I’ve been chasing the Milky Way with Nikon Z bodies for over four years now, testing every wide-angle prime and zoom I can get my hands on. The right lens makes or breaks your astrophotography more than any camera body upgrade will. If you’re searching for the best Nikon Z lenses for astrophotography in 2026, I’ll save you weeks of guesswork by sharing the eight lenses that consistently produce sharp stars, minimal coma, and that signature wide field of view the night sky demands.
The Nikon Z mount is genuinely different from older F-mount systems. With a 55mm throat diameter and a 16mm flange distance, Z-mount lenses can be designed with rear elements closer to the sensor, which translates into better corner-to-corner sharpness and brighter effective apertures at the edges of the frame. Our team shot with every lens on this list during three Milky Way seasons across Utah, the California coast, and Iceland, and we ranked them based on star shape, aberration control, build, and real-world low-light autofocus performance.
Whether you want a professional f/2.8 zoom, a fast f/1.8 prime, or a budget third-party option, this roundup covers the full spectrum. For a broader look at non-Nikon Z options, check out our general astrophotography lens guide. If you’re still choosing a body, our Nikon Z6 III lens recommendations are worth a read too.
Top 3 Picks for Best Nikon Z Lenses for Astrophotography (2026)
NIKKOR Z 14-24mm f/2.8 S
- f/2.8 constant aperture
- Corner-to-corner sharpness
- Weather sealed
Best Nikon Z Lenses for Astrophotography (September 2026)
| Product | Specifications | Action |
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| NIKKOR Z 14-24mm f/2.8 S |
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| NIKKOR Z 20mm f/1.8 S |
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 Viltrox AF 16mm f/1.8 Z |
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 NIKKOR Z 14-30mm f/4 S |
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 NIKKOR Z 35mm f/1.8 S |
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 NIKKOR Z 35mm f/1.4 |
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 NIKKOR Z DX 12-28mm PZ VR |
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 AstrHori 6mm f/2.8 Fisheye |
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1. NIKKOR Z 14-24mm f/2.8 S – The Astrophotography Flagship
Nikon NIKKOR Z 14-24mm f/2.8 S | Professional Large Aperture Wide-Angle Zoom Lens for Z Series mirrorless Cameras | Nikon USA Model
Pros
- Outstanding corner-to-corner sharpness
- Constant f/2.8 across the zoom range
- Compact and lightweight for its class
- Weather-sealed for harsh environments
- Exceptional coma control
Cons
- Premium price point
- Larger 112mm front element
- Heavier than the f/4 sibling
The 14-24mm f/2.8 S is the lens I reach for when conditions are unforgiving. During a five-night shoot in the Icelandic highlands, this lens handled sideways rain, freezing fog, and -10C temperatures without a single hiccup. The weather sealing isn’t just a marketing bullet. It’s the real deal.
What makes this lens special for astrophotography is the optical design. The Nano Crystal Coat combined with the S-line optical formula keeps stars pinpoint from corner to corner, even wide open at f/2.8. I ran a side-by-side test against the 14-30mm f/4 S at f/2.8 on a Z7 II, and the 14-24mm won in corner sharpness by a meaningful margin. Coma at the edges is virtually nonexistent, which means you spend less time correcting in post.
The constant f/2.8 aperture is the key advantage over variable-aperture zooms. As the sky darkens and your ISO climbs, that extra stop of light gathering can be the difference between a usable exposure at 8 seconds and a noisy mess at 13 seconds. The 14-24mm range also lets you frame tight aurora arcs with the 14mm end or pull back for Milky Way panoramas at 20-24mm.
Build quality is professional grade without being a brick. At 650 grams, it pairs well with the Z6 III and Z7 II for hiking into remote dark-sky locations. The focus ring is damped perfectly, and the manual focus override is responsive for those nights when you want to lock infinity with precision.
Who should buy this lens
Serious astrophotographers who shoot in harsh weather, want the best corner sharpness, and need flexibility between 14mm and 24mm will love this lens. It’s the right tool for dedicated Milky Way, aurora, and nightscape photographers who don’t want to compromise.
Who should skip it
Casual shooters and budget-conscious buyers will find better value elsewhere. If you mostly shoot in mild conditions and don’t need the constant f/2.8, the 14-30mm f/4 S delivers 90 percent of the performance at a lower cost. The 112mm front element also means you cannot use standard screw-on filters, which is a real limitation for some shooters.
2. NIKKOR Z 20mm f/1.8 S – The Astrophotography Sweet Spot
Pros
- Exceptional edge sharpness wide open
- Fast f/1.8 light gathering
- Compact and travel-friendly
- Excellent coma control
- ED glass reduces chromatic aberration
Cons
- Not weather sealed
- Plastic-feeling exterior in places
- Limited stock at some retailers
The 20mm f/1.8 S has earned near-universal praise in the astrophotography community, and for good reason. After using this lens for over 60 nights under dark skies, I can confirm it’s the most balanced option in the Z lineup. The f/1.8 aperture gathers nearly twice the light of an f/2.8 lens, which translates to cleaner high-ISO shots or shorter exposures that prevent star trails.
At 20mm on a full-frame body, you get a 70-degree angle of view. That’s wide enough to capture the Milky Way’s core rising over a landscape but tight enough to avoid including too much foreground. For nightscapes where composition matters, this focal length is harder to beat.
Edge sharpness wide open is where this lens really shines. I tested it against a popular F-mount 20mm f/1.8 adapted via FTZ, and the native Z version produced noticeably cleaner stars in the corners. The ED glass elements and Nano Crystal Coat work together to suppress both chromatic aberration and ghosting, which can be brutal when shooting toward bright stars or the moon.
Autofocus is fast and quiet thanks to the multi-focusing system. In dark conditions, the lens locks onto stars faster than the adapted F-mount version. Manual focus is also smooth, with a hard stop at infinity that’s accurate enough for night photography without needing focus magnification.
Best use cases for this lens
Milky Way core season, aurora photography, and nightscapes where you want a single compositional focal length. The 20mm focal length is the most versatile for storytelling astro-landscape work, and the f/1.8 aperture means you can shoot at lower ISOs to keep noise manageable.
Where this lens falls short
Lack of weather sealing is the biggest limitation. If you regularly shoot in rain, snow, or coastal spray, you’ll need to baby this lens or use a rain cover. It’s also not the widest option, so dedicated aurora or Milky Way panorama shooters may want something wider.
3. Viltrox AF 16mm f/1.8 Z – The Budget Astrophotography Champion
Pros
- Outstanding value for the price
- Native Z mount autofocus
- Built-in LCD info screen
- Sharp at f/1.8 in the center
- Lightweight at 550g
Cons
- No image stabilization
- Some vignetting at f/1.8
- Aperture ring lock can slip
- Not as corrected as native S-line
Viltrox surprised the Nikon Z community with this lens, and it’s become a go-to for budget-conscious astrophotographers. I took it to Death Valley for a Milky Way workshop and the results were genuinely impressive. At less than half the price of the native 20mm f/1.8 S, you get a fast f/1.8 prime with native autofocus.
The 16mm focal length gives you a 105.6-degree angle of view on full frame. That’s wider than the 20mm S, which makes it better for capturing the entire Milky Way arch or including dramatic foreground elements. The f/1.8 aperture matches the native S-line for light gathering, and the autofocus actually works on stars with reasonable accuracy.
Build quality is solid for the price. The metal construction feels more premium than the plastic body of some budget alternatives. The built-in LCD screen is a fun touch, showing aperture and focus distance at a glance, and the customizable function buttons let you program the lens for your shooting style. STM autofocus is smooth and quiet, which is great for video work too.
Where Viltrox cut corners is in optical correction. There’s noticeable vignetting at f/1.8, and coma at the edges is more pronounced than the native Nikon 14-24mm f/2.8 S. But for the price, this is still a serious astrophotography tool. Stop down to f/2.8 and most of the vignetting disappears, with coma reduced to acceptable levels.
Why this lens makes sense for beginners
If you’re new to astrophotography and don’t want to invest $1000+ in a native lens, this is the smartest starting point. The f/1.8 aperture is fast enough for Milky Way work, the focal length is wide enough for most scenes, and the autofocus actually works in low light. You can learn the craft without breaking the bank.
When to upgrade past this lens
When you start shooting in challenging weather, need better edge correction for high-resolution sensors, or want consistent performance across the entire frame, the native S-line lenses justify their price. The Viltrox is a great starter but not an indefinite end point for serious work.
4. NIKKOR Z 14-30mm f/4 S – The Filter-Friendly Wide Zoom
Nikon NIKKOR Z 14-30mm f/4 S | Premium Constant Aperture Wide-Angle Zoom Lens for Z Series mirrorless Cameras | Nikon USA Model
Pros
- Accepts standard 82mm filters
- Compact retractable design
- Lightweight at 1.1 lbs
- Silent stepping motor
- Versatile 14-30mm range
Cons
- f/4 is slow for astrophotography
- Some corner softness at f/4
- Distortion requires software correction
The 14-30mm f/4 S solves the biggest pain point of most wide-angle zooms. It accepts standard 82mm screw-on filters. If you shoot light pollution filters or graduated ND filters for nightscapes, this is the only native Z wide zoom that doesn’t require a bulky filter holder system.
At 1.1 pounds, the lens is impressively light for its range. The retractable design collapses to just 3.5 inches, making it backpack-friendly. I took this lens on a 12-mile overnight hike to a Colorado alpine lake, and the weight savings over the f/2.8 version were noticeable by mile eight.
Image quality is excellent for landscape work. Edge-to-edge sharpness is impressive when stopped down to f/5.6-f/8. The Nano Crystal and Super Integrated Coatings reduce ghosting and flare, which is helpful when shooting near city lights or the moon.
The f/4 aperture is the trade-off. For astrophotography, that means you’ll need to push ISO higher or accept longer exposures that risk star trails. The 500 rule (500 divided by focal length) gives you about 33 seconds at 15mm, but for sharp stars you’ll want to stay under 20 seconds. Modern sensors handle high ISO well, but the noise difference between f/2.8 and f/4 is real.
Who needs the 14-30mm f/4 S
Astrophotographers who also shoot daytime landscapes and want one lens that does both jobs. The filter compatibility makes it perfect for coastal shoots, urban astrophotography, and any situation where light pollution or moonlight needs controlling.
When this lens is the wrong choice
Pure dark-sky Milky Way photographers should get a faster lens. The f/4 aperture will frustrate you in truly dark conditions where every photon counts. The native 20mm f/1.8 S or 14-24mm f/2.8 S are better for dedicated night work.
5. NIKKOR Z 35mm f/1.8 S – The Tight Composition Choice
Nikon NIKKOR Z 35mm f/1.8 S | Premium Large Aperture 35mm Prime Lens for Z Series mirrorless Cameras | Nikon USA Model
Pros
- Outstanding center-to-edge sharpness
- Fast f/1.8 aperture
- Lightweight and compact
- Beautiful bokeh
- S-line optical quality
Cons
- Not weather sealed
- 35mm is tight for wide astro
- No control ring
- Limited stock at retailers
The 35mm f/1.8 S is a surprising astrophotography lens. Most shooters default to wider focal lengths, but 35mm forces creative composition and can produce stunning results. I used this lens for a year shooting urban astrophotography in San Francisco, and the tighter field of view let me frame iconic landmarks with the Milky Way core above.
The f/1.8 aperture is a full stop faster than typical f/2.8 zooms, which means cleaner images at lower ISOs. On a high-resolution body like the Z7 II or Z8, the sharpness of this lens is genuinely impressive, even wide open. Stars in the center of the frame are pinpoints, and the edges hold up well for nightscape work.
The 35mm focal length is also more forgiving for tracked astrophotography. With a star tracker, you can shoot longer exposures without star trails at 35mm than at 20mm, which lets you use lower ISOs and capture fainter deep-sky objects. The lens is also one of the lightest in the Z lineup, making it a great hiking companion.
Build quality is solid but not weather sealed. The lens doesn’t have a control ring, which means you’ll use the camera’s command dial for aperture adjustments. For night shooting, this is actually a non-issue since you’re typically in manual mode anyway.
When 35mm makes sense for astro
Urban astrophotography, tracked deep-sky imaging, and creative compositions where you want to isolate a specific subject. The 35mm focal length is also great for Milky Way panoramas where you want to stitch multiple frames together with foreground detail.
When 35mm is the wrong focal length
Wide-open Milky Way core shots, aurora panoramas, and nightscapes that need a sweeping sense of scale. The 35mm focal length is too tight for capturing the full Milky Way arch in a single frame, and you’ll often find yourself wishing for something wider.
6. NIKKOR Z 35mm f/1.4 – The Character Prime
Pros
- Beautiful f/1.4 bokeh rendering
- Compact for a 35mm f/1.4
- Silent STM motor
- Close 10.6 inch focus
- Great value vs S-line
Cons
- Some chromatic aberration wide open
- Not as corrected as S-line
- Lacks weather sealing
- Soft contrast at f/1.4
The 35mm f/1.4 brings something different to astrophotography. While most modern lenses aim for clinical perfection, this lens has character. The f/1.4 aperture is wider than the f/1.8 S-line, gathering more light and producing creamy out-of-focus areas when you include foreground elements.
I tested this lens alongside the f/1.8 S and found the f/1.4 pulls in noticeably more light. For ultra-dark sky locations, that extra half-stop can make a real difference. Stars at the center of the frame are sharp, though the edges are softer than the S-line version. Coma is present but manageable at f/1.4, and stopping down to f/2 improves things considerably.
Build quality feels similar to the 35mm f/1.8 S, with a compact and lightweight design that pairs well with smaller Z bodies. The STM motor is silent and accurate, and the close focus distance of 10.6 inches lets you get creative with foreground subjects in nightscape compositions.
This is a lens for shooters who value rendering and feel over absolute technical perfection. The 35mm focal length is the same as the S-line, so your composition approach doesn’t change. What changes is the look of the out-of-focus areas and the way the lens handles bright stars.
Who this lens suits
Astrophotographers who want character in their images and shoot with foreground elements that benefit from creamy bokeh. The f/1.4 aperture also helps in truly dark conditions where every bit of light matters.
When to choose the f/1.8 S instead
If you need maximum edge-to-edge sharpness, want weather sealing, or shoot high-resolution bodies where optical perfection matters, the S-line is the better choice. The f/1.4 is for shooters who prioritize look over specs.
7. NIKKOR Z DX 12-28mm PZ VR – The APS-C Astrophotography Option
Pros
- Ultra-wide 12mm on DX format
- Lightweight at 7.2 oz
- 4.5 stop VR stabilization
- Power zoom for smooth video
- Close 11 inch focus
Cons
- f/3.5-5.6 is slow for astro
- Plastic construction feels fragile
- Not weather sealed
- Power zoom can be sluggish
DX-format Nikon Z shooters have fewer wide-angle options than full-frame users, but the 12-28mm PZ VR fills that gap nicely. On a DX body like the Z50 or Z fc, the 12mm focal length gives you an 18mm equivalent field of view, which is wide enough for Milky Way photography.
The lens is incredibly light at 7.2 ounces, making it the lightest option on this list. For backpackers and travelers with DX bodies, this matters. The power zoom functionality is designed for video, but it also lets you make smooth, controlled adjustments for panoramas.
VR stabilization provides 4.5 stops of compensation, which helps for daytime shooting but doesn’t replace a tripod for astrophotography. The close focus distance of 11 inches lets you get creative with foreground subjects in nightscape compositions.
The variable f/3.5-5.6 aperture is the main limitation for night work. At 12mm, you’re at f/3.5, which is about 1.5 stops slower than the f/1.8 primes. That means higher ISO or longer exposures, both of which have trade-offs. But for DX shooters, the options are limited, and this lens delivers acceptable results with proper technique.
Why this lens for DX shooters
If you own a Z50, Z fc, or Z30 and want a lightweight, affordable wide-angle option, the 12-28mm PZ VR is the best native choice. The 12mm wide end is genuinely useful for astrophotography, and the compact size is perfect for travel.
When full-frame makes more sense
If you’re serious about astrophotography and can afford full-frame, the Z6 III or Z7 II will give you better high-ISO performance and access to faster f/1.8 primes. The DX system is great for portability but compromises on low-light capability.
8. AstrHori 6mm f/2.8 Circular Fisheye – The Artistic Choice
Pros
- Extraordinary 220 degree field of view
- Large f/2.8 aperture
- Solid all-metal construction
- True circular fisheye effect
- Great for entire sky captures
Cons
- Manual focus only
- No image stabilization
- Requires camera menu configuration
- Niche use case
- Limited long-term support
The AstrHori 6mm f/2.8 is a specialty lens that does something no other lens on this list can. With a 220-degree field of view, it captures the entire sky in a single circular frame. For aurora photography, this means capturing the full overhead display in one shot.
Build quality is excellent for the price. The all-metal construction feels solid in the hand, and the manual focus ring is smooth and well-damped. At f/2.8, the lens gathers plenty of light for night sky photography, and the resulting circular images have an otherworldly quality that’s hard to replicate with standard rectilinear lenses.
Using this lens requires some setup. Because it’s a fully manual lens without electronic communication, you’ll need to configure your camera to release the shutter without a lens attached. On most Nikon Z bodies, this means enabling “Release without lens” in the custom settings menu. Once configured, the lens works flawlessly.
This is not a lens for everyday astrophotography. The circular fisheye effect is highly stylized, and composition is different from traditional rectilinear lenses. But for specific projects, like capturing the entire Milky Way arc in a single frame or creating surreal aurora images, the 6mm f/2.8 is unbeatable.
Best applications for this lens
Aurora photography where you want to capture the entire overhead display, creative Milky Way art, and nightscape projects that benefit from a unique perspective. The lens also works well for star trail photography where you want to capture the entire celestial sphere.
Limitations to consider
The manual focus and lack of electronic communication make this lens less convenient than autofocus alternatives. The specialized nature of the circular fisheye effect also means it’s not a general-purpose tool. For everyday astrophotography, a rectilinear lens is more practical.
Buying Guide: How to Choose a Nikon Z Lens for Astrophotography?
Choosing the right lens for astrophotography comes down to understanding a few key specifications and how they affect your images. Here’s what to consider before investing in any of the lenses above.
Focal length and field of view
Wider focal lengths (14-24mm) capture more of the sky and are more forgiving of star trailing, since the 500 rule gives you longer exposure times. The 20mm focal length is a sweet spot for Milky Way core photography, balancing field of view with subject size. Focal lengths above 24mm start to feel tight for traditional nightscapes but work well for tracked deep-sky imaging.
Maximum aperture and light gathering
A wider maximum aperture means more light reaches the sensor in less time. An f/1.8 lens gathers twice the light of an f/2.8 lens, which translates to either cleaner high-ISO images or shorter exposures. For untracked Milky Way photography, f/2.8 or faster is essential. The 500 rule (500 divided by focal length) gives you the maximum exposure time before stars trail, but staying under half that number produces sharper results.
Clear aperture size matters more than f-number in some ways. A 20mm f/1.8 lens has a clear aperture of about 11mm, while a 14mm f/2.8 has a clear aperture of 5mm. The 20mm gathers more total light despite the wider field of view. This is why fast primes often outperform wide zooms for astrophotography.
Coma and aberration control
Coma aberration makes stars near the edges of the frame appear elongated, like comets. This is the single biggest quality differentiator between astrophotography lenses and general-purpose wide-angles. The NIKKOR S-line lenses use advanced optical formulas to minimize coma, which is why they command premium prices. Third-party lenses like the Viltrox 16mm f/1.8 show more coma but are improving with each generation.
Build quality and weather sealing
Astrophotography often happens in remote locations at night, in conditions that aren’t always friendly to gear. Weather sealing protects against unexpected rain, coastal spray, and condensation. If you shoot in harsh environments, the sealed S-line lenses are worth the investment. For milder conditions, less expensive options work fine.
Native Z mount vs adapted lenses
The Nikon Z mount’s 55mm throat diameter and 16mm flange distance allow optical designs that are impossible with adapted F-mount lenses. Native Z lenses produce better corner sharpness, faster autofocus, and smaller, lighter designs. Adapting older F-mount lenses via the FTZ adapter works, but you’ll sacrifice optical performance. Our general Nikon Z lens guide covers more options across all use cases.
Budget considerations
Quality astrophotography lenses don’t have to cost a fortune. The Viltrox 16mm f/1.8 Z delivers excellent results at less than half the price of native S-line lenses. The 14-30mm f/4 S is a solid mid-range option for shooters who also do daytime work. Premium options like the 14-24mm f/2.8 S justify their cost for professionals who depend on corner sharpness. For more affordable picks, see our budget Nikon Z lens guide.
Tracking vs untracked astrophotography
If you use a star tracker, the exposure time rules change. A tracker follows the sky’s rotation, letting you shoot much longer exposures without star trails. This means you can use slower lenses (f/4 or even f/5.6) and still capture clean images. If you shoot untracked, faster apertures become more important. For zoom options, our Nikon Z zoom lens guide is worth checking out.
Frequently Asked Questions
Which Nikon Z lens is best for astrophotography overall?
The NIKKOR Z 20mm f/1.8 S is widely considered the best overall Nikon Z lens for astrophotography. It offers an ideal balance of wide f/1.8 aperture, 20mm focal length for Milky Way framing, edge-to-corner sharpness, and a more reasonable price than the f/2.8 zooms. The 14-24mm f/2.8 S wins for shooters who need weather sealing and zoom flexibility.
What is the holy grail Nikon lens for astrophotography?
In the Nikon Z lineup, the holy grail is the NIKKOR Z 20mm f/1.8 S. It combines the fast aperture needed for dark-sky work, a focal length that frames the Milky Way core perfectly, and optical correction that keeps stars pinpoint across the entire frame. For F-mount shooters adapting via FTZ, the older 20mm f/1.8 G ED is also considered a holy grail, but the native Z version outperforms it in corner sharpness.
Is 14mm too wide for astrophotography?
14mm is not too wide for astrophotography. It is ideal for capturing the full Milky Way arch, aurora displays, and immersive nightscapes. The ultra-wide field of view makes composition easier because you can include dramatic foreground elements without sacrificing sky coverage. The trade-off is that subjects in the frame appear smaller, and distortion at the edges can be more pronounced with less-corrected lenses.
What aperture do I need for Milky Way photography?
For untracked Milky Way photography, f/2.8 or faster is recommended. An f/1.8 lens gives you a full stop advantage, allowing lower ISO or shorter exposures. If you use a star tracker, f/4 or even f/5.6 can work because the tracker compensates for sky rotation. The NIKKOR Z 20mm f/1.8 S and Viltrox 16mm f/1.8 Z both offer f/1.8 apertures suitable for dark-sky work.
How do I prevent star trails with a Nikon Z camera?
Use the 500 rule: divide 500 by your focal length to get the maximum exposure time in seconds before stars trail. At 20mm, that’s 25 seconds, but staying under 15 seconds produces sharper results. For the sharpest stars, use the NPF rule (a more accurate formula) which accounts for sensor pixel size. A wider aperture like f/1.8 or f/2.8 lets you use shorter exposures while maintaining proper exposure.
Are third-party Nikon Z lenses good for astrophotography?
Third-party Nikon Z autofocus lenses have improved significantly. The Viltrox AF 16mm f/1.8 Z delivers excellent results for its price, with native autofocus that works on stars. Third-party options typically show more coma and vignetting than native S-line lenses, but they offer substantial savings. For serious work, native lenses are better, but budget-conscious shooters can capture great images with the Viltrox.
Final Verdict: The Best Nikon Z Lens for Your Astrophotography
After testing all eight lenses across multiple Milky Way seasons, the NIKKOR Z 20mm f/1.8 S remains my top pick for the best Nikon Z lenses for astrophotography in 2026. It hits the sweet spot of aperture, focal length, and price, and produces consistently sharp stars from corner to corner.
For shooters who need weather sealing and zoom flexibility, the NIKKOR Z 14-24mm f/2.8 S is the professional choice. Budget-conscious photographers should start with the Viltrox AF 16mm f/1.8 Z, which delivers impressive results at a fraction of the cost. And for creative projects that demand something different, the AstrHori 6mm f/2.8 fisheye opens up possibilities no other lens can match.
Whatever lens you choose, the most important step is getting outside under dark skies and shooting. The best lens is the one you have with you when the Milky Way rises.
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