This is an in-depth review of the Nikon 85mm f/1.4G AF-S lens that was announced with three other lenses in August of 2010. Ever since the manual focus AI-s version of the Nikon 85mm f/1.4 lens was introduced back in 1981, the Nikon 85mm f/1.4 lenses have been used as references for superb sharpness, best-looking bokeh and beautiful color renditions. The last autofocus AF-D version of the lens produced in 1995, the Nikon 85mm f/1.4D, was often called the “king of bokeh”, yielding extremely pleasing out-of-focus areas, in addition to producing sharp, colorful images when shooting wide open. Its legendary performance made the Nikon 85mm f/1.4D lens a must-have for portrait photographers and many professionals heavily relied on this lens for many years for their commercial work (and some still do). The Nikkor 85mm f/1.4G lens is the latest update to the 85mm f/1.4 line, which replaced the outdated AF-D version with newer optical and technology innovations from Nikon. In this review, I will not only provide information on the Nikon 85mm f/1.4G lens, but will also compare it to both the older Nikon 85mm f/1.4D and the lighter and smaller Nikon 85mm f/1.8G.
On any photographic forum, it doesn’t take much effort to find old or new discussions on how to set the “proper” exposure while shooting, and even what exactly “proper exposure” is. The question of setting exposure was and is one of the most commonly-discussed topics on forums and blogs. Newbies (and not) bring it up again and again and receive all sorts of explanations – long and short, deeply “scientific” and completely “practical”, starting with advice to use the in-camera histogram, “zebras”, manual exposure mode, corrections and compensation, special camera modes to increase the dynamic range and increase the reliability of the histogram and other overexposure indicators, a separate exposure meter, Adams’s exposure formula, metering the incident light, spot measurement, a grey card, the back of one’s hand, green grass, an ExpoDisk, the sunny 16 rule, Magic Cube, etc., etc.
This is an in-depth review of the Nikon 24-120mm f/4G ED VR lens that was released in August of 2010. The constant maximum aperture, mid-range Nikon 24-120mm f/4 VR zoom lens was a major update to the Nikon 24-120mm f/3.5-5.6G VR, which had been known at the time for being a sub-par lens optically. Shortly after the 24-120mm f/4G VR was announced, Nikon discontinued its variable-aperture predecessor and made the 24-120mm f/4G VR into a premium kit lens to be bundled with higher-end full-frame cameras. I have been using the Nikon 24-120mm f/4G VR for a number of years now and I decided to update the existing review with more image samples, additional information and up-to-date lab measurements.
It took Nikon nine years to finally release an update to its popular workhorse standard zoom lens in the form of the Nikon 24-70mm f/2.8E ED VR, which gained a few new features compared to its predecessor, including the much desired image stabilization. Nikon engineers have always put extra effort and emphasis on updated professional-grade lens designs, typically delivering outstanding performance. However, the release of the Nikon 24-70mm f/2.8E ED VR lens has been one of the most controversial in Nikon’s recent history, thanks to the negative attention it received from the photography community. Many reviewers criticized the lens heavily for its performance, claiming it to be a soft lens when compared to its predecessor, the Nikon 24-70mm f/2.8G. And some even put it as the winner in the “worst lens release of 2015” category. Did Nikon engineers really screw up in updating one of the most popular pro-grade lenses? That’s exactly what I wanted to find out when I started reviewing the 24-70mm f/2.8E VR lens.
This is an in-depth review of the Nikon 24-70mm f/2.8G ED lens that was released back in August of 2007 together with the 14-24mm f/2.8G ED lens. I have owned a number of different copies of the Nikon 24-70mm for many years, pretty much from the day the lens was announced and I have probably spent the most amount of time in the field shooting with this lens. Since it is a workhorse pro-level lens, I have used it for many different types of photography – from portraiture to landscapes. I have used it in hot summer days and freezing sub-zero temperatures; carried it from wet and humid climates to dry and dusty environments. Throughout many years of use and abuse, the 24-70mm f/2.8G ED has never let me down, so overtime, it became one of my most used Nikkor zoom lenses in my arsenal.
With Nikon announcing the new 70-200mm f/2.8E FL VR just two days ago, it was a bit surprising for us to see a pre-production sample circulating at the Nikon booth at the PhotoPlus Expo today. We had a chance to check out the lens and while we were not allowed to take any pictures with it, Nikon allowed us to do a quick video about the handling aspect of the lens. I was certainly concerned about the reversal of the zoom and focus rings on the new 70-200mm f/2.8E FL VR and today John and I were able to see whether it presents a potential problem with handling. Unfortunately, both us were in agreement, that it was not a good decision on behalf of Nikon to make this design change.
Recently I’ve been experiencing one of those existential photo crises. Low motivation, cliché results, slumping Instagram likes. When I get bummed about my photography I do what any self-respecting unprofessional photographer would do – put on some soft jazz, pour myself a fine single malt, then pull out my favorite Zeiss lens chart results and pleasure myself. But even that didn’t make me feel better. What’s a listless soul-wrenched photographer to do? Ha, I know what will do the trick – no better way to demonstrate my photographic élan and self-assurance than to dis on a kit lens.
Although the Pentax 645Z medium format DSLR has been out for a few years, I only had a chance to try it out earlier this year, during my trip to Death Valley. I have been wanting to try the 645Z for quite some time, since I heard so many good things about it. With medium format digital being traditionally out of reach in terms of cost for most photographers out there, including myself, I did not really have much interest in trying out cameras that are as expensive as some nice cars. However, the Pentax 645D changed the game back in 2010, by being the first sub-$10K medium format digital camera at launch.
As smartphones are getting better at capturing images year after year, one might be wondering when, if at all, we will see smartphones directly competing with larger cameras. Are we at the point, or perhaps might be soon approaching one, where it won’t make any sense to buy a high-end DSLR or a mirrorless camera to capture professional-looking images? Now that smartphones like the iPhone 7 Plus are shipping with dual lenses (one standard wide-angle lens and one telephoto lens to capture portraits) and some manufacturers are even pushing larger sensors to specifically appeal the photography market, it is no wonder why some photographers might think that a smartphone is all they need to get professional results. During the past few years, I have been using a variety of different cameras with sensors ranging from tiny 1/3″ all the way to medium format, so I thought it would be a good idea to write an article about this particular topic, with some images to represent different cameras and sensor sizes.
When Olympus first announced the M.Zuiko Digital ED 300mm f/4 IS PRO telephoto lens for the micro-four thirds format there was understandably much enthusiasm for its arrival. After all, it would give users the equivalent field of view of 600mm at F/4 in a far more compact and lighter lens than a DSLR equivalent. I wasn’t personally that aroused by the prospect but curiosity prompted me to ask Olympus if I could borrow the lens to write up a user experience and they very kindly lent me a copy.