This is an in-depth review of the flagship Nikon AF-S NIKKOR 70-200mm f/2.8E FL ED VR lens that was released in October of 2016. Every seven to ten years, Nikon updates its top-of-the-line lenses with the most current technology and tries to push the performance envelope to a whole new level. After a long wait, Nikon finally delivered the new generation 70-200mm f/2.8E FL ED VR in a lighter and more versatile package. Nikon completely redesigned the lens from the ground up, featuring a fluorite lens element to make it roughly 100 grams lighter, an “E” type electronic diaphragm, an updated Vibration Reduction / Image Stabilization mechanism and a drastically different optical formula featuring a total of 22 elements to deliver superior sharpness across the frame. The lens elements have also been treated with all the latest lens coating technologies, including Nano Crystal Coat and fluorine coating in order to reduce ghosting and flare, as well as repel dust and moisture from its front element. Based on user feedback, Nikon also took care of the focus breathing issue that was present on the VR II version of the lens. Ever since the lens was introduced to the market, I have had a chance to shoot with a couple of samples of the Nikon 70-200mm f/2.8E FL VR, so my experience and review are based on many months of shooting with this lens.
This is an in-depth review of the Nikon 19mm f/4E PC, also known as PC NIKKOR 19mm f/4E ED, a special purpose wide-angle lens designed for architecture, cityscape and landscape photography. “PC” stands for “Perspective Control”, but I will refer to this type of lens as “tilt-shift” in this article. Architecture and cityscape photographers often work with straight lines and tilt-shift lenses give the ability to avoid the convergence of vertical lines by shifting the lens upwards or downwards. Landscape photographers often want to keep everything in focus, especially when dealing with close foreground objects. Stopping down to very small apertures results in diffraction, which impedes sharpness. Tilt-shift lenses offer an alternative to stopping down by tilting the plane of focus, putting both closest and furthest objects in focus. Focus stacking in post-processing software is another way to achieve maximum focus without stopping down excessively, however, the technique also has its pros and cons, making tilt-shift lenses unique in their own ways. The ability to apply selective focus on a particular part of the image via lens tilting allows distant subjects to appear “miniaturized”, although this effect can be reproduced in image editing software, as well.
When Tamron introduced the Tamron SP 150-600mm f/5-6.3 VC a few years ago it really shook things up (Model A011, but hereafter I’ll call it the G1 for simplicity). Priced just over a grand, the G1 offered people the chance to get into wildlife photography without dumping five figures into a supertelephoto prime lens. Not only was it inexpensive, it was surprisingly sharp as well; much sharper than many of us expected a lens in that price range to be. Sigma followed up a few months later with not one, but two 150-600mm zooms, then Nikon joined the fray a year later with its Nikon 200-500mm zoom.
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.
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.
It has been 15 years since Nikon produced the last iteration of its budget 300mm lens, so the new Nikkor 300mm f/4E PF ED VR was something many enthusiasts and professionals have been patiently waiting for. Although the previous generation Nikkor 300mm f/4D AF-S is an excellent lens optically, it lacks image stabilization, new generation coating and other new technologies that Nikon has been integrating into modern lenses. I have personally been a huge fan of the 300mm f/4D AF-S lens and have owned it for many years, loving the lens for its superb optical performance, fast autofocus, light weight and compact size, making it my ultimate travel lens for wildlife photography – a perfect companion for hand-held shooting. Because it was so good with the 1.4x teleconverter, I practically always kept the teleconverter attached to the lens, making it a very nice 420mm f/5.6 combination. When Nikon finally announced the new 300mm f/4E VR lens, I got very excited, because Nikon completely redesigned the lens. In fact, with close to a 50% reduction in weight and a 30% reduction in physical size, we are not dealing with another redesign or update – this is a completely different lens.