Finding the Best Lens for Travel Photography: Review & Guide

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 truly 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, especially when trying to minimize gear weight for travel.

Travel photographer with camera gear backpack overlooking a city view

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.

Collection of various camera lenses and photography gear laid out on a surfaceClose-up view of professional camera bags filled with photography equipment

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. When seeking the best lenses for travel photography that can truly serve professional needs while keeping the load light, dedicated camera lenses remain paramount. For those considering different gear types, exploring options like the best bridge camera for travel might also be worthwhile, depending on your specific needs and desire for portability without interchangeable lenses.

In the past couple of years, I’ve been looking to streamline my travel gear and found a solution that strongly contends for the title of the best lens for travel photography. It’s 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; finding the best lens for travel photography canon often involves looking at similar versatile zoom ranges. For travel photographers using other systems like Sony, finding the best lens for sony a6000 travel involves evaluating comparable all-in-one zoom options available for their mount.

Nikon 28-300mm ED VR lens on a white backgroundCanon EF 28-300mm f/3.5-5.6L IS USM lens on a white background

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.

Best Feature

The focal range of this lens far overcomes any hesitation caused by its lower speed (f3.5). On a recent trip to Seville, I was able to get quick wide shots at 28mm such as the carriage pan below, then zoom in for details at 300mm like the flamenco dancer’s feet. At 85mm coupled with a Z9, I managed to capture some perfect portraits.

Horse-drawn carriage in Seville, captured with a wide angle 28mm lens settingFlamenco dancer's feet, zoomed in for detail using a telephoto setting

Portrait of a man smiling while holding vegetables, taken with an 85mm focal lengthOutdoor scene showing people and a street with distant buildings, illustrating versatility

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 for simplifying your kit.

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.

Diagram showing the internal lens elements of the Nikon 28-300mm lens

You can find an in-depth review of the Nikon Z9 and this lens by clicking here

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 during travel, 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

Rhino viewed through a wide angle lens in its environment

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.

Tall buildings in Hong Kong captured at f/3.5, showing architectural linesUrban scene in Hong Kong showing buildings and streets captured at f/3.5

Pier extending into water in the Netherlands, demonstrating shoreline landscape photographyLandscape view in the Netherlands captured at f/3.5, showing detail across the scene

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.

Safari landscape scene in Kenya with animals in the distance, showing potential vignetting

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.

Indoor scene of a cheese factory in Amsterdam, demonstrating depth of field at f/3.5

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. Understanding these characteristics is key to mastering travel photography with a versatile lens.

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.

Lions resting in Kenya, captured at 28mm focal length showing clear detailInterior shot demonstrating vertical distortion at 28mm before correction

Street scene in London captured at 28mm, showing urban perspectiveMonochrome street scene in London captured at 28mm, focusing on architecture

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. This is a useful creative technique in travel photography.

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 in the wide range.

Rainy street scene in Hong Kong captured at f/8, showing dynamic urban lifeVertical architectural shot near a London Underground sign showing visible lens curvature

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 is left uncorrected in an example interior shot for demonstration purposes.

Interior doorway showing uncorrected vertical lens distortion

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. This aperture setting can be used creatively to convey movement or isolate specific elements.

Merry-go-round captured at f/22 to show motion blur effect

Summary (28-38mm)

Although not specifically designed for landscape or interior use, this wide-angle range 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, making it practical for travel.

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, making it very versatile for general travel shots.

f/4

A vertical shot taken in Kenya at f/4 and 40mm displays noticeable vignetting, but this can be easily corrected in post-production. Additionally, the depth of field at this focal length and aperture is quite impressive, allowing for good subject separation even at f/4.

Safari guest viewing wildlife in Kenya captured at 40mm f/4, showing depth of field

A street scene in Hong Kong actually benefits from the vignetting at this aperture, enhancing the dynamic, enclosed feel of the shot. Handholding at night and shooting at f/4.5 is manageable with this lens, thanks in part to its VR.

Night street scene in Hong Kong with vibrant lights, captured handheld at f/4.5Close-up street view in Hong Kong, demonstrating perspective at a standard focal length

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 during your travels. For example, landscapes in Alberta and cityscapes in London are well-framed thanks to the zoom capabilities offered by this lens.

Architectural arches in London framed by trees, captured using a standard zoom rangeMountain landscape in Alberta under a clear sky, demonstrating the lens's standard range capabilityThe Shard building in London framed by surrounding architecture, captured at a medium focal length

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 to achieve the desired effect.

f/6.3

In the 38-70mm range, f/6.3 brings the lens closer to its sweet spot for sharpness and minimal aberrations. 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, common in travel portraiture. For those interested in travel that involves working with animals, this lens’s versatility across focal lengths can be useful, though specific longer lenses might be needed for distant wildlife shots. Exploring jobs with animals and travel might lead to interesting photography opportunities requiring flexible gear.

Portrait of an organic gardener in Kenya captured at 65mm, showing the subject in their environment

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, leading to more evenly lit images. Some vertical edge distortion may still be noticeable in specific scenarios, but often easily correctable.

Street scene in London with people and buildings, captured at f/6.3 or similar apertureCouple on a river boat, captured from a distance using the lens's zoom capability

Street view in London with the Shard in the background, demonstrating framing optionsMonochrome photo of a train station interior in London, highlighting architectural details

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 due to diffraction, so f/13 is often preferred over f/20 when maximum depth of field is needed without excessive softness. Here is an example showcasing this approach with a lake scene.

Lake scene in Kenya at dawn or dusk, likely captured at a narrow aperture for landscape detail

100mm to 200mm

This focal range is highly versatile for various subjects during travel. 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, which is often the case in crowded tourist areas. For instance, I used it to capture an EIIR sign on a gate where crowds prevented me from getting nearer. It’s also great for isolating details in architecture or street scenes.

EIIR sign on a gate in London, captured at a distance using a telephoto focal lengthPortrait of a shop keeper in Kenya, captured at a medium telephoto range

Additionally, this range is great for capturing distant landscape and cityscape features, compressing the perspective and bringing distant elements closer. Examples include shots of Berlin, London, and Hong Kong, as well as capturing wildlife from a moderate distance.

Cheetah in a grassy landscape, demonstrating telephoto capability for capturing wildlife

Elephants walking through a landscape, captured from a distance with a zoom lens

f/5.6

This aperture provides good results across the 100-200mm range, offering clear images with minimal distortion for most travel subjects.

Port scene in Hong Kong with boats and city buildings, captured at a telephoto focal lengthRainbow over a safari landscape, demonstrating the lens's use in diverse travel environments

Elephant in profile, captured at a moderate telephoto range with a detailed viewMusicians on stage, captured from a distance using the zoom lensSunrise view over Mount Kenya, captured using a telephoto setting to compress distance

f/9 and Above

This aperture range is perfect for tripod shots, especially at dawn or dusk where you want to pick out fine details in distant landscapes or cityscapes and ensure maximum sharpness across the frame.

View of Brighton from a distance, likely captured with a telephoto lens for travel photographyView of Berlin architecture, captured from a distance to show cityscape details

While not ideal for serious wildlife photography requiring extreme reach, this range can work well if you’re lucky and don’t need a longer lens or are capturing larger animals at closer range. 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 demonstrating distortion, while being corrected in the right image for comparison.

Statue in London showing uncorrected vertical distortion caused by the lens

200-300mm

At these longest focal lengths, the lens faces its toughest challenges. Environmental factors like haze can significantly affect image quality, and you’ll need to use higher shutter speeds to counteract camera shake, even with VR, due to the magnified movement.

Most of my shots in this range are of wildlife or buildings that are far away. To maintain high shutter speeds, I often shoot wide open at f5.6, rather than at the lens’s optimal f/8 or f/9. When on safari and aiming for distant wildlife, I typically switch to my 200-400mm f/4 lens once I reach 250mm on the 28-300mm to get better reach and often better quality at the long end. Nevertheless, for opportunistic shots, this range is invaluable.

Lion looking directly at the camera, captured at a telephoto rangeMusician on stage in profile, captured from a distance using the lens's telephoto zoom

Elephants reflected in water, captured at a distance with a long focal lengthBallet dancer's feet during a performance, captured up close with a long focal lengthCheetah eating prey, captured at a distance in a natural setting

If you have a high-resolution camera body, there is plenty of quality especially around the center of the frame for you to crop in when shooting at 200-300mm, making the effective reach even greater for subjects like wildlife.

Conclusion

Based on extensive use across various travel scenarios, the Nikon 28-300mm ED VR (and its Canon equivalent) stands out as a highly versatile option for photographers seeking to travel light without sacrificing the ability to capture a wide range of subjects.

Positives:

• Compact and sturdy design for a lens with such a wide zoom range.
• Relatively lightweight and low profile compared to carrying multiple lenses.
• Affordable on the used market compared to acquiring three separate zoom lenses covering the same range.
• Highly versatile for almost all types of subjects encountered during travel – landscapes, portraits, street scenes, and even moderate telephoto needs.
• Effective VR setting for image stabilization (though personal preference dictates its use).
• Convenient lens lock button at 28mm to prevent creep when carrying.
• Excellent close-up focus capability at 1.6 feet providing 1:3 reproduction ratio, adding macro-like versatility.

Negatives:

• No longer in production, meaning availability is limited to the second-hand market.
• Not professionally weather-sealed, requiring caution in adverse conditions.
• Prone to lens creep, especially when angled downwards, without employing a simple fix.
• Not exceptionally sharp across the frame or at all focal lengths compared to prime lenses or professional zooms with shorter ranges.
• Relatively slow aperture (f/3.5-5.6) compared to constant-aperture zooms or primes, which can be a limitation in low light.

If you can find this lens in good condition on the second-hand market, it’s absolutely worth considering as a primary travel lens. It performs well across a variety of subjects and lighting conditions, allowing you to cover most photographic opportunities without constantly changing lenses. Personally, I’ve only occasionally felt the need for a faster lens or one with a different focal length during my travels with this lens.

You might need to adjust your ISO settings to compensate for the relatively slow aperture, particularly when shooting handheld at 300mm in lower light. Adding a touch of post-production sharpness and vignetting correction in software like Lightroom can also help address some of the lens’s limitations and enhance image quality. Overall, for the convenience and versatility it offers, this lens is a strong contender for many travel photographers.

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Technical Notes:

• Camera Bodies Used: Nikon Z9 (45 MP Mirrorless), Nikon D850 (45 MP DSLR).
• Primary Shooting Modes: Mostly Aperture Priority, Shutter Priority, and Program modes.
• Target ISO: Primarily aimed for ISO 400 where possible.
• Camera Support: No camera support (tripod/monopod) used for featured images except for some interior shots taken at f/9.

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