Ever since Nikon went full frame with their high end DSLRs, one lens has been really missing from their portfolio: a reasonably fast, high quality and stabilized standard zoom. There was (and still is) the AF-S 24-120/3.5-5.6 VR, of course, but it has a mixed reputation on FX and certainly doesn't qualify as a professional grade lens mechanically. Not only those who had switched from Canon to Nikon recently kept eyeing Canon's 24-105 L IS lens, it was pretty obvious that Nikon needed to offer a competitor in this focal range.
Announced and released around photokina 2010, this often requested lens is finally available. With a constant f/4 maximum aperture throughout the zoom range, which goes down to 24 mm at the short and up to 120 mm at the long end, it outspecs its main competition. Since it's primarily targeted at FX users, let's find out how it performs on our FX test camera.
Detailed analysis of how brand-new Nikon and Canon lenses show optical problems, sometimes severe. Lenses include the Canon EF 70-200 f/4L IS and the Canon EF 85mm f/1.8, Nikon 70-200mm f/2.8G VR II...
Preface — there is a simple solution for me: ditch the Nikon 35/1.4G, and snap up the Zeiss 35mm f/1.4 Distagon as soon as it appears (I'll have one of the first in the country to review, and I already posted a preliminary review of the prototype). I can live without autofocus, certainly without autofocus that fails 90% of the time, so far has never delivered spot-on focus, not even for one frame. The Nikon 35/1.4G is a very sharp lens (comparison coming soon)., but there is no point owning a sharp lens that cannot be focused, unless one resorts to Live View with contrast-detect AF every time, or one masks the issue by stopping well down and praying.
I know many of our readers do not like being told how to shoot their images and many more even hate watching promotional videos for companies trying to sell them on a new way adjust their workflow. That being true, this video of photographer Seth Resnick explaining the X-Rite ColorChecker Passport made me stop and think, “are photographers who shoot RAW this obsessed with perfect color?”