Looking to lighten your kit from a bag full of Nikon or Canon lenses?
After over 40 years in travel photography, I’m all too familiar with lugging around a heavy bag of lenses to cover every possible scene I might want to capture. So what makes for the best travel lens? A 50mm lens, or the classic “nifty fifty,” is a staple in any kit because it offers a perspective close to the human eye. I own the f/1.2 version, which produces stunning results, but it does have its limitations.
Personally, I prefer using a 60mm lens that opens to f/2.8 and also doubles as a macro lens. This allows me to capture the exterior of a café, zoom in on the intricate details of a signature cappuccino, and perhaps even snap a portrait —all with a single lens, without any loss of quality or speed.
However, when it comes to broader location shots, like a cityscape, I often find myself needing to switch to a wide-angle lens. For architectural details or capturing people from a distance, a 70-200mm lens is essential. That’s already a minimum of three lenses and possibly two camera bodies. Even with a belt system, it’s still a lot to carry.
Some might suggest just using a smartphone, which I do occasionally, but that’s more for quick social media posts rather than for anything intended for publication or print.
In the past couple of years, I’ve been looking to streamline my travel gear and found a solution in the Nikon 28-300mm ED VR lens. Priced at under $1,000 used, this full-frame, well-built lens has an aperture range of f/3.5 to f/5.6, depending on the focal length. It covers most of the focal lengths I typically use, except for the extremes like ultra-wide landscapes (14-28mm) or wildlife shots (400mm+). Canon have the equivalent lens with the same specs
For general travel use, the 10.7x zoom ratio is ideal. Plus, since Nikon no longer produces this lens, you can often find it at a good price. It works perfectly with both mirrorless and DSLR bodies—I now use it with my Z9
Lens Build
I’m not expecting the same quality as a professional prime lens or a shorter-range zoom, but there comes a point where having a lens that’s immediately ready to go is more important than missing a shot while swapping lenses. In terms of speed and convenience, this lens is a great option.
The only downside is that it’s prone to lens creep. While it has a lock at 28mm, if you’re shooting straight down, the lens can creep down to 300mm. I found a simple fix by placing a wristband on the focusing ring to hold it against the body and prevent any rotation. Even though it’s a push-pull lens, I’ve taken it on several dusty trips to Africa without any signs of dust getting inside, thanks to the effective rubber seals.
The lens itself feels robust, weighing in at 800g, with a wide front element that takes a 77mm filter. It houses 19 elements in 14 groups, including 2 ED glass elements and 3 aspherical ones—so it’s not skimping on quality glass. I always use a B&W UV protective filter for added protection.
Usage and Versatility
In this review, I’ll explore the quality of images this lens can produce and how versatile it truly is, helping you decide if it’s worth saving both your wallet and your back. While I still bring some of my other lenses for specific assignments—like a fashion shoot in Seychelles or London—for casual shooting or when I want to keep a low profile, I leave those back at the hotel.
Note: The images featured in this review have not undergone any distortion control, either in-camera or in post-production.
Field Test
28-38mm – The Wide Angle Results
Let’s begin by examining how the lens performs at its widest focal length. Typically, I would expect some edge curvature distortion and possibly chromatic aberration, especially when shooting wide open. However, these edge distortions can sometimes add a creative flair to your shots.
f/3.5
Even when shooting at f/3.5, mostly due to weather conditions, the lens still holds up well. Here, I captured uncorrected street scenes and skyscrapers in Hong Kong, while the shoreline in the Netherlands has been corrected.
This landscape shot from Kenya shows noticeable vignetting, but it’s easily corrected in Lightroom. Ideally, you’re shooting in RAW anyway, so adjustments like these are straightforward.
And lastly, a creative indoor shot of a cheese factory in Amsterdam. Even at f/3.5, the lens delivers impressive depth of field, setting the stage beautifully—a capability often underestimated in wide-angle lenses.
Tip 1
Lenses behave differently at various focal lengths, even at the same aperture. At 28mm, you’ll achieve greater depth of field and better background isolation. Conversely, at 200mm, the background subjects and depth of field are more compressed.
f/5.6
Around f/5.6, vignetting improves significantly. A shot of lions in Kenya at 38mm showed no issues. I easily corrected minor vertical distortion in an interior shot in Lightroom (focused at 5 meters). The wider cityscape of London (focused at 9.44 meters) presented no problems.
Tip 2
Understanding lens curvature allows you to emphasize elements in your shot, like making a curved building appear more rounded or close up subjects look bigger in comparison to ones further away.
f/8
At f8 a rainy street scene in Hong Kong showed only minimal image quality issues. By contrast a closer vertical shot of the London Underground sign showed visible curvature on the buildings around it, but no other issues were evident. Overall as a travel lens the performance is good so far.
Under the same conditions, a prime lens or a shorter-range zoom might offer about a 20% improvement in image quality. Vertical lens distortion along the doorframe left uncorrected for demonstration purposes.
f/22
At f/22, the lens excels at creating creative depth of field and motion blur effects, as demonstrated in this shot of a merry-go-round.
Summary
Although not specifically designed for landscape or interior use, this wide-angle lens performs exceptionally well, especially around f/8. Any curvature distortion around the edges, particularly in images with strong vertical lines, can be easily detected and corrected in Lightroom with a single click.
35mm to 70mm – The Standard Range
Shots in this range offer a perspective like the human eye (about 60 degrees, excluding peripheral vision), giving them a natural, walk-around feel. Distortion is minimal at these higher focal lengths, especially around 60mm. At 35mm, geometric distortion is at its lowest with this lens.
f/4
A vertical shot taken in Kenya at f/4 and 40mm displays noticeable vignetting, but this can be easily corrected. Additionally, the depth of field at this focal length and aperture is quite impressive.
A street scene in Hong Kong actually benefits from the vignetting, enhancing the dynamic, enclosed feel of the shot. Handholding at night and shooting at f/4.5 is manageable with this lens.
f/5.6
When shooting closer to 50mm with the aperture set around f/5.6, the results are excellent with minimal distortion. This flexibility is great for a wide range of viewpoints, particularly if you’re aiming for a documentary-style collection. For example, landscapes in Alberta and cityscapes in London are well-framed thanks to the zoom capabilities.
Tip 4
A powerful zoom travel lens like this facilitates easy composition and framing, allowing you to transition smoothly from wide cityscape shots to detailed close-ups. Just remember that depth of field will vary with focal length, so adjust your aperture accordingly.
f/6.3
In the 38-70mm range, f/6.3 brings the lens closer to its sweet spot. The lens captures subjects cleanly under various conditions, with minimal to no distortion. For instance, a portrait of an organic gardener in Kenya at 65mm has a nearly wide-angle feel, which is perfect for setting the scene and giving a more environmental look.
Tip 5
At f/6.3, the lens is several stops from wide open, by f/8 vignetting is substantially reduced across all focal lengths. Some vertical edge distortion may still be noticeable.
f/9 and Above
Typically, I use apertures around f/9 or higher for capturing landscapes and cityscapes in full daylight or with a tripod at dawn/dusk. Generally, closing a lens too much can lead to less-than-optimal performance, so f/13 is preferred over f/20. Here is an example showcasing this approach.
100mm to 200mm
This focal range is highly versatile for various subjects. At 120mm, it’s particularly effective for portraits, especially head and shoulder shots, allowing you to maintain a comfortable distance from your subject while achieving a flattering, natural perspective on facial features. This range is also handy for close-ups when you can’t get physically closer. For instance, I used it to capture an EIIR sign on a gate where crowds prevented me from getting nearer.
Additionally, this range is great for capturing distant landscape and cityscape features. Examples include shots of Berlin, London, and Hong Kong.
f/5.6
This aperture provides good results across the range, offering clear images with minimal distortion.
f/9 and Above
Perfect for tripod shots especially at dawn or dusk where you want to pick out details
While not ideal for wildlife photography the range can work well if you’re lucky and don’t need a longer lens. However, even at 200mm, strong vertical lines can exhibit some distortion. For example, stone columns may bow out on one side, as seen in the left image, while being corrected in the right image
200-300mm
At these focal lengths, the lens faces its toughest challenges. Environmental factors like haze can affect image quality, and you’ll need to use higher shutter speeds to counteract camera shake.
Most of my shots in this range are of wildlife or buildings. To maintain high shutter speeds, I often shoot wide open at f5.6, rather than at the lens’s optimal f/8. When on safari, I typically switch to my 200-400mm f/4 lens once I reach 250mm.
If you have a high res back there is plenty of quality especially around the center of the frame for you to crop in.
Conclusion
Positives:
- Compact and sturdy design
- Lightweight and low profile
- Affordable compared to three separate zoom lenses in the same range
- Versatile for all types of subjects
- VR setting (though I prefer not to use it)
- Lens lock button at 28mm
- Close-up focus at 1.6 feet provides 1:3 reproduction
Negatives:
- No longer in production
- Not professionally weather-sealed
- Prone to lens creep
- Not exceptionally sharp
- Relatively slow compared to shorter-range zooms
If you can find this lens in good condition on the second-hand market, it’s worth considering. It performs well across a variety of subjects and lighting conditions. Personally, I’ve only occasionally felt the need for a faster lens or one with a different focal length.
You might need to adjust your ISO settings to compensate for the aperture, particularly at 300mm. Adding a touch of post-production sharpness and vignetting correction can also help address some of the lens’s limitations.
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Technical Notes:
Nikon D850, 45 MP
Mostly Aperture Priority, Shutter Priority, and Program modes
Target ISO 400
No camera support used except for interior shots taken at f/9