Nikon TC-20e3

02.15.10

The teleconverter, the wildlife photographers best friend but not for the reason most think. The teleconverter is a tool permitting the photographer to narrow the angle of view and isolate the subject better with narrower DOF. These main attributes of the teleconverter seem to get lost with the main obvious attribute, a bigger subject in the viewfinder. One of the drawbacks of the teleconverter is their sucking up of light. You getting nothing back for their hunger, you simply have less light to work with. In the case of the 1.7x, you loose one stop and 1/2 of light and the DOF is only 1/2x or half of that of the prime lens. For the last two years, about as long as the new firmware for the D3 permitting AF operation with it has existed, the 1.7x has been my prime teleconverter. I have all three, use each when the subject requires it.

Nikon TC-17e

02.15.10

The teleconverter, the wildlife photographers best friend but not for the reason most think. The teleconverter is a tool permitting the photographer to narrow the angle of view and isolate the subject better with narrower DOF. These main attributes of the teleconverter seem to get lost with the main obvious attribute, a bigger subject in the viewfinder. One of the drawbacks of the teleconverter is their sucking up of light. You getting nothing back for their hunger, you simply have less light to work with. In the case of the 1.7x, you loose one stop and 1/2 of light and the DOF is only 1/1.7x or 59% of that of the prime lens. For the last two years, about as long as the new firmware for the D3 permitting AF operation with it has existed, the 1.7x has been my prime teleconverter. I have all three, use each when the subject requires it.

Nikon TC-14e

02.15.10

The teleconverter, the wildlife photographers best friend but not for the reason most think. The teleconverter is a tool permitting the photographer to narrow the angle of view and isolate the subject better with narrower DOF. These main attributes of the teleconverter seem to get lost with the main obvious attribute, a bigger subject in the viewfinder. One of the drawbacks of the teleconverter is their sucking up of light. You getting nothing back for their hunger, you simply have less light to work with. In the case of the 1.4x, you loose one stop of light and the DOF is only 1/1.4x or 70% of that of the prime lens. The 1.4x was once supplied with the 600f4 but now you have to buy it separately. It was once my main teleconverter but for the last two years, I hardly use it. I have all three, use each when the subject requires it.

Nikon 60micro

02.15.10

This is an “old” lens, I got it when it first came out in 2003 and it has served me very well. But it doesn’t get out much. This lens has one purpose and one purpose only, photographing small critters on projects. That means that it get’s out perhaps once a year. You might be wondering why I’ve not purchased the new 60micro. I wish I could justify the expense because it is a gorgeous lens! It’s sharp, AF is fast and it’s easy to hold. But, this version is just as sharp, just not as fast and for my limited need, serves the purpose.

Nikon 50f1.4 AFS

02.15.10

Yeap, it’s a normal lens. 50mm is considered the “normal” lens for the FX format. And it’s a f1.4 which makes it a “fast” lens giving you a pretty narrow DOF especially close up to a subject. But when it comes to AF, this is not the fastest lens in the line-up, might me one of the slowest actually. It’s become a favorite knock around lens of mine, in part because of it’s amazing sharp performance and in part because it looks so hot on the D3s. Now that’s silly reason to have a lens but I never said I was totally logical. It is interesting that to get AFS performance (in name only), the front element size was increased from the long standing 52mm to 58mm. While we didn’t get the speed, we sure did get the performance out of the new optical design. You’ll find a whole lot of images on the site doing a search for 50f1.4.

Nikon 16Fish

02.15.10

This is simply one hell of a fun lens! Does it serve a purpose? The original fisheye lenses were made for scientific research and pipeline construction inspection, hardly what I use it for. When I grab for the 16Fish, it’s because typicaly I have a scene that is so wide that I need the 180 degree coverage of the 16Fish to get the shot. At the same time, the scene in front of me must be one where there is no straight lines because the 16Fish will not render them straight. When you’re in the cockpit of a plane for example, you want the whole thing and some of the outside world, this is your only lens of choice. If you search the site, you’ll find a number of examples where I had fun shooting with the 16Fish.

Nikon 45PC-E

02.15.10

This is one amazing lens and I’m probably the one photographers who owns one. The combination of focal length and design just makes it too far out there for the vast majority of photographers. It is a manual focusing lens with the ability to tilt and shift and while doing so permitting aperture control (that’s what the E stands for). You can use this lens as a standard 45mm manual focus lens but in these days, most are lost without AF. The purpose of the PC-E series is two fold: corrections for doing architecture, straight line photography and extended DOF control. This combination of quality and flexibility puts the price of the 45PC-E up there and out of the reach of most shooters (but you can rent it easily).

“Why do you have the 45PC-E?” That’s a really common question and the simple reason is, it’s the corner stone of my Ultra Wide Pano kit. The 45PC-E is a stunning lens for landscape photography. In this role, it’s manual focus and tilt capability give you complete control of the DOF and point of focus. Having a 77mm front elements means it can utilize all the same filters you should carry for the 24-70AFS and 70-200VR2 which is real convenient for the landscape photographer. But don’t let the PC-E aspect of the lens scare you off. Here’s a 4pg PDF on using a PCE lensthat makes it real easy to make the most of this gem!

Nikon 85PC-E

02.15.10

The 85PC-E is a 2nd version of this lens, the firs being very sharp just not simple to use. No longer is that the case. It is a manual focusing lens with the ability to tilt and shift and while doing so permitting aperture control (that’s what the E stands for). You can use this lens as a standard 85mm manual focus lens but in these days, most are lost without AF. The purpose of the PC-E series is two fold: corrections for doing architecture, straight line photography and extended DOF control. This combination of quality and flexibility puts the price of the 85PC-E up there and out of the reach of most shooters (but you can rent it easily).

“Why do you have the 85PC-E?” That’s a really common question and the simple reason is, it’s part of my Ultra Wide Pano kit. The 24PC-E is a stunning lens for landscape photography. The 85PC-E is not so much a landscape lens as it is a macro lens. Most don’t pick up that the PC-E lenses are macros and the 85 is stunning so it’s how I use it a lot. With it’s tilt abilities, control over DOF is pretty simple. Having a 77mm front elements means it can utilize all the same filters you should carry for the 24-70AFS and 70-200VR2 which is real convenient for the landscape photographer. But don’t let the PC-E aspect of the lens scare you off. Here’s a 4pg PDF on using a PCE lens that makes it real easy to make the most of this gem!

Nikon 24PC-E

02.15.10

This is one amazing lens wrapped in a lot of perceived complication. It is a manual focusing lens with the ability to tilt and shift and while doing so permitting aperture control (that’s what the E stands for). You can use this lens as a standard 24mm manual focus lens but in these days, most are lost without AF. The purpose of the PC-E series is two fold: corrections for doing architecture, straight line photography and extended DOF control. This combination of quality and flexibility puts the price of the 24PC-E up there and out of the reach of most shooters (but you can rent it easily).

“Why do you have the 24PC-E?” That’s a really common question and the simple reason is, it’s the corner stone of my Ultra Wide Pano kit. The 24PC-E is a stunning lens for landscape photography. In this role, it’s manual focus and tilt capability give you complete control of the DOF and point of focus. Having a 77mm front elements means it can utilize all the same filters you should carry for the 24-70AFS and 70-200VR2 which is real convenient for the landscape photographer. But don’t let the PC-E aspect of the lens scare you off. Here’s a 4pg PDF on using a PCE lens that makes it real easy to make the most of this gem!

Nikon 28f1.4 AF

02.15.10

This is a lens you might not even be aware Nikon made (it’s now discontinued) though it was released in 1994. The 28f1.4 is an “older” AF lens, but because of its original price tag ($1700) and not being a zoom, it pretty much went unnoticed. Few photographers had a need for ultra fast wide angle, still don’t. I have to admit that while I thought it is a sexy lens (it’s a meaty sucker) the price scared me off as well. But then it went nuts on the used market. And now with the 24f1.4, what will happen to its price? It won’t change that fact the 28f1.4 is one freakin sharp lens!

I got mine when I started to explore techniques to do star trails with digital. In pursuing that end, the 28f1.4 came back on my radar screen but I was too late, the used price for the lens often is higher than the old, new price. I lucked out, first by having one loaned to me by my friend Joe McNally and than finding one for sale by a friend. And as so often happens with me and photography, I started on one journey and photography took me another.

When I get a “new” lens, I tend to wed myself to it, shoot with it continually until I know it inside and out. That’s what I did with the 28f1.4 and in that process, fell in love with its f1.4. I don’t know if I’ve ever shoot with it closed down, it just sings so at f1.4 that I can’t get past that f/stop. Yeah, I shoot with the 28f1.4 all the time, not just for star trails. Just search the site, you’ll find lots of examples shot with this gem.

Nikon 14-24 AFS

02.15.10

I have been very fortunate to shoot with the 14-24AFS since their announcement with the D3. While I’ve had the most time with the 24-70AFS, it’s the 14-24AFS 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 14mm in the arsenal again is like having your cake and eating it too! 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 see I have it protected with a LensCoat and use their Hoodie for a lens cap). You can’t use a 4×6 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, 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.

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’s not perfect for folks real up close but with a small distance or at 20mm, the nose doesn’t grow. 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.

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.

Nikon 24-70f2.8 AFS

02.15.10

The is one sharp, solid, workhorse of a lens!

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 a 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.

The first thing I noticed about the 24-70AFS is 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!

The 24-70 range on the FX format makes for a great 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 eyebrows is gorgeous, every pore in skin comes through. While it doesn’t state in the specs it’s a flat field lens, the 24-70AFS performs as if it were.

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 D3x 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!

Nikon 70-200f2.8 VR 2

02.15.10

This is a beautiful lens, it took only seconds shooting with it to fall in love with this new style. This lens fills out the Nikon FX f/2.8 lens trilogy, 14-24AFS, 24-70AFS and the 70-200AFS. You can’t find a sweeter trio but then, you’re paying for that. Is the 70-200VR2 sharper than the original? Is it the sharpest of all the 80-200s/70-200 series? Yes, no, maybe so, who cares. In my lonely opinion, the VR2 is a tad sharper than the previous version and of all the lenses, it’s the one I enjoy the most and that comes from its cosmetics and overall design. For my current work in the air, this lens is killer and that’s all the counts to me.

The VR2 replaces a lens that was thought of as being one of the best, that’s until the D3 was introduced. Then the vignetting problem appeared. While easily dealt with in post, that’s not the point. Does the new version take care of this problem? Ah, well, not completely. When shooting against a blue sky or snow field, setting Vignette Control in the D3x/s to High is required to deal with the vignetting. So was the problem completely curried, I don’t think so.

This will seem like a little thing, but I find it incredibly annoying about the new design, and that’s the shade. Oh, it stays on OK, that’s not the issue. The issue is Nikon rounded off the corners so standing it up like you see here isn’t possible in the real world, it will fall over. The first thing McNally told me about this lens was not sharpness, not AF performance but rather that the lens would fall over. When you’re in the habit of shooting, changing lenses and setting them down on their shade, this is annoying.

Using the Arca Swiss quick release system, you need to add a plate to the tripod foot that comes with the 70-200. RRS makes a replacement foot the LCF-10 that not only incorporates the quick release, but also weighs less so that’s a no-brainer. Now when shooting handheld, I remove the foot completely.

What about teleconverters? Personally, I rarely if ever use a teleconverter use them on the 70-200. That’s only because I have other lenses that provide that length while keeping the DOF I required. Oh, they work great on the lens and produce excellent results, it’s just not my style to use them on this particular lens.

Nikon 105VR micro

02.15.10

This is one beautiful lens! It is so damn sharp, critically sharp that you can pull out incredible detail even wide open. It’s one of those lenses that at first I didn’t take note of because I didn’t have a need for it. But once I shot with it, I had to have it. Regrettably though, it doesn’t get much use. I own it and use it for special projects when macro is required. It is a flat field lens and that is critically important. This means that when you focus on a point, all points on that focus plane are sharp.

The 105VR goes to 1:1 and while it is a f/2.8, as you rack it out to 1:1 the f/stop does change. It’s the basic macro formula of loosing light as you increase magnification. For every 1x magnification you loose two stops of light. The engineers at Nikon cheated death because you don’t loose quite that much in exposure but if you watch your f/stop in the viewfinder as you focus out, you’ll see it change.

It does have VR and AFS which is a great combo in a micro lens. As you increase your magnification the angle of view gets narrower and narrower and camera/lens movement gets more and more amplified producing unsharp images. This is especially true when you attach a teleconverter. Yeah, the 105VR accepts the 1.4x, 1.7x and 2x and produces sweet images.

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