Showing posts with label nikon lens. Show all posts
Showing posts with label nikon lens. Show all posts

Nikon 16mm F/2.8D AF Fisheye Nikkor Lens Review

Nikon 16mm F/2.8D AF Fisheye Nikkor Lens
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This is a terrific standard fisheye lens. Unlike many fisheyes, it creates a full-screen rectangular image. The filters that come with the lens are an added bonus. Wonderful and fun images can be created. Don't waste your money on the filter-type screw-on fisheye lenses that distort your image beyond all recognition and don't allow for correct metering or focusing. This has been a wonderful addition to my lens collection, and one that I frequently find myself pulling out of the bag for a special effect here and there - from a lying-on-the-ground in the forest photo, to a wrap-around view of the WDW castle...I mark it down one star only because of the price -- Nikon has several fisheye lenses, and all of them are overpriced for the limited use these lenses receive. Still, it is comperable in price to the 15/2.8 sigma fisheye with much better glass quality.

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Fisheye lens for Nikon cameras

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Nikon 45mm f/2.8D ED PC-E Micro Nikkor Lens Review

Nikon 45mm f/2.8D ED PC-E Micro Nikkor Lens
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I own both the 45 and 85 PC-E lenses and both are excellent, sharp lenses that produce great images. Both are great for close-ups, landscapes and of course anything that benefits from tilt/shift capability, like table-top product photography. Properly used, these lenses give the user tremendous depth of field control and some very unique images.
I was initially concerned with the high price of both lenses and the fact that they are manual focus, but their quality in all aspects is worthy of the price and manual focus turned out to be extremely easy and precise on my d300 and d700 cameras.

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The PC-E Micro NIKKOR 45mm f/2.8D ED Perspective Control (PC) lens corrects linear distortion in order to better replicate images assen by the human eye, including straightening the converging lines of rectilinear objects such as buildings, while also introducing welcome command over depth-of-field. Their versatility makes these the perfect lens complement for a myriad of applications, including photographing architecture, nature, interiors and still-life especially product photography. When shooting subjects, such as tall buildings with a conventional lens, composition often calls for tilting the axis of a camera. This typically results in a significant distortion of converging lines, impacting the desired visual accuracy of the image. A PC-E NIKKOR lens' "shift" control provides correction for this type of distortion. "Shift" control can also give a photographer the ability to "effectively" move the apparent position of the camera providing further perspective versatility, allowing, for example, the ability to avoid unwanted reflections in an image. A PC-E lens' "tilt" control gives photographers additional creative control over depth-of-field. Known as the Scheimpflug principal,tilt-shift lenses are capable of modifying the focal plane of the lens, allowing the extension or limitation of the point of critical sharpness in the image. The combination of "tilt" and "shift" controls featured in all PC-E NIKKOR lenses gives photographers extraordinary control over perspective control which simply is not possible with conventional lenses. A special tilt/shift mechanism gives users up to +/- 11.5mm shift for perspective control and +/- 8.5-degree tilt control for creative focus. The Perspective Control lenses correct distortion and vanishing point issues with convenient side-mounted controls at 1mm / 1-degree intervals that will adjust the focal plane with shift and tilt adjustments. The len

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Sigma 120-400mm f/4.5-5.6 AF APO DG OS HSM Telephoto Zoom Lens for Nikon Digital SLR Cameras Review

Sigma 120-400mm f/4.5-5.6 AF APO DG OS HSM Telephoto Zoom Lens for Nikon Digital SLR Cameras
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I'm a professional photographer[...] and until now, have never owned anything but Canon or Nikon lenses. For years I specialized in sports photography and the lenses I most often used were a 400 f:2.8 and a 600 f:4. I moved on to other fields of specialty and decided I didn't want to lug around that kind of weight and got rid of the big glass. Now, several years later, I decided I needed a long lens again, but in a decidedly smaller package. After trying an unnamed top manufacturer's 80~400 lens and being unhappy with the quality of the image, I dared to try Sigma's new 120~400. I ran the lens through the ringer and tested it under every situation I could think of and through it all, it has performed flawlessly! In fact, I was ready to accept a little less sharpness, so when I evaluated my results, I was thrilled. I highly recommend this lens and I have the utmost confidence in this beautiful package of glass.

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The Sigma 120-400mm telephoto zoom lens covers a telephoto range of up to 400mm, letting you bring almost any subject close for short-perspective shots. The lens employs Sigma's original Optical Stabilizer (OS) function, which gives you access to shutter speeds approximately four stops slower without blurring the image. As a result, you can capture low-light, long-distance shots such as football plays, wildlife profiles, and landscape scenes without using a tripod for each photo. In addition, the lens incorporates a Hyper Sonic Motor (HSM) for quick, high-speed autofocusing, along with a rear focus system that guarantees optimum image quality throughout the entire zoom range. And photographers will love the three special low dispersion (SLD) glass elements, which correct for chromatic aberration, and the super multilayer lens coating, which reduces flare and ghosting. Other details include a minimum focusing distance of 59.1 inches, a maximum magnification ratio of 1:4.2, and support for optical 1.4x EX DG APO and 2x EX DG APO tele converters.
Specifications
Focal length: 120-400mm
Maximum aperture: f/4.5-5.6
Lens construction: 21 elements in 15 groups
Angle of view: 20.4 to 6.2 degrees
Number of diaphragm blades: 9
Minimum aperture: f/22
Minimum focusing distance: 59.1 inches
Maximum magnification: 1:4.2
Filter size: 77mm
Hood type: Bayonet
Mount: Nikon
Dimensions: 3.6 inches in diameter and 8 inches long
Weight: 61.7 ounces
Warranty: 1 year


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Nikon 24-85mm f/2.8-4.0D IF AF Zoom Nikkor Lens for Nikon Digital SLR Cameras Review

Nikon 24-85mm f/2.8-4.0D IF AF Zoom Nikkor Lens for Nikon Digital SLR Cameras
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I bought this lens new about six months ago to use on my D3, and have used it now for four weddings.
It is not quite as sharp as my 24-70mm f/2.8, when wide open, but when stopped down one stop, it is tach sharp. It is also much lighter which helps a lot at a long event, and it has more reach, making it great for parties and receptions.
It autofocuses very quickly with the screw drive in the camera, and I never miss any action shots due to focus lag. It won't focus on some of the low-end Nikon DSLRs because they lack the drive screw.
I don't recommend this lens for DX cameras, because 24mm is not usually wide enough on DX for many reception and party shots. In my opinion, the 16-85mm VR DX or even the 18-70 DX lens would be a better choice for a DX camera.
The 24-85mm is also a very nice light weight travel lens for an FX camera.

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RE)NIKON 24-85MM F2.8-4D IF (1929)

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Nikon 85mm f/3.5G AF-S DX Micro NIKKOR ED VR Review

Nikon 85mm f/3.5G AF-S DX Micro NIKKOR ED VR
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This macro lens is usable hand-held in many situations. My Nikon, a D90, is capable of shooting at ASA 800 and above without serious noise. This means I have a few f-stops in hand from the VR and from the ASA. I have spent some time "practicing" in my backyard learning the ins and outs of this fine lens. Prints are 13"x19" so it is rather easy to see and appreciate what this 85mm is doing. The price is right if you are using a DX camera (one with a less than 35mm sensor). Some tips are the following : 1) if your not using a tripod, make sure you are solid, e.g., sit on the ground and/or keep your upper arms glued to your body, otherwise the VR wont help much at close distances, 2) pay lots of attention to focus since close up depth-of-field is close to zilch, 3) use as small an aperture as possible consistent with enough shutter speed to "freeze" the picture-count VR for a stop or two, 4) remember when you are up close outdoors there is a very good chance you shadow is in the way-either move or wait until the sun has moved. Finally enjoy discovering a world of fascinating color and textures surrounding you that you might have escaped your attention before you had this tool to use.

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DX-format medium telephoto Micro NIKKOR lens is ideal for extreme close-up and general photography / Autofocus / Uses 52mm Filters Exclusive Nikon Silent Wave Motor (SWM) - For fast, accurate and quiet autofocus. Internal Focus (IF) - Provides fast and quiet autofocusing without changing the length of the lens, retaining subject working distance throughout the focus range.Rounded 9-blade diaphragm - Renders more natural appearance of out-of-focus image elements. May come with 52mm Snap-on front lens cap (LC-52); Rear lens cap (LF-1); Bayonet hood (HB-37); Flexible lens pouch (CL-1018)

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Samsung T50200SB NX 50-200mm f/4.0-5.6 OIS Lens Review

Samsung T50200SB NX 50-200mm f/4.0-5.6 OIS Lens
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I use it with the NX100...Simply a great lens...Razor sharp,feels solid,fast focus speed.
The only thing that might be considered a disadvantage is that it's heavy and large...Heavier than the NX100...But not to the point to take a star from the rating.
I noticed that the image stabilization is great...Much better than the Panny Mega one..
Well done Samsung.
I got it for one fifty with the NX100...What a price.

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The Samsung NX EX-T50200SB Tele Zoom 50-200mm Lens is an ultra-precise telephoto lens designed to fit Samsung NX mount-capable NX10 digital SLR cameras. The Samsung NX EX-T50200SB Tele Zoom 50-200mm Lens has a focal length of 50-200mm, the equivalent of 35mm film format camera lenses featuring 76.5mm-306mm focal lengths. With an F-stop number of F 4.0-5.6, an angle of view between 31.5 and 8.1 degrees, and a 52mm filter diameter, the Samsung NX EX-T50200SB Tele Zoom 50-200mm Lens is an excellent accessory for your Samsung camera. Give yourself an extra edge when photographing far away subjects or incredible up-close macro shots.

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Nikon 17-35mm f/2.8D ED-IF AF-S Zoom Nikkor Lens for Nikon Digital SLR Cameras Review

Nikon 17-35mm f/2.8D ED-IF AF-S Zoom Nikkor Lens for Nikon Digital SLR Cameras
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This lens is widely held to be one of the best if not the best wide angle professional zoom lens for 35mm and Digital SLRs compatible with Nikon's lens system. I've had mine for about 6 months on a Nikon D-100 and have absolutely nothing I don't like about it. It's sharp from corner to corner at all zoom settings and any pincusion destortion is negligible even at 17mm @ f2.8. The AFS focusing motor is lightning fast and accurate. Filter size is 77mm, same as my Nikkor 70-200mm f/2.8G ED-IF AF-S VR lens. Since filters this size aren't cheap, it's nice to be able to share. This lens will support 35mm, APS, and DX format film and digital sensor sizes and comes with a 5-year warranty. If you want the best, and can afford it, you won't be sorry you purchased this lens.

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Wide-Angle Zoom Lens from UltraWide to Wide Angle / F2.8 Maximum Aperture

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AF 12-24mm f/4 AT-X 124 Pro DX II Lens - Nikon Mount Review

AF 12-24mm f/4 AT-X 124 Pro DX II Lens - Nikon Mount
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I received my Tokina 12-24mm DXII wide angle lens very quickly. I could not wait to put it through some paces even though I was hesitant at first to try anything but Nikon lenses. I use a Nikon D90 and this lens is flawless with it. The auto focus is very quiet and responsive. I ran it through the gamut of fstops at every setting from 12mm to 24mm. My results indicate that it is a little soft wide open but quickly sharpens as you progress through the settings. At 14-15 mm seems to be very sharp. The colors are true and vibrant. I took over a hundred pictures at church, mostly outside, both in the shade and sunshine. I did not see any distortion or chromatic aberrations. If there were any, my camera must have corrected them automatically. I probably should mention I compared this lens to my Nikon 18-105mm with VR, side by side and picture for picture, at all settings. The Tokina is actually sharper at 18mm than the Nikon 18-105. Up to and including 24mm, they both were very good. This was a pleasant surprise to me and I would not hesitate to recommend this lens to anyone who might being trying to decide whether to purchase it.

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The Tokina 12-24mm f/4 AT-X 124AF Pro DX II Lens is exclusively designed for use with SLR cameras that use the smaller APS-C size sensor. This lens provides a super wide-angle zoom range, ideal for the tightest of interiors, as well as for dramatic landscape photography.This updated "II" version benefits from improved multi-coating technology, which helps to reduce reflections that can cause flare and ghosting. The Focus Clutch Mechanism feature - a signature of Tokina PRO series lenses - provides a faster, smoother autofocus operation, with a smooth manual focus action not normally found in autofocus lenses.Two aspherical elements are incorporated in the lens design, to correct for spherical aberrations. It also incorporates internal focusing to prevent deterioration of the optical quality at close distances and to eliminate rotation of the front barrel during focusing.FEATURES:Fast, ultra-wide angle zoom lens with a constant f/4 apertureTwo aspherical lens elements minimize distortion, especially at the periphery, for superior optical performanceFast internal focusing with the one-touch Focus Clutch MechanismLong focus travel for easy, accurate manual focusingThe rounded diaphragm opening (9 blades) makes out-of-focus elements appear more natural

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SU-800 Wireless Speedlight Review

SU-800 Wireless Speedlight
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First of all if you want a general purpose, reliable, long distance remote trigger, you really should look into Radio Popper, Cactus, PovertyWizard, and such. Don't get me wrong, there's a place and time to use RP, Cactus, PW, and the SU-800. They all have their niches. For example when I go shoot outdoors where I place the flash units far away from the camera, I'll use the PW-- you get superior range over the SU-800, and good reliability. However it is very expensive, and the older PW units don't have TTL so if you don't set your power setting correctly the first time you end up having to walk to/from different flash units to change their power setting. I've not used Radio Popper myself but I've heard good things about it since it preserves TTL functionality. As for Cactus, it's very cheap, but also has limited range and is not as reliable as the other alternatives. In all cases, these are 3rd party vendor solutions with yet one more piece of equipment (battery, configuration, etc) to worry about, and one more point of failure in your day-to-day shoot.
On the other hand... if you're shooting indoors, or doing on-site portrait work, this is THE remote unit to use. In the literature, the range of this commander unit is 66 feet. However, in practice, I've seen it vary between 30-50 feet, and almost always line of sight. If I'm indoors, I prefer this unit because it is very light and you will not feel any extra weight on your camera. So despite the lack of range, I still love the SU800. It offers a fully integrated Nikon CLS solution, and is simply easy to use when you do portrait work. i-TTL is built in with 3 channels so you can adjust power (or not have to think about power at all when you do portrait work). Sure, the built in commander flash in D80/90/200/300/D700 is nice, but they only have 2 channels, and frequently the pre-flash from those cameras makes people blink excessively. On the SU-800 there is no preflash so you can take pictures of people and pets without bothering them with the preflash, and you end up having more usable shots. In addition, this is a must have accessory if you're doing very low light, no flash, walk-around shooting using SU-800's discrete red light focus beam. Yes you can achieve the same on the SB-800/900 by turning off flash and only enabling the red AF-assist, but they weigh a lot more, and make the camera very bulky. Lastly, this is a nice item to have with the R1C1 kit, though not absolutely necessary since you can use the on-camera flash, and macros aren't usually affected by the on-camera flash.
The SB-800 and SB-900 have commander units too, and when you point them towards other flashes in the commander mode, the range is about 50% greater than that of SU-800: I've gotten about 50 feet of range with the SU-800, and about 75-80 feet of range with the SB-800 and SB-900. Clear line of sight (from the commander to the optical receiver) is the key. The down-side to using SB-800/900 as commanders is that they weigh a lot more, and they emit pre-flash making people blink more than necessary.
I'm giving it 4 stars because it does extremely well for what it was designed and built for-- indoor portrait commander device. If Nikon came out with a longer range radio unit, I'd give it 5 stars, but that was not what the SU-800 was originally designed for. For outdoor strobists, I still recommend radio signal commander/receiver alternatives, at a price of course.

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The multi-functional Nikon SU-800 unit forms the nerve centre of any i-TTL multiple flash-lighting situation.Capable of metering and triggering groups of remote Speedlights in the Nikon Creative Lighting System, a one-touch switch fully automates accurate exposures of small subjects instantly. Manual adjustment of the balance of each units output is simple to control through the comprehensive LCD panel.When using i-TTL compatible Nikon digital SLR cameras and Speedlight, user can divide the Speedlight units into three groups and control the flash output independently for each group Features a Commander function that can trigger wireless remote flash (SB-800, SB-600, or SB-R200) units without a master flash unit One-touch switching between close-up and Commander modes Two types of close-up operation: Dual-light close-up flash & Triple-light close-up flash.

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Sigma 30mm f/1.4 EX DC HSM Lens for Nikon Digital SLR Cameras Review

Sigma 30mm f/1.4 EX DC HSM Lens for Nikon Digital SLR Cameras
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This is a sweet little lens that really has no middle ground. You either love it or hate it. Most of the haters really either expect too much from this lens such as focusing in no light or on objects with no contrast and marginal light. The other reason there are detractors come from focus issues.
This seems to be a user problem in my opinion. When you shoot at f 1.4, the area in focus can be pretty shallow. An example is at f1.4 and at a distance of 5 feet, the areas in focus is just .45 feet. If you have a DSLR with multiple focus points, you might find what you want in focus is not selected by the camera. This gives the impression of a focus issue with the lens which it is not.
If you move into close focusing such as 2 feet using f1.4, the focus area becomes less than ¾ of an inch. Even the slightest movement by you or the subject can blow the focus. Again, this is not a lens problem but a user issue.
However, don't be discouraged by the above comments. This lens has so many possibilities from creative images to group portraits to low light photography. You just need to put in a little effort to learn the lens (and your DSLR). Also remember that stopped down to f4 at 10' gives you 5.45 feet in focus.
The 30mm lens also is about as close to a 50mm lens on a 35mm film SLR as there is. A 50mm lens was considered the de facto standard for an SLR in the old days and many people never had anything else. This is a very versatile lens.
The lens itself has an excellent build quality and includes extras such as a lens hood and case. It is sharp and offers great contrast and compares well against such a well regarded lens as the Canon 35mm f1.4L which is about 3 times the price.
You will not be disappointed in this lens at all and I highly recommend it. It is one of my favorite everyday lenses for my Canon 20D. (My everyday kit includs the Canon 17-40mm f4L, 70-200mm f4L, and a Canon 580ex flash.)

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Designed to match the APS-C size image sensors of Nikon digital SLR cameras, the Sigma 30mm f/1.4 lens is an ideal choice for a wide range of applications, including snapshots, portraiture, indoor shooting, and landscape photography. The 30mm lens relies on two special-low-dispersion glass elements and a glass-mold aspherical lens. Combined, the construction details correct for all types of chromatic and color aberrations. The lens is also equipped with a Hyper Sonic Motor (HSM) that supports quiet, high-speed autofocus, but also turns off should you prefer full-time manual focusing. Other features include a maximum aperture of f/1.4, a 62mm filter mount, and a one-year warranty.
Specifications
Focal length: 30mm
Maximum aperture: f/1.4
Lens construction: 7 elements in 7 groups
Angle of view: 45 degrees (SD format)
Number of diaphragm blades: 8
Minimum aperture: f/16
Minimum focusing distance: 15.7 inches
Maximum magnification: 1:10.4
Filter size: 62mm
Corresponding AF mounts: Nikon
Dimensions: 2.97 inches in diameter and 2.3 inches long
Weight: 15.2 ounces
Warranty: 1 year


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Sigma 12-24mm f/4.5-5.6 EX DG IF HSM Aspherical Ultra Wide Angle Zoom Lens for Nikon SLR Cameras Review

Sigma 12-24mm f/4.5-5.6 EX DG IF HSM Aspherical Ultra Wide Angle Zoom Lens for Nikon SLR Cameras
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There's nothing else this wide for use on a full-frame 35mm camera or digital such as the Canon 5D. It's so wide on a full-frame that you can almost see behind you (well not quite, but close to 180 degree field of view). It is not a fisheye, so straight lines stay straight. There is some minor vignetting at 12mm but less than the Canon 17-40 L-lens I had at 17mm. This lens is pushing the limits of physics so it is not as sharp as some lenses but it takes in so much more of the view and provides a crisp image all the way to the corners.
For use on a cropped sensor camera, such as the XT, 20D or 30D a better choice may be the Canon 10-22mm which is uber-sharp in the middle of the frame. The Canon, however, gives fuzzy images on the sides when wide open but sharpens up when stopped down to f8 or more. My third copy of the Sigma lens is less sharp than the Canon in the center of the frame but is sharper starting about halfway to the edge when both lenses are wide open. Near the edges of the frame the Canon gives a dark and mushy image when wide open at 12mm while the Sigma is only slightly less sharp than at the center - truly amazing!
Unfortunately, Sigma lenses are seemingly sold "as-is" with wide sample variations. The autofocus died on my first copy of the lens after less than 30 pictures. The second copy had poor optics with soft and fuzzy pictures even when manually focused. The third copy is sharp at 12mm, even wide open, all the way to the edges, but only if manually focused. At 12mm the lens autofocuses too far away when an object is close and too close for distant objects. At 24mm it autofocuses right on but is softer than at 12mm. I've decided to keep it since it is easy to manually focus. The depth of focus is large at 12mm. For objects further than a few meters away when using 12mm just set the lens to infinity and everything from a few feet to infinity is in focus even at the edges of the frame and in the corners. The lens has a 4-year warranty so I may send it in to Sigma for calibration later.
Pros: (1) Unique ultra-wide angle perspective on a full-frame camera. (2) A good copy will be optically sharp all the way across a full frame, even wide open. Further, there's virtually no purple chromatic aberation near the edges of dark objects with bright backgrounds. (3) Nice build quality with good finish and large smooth focus ring. (4) Straight lines stay straight so no defishing needed (defishing uses interpolation which lowers resolution away from the center). (5) Lens comes with a case and has a small built-in hood (serves mainly to protect the front element). (6) 4-year USA warranty if purchased from an authorized dealer like Amazon or B&H. Otherwise you get a 1-year International Warranty.
Cons: (1) Wide sample variation - getting a good copy takes luck or persistence while trying multiple copies. (2) The bulbous front element (this lens is nicknamed "Popeye") is exposed and no standard filter can be used for protection so be very careful. (3) Flares easily. The sun does not need to be in the picture just anywhere not behind you. This is a result of the ultra-wide design and not a fault of Sigma. (4) Photos sometimes come out too bright, giving the appearance of low contrast. Photoshop or other software easily fixes.


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Fully compatible with all Nikon Digital SLR cameras including the D40 and D40X, the large angle of view of the Sigma 12-24 4.5/5.6 EX DG ASPH Zoom (122 degree super wide angle of view at 12mm along the diagonal axis) is ideal for shooting indoors as well as landscape photography. It has a variable angle of view from 122 degrees to 84.1 degrees.Four Special Low Dispertion (SLD) glass elements are provided for effective compensation of color aberration, which is a common problem with super-wide angle lenses. Two pieces of Glass Mold and one-piece Hybrid aspherical lenses offer excellent correction for distortion as well as all types of aberration.By effective arrangement of lens elements and advanced technology this lens has Super Compact dimensions of 100mm full-length, and 87mm Maximum Diameter. It is equipped with an Inner Focusing System that will keep the length of the lens unchanged, while controlling aberration.The models which are equipped with the HSM (Hyper Sonic Motor) System (only in Nikon, Canon and Sigma Camera Mounts) offer Full Time Manual Focusing. It has a minimum focusing distance of 28mm at all focal lengths. This lens is equipped with an integral Petal-Type Hood, to block out extraneous light.

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Sigma 70-300mm F/4-5.6 DG OS SLD Super Multi-Layer Coated Telephoto Lens for Nikon AF Mount Digital SLR Cameras Review

Sigma 70-300mm F/4-5.6 DG OS SLD Super Multi-Layer Coated Telephoto Lens for Nikon AF Mount Digital SLR Cameras
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I have only had 2 days to play with this lens, but so far am impressed with it's performance. I bought this mainly for outdoor use as I have a Nikon 70-200 f2.8 VR lens for indoor shooting. I simply do not want that mammoth lens on my camera when hiking, etc., especially since fast aperture is not necessary in good light. This one looks like it will do nicely. Focus is pretty fast - hunts a little in lower light at telephoto, but that's pretty common for most lenses of this type. Image quality is very good so far. Some very minor fringing in a few of the shots (not an issue with JPEG's from my D90 because it automatically removes most CA). I'll shoot some RAW shots outdoors when I get a chance to see if it is anything to worry about, but so far it appears to be acceptable. Focus is extremely accurate - dead-on on every shot taken (no front focus issues that some Sigma lenses have). OS is also VERY impressive. I'd say really close to Nikon's best VRII lenses. I took a couple of 1/4 sec. shots handheld with only my elbows braced against my ribs, at full telephoto, and the shots were perfectly sharp. You can see the image start to float when the shutter is half-pressed, so you know the stabilizer is working. Lens mounts snugly onto the camera and has a good, sturdy metal mount like the better Nikon lenses have. Fits perfectly. I like the size and weight compared to the Nikon equivalent (it is somewhat more compact). The only drawback is that the lens is not internal focusing like the Nikon (which probably accounts for the compactness). This means that the lens hood must be a round one (not a petal hood, which I prefer) because the end of the lens rotates as it focuses. It also extends about 7/8 of an inch at closest focus, which makes the overall length pretty long at 300mm (about 8 inches without hood, around 10 with the hood attached). None of that really matters much to me, though. One thing that I liked about this one compared to the Nikon 70-300 VR was that the aperture starts at f4, not f4.5, so it's a bit faster than the Nikon. The shallow depth of field was surprising to me. Longer focal lengths tend to really amplify the effect at closer ranges, and that is very apparent with this one.
The best way to rate this lens would be to break down specific attributes, and then give a score (1 to 10) on that attribute, so here goes:
Image quality (so far): 9 (impressed with every one taken thus far - color, sharpness, etc. quite good)
Focus accuracy: 9 (low light the only issue)
Focus speed: 8 (could be a little better)
Focus noise: 7 (not as quiet to focus as Nikon AF lenses - even my huge 70-200 f2.8 VR lens is lots quieter)
Fit: 10
Finish quality: 7 (surface not as good looking or durable looking as Nikon, but not ugly either)
Optical Stabilization: 9.5
Size/weight: 9
Overall ease of use/functionality: 9
I will update with more information after using the lens more. I cannot give the lens 5 stars, although I believe it is not far from achieving that. I think most people will agree that this lens is worth the money spent and will do what it is intended to do, and do it well.
Update: Feb. 2010- Have taken a few more shots with this lens. All-in-all still very satisfied with it. The fringing noted earlier is there - a bit more than I first indicated. RAW shows slightly more than the JPEG's, but it is fairly easy to remove the majority of it in Lightroom. Some images look a bit soft. When I compare them to the 18-105 Nikon kit lens, I initially thought they were pretty comparable,but they are a tad bit softer when looked at closely. It is much softer than my 70-200 f2.8, even when that one is shot wide open - and the Sigma is FAR behind on anything stopped down to f4 or higher on the Nikon. However, I would expect nothing less from a lens that is over 5 times as expensive. Outdoor shots are very respectable from the Sigma - It is my recommendation that a person use this lens stopped down some outdoors, particularly at 200mm and above, as the fairly shallow depth of field when zoomed will render some subjects in front of the main subject out of focus, even on relatively distant shots. F8 to f11 fixes that most of the time. My initial rating of 4 stars still stands, as I feel that image quality is less than perfect, but as good as anyone should expect at this price level. The only individual rating that would change is the image quality that I rated a 9, is more like an 8 - still pretty good. Is is considerably better than a Nikon 55-200 VR that I sold recently - it was soft across the frame, with a very bad left side. Perhaps a bad copy? Anyway, the Sigma 70-300 OS is a lens I am proud to carry in my gear bag, and one that will work well for me for a long time.
Update 2: Mar. 2010 - Upon further inspection of the images, it appears that shots taken stopped down some are a fair bit sharper than when shot wide open. Stopped down shots look to be sharper than just about any of the Nikon 18-105 ones, but are softer than the Nikon when shot wide open. That being said, my recommendation in a sentence or two is: shoot this lens stopped down a bit and don't expect to use it in low light without flash or for indoor sports. The best shots will result from the lens set too slow to be of much use in those cases. If I have more to report, I will do so later.

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High ratio zoom lens housed in a compact construction and incorporating Sigma's original OS (Optical Stabilizer) function. This telephoto zoom lens incorporates Sigma's original OS (Optical Stabilizer) function and is housed in a compact construction. TheOS function offers the use of shutter speeds approximately 4 stops slower than would otherwise be possible. The SLD (Special Low Dispersion) glass element provides excellent correction for all types of aberrations. High image quality is assured throughout the entire zoom range. The Super Multi-Layer Coating reduces flare and ghosting and provides high contrast images throughout the focal range. This lens has a minimum focusing distance of 150cm (59.1") throughout the entire zoom range and a maximum magnification ratio of 1:3.9, making it ideal for close-up photography SIGMA's own unique OS (Optical Stabilizer) technology This lens is equipped with Sigma's own unique OS (Optical Stabilizer) function. This system offers the use of shutter speeds approximately 4 stops slower than would otherwise be possible. It makes telephoto shooting easy for many types of photography such as sport and nature. For Sony and Pentax mount, the built-in OS function of this lens can be used even if the camera body is equipped with an anti-shake function. As compensation for camera shake is visible in the view finder, the photographer can easily check for accurate focus and ensure there is no subjec

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Nikon 35mm f/2D AF Wide-Angle Nikkor Lens for Nikon 35mm and Digital SLR Cameras Review

Nikon 35mm f/2D AF Wide-Angle Nikkor Lens for Nikon 35mm and Digital SLR Cameras
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Light, fast, sharp, and as far as I'm concerned the perfect focal length.
I started out using 50mm primes, but quickly got tired of how tight they were indoors. All my shots were becoming head/shoulder shots, and forget about trying to get two or three people in the shot without them all being posed in an "everyone squeeze together now" shot. That gets real old, real fast.
Let me emphasize that:
This lens has a much better field of view at normal shooting distances (the distance that you normally stand from your subject).
That is often overlooked, but trust me, backing up 15 feet in a crowd or a house to get your shot is tedious at best, and often impossible. It is typically easier to move in towards your subject a little (or crop the photo later) than it is to keep backing up, especially while looking into the viewfinder. I realize it's not totally fair to rate other equally sharp, good quality lenses differently, based solely on their focal length, but it is my opinion that this lens is by far the most useful in the greatest number of situations.
I also used to be fixated on huge apertures, but have since realized that most real world shooting is not done below f/2 anyway. This lens is sharp as anything out there and is great in low light. Yes, I acknowledge that f/2 isn't quite as good in super low light as other lenses out there (I know because I have a 50mm f/1.2), but it is good enough for most shooting, and below f/2 the depth of field becomes tricky anyway; so again, not as useful.
Lastly, some people don't like the plasticy feel of new lenses, but I love them. They are so much lighter and silky smooth. I've seen enough heavy, gummy, brassed-up, metal lenses in my time to know there's nothing magical about all-metal builds either. So to me it's just another modern improvement that works like a charm.
Most that I've seen tend to resell online for 90%+ of full retail value, so even if you somehow didn't like it, your risk in buying and trying is very low.
...

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Compact and lightweight, this very fast f/2 wide-angle lens is perfect for scenic and landscape photography as well as environmental portraits

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Nikon 20mm f/2.8D AF Nikkor Lens for Nikon Digital SLR Cameras Review

Nikon 20mm f/2.8D AF Nikkor Lens for Nikon Digital SLR Cameras
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The Nikon AF20mm f2.8 was designed as a "pro" wideangle lens back in the days when 20mm in autofocus was as wide as you could get. Originally introduced in 1989 it was the AF equivalent of the manual focus design of 1984 and uses the same optical formula as the MF. The subsequent addition of the D chip has changed nothing else. In it's day an AF 20mm was pretty radical and it was only superceeded in 1993 by wider primes as the pros sought wider and wider views. For most amateurs however 20mm on film will get you into the "superwide" range without breaking the bank. For digital shooters, dealing with the 1.5 magnification factor in Nikon D-SLRs, it becomes effectively 30mm, which is still wide enough for most situations.
Optically it delivers typical Nikon high color saturation and contrast, with distortions well controlled for it's focal length. While it is reasonably free from flare I strongly recommend the optional HB-4 lenshood designed for it and polarizing will be dificult for film shooters due to vignetting caused by the thick polarizing filter mounts of a "standard" polarizer. Digital shooters should not have this problem because the camera's sensor is only using the central portion of the projected circle - inside the area of vignetting.
Mechanically it is all metal and well constructed with an nice "solid" feel to it for an AF lens but those of us who still miss the old manual focus "tanks" will find the undamped focusing ring a little too "loose" when manually focused. As part of a planned outfit, it can form the wide angle anchor for a travel kit standardized on 62mm filters. Add Nikon's 28-105AF 3.5-4.5 and 70-210AF 4.5-5.6 and you have a lightweight kit for either film or digital SLR's

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20mm D-Series Wideangle lens for Nikon cameras

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Nikon 24mm f/2.8D AF Nikkor Lens for Nikon Digital SLR Cameras Review

Nikon 24mm f/2.8D AF Nikkor Lens for Nikon Digital SLR Cameras
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This autofocusing 24mm f2.8 Nikkor lens is optically unchanged from the manual focusing 24mm f2.8 Nikkor lens that I once owned. This speaks rather well for this design, which was the first ever made with Nikon's CRC (floating element) feature. It certainly is one of the best 24mm lenses available, with fine contrast and resolution. Its performance is almost as good as the venerable Contax Carl Zeiss T* 25mm f2.8 Distagon which I own now; itself another excellent lens design which also dates from the late 1960s. If you tend to photograph a lot of landscapes or need to cover a moderate amount of interior space without excessive distortion, then this will be an excellent lens to add to your Nikon autofocus SLR system. Since this is a Nikon AI-S lens, it will also work too with any manual focusing Nikon camera dating as far back as the venerable Nikon F2A and Nikkormat FT3.

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24mm D-Series Wideangle lens for Nikon cameras

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Sigma 18-250mm f/3.5-6.3 DC OS HSM IF Lens for Nikon Digital SLR Cameras Review

Sigma 18-250mm f/3.5-6.3 DC OS HSM IF Lens for Nikon Digital SLR Cameras
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I would not give much credence to reviewers who compare lenses they have not actually used, or have only used one of them. We bought both This Sigma and the Tamron 18-270 and used them for a week in Mexico. We have a Nikon D70s and a D300, and exchanged the lenses after a few shots at the same time and place. We shot about 75% RAW and examined severe crops of the images on our 30" Apple Cinema Display before and after correction with Photoshop. Here is our opinion:
The Tamron is noticeably sharper. The Sigma is very soft except at the low-medium zoom range, and it's still softer than the Tamron over its best range. The higher distortion of the Tamron is much less noticeable and easily corrected with software. The CA is about the same for both. Image stabilization was clearly more effective with the Tamron, especially at the long end where you really need it.
The Tamron is noticeably slower in focusing than the Sigma, which is very fast for this class of lens. However, the Tamron often was more accurate and we missed several shots when the Sigma balked and did not focus at all. Over 5% of the shots we took with the Sigma were significantly out of focus, but only a few with the Tamron.
With superzooms, you pick the weaknesses that bother you less. It was a close, but fairly easy decision. Though it was sometimes annoying to use, we got obviously better pictures with the Tamron. We both agreed to return the Sigma.

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The SIGMA 18-250mm F3.5-6.3 DC OS HSM incorporates Sigma's original anti-shake compensation function, with a 13.8 times zoom ratio. For the camera have anti-shake function in the camera body, this lens's Hybrid Optical Stabilizer provide not only anti-shake function for the camera body compensation, but also provide the function to compensate the image shaking in the view finder of the camera like anti-shake compensation built in the lens. Incorporating four Special Low Dispersion glass elements and three Aspherical lens elements provides excellent image quality throughout the entire zoom range. This lens has a minimum focusing distance of 45cm (17.7 inches) at all focal lengths and a maximum magnification of 1: 3.4 reproduction ratio, making it ideal for close-up photography. An inner focusing system eliminates front lens rotation, making it suitable for use with circular polarizing filters and the supplied petal-type hood. Incorporating super multi layer coating reduce the ghost in the backlight photography.

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Nikon 70-300mm f/4.5-5.6G ED IF AF-S VR Nikkor Zoom Lens for Nikon Digital SLR Cameras Review

Nikon 70-300mm f/4.5-5.6G ED IF AF-S VR Nikkor Zoom Lens for Nikon Digital SLR Cameras
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After exhaustive research on many lens, I finally decided to plunk down the $500+ (at the time this was written) to purchase this lens. It may not be the best on the market but it compliments my Nikon 18-70mm DX lens nicely. I was looking towards Nikon's 18-200mm DX lens, however; the price pushed me to choose this one (as it was nearly half the price and my two lens can nearly cover all the range of the one 18-200mm).
QUALITY/WEIGHT:
build quality is cheap yet sturdy... the plastic is a little chinky but cuts down on the weight. My Nikon D200 has no problem handling the lens weight, however; I have heard (unconfirmed) reports that this lens is a little heavy for the lighter cameras (D80, D70, D40, ETC). The Ring Connector is metal and has a rubber gasket on the outside so as to provide minor protection (for the lens mount) from the elements.
You also have to keep this in mind, when discussing weight, quality & price; the bulk of the price of this lens is going into the glass elements (all 17 elements of them). It gets expensive when you place that many high-quality optics into a tube. I'm really not that surprised a the price, although $400 price-range would probably be more suitable for this lens
FOCUSING/LENS ATTRIBUTES:
Focusing can be quite fast... at times. You'll find, at the Max 300mm focal range, that the lens has a pretty hard time auto-focusing in on a subject. At times it would focus pretty quick, at the 300mm range, while at others it cannot focus at all. You can get around this quirk by bringing the subject into near focus (manually) then letting the auto-focus take over; it works every time. I find this focus problem disappointing especially given the price of this lens.
The quality of the Bokeh (Out of focus areas of the photograph) is very nice and pleasing. The images are sharp, vignetting (dark areas in the corner of your photos) is hard to find and lens flare rarely a problem.
VIBRATION STABILIZATION:
All I can say is that it works... it can come in handy. It's not going to stop the image guaranteed for you; it's only meant to slow down the rate at which the camera moves (vibration from holding). You can notice the difference; with it off you'll see that the image (at say 300mm) really bouncing around; then you flick on VR. It takes a sec or two but then the image smooths out, it still wobbles around, but much more slowly.
With VR enabled, you can usually go 2-3 (sometimes 4) stops down, then what you'd normally be able to do when hand holding.
THE "SHOCK" TEST:
I haven't "shock tested" my lens yet (IE dropped it) but I have heard (again unconfirmed reports here) that it holds up pretty well to a drop... although I would never recommend testing that out.
IMPORTANT NOTE:
The 70-300mm range should be noted: Although the lens states that it is a 70-300mm zoom, this lens was intended for a 35mm camera or full-frame CCD/CMOS sensor Digital Camera. All (or at least the majority) of Nikon's DSLR (D200, D80, ETC) are NOT Full-Frame sensors. They are approximately 1.5x factor of a full-frame sensor (due to the smaller sensor size).
What does this all mean?
Well it's simple, since this is a 35mm lens and not a DX lens (ie built to account for the 1.5x factor in most nikon digitals) you have to apply the 1.5x conversion. This means that the Nikon 70-300mm on a Nikon DSLR will give an apparent zoom equivalent to a 105-450mm lens. I actually do not mind this apparent zoom and this should also cut down on vignetting; as what the lens projects onto the sensor is larger then the area of the sensor itself. In short: parts of the image spills over the sensor, since this lens was meant to project onto a full-frame sensor/35mm film.
CONCLUSION:
Pros:
Pleasing Bokeh
Fast Auto-Focus (when working properly)
Vignetting is minimal
Image Stabilization (VR)
Flare is minimal
1.5x factor (105-450mm) makes for nice zoom
Colors are very good
CONS:
Plastic Casing
Near Inability to Auto-Focus at 300mm range
Price (even though it is cheaper then the 18-200mm DX)
1.5x factor (105-450mm) might make it more zoom then you need
Lens could be faster (F/4 would have been nice)
I love this lens, even for it's quirks, however; you may want to wait till it drops in price a little more (it falls almost bi-weekly). It may not be the fastest on the market, but it's size, optics, image quality and VR make this a must have lens for Serious Nikon users!

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L3)NIKON 70-300MM F4-5.6G Vr (2161)

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