More Indepth Look On Nikon Lens

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DX Lens
Nikon digital SLR cameras all use a sensor that is smaller than 35mm film, but the cameras themselves accept standard 35mm format lenses. The decision by Nikon to use a “cropped” sensor in its digital cameras can be debated ad nauseum as to its merits; depending on their subject, photographers either loved or hated the smaller sensor format.DX Lens
While the gains in apparent focal length on telephoto lenses were praised by nature shooters, the downside of this “crop factor” was that now your 17-35mm lens lost its “super-wide” ability and became a pedestrian 26-52mm lens. Many early adopters of digital flocked to their local camera shops to purchase the large (and rather expensive) 14mm Nikkor lens. .
Until late 2004, the Nikkor 12-24mm DX lens was pretty much a digital shooter’s only choice for an 18-36mm film equivalent angle of view.
Enter the Tokina AT-X Pro 12-24mm f/4.0 DX, the Tamron SP 11-18mm f/4.5-5.6 Di II, and the Sigma 10-20mm f/4.0-5.6 EX HSM. .
Nikonians was able to obtain a production-level sample of each of the four lenses from their respective manufacturers. .

THE SIGMA 12-24mm LENS
If you’re looking for a DX format super-wide lens that will let you easily use filters (the primary drawback of the Sigma), one of the four in this review is currently the only choice.

THE TESTS
We approached this review from the perspective of the Nikonian who is looking to get back their wide angle of view that they were used to with an 18-35mm or 17-35mm lens on their film body. .
Both cameras were tripod mounted and set to ISO 200, and we used aperture-priority matrix metering. We also shot some images in RAW to evaluate post-processing techniques for removing vignetting and chromatic aberration. .
The test shots were then subjectively evaluated for center and edge sharpness, chromatic aberration, and light fall-off (vignetting). .
So here, alphabetically, are our individual reviews of each of these super-wide lenses, followed by our summary and conclusions..
The APS-C sensor in Nikon digital SLRs has a “crop factor” of 1.5X. Wildlife shooters immediately liked the idea of their 200mm lens having the same angle of view as a 300mm lens. .
Until late 2004, the Nikkor 12-24mm DX lens was pretty much a digital shooter’s only choice for an 18-36mm film equivalent angle of view.
Enter the Tokina AT-X Pro 12-24mm f/4.0 DX, the Tamron SP 11-18mm f/4.5-5.6 Di II, and the Sigma 10-20mm f/4.0-5.6 EX HSM. Each of these lenses are priced substantially less than the Nikkor 12-24 DX, and appear to offer attractive options for super-wide zooms. .
Nikonians was able to obtain a production-level sample of each of the four lenses from their respective manufacturers. .

THE SIGMA 12-24mm LENS
If that’s important to you, the Sigma 12-24mm is the clear choice. .

THE TESTS
We approached this review from the perspective of the Nikonian who is looking to get back their wide angle of view that they were used to with an 18-35mm or 17-35mm lens on their film body. .
We also shot some images in RAW to evaluate post-processing techniques for removing vignetting and chromatic aberration. .
The test shots were then subjectively evaluated for center and edge sharpness, chromatic aberration, and light fall-off (vignetting). .
So here, alphabetically, are our individual reviews of each of these super-wide lenses, followed by our summary and conclusions.. To here more click on this >>>>DX Lens