Nikon & Canon Cameras Reviews – Best Buy SLR Cameras

Canon EF-S 55-250mm f/4.0-5.6 IS is designed for cameras with sensor size “APS-C” and combines light weight with a very low price tag for an optically stabilized lens. On the EOS 400D and 40D cameras we used for our tests, the focal range equivalent to 88-400mm on a 35mm camera. It’s a fairly slow lens – and this is visible in the viewfinder when shooting.

Optical components consist of 12 elements in 10 groups, with an Ultra-low Dispersion (UD) element in the front group of secondary chromatic aberrations and the minimization of colored edges to suppress. The built-in optical image stabilizer claims to four f-stops of shutter speed advantage. Super Spectra coatings reflection and glare control by internal reflections.

Polycarbonate plastic is used as the main building material in the body of the lens to the weight to minimize cost-effective. Canon claims only environmentally friendly lead free glass used in construction of the lens – but makes no mention of possible plastic parts (which can cost down and keep the weight without compromising optical quality).

Build quality is good for a plastic lens and moving parts are acceptable tight. However, caution will be required when changing lenses as the lens mount is made of plastic, and although appearing quite solid, may be vulnerable to chipping and (eventually) to wear.

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Both focus and zoom rings have textured rubber coating for a firm grip. The ridges on the focusing ring are narrower than those on the zoom ring and trap debris. The zoom ring, which is 4cm long, is closest to the camera.

Behind the rubber part on the zoom ring is a thin aluminum strip engraved with the settings marked 55mm, 70mm, 100mm, 135mm, 200mm and 250mm positions. Behind this ring, the lens carries slider switches for AF / MF and stabilizer on / off settings. A white dot indicates a position indicator for applying the lens of a camera.
Aperture settings range from f/4.0 to f/22 with the 55mm setting and f/5.6 to f/32 at 250mm. At 250mm, the maximum magnification is 0.31x, which is not reflected in the 1:1 macro range. The minimum focusing distance is 1.1 meters.

Neither a distance scale or the depth of field or infrared indicators of adjustment are provided. The lens is supplied with end caps, but no hood. A lens hood (ET-60) and lens case (LP1019) are available as optional accessories.

The low price of this lens is reflected in some aspects of the optical performance of the review sample. Imatest showed it to be unable to match the performance of our test cameras’ sensors. The lower resolution was clearly shot in a lack of ‘crispness’ edges and a generally lower contrast in photos. These problems were evident with all kinds of subjects.

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We have our best resolution figures obtained for all focal lengths between f/6.3 and f/13 and resolution gradually tail off as focal length increases. Some corner softening was detected by Imatest and apparent in many test shots. Based on our tests, we would not recommend shooting with apertures smaller than f/14 lens with an institution.

Vignetting (edge darkening) was noticeable at the widest apertures and was particularly obvious in the 250mm setting. However, stopping by two to four stops effectively muffled most of the effect. We found a fair amount of barrel distortion at the 55mm setting, which mild pincushion changed around 100mm. Flare is fairly well treated and bokeh (out-of-focus blur) was good for a lens of this type.

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The Nikkor AF-S 18-200mm f/3.5-5.6 is one of the hottest products of the season and as such is extremely scarce supply. to find some very positive reviews elsewhere fired the demand further. As a result, the prices on eBay tend to be way beyond the EIA at the moment (spring 2006). There is a designated DX lens with a reduced image circle so it is only compatible with APS-C DSLRs is. The effective focal length 28-300mm equivalent on full frame SLRs. With respect to its extreme zoom 11x, it is obviously meant as an all-around lens.

The optical design consists of 16 elements in 12 groups, including two ED (Extra-low Dispersion) and three aspherical elements. The closest focusing distance is 0.5m to a maximum of what. Object magnification of 1:4.5 at 200mm. The filter size is 72mm. The aperture mechanism feature 7 aperture blades. Thanks to its very slow max. Opening of the lens is very compact (77x97mm) and light (560g), despite the extreme zoom range.

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A key selling point is the 2-course- Generation (VR, Vibration Reduction) mechanism. The camera movement is detected by two gyro sensors that shake the angle and speed. This information is used to move a lens group from the optical axis (a forced decentering) to counteract this movement. The result is a significant improvement in hand-hold ability under extreme conditions. Nikon claims a potential of up to 4 stops. The lens offers two VR modes – a “normal” mode for most situations including static scenes, object tracking, as well as monopod shots whereas the 2nd compensate for “active” mode for increased vibrations (eg shooting from a moving vehicle). When the camera was mounted on a tripod, VR can be switched from this lens.

With respect to its rather steep price tag the build quality is somewhat disappointing with rather average quality plastics. It is not remotely comparable to the Pro class lens in the Nikon lineup. The zoom action is very uneven across the area, and it suffers from zoom creeping when tilted downwards. The focus ring feels very smooth, but it’s not really steamed. The AF-S 18-200mm is a G lens, so it does not feature a dedicated aperture ring (selected solely on the camera).

As you can see above the lens a duo-cam design along the long end of the zoom range is extended. Add the included lens hood almost doubles the total length of the lens. Thanks to an internal focus (IF) design the front does not rotate it with a polarizer is no problem. The lens features a Silent Wave (ultrasonic) AF motor, resulting in a rapid and near silent AF operations.

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Conclusion

With regard to some rave reviews on the Internet, the expectations were very high. Unfortunately the (tested sample) Nikkor AF-S 18-200mm f/3.5-5.6 was not completely convince. Weak points are rather strong distortions and high vignetting (@ f/3.5) at 18mm. Aside from a few weak points in the resolution figures are quite good and if it is possible to get very decent images from this lens under field conditions. The VR can surely help to save the day in situations where similar zooms must completely fail, the build quality is a little soso for a lens in this price class and probably the biggest disappointment. All in all, the Nikkor lens is a very interesting, but not without flaws (hardly surprising for a 11x zoom).

The AF-S Nikkor 16-35mm f/4G ED VR Lens offers a better (though still expensive) alternative to other big Nikon zoom lenses that cover a full faster. Designed to meet the performance requirements of the company’s FX-sensor DSLRs, it is also fully compatible with DX-format cameras and has the distinction of being the first ever large-lens VR II image stabilization technology include.

Smaller and lighter than the AF-S Nikkor 14-24mm f/2.8G ED, we reviewed in February 2009, it was a comfortable match for the Nikon D3 body, which we used for our tests and was on Nikon D700 DX and larger models used as the D300. On the DX body covers a focal range equivalent to 24-52.5mm.

The Canon lens is not stabilized, while the Nikon is an alternative. The addition of the additional stabilizing elements increases the length and weight of the Nikkor lens – and raises its price. For those penalties you will receive up to four stops of shutter speed advantage (according to Nikon), which many photographers find useful when shooting in low light conditions.

As G-series lens, this lens has no aperture ring. This means it will not work on manual focus cameras, because it set no control over the aperture. However, G lenses are fully compatible with all current Nikon AF camera bodies, including DSLRs.

The new lens has been completely revised and contains 17 elements in 12 groups. It includes two ED (Extra-low Dispersion) glass elements and three aspherical glass elements to distortion and aberration plus Nikon Nano Crystal coating to minimize internal reflections, suppress, and the risk of flare and ghosting. The following diagram shows the location of the special lenses.

is the lens hood for AF-S Nikkor 16-35mm f/4G ED VR with the requirements of the FX sensors, making it a bit small to be fully effective to respond on a APS-C sensor DSLRs agent. However, you can fit a polarizer, when the hood is present, regardless of sensor size.

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Build and handling

As with most Nikkor lenses, quality built very well and the new lens has a chassis made of magnesium alloy which is hard without too much difficulty. This lens is also weather-resistant seal, making it suitable for adventurous photo enthusiasts and professional photographers who are not driven by the opening speed. It comes with the bayonet mounted lens hood HB-23 and a soft carrying case.

Without his end caps, the lens measures 125 mm long (without lens hood) and has a diameter of 82.5 mm. Internal Focusing (IF) focuses images by internal elements, without the length of the tube or rotating the front element.

The focus ring, which is nearly 24 mm wide, 30 mm behind the sun visor. Before that is a recessed distance scale with four settings in meters and feet from 0.28m to infinity. The focus ring rotates by a quarter turn as you scan through this area. Behind the focus ring on the lens are two slide switches. The top is change the focus mode, while the bottom off the VR II stabilization and off.

The zoom ring, which is about 28mm wide, is located in the vicinity of the camera. Engraved on its trailing edge may have markings for 16mm, 20mm, 24mm, 28mm and 35mm focal length. These are lined with a mark on the lens.

Both rings have ridged rubber coatings to provide a secure grip. The bars on the zoom ring is much wider than the zoom ring and two scores in each ridge for extra grip safety cut. The zoom ring moves through a quarter turn between 16mm and 35mm items. (The f/4 maximum aperture is held in this area.)

Thanks to the smooth operation of both the VR II system and Silent Wave Motor Autofocus system, the lens works almost noiselessly. As with other high-quality Nikkor lenses two focus modes are supported: M/A (autofocus with manual) and M (manual). No zoom lock is provided – and none is required.

We found no tendency for the lens to extend when the camera was carried out with the lens pointing down and no adverse changes in focal length was adapted as a priority. The markings on the lens were also spot-on for each of the focal length settings.

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Performance

The review lens turned in an impressive performance in Photo Review’s Imatest tests that showed a consistent high resolution throughout the aperture and focal length. The highest resolution figures came from the 28mm focal length, while the 16mm focal length was the lowest figures were relatively low from f/4 to f/5, after which it increased slightly below the figures for the other focal length settings.

An outstanding feature of this lens is its flatness of the field through its focal length and aperture ranges. Edge softening was minimal at all focal lengths and the losses in resolution by diffraction of f/16 on were small enough to neglect. The chart below shows the results of our Imatest tests.

Lateral chromatic aberration was consistently negligible extends through the test lens aperture and focal length. In fact, at no time have we record a value of more than 0.027% of the distance from the corner – and the vast majority of the CA-values were less than 0.01% of the distance in our Imatest tests corner. (0.04% of the distance to the corner of the border marks between “insignificant” and “low” CA.) No colored fringes was observed in test shots taken in high contrast outdoor lighting.

Barrel distortion was very noticeable at 16mm but gone by 20mm. Very slight pincushion distortion was found at 35mm, but it would probably not bother the majority of potential users.

Vignetting (darkening of edge and corner) could be in an open aperture shots at all focal length settings to see. However, it was not very noticeable and was slightly down by closing the aperture by a stop or terminate two.

Back-light shots were very good treatment, without producing loss of contrast due to veiling flare and low tendency to diffraction artifacts. The image stabilizer allows us to achieve shutter speeds as slow as 1/5 second with a 35mm focal length and sharpness more than 80% of the shots. This approach confirms Nikon’s claim of four f-stops of shutter speed advantage.

The close focus of 28 cm makes the lens unsuitable for relatively close-ups and wide viewing angles are not ideal for portraits – unless you are shooting fairly large groups. And even then you should watch out unwanted distortions. This lens is much better, landscape and architectural photography and even photojournalism, where the stabilization could be very useful.

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The lens from Sigma Japanese manufacturer is their answer to a “do everything” lens. With a zoom ratio of nearly 11x, it covers everything from wide angle to a full-frame sensor to long telephoto lens on a cropped sensor. We take a look at how it performs.

Build and handling

This lens is surprisingly compact for IT skills, although it goes something like the long end of the zoom range. The extension is achieved by a double trombone, some 78mm, more than double the length of the lens. He does this with a very smooth action, however, and the second sleeve of the trombone carries markings on the amount of magnification of the optics is the realization view. The zoom ring covers about two-thirds of the barrel with the manual focus ring occupied the rest back.

Autofocus, in this budget more established lens lacks the refinement of a Sonic engine and although the engine is audible, the sound is not obtrusive and the action is quite fast. This is probably necessary because of the shortness of the journey, because when you switch to manual focus there is less than a quarter turn on the beautifully dressed manual requires ring reached.

The zoom ring is marked at 28, 35, 50.70, 100, 200 and 300mm and neither zooming nor focusing rotates the front element, a bonus for users to filter out. The business end, there is a bayonet mount for the supplied petal shaped hood and this impacts positively in order to keep him.

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Optical quality

Given the compromises that a lens that has an almost 11x zoom ratio, this lens quite well for themselves in many areas do not have to be made. For example, distortion, although just visible at the short end is maintained at -2.27% barrel when a threshold of +/- 1.5%, where it is visible to the eye. Yes, it is there, but only slightly from the very broad framework. By the time you get to the other end of the zoom has fallen to an acceptable 0.89% pincushion and can not be seen with the eye.

At the wide end of the lens performance for a lens of this type can not be faulted. The resolution is good, and chromatic aberration is well controlled over the frame. As with almost all zoom lenses, drop things off at the longer end of the range, and this lens has a large area. Surprisingly, there is no cliff, that this unique jumps and drop-off is fairly gradual and end up in power to keep many photographers would be happy.

The only area a few signs of doing, the CA, where it clearly under certain conditions at the edges of the frame is longer than the focal length. Having had extensive experience in the pre-GD model of this optical coating, the coating has again impressed with his improvement of contrast and overall image quality.

Conclusion

When you have an all-purpose lens to the camera, and do not use the long end, which would often be possible for it without lenses, this could be the message that you are after. Good performance by the shorter half of its range is only slightly let down at the long end, and with a minimum focusing distance of just half a meter above, it becomes even more versatile.

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The Zuiko Digital ED 50mm f2 macro is one of the two macro lenses from Olympus for the E-system offered. With its environmental seal and high speed, it belongs to the manufacturer’s line of high-grade lenses, it is very affordable for a wide range of photographers. It is also worth noting that, like most macro lenses, it doubles as a short telephoto lens is prime, well suited to portrait and a number of other applications. As E-System lens, the Zuiko Digital 50mm macro is compatible with all Four Thirds body (and with an adapter, Micro Four Thirds cameras as well), but it will not mount on the Olympus OM line of 35mm SLR cameras.

The Zuiko Digital ED 50mm f/2 Makro is a bit “fat” for a 50mm lens, but very compact for a fast tele. The slight greasiness is due both to the visual design – what is much more complex than a typical 50mm lens – and the dust-and moisture-proof construction, which is a hallmark of Olympus High Grade – and Super High Grade – lenses. In the “absolute” terms, the 50mm macro still counts as a small and lightweight lens that does not look out of proportion to any Four Thirds body.

As befits a high-quality lens, the Zuiko Digital 50mm macro is a metal mount, glass, optics, and good build quality. Against this background, his weight from 300 grams to be considered moderate.

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The front of the lens is threaded and accepts 52mm filters in diameter. The front element does not rotate during focusing extend, but runs a lot if you focus from infinity to close. This is quite typical of a macro lens – which is remarkable by its absence is an indication of the values on the enlargement extending part of the run, we as an odd omission, especially as Olympus himself (and cheaper) 35mm f/3.5 Macro sport has an enlarged scale.

The focus ring is not mechanically coupled – by turning, you are actually stimulate the auto focus motor that moves the lenses. This can be a photo, traditionalists, but in fact sound worrying about this only if you notice this when you will reach either end of the focus area. In this case, the focus ring keeps circling, rather than to come to an abrupt stop. There is even a distance scale protected behind a window, although there is no deph-of-field are marked.

Missing features include image stabilization and a focus limiter. The former is probably less important because many places offer Four Thirds sensor-shift Anti-Shake function anyway, but the latter may be a problem.

In terms of accessories, Olympus EX-25 macro extension tube, the TF-22 Twin Flash and RF-11 ring flash for macro enthusiasts, and the EC 14 for those who need to reach a little more tele.

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Macro lenses tend to be in a relatively idle mode auto focus, and the Zuiko Digital ED 50mm f/2 is no exception to this rule. The camera does matter a lot in this case – AF speeds are much better fitted with the lens to an Olympus E-30 or E-3 than any other body compatible.

Autofocus accuracy is quite good, but if the system will not achieve the goal, the hunt takes place. This is when the aforementioned omission of a focus limiter strikes again – it takes considerable time for the lens with its large focusing range rack. Switching to manual focus is probably the best thing you can do in this case.

Olympus claims a maximum magnification of 0.52x for this lens, and our results prove this. The smallest area with which you can fill the frame, is about 33x25mm, significantly less than the size of a Compact Flash card. Maximum magnification is achieved with a sensor-to-subject distance of 20cm.

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The 35mm optics of Olympus, developed for their 4/3rds system, is a true 1:1 macro lens and with the crop factor of 2x on the Olympus system behaves like a 70mm macro on full format cameras. We take a look here how it performs.

Build and handling

Claimed the world’s smallest true macro lens, this lens from Olympus certainly small enough to slip into a pocket. Nevertheless, the lens is quite good, if simple design. The only control on the lens is the manual focus ring, and this is nothing, if they turned on the camera menu and the camera has enough battery power for operation of the fly-by-wire system MF.

The next focus of 146mm front covers of some 24mm on a single trumpet which showed very little play. The trombone, as it extends, is marked with ratios of 1:1, 1:1.5, 1:2 and 1:4, an indication of the size of the image on the sensor. The trombone, and thus the front lens does not rotate during focusing, a benefit for photographers with 52mm filter thread.

The autofocus system, though not quickly or quietly, is much better than 50mm Olympus offers in this group of lenses and has got rid of the grating noise found there. The system meets control his jerky little, as if confirming the focal point around before an image can be taken, however.

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The mount is a metal one, though the rest of the barrel is made of engineering plastics, account for the extremely light weight of the lens, if you have the idea that it contains only six basic elements.

Optical quality

Despite this simple construction, this lens produces very pleasing results, although distortion is generally not a problem in fixed focal lengths, approaching the threshold where they are visible and measured -0.87% barrel on the Imatest module.

Control of chromatic aberrations is well captured without incident and only groups that are invisible to the eye, measured on the test. The resolution is also sufficient for the purpose that the lens is designed for and with the focal length/crop factor combination, suitable for portraiture.

Again, the performance reached a little too early for small aperture macro photography but the lens has to produce good results when used in the other holes.

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Without fasteners in the construction, control of flare and ghosting is well controlled and we found no evidence of this being a problem during the test. Contrast and color reproduction, again probably helped by the simple construction, were also good.

Conclusion

The price of the lens reflects its simplicity and for owners of 4/3rd system cameras, this makes quite a good buy. The light weight allows for the implementation of any real constraint and the focal length is well suited for other disciplines such as portraits and general photography with the added consistency of a fixed focal length.

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The Olympus Zuiko Digital 12-60mm f’/2.8-4 SWD was announced in October 2007, in addition to the flagship E-3 DSLR. It is a standard Four Thirds lens that it is in any Four Thirds body, including the means by Olympus, Panasonic and Leica, though they are physically best matched to the larger models like the Olympus E-5xx series and especially the E-3.

The 12-60mm offers a 5X optical range, equivalent to 24-120mm, so that decent wide angle to telephoto respectable distance – that makes him an ideal general purpose lens. The aperture ratio is f/2.8 to f/4 can be lighter than most rival manufacturers of lenses with similar optical frequencies. Like all Olympus lenses to date, there is no built-in optical stabilization, so if you want an anti-shake, you need a regulated body like the E-510 need E-520 or E-3.

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The 12-60mm was one of the first Olympus lenses on its Supersonic Wave Drive (SWD) with a focus function. At the time of writing this feature was only on three models: the 12-60mm, the 14-35mm F/2.0 and the recent 50-200mm, coincidentally announced at the same time. SWD can be all three lenses focus quickly and quietly, in fact, Olympus does not shy away from claims the combination of the 12-60mm delivered with the flagship E-3, the world’s fastest autofocus.

Unlike most Four Thirds lenses to this day do not employ 12-60mm motor-assisted manual focusing. Instead, it uses a more traditional mechanically-linked system. So in contrast to the mopeds lenses, you can focus on the 12-60mm, while the camera is turned off, although it also means the focus direction option for some E-series DSLRs have no effect.

The lens itself is tough and both dust-and splash-proof, although for the complete sealing you need a perfect body like the E-3.

Building with a flexible, fast aperture ratio, fast and quiet focusing with decent quality, the Zuiko Digital 12-60mm sounds ideal for any Four Thirds owners who want a high quality all-purpose lens. But how is it in practice? Find out in our full review where we will test its optical quality and focusing speed, while pointing out to know all the problems.

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The choice of a zoom lens can be more difficult than the choice of a fixed focal length because of the different numbers being processed. Each lens focal length varies minimum and maximum focal length and the one that goes with a fixed focal length are the ones that are sharper. If both image quality and zoom functions is a must, the Nikon 17-55mm f/2.8G IF-ED AF-S DX Zoom-Nikkor lens fits the bill. Although it has a limited range, the iris remains constant over the range, so this lens is a bit of standard zoom lenses more expensive than the rest, says Zoom. However, this is still a recommended because of all the great technology and advanced optics.

Planning and Building

The Nikon 17-55mm f/2.8G IF-ED is designed for professional photographers who can handle the slight increase in weight develops when installed. But lenses are heavy benefit from being durable enough to be longer than the other lenses in the various categories Nikon. The handling is, for most photographers to use the zoom ring very close to the camera is much finer. It is also thin, but adjustment should be no problem. The focus ring is a little wider to better distinguish between the two rings and be easily accessible by only the hand forward. Since it adopted by the Nikon DX-design, the lens remains compact, producing a smaller image circle resulting in better picture quality from the fact that the lens diameter smaller than leads.

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Features and specifications

Sharpness is superior to the comparison of the Nikon 17-55mm f/2.8G with other medium zoom lenses, as its “sweet spot” is wider and sharper from wide open to f/8 and the focal length does not cause any negative impact on the field effects. Little can be perceived softness at f/11 and softness is noticeable at f/22 if you combine the smallest aperture settings using the wide-angle settings.

In addition to the field quality, it remains as a unique camera because it can maintain a constant aperture, no matter what zoom range is set on the lens. This feature alone bears the cost, weight and quality of the lens. Combine these two features together is an excellent performer across the board comfortably within the field, even if the photographer to shoot them to use wide open. Stop down a little bit the sharpness and quality even further.

Chromatic aberration is a little high for a lens in this price range, if the medium focal lengths are used. However, it remains the average level of chromatic aberration comfortably low, which means that other focal lengths, color and contrast a little better grip. Another thing that makes the Nikon 17-55mm f/2.8G is the use of three instead of the usual two extra-low dispersion (ED) glass elements for chromatic aberration from reaching alarming levels to prevent. Excellent contrast and higher resolution is achieved as a result. For optimum performance, it is best to use a flagship camera, the CA can eliminate after every shot, although it should work with other DX-format cameras and pair couple.

Autofocus performance is understated by a range of technologies, including the Silent Wave Motor, which is exclusively in all AF-S models implemented. This automatic focus allows for extremely high speeds with high accuracy without any noise during the operation. The internal focus design smooths the focus even further and the rounded hood naturalized the out-of-focus elements for a definition image. Switching between modes is also thanks to the M/A and M modes.

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Bottom Line

The Nikon 17-55mm f/2.8G IF-ED AF-S DX lens Nikon lens is not the latest collection of standard zoom lenses, and remains the first 3.2x zoom lenses, which remain at a constant 4/2 stops can, which is the strength in the overall quality of the lens. It is best used with a Nikon DX-format cameras, as long as the weight is not an issue. The 3.2x zoom makes it ideal for shooting a disappointment, landscape, portraits, and without with the edge quality.

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What we have here is the classic portrait lens for FX, a moderate telephoto lens for DX. Nikon shooters have been using one or another variant of this lens for decades. You’ll find it at weddings to see at parties, on the street, everywhere, portraits are taken. While the maximum aperture was f/1.4 for low light, it looked for work, it’s really the depth of insulation and smooth background (bokeh) was that this lens made it a classic. There is an earlier version, made a manual focus version 1981 for the first time. As noted a Nikon historian wrote about this version: “It is a dream lens”.

The basic specifications for the lens are simple enough: fast f/1.4 maximum aperture with click stops at every aperture (smallest aperture is f/16) 77mm filter size, close focus as close as 2.8 feet (0.85 meters). For an FX body, the horizontal viewing angle 24 for a DX body, 16 While this is an autofocus lens, it is not an AF-S lens, which means it is not on the low-end DSLR body autofocus.

The lens has focal depth of field markings and markers for f/11 and f/16 (at a standard too lax, IMHO). There are (converted and the lens really well on infrared DSLRs) and an infrared focus mark. Foot markings are yellow, meters in white, but behind glass, I sometimes have trouble seeing the foot markings in certain types of light. The structure of the lens is rock solid. This is a heavy (19.8 ounces, 550g) metal body with little use of composite materials. The production quality is Nikon’s old pro level. The lens is made in Japan.

Handling

The focus ring is a decent size, easy to find on the front of the lens, and has a smooth, even feel a little loose. Since the AF-S is not, you either want to let the camera focus or use the ring-based M/A switch on the lens set to manual focus. From close to infinity is almost a half turn of the focus ring. The lens does not rotate during focusing or (that it is an internal focus lens). The aperture ring is the latest Nikon typical one: a rigid ring has click stops only at the markers, making it a bit hard to set precisely half steps. Of course, with the DSLR you will be using the camera mode dial set to openings, so this is really only relevant messages to people with older film-based devices (and I mean older).

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The lens cap is now supplying the front-pinch type, but the earliest iterations of the lens came with the traditional edge clamp. The included HN-31 Lens Hood is a full hood and large (1.75″ deep). It is also the old-style screw-cap, you must remove the lens cap to put it on medium (you can manage to the lens cap back on when the hood is attached, but it is not quite sure). The lens hood can not be reversed on the lens.

Performance

AF: I would not say the autofocus slow or fast. For a screw-drive lens its pretty snappy, as long as they do not go from one extreme to the other (eg close focus to infinity). Even if it does, it does so with certainty. If the focus speed figures measure 85mm f/1.4D is not true, say, the 70-200mm AF-S in speed, but it’s the cozy center speed of some recent Nikkor lenses, such as the 50mm f/1.4G. The way I would describe it is as follows: for a D-AF lens, the 85mm f /1.4D is one of the fastest. It is not the best AF-S lenses, but it will make you crazy waiting for it to reach the focus. Furthermore, there is very little tendency to hunt in low light, at least on the pro bodies (remember, it is not to many consumer groups, including the D40, D40x, D60, D5000 and auto focus).

Sharpness: Absolutely nothing to complain about, unless I think you’re a purist corner and expected flat-field correction. From f/1.4 lens is very good in the middle with a touch of softness, two stops is great with it. Yes, soft as the center of the corners at the wider openings, but frankly not enough to consider how this lens most of the time (Portraits) used worries. The lens is not a flat field lens, either, so test charts are not usually do this lens justice in the corners, if you carried out measurements of tests, looking elsewhere in the network. On the DX body the corners of the 85mm f/1.4D measure yet, what are called “good” in most tests. On FX body, indeed, test the corners a bit soft wide open – but there is a large “central region”, which is pretty good – and change the corners are not really up to f/5.6, is condemned at which point the lens well from edge to edge on FX. If you shoot flat items to get the PC-E lens, do for the rest of the photographic opportunities, this lens is much more sharp enough. In fact, sharp enough to show errors in your recording, so be careful.

Light fall: On a DX body, it is not really enough light fall of concern (perhaps a half-step in the corners), but on an FX body, yes, f/1.4 lens has a very observable vignetting (to get a little more than a stop, but well hidden, see below). And the lens gets up to half the height stop I do not think it worth of f/2.8. For an f/1.4 lens, I would even say that the light fall less than expected – this lens has a very good performance here, and the central region is affected by the last light waste plenty wide – ideal for portraits.

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Chromatic aberration: Very consistent and low chromatic aberration through the openings, an unusual result. Flare: The large, slightly curved front lens without much effort should mean to use the hood, always. The hood has a very good job to keep light from the lens. Distortion: Zilch nearby. Nada. None. I can not even get an accurate measurement of nonlinear distortion of my test charts, as it is also less than half a percent (run). In fact, my usual destination photo revealed a little dip in the upper right corner of their own have.

Bokeh: While the Nikkor has a rounded blade 9-Aperture, I noticed that it does not keep a good shape as it goes down to 11 and f/16 (above that it is fine). But you do not need it. If you are interested in this lens, you are interested in the wide and close to wide open bokeh. And this is one of the classic aspects of this lens: Bokeh is clean, soft and very pleasant. made by all Nikkor lenses, this lens is in the top half dozen in this respect, perhaps even in the top three. Out of focus background only in a manner that will not see as artificial, which is good, because at f/1.4 and 85mm you will have a very shallow depth make!

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The DT 50mm f/1.8 lens has been introduced SAM announced as one of four lenses with the A230, A330 and A380 DSLRs early May 2009. The DT SAM 50mm f/1.8 lens is the first DT fixed focal length Sony has introduced and promoted it as a “portrait” lens. This is logical because it offers a focal length to 75mm (in 35mm format) when mounted on APS-C ‘camera body.

The fast f/1.8 maximum aperture, it is two fifty-eight stops faster than any kit lens. This is a major advantage for photographers who enjoy shooting in low light and do not fill flash for shooting. The wide opening is also ideal for differential focus portraits.

The optical design comprises six elements in nine groups, and no mention of exotic glass elements, or special coatings prepared to improve the overall performance. However, a glance at the front of the lens shows a kind of multi-coating was applied. This lens is made almost entirely of plastic with a plastic mounting plate and the barrel. A small metal ring around the barrel about 15mm from the front of the lens, the only indicator for other building materials.

The production quality is good for a plastic lens wear the “Made in China” label. The plastic barrel has a smooth satin finish. No lens hood is supplied – and none appears to be available. All you get in the box are front and end caps as well as several multi-lingual leaflets.

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An AF/MF position switch on the left side of the barrel is. The focusing ring is about 10 mm wide, with a rubber tip, the ribs for a secure grip is missing. It is rather loose, so that precise focusing difficult. However, all internal focus, ie you can not use angle-critical filters to adjust again when the focus changed.

Inscribed along the trailing edge of the ring distance markings in meters and feet, ranging from 0.34 meters (the close focusing limit) to infinity. The focus ring rotates by a little more than 90 degrees when this distance.

The filter ring is the focus ring and does not rotate when the lens is focused, the use of angle-critical attachments like polarisers viable. The ring 49 mm diameter filter accepts.

Performance

The smooth autofocus motor (SAM) has obviously make no particular advantage in both AF-speed operation or noise. There is a distinct humming sound as the lens is focused and it took nearly 0.8 seconds from a narrow focus, subject to adjust infinity. However, it was concentrated in just a rule, we received a few missed shots in our tests – even though they performed with a full frame camera.

Imatest, the review lens to be able to relatively high resolution in the DSLR-A850 camera (for which they do not develop). However, edge softening was entirely up to f/16 to pronounced (which covers most of the aperture area. The differences between center and edge resolution was greatest in large openings.

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Highest resolution figures for both center and edge-of-area were found at  f/5.6. Diffraction reduced resolution of about f/16 on after a greater effect on mid-resolution and edge resolution. Lateral chromatic aberration was negligible throughout the entire aperture range and we found no significant color fringing in our test shots.

Flare was well controlled in general and distortion was low enough to neglect in test shots. However, vignetting was apparent in shots taken at f/1.8, although largely resolved by f/2.8. Bokeh was quite attractive, if backgrounds were not occupied. With close, busy backgrounds highlights some of the edge emphasis seemed to show detracted from an otherwise attractive appearance.

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