Useful Lenses For Your Nikon FX Full Frame Cameras
The Nikon 14- 24mm f/2. 8 AF- S is an especially- ultra wide zoom. It isn’t a fisheye; straight lines stay straight. It is meant for use on the D3, D700 and film cameras. It works great on the D300, but you’re coughing up dollars and pounds only to use the center of the image. The 12- 24mm DX and Tokina 11- 16mm are smarter options for the D300 or any other DX camera.
The Nikon 14- 24mm f/2. 8 AF- S models an innovative standard in especially- ultra wide angle lenses. It is the best on the planet, and by a large margin. The 14- 24mm is considerably crispier than any fixed or zoom ultrawide from Canon or Nikon that I’ve ever used, and I’ve used both Canon and Nikon’s 14mm, 18mm and particularly- wide zoom lenses broadly.
The Nikon 14- 24mm lens does things no lens earlier has done. It is crispier wide- open at 14mm in the far corners than a fixed 14mm f/2. 8 is stopped down at f/5. 6! For sharpness, the 14- 24mm is blazingly sharp and devoid of any coma or softness at aperture, everywhere in the full film and FX Digital field. It’s just nuts! Optically, if you’re looking too close, it makes the other especially- wides look like poo- poo. Naturally if you’re just taking pictures, any of the other lenses works fine, and they take filters which the 14- 24mm can’t.
Another options may be the new Nikon 24- 70mm lens is clearly so much better than other lenses. The 24- 70mm also stands out from its optically excellent predecessors its lack of klunk factor. The 24- 70 doesn’t get in your way. The 24- 70 claims to be an exquisite hunk of solid metal that just makes pictures with no fiddling. It feels as if it was hewn from a single solid ingot.
This latest 24- 70 is a solid block of smooth, hassle-free precision. It just works, and doesn’t grate on you all day shooting with it. The 24- 70mm is all metal with an engraved zoom ring. Manual target flicks with a light touch from one finger, a Nikon hallmark since the 1950s. AF lenses infrequently feel this great for manual center. I can shoot and zoom the 24- 70 with one strong hand.
This 24- 70mm focuses closer(1. 2′ versus 1. 5′ or. 38m vs. 5m) , zooms wider(24mm vs 28mm) , is. 4 “(11mm) longer and is. 560 oz. (15. 85g) heavier than the 28- 70mm f/2. 8 AF- S it replaces. More importantly, it’s. 2″(6mm) narrower and the zoom and center rings turn much more freely. I measured the actual weight differences with a sample of each lens on a differential balance; Nikon’s specifications vary more depending on where you read them.
Lastly, Nikon 70- 200 could be the best midrange telephoto zoom ever made by Nikon, except that it ws just replaced by the 70- 200 VRII.
The Nikon 70- 200mm VR is a professional lens meant for use on film and full- frameFX cameras, and therefore my review will address this 70- 200mm from this full- frame perspective. In the few instances I refer to the amateur DX format, I’ll call it out.
The only reason not to get this lens could be the price, size and weight, all of which are to professional standards. You can get the same superb optical performance in lenses that cost much less, but they won’t have VR, or they’ll require moving a switch to get to manual center, or they won’t zoom, or they won’t autofocus. If you are shooting DX, the 55- 200mm DX VR is just about as sharp, but doesn’t move as fast or take as much of a beating.
However get the Nikon 70-200mm lens only if you think you want to pay 10 times more and you want what it presents. For more details refer to the link.