This is an in-depth review of the Nikon 85mm f/1.4G AF-S lens that was announced with three other lenses in August of 2010. Ever since the manual focus AI-s version of the Nikon 85mm f/1.4 lens was introduced back in 1981, the Nikon 85mm f/1.4 lenses have been used as references for superb sharpness, best-looking bokeh and beautiful color renditions. The last autofocus AF-D version of the lens produced in 1995, the Nikon 85mm f/1.4D, was often called the “king of bokeh”, yielding extremely pleasing out-of-focus areas, in addition to producing sharp, colorful images when shooting wide open. Its legendary performance made the Nikon 85mm f/1.4D lens a must-have for portrait photographers and many professionals heavily relied on this lens for many years for their commercial work (and some still do). The Nikkor 85mm f/1.4G lens is the latest update to the 85mm f/1.4 line, which replaced the outdated AF-D version with newer optical and technology innovations from Nikon. In this review, I will not only provide information on the Nikon 85mm f/1.4G lens, but will also compare it to both the older Nikon 85mm f/1.4D and the lighter and smaller Nikon 85mm f/1.8G.
This is an in-depth review of the Nikon 24-120mm f/4G ED VR lens that was released in August of 2010. The constant maximum aperture, mid-range Nikon 24-120mm f/4 VR zoom lens was a major update to the Nikon 24-120mm f/3.5-5.6G VR, which had been known at the time for being a sub-par lens optically. Shortly after the 24-120mm f/4G VR was announced, Nikon discontinued its variable-aperture predecessor and made the 24-120mm f/4G VR into a premium kit lens to be bundled with higher-end full-frame cameras. I have been using the Nikon 24-120mm f/4G VR for a number of years now and I decided to update the existing review with more image samples, additional information and up-to-date lab measurements.
It took Nikon nine years to finally release an update to its popular workhorse standard zoom lens in the form of the Nikon 24-70mm f/2.8E ED VR, which gained a few new features compared to its predecessor, including the much desired image stabilization. Nikon engineers have always put extra effort and emphasis on updated professional-grade lens designs, typically delivering outstanding performance. However, the release of the Nikon 24-70mm f/2.8E ED VR lens has been one of the most controversial in Nikon’s recent history, thanks to the negative attention it received from the photography community. Many reviewers criticized the lens heavily for its performance, claiming it to be a soft lens when compared to its predecessor, the Nikon 24-70mm f/2.8G. And some even put it as the winner in the “worst lens release of 2015” category. Did Nikon engineers really screw up in updating one of the most popular pro-grade lenses? That’s exactly what I wanted to find out when I started reviewing the 24-70mm f/2.8E VR lens.
This is an in-depth review of the Nikon 24-70mm f/2.8G ED lens that was released back in August of 2007 together with the 14-24mm f/2.8G ED lens. I have owned a number of different copies of the Nikon 24-70mm for many years, pretty much from the day the lens was announced and I have probably spent the most amount of time in the field shooting with this lens. Since it is a workhorse pro-level lens, I have used it for many different types of photography – from portraiture to landscapes. I have used it in hot summer days and freezing sub-zero temperatures; carried it from wet and humid climates to dry and dusty environments. Throughout many years of use and abuse, the 24-70mm f/2.8G ED has never let me down, so overtime, it became one of my most used Nikkor zoom lenses in my arsenal.
For most photographers, especially those who shoot landscapes, it is crucial to have a good set of filters at your disposal. Filters come in two types: screw-on filters (attaching directly to your filter threads) and square filter systems (sliding into a holder on the end of your lens). A lot of landscape photographers move to a square filter system over time — they have a wider selection of filters, and they let you move your filters from lens to lens more quickly. The main companies that make square filter systems are Lee, Cokin and HiTech, all of which are well-known among landscape photographers. There are a few other companies in the marketplace, too, including a relatively new brand called NiSi. Recently, NiSi has been contacting photography websites for reviews, and they contacted us as well. I have used the Lee system for a while, and experienced a few problems with it, so I wanted to review these NiSi filters and see how they stack up. This review covers the NiSi filter system, along with a few specific filters.
I have been looking for a small portable alternative to carting my tripod around with me for quite some time now. There have been many occasions when I’ve been out photographing and could have used the support that a tripod provides, but could not be bothered to lug my tripod with me. I have tried using a variety of small tabletop tripods. None of them were strong enough to support a DSLR and heavy lens. Beanbags are cumbersome to carry around as well. This past summer I stumbled upon a Kickstarter campaign for Platypod Pro Max, and I was intrigued. Could this possibly be the answer to my search?
I never did completely lose faith. I think in the end it was probably just myself, Thom Hogan and one or two others – the true believers. Nikon would give us a legitimate successor to the D300S. I think that the many who told us to give up and move on to FX because DX is dead, or that the D7200 was the real D300S replacement, perhaps missed the point. The D7200 is an absolutely excellent camera, but I have always thought it pretty obvious that Nikon was holding back on the D7x00 series. And as far as moving on to FX, well we were already there shooting D4s, D800s, etc., but looking back to DX for the potential advantages that a smaller format, high-performance body could bring to shooting wildlife and other action. There was room at the top of the DX model lineup for a specialist camera and now we have it – the
D400 D500. Nevertheless, I was caught off-guard, along with most people I think, when the D500 was announced alongside the D5 in early 2016. We all knew the D5 was coming, but just how did Nikon manage to keep the D500 a secret?
MIOPS Smart Camera Trigger is a camera and flash trigger in a single unit. It provides seven different triggering modes, including lightning, sound, and laser. It also functions as an intervalometer for timelapse photography. It has an HDR mode, a scenario mode, and a DIY mode. With the smartphone app, you can also use the trigger in four shutter release modes: cable release, press and hold, press and lock, and timed release. The past few days I have had a lot of fun playing with my MIOPS Trigger, and I would like to share my experiences with you.
It has been 15 years since Nikon produced the last iteration of its budget 300mm lens, so the new Nikkor 300mm f/4E PF ED VR was something many enthusiasts and professionals have been patiently waiting for. Although the previous generation Nikkor 300mm f/4D AF-S is an excellent lens optically, it lacks image stabilization, new generation coating and other new technologies that Nikon has been integrating into modern lenses. I have personally been a huge fan of the 300mm f/4D AF-S lens and have owned it for many years, loving the lens for its superb optical performance, fast autofocus, light weight and compact size, making it my ultimate travel lens for wildlife photography – a perfect companion for hand-held shooting. Because it was so good with the 1.4x teleconverter, I practically always kept the teleconverter attached to the lens, making it a very nice 420mm f/5.6 combination. When Nikon finally announced the new 300mm f/4E VR lens, I got very excited, because Nikon completely redesigned the lens. In fact, with close to a 50% reduction in weight and a 30% reduction in physical size, we are not dealing with another redesign or update – this is a completely different lens.
UPDATE: The review has been updated – missing Imatest charts and lens comparisons have been added based on two additional lens samples.
Many photographers who want to upgrade their tripod are stuck choosing between high-end aluminum tripods and low-end carbon fiber models. These two types of tripod tend to be similar in price, which makes the decision even more difficult. I have been trying out the carbon fiber Oben CC-2461 tripod over the past few months, along with the accompanying BE-126T ballhead. This review covers my experiences and recommendations for photographers trying to decide on a tripod at this price point.