While the previous Nikon camera and lens rebates are now over, Nikon has just introduced a few more lens-only rebates. The list of lenses has changed considerably this time, probably based on demand. Interestingly, Nikon included the recently announced Nikon 70-200mm f/2.8E FL ED VR as part of this rebate program (see my in-depth review) with $200 off its MSRP, just like the 24-70mm f/2.8E VR last time. It is definitely not normal for Nikon to include such new lenses in its rebates – this shows just how much pressure Nikon is getting from third party lens manufacturers. Let’s take a look at some of the highlights from this rebate program.
In this in-depth field review, we are going to have a look at the Nikon telezoom DX lens the Nikon AF-P DX NIKKOR 70-300mm f/4.5-6.3G ED VR, which was launched in August of 2016. This is one of the three existing DX lenses featuring the new AF-P abbreviation, along with the Nikkor 18-55mm (VR and non-VR versions) and the new Nikkor 10-20mm VR wide-angle lens. AF-P stands for a new piece of technology – a pulsing / stepping focusing motor.
One topic that many of us Nikon shooters often discuss between each other in local groups, online forums and various photography clubs, is lenses that we wish Nikon had. Sometimes a desired lens comes from our experience from using a lens from another brand, sometimes it is something that does not exist, but we wish existed to make our photography easier, more fun, etc. While Nikon has been doing a great job filling in the holes during the last several years, there are still plenty of lenses that Nikon should update or have in its arsenal. In this article, I will go over the most desired future Nikon lenses, the ones that have not been released yet, but I really wish to see come to life soon. I guess you can also call the below a “wishlist” of unannounced Nikon lenses.
Today Nikon revealed three new lenses: AF-S Fisheye NIKKOR 8-15mm f/3.5-4.5E ED, AF-S NIKKOR 28mm f/1.4E ED and AF-P DX NIKKOR 10-20mm f/4.5-5.6G VR. While the latter 10-20mm f/4.5-5.6G VR is an addition to the DX line-up of lenses, the 8-15mm f/3.5-4.5E Fisheye and the 28mm f/1.4E lenses are pro-grade lenses designed specifically for full-frame cameras. Let’s take a look at these three lenses in more detail.
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.
Five months ago, I bought my first ultra-wide lens — the Nikon 14-24mm f/2.8 — after holding out for years. I’ve always flirted with the idea of such a crazy perspective, but I kept finding reasons not to purchase one myself. A 24mm lens had worked well as my widest angle for years, and I rarely found myself wanting anything more. Now that I’ve seen the other side, though, Have my attitudes changed? After going on two major trips with the 14-24mm f/2.8, the insane perspective has started to grow on me, but I still have plenty of reservations. Here’s how I’d sum things up, including my recommendations for anyone else considering making such a leap for themselves.
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.
Nighttime photography is something that a lot of photographers enjoy; I certainly do, along with countless others. Modern cameras can capture more detail at night than we can see with our naked eyes, revealing entire worlds that couldn’t exist otherwise. However, more than almost any other genre, night photography also challenges your camera equipment to its most extreme. In this article, I will go through some of the top lenses for Nikon cameras if you want to take pictures at night, including information about their low-light performance and depth of field. I cover 20 lenses in this article, so it’s pretty extensive — hopefully, you’ll learn something new about the equipment you need in order to capture good star and nighttime landscape photos.
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.
While John and I were attending the Photo Plus show in New York, we had an opportunity to interview Lindsay Silverman, Senior Product Manager at Nikon USA. The highlight of the show were obviously the newly announced Nikon 70-200mm f/2.8E FL VR, along with the 19mm f/4E PC-E lenses. Both are premium offerings specifically targeted towards working professionals, so we could definitely see quite a bit of people approaching the Nikon booth to see pre-production samples of these lenses. Although we have already provided our initial report on the handling concerns when using the new 70-200mm f/2.8E FL VR, in this particular interview, Lindsay explains the reasoning behind the swapping of the zoom and focus rings. According to him, the new change is actually better for handling, as detailed below: