A landscape photographer’s goal, especially in the most dramatic and massive locations, is to demonstrate the size and scope of the landscape in a photo. However, it is quite difficult to translate the three-dimensional world into a flat rectangle — certain aspects of a scene, including the scale of the landscape, can get lost along the way. In this article, I’ll go over some common ways to put the size of a scene into perspective.
Being a huge fan of the 24-70mm f/2.8G for many years now, I am well aware of its strengths and weaknesses. It is a superb lens for landscape and many other photography needs, but its rather weak wide open performance in the corners, heavy weight and lack of image stabilization have been leaving me wondering if there would be a replacement coming out soon from Nikon. Today, Nikon finally revealed such a replacement – the Nikkor 24-70mm f/2.8E ED VR is finally out and it is a monster of a lens! Looks like Nikon has completely changed the optical design of the new 24-70mm f/2.8E compared to its predecessor. Not only does it look a lot more beefed up, with its huge 88 x 155mm barrel and 1,070 grams of total weight (compare that to 83 x 133mm and 900 grams on the 24-70mm f/2.8G), but it also comes with a large 82mm filter thread diameter, which might present additional expenses for working pros for purchasing new filter holders and filters. Speaking of expenses, the updated 24-70mm f/2.8E ED VR will leave a lot of people scratching their heads, since it is one of the most expensive zoom lenses made by Nikon, at $2,399.95 MSRP. Let’s take a closer look at this lens and see what Nikon has changed and why there is such a high price tag attached to this 24-70mm f/2.8E VR.
Today Nikon revealed another addition to the f/1.8 family of prime lenses, the Nikkor 24mm f/1.8G ED. This fast, enthusiast-level prime lens fills the gap between the Nikkor 20mm f/1.8G and the Nikkor 28mm f/1.8G, giving Nikon shooters yet another excellent wide-angle choice in a lightweight and affordable package. While the professional Nikkor 24mm f/1.4G has been out for over 5 years now, its high price point and heavy weight have been deterring many photographers, who have been waiting for a lighter and cheaper option ever since. The wait is finally over – at only 355 grams and $749.95 MSRP, the new Nikkor 24mm f/1.8G ED will surely satisfy many photographers who have been craving for such a lens.
In addition to the high-end 500mm and 600mm super telephoto lenses, Nikon also announced the AF-S DX Nikkor 16-80mm f/2.8-4E ED VR, a high-quality lens designed specifically for smaller APS-C / DX cameras. I have not had a chance to post this announcement due to my busy travel schedule earlier this week, but thought it would be important to post it at PL, since it is a pretty interesting announcement. The Nikkor 16-85mm f/3.5-5.6G ED VR has been a pretty popular lens for DX cameras for many years now, but after the release of high-resolution 24 MP cameras, the lens has been showing its age, with fairly average sharpness, particularly in the corners. The new 16-80mm f/2.8-4E has a completely new optical formula, designed to outperform the 16-85mm in every way.
Zeiss has been pretty active lately, releasing a number of solid and much needed prime lenses for the Sony FE mount. The first Loxia line is comprised of two manual focus lenses, the Zeiss Loxia 35mm f/2 and Loxia 50mm f/2 and the second Batis line is even more exciting, with the Zeiss Batis 25mm f/2 and Batis 85mm f/1.8 lenses, with full autofocus capabilities. While both lines of lenses are superb in quality and build, the Loxia line is designed to be similar to other traditional Zeiss lenses, with manual aperture control and compact size. I had the pleasure of shooting with both Loxia lenses for the past few months using a number of different Sony A7 cameras and I decided to start off my reviews with the 35mm f/2 lens, which I happened to use a bit more than the 50mm f/2 due to the type of photography I have been primarily engaged in.
Just a day after Sigma announced its 24mm f/1.4 Art lens, it has now also announced both pricing and availability of the Sigma 24mm f/1.4 Art lens. I honestly expected over $1K price for this quality of the lens, so I was a bit shocked to see that the lens will be sold at $849, which is tremendous value if you compare it to Nikon and Canon 24mm f/1.4 counterparts. Another much anticipated lens, the Sigma 150-600mm f/5-6.3 DG OS HSM Contemporary is also available for pre-order for $1,089, which is priced right around the same as the Tamron 150-600mm which we highly praised in our in-depth review. Both lenses are expected to ship around March 20, 2015.
The announcement of the new 24mm f/1.4 Art lens by Sigma comes as no surprise. It is a very obvious, and a very delightful move by the lens manufacturer, and is certainly a fitting addition to the renewed lens lineup. Featuring a wide-angle focal length of 24mm and a very wide aperture of f/1.4, this lens sits comfortably next to such highly-regarded siblings as the 35mm f/1.4 and 50mm f/1.4 Art lenses. It will also directly compete against such brand lenses as the Nikkor 24mm f/1.4G and the Canon 24mm f/1.4L II, both of which are renowned for their optical performance as well as build quality. Quite the competition, then, but if previous Sigma Art lenses are anything to go by, the new tool should be remarkable.
Do you remember how it used to be with brand and third-party lens manufacturers? Brand lenses were always the high-performers, in all senses of the word. Well built, reliable and great from an optical standpoint. Third-party lenses lacked somewhat in those areas (unless you count such legendary manufacturers as Zeiss), but made up for it with very low price and niche lenses you could not find anywhere else. In recent years, however, the situation has been changing and quite drastically. Tamron 24-70mm f/2.8 VC came out. Sigma 85mm f/1.4 HSM did, too. And the 35mm f/1.4 HSM. And the 18-35mm f/1.8 HSM zoom for APS-C cameras. Need I go on? All of these lenses proved to be well built and very good optically. There is no exaggeration in saying they gave some brand lenses a good beating. So if third-party lenses started doing the “brand” thing, how should Canon, Nikon and the like answer? Well, witness this – Canon has just announced a new lens. It is an ultra wide-angle zoom with focal length range of 11-24mm and maximum aperture of f/4 throughout the range. It is designed for full-frame DSLR cameras and there is nothing else quite like it on the market.
Back in September last year, Tamron announced the development of a rather interesting wide-angle lens. Not only does it feature a very useful focal length range for landscapes, architecture and documentary style photography, but also allows a fairly wide aperture of f/2.8 and image stabilization. The lens has now been officially released in three mounts – Nikon, Canon and Sony (Vibration Correction is omitted for Sony variant). At a fairly reasonable price of $1200, it ever so slightly undercuts the Nikkor 16-35mm f/4 VR lens (which also happens to be slower), significantly undercuts Canon’s 16-35mm f/2.8L II lens and matches the cost of the 16-35mm f/4L IS.
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.