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.
In this article, we will go over what exposure compensation is on a digital camera and how you can take advantage of it to make adjustments to your exposure when shooting in camera modes such as aperture priority, shutter priority, program mode and other scene modes of your camera. Every modern camera today has a built-in capability to adjust exposure settings in order to make it easier to properly expose images. In simple terms, the idea is to be able to control the brightness of an image, so that it does not end up looking too bright or too dark. To be able to do this, one has to use the Exposure Compensation feature, which is typically provided either as a dedicated button on a camera, or as a dial that one can move from positive exposure compensation to negative. Let’s take a look at how you can utilize this great feature on your camera and take a full control of your exposure.
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.
Technically, the article is supposed to be called “Nikon Speedlight Comparison”, because Nikon calls their flash units “Speedlights”. This article is written as an introduction to the current and older line of Nikon Speedlights, specifically the Nikon SB-300, SB-400, SB-500, SB-600, SB-700, SB-800, SB-900, SB-910 and SB-5000. In addition to some basic information on each Speedlight, I will provide a comparison chart on the bottom of this article as well, to make it simpler for our readers to understand the differences.
Most camera manufacturers are currently offering a number of deals and rebates this summer to promote their products. Nikon has already been promoting its DSLRs with instant rebates and free camera grips and now new lens-only rebates are added to the list. Fuji has also extended a number of instant rebates for its APS-C cameras like Fuji X-T2 with a free grip option, in addition to other cash rebates. Other manufacturers like Sony and Sigma are also offering great rebates for their camera gear. To sweeten up the deals, B&H is also pitching in their part by giving 2% back in rewards. Below you will find the best deals we could find for our readers from these manufacturers.
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.
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.
Another day, another headline-grabbing click-bait title we see surfacing all over the Internet on photography blogs and forums. Apparently, Sony overtook Nikon and came second in full-frame sales. And the source of all these titles is none other than Sony itself, who used data from a company called “NPD Group”, which researched the months of January and February to come up with the stats. The company was quick to issue a press release (you can see it below) and as expected, these news were picked up very quickly by many websites. Let’s take a look at these so called “news” and analyze the information in a little more detail.