This is an in-depth review of the Sigma 50mm f/1.4 EX DG HSM prime lens that was announced on March 18, 2008 for Sigma, Canon, Nikon, Pentax and Sony mounts. The Sigma 50mm f/1.4 EX DG HSM is a professional-grade lens for enthusiasts and pros that need a high quality lens for portraiture and everyday photography. Its large aperture of f/1.4 is great for low-light photography and the shallow depth of field helps isolate subjects from the background, beautifully rendering background highlights, also known as bokeh. Unlike cheaper DX lenses, the Sigma 50mm f/1.4 is designed to work on both APS-C / DX and full-frame / FX sensors from many current DSLR manufacturers, including Nikon and Canon.
This is an in-depth review of the new, much anticipated Nikon 50mm f/1.8G prime lens that was announced in April of 2011. The Nikon 50mm f/1.8G is a consumer-grade lens for enthusiasts and seasonal pros that need quality optics of a fixed portrait lens at an affordable price point. Its large aperture of f/1.8 is great for low-light photography and the shallow depth of field helps isolate subjects from the background, beautifully rendering the background highlights, also known as bokeh.
This is an in-depth review of the 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.
This is an in-depth review of the new Nikon TC-20E III teleconverter that was released in December of 2009, along with an updated version of the Nikon 300mm f/2.8G VR II lens. The Nikon TC-20E III is a major update to the existing Nikon TC-20E II teleconverter, sporting a brand new optical design with an aspherical element, which delivers better performance with many specialty telephoto lenses. The purpose of teleconverters is to increase the focal length of lenses, in other words to get closer to subjects, and the TC-20E III is the biggest and the longest teleconverter manufactured by Nikon – it doubles the focal length of a lens. While this teleconverter works with any professional Nikon lens that can take teleconverters, it is specifically designed to work with fast prime lenses with an aperture of f/2.8 and larger. The Nikon TC-20E III is targeted at sports, wildlife and other types of telephoto photography where the photographer cannot physically approach subjects.
This is an in-depth review of the new professional Nikon 35mm f/1.4G prime lens that was announced in September of 2010. The Nikon 35mm f/1.4G is a professional-grade lens for enthusiasts and professionals that need the highest quality optics of a fixed wide-angle lens with a large aperture of f/1.4 for low-light situations and shallow depth of field to isolate subjects from the background, making it an ideal candidate for many types of photography, including portrait, wedding, landscape and astrophotography.
This is an in-depth review of the Nikon 55-300mm f/4.5-5.6G VR lens that was released in August of 2010 together with three other lenses – Nikon 85mm f/1.4G, Nikon 28-300mm f/3.5-5.6G VR and Nikon 24-120mm f/4.0 VR. The Nikon 55-300mm VR lens is a major update to the existing Nikon 55-200mm f/4.0-5.6G ED VR lens that was released in 2007. Just like the 55-200mm VR, it is designed to be used with the Nikon 18-55mm DX VR kit lens to provide expanded focal range for telephoto shots. Nikon 55-300mm is currently the cheapest way to get to true 300mm focal length in Nikon’s current line of lenses, with a little more shorter range to work with than the Nikon 70-300mm VR lens.
This is an in-depth review of the Nikon 28-300mm f/3.5-5.6G ED VR lens that was released in August of 2010 along with the Nikon 85mm f/1.4G and 55-300mm f/4.5-5.6G VR DX lenses. It is no secret that Nikon released the 28-300mm largely due to the popular demand of the 18-200mm lens. The large zoom range of the Nikon 18-200mm and its generally good performance made it a lens of choice for those, who wanted to have a good lightweight travel lens or only wanted to use one lens on their DSLR cameras. Despite the fact that the lens suffered from some serious issues such as lens creep, heavy distortion and sharpness issues beyond 105mm, some photographers and reviewers praised the 18-200mm so much, that the demand increased significantly, resulting in heavy lens shortages around the world. During this time, Nikon had a hard time keeping the lens on the shelves and the only way to obtain it was to either pay a premium and buy it from Ebay, or order and wait for months until Nikon sent another batch to retailers. I remember this period of time very well, since I had to wait for 3 months to get my copy of the lens. Ever since Nikon released the FX full-frame sensor, more and more photographers have been switching from DX to FX. Since Nikon 18-200mm is a DX lens, an FX camera would fall back to DX mode, giving less than half the resolution – a problematic situation for most photographers that use the current 12 megapixel cameras. Therefore, photographers that made the switch from cropped sensor cameras to full-frame, ended up selling or trading their DX lenses for the above reason, including the much loved Nikon 18-200mm.
This is an in-depth review of the Nikon 300mm f/2.8G ED VR II lens that was released in December of 2009, along with the TC-20E III teleconverter. When it comes to telephoto lenses, the Nikon 300mm f/2.8 line of lenses has always been a metric of sharpness, contrast and acuity. The Nikon 300mm f/2.8G VR II is no exception – it sports top of the line optical design and technology that are capable of resolving tons of details, delivering outstanding results for any kind of long-range photography. The Nikon 300mm f/2.8G VR II was released as a minor update to the existing Nikon 300mm f/2.8G IF-ED – the optical design stayed the same, with the exception of Vibration Reduction II (VR II) technology and a new A/M focus mode. In this review, I will not only provide general information about the Nikon 300mm f/2.8G VR II and its performance, but also how it works with all current Nikon teleconverters (TC-14E II, TC-17E II and TC-20E III) and how it compares to other telephoto lenses of similar and lower classes.
This is an in-depth review of the Nikon 14-24mm f/2.8G ED lens that was released back in August of 2007 together with the Nikon 24-70mm f/2.8G ED lens. I have been planning to write a review of this lens for quite some time now and I wanted to make the review as thorough as possible, comparing it to other Nikon FX wide angle lenses that are out in the market today. My plan finally came to reality, when I got a hold of Nikon 14-24mm f/2.8G, Nikon 16-35mm f/4.0 VR, Nikon 17-35mm f/2.8D, Nikon 24-70mm f/2.8G and finally Nikon 24mm f/1.4G lenses all at the same time!
This is an in-depth review of the professional Nikon 24mm f/1.4G ED lens that was announced in February of 2010 together with the Nikon 16-35mm f/4G VR lens. The Nikon 24mm f/1.4G lens is a professional-grade lens for enthusiasts and professionals that need the highest quality optics of a fixed wide-angle lens with a large aperture of f/1.4 for low-light situations and shallow depth of field to isolate subjects from the background. The lens incorporates the latest optical technology destined for both FX and DX sensors (equivalent of 36mm on DX), yielding amazing clarity and contrast in most challenging lighting conditions. The Nikon 24mm f/1.4G follows the footsteps of the legendary Nikon 28mm f/1.4D lens, which was known for its exceptional quality and sharp optics, even at large apertures. The new Nikon 24mm f/1.4 is no exception – it performs remarkably at most apertures and it has very impressive sharpness from center to extreme corners, especially when stopped down a little. Nikon has incorporated the latest technology and optical formulas to this lens, including AF-S silent-wave focus motor and Nano crystal coating. The lens is also sealed against dust and tough weather conditions. Just like most Nikon professional lenses, the lens has a 77mm filter thread, which is great news for landscape and architectural photographers.