Only G and D lenses will transfer attention distance information to the camera , and that is helpful for flash drives, amongst other things.Nikon also made lenses together with the kind of IX. These lenses were designed for the Pronea series of cameras, which use the Advanced Photo System format film. They cannot be employed on 35mm film or digital bodies, so just ignore them unless you have a Nikon Pronea.Every once in a while, I get asked why some lenses are a lot more expensive in comparison to others. Interestingly, this question stems from both beginners and advanced photographers, but in various contexts. Beginners wish to know why pro-level lenses are a lot more costly than consumer lenses, while educated photographers wonder about what makes niche/exotic lenses from companies like Zeiss and Leica much more expensive than modern professional lenses. These are all interesting and legitimate questions, so I thought writing a couple of articles to try to answer these queries would be helpful for our subscribers. In this article, I would like to answer the very first beginner question on what makes specialist lenses expensive.The main differentiating factor between the above mentioned categories isn’t necessarily price. Features, caliber, autofocus motor, dimensions, optical attributes and price are what cumulatively divides one lens out of another. Some lenses are sold at a cheap price simply due to their age, however it doesn’t mean that they move to a different class.
Consequently, it’s often not a good idea to prevent down a lot of. One option is to use a concentrate stacking technique, in which you take a series of pictures focused at various points and then use post-processing software to unite those pictures. But, concentrate stacking only works well if your landscape is very still and not one of these things are moving, so wind and immediate changes in ambient lighting can spoil the result.By using a tilt/shift lens, so you can tilt the attention plane in this way that you could bring the whole scene in excellent focus even at large aperture values. The lens physically tilts up, down, left and right to give you complete control over depth of field. There are several potential problems with using this lens. First, it’s a manual focus lens. Secondly, it is a fixed focal length lens, which means that you will have to move around to write your shot. Third, it only correctly fits pro-level DSLRs such as Nikon D700 and Nikon D3s and has restricted movement on smaller DSLRs. And finally, it is not a simple lens to use and you will have to understand how to correctly utilize the tilt/shift capacity and compute depth of field based on the tilt place. As soon as you master this particular lens, it is not easy to find anything else which could conquer it. Needless to say, its sharpness, contrast and colors are top notch.If you’re looking for the sharpest lens Nikon has ever created, check out the Nikon 24mm f/1.4G — it is virtually perfect concerning optical performance.
Its front part form and the built-in lens hood only make it impossible to use filters. Sure, you can buy a filter holder system from Lee along with other manufacturers for this particular lens to accommodate filters, however it is not cheap and you may need to obtain a pair of big 150mm filters, so forget about using the existing filters. I really want Nikon enabled us to utilize little replaceable filters close to the lens mount, just like on telephoto lenses and this lens would have been irreplaceable.If you don’t heavily rely on various filters like that I do, then you will never be let down with this particular lens — yes, it is that good. If ability to utilize filters is essential, the only other full-frame lens from Nikon I would consider are the Nikon 16-35mm f/4 VR lens (view my Nikon 16-35mm VR Inspection ). If you are a DX shot, then the Nikon 12-24mm f/4 is superb.Year after year, the Nikon 24-70mm f/2.8G has been my #1 used workhorse lens for landscape photography. While its performance isn’t quite as striking as on the Nikon 14-24mm f/2.8G, particularly in the corners in large apertures, it just has to be stopped down to f/5.6 and smaller to unveil its true performance. It has a light fast AF, amazing color rendering, extremely useful zoom range on full-frame cameras and it carries filters! But similar to this 14-24mm it also includes a couple of problems — it is bulky, heavy, expensive and does not have any VR.
So what does this mean to me and why did I bother writing an article on something we photographers should instinctively know by now? It is evident that newer lenses produce better photographs. It’s obvious but I believe we may sometimes loose just a little perspective on this’better’ scale.Take the vintage 43-86mm lens, remember that is reputed to be the’worst’ Nikon lens ever, this lens is older than many of its owners to place it into perspective, 1 year before this lens came into market audio tapes were invented. That is crazy, you would expect a lens that’s dubbed as the worst lens and made at one time before pocket calculators that it would be like shooting via an old sock! It just isn’t. Yes it is soft, yes it’s blurry at the edges, yes it flares in the highlights but it’s still useable and frankly a shot taken with this lens and displayed from the most common format of our creation i.e. our telephones, nobody would ever know.Ok thus lets fast forward almost half a century and see what Nikon is up to now. The older 28-105mm lens I’ve been using for more than ten decades and obtained literally tens of thousands of frames without incident, service or repair, how did those pictures compare? Pretty damn good in my opinion, yes its a’old’ lens but I have shot commercial tasks on it to get my entire career. It has images are in books, magazines, Adshels, posters and nearly every other printed media out there and I have never once thought’oh that’s a little soft/flat/distorted’.
Just posted! Our lens review starring the world’s first optically-stabilized ultra-wide zoom: the Nikon AF-S Nikkor 16-35mm 1:4G ED VR. Conceived as a relatively inexpensive alternative to the highly-regarded AF-S 14-24mm 1:2.8G, this lens features Nikon’s latest ‘VR II’ stabilization unit in a high quality magnesium alloy body. We’ve put it through our usual battery of tests to see how it performs.
Smarter electronics and software businesses nail it straight away all of the time but slowly drip feed those improvements and updates to eek out the consumer budgets. It is just business.DxOMark has recently analyzed the Nikon AF-S DX Nikkor 18-140mm f/3.5-5.6G ED VR, which in certain markets will be marketed as a’kit’ zoom with the most recent D5300 SLR. As part of our ongoing cooperation, we have added the test data to our lens widget, so you can compare it using Nikon’s other present DX standard zooms. We have included test information on both the D7000 and D7100 – that the latter should be a good indicator of its functionality on the D5300. Read on for more analysis. The AF-S Nikkor 18-140mm f/3.5-5.6G E VR places in a pretty impressive performance all round (here displayed about the 16MP Nikon D7000). Sharpness is high, especially towards the broad end, although it drops a bit . The lens is not in any way bad at maximum aperture, but as usual for this sort of lens, the best results are generally obtained at F5.6 – F8.Lateral chromatic aberration is really well-controlled too, and only likely to be particularly visible in the extremes of the zoom range. It is worth noting that of Nikon’s current SLRs (and most others dating back to 2007) fix this mechanically in JPEG processing anyway, as does Nikon’s own Raw conversion software. That means you’ll just see it all if you have an older camera, or use third party Raw converters.Vignetting is not much of a problem – there’s visible darkening at the corners when shooting wide open at either end of the zoom range, but it can effectively be cured by shutting down a stop.
Click here for our review of the
The Nikon 35mm f/1.8G DX is one of the more reasonably priced lenses in this list, and it has been a hot seller since it premiered in 2009. It’s easy to see why: on a DX-style camera, the lens creates a field of view that’s near 50mm, which was a favorite focal length for street shooters. The 50mm focal length is traditionally viewed as the”normal” focal length, or comparable to that which we see with our eyes.The lens is small and light, making an extremely subtle camera bundle, and it produces sharp, sharp images. With its maximum aperture setting of f/1.8, it may let in a lot of light, which lets you shoot in dim situations without forfeiting shutter speed or fostering the ISO unnecessarily.The Nikon 85mm f/1.8G is an exceptional lensif you’ve seen flattering portraits of people at which the background has seemed to melt away, it has probably been achieved using an 85mm lens. This Nikon lens, introduced in 2012, is an improved version of a long time classic. The lens generates tack-sharp results even if used in its widest aperture. The lens also has significant weather sealing so it may be used in inclement conditions.This lens works for the two full-frame (FX) and APS-C (DX) Nikon cameras. It’s worth noting that the lens is still classified as a camera lens, and when mounted onto a DX-style camera body, such as the D5500, that impact will be amplified, with an effective field of view around 128mm. If you want to get a portrait where you can see a bit more of this background, the 85mm Might Be too telephoto for you (a 50mm lens will probably be more useful in this scenario )
Recent Nikon SLRs can also fix for it in their JPEG processing.The distortion charts show the price of the lens’s impressive sharpness, however. There’s the typical barrel distortion at wideangle, but the 18-140mm also shows considerable pincushion distortion across the remainder of its scope (and worst at 50mm). This will lead to visible bowing of almost any straight lines towards the border of the frame, and is likely to be visible in a selection of picture types (e.g. images of buildings, or landscapes with non-central horizons). Additionally, it may be corrected in software if necessary, but at the cost of picture sharpness.The lens that came with your camera is a jack-of-all-trades — it is great at a little bit of everything, but it is not great. If you find yourself not getting the shots that you envisioned, then it might be time to look at investing in a brand new lens to the camera.The Nikon 10-24mm is a workhorse of a lens — it doesn’t have fancy perks such as picture stabilization, and it does not necessarily require it. While image stabilization is great for shooting pictures handheld, for wide-angle photography, it does not produce a dramatic impact on standard still-image shooting.The Nikon 16-85mm’s existed for a couple of years, but it has proven itself as a good replacement for the kit lens. The 16-85mm goes both somewhat wider and a little more telephoto than the typical 18-55mm kit lens. For years, the 18-55mm kit lens wasn’t image-stabilized, so a vital feature of the 16-85mm has been its execution of Vibration Reduction.
Nikon AF-S Nikkor 16-35mm 1:4G ED VR
That lens is an absolute workhorse and you or anybody else could anticipate any piece of technology to withstand those years of day-to-day abuse and use with very little tender loving care without maintenance or repair.Move forward a couple more years and we have got Nikon’s latest and biggest zoom lens (almost latest, a newer VR variant has been published ). As you’d expect this lens takes fantastic shots but is it a quantum leap forward from the elderly 28-105mm I had? No I really don’t think it is.It’s only physics now, in fact camera detector technology is getting so damn good now that we’re literally beginning to observe the actual glass of the lens within our shots. Making something physically strong yet entirely clear was black-magic a couple of hundred years ago but glass has existed since 3500 BC, we’ve been refining it for a little while now and we’re getting pretty damn good at it. However, a lens isn’t about sharpness. This lens is extremely fast throughout the range and having that f2.8 has already helped me out on a shoot after only having it for a week. Additionally, it is much simpler to focus than the old one and it concentrates a lot faster and in lower light, there is no mistaking that this type of far superior lens.Lens technology has in my view crawled along. We have been working with glass for over 4500 decades so its understandable that we had a handle on it 50 years ago. The apparent slow increase of lens improvements is nobodies fault, you can’t blame them ‘nailing it’ straight from the gate.