What do you do when you have an 800mm super telephoto lens with a 2x teleconverter? Well, if you were me, you would be spending a couple of weeks in a lab environment, testing the lens inside out and comparing it to the 300mm, 500mm, 600mm and the new Sigma 120-300mm. Otherwise, you would be out shooting fun stuff, like the full moon! A couple of nights ago, I got really tired from all the testing, so I got out to get some fresh air. When I looked at the sky, I noticed that the moon was in its full glory. The skies were partly cloudy, so I waited it out for a few minutes, then got out with the Nikon 800mm f/5.6 VR with the 2x attached to it and took a few shots of the moon. Although the whole setup was incredibly shaky (and that’s mounted on a full Gimbal head and the sturdiest of Gitzo tripods), I managed to get some shots that were sharp. Then I went back in and uploaded the photos to my computer. When I opened up the image and zoomed in to 100%, I was pretty shocked to see so much detail. By far, this is the sharpest and the most detailed photo of the moon I have taken! So I decided to share it with our readers in a wallpaper format for high resolution monitors (1920×1200). So here is the photo:
In addition to the Nikkor 18-140mm f/3.5-5.6G DX ED VR lens, Nikon also announced a brand new speedlight – the Nikon SB-300. Before the SB-300, the lowest-end flash unit in Nikon’s line was the SB-400. Since the SB-400 is a straight flash with limited flexibility to tilt the head (only straight upwards, no side to side movement), I never recommended it to anyone, even beginner photographers with entry-level DSLRs. Unfortunately, the price gap between the SB-400 and higher end speedlights like SB-600/SB-700 was too big for many beginner photographers, so I would often recommend third party flash units. Does the SB-300 change the game?
Nikon has just announced a brand new lens, the Nikon AF-S DX 18-140mm f/3.5-5.6G ED VR to expand its line of APS-C / DX lenses. This lens is meant to be an update to the existing Nikon 18-135mm f/3.5-5.6G lens that was produced back in 2006 and discontinued in 2009. Interestingly, the Nikon 18-135mm was a kit lens for mid-range DSLRs like Nikon D80, which means that we should be seeing an announcement for at least one DX camera later this year (probably at the end of September). And since the Nikon DSLR entry and mid-range lines are fairly recent (D3200, D5200 and D7100), this lens might ship as a kit lens for the upcoming Nikon D400.
This is an in-depth review of the Nikon 18-35mm f/3.5-4.5D IF-ED, a variable aperture zoom lens that was released a long time ago, in year 2000. The lens has been recently replaced with the Nikon 18-35mm f/3.5-4.5G ED, which I recently reviewed and praised for its superb performance. I decided to post this particular review, because it might be useful for those that are considering purchasing the lens at a bargain price, now that it has been replaced and will soon be discontinued. Plus, I have all the data I need for a detailed review.
This is an in-depth review of the Nikon 18-35mm f/3.5-4.5G lens, which was announced on January 27, 2013 together with the super telephoto Nikon 800mm f/5.6E VR. The lens replaces the existing 18-35mm f/3.5-4.5D, an old autofocus lens released back in August of 2000. With its rather weak optical design optimized for film cameras, the old version was never quite considered to be among Nikon’s top performing lenses. It suffered from decreased corner performance, strong distortion, vignetting and chromatic aberration issues, making it a weak candidate for modern DSLR cameras. After 13 long years, Nikon finally completely revamped the design of the lens and reintroduced it to the market as a budget lens for modern full-frame cameras. The AF-S NIKKOR 18-35mm f/3.5-4.5G ED went through drastic changes in optical design and now looks nothing like its predecessor both physically and optically.
This is a part two to my “why are some lenses so expensive?” article that I wrote yesterday. I already explained the difference between consumer and professional-level lenses in the first post, so now it is time to talk about exotic lenses. With so many exotic lenses on the market today, some of which seem to be in relatively high demand (at least judging by their lack of availability), one might wonder about what makes them so special when compared to everything else. This post is not meant to be technical or basic – I think you can get most of that from the first article. Instead, I want to focus on craftsmanship, price, perceived value and niche marketing – the main drivers behind exotic lenses.
Every once in a while, I get asked why some lenses are so much more expensive compared to others. Interestingly, this question comes from both beginners and advanced photographers, but in different contexts. Beginners want to know why pro-level lenses are a lot more expensive than consumer lenses, while knowledgeable photographers wonder about what makes niche/exotic lenses from companies like Zeiss and Leica so much more expensive than modern professional lenses. These are all interesting and valid questions, so I thought writing a couple of articles to attempt to answer these questions would be useful for our readers. In this article, I want to answer the first beginner question on what makes professional lenses expensive.
If you own a Nikon DSLR, this is a good time to perform a firmware update, because Nikon has just released new firmware that contains distortion control data for most of its current and older generation DSLRs, including Nikon D4, D90, D600, D800, D800E, D3100, D3200, D5000, D5100, D5200, D7000 and D7100. The distortion control data is used to correct barrel and pincushion distortion exhibited by Nikkor lenses. Please keep in mind that this data is only useful for correcting JPEG images. Distortion control data is not applied to RAW images (only to JPEG previews stored in RAW images) and if you use external image editors such as Photoshop and Lightroom, they will completely disregard this data when the RAW file is imported.
The original review of the Nikon 300mm f/4D AF-S lens was published back in 2009 and was very short. I decided to completely rewrite it, with all the latest information, MTF data, more feedback and sample images, so you are looking at an updated version. If you are a birder, you have only two budget choices for Nikon – either the Nikon 300mm f/4D IF-ED AF-S or the much more expensive Nikon 80-400mm VR that was introduced in 2013. All other semi-professional lenses by Nikon are not good enough/long enough for birding. The old 80-400mm f/4.5-5.6D VR was too slow to focus and a lot of people including myself expressed their frustration with it for fast moving birds. I have been using the Nikon 300mm f/4D lens for over 6 years now and have been very pleased with the results. I take it with me everywhere I go and have used it more than any other telephoto lens so far. It is relatively light and I primarily use it handheld for shooting birds and other wildlife of Colorado.
Photographers are always looking for something new to invigorate their photography. Sometimes visiting the same old haunts or taking the same types of photographs can get stale. When I mention that I love visiting historic cemeteries, I get quite a few strange looks. Some consider it a bit morbid. Others, uncomfortable with the subject of death, can’t seem to fathom going to a cemetery unless they have no choice! Suffice to say that the notion of visiting a cemetery is not usually at the top of people’s “Things I Would Most LikeTo Do This Weekend” lists!