Ever since it was introduced back in 1993, the DC Nikkor 105mm f/2 DC has been a classic – it was one of the most favored lenses for film portrait photographers and when digital came about, many photographers continued using the stellar lens to create stunning portraits. It took Nikon 23 years to bring out an update in the form of the Nikon AF-S NIKKOR 105mm f/1.4E ED – a drastically different lens in every way. Although Nikon decided to eliminate the de-focus control feature on the new 105mm, the biggest change is in fact the maximum aperture: at f/1.4, it is a much brighter lens compared to its predecessor. A full stop brighter, which is a huge difference for a portrait lens of this class. With this update, Nikon claimed another “world’s first” title, since no other manufacturer has ever been able to make a 105mm telephoto lens with such a wide aperture.
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 The Nikkor 85mm f/1.4G lens is the latest update to the 85mm f/1.4 line, which replaced the outdated AF-D version with newer optical and technology innovations from Nikon.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.
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.
For most photographers, especially those who shoot landscapes, it is crucial to have a good set of filters at your disposal. Filters come in two types: screw-on filters (attaching directly to your filter threads) and square filter systems (sliding into a holder on the end of your lens). A lot of landscape photographers move to a square filter system over time — they have a wider selection of filters, and they let you move your filters from lens to lens more quickly. The main companies that make square filter systems are Lee, Cokin and HiTech, all of which are well-known among landscape photographers. There are a few other companies in the marketplace, too, including a relatively new brand called NiSi. Recently, NiSi has been contacting photography websites for reviews, and they contacted us as well. I have used the Lee system for a while, and experienced a few problems with it, so I wanted to review these NiSi filters and see how they stack up. This review covers the NiSi filter system, along with a few specific filters.
I have been looking for a small portable alternative to carting my tripod around with me for quite some time now. There have been many occasions when I’ve been out photographing and could have used the support that a tripod provides, but could not be bothered to lug my tripod with me. I have tried using a variety of small tabletop tripods. None of them were strong enough to support a DSLR and heavy lens. Beanbags are cumbersome to carry around as well. This past summer I stumbled upon a Kickstarter campaign for Platypod Pro Max, and I was intrigued. Could this possibly be the answer to my search?
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.
I never did completely lose faith. I think in the end it was probably just myself, Thom Hogan and one or two others – the true believers. Nikon would give us a legitimate successor to the D300S. I think that the many who told us to give up and move on to FX because DX is dead, or that the D7200 was the real D300S replacement, perhaps missed the point. The D7200 is an absolutely excellent camera, but I have always thought it pretty obvious that Nikon was holding back on the D7x00 series. And as far as moving on to FX, well we were already there shooting D4s, D800s, etc., but looking back to DX for the potential advantages that a smaller format, high-performance body could bring to shooting wildlife and other action. There was room at the top of the DX model lineup for a specialist camera and now we have it – the
D400 D500. Nevertheless, I was caught off-guard, along with most people I think, when the D500 was announced alongside the D5 in early 2016. We all knew the D5 was coming, but just how did Nikon manage to keep the D500 a secret?