Posts Tagged ‘new’
A year or so ago I was taking a look at a Canon 5D MkII with a 24-105 f/4L IS lens mounted. Loved the range, the constant aperture, the stabilization. I thought to myself, “why doesn’t Nikon make something like this? If they did, I’d SO buy it….” Well, they finally did.
So I took the plunge. I’m the proud new owner of one of Nikon’s latest lens releases, the Nikkor AFS 24-120mm f/4G VRII. This nano-coated beauty arrived yesterday, and I’m excited to start putting it through its paces. As soon as the lens was announced I was immediately drawn to its appeal. Previous generations of the 24-120mm don’t exactly have the best reputation, but with a new optical design, better build, and constant f/4 aperture throughout its zoom range, I felt safe enough giving Nikon the benefit of the doubt.
Originally the 24-70 f/2.8 was on my hotlist, but first off, I’m big on image stabilization for hand-held shots at very low shutter speeds, a feature the 24-70 lacks. This lens has a more flexible focal range as well, and is lighter and smaller. Sure, you lose a stop of light gathering with the smaller f/4 aperture, but I rarely shoot wide open anyway. I think this is the general purpose/travel/event lens I’ve been looking for.
It’s only slightly larger than my Tamron 17-50mm f/2.8 VC, a much loved lens on my crop sensor body. Focus is much more snappy than my Tamron, and while the 24-120 is not an all-metal build, it feels solid and very well built. Coming from the Tamron, the Nikkor’s zoom ring placement is throwing me off! It’s going to take some getting used to.
Zooming out to 120mm extends the lens barrel, just about doubling the length of the lens. Not a big deal.
So how does it perform? I’ll know for sure with this lens mounted on an FX body. Yesterday I had my D300s with me at work, so I picked Suki up in the afternoon and took a few shots of her with it last night. This is one of the first images I took with the new Nikkor:
Nikon D300s + Nikkor AFS 24-120 f/4 VR at 78mm f/5.6, 1/30 second ISO400
Did a quick test that same evening to test the effectiveness of the lens’ image stabilization:
Nikon D300s + Nikkor AFS 24-120 f/4 VR at 120mm f/4, 1/8 second ISO800
This is hand-held at a full frame equivalent of approximately 180mm, at 1/8 of a second. Guess the VR works! Well, that’s all I got for now. Will be taking this lens on a trip next week and hope to use it extensively for about a week. We’ll see how it does!
UPDATE: Just shot a wedding over the weekend and used the 24-120 f/4 on a D700 for many of the images. Loved the result! Check out the post here.
Also, see some casual shots I took in NY with it here.
UPDATE (11/9/10): Just read a killer review on the 24-120 f/4 by Todd Owyoung, an awesome concert photographer. Lots of sample images as well as pictures of the lens itself. He has a lot of great things to say about the lens. Check it out at this link!
UPDATE (11/14/10): Used the 24-120mm f/4 today for some on-location portraiture. Check out my latest post!
UPDATE (11/29/10): Legendary wildlife photographer Moose Peterson loves his new 24-120 VRII, check out what he has to say about the lens at this link.
Lens Images: Nikon D40 + Nikkor AFS 50mm f/1.4G
My cousin recently convinced me to set up a website for my photography. I’ve been wanting a slick, simple way to display my photographs on the web for a long time now. While I do have a flickr page as well as this blog for sharing photos, neither really offer me a customizable way to display my artwork in high quality, high resolution galleries.
My new website allows viewers to browse my images using a very simple but beautiful interface. Each gallery includes an awesome full-screen option, and features custom compatibility with iPhone and iPad.
So please, check out my new website! Head on over to www.jonathanflemingphotography.com. I’ll make sure to update it regularly. Enjoy!
I realized, after posting the photo above to Flickr, that it’s very likely that Bridget was the one who actually took it! I was using my D300s with the Tokina 11-16 fitted when we arrived at this scene in the Maruyama area of Kyoto. She had the Canon S90 on her, and while I did ask her to hand it over a few times to get some shots in this area myself, I can’t remember for sure if I actually took this one. Oh well! This image was processed in-camera using the S90’s “Film” color mode, and I added a touch of vignette in Lightroom 3 beta. So Bridge, if you took this, good job!
Speaking of which, Bridget did take a lot of fantastic photos with the S90 during our trip. She really took to the camera because it’s such a joy to use. I would set up a white balance appropriate for the scene for her, set the camera to Program Auto (usually), and program the control ring around the S90’s barrel to adjust exposure compensation. Then I simply told her:
“If it’s too bright, twist the dial this way. If it’s too dark, twist it that way.”
With that awesome control ring allowing easy access to exposure comp adjustment, she was able to focus on composing, and the camera stayed out of her way (the control ring is that black bezel you see around the lens in the image above, and is the S90’s coolest feature). I often used the camera in the exact same way myself. The S90 tends to expose a little hotter than I prefer, so I’m usually dialing in at least -1/3 EV when I’m shooting with it (the above shot has a -4/3EV dialed in by either me or Bridget, can’t remember!). I also found that it was a lot of fun to use the S90 in full manual. The control ring around the lens would set aperture, and the control wheel on the back would set shutter speed. Wow! I felt like I was using a film camera again! The combination of seeing the live view preview, a live histogram, and a live EV read-out on the LCD while composing made it dead simple to nail the exposure I wanted every time. No compact camera has ever given me a control experience like this one!
Here are a couple sample photos that show how great the JPEGs produced straight from the camera look from the Canon S90 (neither of these were adjusted in post):
I finally feel like I have a true compact camera with the control and feature set that can be utilized and appreciated by both a beginner and a more advanced photographer. Good job Canon!
So anyway, we were heading up to this huge temple in Maruyama-cho. To get to it, you had to scale these ridiculously steep stairs. The first image was the view from the bottom. Here’s what it looks like from the top:
I’m not sure this image really tells you just how steep these stairs were, but they were STEEP. Worth the climb, however. =)
Top Image: Canon S90
Second Image: Nikon D300s + Tamron 17-50mm f/2.8 VC
Third and Forth Image: Canon S90
Fifth Image: Nikon D300s + Tokina 11-16mm f/2.8
I’m extremely excited to have received my brand new Tamron 17-50mm f/2.8 VC. VC, or Vibration Control, is Tamron’s version of optical image stabilization, which compensates for camera shake while taking photos, allowing more flexibility in low light photography. I previously owned the non-stabilized version of the Tamron 17-50mm, which I sold my cousin in order to nab this one. So, as a former owner of the last lens, there are some differences other than the new VC feature that I can note between this updated version and the older Tamron 17-50.
First of all, this new VC version seems very slightly larger and heavier, but the difference is hard to really feel in practice. To me, the construction/build quality of the lens looks and feels superior to the older Tamron, though still not as rugged as my Tokina 11-16mm f/2.8. The VC lens also takes 72mm filters instead of the 67mm ring size of the older lens, which means I’m gonna have to go filter shopping now.
My new Tamron seems to make lots of interesting noises during shooting. First of all, while the zoom ring operated quietly on the older 17-50, the zoom ring on the VC version makes a strange sound that I can’t seem to describe any other way than as the sound of zipping up the zipper on a camping tent. Not sure if that description makes any sense, but the sound doesn’t really bother me and may fade in time. Focusing sounds are noisy like the older lens, and while this lens seems to focus very fast on my D300s (I never had a chance to mount the old one on my new camera), the noise that the non-silent wave motor makes during operation seems similar to the old one: noisy, but not objectionably so in my opinion. Then, of course, there is the noise coming from the VC system. You know the sound that a conch makes when you put your ear up to it? Yeah, kinda sounds like that.
About the VC system. I’m used to using optical stabilization on my longer Nikkor 70-300mm lens, where hand holding the lens racked out at 300mm and activating VR reduces the shake in the viewfinder significantly but not completely. When I look through the viewfinder with the Tamron mounted and VC active at these shorter focal lengths, the image in the viewfinder looks dead still….like scary still. It’s pretty awesome.
While out on the town this evening I decided to do a little practical test of the VC’s effectiveness. Here’s a shot I took on a tripod tonight with the new lens:
During the same shooting session, I took two shots from the same spot, but hand-held. One shot was taken with VC active and one without. Here’s a crop from each (cropped from the center window on the Castro Theater). Both these images were shot in RAW and converted to JPEG in Adobe Lightroom without any adjustments made. Note the camera settings in each shot:
I made a little mistake in this test that actually made it turn out a little better in a way. Notice that the settings are identical in each shot except for the ISO settings. The non-VC shot is set at ISO800 while the VC shot is at ISO500. This is because when I took the camera off the tripod to start shooting hand-held, I instinctively set the camera to auto-ISO, so the camera started changing the ISO from one shot to the other (auto ISO effected not only by what the meter is seeing but also by whether or not VC is active). If I had manually kept the ISO the same in both shots, the blur in the non VC shot would have been more exaggerated.
But as you can see, even with a higher ISO sensitivity, the shot with VC off shows significant blur from camera motion compared to the shot with VC on at a lower sensitivity setting. These shots were taken at a pretty small aperture considering they were both taken at dusk, and the fact that the shot with VC was sharp down to 1/8 of a second combined with a pretty low ISO in this case is really promising. For static, low-light subjects (which make up a lot of the shots I take), the optical stabilization will allow me to take more usable photos when I don’t have a tripod. The VC will also give me more usable apertures in low-light, which is great if I decide I want more depth of field or sharpness in a hand-held low-light shot, rather than having to resort cranking up the ISO, shooting at f/2.8, and hoping the shutter speed is high enough to stop the shake.
Here’s the non-cropped version of the hand-held photo of the Castro Theater with VC active:
Overall I really look forward to using this Tamron. My favorite lens has still got to be my Tokina 11-16 f/2.8, but this one will probably come to be a very close second, and will probably be on my camera 90% of the time I shoot. Well, I don’t know about 90%…..we’ll just have to see!
Check out a few shots I took at a recent wedding with the Tamron 17-50 VC here.
Check out more hand held low light shots at a museum with the Tamron here.
Or, just click the 70-50 tag to see all the photos I’ve taken so far with the Tamron 17-50 VC.