Lenses
September 3rd, 2010 by D-Photo
Many will find the very idea of a lens costing well into five figures outlandish, but professionals exist on a different plane to even serious amateurs. The more specialised the photographer, the more specialised the gear in their bag. A 300mm fixed lens like this one has a limited range of applications, with pro sport, news and wildlife photographers its primary targets, along with creative fashion shooters and well-paid (or desperate) paparazzi.
It’s possible to pick up a perfectly serviceable 70-300mm Nikon zoom for around a thousand dollars, so what makes the 300mm f/2.8G ED VRII worth 12 times that price? Primarily, the many grams of state-of-the-art glass in that big lens barrel – maintaining a maximum aperture of 2.8 at 300mm is no picnic for a lens maker.
Nikon has also thrown all of its considerable technology and expertise into the design and construction of its flagship 300mm lens, so it’s blessed with the latest vibration reduction (VR) system and 
advanced coatings including ‘nano crystal’.
Not much has changed from the previous version of this lens (released in 2004), although the new model claims four stops of effectiveness on the VR system, rather than three.
The first thing you notice about this lens is that it’s huge; once mounted on Nikon’s full-frame D3s, the length from the camera back to the lens front approaches 40cm (without a lens hood), and the combined weight of the two is more than four kilograms. It’s an unwieldy thing to lug around and a beast to shoot handheld for any length of time – be sure to factor in the cost of a monopod.
Build quality is exemplary, the controls are smooth and easy to use and the lens feels as if it may last forever, assuming it’s well treated. It’s also tightly sealed against moisture and dust
Read the rest of this entry »
February 4th, 2010 by D-Photo
Professional sports photographer Michael Bradley tries out Sony’s new zoom lens
This new Sony zoom might suit photographers in search of a 400mm lens to add to their kits, but who don’t have the budget to shell out the big-bucks for an f2.8 prime lens. There are, however, a few catches.
On the plus side, this long zoom has the added benefit of built-in image stabilisation, which really is a great feature. It allowed me to easily take hand-held shots at 1/60 of a second at 400mm with impressive results.
During field testing I used the 70-400mm on a family trip to the zoo. I decided to only pack one lens, and the Sony’s versatility was impressive. I was very happy with some images, especially at 400mm, without having to lug around a cumbersome f2.8 prime lens.
On first impression the 70-400mm’s silver finish might look a little on the cheap side. Personally, I’m not a fan, but there’s no doubt it sets the lens apart from the more common black or white chassis.
It doesn’t seem to feel as sturdy or water tight as competing lenses from the other leading brands, either. Nor does it easily zoom from wide to full zoom in one easy motion, and there is a need to readjust your grip to finish the zooming from 70mm right through to 400mm.
The aperture of the lens is only f4-5.6, which means it is a bit slow to shoot night or indoor sports. This keeps both the price and size of the lens down, but will limit its use to keen amateurs and not the professional sports photographer.
The lens was also a little slow to lock on to its focus, while tracking fast-moving subjects was not the best. In fairness, this can be the case for a lot of zoom lenses, even some high-end, professional-level models.
I was very impressed with the sharpness of the lens when shooting wide open, with images captured at 400mm of a very high standard. The bokeh (out-of-focus blur) was less pleasing when compared to prime lenses, but then the price difference between the zoom and prime lenses is also unpleasant.
Although I’m not a big fan of zoom lenses, I was fairly impressed with this model, particularly keeping in mind its market: the serious amateur. Undoubtedly it’d be a great lens to have in a two-lens kit along with a 24-80mm. It would also be ideal for the likes of wildlife or travel photographers who need to keep the bulk of their kit to a minimum but still want a long lens at their disposal.
Personally, I’d be happy to take it on an overseas trip where space was at a premium, knowing that in the end, the results would be of a very high quality. n
Sony SAL70400G 70-400mm f/4-5.6 Zoom Lens – Specs
Manufacturer: Sony
Model: SAL70400G 70-400mm f/4-5.6 Zoom Lens
Lens Construction: 18 elements in 12 groups (2 ED glass elements)
Focal Length: 105-600mm (35mm equivalent)
Zoom Ratio: 5.7x
Maximum Aperture: f22
Minimum Aperture: f32
Minimum Focus Distance: 1.5m
Magnification: x0.27
Filter Diameter: 77mm
Supplied Accessories: Front and rear lens cap, lens hood, carrying case
Dimensions: 94.5 x 196mm
Weight: 1500g
CONTACT
www.sony.co.nz
PROS
- Versatile
- Built-in image stabilisation
CONS
- Slow to lock on to a subject
- Build quality could be improved
Design 16
Performance 14
Features 18
Image Quality 15
Value for money 15
TOTAL 78/100
This article is from D-Photo 32.
December 15th, 2009 by D-Photo
Nikon has brought a serious wide-angle lens to its amateur dSLR range, framing NEW opportunities for DX-FORMAT owners, says Harley Ogier
Wide Angle
The NIKKOR 10-24mm lens is equivalent to 15-36mm in 35mm film terms. This is real-estate wide; not a distorted fish-eye perspective, but sufficiently wide to make the smallest of rooms appear spacious. With a focusing distance of down to 0.24cm across the zoom range, the lens can also be used for close-ups of large subjects. This is great for product photography — home theatre or stereo setups, trade show booths and so forth. I wish I’d had the NIKKOR 10-24mm lens the last time I photographed a craft fair setup, where the aisles are narrow and you have to be halfway inside of one booth to photograph another in its entirety.
Together with an 18-200mm zoom lens and any Nikon DX-format dSLR back, the amateur photographer could have an impressive three-piece kit that would cover almost any situation.
Construction
The lens comprises 14 elements in nine groups, including two ED (extra-low dispersion) glass elements and three aspherical lenses. This results in a relatively compact lens with extremely low distortion. I found no colour or perspective aberrations in any of my test shots, even right out in the periphery of images taken at the widest angle.
The lens looks and feels well constructed and is ergonomically designed. The zoom ring is large and rubberised, providing good grip. The focus ring is simply ridged plastic, which is still easy to turn.
There’s also a standard distance display in both feet and metres, which is omitted from some of the smaller and cheaper lenses out there. Like all of Nikon’s G series lenses, the NIKKOR 10-24mm has no aperture ring.
One thing notably missing is Nikon’s powerful vibration reduction feature, although given the focal length of the lens this is unlikely to be a major problem. I only had to toss away a few shots (out of several hundred) because of camera shake, and perhaps I was moving too fast for VR to have saved those images anyway.
Manual/Auto Focus
Instead of the usual choice of automatic or manual focus, the lens features either M/A (manual/automatic) or regular manual focus. The M/A mode allows a seamless transition from automatic to manual just by turning the focus ring. Doing so immediately overrides autofocus, even while focusing is in progress. This can be particularly helpful if you’ve just lined up a shot and have your eye to the viewfinder, only to find that the camera won’t focus. The M/A switch requires quite a bit of force to move, and could easily disrupt your careful framing. Being able to manually focus without the switch is surprisingly convenient.
Conclusion
The NIKKOR 10-24mm lens is an essential accessory if you’re looking to shoot wide, whether it’s real estate, scenery, products or portraits. While relatively pricey for the cash-strapped amateur, it’s a worthwhile investment that will add major functionality to a DX-format Nikon dSLR.
NIKON
AF-S DX Zoom-
NIKKOR 10-24mm f/3.5-4.5G ED – Specs
Manufacturer: Nikon
Model: AF-S DX Zoom-NIKKOR 10-24mm f3.5-4.5G ED
RRP: TBA
Lens Construction: 14 elements in 9 groups (2 ED glass, 3 aspherical lenses)
Focal Length Range: 10-24mm
Compatible Formats: Nikon DX, Nikon FX (in DX Crop Mode)
Zoom Ratio: 2.4x
Maximum Aperture: 3.5
Minimum Aperture: 22
Closest Focusing Distance: 0.24mm (across entire zoom range)
Maximum Reproduction Ratio: 0.2x
Filter Attachment Size: 77mm
Supplied Accessories: Front lens cap, rear lens cap, bayonet hood, flexible lens pouch
Dimensions: 82.5 x 87mm
Weight: 460g
Contact
www.nikon.co.nz
PROS
- Wide angle
- Low distortion
- Manual/automatic focus mode
CONS
Design 18
Performance 20
Features 17
Image Quality 18
Value for money 15
TOTAL 87/100
This article if from D-Photo issue 31.
February 18th, 2009 by D-Photo
Ask any professional photographer what goes into the making of a great image and you may be surprised by their reply. Things like composition, framing, good technique, great light, bold colour and strong subject matter are all important. But, all of these factors come to nothing if you don’t have the single most important ingredient – good, fast, glass.
Let The Light In
A pro-quality lens with an aperture of f2.8 (or even lower) opens up to let through a lot of light – making them ideal for using in dark environments or to create beautifully soft backgrounds for portraiture. Most consumer-grade lenses for digital SLRs are at least two stops slower, making them less than ideal in low light and susceptible to the dreaded ‘camera shake’, which ruins many a good image. Image stabilising comes to the rescue to some degree with these slower lenses, but it’s not ideal and they still can’t compete with the faster glass when it comes to blurring out the background for a classic portrait.
A Bit Rich
So, if good fast glass is so desirable, how come everyone isn’t using it? Well, the kicker comes with the price. They are usually bigger, brutally heavy and much, much more expensive to make than their consumer-grade cousins. How does two grand for a lens strike you? No, I thought not. Me neither. That being the case, the search for a fast zoom lens at a great price has always been one of compromise.
A New Contender
However, the days of compromise may well be over. The digital age has ushered in a new breed of ‘digitally designed’ lenses, using space-age materials and manufacturing that offer superb quality at an affordable price. Don’t believe me? Well, ladies and gentlemen, let’s get ready to rumble. Introducing, in the red corner, the Tamron SP AF28–75mm f2.8 XR Di lens. Weighing in at an incredibly light 510 grams and measuring only 125mm when fully extended (without the supplied lens hood attached), this amazing little lens is a true contender. It’s a constant f2.8 at all focal lengths, making it fast, light and compact – truly unbelievable in the world of fast glass. But wait – just like a Ginsu steak-knife ad – there’s more! All this can be had for less that $700. Now that, my friends, is truly unbelievable. Hey, it’s such a good deal, I’d buy two.
Portrait Precision
Optically, this lens easily impresses. It’s sharp, especially on a digital SLR (although it can be used on a film camera) with only slight edge softening wide open. On my Nikon D70 the 28–75mm focal length becomes a 42–112mm (approx) f2.8 zoom lens – ideal portrait range in anyone’s language.
A large rubber ring allows for smooth zooming through the full range in about a quarter of a turn and the auto-focus is precise and pretty quick. Use of a standard screw-driven focus system means there is a little noise while the lens focuses, but it’s nothing objectionable. The front focusing ring does rotate during use, so keep your fingers away. Unless, of course, you switch to manual focus – in which case you’ll be rewarded with a silky smooth focusing action.
Conclusion
Really, I can’t speak highly enough about this gem of a lens. Although it’s not quite built to professional standards, it is a lens that will easily give professional results at a third of the price! If you’re looking for a fast portrait zoom lens at a price that won’t break the bank, then run – don’t walk – to your nearest camera retailer and order one today!
Quickview
- Manufacturer: Tamron
- Model: SP AF28-75mm f2.8 XR Di
- RRP: Canon and Nikon: $799 Minolta, Sony and Pentax: $899
- Focal length: 28-75mm (42-112mm on Nikon digital)
- Maximum Aperture: f2.8
- Lens Construction: 14/16
- Minimum Focusing: 33cm
- Filter Size: 67mm
- Length: 92mm
- Diameter: 73mm
- Weight: 510g
Profile
Other Options
- Sigma AF17-70mm f2.8-4.5 DC
Contact
Rating
- Pros: Light, compact and very sharp mid-range zoom with a constant f2.8 aperture at an incredible price
- Cons; Not as solid as the top pro models, screw driven auto-focus with rotating front focus ring
| Design |
17 |
| Performance |
18 |
| Features |
17 |
| Image Quality |
19 |
| Value for Money |
20 |
|
|
Total
|
91/100
|
August 23rd, 2008 by D-Photo
Psssttt! Hey you. Yes, you with the shiny new digital SLR. Need to go wide with your digital? Then boy have I got great news for you.
What’s that? You’ve already got wide angle covered on your digital SLR. Really? Oh, I see. Your camera came with an 18–50mm, which gives you a standard 28–90mm when you take into account the cropping factor of the digital sensor.
Well yes, 28mm is wide, I suppose. But what I’m talking about is mind-bending, stand-up-and-take-notice, image-changing, life-altering wide. You don’t really have that covered, do you? Didn’t think so. But hey, never fear. As I said – have I got a lens for you!
Now That’s Wide!
How does 16 to 32mm grab you? Yes – seriously! Sigma’s new 10–20mm, f4 – f5.6 EX HSM DC lens will get you that wide with a 1.6x Canon digital SLR and even wider with the 1.5x Nikon and Minolta digitals. It’s a true super wide-angle lens designed specifically for digital SLRs (the image will vignette at the corners when used with a camera sensor less than 1.5x).
And as if that wasn’t exciting enough, it just keeps getting better. As part of Sigma’s professional EX series, the 10–20mm, f4 – f5.6 is solidly built, well balanced and beautifully finished. It comes supplied with a matching lens hood, a padded lens pouch you can attach to your belt, and fits 77mm filters.
High Speed Focus
But wait, there’s more! Sigma has seen fit to give the 10–20mm its HSM (High Speed Motor) autofocus system for fast, silent and deadly accurate focusing. This also allows full manual control, even when the camera is set to autofocus.
The front focusing ring on the lens rotates smoothly, as does the zooming ring, with markings for 10, 12, 14, 17 and 20mm. A depth-of-field scale is also included under a clear plastic window, while the internal focusing of the lens means that filters will not move when attached to the front of the lens. All of this is packed into a reasonably lightweight (470g) and compact body.
Edge to edge
And did I mention sharp? No? Used at the smaller apertures (f16 – f22) the lens maintains edge-to-edge sharpness. Even full open, edge softness is only minor.
By using the latest technology, including three SLD (Special Low Dispersion) glass elements, Sigma has kept chromatic aberration (colour fringing from the digital sensor) to an absolute minimum. Flare is also well controlled when the dedicated hood is attached.
Even at the extreme 10mm end, distortion on the edges is well controlled if the horizon is kept level.
Funky effects
But hey, this is an ultra wide, where tilting the camera up or down can create extreme focal effects. This is part of the ‘fun’ with a lens of this kind. Landscape photographers will have no trouble producing natural looking vistas, while ‘funky junkies’ will have a blast distorting everything they can lay their hands on.
Conclusion
In case you hadn’t figured it out, I loved this lens. Having also recently reviewed Sigma’s 15–30mm EX ultra-wide, I continue to be impressed with the company’s pro-series offerings. For a well designed, rugged, responsive and optically impressive ultra
wide-angle lens, look no further.
