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.
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?
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.
When testing out the Nikon 58mm f/1.4G, I really wanted to get a hold of the legendary Noct-NIKKOR 58mm f/1.2 lens to see how the two lenses from different generations compare optically. Unfortunately, I could not obtain a good sample of the Noct-NIKKOR at the time, but after scouting eBay for a while, I finally found a pristine copy of the lens from a photographer in California. Being a collector item, the lens was barely used and had been sitting for years in a closet – exactly what I had been wanting to get. I really wanted to make sure that the lens performed as close to its original specifications as possible, because I was on the quest to measure its optical performance, particularly at its super wide f/1.2 aperture. Let’s take a look at the lens in more detail.
The Nikon D7200 is Nikon’s newly released top-of-the-DX-line DSLR. With the D7200, Nikon is holding firm in their conviction that their flagship DX model should cost $1200, the same price as the D7100 at its introduction. Compared to the D7100, the D7200 has nearly three times the buffer, an improved AF-system, the latest EXPEED 4 processor and a bunch of other nice features, especially for video shooters. Let’s check some specs, but first a warning – Nikon released the D7200 right at prime mating season in Arizona. Birds and bees were being birds and bees. This could be our sexiest review yet.
Ever since Nikon announced the introduction of the Nikon 1 V3 back in March of 2014 the camera has been met with mixed reactions. Some of the design choices made with this camera left many photographers scratching their heads wondering what the engineers at Nikon were thinking when they put the concept for the Nikon 1 V3 together. Specifically many people questioned the use of a microSD memory card, making the EVF and grip detachable, introducing yet another new battery, and coupling the Nikon 1 V3 with a new 10-30 PD zoom that does not accept filters. As a result many people simply dismissed the Nikon 1 V3 out-of-hand and did not give it a serious look. That is unfortunate since the Nikon 1 V3 actually is a very good camera that brings a lot of new features and capabilities to the Nikon 1 system. It’s too bad that the camera did it in a three-steps-forward two-steps-back kind of way. Had Nikon not made those rather quirky design choices I think the camera would have been met with a much stronger and more positive reaction from the marketplace.
After Nikon introduced the super lightweight and inexpensive Nikkor 35mm f/1.8G lens for DX cameras, many Nikon shooters started requesting a similar lens for full-frame cameras. Those who did not want to spend over $1500 on the professional Nikkor 35mm f/1.4G did not have a lot of options from Nikon aside from either using the 35mm f/1.8G DX lens on full-frame, or using the older Nikkor 35mm f/2D lens. Sigma’s timing on the Sigma 35mm f/1.4 Art was spot on for a number of people with its lower price point and superb optical performance, but it also came with both size and bulk considerations. On January 6 2014, Nikon finally announced the Nikkor 35mm f/1.8G ED lens to fill that gap. At $599 MSRP, the lens is not only significantly cheaper than the f/1.4 version, but it is also twice lighter and more compact. I had a chance to use this lens for a few months this year and although I could not work on a full review earlier due to time constraints and other commitments, I was very pleased with its optical performance.
The past 12 months has seen some very interesting developments in the ultra-zoom lens market with the launch of the Tamron 150-600mm f/5-6.3 VC and two new 150-600mm f/5-6.3 lenses from Sigma. These lenses, combined with the Canon 100-400 f/4.5-5.6 (both the old and new version), Nikkor 80-400 f/4.5-5.6 VR, Sigma 150-500 f/5-6.3, and Sigma 50-500 f/5-6.3 give buyers a larger selection of reasonably affordable long telephoto zoom lens options than ever before. But there is at least one aspect that is shared between all these lenses despite different brands and parameters – they are all enormous. In this particular review, however, I am going to talk about what is the smallest lens of this class for interchangeable lens cameras, and that is the diminutive (in comparison to the others) 1 Nikon CX 70-300mm f/4.5-5.6 which has an equivalent field of view of 189-810mm.
< Exactly after two years since the Nikon D4 announcement, Nikon made the D4s public at the 2014 Consumer Electronics Show (CES) on January 6, 2014. Although the camera was not ready for a full announcement, Nikon wanted to have something to show at the CES, so it only hinted about the development of the camera and its intentions to preview it. The camera was officially announced at the end of February and the first units started to ship shortly after in March. The Nikon D4s is a modest upgrade over the D4, with very slight ergonomic changes, expanded ISO range, faster image processor, faster wired / Ethernet speed, improved battery capacity and a bunch of new firmware options. As an incremental update, the Nikon D4s basically solidified the already superb D4 and made it even better.