With the Black Friday and Cyber Monday super-sale days approaching, manufacturers and retailers have been making advanced preparations to make it more than just a single day or two-day sale event. Today, both Nikon and Canon are offering something truly appealing for those who are just starting out. The Nikon D3200 combo with two kit lenses is discounted by a whopping $480 to bring the deal down to $396.95, which is a steal! If you have family members who are interested in photography (I am thinking of buying this kit for my son), this would make a very nice holiday gift. And price-wise, the 55-200mm VR II alone retails for $350 and if you add the price of the 18-55mm VR II, you are already at $600, so in this case, Nikon is not only giving away the D3200, but you are also getting a $200 reward for buying this entry-level kit!
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.
This is an in-depth review of the manual focus Zeiss Distagon T* 35mm f/2.0 ZF.2, a second generation 35mm f/2 prime lens from Zeiss for Nikon and Canon mounts. The lens samples I tested were for the Nikon F mount, although you can get the same lens for the Canon EF mount. The Zeiss 35mm f/2.0 ZF.2 is a professional-grade fixed wide-angle lens targeted at enthusiasts and professionals that need high quality optics for different types of photography, including landscape, architecture, portrait and astrophotography. Similar to other Zeiss prime lenses, the lens is designed to work on both FX and DX sensor cameras (equivalent field of view of approx 52.5mm on DX) and yields amazing clarity and contrast throughout the frame.
Just as Fujifilm promised in their latest roadmap, the last quarter of 2014 sees the announcement of their first professional-grade telephoto zoom lens, the XF 50-140mm f/2.8 R LM OIS WR. The surprise release, however, is the revised version of the already-very-popular XF 56mm f/1.2 lens that features an apodization filter. Let’s take a closer look at the specifications of both lenses.
Do you remember the bonkers Zeiss Otus 55mm f/1.4 lens? If you’ve forgotten, here’s a quick reminder. With Otus lenses, Zeiss is basically trying to show the legendary brand’s worth. You might find that somewhat bewildering since most current Zeiss lenses for DSLRs are very, very good and worthy of the name. But with Otus, the German manufacturer wants to release simply the best lenses available for DSLRs from an optical standpoint. And so the first lens of the series was extremely big, heavy, complex and expensive, but also rather beautiful and astonishing optically. As anyone could guess, a 55mm lens with a price tag of $4000 is bound to spawn differing opinions, not least because Otus line-up is manual focus only. Suffice to say the new 85mm family member with the same impressive size, performance and a price tag of, as near as makes no difference, $4500 is going to be no different.
I am a big supporter of the “get to know your gear” opinion. I strongly believe that the more you use something, the better you learn to take full advantage of the strengths of that particular piece of equipment, and the better you learn to manage its shortcomings without even thinking about it. To a point where they just disappear, in fact, and make the statement that gear does not matter as truthful as it is. Gear does not matter (to an extent), but knowing it and liking it does. This, I think, it the crucial link between equipment and photography itself.
When asked what gear I use most for my work, I will first of all give tribute to the classic fifty and talk about how useful and versatile it is for my style of shooting. And yet I would never willingly rely on that lens alone, no matter how much I liked it. Nor should someone else, really. In this follow-up article I will describe the two most popular lens combinations used among professional wedding photographers. Both of these lens combinations are enough to cover the biggest part of the wedding and, in that context, can be called workhorse lenses. One of the duos is used primarily by fixed focal length lens shooters, the other is very successfully used by photographers who largely prefer zoom lenses. Each of the combinations has their advantages and disadvantages when compared to the other, but whether one is better than the other remains very subjective. Please note that lens choices presented below are a result of a mini-research, where we asked a number of wedding photographers what two lenses were their favorite / most used.
The holidays are over, as sad as it may be. And that means it is time to get back to work! We start with some great news. Fujifilm has just announced (or, rather, confirmed, since we knew this lens was coming) the very hot Fujinon XF 56mm f/1.2 R lens for its popular and desirable X-series compact camera system. For those who wonder, this is a proper, 85mm full-frame equivalent (84mm if you’re being pedantic) portrait lens with correspondingly fast aperture of f/1.2.
This is an in-depth review of the new, much anticipated Nikon 58mm f/1.4G professional prime lens that was announced on October 17, 2013 along with the Nikon D5300 DSLR. Similar to the legendary classic, the NOCT Nikkor 58mm f/1.2, the AF-S NIKKOR 58mm f/1.4G is a specialized lens for such needs as portraiture, street, event / wedding photography and astrophotography. Thanks to its fast aperture of f/1.4 and a complex optical formula using aspherical elements, nano crystal coat and super integrated coating, along with a fast silent wave autofocus motor, the lens is also ideal for low-light photography needs. Unlike many of the Nikkor lenses that are optimized for maximum sharpness, the Nikon 58mm f/1.4G is the first modern lens of its kind that focuses on producing aesthetically pleasing images, rather than purely focusing on sharpness. I had a pleasure of shooting with this lens for the last 3 months and I wanted to get a full understanding of its strengths and weaknesses, especially when compared to the Nikon 50mm f/1.4G and f/1.8G lenses that I have been relying on for my photography needs. In this review, I will not only provide an in-depth analysis of the lens, but will also compare it head to head against Nikon’s 50mm prime lenses and the Voigtlander 58mm f/1.4 lens that I have been testing in parallel.
Lothlórien or Mordor, depending on whether you consider Nikon “the dark side” I guess! Been shooting with this combo for about a week now and I am amazed by the results. The Nikkor 58mm f/1.4G (see our lens page in the database) is just one of a kind…very few Nikkor lenses are capable of rendering such beautiful images. Lots of depth, color and beautiful bokeh, as illustrated in some of the images below. Sharpness in the center is also excellent when you nail focus, even wide open. Lola was a bit hesitant about the Df at first (she rarely parts with her Nikon D3s + Nikkor 50mm f/1.8G combo), but once she used it a couple of times on commercial shoots, she quickly changed her mind.