Nikon made one of the most unique moves in the camera business when they added these three lenses to their collection. The Nikon Z 17-28mm f/2.8, the Nikon Z 28-75mm f/2.8, and the Nikon Z 70-180mm f/2.8. What do these zoom lenses have in common, besides the professional f/2.8 aperture? Yes, they’re affordable, and yeah, they’re compact & lightweight. The curveball, though, is the slightly unspoken source of each lens’ optical formula: Tamron.
It’s no secret, actually; Nikon officially allowed Tamron to make their own third-party lenses for the Nikon Z mount a while ago. Then, in exchange, a select few optical formulas originally designed by Tamron are now available in the Nikkor Z full-frame mirrorless lens form.
In short, these are three awesome lenses, with image quality that we already know is excellent. Today, in our Nikon f/2.8 zoom lens review roundup, we’re going to talk about all three of these lenses. Spoiler alert: If you’re a wedding & portrait photographer who is looking to get started on a budget yet still achieve professional results, you could just go ahead and buy all three of these lenses! They perfectly cover the entire range of focal lengths that you might need to accomplish any job. They offer the professional standard of f/2.8 across the entire zoom range, and yes indeed, the sharpness and overall image quality is truly impressive, all the way from 17mm to 180mm.
There are only a few subtle nuances that you need to know about, really. We’ll dive into our Nikkor f/2.8 lens review now, and you’ll have all the information you need to decide which one or two of these lenses you definitely ought to own, if not all of them!
Nikon Z 17-28mm f/2.8 Review | Specifications
- FOCAL LENGTH & ANGLE OF VIEW: 17-28mm, 104° to 75° (full-frame)
- LENS MOUNT(S): Nikon Z full-frame mirrorless
- APERTURE & RANGE: f/2.8 to f/22, 9 rounded blades
- STABILIZATION: No
- AUTOFOCUS: Stepper Motor
- MANUAL FOCUS: Electronically controlled, dedicated manual focus ring
- OPTICAL CONSTRUCTION: 13 Elements in 11 Groups, 1 Super ED, 2 extra-low dispersion, 3 aspherical elements
- MECHANICAL BUILD: Metal & plastic construction, weather-sealed, antifouling coating
- MAGNIFICATION & FOCUS DISTANCE: 7.5 in (19 cm), 0.19X magnification
- FILTER THREADS & HOOD: 67mm filter threads, plastic one-piece hood
- SIZE: 3 x 4 in. (75 x 101 mm)
- WEIGHT: 15.9 oz (450 g)
- PRICE: $ 996 (with $200 instant savings)
(B&H | Adorama | Amazon)
Nikon Z 28-75mm f/2.8 Review | Specifications
- FOCAL LENGTH & ANGLE OF VIEW: 28-75mm, 75° to 32° 10′ (full-frame)
- LENS MOUNT(S): Nikon Z full-frame mirrorless
- APERTURE & RANGE: f/2.8 to f/22, 9 rounded blades
- STABILIZATION: No
- AUTOFOCUS: Stepper Motor
- MANUAL FOCUS: Electronically controlled, dedicated manual focus ring
- OPTICAL CONSTRUCTION: 15 Elements in 12 Groups, 1 Super ED, 1 extra-low dispersion, 3 aspherical elements
- MECHANICAL BUILD: Metal & plastic construction, weather-sealed, antifouling coating
- MAGNIFICATION & FOCUS DISTANCE: 7.5 in (19 cm), 0.34X magnification
- FILTER THREADS & HOOD: 67mm filter threads, plastic one-piece hood
- SIZE: 3 x 4.7 in (75 x 120.5 mm)
- WEIGHT: 1.2 lb (565 g)
- PRICE: $896 (with $300 instant savings)
(B&H | Adorama | Amazon)
Nikon Z 70-180mm f/2.8 Review | Specifications
- FOCAL LENGTH & ANGLE OF VIEW: 70-180mm, 22° 50′ to 9° (full-frame)
- LENS MOUNT(S): Nikon Z full-frame mirrorless
- APERTURE & RANGE: f/2.8 to f/22, 9 rounded blades
- STABILIZATION: No
- AUTOFOCUS: Stepper Motor
- MANUAL FOCUS: Electronically controlled, dedicated manual focus ring
- OPTICAL CONSTRUCTION: 19 Elements in 14 Groups, 1 Super ED, 5 ED, 3 aspherical elements
- MECHANICAL BUILD: Metal & plastic construction, weather-sealed, antifouling coating
- MAGNIFICATION & FOCUS DISTANCE: 10.6 in (27 cm) 0.48X magnification
- FILTER THREADS & HOOD: 67mm filter threads, plastic one-piece hood
- SIZE: 3.3 x 5.9 in (83.5 x 151 mm)
- WEIGHT: 1.7 lb (795 g)
- PRICE: $1046 (with $200 instant savings)
(B&H | Adorama | Amazon)
Nikon Z Affordable f/2.8 Zoom Lens Review | Who Should Buy These Lenses?
If you have been following the full-frame mirrorless camera & lens market for the past few years, then you probably already know a little about these lenses’ optics. The Tamron versions have been available for the Sony E-mount for a while now, and, simply put, they’re truly impressive.
All three of these lenses follow the same concept: They offer affordable, portable access to the professional standard of f/2.8. In past decades, if you wanted an f/2.8 zoom, even a third-party one, it was inevitably going to be massive, heavy, and expensive.
Third-party optics might have been a bit more affordable, but, especially in the days of DSLRs, they were still behemoths. This put most f/2.8 zooms well out of reach of most beginners and hobbyists, and even many aspiring pro photographers who struggled with justifying either the expense of the bulk.
Within the past 5-7 years, though, we gradually began to witness a shift in this space, indeed led by Tamron’s optical engineers. Now, today, there are quite a few affordable and even highly compact f/2.8 zooms on the market!
So, whether you’re a beginner or hobbyist who simply wants professional results, or you’re actually considering doing paid work sometime soon, you should be considering one, two, or even all three of these lenses…
Wedding Photography & Videography
Wedding photographers, just go buy all three of these lenses and be done with it. Or, if you are doing a bit better financially, maybe you can afford to invest in one of Nikon’s S-line alternatives to these three. We’ll talk about this more later, but for example, the legendary Nikkor Z 70-200mm f/2.8 VR S is obviously a workhorse that pays many professionals’ bills.
At a minimum, and even if you’re already a full-time professional, you should consider at least one or two of these portable, affordable optics as a way to “fill in the gaps” of your lineup, or, “cover all the bases”. Say, for example, your style of wedding photography often has you reaching for a 35mm f/1.4 prime instead of a 24-70mm f/2.8 mid-range zoom. In this case, it might be perfect to have the 28-75mm f/2.8 in your bag, instead of the much more bulky and expensive 24-70mm f/2.8, because you’re going to prefer a prime lens in this range most of the time anyway.
In fact, considering how affordable this pair is, you could own both the Nikkor Z 28-75mm f/2.8 ($896) and the Nikkor Z 35mm f/1.4 ($596) …and still have money left over compared to the Nikkor Z 24-70mm f/2.8 S ($1996).
On the one hand, yes, you do have to take better care of the non-S lenses; the Nikkor S-line is indeed built a little more “indestructible” for those of you who are rough with your camera gear. Personally, though, after 20 years of wedding photography, my wrists are delighted every time I mount a lightweight lens instead of a big chonky one. So, for me, it’s absolutely worth it to just take better care of these optics.
Portrait Photography
The same thing applies if you’re a portrait photographer; you could just buy all three of these lenses, especially if you do a wide variety of work. You can handle large groups, or create dramatic environmental portraits, with the Nikon 17-28mm f2.8. Oppositely, you can handle solo portraits, from corporate headshots to maternity and newborns, with the 70-180mm f/2.8
With portrait photography, I do strongly recommend investing in at least one prime lens that covers your most-used, favorite focal length, though. However, that just gives me a bigger reason to recommend these affordable, lightweight f/2.8 zooms! If you “break the bank” investing in a truly magnificent lens such as the Nikkor Z 85mm f/1.2 S, or the Nikkor Z 135mm f/1.8 S Plena, …then at least one or two of these f/2.8 zooms makes a lot of sense as a complement to fill out your arsenal.
Commercial & Editorial Photography & Video
If you do a lot of high-end, commercial portrait, fashion, editorial, or any such type of photography, then once again this recommendation rings true: Invest the most in whichever lens is your heavy-duty lens, and then fill in the lineup with something more compact and affordable.
In the case of high-end commercial work, it might look a little different; you might be investing primarily in the Nikkor Z 24-70mm f/2.8 S or the Nikkor Z 70-200mm f/2.8 S, and then adding, say, the Nikkor Z 17-28mm f/2.8 to cover a focal range that you simply don’t use as much.
Architecture & Real Estate Photography & Video
Here is where we can start to make some specific recommendations… if you do a lot of professional or amateur work with architecture, then the Nikon Z 17-28mm f/2.8 makes an excellent choice.
You might consider the Nikon Z 14-24mm f/2.8 S instead, because the optics are truly superb and 14mm is quite a bit different from 17mm. However, for anyone concerned about either price or portability, just know that you will be quite impressed with the 17-28mm f/2.8. If anything, should you ever become a full-time professional real-estate photographer, you should always own a backup anyways!
Candid & Street Photography & Video
For everyday, casual photography, either the Nikon 28-75mm or even the Nikon 17-28mm f/2.8 are excellent choices. Even more so than their S-line siblings, indeed, because for candid, everyday photo & video imagery, you’ll be glad to have the more compact, lightweight lens.
A more “diminutive” lens not only makes you more inclined to actually take your “professional” camera with you when you go places, but it also helps put your subject at ease. So, whether it’s a much-anticipated family vacation, or it’s just an everyday outing to get ice cream or coffee with family or friends, I’d rather have one of these two f/2.8 zooms. (Or one of Nikon’s similarly compact & affordable primes!)
Action Sports & Wildlife Photography & Video
I can strongly recommend the Nikon 70-180mm f/2.8 for these genres, with only two minor caveats. The good news is, this Nikkor optic is incredibly sharp throughout its entire zoom range, and the autofocus is very fast and reliable. Especially on a current-gen AF system such as in the Nikon Z6 III or the Nikon Z8; you will not be disappointed.
The only real drawback is that once you get to the telephoto focal lengths, in-camera stabilization tends to be less effective than lens-based optical stabilization, which the 70-180mm lacks. So, if you do spend a ton of time working in shaky and/or extremely dim lighting conditions, it might be worth it to invest in the flagship S-line 70-200m f/2.8 VR.
The other drawback, of course, is that if you’re doing wildlife photography of very distant subjects, then, suddenly 180mm is of course not nearly enough. You’re going to want to invest in a much longer “big gun” telephoto lens! Still, the same logic applies as with my “fill in the gaps” theory in other photography genress: If you’re almost always using a longer, bigger, more expensive telephoto lens, then actually, the 70-180mm f/2.8 makes perfect complementary sense.
Landscape & Nightscape Photography & Time-Lapse Video
As an adventurous type of landscape photographer, I often find myself backpacking and hiking very far from any roads. This means that portability is just as important to me as image quality.
I went on a 3-day backpacking trip with the Nikon Z8, paired with just the Nikkor Z 17-28mm f/2.8 and the 70-180mm f/2.8, and I could not have been happier with the range and performance of those two optics!
If you lean a little more heavily towards nightscape photography, then maybe investing in the Nikkor 14-24mm f/2.8 S could be a better choice; that lens is, after all, the most lightweight and compact 14-24mm f/2.8 lens ever made. Considering the more-than-double price tag of the 14-24mm f/2.8, I think I have to give the nod to the 17-28mm f/2.8 in terms of superior value, for those who do prioritize portability.
Nikon Z Affordable f/2.8 Zoom Lens Review | Pros & Cons
We’re only going to briefly discuss the nerdy, technical details of these three lenses, because there are already innumerable lens reviews available for these individual optical formulas. Suffice it to say this: They’re all incredibly sharp, and the overall image quality is excellent, with only minor drawbacks that are actually very common among mirrorless lenses.
Unique to these Nikkors, compared to third party and other name brands, of course, is the physical design and build quality, which we will discuss as well…
Image Quality
The age of these three optical formulas, from oldest to newest, is as follows: The 28-75mm, 17-28mm, and 70-180mm. In judging the overall image quality of each, we can say that they’re all excellent, but the 28-75mm f/2.8 does show a bit of its age. Conversely, the 70-180mm does deliver slightly more impressive results.
However, you really have to pixel-peep a high-resolution image to really find anything to complain about. Most photographers and videographers will consider all three of these optical formulas to be superb.
Sharpness
As I have been demonstrating, all three Nikkor f/2.8 zooms offer excellent sharpness throughout their zoom ranges, even wide-open at f/2.8. There is some loss of sharpness in the extreme corners, especially for the oldest (optical formula) of the trio, the 28-75mm. However, even that is minimal, and by simply hitting f/4 or f/5.6 you’re going to see impressive results corner-to-corner, the entire way from 17mm to 180mm.
Of particular note is this useful fact: The 17-28mm, at 28mm, is more than sharp enough that I never hesitate to “bump” it into DX crop mode for candid situations at a wedding. The same goes for the 70-180mm f/2.8; anyone who thinks they might miss 200mm, just know that if you’re doing candid images on a ~45-megapixel sensor, you’re going to feel like you actually have 270mm at your disposal.
Bokeh
The trio once again delivers beautiful results across the board here; background blur is smooth & soft. I don’t recommend making a habit out of framing your portrait subjects with lots of chainlink fencing or dead twigs in your backgrounds, of course. All in all, I’m impressed that such small optics are delivering such professional imagery.
Colors & Contrast
Despite not being S-line optics, and thus omitting the “exotic” Nano and other lens coatings, the three Nikon f/2.8 zooms deliver clear, crisp, vibrant images. I didn’t feel any lack; straight out of the camera you’ll get beautiful results, especially if you take the time to choose a Picture Control setting that suits your scene/subject.
Vignetting & Distortion
Here is where virtually all modern mirrorless lenses earn a minor complaint from me. This is not something unique to Nikkor optics, indeed it is something I’ve witnessed from literally every brand of lens. That is, the built-in optical correction profile is “hiding something”, just a little bit.
Most photographers and videographers should just check to make sure the in-camera optical corrections are turned on, and leave it that way. You’ll enjoy near-zero distortion from all three lenses, and vignetting is relatively subtle and aesthetically pleasing.
However, if you’re doing some highly technical work, especially at extremely high ISOs, then you might need to turn off the in-camera distortion correction to avoid a nasty banding pattern.
Or, if you’re really pushing the envelope in terms of dynamic range and shadow recovery, the built-in vignetting correction might reveal some “wonky” corners: you could see shadow detail turn to “mush”, or in the case of extremely smooth, neutral-colored subjects, you might see a warm-to-cold shift from center-to-corner. This is just something to be aware of; like I said this is present on virtually all modern mirrorless lenses, unfortunately. Thankfully, only the most extreme photography conditions and obsessed pixel-peepers will notice anything.
Sunstars & Flare
With their simple, nine-blade apertures and relatively simple optical formulas, both sunstars and flare are quite pleasing on all three lenses. Of special note is the fact that the wide-angle zoom delivers excellent 18-point starbursts when stopping down to f/8-22. (There are two examples in this review, if you can find them!)
Oppositely, for the portrait photographers using the 70-180mm f/2.8, you’ll find that the warm haze of portrait flare is quite nice, and flare “dots” are minimal, usually nonexistent unless the sun is virtually in the image frame itself.
Color Fringing, Aberration, Coma & Astigmatism
Most budget-friendly optics used to perform absolutely terrible in this regard, with generally terrible performance especially at their fastest apertures. This is no longer the case! For you nightscape & astro-landscape photographers, the coma & astigmatism performance of the 17-28mm f/2.8 is truly impressive; it’s virtually nonexistent. Oh, and field curvature is also near-zero, too; you’ll get almost perfectly tack-sharp stars if you find the right balance of where to focus in the frame.
Portrait photographers, on the other hand, will find that all three lenses deliver impressive results in terms of minimizing color fringing, chromatic aberration, and ghosting. There is an in-camera correction happening, of course, and you’ll want to leave that setting on.
Macro & Close-Up Photography
Last but not least, all three of these lenses offers a respectable close-up capability. It’s nowhere near dedicated macro in terms of actual magnification, but at least you’ll be able to get quite close-up to most subjects with any lens in the trio.
In other words, whether you’re a wedding photographer or a nature photographer, you probably will not need to purchase a dedicated macro lens, unless that really is something that you’re passionate about.
Design & Durability
The physical, mechanical design of these lenses is worth inspecting closely, since they are uniquely Nikkor. Simply put, the build quality feels excellent. I am hard-pressed to “feel” a difference compared to an S-line optic, aside from the fact that they’re more lightweight and compact. The design and materials may not scream “S-line” flagship, but the overall handling is still sturdy and, as I mentioned, all three lenses should stand the test of time as long as you take decent care of them.
All three lenses have weather sealing, and metal mounts, which is awesome to see in any sub-$1000 lens, let alone an entire set of f/2.8 zooms!
My only minor complaint about the overall design is the same one I had with Tamron’s optics: In terms of switches and buttons, these are no-frills lenses. There’s no AF/MF switch, and no L-Fn button. I never valued the LCD display that the S-line “holy trinity” offered, but some professionals may lament its omission on these three.
Honestly, though? For the value, none of these things cause me to lessen my strong recommendation for these three lenses.
Focus Breathing & Zoom Balance
For videographers, you’ll be delighted to hear that more complicated, often disappointing metrics such as focus breathing are relatively minimal on all three of these lenses. It’s not zero, but it’s not horrible, either.
The Nikon 70-180mm f/2.8 does extend a little bit when zooming in, but the weight balance isn’t too terrible. (And you’re not likely to be mounting that tele zoom on a gimbal, either.)
The Nikon 28-75mm f/2.8 also extends a little bit, but again, the weight shift is minimal and you’re not going to put a gimbal off-balance as long as it’s strong enough for a full-frame rig in the first place.
The Nikon 17-28mm f/2.8 is effectively internal with its zooming, and its balance remains excellent throughout the zoom range.
Ergonomics & Portability
All three of these f/2.8 zooms are record-setting in terms of full-frame portability. There’s no better way to describe the ergonomic experience except to say this: you’ll feel like you’re working with an f/4 zoom!
Some photographers claim to prefer the heft of bigger, longer lenses when working with flagship camera bodies such as the Nikon Z9 and Z8. Personally, I’m always a fan of lighter, smaller lenses. Also, I suspect that the people most likely to buy any (or all) of these three f/2.8 zooms will be currently using (or shopping for) a Nikon Z5, Nikon Z6 III, or maybe a Nikon Z7 II. In these instances, the balance with these portable f/2.8 zooms is a dream come true.
Autofocus Performance
Apparently harnessing Nikon’s proprietary AF motor technology, each of these three lenses has nearly silent stepper motors that are fast, snappy, and precise. The S-line f/2.8 zooms may indeed be a little bit faster, with bigger and/or multiple stepper motors in each lens, but quite honestly you’ll be hard-pressed to measure a difference.
Manual Focus Performance
All three of these lenses have dedicated manual focus rings, which by default perform MF operation when you switch the camera from AF to MF. You can also program these rings to do other things, such as control the lens aperture, when the camera is not switched to manual focus. Unlike some Nikkor primes or S-line zooms, however, you do not get both at once. (For example, the Nikkor Z 14-24mm, 24-70mm, and 70-200mm f/2.8’s all have both a dedicated MF ring and a dedicated “control ring”.)
Unique Zoom Ranges
There is one more thing that all three of these lenses have in common. Of course, that is, each lens has a noticeably lesser zoom range than its more exotic flagship f/2.8 counterpart. If this is your concern, here’s what I have to say to you in particular: I never found it to be a real problem.
Honestly? If anything, not having 24mm on the wide end of the mid-range zoom actually causes me to pay more attention to the exact framing of my photos! Out of all the times I’ve found myself “bumping into” the wide end of either the 28-75mm or the 17-28mm, I believe that every single time, my results turned out okay, and sometimes they were even better! (Admittedly, I did stitch a few sweeping landscape scenes here and there, too. But I do that with virtually every lens I use, too.)
Value
This is where Nikon absolutely takes the cake You’re getting name-brand quality, at an unprecedented price. Especially for f/2.8 zooms, mirrorless camera users have never had such a unique proposition.
Only very recently have other name brands begun creating their own versions of affordable, portable f/2.8 zooms, which we’ll talk about next, of course.
Either way, the value is definitely my number one reason for recommending any of these three lenses. You’re simply not going to find a better overall value anywhere else. Some might ask, “well, what if Tamron or Sigma makes a similar optic for the Nikon Z-mount, and charges a little bit less for it?” That’s a fair question, but I need only point to the massive savings versus Nikon’s S-line optics, and in my opinion the value is still there.
Third-party options always take at least some small hit to the value because of the complications they add in terms of seamless operation, service, repair, and customer support. In other words: even if I could get a Tamron, Sigma, or Roki-Yang optic for a little bit less, I’d still call these Nikkors an equal or superior value, because they are truly native to the system.
Nikon Z Affordable f/2.8 Zoom Lens Review | Compared To The Competition
First, let’s acknowledge that Nikon does have their high-end professional f/2.8 zoom lenses, all of which cost a pretty penny: If you’re a full-time pro who is getting paid to do quality work, then you might want to consider at least one of the following alternatives:
- Nikkor Z 14-24mm f/2.8 S ($1996)
- Nikor Z 24-70mm f/2.8 S ($1996)
- Nikkor Z 70-200mm f/2.8 VR S ($2196)
…With that being said, clearly you can see that any one of these lenses costs more than double; that’s over a thousand dollars more expensive than its little sibling. Is it $1000 more sharp? No. Is it $1000 more fast/precise to focus? No. Is it $1000 better in any one (or two) measurable ways? Not really.
The only way one lens costing more than double the price of another is of value is, if you require virtually everything that it has to offer: the superior zoom range, the indestructible build quality, the features & customizations, and of course the truly exotic, Nikkor-engineered optics.
With that being said, what about other options? You might be considering various other lenses that aren’t really equivalent to these, but offer something similar. If you’re an adventurous traveler who goes on lots of vacations, and just wants one lens that never leaves the camera, then the Nikkor 24-120mm f/4 VR S costs about the same, and is an S-line optic! If you’re mainly a nature & wildlife photographer, then the Nikkor 28-400mm is also $996.
I’ll save you the trouble and just say this: Figure out what your primary focus is as an artist, and then decide if you can afford to invest in the absolute best optic in that range, or if you need to cover an entire range within a specific budget.
Inevitably, you’re probably going to end up owning at least two or three Nikkor lenses, and suffice it to say, there’s a decent chance that one or two of these lenses will be in that collection.
Before we wrap up, I do want to mention the competition from other systems. If you’re brand-new to photography and still haven’t decided on a camera/lens mount yet, here’s what you need to know:
- Sony’s mirrorless E mount has been around the longest, and there are quite a few portable f/2.8 zooms available for it, including these lenses’ original optical formulas but under the Tamron badge. There’s also a couple interesting Sigma options, and Sony themselves have just begun creating a few uniquely ultralight, compact f/2.8 zooms, however they are a bit more expensive.
- Canon’s mirrorless RF mount has just recently announced a couple “affordable” f/2.8 zooms as well, although I suspect they are optical formulas from Sigma. Once again, they’re a bit more expensive than either these Nikkors or the third-party options.
- Sigma and Tamron currently do not make any portable f/2.8 zooms directly for either Nikon or Canon, as far as I know. (Feb. 2025)
- Panasonic/Sigma/Leica’s L mount has the same Sigma options, of course.
- The 70-180mm f/2.8 optical formula is unique; nobody else is offering a lightweight, affordable f/2.8 telephoto zoom!
In my opinion, the value of the Nikon system is just one of the best on the market. Nowhere else can you so easily “get your foot in the door” of professional features and performance; for example, the 70-180mm f/2.8, mounted on a Nikon Z5. …Then, Nikon’s budget-friendly value has one of the most seamless transitions to the high-end exotic options; you just never feel like there are huge gaps in their lineup that leave you either struggling to make do with whatever you can afford, …or paying too much for something you don’t actually use to its full potential.
That’s why I prefer Nikon myself. I just always feel like there’s something that’s relatively perfect for what I need, and what I can afford.
Nikon Z Affordable f/2.8 Zoom Lens Review | Conclusion
Today, we are finally beginning to see many of the types of lenses that I have personally desired for many years. I always wanted lightweight, compact f/2.8 zooms, and it frustrated me that only the “serious pros” who were willing to lug around a “heavy monster” of a lens had access to such stunning results, especially on those extremely long days, whether at a Hindu wedding or off in the mountain wilderness.
I am thrilled to see all of the recent newcomers to this space, both name-brand and third-party; it’s just exciting all-around. I strongly encourage every photographer and videographer to consider such lenses first and foremost, whether they’re just getting started or they’re serious but looking for something portable. Either way, you will recognize the value immediately!
Sure, we all have that one focal length or range that we absolutely love, and we might want to invest a lot more in one particular area. However, the Nikkor lineup covers those options quite thoroughly as well, and in my opinion it only increases the need for high-value, professionally capable optics in other focal length ranges.
All in all, I honestly think that almost every photographer would do well to consider at least one, maybe more, f/2.8 zoom lens(es) in this impressive trio.
Check Pricing & Availability
The various savings opportunities that seem to happen throughout each year are currently available, with a staggering $700 total off if you happen to purchase all three of these excellent f/2.8 zooms! If these rebates/savings aren’t currently available when you’re reading this review,
