Despite some challenges with my schedule, I am putting plenty of effort on writing more gear reviews. In between reviews, I will be posting various howtos and guides, along with some images from this year. The shooting season is pretty much over (it has been very cold and snowy in Denver during the last few weeks) and I am not really planning on going anywhere until spring of next year. This will hopefully give me more time for writing and working on some stuff for Lola (she wants a personal blog and a separate portfolio website for her business).
Some of our readers, especially those who are just getting into photography, frequently ask me if they should choose the Nikon 35mm f/1.8G or Nikon 50mm f/1.4G to be used for low-light photography. I decided to run a quick comparison between the two, along with some other technical information to hopefully make it easier for our readers to select the right lens in this Nikon 35mm f/1.8 vs Nikon 50mm f/1.4 comparison.
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.
I have been spending all of my available time to test the new Nikon 24mm f/1.4G lens (which is stellar in every way), along with other Nikon ultra wide lenses and have been comparing them all at different focal lengths. The plan is to write an article comparing those lenses head to head at the same focal length, ISO, aperture and shutter speed to see how they stand against each other. Here is the full list of lenses that I am currently testing:
This is an in-depth review of the new professional Nikon AF-S 16-35mm f/4G ED VR lens that was released in February of 2010. The Nikon 16-35mm VR lens is a professional-grade constant aperture lens for enthusiasts and professional photographers that need an ultra wide-angle zoom lens with the latest generation of VR II (vibration reduction) technology for both FX and DX cameras (equivalent of 24-52mm on DX). Being the world’s first ultra wide-angle zoom lens with vibration reduction, the lens is ultra-fast with AF-S silent-wave focus motor, has Nano crystal coating against flare and is sealed against tough weather conditions. Unlike the Nikon 14-24mm f/2.8G lens, the new 16-35mm f/4G VR has a 77mm filter thread, which is great news for landscape photographers.
This is an in-depth review of the Nikon AF-S 70-300mm f/4.5-5.6G VR lens that was released back in August 2006 together with the Nikon D80. The Nikon 70-300mm VR lens is targeted towards sports, nature and wildlife photographers that need a lightweight, versatile telephoto lens with great optics and vibration reduction technology, at an affordable price. The lens works on both Nikon FX (full-frame) and DX (cropped) sensors and has an equivalent field of view of approximately 105-450mm on DX sensors, which makes the lens particularly good for reaching distant subjects. The Nikon 70-300mm f/4.5-5.6G ID-ED VR lens features two “ED” (extra low dispersion) glass elements that are used in all Nikon professional lenses, providing higher contrast, lower chromatic aberration and higher resolution, due to less air bubbles and glass deformities within the glass elements. In addition, the lens sports the latest vibration reduction “VR II” technology, giving up to 4 full stops of advantage over non-VR lenses at low shutter speeds. Vibration Reduction, especially the latest VR II generation, makes this lens particularly useful for hand-held shooting while hiking and traveling. Autofocus is practically silent, thanks to the Silent Wave Motor (AF-S) within the lens.