When using telephoto and macro lenses, it is often desirable to get tighter framing on a subject that is being photographed. There can be many reasons for wanting to make subjects appear larger in images, but the main reasons are typically related to enhancing composition, improving subject detail and increasing image resolution (particularly after extensive cropping). For example, photographing a bird with a short focal length lens from hundreds of feet away will result in the bird appearing very small and insignificant, with very little to no detail in the resulting image. But if the same bird is photographed at a closer distance or with a longer focal length telephoto lens, a lot more detail can be revealed about the bird. In addition, making the bird take a larger portion of the image can also enhance the image by reducing the amount of clutter surrounding the bird, allowing for a better overall composition. When conditions allow, it is possible to achieve tighter framing by simply walking closer to the subject or zooming in with a zoom lens. However, what if getting closer is not an option and one is already at the longest focal length of their lens? In such situations, a teleconverter can come into rescue. Teleconverters allow increasing the focal length of lenses by coupling with them and thus essentially magnifying the image, allowing for tighter framing of subjects. While teleconverters can be incredibly useful, they also have a few rather serious disadvantages that can lead to increased blur and loss of sharpness. Let’s take a look at what a teleconverter is and go over its advantages and disadvantages in more detail.
For Part 6 of our How Was This Picture Taken series, we have this very special photo of the Photography Life Team:
UPDATE #1: The detailed answer has already been posted!
UPDATE #2: Come on guys, this was an April Fool’s joke! We will always continue reviewing a variety of brands and we won’t sell out.
Ever since Nikon debuted the 24mm f/1.4G ED lens five years ago, the lens has been a popular choice among professionals and serious amateurs, thanks to its excellent optical formula and coating technologies that yield crisp and pleasing images. However, its high price point and the relatively heavy weight made it a rather specialized tool, so a cheaper and lighter f/1.8 version of the lens was much needed to complement the 20mm f/1.8G and the 28mm f/1.8G lenses. Nikon filled this gap with the Nikkor 24mm f/1.8G ED in August of 2015, finally addressing the needs of many photographers like me, who had been wanting such a lens for a while now. When I finally received my copy of the lens, I wondered how it would compare optically not only to its older f/1.4G brother (which I used to own and love), but also to other popular 24mm primes such as the Sigma 24mm f/1.4 Art and the Samyang 24mm f/1.4. After getting a hold of all three, I hit the road with the purpose to find out which lens would serve as my dedicated 24mm prime in the future. In this review, I will not only discuss the Nikon 24mm f/1.8G lens in detail, but also compare it to the above-mentioned 24mm primes.
For many years, Nikon has been limiting affordable super telephoto zoom lenses above 300mm to the 80-400mm VR lens, while keeping its high-end super telephoto line of zoom and prime lenses available only for those with deep pockets. With Tamron and Sigma pushing great budget-friendly 150-600mm options, Nikon finally decided to release its first constant-aperture super telephoto zoom competitor in August of 2015. Specifically designed for beginner and enthusiast wildlife / sports photographers, the new Nikkor 200-500mm f/5.6E ED VR became the first hand-holdable Nikon lens to reach 500mm at a relatively low price point of $1,399. This offering, coupled with the upcoming Nikon D500 DSLR, makes a killer combination for action photography. With an equivalent field of view of 300-750mm and the capability to shoot fast action at up to 10 frames per second on the D500, the Nikon 200-500mm f/5.6E VR is definitely going to become one of the most popular lenses in Nikon’s lens line-up, thanks to its versatility and reach. Although our team at Photography Life has not had a chance to test this particular combination due to unavailability of the D500 in the US, we have been actively using the lens on camera bodies like the Nikon D7200, D750, D810 and D4S for this particular review. We are planning to write a follow-up article covering the use of the lens on the Nikon D500, once we get our hands on the camera. Meanwhile, please enjoy the review of the Nikon 200-500mm VR lens, along with comparisons to Tamron 150-600mm VC, Sigma 150-600mm C / Sport and Nikon 80-400mm VR lenses.
A winter storm hit the Boston area sometime in February and when various weather channels called for a clear evening/night, I got thinking. I live close to Merrimack River and have tried photographing it several times before but so far not have not been satisfied with the resulting images. Sometime it is either an out of place tree limb that destroys visual harmony or distant apartments, houses or other man-made structures that compete for attention. I realized that if the storm started to clear 30-40 minutes prior to sunset, I might be in luck. A quick 4 pm peek outside the window signaled just that and I immediately rushed out with my camera bag. Since I already knew what I was after, and possibly needed to react quickly to changing light, I opted for a shoulder bag that contained a Nikon D610, along with 18-35mm f/3.5-4.5G and 24-120mm f/4 VR lenses.
If you are buying your first DSLR camera, the available options that are out there can be pretty overwhelming. In this article, I’d like to walk you through the important similarities and differences between Nikon’s most basic entry level DSLR cameras, currently the Nikon D3200 and Nikon D3300. While this won’t be an in-depth technical review, it will be a practical, hands on review that should give you enough information to make an informed decision between which camera to choose.
At long last they’re all out, in stock and making every aspiring wildlife photographer on a budget scratch their head and wonder which one they should own? Of course I’m talking about the Tamron 150-600mm f/5-6.3 VC, the Sigma 150-600mm f/5-6.3 DG Contemporary and the Nikkor 200-500mm f/5.6E VR. These three budget super telephoto zoom lenses compete with each other directly at their price points, reach and heft; but the big question remains – how do they stack up optically? This was my quest when looking at the three lenses: I wanted to find out which of the three deserves the crown as the best budget-friendly super telephoto zoom. Let’s take a look at the lenses in more detail.
Now that both the Nikon D5 and the Canon 1D X Mark II flagship DSLRs have been announced, we can compare the specifications of the two and see how they stack up against each other. While both cameras are very capable flagship DSLRs from top camera brands, there are notable differences worth pointing out just by looking at the specifications. Please keep in mind that in this post I won’t be comparing image quality, AF performance, and other performance characteristics between these cameras, since both cameras have not yet been released to the public yet – I will only compare already known specifications from the official press releases and technical information shared by Nikon and Canon.
The Nikon D5 has a 20.8 MP image sensor capable of shooting very high ISOs all the way to ISO 3,280,000. With the Canon 1D X Mark II now finally released, I thought it would be a good idea to post full resolution image samples from both cameras, to see how they compare. You can review the sample images from the Canon 1D X Mark II right here and see how they stack up against the Nikon D5’s. While it is too early to evaluate which one does better in terms of image quality and we are planning to provide a full comparison in our upcoming reviews, since both cameras have practically the same resolution, they are probably going to look very similar at pixel level overall.
So you want to get your flash off camera? If you want to improve your flash lit portraits you need to get your flash off the camera. A great way to start is to use Nikon’s own CLS (Creative Lighting System). Since a lot of people will own one of the Nikon Speedlights, getting it off camera and triggered remotely is a very straightforward and relatively inexpensive task. In this article, we will explore the basics of Nikon’s Creative Lighting System and set things up to photograph an image like this: