If you’ve spent much time on my site before, you’ve probably noticed that I’m a big fan of wide-angle lenses. I tend to reach for them more than any other lens for my travel photography.

There are a lot of things I like about them.

For all these reasons, wide-angle lenses probably spend more time on my camera than any other type, and over the years, I’ve used a bunch of them.

So I’d argue that a wide-angle lens would easily make a strong argument to include among the best lenses for a Nikon D5600 kit. And if you’re looking to expand your lens selection to include a wide-angle lens for Nikon D5600, below are some practical suggestions of lenses that I think are worth a look.

If you just want to cut to the chase, these are the lenses mentioned in this post.

You can find much more information about them below along with some example images I’ve shot with them.

There are some things that wide-angle lenses are particularly good for:

But there are also things that wide-angle lenses are not well-suited to:

But first I want to clarify what these recommendations are and aren’t. I’m not trying to provide a laundry list of every wide-angle lens that’s compatible with the Nikon D5600. Nor am I going to recommend super-expensive lenses that, while they’ll work well, aren’t a logical pairing with the Nikon D5600. I’m also emphasizing autofocus lenses here–there are plenty of good older and manual-focus lenses as well, but those are beyond the scope of this post.

So what is a wide-angle lens? The threshold for what makes a lens wide-angle is quite subjective. You could argue, for instance, that the 18-55mm or 18-140mm kit lenses that often come with the D5600 are wide-angle. When they’re zoomed out to 18mm (which is 27mm on a full-frame sensor) they are respectably wide.

But I’m focusing on here not so much on replacing those lenses with better ones, but rather on lenses that offer something different from them so that you can get different kinds of shots. Nikon’s 16-85mm, for instance, would give you slightly more reach on both ends of the zoom, and it’s an optically superior lens, but it’s not going to be a huge difference in perspective and framing—particularly on the wide end—from the 18-55mm.

I tend to regard around 30-35mm (in 35mm equivalent) as the threshold. Lenses in the 40mm to 60mm range are often considered “normal” perspective, while anything over that heads into telephoto territory.

This has been one of Sigma’s very popular lenses for a long time. And for good reason. It was one of the first lenses to bring in an ultra-wide focal length at very competitive pricing. It’s small and compact and well built.

On a Nikon D5600’s DX sensor, the 10-20mm is the equivalent of a 15-30 on a full-frame (FX) camera. So it’s a very wide-angle lens. Or even ultra-wide, at least when zoomed out.

And it has aspherical elements. What that means is that you don’t get the heavy lens distortion that you get with a similar focal length in a fisheye lens (see below). So lines stay straight, including horizons. You do, however, get quite a lot of stretching around the edges, but that’s something you can factor into your framing and even accentuate for dramatic effect if you wish.

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Note: There’s also a ƒ/4-5.6 version which has long been discontinued but still turns up used. It’s also a good option–just a bit slower than the ƒ/3.5 version.

Here are some photos I’ve taken with the Sigma 10-20mm on various Nikon DX bodies.

This super-wide zoom lens from Nikon is unusually affordable. Like the Sigma 10-20mm, it has aspherical elements but essentially the same super-wide view.

Two features separate this version from the Sigma–one is a plus and one is a negative.

On the negative side, this lens is slower. The Sigma has a constant ƒ/3.5 maximum aperture through the zoom range. That means that the maximum aperture is ƒ/3.5 whether you’re fully zoomed in or fully zoomed out. The Nikon version has a maximum aperture of ƒ/4.5-5.6, What that means is that when you’re fully zoomed out, the aperture is ƒ/4.5, while when you’re fully zoomed in, the maximum aperture is ƒ/5.6. By itself, that would make this lens less suited to low-light shooting than the Sigma, albeit only slightly.

But then there’s the other feature, which is a big positive: the Nikon lens has vibration reduction, which means that you can get an extra 2-3 stops (at least) without shaking ruining the photo. This essentially cancels out the slower maximum aperture, and then some. Vibration reduction, or VR, is pretty unusual on lenses this wide, and especially on ones at a low price point like this one.1

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Alternative: Another good option is Nikon’s 10-24mm ƒ/3.5-4.5. It has slightly more on the zoomed-in end, has the same maximum aperture, doesn’t have vibration reduction, and yet is more expensive. But what you’re paying for here is an optically better lens, which translates to sharper images across more of the frame and less flare. Third-party manufacturer Tamron also has their own version of this lens, which is significantly cheaper than the Nikon version.

Tokina isn’t a brand that comes up as often, but this lens stands out. It has an ultra-wide 11-16mm perspective, and it’s fast, with a maximum aperture of ƒ/2.8 (and a minimum of ƒ/22). Aspherical elements help minimize lens distortions. And with an MSRP of $349, it’s very affordably priced.

If you’re after a shade more flexibility, there’s also the Tokina atx-i 11-20mm ƒ/2.8 CF (not to be confused with the Cinema version, which is a very different lens at a very different price point). It’s more expensive and also bigger and heavier.

Check current price and availability at:

A fisheye is a special kind of wide-angle lens. It combines a super-wide perspective with heavy lens distortion.

It’s a niche look. It’s very dramatic look, and it’s also easy to overdo. But it can also be a lot of fun to shoot with and create some really unique and unusual perspectives. We’ve become more conditioned in recent years to the fisheye look thanks to the widespread use of it on GoPro and action camera videos.

Nikon’s 10.5mm fisheye is small and compact. There’s no zoom–most (but not all) fisheye lenses don’t have zoom.

Fisheye lenses are especially good for:

For a specialty lens that’s relatively fast (maximum aperture of f/2.8), the Nikon 10.5mm is reasonably priced. It’s small and light and doesn’t take up much space in the camera bag.

But there’s also an important caveat to note when using this lens on this camera. And that is because the lens doesn’t have its own built-in autofocus motor–nor does the D5600 body–the autofocus will not work with this combination. You can still use the lens on this camera, but it will be manual focus and manual control. At the same time, the lack of autofocus is not as much of a dealbreaker on a fisheye lens because of the extraordinarily deep depth of field that ultra-wide fisheye focal lengths have naturally. This fisheye lens isn’t a fixed-focus lens, but it’s surprisingly easy to keep the subjects in focus.

You can find them at:

But it’s also one of those lenses that’s worth trying, but it’s not going to be one that every photographer reaches for regularly. A good way to try it out to see if it’s your cup of tea is by renting it. You can find them at LensProtoGo.

I have some more photos I’ve taken with other fisheye lenses here and here.

35mm equivalent. The focal length refers to the distance that light rays converge in focus after passing through a lens. There’s complicated math involved, but our purposes here are much simpler. The focal length of a lens denotes whether it’s a wide-angle, normal, or telephoto. And if there’s a range (eg. 24-70mm), it’s a zoom lens.

But the complication with cameras like the D5600 and other DX cameras in Nikon’s range (or any other cropped-sensor cameras, for that matter) is that these cameras use a smaller sensor than a traditional full-frame sensor (which, in turn, is based on the old 35mm film standard–that’s where the “35mm equivalent” bit comes from). And that alters the math and the perspective.

The Nikon D5600 has what’s known as an APS-C sensor, which Nikon calls a DX sensor. (They call their full-frame sensors FX.) It’s smaller than a full-frame sensor, and so you need to multiply the focal length by 1.5x. For example, if a lens says it has a focal length of 10mm, when you put it on a D5600 you’ll get a view that’s equivalent to 15mm on a full-frame camera.

On the telephoto end, that usually works to our advantage, because you get more reach. A 200mm telephoto lens, for example, gives you the practical equivalent of 300mm on a full-frame camera. But on the wider end, it works against it.

Aspherical elements used in the design of the lens work to keep lines straight and minimize distortion. Contrast that with a regular fisheye lens, where nearly every line ends up bent.2

Chromatic Aberration / Purple Fringing. The corners and edges of the frame are hard for wide-angle lenses to get right. And because of the physics of the glass, you can often end up with different wavelengths getting out of alignment or becoming unfocused (aka soft). Cheaper, very wide lenses tend to suffer from this more.

Most image editing apps these days include corrections for chromatic aberration (also known as purple fringing) that you can apply in editing, and they often do a decent job.3

DSLR vs Z lenses. The Nikon D5600 is a DSLR (i.e., digital single-lens reflex) camera. Nikon SLRs and DSLRs have for decades used what’s known as an F-mount system to connect the lenses to the camera body.

In the past few years, Nikon has launched a mirrorless camera system that they’re calling the Z series. Lenses for those cameras are known as Z-mount lenses.

For the D5600, you want F-mount lenses. While it’s possible to get an adapter to put F-mount lenses on a Z-mount body, the reverse isn’t true (i.e., you can’t use a Z-mount lens on an F-mount body).

DX vs FX. Nikon calls its full-frame cameras FX cameras, and its APS-C cropped sensor cameras DX. The Nikon D5600 is in the DX range.

It’s often simpler (and cheaper) to stick with lenses that are specifically designed for DX cameras, but it’s not a requirement. For Nikon lenses, “DX” will be in the lens name. Other manufacturers might use a different code; Sigma, for example, uses “DC”.

FX lenses are also often (but not always) bigger and heavier. Nikon’s 14-24mm ƒ/2.8G lens, for example, is a wonderful lens (you can see some of the photos I’ve taken with it here), but it’s big, heavy, and expensive. It will work on a Nikon D5600 (multiply the focal length by 1.5x to get the effective focal length on the DX sensor), but it makes the most sense on a full-frame body.

Something else I wanted to mention is that although I’m focusing here on using wide-angle lenses on the Nikon D5600 specifically, one of the great things about the DSLR system is that it doesn’t mean you can use these lenses only on the D5600.

In other words, if you decide to update to a newer camera model in the future, or upgrade to a higher model such as the D7500 or D500, these same lenses will remain good options that work on those cameras as well. So long as you stick to a DX-series Nikon DSLR body, you’re good to go. And with an FTZ mount adapter, you can use Nikon F-mount lenses on mirrorless Z-mount cameras as well.4

The Nikon D5600 has a Nikon F-mount. So you can use F-mount lenses on it (usually designated by something like AF-S in the lens name), but you can’t use Z-mount lenses on it (and there’s no adapter available to make that combination work).

The D5600 has a DX cropped-sensor. So lenses designed for DX cameras are ideal, although many FX lenses will also work.

There really aren’t any strict lines designating what is an ultra-wide or a wide-angle lens, but in general, a focal length of anything less than around 35mm might be considered wide. Anything under 20mm is often considered ultra-wide.

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