New Lenses… Hot Dogs! 11.26.07
With the coming of the D3 and its FX sensor, Nikon has roared back as a glass company as well. Thank goodness! The lens arsenal was getting a little thin there, but not to worry, Nikon's two main new lenses, the 14-24AFS and 24-70AFS are simply, gorgeous! They are what we have come to rely in as visual communicators.
I have been very fortunate to shoot with both of these lenses since their announcement on a D3. While I've had the most shooting time with the 24-70AFS, it's the 14-24AFS that I have fallen head over heels for. Yeah, that's not really a technical review or any type of user report comment, but having a true magnificent 14mm in the arsenal again, it's like having your cake and eating it too!
I want to pass along a couple of insights I've had shooting with these two lenses. A warning, if you don't have one of these two lenses, don't look though one when attached to a D3. You'll want 'em!
Nikkor 14-24AFS
This is one sweet, versatile lens! It feels so good in the hand, very well balanced and a barrel diameter that easily slips into the palm. The lens barrel is all metal with the scalloped lens shade sounding like the same dense material as the shade on the 24-70AFS. Both the zoom and focusing ring have that stiff, smooth feel Nikon lenses of old were known for.
The 14-24AFS is a IF lens, but the massive front element travels back and forth between 14-24mm. When zoomed to 14mm, the front element is extended out all the way to the front of the shade. The 14-24AFS has a new design feature, High-performance Nikon Super Integrated Coating in conjunction with Nano Crystal Coat which does reduce flare. I compared the flaring of the 14-24AFS to the 14AF and without a doubt; the flaring was less in the 14-24AFS and occurred later, at a slightly greater angle than in the old 14mm. But it is not "flareless." The scalloped lens shade is maxed out on coverage at 14mm; it leaves no room for your hand to add any greater shading.
The front scalloped shade also does not accept any filtration. You can't use a 4x6 split grad either. The shape of the shade which you can see below does not permit the filter to lay flat against the front element.
The scalloped shade shape permits light to stray in from the rear of the filter. This in turn causes a ghosting or flare reflection to be seen by the lens. While you can't compact the exposure using a split grad, there are other methods. Shooting with the D3 for example, you have the advantage of utilizing its Active D-Lighting (Shooting Menu) which does extend the range of exposure (but does take buffer space and may introduce noise) which only slightly helps not being able to use a split grad. Taking two images, one for shadow detail and one for highlight and merging them in Photoshop is a snap with this lens since registration is dead on (High-Low Merge).
The 14-24AFS is not a lightweight lens. Weighing in at 35oz (over 2lbs!), you'd best have you handholding technique down pat. I mention this because the 14-24AFS screams for precise placement for killer photographs. Excellent handholding technique along with using the Virtual Horizon in the viewfinder makes the 14-24AFS a great working tool.
 : Nano Crystal Coat |
 : Aspherical lens elements |
 : Super ED glass elements |
 : VR units |
 : ED glass elements |
What about sharpness? I pushed the 14-24AFS, shooting it from its minimum focusing distance of 9" to infinity and every point in between at every focal length. I can honestly say the edge to edge sharpness is what Nikon is legendary for producing. I remember seeing a portrait long ago taken with a Nikkor 55f3.5 where you could count every hair in the moustache and see every sun bitten pour on the cowboys face. You shoot with this lens, you'd better brush up on your Photoshop retouching skills because the 14-24AFS splits the hairs and shows all the grandeur in a subject just like that 55f3.5. The combination of the lens' quality and the quality in the D3 file simply takes my breath away.
What about distortion? Shooting wide at 14mm, you might be worried about barrel or edge distortion. At its minimum focusing distance to infinity, I pushed photos with straight elements at the edge of the frame. It was total fun seeing these images in the viewfinder with straight lines. After about two weeks of pushing the 14-24AFS to the extreme in this regard and it proving itself, I never hesitated to use the lens to its extreme. Compared to the older 14mm, the 14-24AFS has the same if not better performance in regards to distortion. Don't confuse the leaning in of straight lines when you point the lens up or down as distortion. That's just perspective.
There was a period of time between when I had to return the IP and wait for the production models to be in my hands. That was the longest 10days I can remember! I had a local project to photograph that I sorely required the 14-24AFS and didn't have it. While I did get the job done, I knew in my heart of hearts I could have done a better job. Oh well, that's photography.
You might have read in the 14-24AFS press release about "Engineered to Nikon professional D-SLR standards to effectively resist dust and moisture." I can report that I put this statement to the test in Montana during a couple of rain and a snow storm (and a bunch of dust photographing bighorn sheep). The lens took a licking and permitted me to keep on clicking.
I happily replaced a number of lenses with the 14-24AFS.
Nikkor 24-70AFS
I've shot with the 24-70AFS the longest and have to admit, it's not a lens I thought I would end up going nuts over or buying. I was wrong. This is one fine lens delivering the image quality we've all come to expect from Nikon glass. The first thing I thought when I picked up the lens was, "it's much smaller than I thought." While it's has a 77mm front element, the lens barrel itself is smaller in diameter than that. It feels really good in the hand; a powerful, stubby, bright, fast lens.
Many have thought this to be a replacement for the older 28-70f2.8, an excellent lens of days gone by. That's neither a fair comparison for the old 28-70 nor a true benchmark for the 24-70AFS. The 24-70AFS is a new generation of Nikon glass incorporating the latest technology including ED, SIC, N, ASP, SWM, AFS into a much smaller package than the 28-70. While the optical quality is as great if not a tad sweeter, the comparison ends there.
The first thing I noticed about the 24-70AFS is its birghtness. That in combination with the D3 viewfinder is like inviting the world into your soul. It's focusing speed is the next thing that grabs your attention. It just snaps the subject in. It has a much beefier lens shade. I mean, beefed up! You'll notice that it is much thicker, the density of the shade itself is half again what we've been use to. It's also one deep sucker. If you have a polarizer attached to the lens, you won't be able to rotate it if the lens shade is attached. Next you'll notice the front bell of the lens has a shape and design new to Nikon lenses, zooms in particular. It's really built. The 24-70AFS is a solid lens, feels great in the hand and is nicely balanced. Its IF and big zoom ring makes working with the lens really fast and in combination with the SWM, it flies!
My first shoot with the 24-70AFS was during our MI DLWS event. At first, shooting with a true 24mm was such a treat and at the same time, a step back in time. We were shooting early one morning at an old one room school house way out in the middle of nowhere. I grabbed the 24-70AFS and went to work. It was a black and white scene to me, so I composed accordingly. I'd only been shooting with the lens for a day but from the first images, I knew it would deliver the sharpness and contrast to pull off the unique lighting coming over the horizon. I made two of my favorite images of the year that morning thanks to the 24-70.
The 24-70 range on the FX format makes for a tremendous single lens combo. I can easily see many photographers, especially wildlife adoring this lens instantly, especially on a second body (D3 of course). The edge to edge performance at 24mm is quite sweet. And like the 14-24AFS, the 24-70AFS resolves amazing detail. Detail in flower pedals, grass stems and moustaches and eyebrows are gorgeous, every pore in the skin comes through. While it doesn't state in the specs that it's a flat field lens, the 24-70AFS performs as if it were.I have to admit, during the period when I had to return my IP, I truly missed this lens.
 : Nano Crystal Coat |
 : Aspherical lens elements |
 : Super ED glass elements |
 : VR units |
 : ED glass elements |
The 24-70AFS is not really a light weight lens coming in just under 2lbs (31oz) but is a heartbeat lighter than the 28-70. Even so, I find myself putting the 24-70 on the D3 when heading out the door. Its constant f/2.8 and focal length range make it a great "knock around' lens. With its beefy shade and construction, knocking it around isn't a real concern. While working with the IPs, I "abused" the lenses in that they don't get special treatment, life's knocks where blocked. This includes rain, snow and a dust storm. Not of it phased the lens. It's a rock!
Nikkor 600f4 AFS VR II
02.15.08
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Photo courtesy Moose Peterson |
There is no more essential tool or lens to the wildlife photographer than the 600mm lens. I can say with firm conviction that the 600VR II is a must own lens for wildlife photographers! Past iterations of the 600mm lenses when they were released didn’t always make it into my camera bag, they didn’t solve “the” problem for the price. That’s because not every new version brought a new or better solution to the same old problem. What’s the old problem? Not that is can be summed up in one word, but basically the problem is, getting a tack sharp image of a small subject. In recent years, fast AF speed and balance where thrown into the mix though aren’t essential problems to be solved (though they have been). The lens is a tool and it has a job to do and if it doesn’t do it, you just can’t have $10k sitting in the corner collecting dust. Solvinging these problems beautifully and the best ever is the 600VR II!
I’ll be upfront here, Nikon did me a huge favor and got into my hands one of the first production 600VR II as soon as it came in (which I have to pay for when the invoice hits my mail box). Why did I want one right away, what did I know? I had inside information. My dear friend and shooting bud Joe McNally shot an IP 600VR II last summer while shooting for the D3 brochure. Once the announcement was out about the D3, Joe talked to me about the 600VR II and when Joe talks photography, you listen! Joe knows I’m a lens connoisseur (it’s his fault I had to have a 28f1.4AF since he loaned me his prior to my owning one) and he put it real simple to me, “I can’t see you not having it.” So hence, it’s in my hands now.
The first thing that attracted me to the VR II (I’ll define the II in a moment) is it’s minimum focusing distance. The gain in three feet in MFD, as in the lens can be three feet closer to a subject and be in focus is huge! I remember the days of the 800f5.6 and working at 21’ MFD and now we’re down to 15.7’ (MF) without using any extension tubes. That’s huge! In all seriousness, this in itself sold my on the VR II!
What does VR II mean? I have to admit, I missed that little II thing when I first read the announcement in regards to the VR part of this new lens. The 400, 500 & 600 VR II have two modes for VR operation (VR being turned on or off via a barrel ring), Normal and Tripod mode. The majority of owners of this lens I presume (probably pretty accurately) they won’t be shooting with the 600VR II handheld, but rather on a tripod. With that presumption, most would put the VR mode to Tripod since the lens is on a tripod it must equal Tripod mode. That seems all too logical to me. Wrong! Close reading of the IB for the 600VR, you’ll read that if you’re doing any panning, you need to be in Normal mode. Making a phone call to Nikon to clarify all of this for myself, Tripod mode is for only when you’ve locked the tripod, tripod head and lens on one subject (like a rock or landscape) and nothing, nothing is moving. All other times, you want the lens’ VR set to Normal. The II in VR II come from this new generation of the new “Tripod” setting, Normal & Tripod = II. (Note, using the Autofocus On buttons on the lens barrel turns off VR operation).
The 600 VR II also sports a new manual focus override mode (as well as the 400/500). You have the option of A/M and the well established M/A mode. What’s the difference? M/A permits you to manually focus to fine tune focus while still in autofocus mode. A/M does the same thing but, it has a less sensitive touch to your taking manual focus control as the M/A. So if you’re handholding and you hold the focusing ring while hand holding, you won’t disengage the AF easily in the A/M mode compared to the M/A mode. Personally, I’ve not found a whole lot of difference in operation, but I’m still playing with it. With using either mode, operation is still the same to reengage AF, simply remove your finger from the shutter release and than lightly touch it again to reinstate AF operation. Right now, I’m using the A/M mode because it’s new and I don’t know which is the better problem solver.
A real important question is, is this lens sharp? Ouch…it’s sharp! In all seriousness, looking at the images produced with this lens in combination with the D3 are stunning! (why don’t post full res images, because we’re tired of dealing with folks stealing our images off the web).
AF speed, is it any faster? No clue, no means of testing one lens against another in a real world tests to say it is or isn’t faster. Even if we could test, not sure if it’s the lens or the D3 or a combination of both making the magic of faster AF operation.
How does it work with teleconverters? Just as you would expect. With the TC-14e or TC-17e, the sharpness is stunning. AF operation with the TC-14e is perfect in all lighting conditions because we are working within the f5.6 minimum the bodies require. Using the TC-17e and in bright sunlight and using the center AF sensor and you’ll be OK. Go to the outside AF sensors or lower the light levels and the searching begins. Yes, you might experience better results than this if you have more contrast or just the right light, but generally you’ll experience the same AF operation.
How balanced is the 600VRII? Now here’s a surprise, it’s much better balanced than the 600 AFSII. I’m using the Wimberley II Head and sliding the lenses in its clamp to determine this which is not a truly scientific method but it leads me to believe the VR II is more balanced. In theory, this better balance along with the VR helps obtain sharper images at slower shutter speeds.
As you can tell in the photo above, I’ve fitted the 600mm with the Really Right Stuff LCF-13 foot. It provides an Arca Swiss plate with a lower profile foot all in one unit. The VRII come with the standard tall foot (as you see in the drawing below) along with the monopod, lower profile foot.
Not pictured is the fact I’ve already clothed my 600VR II with a LensCoat . This killer accessory protects your investment while at the same time looks good. It’s a no-brainer!
It’s hard these days to keep up with the Jones with so many new bodies and lenses coming on the market. Making the most of your buying dollar is very important. I know I’m filling the strain! You’ve got to ask yourself, is focusing three feet closer, VR and better balance worth the price of an upgrade or new lens? Strictly talking from a business stand point, those owning this lens will technically have an advantage, it will produce better images especially for those with poorer long lens technique. Those with solid long lens technique in combination with good biological skills will make this lens an essential tool to their success. Bottomline, for the wildlife photography it’s a must have lens!
| : Nano Crystal Coat |
: Aspherical lens elements |
| : Super ED glass elements |
: VR units |
| : ED glass elements |
I want to thank Bill Pekala at Nikon NPS for putting this great lens in my hand and Lindsay Silverman for operational guidance.
Nikkor 24f3.5 PC-E
04.12.08
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Photo courtesy Moose Peterson |
This is simply a marvelous lens. It is though a very specialized lens. This is because of its ability to shift, tilt and its Electromagnetic
Diaphragm. There's more to this lens then just saying it's sharp or has x amount of ED elements. There's so much to it that I wrote a four page PDF to help you decide if it's the right lens for you and if it is, how to make the most of the lens right out of the box. It is a vast improvement over the much older 35 & 28PC.
| : Nano Crystal Coat |
: Aspherical lens elements |
| : Super ED glass elements |
: VR units |
| : ED glass elements |