear favor of one type of lens or the other. This means that the decision whether you should go with primes or zooms when choosing landscape lenses for your Nikon Z camera will largely come down to personal preference.
However, if you’re looking for fantastic optics on a budget, the answer is usually to stick with a couple of solid prime lenses and use your legs as a (healthier) zoom replacement for homing in on your subject. For landscape photographers who may spend long days carrying all their equipment on their backs, the advantage of combining several lenses in one should not be underestimated.
But for many landscape photographers, a good part of their time will be spent in truly inhospitable conditions; with camera and lens receiving the brunt of the maltreatment and foul weather. From grit and sandstorms, to rain, snow, and ice, there are many good reasons why a landscape photographer might find it more reassuring to purchase lenses that come with professional-grade weather sealing.
And although the range of native Nikon Z mount lenses is still in its infancy, among these can be found numerous fantastic choices for landscape photography. We’d love to hear about your experiences of shooting landscapes with the Nikon Z system; feel free to share them, and any questions you might have, in the comments section below.
Nikon’s hasn’t sat quietly after launching the Z -mount system and the initial set of lenses that came with the Z6 and the Z7 cameras. They have been silently filling the shelves with new and interesting glass to woo all types of photographers to switch over.
Highly comprehensive lens for Nikon Z series kit. Optically stunning and the 1.8 aperture is perfect for background blur.
Nikon Z 50 f/1.8 S 50 mm lenses are excellent all-rounders, this lens is no exception to that rule. The lens is optically sound, giving you amazing shots no matter what.
The lens is composed of a number of aspherical and ED elements. Plus, the engineers at Nikon have applied ARNO and monocrystal coating as well.
ARNO coating is helpful in combating the effects of ghosting and flares. The lens features an impressive five stops of vibration reduction.
The only thing that probably does not go in favor of this lens is the maximum aperture range. That said if you are looking for better optical quality in with a comparable zoom range, check out the next lens on this list.
I.e., better portraits, action, sports and a little of wildlife and birding. But the new ARNO and monocrystal coatings are a very important selling point.
Not to mention the fixed f/2.8 aperture and the superior image quality. However, you can set this to control aperture or adjust exposure compensation.
This 85 mm prime is the best mount lens for shooting portraits. Nikon has used stepper motor technology in the design of the auto-focusing mechanism of the lens.
But then you can change it and set it to control exposure compensation or manually adjust the aperture. The weight of the lens is a shade over 1 pound, so it’s not too heavy that you’re unable able to hand-hold for long periods of time.
The 85 mm fixed focal length plus the f/1.8 aperture and the new stepper motor makes a beautiful combination. It is optically stunning and the 1.8 aperture is perfect for creating background blur in your images.
The 35 mm f/1.8 is a standard prime designed to be the mainstay of street and journalistic style photographers. A prime lens has a fixed focal length, which can be limiting for some photographers.
In addition to street photography, you can use the lens to shoot indoors, architecture, a bit of environmental portraiture, as well, along with group shots and weddings. Just like the other S lenses in this series, the Z 35 mm f/1.8 S comes with a programmable physical control ring.
And of course, you can set it to control exposure compensation and aperture instead of focus. And apart from the different genres that we discussed at the top the lens is also suitable for shooting movies.
A Z -mount nifty fifty 50 mm lenses are excellent all-rounders, this lens is no exception to that rule. The lens is optically sound, giving you amazing shots no matter what.
Being a standard prime you can shoot a wide range of different genres with this lens. Additionally, there are two Extra-low Dispersion (ED) elements which take care of chromatic aberrations.
We were pleasantly surprised when we compared this lens with some of its more illustrious competitors. Even when shooting wide open, aberrations and distortions are well suppressed.
When you have the advantage of one full stop of light you can literally experiment the hell out of any scene. For example, you can try opening the lens aperture all the way on a sunny day (albeit with the help of a 4-6 stop ND filter).
Doing so allows you to completely obliterate the background and produce nice both even on a sunny day. The Z50 is an APS-C camera (crop sensor powered) and that gives you an additional advantage.
The crop factor extends the effective focal length and makes it a 75 mm lens (35 mm format equivalent). But even with the 50 mm focal length the lens is a versatile shooter with lots of applications in various genres of photography.
Needless to say, the wide aperture comes in handy when shooting in low light as well. Such as when you are shooting street photography at night or doing macrophotography or anything in a low light situation.
In terms of construction the Z 50 mm f/1.2 S is composed of 17 elements arranged in 15 groups. Wide-angle lenses such as these come into their own when we take them to shoot interiors, architecture and vast sweeping vistas.
There is a bit of vignette at the corners when shooting at the wide focal length. Additionally, a fluorine coating has been added to ensure that the lens front element is able to resist dirt and fingerprints.
Please note this is a landscape lens and so you would ideally be using this lens at a much smaller aperture than f/4. Best lens for landscape and architecture for the Z mount Great image quality.
With the less weight you have more working time and fewer chances of injuring your arm wielding a heavy lens and camera combination. Together, these elements are responsible for suppressing lens various aberrations and distortions, thus producing high quality images which are sharp and with accurate color rendition.
These two can have a serious impact on your images especially when working in difficult lighting conditions. The Z mount lens comes with the latest Nikon Stepping Motor technology.
Usually when the number of aperture blades are higher both quality is also better. While you know it is a great lens for shooting certain genres, you might hesitate to take it to a concert or an indoor event.
Also, the Z 24 mm f/1.8 S suffers from some amount of vignette especially when shot wide open. This is, however, not a major issue as you can easily remove it in Photoshop or Lightroom using lens profile correction.
Wide angle prime Focuses quickly, quietly, and smoothly, and is well sealed; That’s good enough for shooting a wide variety of photography genres.
In terms of construction the lens consists of 14 elements arranged in 11 groups. As you are aware these elements are responsible for suppressing lens flares and ghosting.
They also improve the overall color reproduction as well as contrast and sharpness of the images. So you can program it to control aperture or even set it to adjust exposure compensation.
The fast wide aperture of the lens is composed of nine rounded blades. The standard zoom lens that serves most purposes that you can come across on an everyday basis.
The internal construction of the lens consists of a total of 17 elements arranged in 15 groups. Together these elements take care of a number of aberrations and distortions that normally plague your photos.
On top of that the lens also features Nikon’s ARNO and NATO Crystal coatings. Additionally, these lenses feature what Nikon states is their multi-focus system.
The result is extremely fast autofocus lock, something that you would normally not associate with Stepping Motor technology. Just grab the programmable control ring, and you would be able to manually focus the lens.
Because that is the ideal foal length for shooting portrait photography. Well, Nikon makes both full-frame and crop-sensor mirrorless cameras for their latest Z -mount series.
And the 85 mm is the perfect focal length for shooting portraiture if you are using the Z6 or the Z7 or even the latest Z5. But generally speaking you would love to create those soft out of focus effects for your portrait images.
The other benefit of a fast wide lens is definitely when shooting in low light conditions. As soon as you change to a prime lens you get the advantage of being able to collect extra light.
A total of 9 elements arranged in 7 groups make up for the construction of the lens. This element takes care of aberrations improving the image quality overall.
This lens won’t autofocus on any of Nikon’s Z mount cameras. So you will have to rely on the Eye-Detection AF technology of your mirrorless Z mount camera in order to have some degree of control over where it is focusing.
In any case if you are shooting genres like macrophotography or capturing long trails of light, image stabilization is not going to do you any good. This content is provided ‘as is’ and is subject to change or removal at any time.