Best Nikon F-Mount Lenses

TL;DR: The Nikon 55‑300mm f/4.5‑5.6G ED VR delivers a 5.5× super‑zoom, VR‑II stabilization and a lightweight 1.28 lb build, making it a solid travel telephoto for DX shooters.

This lens packs a 55‑300mm focal range (5.5× zoom) and a minimum focus distance of 1.4 m, giving you 82.5‑450mm equivalent reach on DX bodies. The VR II system promises up to four stops of shake reduction, and the AF‑S Silent Wave Motor provides quiet focusing. At 580 g (1.28 lb) it stays light enough for handheld use, while the 58 mm filter thread keeps accessories affordable.

Compared with the Lensbaby Composer Pro II, which weighs about 0.46 lb, the Nikon lens is noticeably heavier, yet still lighter than many full‑frame super‑zooms. Its 58 mm filter size is smaller than the 77 mm thread used by the Tokina AT‑X 16mm, meaning you’ll spend less on filters. In terms of dimensions, the 77 mm height and width match the compact footprint of several peers, keeping it pocket‑friendly for travel.

Users love the lens for its portable telephoto reach and reliable VR performance, especially when shooting wildlife or distant subjects. Professional reviewers highlight the quiet Silent Wave Motor and the two ED elements that curb chromatic aberration. The common downsides include corner sharpness that softens at 300mm, slower autofocus compared with higher‑end alternatives, and occasional zoom creep or body wiggle when you mount it on a tripod.

Best for: Entry‑level to mid‑range Nikon DX owners who need a portable, affordable telephoto solution.

Avoid if: You require professional‑grade edge‑to‑edge sharpness, ultra‑fast AF, or are working with a very tight budget.

TL;DR: The Meike 85mm f/1.8 delivers a fast portrait‑grade aperture and quiet STM autofocus in a compact, lightweight package, making it a strong value for budget‑focused shooters.

The standout spec is the maximum aperture of f/1.8 on an 85 mm focal length, giving you a shallow depth of field and strong subject isolation straight out of the box. The lens also sports a 9‑blade (or 11‑blade on the Mark II) rounded diaphragm, which helps render smooth bokeh that rivals pricier portrait lenses.

Compared with the other ten lenses in this roundup, the Meike is heavier than the Nikon 55‑200 mm Zoom (335 g) but lighter than the massive Yanuoda 420‑800 mm super‑telephoto (dimensions 2.6 × 2.6 × 9.4 in). Its 80 mm height and 77 mm length make it taller than the Nikon 55‑200 (73 mm tall) while its overall length is shorter than that zoom’s 100 mm barrel. The 62 mm (standard) or 67 mm (Mark II) filter thread is larger than the 55 mm thread on the Nikon 18‑55 mm VR and the 58 mm threads on both Yongnuo primes, meaning fewer cheap filters will fit without an adapter. In terms of aperture, f/1.8 is considerably wider than the f/4.0‑5.6 range of the Nikon 55‑200, giving far more low‑light capability.

User sentiment repeatedly highlights the lens’s sharpness at common apertures, its lightweight feel (369–386 g), and the whisper‑quiet operation of its STM motor—an advantage for video creators and discreet portrait sessions. Professional reviewers note that image quality stays sharp from f/2.8 to f/5.6, and they commend the multi‑layer nano coating for reducing flare. However, both experts and everyday users point out that autofocus lags behind premium lenses, and the electronic “by‑wire” manual focus lacks the tactile feedback of a mechanical ring.

Best for: Budget‑conscious portrait photographers and videographers who prioritize image quality and silent focusing.

Avoid if: You need rapid autofocus for sports or wildlife, or require built‑in optical correction for professional‑grade work.

TL;DR: The Yongnuo YN50mm f/1.8N delivers a bright f/1.8 aperture, 46° angle of view and built‑in micro‑focus motor in a compact 0.45‑lb package for under $110.

This lens’s standout spec is its f/1.8 maximum aperture, which lets you shoot at 450 mm minimum focus distance while keeping the depth of field shallow for portraits and street scenes. The 46° angle of view and 7‑blade diaphragm further help isolate subjects.

At 0.45 pounds (203 g) the YN50mm is lighter than the Yongnuo YN35mm f (≈0.70 lb) and the Nikon 55‑200mm zoom (≈0.74 lb), while matching the weight of the Nikon 18‑55mm VR lens (≈0.45 lb). Its 58 mm filter thread measures larger than the Lensbaby Composer Pro II’s 46 mm thread, yet it’s smaller than the Nikon 55‑200mm’s unspecified size. Compared with the bulkier Yanuoda 420‑800mm super‑telephoto, the 50 mm prime offers far more portability.

Everyday shooters praise the fast f/1.8 aperture for low‑light work and smooth bokeh, and professional reviewers note the classic double‑Gaussian optical formula (6 elements in 5 groups) for consistent sharpness. Users frequently mention the omission of a lens hood as an inconvenience, and the lack of image stabilization means you’ll rely on steady hands or a tripod in very dim settings.

Technical highlights include an autofocus system with a built‑in micro‑focus motor, a 7‑blade diaphragm, and full‑frame coverage despite its compact dimensions (74 mm diameter, 84 mm height, 86 mm length). The chrome‑plated metal mount with gold‑plated contacts adds durability, and it supports both APS‑C and full‑frame Nikon bodies.

Best for: Budget-conscious buyers seeking a reliable entry-level option

Avoid if: You need built‑in image stabilization or professional‑grade performance

TL;DR: The Yongnuo YN35mm f/2N packs a bright f/2 aperture, 63° angle of view and a feather‑light 155 g body into a full‑frame Nikon‑mount prime for just $106.

This lens’s standout spec is its maximum aperture of f/2.0, which lets you shoot in low light and isolate subjects with shallow depth‑of‑field. It offers a 63° angle of view on full‑frame sensors, a 58 mm filter thread for standard screw‑in filters, and a minimum focus distance of just 250 mm, giving you a 250 mm minimum focus distance for close‑up framing in a compact package that measures 59 mm in barrel length and weighs only 155 g.

Compared with the other ten lenses in the roundup, the YN35mm is noticeably lighter than the Nikon 55‑200mm Zoom Lens (≈0.74 lb) and the Yongnuo YN50mm (203 g). Its 73 mm diameter is a hair narrower than the YN50mm’s 74 mm, and its 58 mm filter thread matches the YN50mm’s, while the Nikon 18‑55mm uses a smaller 55 mm thread. The 250 mm minimum focus distance beats the YN50mm’s 450 mm, though it’s longer than the Lensbaby Composer Pro II’s 190 mm. In terms of size, the YN35mm is far more compact than the massive Yanuoda 420‑800mm super‑telephoto, and it sits between the compact Meike 85mm (which is shorter and narrower) and the bulkier zoom options.

Users consistently praise the lens for its affordability and the “bright f/2 aperture” that delivers “good low‑light performance” and “shallow depth‑of‑field control.” Professional reviewers note very good centre sharpness and well‑controlled distortion for the price class, but they also flag edge‑to‑corner softness when shooting wide open, noticeable chromatic aberration and vignetting that often need correction, plus occasional autofocus drop‑outs that may require remounting. The optical design of 7 elements in 5 groups, 7 rounded aperture blades and a built‑in micro focus motor help keep the image quality respectable for an entry‑level prime.

Technical highlights include multi‑coated glass elements for reduced flare, live‑view focus support, and USB firmware upgrade capability. The lens supports both autofocus and manual focus, making it versatile for street photography, everyday snapshots, or creative low‑light work on full‑frame or APS‑C Nikon bodies.

Best for: Budget‑conscious buyers seeking a reliable entry‑level option

Avoid if: You need professional‑grade edge‑to‑edge sharpness or true macro capabilities

TL;DR: The Lensbaby Composer Pro II delivers a 35 mm, f/2.5–f/22 manual‑focus lens with a 0–15° tilt range, 12‑blade diaphragm and solid metal build, earning a perfect 5‑star rating at $349.95.

The standout feature is its 0–15° tilt mechanism paired with a 35 mm Sweet 35 optic, letting you place a razor‑sharp “sweet spot” while the surrounding area falls into artistic blur. Its aperture opens to f/2.5 and the 12‑blade diaphragm provides smooth stops across the range.

At 0.46 lb (207 g), the Composer Pro II weighs less than the Nikon 55‑300mm Zoom Lens (≈1.28 lb) but a touch more than the Tokina AT‑X116 16mm (≈0.44 lb). Its 46 mm filter thread measures smaller than the 58 mm thread on the Nikon zoom and the 77 mm threads on the Tokina lenses, and the 640 mm height makes it considerably taller than the 77 mm‑high Nikon zoom, so it feels bulkier on a tripod.

Reviewers love the precise manual tilt and the vivid color rendering inside the sweet spot, noting that the metal body feels robust. The downside is the fully manual focus, which can be slow in low‑light and demands practice to nail the spot, a point frequently mentioned by everyday users.

Additional context: the lens works on both APS‑C and full‑frame Nikon bodies, uses multi‑coated glass for reduced flare, and swaps easily with Lensbaby’s Optic Swap System for other creative optics.

Best for: Most users seeking a balanced, mainstream option

Avoid if: You're shopping on a tight budget — it's priced at $349.95

TL;DR: The Nikon 55‑200mm f/4‑5.6G ED VR lens delivers a lightweight, retractable telephoto zoom with 4‑stop vibration reduction for solid everyday performance at a budget‑friendly $149 price.

This lens’s standout feature is its 4‑stop Vibration Reduction system, which lets you hand‑hold shots at slower shutter speeds without blur. Combined with a compact, retractable build that weighs just 0.74 lb (335 g), it’s easy to carry on travel or on‑the‑go shoots.

Compared with the other ten lenses in the roundup, the 55‑200mm is heavier than the ultra‑light Yongnuo 35mm (≈0.70 lb) and the Nikon 18‑55mm VR (≈0.45 lb), but it’s still lighter than many bulkier telephoto options. Its 100 mm length makes it shorter than the Yongnuo 35mm (170 mm) while edging out the Yongnuo 50mm (86 mm). The 68.6 mm diameter is slimmer than the Yongnuo 35mm’s 73 mm barrel, giving it a sleeker profile.

Everyday users praise the lens for its value, noting the “wonderful” VR performance and the convenience of a lightweight telephoto companion to kit lenses. Professional reviewers echo this sentiment, describing it as a high‑value option for its low price and highlighting sharpness that peaks around f/8‑f/11. However, they also point out softness at the 200 mm end, noticeable chromatic aberration at the focal extremes, and a slower autofocus that can struggle with fast‑moving wildlife.

Technically, the lens offers a 55‑200 mm focal range with a maximum aperture of f/4.0‑5.6, ED glass construction, and a 1,100 mm minimum focusing distance. The Silent Wave Motor provides quiet autofocus, while the plastic mounting plate keeps the overall weight down. These specs make it a practical telephoto option for DX‑format Nikon shooters who need a versatile reach without breaking the bank.

Best for: Budget‑conscious buyers seeking a reliable entry‑level telephoto zoom for everyday photography.

Avoid if: You need rapid autofocus for wildlife or demand a premium, all‑metal build.

TL;DR: The Nikon 18‑55mm VR lens weighs just 0.45 lb (205 g), offers up to 4‑5 stops of vibration reduction, and delivers a versatile kit‑zoom range ideal for travel and beginner video work.

The lens’s most eye‑catching spec is its feather‑light construction – the manufacturer lists the weight as 0.4519476371 pounds (about 205 g). At only 62.5 mm long and 64.5 mm in diameter, it packs a useful 18‑55 mm focal range into a pocket‑sized package, and the built‑in VR system promises up to 4‑5 stops of shake mitigation.

Compared with the other ten lenses in this roundup, the Nikon sits near the bottom of the weight scale. It’s lighter than the Nikon 55‑200mm Zoom Lens (≈0.74 lb) and roughly on par with the Lensbaby Composer Pro II (≈0.46 lb), while the Yongnuo YN50mm f/8N matches its 0.45 lb mass. Its 55 mm filter thread is smaller than the 58 mm threads found on the Yongnuo 35 mm and 50 mm lenses, meaning filters are a bit more affordable.

Everyday users appreciate how the VR lets them shoot handheld at slower shutter speeds, and reviewers praise the AF‑P stepping motor for silent, video‑friendly focus pulls. Professional reviewers note the lens delivers sharp central detail, but they also flag soft corners at wide apertures and a plastic build that feels less rugged than higher‑end zooms. The variable maximum aperture of f/3.5‑5.6 limits low‑light performance, a point that shows up repeatedly in consumer complaints.

The technical rundown rounds out the picture: a 12‑element, 9‑group design includes two aspherical elements, the diaphragm has seven rounded blades, and the lens can achieve a 0.38× (1:2.6) maximum magnification at its 250 mm minimum focus distance. Full‑aperture metering and distance information output add convenience for both stills and video shooters.

Best for: Beginners, travelers, and video shooters using Nikon DX/APS‑C DSLRs who need a lightweight, portable zoom.

Avoid if: You require professional‑grade edge sharpness, robust build quality, or a fast constant aperture for serious low‑light work.

TL;DR: The Tokina ATX‑i 100mm f/2.8 macro delivers true 1:1 reproduction, a fast f/2.8 aperture and a comfortable 114 mm working distance in a compact 525 g package, though it lacks an internal focus motor.

This lens centers on its 100 mm focal length and true 1:1 macro capability, paired with a maximum aperture of f/2.8 and a 114 mm working distance at life‑size magnification. Its 9‑blade diaphragm and flat‑field design aim to keep edges sharp and bokeh smooth.

At roughly 1.16 lb, it is lighter than the Tokina 12‑24mm (about 1.26 lb) and the Nikon 55‑300mm zoom (about 1.28 lb), yet heavier than the ultra‑light Tokina AT‑X116 16mm (0.44 lb). The 55 mm filter thread matches the Nikon 18‑55mm VR lens but is smaller than the 77 mm threads on the Tokina 12‑24mm and AT‑X116, meaning fewer large filters are needed.

Users consistently praise the lens for striking sharpness even wide open, the soft circular bokeh from the 9‑blade diaphragm, and the portable 525 g build that fits easily into a macro kit. Professional reviewers note the comfortable 114 mm working distance for insect work and the flat‑field optics that reduce field curvature. The lack of an internal focus motor forces reliance on external focus mechanisms and can cause autofocus hunting in close‑up mode.

Additional technical touches include an extending barrel focusing system, a focus range limiter switch, low distortion and low light falloff, multi‑coating, a non‑rotating filter ring for polarizers, and video‑optimized performance. These features round out a lens that targets serious macro work while staying compact enough for travel.

Best for: Macro photographers needing 1:1 reproduction and a comfortable working distance, as well as portrait shooters who value a fast f/2.8 aperture.

Avoid if: You're shopping on a tight budget — it's priced at $549.00, and you rely on fast in‑body autofocus on entry‑level Nikon DSLRs without internal focus motors.

TL;DR: The Yanuoda 420‑800mm manual‑focus super‑telephoto lens costs $58.49, offers an all‑metal build and a sliding‑barrel lock, but its f/8.3‑f/16 aperture and lack of stabilization make it a niche, budget‑focused option.

This lens’s standout spec is its extreme 420‑800mm focal range, giving an APS‑C equivalent of roughly 672‑1280mm. The maximum aperture starts at f/8.3 at the short end and narrows to f/16 at 800mm, so you’ll need bright conditions or a sturdy tripod.

Compared with the other ten lenses in the roundup, the Yanuoda sits at the low‑price end—cheaper than the Yongnuo 50mm and Nikon 55‑200mm—but it feels heavier than the lightweight primes such as the Yongnuo 35mm or the Nikon 18‑55mm VR. While many of the peers list detailed weight numbers, the manufacturer describes the model only as “Heavy,” suggesting it will sit on the heavier side of the group.

Everyday users praise the surprisingly solid metal construction and the smooth zoom‑lock mechanism, noting that the lens holds its position during long exposures. Professional reviewers echo the build quality praise but warn that manual focus can be tricky, especially beyond the 420mm mark, and that the very slow aperture limits low‑light work. The lack of autofocus and image stabilization makes a tripod practically mandatory for wildlife or moon photography.

Best for: Entry‑level buyers or those on a tight budget who already own a sturdy tripod and want extreme reach for moon or distant wildlife.

Avoid if: You need reliable autofocus, image stabilization, or low‑light performance for action or indoor photography.

TL;DR: The Tokina AT‑X116 16mm offers a constant f/2.8 ultra‑wide zoom, metal build, and 77 mm filter thread at 0.44 lb, delivering low‑light sharpness for APS‑C shooters willing to invest $399.95.

This lens packs a constant f/2.8 aperture across an 11‑16 mm focal range, giving you bright exposure options even in dim settings. Its metal construction keeps the weight down to 0.44 lb, while the 77 mm filter thread lets you attach larger filters without vignetting. The minimum focusing distance is 300 mm, so you can get relatively close to subjects while still enjoying the ultra‑wide perspective.

Compared with the other ten lenses in this roundup, the Tokina is considerably lighter than the Nikon 55‑300mm Zoom (over 1.27 lb) and the Tokina 12‑24mm (about 1.26 lb). It’s only a shade lighter than the Lensbaby Composer Pro II, which tips the scales at roughly 0.46 lb. Its 77 mm filter size is also larger than the Nikon 55‑300mm’s 58 mm filter and the Nikon 18‑55mm’s 55 mm filter, giving you more flexibility for creative filters.

Reviewers consistently praise the lens’s sharpness and the constant f/2.8 aperture for low‑light landscapes and astrophotography. The one‑touch focus clutch gets a lot of kudos for quick AF/MF switching. On the downside, users note that autofocus can feel slower on bodies like the D90 or D7000, and corner softness shows up when shooting wide open at 11 mm. The lens also lacks weather sealing and built‑in image stabilization, which some pros flag as a limitation for harsh conditions.

The optical formula includes two aspherical elements and two Super Low Dispersion (SLD) elements, helping to control aberrations across the frame. Internal focusing means the front element doesn’t rotate, which is handy for using polarizers. The design tolerates temperatures down to -46 °C, so it won’t contract in cold environments.

Best for: Those prioritizing quality and willing to pay for premium performance

Avoid if: You're on a tight budget or only need basic functionality

TL;DR: The Tokina 12‑24mm f/4 Pro DX delivers ultra‑wide coverage with a solid all‑metal build, constant f/4 aperture, and 300 mm minimum focus distance, but its $499 price and modest 4.2‑star rating may give budget‑focused shooters pause.

This lens’s standout spec offers a constant f/4 maximum aperture across the 12‑24 mm zoom range, paired with a 109° field of view that lets you capture expansive scenes or tight interiors without stopping down. Its 77 mm non‑rotating filter thread makes using polarizers or ND filters straightforward, and the built‑in DC micro‑motor with one‑touch focus clutch provides quick AF switching.

Compared with the other ten lenses in the roundup, the Tokina 12‑24mm sits on the heavier side at 1.26 lb (570 g), out‑weighing the lightweight Tokina AT‑X116 16 mm (0.44 lb) but lighter than the Tokina ATX‑i 100 mm (about 1.16 lb). It’s also pricier than those same peers, while offering a longer zoom range than the fixed‑focus options. In terms of build, its all‑metal construction feels more substantial than the plastic‑rich designs of some competitors.

Professional reviewers praise the lens’s “well above average” build quality and the sharpness it delivers across the frame, noting the constant f/4 aperture as useful for low‑light interior work. Everyday users echo this sentiment, calling the rugged feel a bargain for an ultra‑wide zoom, though many mention noticeable chromatic aberration at the 12 mm end that often needs post‑processing. Autofocus noise and a slightly stiff zoom ring also appear in consumer feedback, confirming the trade‑offs highlighted by experts.

Technically, the lens packs 13 elements in 11 groups—including one SD element and two aspherical elements—helping control distortion and flare, especially with the improved DX II multi‑coatings. The nine rounded diaphragm blades aim to render smooth bokeh when shooting at wider apertures, and internal focusing ensures the front element doesn’t rotate, preserving filter alignment.

Best for: APS‑C DSLR photographers who need a rugged ultra‑wide zoom with consistent f/4 performance and don’t mind a premium price.

Avoid if: You’re on a tight budget, need ultra‑fast AF for action or video, or are sensitive to lens weight and chromatic aberration at the widest focal length.