The Importance of Having a “Good” Lens

After testing a set of brand new 28mm lenses for my Nikon 28mm f/1.8G Review a couple of weeks ago, I was rather disappointed by the overall performance of the lens. Both samples that I tested exhibited visible focus shift and field curvature issues, which impacted performance in a “wavy” pattern. This weekend, I decided to give another Nikon 28mm f/1.8G a try and see if it has the same optical issues (borrowed from our team member Bob Vishneski).

To my surprise, the third lens sample performed much better in comparison to the first two. Here is the original chart that I published in my review:

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Nikon AF-S 28mm f/1.8G Full Frame Lens Announcement

NOTE: A full review of this lens can be found in our Nikon 28mm f/1.8G Review article.

Along with the Nikon D3200, Nikon also announced the new AF-S Nikkor 28mm f/1.8G lens today. Contrary to how it usually happens, however, this piece of equipment is likely to receive the most attention this time. We at Mansurovs.com are very happy to see such a lens announced – the biggest complaint throughout the years directed towards Nikon was the lack of modern fast, high quality prime lenses. During the last couple of years, however, Nikon seems to have been extremely persistent in making sure their prime lens lineup is as broad in choice as possible, offering insanely good, yet very expensive f/1.4 lenses, such as the Nikon 35mm f/1.4G (read the review) and Nikon 85mm f/1.4G (read the review), and much more affordable and featuring a much better price/performance ration f/1.8G lenses. First, it was the fantastic Nikon 50mm f/1.8G (read the review), then, very recently, the Nikon 85mm f/1.8G lens was announced. Considering how good the latest f/1.8 lenses have been, this new alternative to the exotic Nikon 24mm f/1.4G prime (read the review) should deliver superb performance at a relatively low price of $699.95.

Nikon 28mm f/1.8G

Lets face it, the rather specialized Nikon 24mm f/1.4G lens is not for everyone – impressive as it is, not that many people use or even know how to use such a lens well, it requires a lot of skill to deliver all of its potential. At that price, then, it makes a very difficult decision: who would want to own a $2000 lens and not use it that much because it is too wide? With the new 28mm f/1.8G not only do you pay only about a third of that price, it is also not as wide, and thus suitable for more general photography on both Full Frame and DX sensor cameras. That is not to say it is less demanding, but more mainstream for sure. The best thing is, however, the choice Nikon is giving us. All that’s really missing is an inexpensive 35mm f/2G and 135mm/105mm f/2G lenses, but I’m sure we can expect those to come pretty soon, too.

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Nikon 24mm PC-E Review

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This is an in-depth review of Nikon 24mm f/3.5D PC-E, a special purpose wide-angle “Perspective Control” lens designed for architectural, commercial and nature photography, also known as PC-E Nikkor 24mm f/3.5D ED. The Nikon 24mm f/3.5D PC-E is a very specialized wide-angle lens specifically targeted at three groups of photographers – architecture photographers, landscape photographers and macro/product photographers. Architectural photographers often work with a lot of straight, often converging lines both indoors and outdoors and the “Perspective Control” or “Tilt-Shift” lenses (from this point on I will refer to them only as “tilt-shift”) give the ability to avoid the convergence of parallel lines by shifting the lens upwards or downwards. Landscape photographers need to be able to get everything in focus – from the closest foreground object to distant landscapes. While proper lens and camera techniques, along with good post-processing skills can help in getting sharp images for both foreground and background objects, normal lenses have certain limits landscape photographers have to work around with.

Nikon 24mm f/3.5D PC-E

For example, stopping down lenses beyond f/11 results in diffraction, which can impact the sharpness and overall quality of an image. With perspective control/tilt-shift lenses, landscape photographers can change the angle of the focus plane without having to increase aperture, putting both closest and furthest objects in focus. The same goes for commercial/product photographers that photograph jewelry and other items for product showcases – everything from the front to the rear of the object must often be in perfect focus. Again, stopping down does not always work and unless angles are changed and subject is on the same plane, there is no easy way to get everything sharp without focus-stacking images in post-processing software like Photoshop. By using tilt-shift lenses, photographers do not have to worry about lens aperture limitations and can achieve the desired effect with minimum effort. One other use that has been gaining popularity lately is to use tilt-shift lenses for portrait photography. Due to the ability to apply selective focus on a particular part of the image via lens tilting (also known as “anti-Scheimpflug“), portraits can appear more interesting and creative. Distant subjects can even appear “miniaturized”, although the effect can be easily reproduced in Photoshop through various plugins.

Sample #10

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Back from Utah again

Well, technically, it was Grand Junction, not Utah. I had a very busy four day business trip to Grand Junction, CO and after spending countless hours taking care of a problem at work, I had a pleasure of visiting Moab, UT on the last day for a few hours. Woke up very early in the morning at around 3:45 AM and headed out to Dead Horse Point to make it there right before the sunrise. As I was driving the last 10 miles to get to the park, I saw seven cars slowly driving through the steep turns of Canyonlands. Who else would be driving that early? A group of photographers, of course! I was first following them, but then they were too slow and I was hurrying to get to the right spot at least 30 minutes before sunrise. So I stepped on gas and passed all seven cars at 90 miles an hour. I could tell they were pissed! Oh well, I wasn’t going to miss sunrise after 2+ hours of driving.

Arrived at the spot at about 6:20 AM and the sun came out at 6:42. Although the clouds were not as pretty, seems like I managed to capture a couple of shots that I like. I have not yet finished importing the files into Lightroom, but I will be working on some of those this weekend.

Meanwhile, here is me standing on the edge of the cliff:

Nasim Mansurov

And here is how it looks down there, with the nearest rock at approximately 300-400 feet below:

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