Today Nikon revealed its first pulse motor (AF-P) lens designed specifically for full-frame cameras, the AF-P NIKKOR 70-300mm f/4.5-5.6E ED VR. This is a very interesting release for a number of reasons. First, it improves the already great 70-300mm f/4.5-5.6G VR budget telephoto lens by making it sharper, faster and lighter. Second, it vastly improves the image stabilization system on the lens, capable of compensating up to 4.5 stops when shooting hand-held, in addition to adding a Sport VR mode for panning. Third, the new 70-300mm gains an electronic diaphragm and its new optical design allows to get even closer to subjects with a minimum focus distance of 1.2 meters. And lastly, its $700 price tag puts it just $100 above its predecessor, making it a great choice for budget conscious photographers. Being such a lightweight and compact lens, it seems like an ideal choice for travel photography.
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.
This post is the last in a three-part series dedicated to teaching sports photography at all levels of competency. In part one I covered the basics for photographers who are just getting started. Part two was geared towards intermediate amateurs who have mastered the basics and want to gain additional competency to bring their images to the next level. This part is for advanced amateurs looking to enhance their existing skills and create professional-looking images.
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.
In this in-depth Wildlife Photography Tutorial, we put together some of the best material we have published to date on photographing wildlife. Most of the information comes from myself (Robert Andersen), but a few extra tips are shared by other talented PL team members like Tom Redd. Instead of creating separate articles on each topic, we thought it would be a good idea to compile everything into a single piece, so that our readers could get the best out of it and have a chance to follow the material in a logical progression. This tutorial is a work in progress and we will be adding more sections in the future, so make sure to bookmark it in your browser!
When taking pictures, one of the biggest frustrations one can experience is camera shake, which often happens as a result of the way the camera is held at lower shutter speeds. Properly hand-holding a camera can drastically reduce human-induced camera shake and result in many more sharp images and keepers. In this article, we will discuss a few different ways to hold a camera, which will hopefully reduce and potentially even eliminate unwanted blurry images when you are shooting in the field.
Ever since it was introduced back in 1993, the DC Nikkor 105mm f/2 DC has been a classic – it was one of the most favored lenses for film portrait photographers and when digital came about, many photographers continued using the stellar lens to create stunning portraits. It took Nikon 23 years to bring out an update in the form of the Nikon AF-S NIKKOR 105mm f/1.4E ED – a drastically different lens in every way. Although Nikon decided to eliminate the de-focus control feature on the new 105mm, the biggest change is in fact the maximum aperture: at f/1.4, it is a much brighter lens compared to its predecessor. A full stop brighter, which is a huge difference for a portrait lens of this class. With this update, Nikon claimed another “world’s first” title, since no other manufacturer has ever been able to make a 105mm telephoto lens with such a wide aperture.
It is always exciting to see great lens announcements, because lenses play such a huge role in making images and making them appear special. This week we have seen two such announcements from Tamron. Without a doubt, the most exciting announcement is the Tamron SP 70-200mm f/2.8 Di VC USD G2 designed for full-frame cameras from both Nikon and Canon. I am personally intrigued by the Tamron SP 70-200mm f/2.8, since that lens is going to retail for a mere $1,299 – that’s less than half the price of what Nikon sells its high-end Nikkor 70-200mm f/2.8E FL VR for! I don’t know how Tamron managed to price its 70-200mm so low, but at this price, I almost wonder what corners Tamron had to cut to make it happen. After reviewing its MTF charts and other lens specifications, I could not really find any…
In the past, bird photography was reserved for those with very deep pockets. With long prime lenses costing more than $8000, their high prices excluded those of us with more modest budgets from the party. However, with the advent of relatively inexpensive super-zoom lenses from Sigma and Tamron, and even some from the mirrorless camera makers, it is much easier to get into bird photography these days. In this article, I want to give you some bird photography tips for creating compelling images of these beautiful creatures. I will talk briefly about gear but will focus more on the techniques for capturing great images of birds.
Telephoto lenses are wonderful tools for almost any genre of photography, but they aren’t necessarily easy to use. In particular, telephoto lenses will magnify any camera shake and provide a much thinner depth of field compared to wide angles. Don’t let that stop you, though. Telephotos have a unique way of showcasing the world — one which may be ideal for your photos. In this article, I’ll go in detail about how to use telephoto lenses, discuss some of their benefits and tips for dealing with their unique challenges. Although I personally tend to take landscape photos, the techniques in this article apply no matter what subjects you like to capture.