Optical Review Blog No. 57 – AF Nikkor 20mm 1:2.8D – Alex Luyckx

Alright, I said I wasn’t going to get one of these, well, specifically an autofocus version of the Nikkor 20mm lens. The Minolta one solidified my enjoyment of the 20mm focal length, and I was passively looking for a manual focus lens, either AI or AI-S, because then it would work on all my cameras without fail. But I also don’t turn up my nose to a lens when offered. And well, here we are, the 20mm f/2.8D. I do like my wide-angle choices, and the 20mm offers up a nice in-between when 24mm isn’t wide enough and 14mm is too wide. And I don’t want to carry the beast of the 14-24mm, that’s where this sits. The 20mm f/2.8D traces itself back to 1967 with the release of the Auto Nikkor-UD 20mm f/3.5, with a compact offering with the 20mm f/4 in 1974 (available in pre-AI, AI and AI-S). The direct ancestor entered the market in 1984 with the AI-S Nikkor 20mm f/2.8, which was subsequently replaced by a first-generation autofocus in 1989, followed by the D-Type in 1994.

Lens Specifications
Make: Nikon
Model: AF Nikkor 20mm 1:2.8D
Focal Length: 20mm
Focal Range: ∞ – 0.25m
Aperture: f/2.8 – f/22, 7 Blades
Structure: 12 Elements in 9 Groups

Optical Review Blog No.57- Nikon AF Nikkor 20mm 1:2.8D — While most of the heavy distortion has been fixed, you can still see a bit of it with the edges.
Nikon D750 – AF Nikkor 20mm 1:2.8D

Build Quality
Like any lenses of the era, the 20mm f/2.8D is a solidly built lens, all the internals are of metal, only the exterior of the lens is in a plastic shell. One note is that the filter ring is metal also (58mm filter size) with a bayonet styled hood (Nikon HB-4). The lens also features a focusing ring made of a checkered material that is free and focuses easily when in manual mode and the standard aperture ring with good click-stops. Surprisingly with the construction the lens is far smaller than I would expect and has good balance on all my Nikon AF cameras and doesn’t throw off the center of gravity or add too much extra weight. The one thing I do note is that the front element is sunk decently into the front of the lens offering a bit of protection from unintended glances or hits but I tend to keep a cap on this one to add that protection when out. Because of the wide-angle nature I wouldn’t recommend stacking more than one filter, go with thinner options (they cost extra but are worth it).

Image Quality
One thing I’m going to note is that my copy of the lens has developed some haze, which is notable when there are strong light sources. Things act a little foggy, especially on digital sensors. It’s not as noticeable with film. This appears to be a problem with some copies of this lens as I’ve now seen a couple of other photographers mention it online. With that aside, I won’t be factoring this into the review beyond noting that it’s present in most images. The one thing I found is that, with the test chart, the distortion is not too bad, and with automatic correction, it is manageable. You can see it more clearly in the aperture test shots because I’m closer to the subject. While the lens is not equipped with aspherical elements, you do get some correction already in the optics. The most you’re going to find is heavy distortion around the edges and at the corners. When shooting wide-open, you’re going to see severe fall-off and vignetting at your corners. You aren’t seeing it here because the automatic correction fixed that issue in post-processing. It is still slightly noticeable at f/4, but all but gone once you’ve stopped down to f/5.6. The one thing you’ll notice is that there’s nothing special or unique about the out-of-focus elements. However, the rendering is pleasant with nothing too distracting, but these are the lenses you don’t shoot for that out-of-focus rendering, because you’re going to get that increase in your depth-of-field as you stop down. Another note is that the lens is sharp right off the bat. Even at f/2.8, it performs well, although I would put the sweet spot between f/5.6 and f/22.

Applications
The two applications that I use this lens for are architecture and landscape. These two options are where the lens shines. I like it because it’s a bit wider than a 24mm, which might not offer up my vision for the scene, but not overly wide with the 14mm, which might make me lose some context. You can show off the big picture on landscapes, which is how I like to compose my landscape work. For architecture, it is again great because of that nice, not as wide as 14mm, to let the scene get lost, but it gives you that little bit extra that you don’t have or cannot get with the 24mm. For exterior work, it is the same for me, but it also works great in a narrow setting when I need that extra room to get the whole building, or even to let the subject breathe and show off the structure’s context. Beyond that, because it is an f/2.8 lens, it would also work for low-light situations, such as events and large-group photos in a limited space. Also, the addition of flash is far more seamless because it transmits distance information. It is fun for concerts and for getting in close on the dance floor at wedding receptions, with a bit of direct flash for some interesting looks. Also, while not my favourite, a bit of extreme environmental portraiture where you want the environment to stand out over the subject, or get in close for some avant-garde portraiture if that’s your thing. And your model is okay with some distortion to their facial features. Another more interesting thing about this lens is getting a nice 40mm equivalent on a Nikon DX sensor DSLR, or a compact, lightweight ultra-wide on a full-frame camera, when you don’t want to lug around the massive 14-24mm f/2.8G.

The Low Down
Here’s the thing: for me, this lens wasn’t a need; it was a want, pure and simple. And honestly, I don’t care which 20mm Nikon lens I got, I would have been happy with an older manual focus AI or AI-S model, but this one landed in my lap and I’m somewhat satisfied with it. These days, lens prices vary, so make sure to check the descriptions when buying online. For lenses in good condition, you’re going to pay between 180-210$ on the used market; ones with problems are still fetching around 130-150$. There are ones that come with all the extras —boxes, caps, hood — that are over 250$, so in the end it’s all about how much you are willing to spend. Stick to the ones around the 200$ range for the best bang for your buck, and always make sure to buy from a trusted source. While this won’t always be a top choice for everyday use, I can see it being handy on trips when I want an ultra-wide but don’t want to bring a beast of a lens or one that costs a fair bit more (read my 14-24 or 14mm options). Plus, the small, compact size means it doesn’t take up too much room in my camera bag, making it easier to bring additional lenses as I see fit. Overall, it’s a great lens and gives a less-expensive ultra-wide option for those who think wider is overkill.