Although I am planning to fully review the Sony A7 II, I decided to share some quick thoughts on this new mirrorless camera which I have been shooting with for the past few weeks and share a photo of the Bay Bridge that I captured at night. I am currently in San Francisco, testing the Sony A7 II with a few Sony / Zeiss lenses, along with the Canon 7D Mark II, which I am also planning to review when I get back (I know, I have been a bit late on that one).
When dealing with slow shutter speeds, a solid tripod is a must-have tool for eliminating camera shake and capturing sharp photographs. Although setting up a tripod and effectively utilizing it for photography needs at first sounds simple and self-explanatory, I often come across photographers that do not know how to properly use a tripod. Even though you could own the most expensive tripod on the market and know exactly what to do to yield razor sharp images, your images could still be suffering from poor framing choices. In this article, I want to explore the proper techniques for setting up, handling and using tripods.
Back in December of last year, we reported the Nikon D750 Flare Shading Issue that occurs on some D750 camera bodies and talked about the cause of the problem. Although we found the issue to be insignificant due to the fact that it only occurs at a particular angle when pointing at a very bright light source, and showed that other cameras can also be potentially prone to the same issue, some of our readers expressed their disappointment and wanted Nkon to address this issue. If you own a Nikon D750 that is affected with this problem and it has been bothering you, Nikon USA today issued an official statement, in which the company announced that it will inspect and service all affected Nikon D750 cameras at no charge starting from the end of January, 2015.
Whether you are just getting into photography or have been shooting for a while, you have probably heard the term “crop factor”. With so many different cameras and camera systems available today, this particular term comes up very often in product specifications, marketing materials, articles, books and you might even hear it in conversations between photographers. If you do not know what it really means or want to get a better understanding of crop factor, this article will hopefully make it easier for you to understand it better. Please keep in mind that this article was written for beginners, so many of the terms and explanations are over-simplified.
If you are wondering how the new Nikon 300mm f/4E PF ED VR lens renders images, take a look at the below high-resolution image samples captured by Robert Bösch and Drew Gurian. To open these images in high resolution, please right click and save them to your computer, or open them up individually in new windows (clicking on the image will show them in low resolution). As I find more high resolution images from this lens, I will post more in this article.
Along with the exciting Nikkor 300mm f/4E PF ED VR, Nikon also announced a boring entry-level camera. After skipping the D5400 for no reason (Nikon marketing at its best), the D5500 was revealed at the CES with very similar specs as the D5300, except it gains a touchscreen and drops the GPS module. Same resolution, same processor, same fps, WiFi, same menu and features for the most part, except for slightly different design that resulted in a smaller and lighter camera. It seems like Nikon has no clue what else to add to the D5x00 line to make it more interesting and this release is one of those “announce to announce” series, yet another camera to add to the camera pollution just to keep the line fresh. Instead of doing something innovative (mirrorless design, EVF, focus peaking, electronic shutter, etc), Nikon adds a pointless touchscreen feature and gets rid of the far more important GPS component. With all this, Nikon increases the price of the D5500 by $100, pushing it towards $900 MSRP.
Nikon has just announced a couple of new products during the Consumer Electronics Show 2015, among which is a lens that many of us have been waiting for a long time. I will start the coverage with this lens, because after seeing the details of the announcement earlier today, I knew that it was something to be truly excited about. As many of our readers know, the Nikkor 300mm f/4D AF-S lens has been my favorite budget telephoto lens for many years now. It is optically superb, has amazingly fast and accurate autofocus, works really well with 1.4x and now even with 1.7x teleconverters (with the new generation Nikon DSLRs like D750), it is compact, lightweight and priced just right. In short, it is a lens with amazing value for many wildlife and sports photographers. Despite all these strengths, the lens has not been updated for 15 years and it lacks image stabilization. Although rumors about an update have been circulating on the Internet for a few years now, it has not seen the light of the day, until today. The all-new Nikkor 300mm f/4E PF ED VR is not just an update though, it is a completely different lens.
This is an in-depth review of the manual focus Zeiss Distagon T* 35mm f/2.0 ZF.2, a second generation 35mm f/2 prime lens from Zeiss for Nikon and Canon mounts. The lens samples I tested were for the Nikon F mount, although you can get the same lens for the Canon EF mount. The Zeiss 35mm f/2.0 ZF.2 is a professional-grade fixed wide-angle lens targeted at enthusiasts and professionals that need high quality optics for different types of photography, including landscape, architecture, portrait and astrophotography. Similar to other Zeiss prime lenses, the lens is designed to work on both FX and DX sensor cameras (equivalent field of view of approx 52.5mm on DX) and yields amazing clarity and contrast throughout the frame.
It has been 30 years since Nikon first introduced the original Nikkor 20mm f/2.8 Ai-S lens and long 20 years since the autofocus version, the Nikkor 20mm f/2.8D was released to the market. Since then, the 20mm prime sadly did not receive much attention, so it was about time for Nikon to refresh the line with a modern version. Nikon finally revealed a replacement on September 12, 2014 and the new lens came with a nice surprise – the Nikkor 20mm f/1.8G ED is not only completely revamped in terms of optical design, but it is also 1.3 stops faster than its predecessors. Personally, I have been very interested in checking out the new 20mm f/1.8G lens, because I found the 28mm f/1.8G to be a bit too long for my taste. And although I love my 24mm f/1.4G (see my detailed review here), it is pretty expensive and often quite heavy to carry around. Thus, a wider, lighter and much less expensive lens sounded very appealing to me. I have had the joy of shooting with the Nikkor 20mm f/1.8G for the past three months and as you will see in this review, the lens deserves high praises for its superb optical performance. Without giving any more spoilers, let’s jump into the review and see where and how it shines.
The Nikon SB-500 speedlight was announced in September of 2014 together with the Nikon D750 and Nikkor 20mm f/1.8G lens. Sitting above the compact SB-300 and below the larger and more powerful SB-700, the SB-500 is targeted at beginners and enthusiasts, who want something more capable than a built-in flash or a basic speedlight. The SB-500 comes with an interesting list of features, one of which we have never previously seen on Nikon speedlights before – built-in LED lights. Although I personally had very little interest in using the SB-500, as I heavily rely on SB-800 and SB-900 speedlights for my work, ability to run LED lights continuously seemed like an interesting idea. In addition, with the SB-500 abilities of being both a commander and a remote flash unit with full compatibility with Nikon’s CLS system, I thought that perhaps I could use it in combination with my other speedlights. So I decided to check out and do a quick review of the SB-500, to see if it would potentially be a suitable tool for my photography needs.