Unveiling the Mystery: The Disappearing Act of Nikon DX Lenses

The introduction of the new Nikon Z50 II appears to have been quite successful for Nikon. It is a camera that combines some of the full-frame flagship Z9’s capabilities into a crop-sensor framework, and it may even satisfy those photographers who have been eagerly awaiting a true D500 alternative, albeit temporarily.

However, there’s a query that more and more photographers are raising: where are the quality Z DX APS-C lenses?

Well, there’s nothing fundamentally flawed with the Z DX (APS-C) models that have been released thus far. The Z DX 12-28mm f/3.5-5.6 PZ VR, Z DX 18-140mm f/3.5-6.3 VR, Z DX 16-50mm f/3.5-6.3 VR, and Z DX 50-250mm f/4.5-6.3 VR zooms all provide good to very good outcomes, and regarding framing, users have received full-frame equivalents from 18mm to 375mm. Simultaneously, the Z DX 24mm f/1.7 stands out as a charming little prime with decent low-light performance. All these options are light, compact, and appropriate for the cameras they are designed for.

Yet, none of them are particularly appealing, are they? They lack speed and are not categorized as S-Line lenses, which Nikon itself designates as the zenith of its optical craftsmanship and standards.

Nikon has made significant progress in expanding its Z FX full-frame lens collection, but when you recognize that there are merely five first-party models for DX bodies that have existed since 2019… Yes, it’s reasonable to be taken aback.

You might wonder: why would they put in the effort? Why create faster, higher caliber, pricier lenses when the logical move for photographers seeking such features is to transition to full-frame bodies? Perhaps that’s their marketing approach, and naturally, Z FX lenses can be utilized on Z DX bodies, albeit with cropping. However, this overlooks the remarkable history of DX format DSLR lenses we previously enjoyed, alongside the fact that, as previously pointed out, many photographers yearn for pro-level APC mirrorless cameras and lenses.

Looking back, despite its age, many photographers cherish memories of the AF-S DX 17-55mm f/2.8G IF-ED, a robust standard zoom that was a fantastic companion to cameras such as the D300. Even with its variable aperture, the AF-S DX 16-80mm F2.8-4E ED VR remains a brighter alternative than what we currently possess.

An advancement of the much-appreciated AF-S DX 35mm f/1.8G would be a highly sought-after enhancement, offering near-standard framing on DX format bodies, at significantly reduced weight, size, and cost compared to acquiring the latest Nikkor Z 35mm f/1.4. Why not also consider the AF-S DX Micro 85mm f/3.5G and AF-S DX 40mm Micro f/2.8G?

Indeed, the Nikon Z DX market is largely catered to by third-party providers, but even so, a revision of Sigma’s 18-35mm f/1.8 DC HSM Art would be greatly appreciated, even if it results in an increase in size and weight. That lens has frequently been highlighted as a superb partner for cameras such as the D500.

The 10-20mm f/4.5-5.6 DX VR AF-P may still be a variable aperture lens, but it offers an imperative 2mm extension on the short end for landscape photographers, equating to a 15-30mm equivalent.

At present, the optimal option for Nikon Z DX users might be to consider Sigma’s collection of fast primes, comprising the 16mm f/1.4 DC DN Contemporary and 56mm f/1.4 DC DN Contemporary, which have been accessible for Z mount cameras for a while. The assumption is that, by permitting them on Z mount, Nikon has no intentions for its own fast DX primes. But hopefully, something remarkable will emerge when the Nikon Z500 is unveiled in Spring 2025, hint hint.

---

The opinions expressed in this column do not necessarily reflect those of Amateur Photographer magazine or Kelsey Media Limited. If you have a viewpoint you would like to contribute regarding this subject, or any other photography-related topic, please email: ap.ed@kelsey.co.uk

---

Follow AP on Facebook, X, Instagram, YouTube and TikTok.