Last Updated on December 5, 2023 by Sharon Advik
Today, we will discuss a question I hear frequently: What are the best Nikon lenses for night photography?
So, there are many good options out there as far as lenses go for Night photography.
Which one is right for you?
I tested and used several lenses for years, so my best picks for Night photography are here.
Let’s drive in:
Which are the best Nikon lenses for Night photography?
Here are my recommended top 9 best Nikon lenses for Night photography:
Why do I consider this an excellent purchase, and why is astrophotography a secret weapon in many ways?
I’ve owned this lens for about four years, so I can honestly give an opinion.
Instead, this will be a real-world review based on good, honest experience with this lens over the last few years.
This is 14 millimeters, which is super wide-angle, and on a crop sensor, that equates to about 21 mils.
This is so wide, making it a tough lens to use, mainly because it’s a prime lens.
You can’t change the focal length from this.
And, yeah, it makes shooting with this difficult because you can get to it quite often, which can make lining up the composition difficult.
This was purchased primarily for Astrophotography.
So, I will primarily focus on why this is awesome for Astrophotography.
The first strength to focus on this lens is its low price and quite ridiculous.
So this is a very cheap and lightweight addition to any camera bag that opens up a whole world of possibilities for you in Astrophotography, but what makes it so good?
Well, the key with astrophotography is to maximize the amount of light hitting your sensor, and this lens enables you to do that in two ways.
Firstly, it’s F 2.8, which is wide.
And I think that’s almost necessary if you want to get good Astro shots, enabling your camera to pick up the maximum amount of light possible.
Sure, you could shoot wider, like with an F1.8 or F1.4, but your shot might become soft. So, I think F2.8 is the sweet spot in astrophotography.
Additionally, this lens’s 14 mils enable you to shoot incredible night skies filled with stars and the Milky Way; you maximize the capacity to capture the night sky.
But also, at 14 mils, it enables you to shoot longer exposures without getting star trailing in your shots.
So I can shoot with this at about 30 seconds.
That’s about the max that I can get to.
If I were shooting at something like 24 miles without capturing star trails, it would be closer to about 20 seconds.
And that’s a big difference when you try to maximize the light hitting your sensor.
Now, another strength of this lens is that it’s so sharp.
Honestly, it was a phenomenal performance.
I’ve used various lenses over the years from different manufacturers of Astrophotography.
It’s the best lens I’ve used to date. It is phenomenal from corner to corner.
Even F 2.8 is sharp.
It’s an outstanding lens.
It is a star performer.
Now, the final strength of this lens is it’s got an excellent comic performance.
This is the best one to date, an essential consideration for Astrophotography.
Another strength of this lens that’s finally worth pointing out is its excellent build quality.
This is quite surprising for the price you would have fought.
Samyang would have cut some corners to try and get the price down.
But honestly, it doesn’t feel like they have owned this for years, and it looks as good as new.
Generally, it’s never let me down; it feels real, excellent, and robust.
Let’s examine some of this lens’s negatives; this review must be balanced.
This doesn’t have autofocus, which for me personally and for Astrophotography is no problem.
You don’t use or need autofocus faster photography, but it could be a problem for some people.
This only has a manual focus ring, so that’s worth keeping in mind.
The lens also has a fixed hood at the end that you can’t remove.
This could be problematic for some people.
The end of the lens has a bulbous glass element, typical of wide-angle lenses.
So, you probably need to think again that from the lens, unfortunately, you also suffer from a lot of vignetting.
It’s bad times, mainly when shooting F2.8 on this; bots were post-processing, so it’s pretty easy to remove that.
So, generally, it’s not bothering me too much so far.
But yeah, I could understand some people being upset with the vignetting performance on this.
Also, it suffers from a lot of barrel distortion; it does.
But again, you can correct that in post-processing.
So, it’s not much of a problem for me, particularly for Astrophotography.
Yeah, I don’t particularly feel that pain all that often.
And honestly, distortion is just part of the game regarding wide-angle photography.
So, I don’t personally see vignetting or the distortion of this as that big a deal.
Overall, I love this lens; it’s fantastic.
I would thoroughly encourage you all to get it.
Even if you’ve been slightly interested in Astrophotography, you won’t regret it.
This is an excellent, fantastic bit of kit.
It comes in various amounts, so it comes in the Sigma mount for Lumix, which also comes in the Nikon F mount.
So, the first thing I want to look at is the actual build quality of this lens; all of the new Sigma lenses, in my opinion, have pretty good build quality.
This has a magnesium and alloy construction, which means it is solid and great if you want a lens with a lot of weatherproofing.
This lens has waterproofing along 16 different elements, which means it’s perfect if you’re after a rugged lens that you can take in the great outdoors, so it is weather and dust-resistant.
So, this lens also has quite a few elements.
It’s got 15 elements in 12 groups, which means it’s perfect if you want to reduce the amount of lens flare.
Now, it does mean this lens is quite heavy.
That’s our heaviest lens, but its build quality and overall design are fantastic.
The next thing to talk about is the actual image quality of this lens.
The image quality always amazes me, and the colors represented within the lens make the optical performance impressive.
Even the sharpness of this lens is by far one of the sharpest 70 to 200 mil lenses.
I have tested and looked at the Canon 70 to 200 Mark ii and Mark iii, including the 2.8 and f4 and the Tamron lens, which is by far my favorite lens of this optical quality.
I also really like the roundness of the background blur in the Bokeh.
This is due to the 11-blinded rounded aperture diaphragm, which means the background blur is incredibly smooth if you plan to use this lens at 2.8.
The actual distortion of this lens is relatively low, although there is a small amount of pincushion distortion at 200 millimeters.
I don’t think you’d notice it unless you are shooting a very harsh light.
So, of all the 70-200 mil lenses I’ve examined, the distortion from this lens is much lower than from others, including the costly lenses.
And even when you’re looking at the vignetting, even if you turn off peripheral illumination on your camera, you won’t notice much vignetting, even at 2.8, and you can altogether remove all vignetting.
If you go ahead and shoot a film above f4, this lens is a must-have.
If you want an optically perfect lens for indoor sports, weddings, wildlife, or automotive photography.
So this is a must-have lens for anyone after an optically performing best of 70 to 200.
So, the next thing I want to talk about is the size and weight of this lens.
To realize this, this lens lets itself down in size and weight; it is by far one of the heaviest 70 to 200 mil lenses.
It’s also one of the largest, coming in at 1.8 kilos.
So, we will see a much heavier lens due to that magnesium and aluminum construction.
So, I want to look at the image stabilization and focus motor next.
What’s great about getting a 70 to 200 mil F 2.8 is that both have great autofocus.
But it also has image stabilization missing from many prime lenses if you consider getting one around this focal length.
So, this image stabilization allows you to shoot up to four stops of light and darker while providing excellent image stabilization.
This means you’re less likely to get blurry motion blur photos from holding the camera.
So you can even drop it down to around a 30th of a second and still get great sharp photos.
Because of this, image stabilization has two modes.
So, mode one is for general-purpose photography, so shoot handheld if you’re out and about.
But option two is better for indoor sports, wildlife, and wedding photographers.
So, if you’re planning or tracking a move together, you can use option 2 to be more successful.
So, if you’re after an excellent lens for indoor sports photography, portrait work, wedding work, or event or wildlife photography, this lens will be perfect for you.
And last but most important is the price, where this lens shines over the competition.
This lens is a lot cheaper than the Nikon and Tamron lens.
This is one of the cheapest 70 to 200 mil F 2.8 zoom lenses on the market, although it is much heavier.
It does still have optimum optical performance.
So, what are my final thoughts on this lens?
I think it is a cracking lens, and it is a must-have.
Suppose you’re a professional photographer or even a pro-amateur photographer.
If so, you’ll get the most out of this lens because of the colors and resolution, or you’ll love the lens’s sharpness and the incredibly smooth background blur.
So if you’re a sports photographer, portrait photographer, wedding photographer, event photographer, or automotive take photos of excellent much any type of photographer.
This camera lens is deserving of a spot in your camera bag.
So, over the weekend, I got invited to be the photographer for a wedding of two close friends.
So, I thought this would be an excellent opportunity to try out a new lens, so I bought this one at a camera store.
Why decide to go with this lens?
If you ever shot a wedding or any event in an indoor area, you would know that indoor places, especially wedding venues such as churches and reception halls, places that have inferior lighting inside, at least inferior in terms of photography.
However, it can be challenging for a camera because that light is too dark, which is where this lens comes from.
This lens has a wide aperture, and the 24 to 70 is a standard zoom-like for many event photographers and almost any everyday photography.
So, perfect focal length and an adorable white image would be more challenging with just the standard 24 to 70 lens that most Nikon cameras offer as a kit.
First, I want to talk about what I liked about this lens, and the number 1 thing on that list was the image quality.
This lens is sharp, very nice to use, has excellent contrast control, and makes the images pop and stand out even when the light is not so great.
It is also fantastic that this lens has some image stabilization.
So, when shooting in low light, image stabilization helps increase the lens’s sharpness by simply stabilizing.
So, just you holding the camera doesn’t blur out the picture.
My second favorite thing about this lens was the build quality.
This lens is built with an excellent feel; the zoom and the focus rings are very smooth and require minimal turning effort, which is nice when shooting events.
The body of the lens feels very solid. It does have some plasticky notes on it, but it does feel very well put together.
Nothing that makes any noises, anything that wiggles around, or anything; it’s just built like a tank.
I’m very impressed with the image quality of this lens.
And then the number 3 is the autofocus performance.
Autofocus performance largely depends on your camera; this lens has a quick focusing motor.
So, my camera with this lens acquired the subjects very quickly and shifted focus to where it needed to be.
So, overall, very lovely autofocus coming out of this lens is very quick and snappy, and it helps that the camera’s autofocus system is pretty decent.
But you’ll see even better performance using a newer Nikon camera.
Overall, it’s just incredible.
Now, no lens is entirely perfect, and this lens does have one major drawback that I found for that: its weight; this is a hefty beast.
So, if you’re using it on a smaller body or fear, don’t like lugging around very heavy equipment, this lens may not be the best option because it weighs a lot.
It is very heavy, which I assume helps with its build quality.
So, if you’re a landscape photographer, a nature photographer, or a travel photographer, we can make a big difference versus getting something lighter.
When you’re lugging all that gear in your bag, it can put a strain on your body after a while.
That’s quite a bit of a drawback, especially when comparing this lens to a similar lens from other manufacturers.
But not all of them are this big and this heavy; a lot more of them part, poor compact, and weigh a lot less.
And that’s pretty much the only drawback I could think of with this lens.
Overall, it provided perfect images and was excellent in low-light situations.
Significantly, with image stabilization, the F2.8 aperture immensely helped in that.
So, overall, I enjoyed it, but I did not want the weight of it.
I enjoyed using this lens and think it’s perfect to add to your collection.
It is a suitable lens for our photography and especially for single pictures.
In my case, I bought it because I wanted to shoot time-lapse with it and take advantage of the really wide aperture (i.e., shoot at 1.8).
My first impression of this Sigma lens is that it is an excellent yet healthy ultra-wide-angle lens.
It weighs at least 1.1 kilograms, so if you have a heavy camera, handheld shots might be difficult, even if you fix your camera on the tracker mount.
It’s not a problem with photography, as you’ll have a tripod, but it might be something to consider for other situations.
With that being said, Finishing up this lens is just beautiful.
It feels like a solid metallic lens; the hood has no clicking buttons.
It just fits smoothly back on, which is a plus.
The glass itself is a masterpiece, with a neatly curved area and beautiful colors underlying the excellent quality of the material.
The focusing ring is a relatively big, ragged band at the tip of the lens, but it integrates with it and doesn’t make it impractical or awkward.
The ring turns smoothly, allowing you to focus correctly and rapidly. Still, the reasonable stiffness will enable you to focus exceptionally precisely and prevent the focus from deviating from the budget.
It has a wide field of view of 114 degrees, a minimum aperture of 1.8, and a maximum of 16, making it a candidate for ultra-high-performance, high-quality cameras.
My first impression of this lens was its ability to focus easily at night; I had no problem focusing precisely on the distant object at infinity when shooting with it.
With the manual focus, the autofocus works smoothly, too.
But remember to try and focus manually as much as possible, avoiding any focusing adjustment that would ruin your shot.
I was amazed by this lens’ brightness. It is a speedy glass for its focal length, and its wide aperture (F 1.8) helps gather tremendous amounts of light.
The extra four stops are a game-changer compared to the 2.8 minimum aperture on most 14-millimeter lenses.
They help bring in an appreciated 1.3 extra electron volts.
This extra-wide aperture may seem like no big deal, especially for its price, but it can have several practical applications.
Firstly, it can help reduce the exposure time at the 22nd exposure at F 2.8 can be reduced to only 10 seconds, and F 1.8
It can be decisive if you’re shooting fast-moving objects like an aurora or ifexcellent’re on a tight schedule shooting a time-lapse of the Milky Way.
However, at 14 millimeters, the lighter won’t be moving very fast, and the point of a time-lapse accelerates things so that you can see them moving.
This is excellent news for time-lapse photography, and Sigma has tried to reduce the coma exceptionally.
They have packed excellent quality glass in there.
This is also excellent news for Astro panoramas as you can start stacking or stitching your picture using 2.8, which you couldn’t before with a regular 14 millimeters 2.8.
Flares are visible because of the corruption of the glass, and sources of artificial and natural light will result in more in the last frame flares.
According to Sigma, the lens has exceptional optical performance, ideal for ultra-high megapixel cameras.
It means that it can probably be used for 8k resolutions.
It is the sharpest 14-millimeter lens I’ve ever tried; stars are pinpoint sharp even wide open at maximum, and a quarter to a quarter of sharpness is reached at F2.8.
If you stay under an exposure time of about 10 seconds, you will eliminate any store trailing, and the celestial objects will appear in the best possible way.
I wouldn’t recommend the other 14 millimeters as 2.8 for extra high-quality time-lapse of dark sky situations.
You would generally have to step down to at least f4 to get a decent shot, but then you could use all the benefits of this Sigma’s low F stop; 14 millimeters f 1.8 is a game-changer.
Because now you can shoot wide open and get a much brighter, cleaner, and sharper image, we can almost shoot like you’re 24 millimeters f 1.4, but at 14 millimeters to get more of the Milky Way.
In conclusion, Sigma has produced a monster for astrophotography, significantly improving the other 14 millimeters f 2.8.
It will surely enable you to get shorter but cleaner and sharper exposures.
I would not hesitate to recommend this lens for any amateur or professional photographer to replace the role 14 millimeters and get even higher quality shots.
I would consider buying this astronomy servo lens.
This one is a monster that has a lens.
So, I hope that you’re going to buy it and you’re going to try it because it promises to be excellent.
This is one of Nikon’s best-selling camera lenses to date.
It’s for Nikon’s digital SLR cameras, full-frame or APSC, although it will also fit their new set-mount mirrorless cameras.
Everyone loves a fast 50-millimeter lens.
Well, most people, because a full-frame camera gives you a lovely standard field of view- neither wide-angle nor telephoto- with a bit of emphasis on your subject to help you get out of backgrounds.
If you’re shooting with an APS C or DX sensor camera, it’s the full-frame equivalent of a 75-millimeter lens with a much deeper depth of field.
That’s still useful for portrait photography, and many owners of Nikon’s APS C cameras will have discovered this lens already.
It does not come with image stabilization, but most new cameras are getting it built nowadays anyway.
And that tight maximum aperture of F 1.8 lets you get faster shutter speeds in darker situations.
Its built quality is a cut above average for a lens in this class, and its sizes are just a little bigger, too.
It’s mostly made of plastic, but it feels pretty tightly constructed.
It’s based on a metal lens mount with a weather-sealing gasket around the edge.
He also gets us which for changing between auto and manual focus and a rubberized focus ring which turns averagely smoothly and has a helpful distance scale that focuses swing can be turned at any time.
The front glass element does not turn or extend as you change focus.
So that’s pretty useful if you’re using a polarizing or graduated filter; the autofocus motor works quickly and accurately.
Although the quietest shushing is clicking, noises might be picked up by your camera’s microphone when shooting video footage.
It will be picked up, and the lens displays notable focus breathing.
When you focus more closely, your image zooms in.
I suppose that’ll help you get closer to your subject, but it’s still a bit of a pain for video shooters.
The lens has a standard cloth pouch and a nice little plastic head.
Overall, it’s a bit nicer to handle than the cheaper Canon and Sony 50-millimeter f 1.8 lenses, which I’ve tasted in the past.
Nikon tried to make something of this little lens.
Well, let’s move on and look at its image quality.
I will challenge this lens by adapting it to my full-frame camera.
We see pretty good sharpness but only a reasonable amount of contrast.
The image quality in the corners is noticeably soft. F 2.8 shows a bit more clarity in the corners.
Still, the middle of the image looks great.
On the full-frame level, that full-frame image quality is good enough for the lens’s price but nothing to get excited about.
Its image coolers require quite a lot of stopping down to become sharp, but at least there’s almost no purple fringing or chromatic aberration.
It’s a fairly impressive performance because an inexpensive 50-millimeter lens on APS C will generally struggle a bit more than that.
It’s a bit sharper than the Canon 50-millimeter F1.4G lens.
This lens can focus to about 45 centimeters, the average for a 50-millimeter optic, and not close to your subject at F 1.8.
The close-up image quality is very poor, soft, and ghostly. Stopping down to F2.8 is a huge improvement; F4 looks sharper.
Let’s talk about the lens’s pocket or the quality of its autofocus backgrounds.
It’s not perfectly soft in all situations, but to my eye, it does look a little smoother than the usual fair lens in this class.
Most of your pictures will be pleasing and related to Bokeh’s longitudinal chromatic aberration.
So, it offers quite a bit more, excellent build quality, and decent enough colors and contrast relatively soft bokeh.
It’s not the sharpest lens in the world on a high-resolution full-frame camera, but if you have a 24-megapixel full-frame camera, you’ll be pretty satisfied.
And its performance on APS-C cameras is a little better than average.
So, it will be well-loved by everyone who buys it; I certainly liked it. So it comes recommended.
It features 13 lens elements in 11 groups, including spherical and extra-low dispersion elements and Nikon’s Nano Crystal Coating.
These help with correcting aberration and minimizing ghosting and flare.
An AFS lens uses the silent wave motor, which provides fast and accurate autofocus performance.
Speaking of focusing, another feature I like about this lens is that it has a rear focusing system.
This means that only the rear lens group moves during focusing, so nothing on the front of the lens moves at all, which is excellent if you plan to attach any filters to the 77-millimeter filter threads on the front.
Inside, we have a seven-blade aperture, with a maximum of 1.8 and a minimum of 16.
The angle of view on a full-frame camera is 94 degrees, which drops to 70 degrees on a DX body.
Where this lens is the equivalent of a 30-millimeter F3.
Another exciting feature of this lens is its minimum focusing distance.
Which is 7.9 inches that are measured by the camera sensor.
You can push this thing tight and take macro shots with the 20-millimeter F 1.8 G, which comes at just under $800.
So, why did I choose this lens, and what other options did I consider?
My primary purpose for this lens was to get more involved in Astrophotography and nightscapes featuring the Milky Way.
I also wanted a good all-around lens for general landscapes.
The build quality is decent.
The lens’s exterior is plastic, with a metal mount and a rubber gasket to protect against dust and water.
The large focus ring is easy to use.
Unlike other G series lenses, this one supports a side switch that allows you to select manual focus or autofocus with manual override.
The lens weighs 12.6 ounces or 355 grams, so its light autofocus is fast and accurate.
Even though the FTZ adapter is on my Z6, focus peaking also works if you focus manually.
The image quality is excellent.
This lens is very sharp and has excellent contrast; it has some vignetting, which is easily corrected in the post.
There seems to be minimal distortion for a lens this wide.
I understand that Astrophotography has a lot of coma in the corners when shot wide open at F 1.8.
But it seems this is corrected by stopping to 2.8, which is still faster than the f4 offerings.
Coma is an aberration that can make stars look like smears rather than a crisp point of light.
We’ve got sharpness corner to corner, good contrast, and an excellent dynamic range; you can see all the gradations in the color and the tones.
So this lens has performed pretty well, wide open at F 1.8.
It has some softness in the corners, but it’s not bad.
I’ll mention that this lens produces beautiful Starburst patterns when stopped down to smaller apertures.
Usually, I wouldn’t say I like including the sun in my images, but I like the effect in nighttime street scenes, so that’ll be nice.
This is a great, wide-angle lens with a fast aperture.
It produces crisp, sharp images and can easily accommodate filters, all at a pretty reasonable price.
It suits landscapes, night sky, nightscapes, Astrophotography, and environmental portraits.
With its close focusing distance, it can even pretend to be a macro lens.
It has a fair amount of vignette and can produce some coma in stars at a wide-open aperture.
But with that being said, I can’t imagine anyone being disappointed with this lens.
Rokinon 14-millimeter lens is the best budget lens for starry skies.
This wide-angle lens is full-frame compatible, has a manual focus and aperture, is relatively sharp and wide open, and offers F2.8.
A combination of the wide-angle view and F2.8, he does, in my opinion, make this the best budget lens for shooting the Starry Night Skies.
This is a fantastic lens to use when the sun drops and the stars emerge.
Why? The landscape is usually reduced to a silhouette, a distracting empty landscape that becomes this simple negative space that acts as a nice balance for the beautiful stars.
The manual mark lines up nicely, so I didn’t have to struggle to focus in the dark. F2.8 is sharp enough, though there’s some distortion out of the edges.
And 14 millimeters on a full-frame, very wide, allows you to capture a nice portion of the sky.
Following the 500 rule for star photography, you can shoot for more than 30 seconds before the stars start to blur due to the Earth’s movement.
Shooting for 30 seconds or more lets you keep your ISO lower to get a clear shot.
However, if you’re shooting on a crop sensor, 14 millimeters is only about 12 degrees wider than your kit lens and 18 millimeters.
So it’s not wider, but it offers that faster aperture of f2.8 and is sharper.
So, it is still a good value if you have a crop center and are serious about stars.
So starry skies, as I mentioned, are not the only thing you can shoot with this lens in tears, and of course, some landscapes do work at this focal length.
The construction is solid, with a metal build and base metal mount—smooth movements to the focus ring and an easily adjustable aperture ring round out the features.
The build quality is excellent; the aperture rings get nice soft clicks.
This is the best budget lens for taking wide starry skies.
The highest performance, super wide-angle zoom lens on the market, beat against prime origin options among all brands.
The first thing we noticed, and probably the only complaint with the 14-24 f 2.8G, is the size.
It’s one of the largest wide-angle zoom lenses on the market and one of the heaviest.
This lens feels like it renders a super-sized screen to keep the edge’s performance effect.
You’ll be carrying a lot of glass for this level of performance.
The use abilities treat for joy external rings controlling both zooming and focusing near the camera for a better balance, which is relatively light to the touch.
You can feel the metal tricks inside, guaranteeing a smooth operation.
The realism ring goes counterclockwise from 14 to 24 millimeters in a very light 90-degree movement that sometimes moves by itself from the widest angle.
The metal mount feels secure and uses the cheat lever to operate the aperture.
While we do this for a rubber gasket to seal it again, water doesn’t declare any form of weather resistance.
It gives the photographer a fast way to work with our wide-angle thesis with a single lens.
Or, with excellent optics in autofocus, one of the finest lenses of the Nikon lineup.
He has achieved 14 elements in 11 optical fiber groups with 3 aspherical pieces to correct research collaboration and has resolved extra-low dispersion.
ED lens to enhance clarity and the nanocrystal coat applied to the first element to improve contrast and reduce flaring with the 14-24 f 2.8 G delivers optically is unmatched.
The best way to go beyond is our prime mark.
We expect every field for our best-in-class equipment; the highest resolution wide open are stuck down and 14 to 24 millimeters.
The best contrast between backlit is with the light position on the sides.
The chromatic aberration control resistance and geometry are with the best color possible from a zoom.
There’s simply nothing to compare the flexibility of photographs.
The images breathe straight out of the camera with saturated colors and plenty of contrasts.
Perfect for photographing subjects around the street for everyday life photography.
So overall, this is the height regardless, as the images can even prove mandatory lifelong fees for the best.
The Tokina 11-20mm f/2.8 is a budget lens for astrophotography Nikon that will fit just about any level of the photographer’s needs.
Lightweight and affordable, this budget lens will make groups of clusters seem much more significant than they are by simply zooming in on them!
If you want a versatile lens with excellent range, sharpness, and star-gazing capabilities, the Tokina 11-20mm is the right choice!
Regarding optics, Tokina lenses have no frills but get the job done well.
Like any traditional photographic lens on your camera body, choose a focal length before deciding which lens best fits you and your needs.
This brilliantly strong glass-molded aspherical element makes this one of the best lenses in its price range for these applications.
With an aperture range from f/2.8 to f/22 and multi-layer lens coatings, your images will be beautifully framed without too much distortion or movement relative to subjects in focus, whether near or far!
This is your go-to lens to have some wide-angle shots of the Milky Way and other objects in space.
Its f2.8 aperture lets you see your subject even when it’s dark outside, making it excellent for night photography.
With this prime lens from Tokina for astrophotography using Nikon, you’ll have no trouble taking great pictures, even on starry nights or cloudy days.
This highly specialized lens is perfect for nighttime and astrophotography.
This has a quarter of the glass elements found in many lenses, meaning more light reaches all parts of the sensor or film, producing a sharp image with very little need for autofocus or auto exposure.
The wide-angle capability also means you capture more of Earth’s surface, meaning less time spent trying to find your landmarks among the stars.
This incredible piece of glass is perfect for anyone looking to capture more when you go up, down, and all around in our night sky!
Alright, guys, that concludes all the lenses we will discuss today in this article.
Do you guys have any experience with these lenses? What are your thoughts on them?
Which are your best Nikon lenses for Night photography?
Is there a lens I didn’t mention in this article that you love using for night photography?
Please leave your thoughts and comments below.
I am a Professional and Certified Digital Photographer born in the USA. I have been in this field of photography for 22 years, and in these years, I have used many photography lenses and Cameras, which I want to share here on this website about my experience. The idea for Bestoflens.com is to provide honest information about different Lenses and Camera products in the format of a “Best lenses for AYZ” list. I want this website to be the last destination for people to pick the best Cameras and lenses to fit their needs. You can find our unbiased reviews here on Bestoflens.