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Lorenzo Vezzali www.juzaphoto.com/p/LorenzoVezzali  |
The following opinions have been automatically translated with Microsoft Translator. | Nikon Z 24-120mm f/4 S Pros: Optical performance, functionality, aesthetics, construction Cons: Delicacy, Made in Thailand Opinion: I have this lens for 3 and a half months, resoundingly paid less than 1000 euros new, I put it to the whip properly and now that I know its character I can review it. With this lens attached to the z5 I faced three days of trekking at -10 °, a trip on a wild beach, evenings in the center for some photos with friends and many many walks in the countryside with the dog to enjoy the sunrise before work. I think there is no need for a short review, it is in fact widely known that the 24-120 S is superior to the counterpart F, the latter born perhaps 15 years earlier. The new version simply shows the stereographic character typical of the S family, at 24mm/f10 the sharpness breaks the blade of grass almost everywhere, and the performance is extremely faithful to reality. Having never owned other Nikon premium lenses, I must say that at the beginning I struggled to adapt to this fine and sharp imprint but now every time I open a file I am particularly pleased with the aseptic and crystalline rendering and absolute sharpness at any focal length. Probably the wide side impressed me more than the telephoto one but I must say that in general no optical defects were received, only the vignetting is not completely zero. Having mentioned the optical severity of the lens, I can now talk about how I actually found myself shooting with this gem on the shoulder, analyzing two points that I find fundamental. The first point is that of the functionality guaranteed by hardware such as the button on the barrel and the programmable dial that, together with the instant menu "i" of the body, make the shooting experience superior to that offered by a machine like the D3, despite that was a body with a button for everything. In the mirrorless world, in fact, it is really possible to do almost everything without ever taking your eyes off the viewfinder because the controls on the lens allow you not to have to move your face when you click something. Personally I set the FN to be able to compensate the exposure in a very comfortable way through the ring and switch from tracking to AF-S with the button: in a nutshell I am always ready for anything and I do not agree with those who say that the Z optics have unnecessary. Perhaps the OLED screen of the most valuable ones is a bit excessive, but certainly not the programmable buttons and dials. The lens is relatively light and this gives it access to any context, even those of extreme mountains. The judgment would therefore be 10 and praise, maybe 10 because for praise would serve the sharpness of 58 f0.95 in the barrel of a pancake, if it were not for the second point of our list. The 24 -120 S is in fact a jewel, and like all jewels it is delicate. During my adventures I became convinced that we are talking about the classic Nikon crystal, that is a lens that hardens if you touch it a little badly... It also does not fear snow and rain but during the walk on the beach a grain of sand entered the rings and for a few hours they did cric-crac. Don't get me wrong, the build quality is top quality and I'm not afraid to take it to climbs, but the philosophy is different than the AF-D. For example, the Tamron 15-30 is definitely something more prone to face moments of obsessive lack of love. And so I hope many beautiful shots with this creature in the hope that I always devote all the necessary attention to his health. Here on the forum I have at least 10 photos taken with this tool, thank you very much to everyone. sent on March 19, 2023 |
 | Manfrotto MT 055 X PRO3 Pros: Stable, beautiful and the central hub opens a world Cons: Plastic leg widening buttons Opinion: I come from a cheap tripod and shoot with a D3 + Tamron 15-30 f2.8 + 150 mm filters, that is the worst possible kit, totally front-heavy. I then proceeded with the purchase of this object as I wanted to understand what it means to have a quality stand. Combined with a head BH-Q6 (I would say the new model of the BHQ2) stabilizes optimally, making the head a hair in defect. The 3-segment version I own is heavy (2.5 kg) and bulky but I don't care, I just want the equipment to be safe, plus I've already brought it a week on all the beaches of Salento and I had no problems, the weight suits you (at least you don't have to walk for more than 5 hours in the mountains). But the turning point was to discover the central junction of the column. At first I was skeptical, I saw the central column as a clutter for photos close to the ground and I thought that the 90 ° joint was marketing. On the contrary, the configuration is very solid and I discovered that at 90 ° the ball-head becomes a fantastic hybrid head: if the tripod is in bubble we rotate the plate at 90 ° and meet the classic constraint of the head body that locks us perfectly in the bubble and we exploit the same interlocking as a new pan mechanism. Later thanks to the original movement of pan that has A DEGREE of freedom we put everything in bubble in 2 seconds. Fantastic. What if it is difficult to level the stand? Simple, we leave the tripod slightly inclined towards the opposite side of the head so that the constraint of the body does not block the movement and we repeat the same procedure with slightly lower effectiveness. And to think that I was going to saw it is central column ... sent on August 22, 2022 |
 | Tamron SP 150-600mm f/5-6.3 Di VC USD G2 Pros: Versatility, lightness, attention to construction details, optical quality in favorable conditions. Cons: To improve something you need from 600 to 1500 euros more, so none. It works well on Nikon, worse on Canon. Opinion: Goal that I have owned for more than a year, thanks to which I am learning nature photography. At the moment (March 2022) all the alternatives on the market that offer something more than this lens cost and weigh more. To cite an example, the sigma C is clearly inferior in all to the Tamron G2, while the Sigma Sport, superior in everything, costs on average 700-800 euros more and weighs 2.9 kg, and is therefore another type of lens. The G2 model revolves around the ability to shoot at 600 mm f6.3 with sufficient sharpness, at 600 mm f8 with good sharpness. Optical performance improves when the subject enters the 2.2m - 10m focal range, where performance at maximum focal length becomes good and optimal respectively. In terms of sharpness and photographic look it pays something compared to the Nikon 200-500, but the Tamron is much more versatile, and lends itself better to photography in the open field because 100 mm more is a lot. It lends itself worse to photography of large mammals in the woods, due to the limiting aperture. The autofocus of my specimen has never had an indecision on a static subject while on a dynamic subject it is known that this lens "hooks immediately - follows - leaves - resumes - leaves - resumes ...". A distinctive feature of the Tamron G2 is the attention to detail. We find a collar of the Arca Swiss type (priceless comfort) and beautiful aesthetic details that adorn a decent and tropicalized construction on which honestly I could not find defects given the weight and price of the object in question. Excellent vertical keys that allow an intuitive and convenient setting of settings. Excellent stabilizer, which excels in its task more towards the photo side than towards the video one. I think this lens has earned Tamron a lot because of its versatility. I remember that heavier lenses imply many things, I find it difficult to think of a hand shot with a lens of 3 kg early in the morning, just when the birds are more active. But it's not just the question of "free shooting"... 3 Kg requires higher times even on the Gimbal. I preferred this lens to the others because of the cost and its innate versatility. In several years I will be happy to replace it with the resounding Nikon Z 200-600 (which has yet to come out). sent on March 20, 2022 |
 | Tamron 15-30mm f/2.8 VC USD Pros: Optical quality, focal range, known mirrorless compatibility. Good VC although not of the latest generation. Cons: Tropicalization absent, astrophotography is not his favorite field (inferior to Nikon), but it is still a 15 mm f2.8. Opinion: I am an advanced amateur photographer, I have always dreamed of owning a quality wide angle, thanks to this Tamron I have achieved peace of mind. In the past I orbited the wide-angle planet thanks to the Samyang 14mm f2.8 and the Nikon 20-35 mm f2.8, lenses that I bought and resold due to dissatisfaction. The Tamron 15-30 mm f2.8 G1 gravitates right near another star. The sharpness at the edges is extraordinary, clearly not up to a more noble Zeiss Distagon from 4000 euros, but analyzing the files I immediately realized that I had in my hands a lens that allows me to express the artistic vein without compromise, even at the most extreme focal length. At full aperture at 15mm the distortion is pronounced, but it makes no sense to talk about it, since I will never fall below f5.6 when collecting a landscape document. At f14 the distortion is noticeable only in the extreme corners of the frame, if there is now a complex object, while the vignetting is imperceptible. The curvature of the field is less pronounced on this lens at 15mm, than it is at 24mm that of the Tamron 24-70 mm f2.8 G1. I owned this last lens, and as good as it is, I consider it inferior to its wide-angle G1 brother. Tamron in fact gives to the very small focal lengths a greater attention than that which it gives to the other two components of the classical triad. The picture is completed by a fast, silent and precise AF, characteristics, these, that I find in all the USD. The only reason why the G2 descendant is superior to him is tropicalization. Although the G1 is also isolated, I will be careful not to expose it even to the slightest rain. Let's also not forget that the lens under consideration is the only one among the G1 to be compatible with Mirrorless systems, which is no small thing given that its latest Achilles heel, the first generation stabilizer, would be elevated to perfection by a possible mirrorless IBIS. Finally, the weight of this lens is truly remarkable, but the quality at 15 mm is paid. It is not a lens suitable for situations of extreme climbing, for the rest, those who want to amaze with landscapes, strengthen their back with passion, and carry it with them at the cost of feeling their legs give way. Lens that therefore requires a good ball head. While I was making the last point, I remember not mentioning one of the outstanding merits: the focal range. The reason why many professionals choose Tamron wide angles lies in the extra 6mm offered on the normal side. Delighted. sent on September 18, 2021 |
 | Nikon AF-S 35mm f/1.8G Pros: Optical quality, plastic dissipates shocks. Cons: 7 slats and not 9. Opinion: I want to write this review to confirm the fame of the 1.8 G series. Fantastic goal, at 1.8 sharp in the middle and well at the edges. At f/14 the edges are simply perfect. Being a 35 mm for my photography style does not need a screaming bokeh. The competition does better on sharpness, but doubles the weight and features a thin metal body that bends to shocks. G-series plastic is made specifically to absorb shocks. In fact, there are two ways to build lasting goals (but in reality everything): Half a hundred and medium-centimetre of heavy metal or to exploit plastic technology (I wonder in this form how recyclable). Targets made with 1mm of metal carry only the DEFECTS of the latter. Nikon's 1.8G series doesn't miss a beat, I would be very happy to get my hands on the 20 mm f/1.8 G, I hope one day I will. The new 20 mm f/1.8 S a dream hardly achievable when I have the Z5, it must be the apotheosis even if I doubt it is "only" a 20 1.8G + ftz built-in simply correct. sent on July 06, 2021 |
 | Tamron SP 70-200mm f/2.8 Di LD Pros: Optical performance, price, aesthetics, macro (little macro). Cons: Manuel focus NOT continuous, AF useful only for static photos. Opinion: I have to say thank you to Tamron for creating this goal, which allows photo amateurs like me to approach a lens with professional openness without too much expense. This 70-200 f2.8 was my photography school and I'm very fond of it. Let's start with listing its flaws, first of all the non-continuous manual focus and the autofocus itself. Let's be clear, nowadays this is a lens that lends itself to landscape and portrait use, however the AF sometimes does not find the subject, even if stationary, and consequently looks for it from 0.95m until infinity. Especially for this reason the inability to act in full time MF makes the shooting experience nervous. The manual focus, however, is managed by a beautiful and large ring placed at the end of the barrel. What convinced me instead is optical performance. Tamron wasn't churning out targets like the G2 at the time, able to compete with nikon ones, but I think he did a better job with this lens than expected. To make you understand I also have a newer 24-70 2.8 G1 and I think this 70-200 is relatively superior to him, especially in colors. Finally the lens is sharp already at TA (except in close ups where at 2.8 it is soft), while closing it becomes very sharp. The lack of stabilisation is certainly felt when the light falls, but honestly I have never felt able to criticize it for this also because I prefer not to have it rather than have a poor stabilization from the non-first-class objective of 2008. sent on May 03, 2021 |
 | Samyang 14mm f/2.8 IF ED UMC Aspherical Pros: Great extreme angle, construction. Cons: Edges, vignetting, MF only. Opinion: It is a good lens suitable for those who want to learn how to use these types of extreme focal points. The construction for me is very solid, comparable to the Nikon 20-35 af-d I owned. The ring for the focus is very demultiplied, allows precise fire, is hard and the resistance always pleasant and constant. At f2.8 the edges are obscene, so they must be "hidden" in the composition, so that they do not stand out. In addition, at full opening there is a very pronounced vignette that I sometimes use voluntarily to enclose a certain type of landscape in a natural way. In the center the image is always admissible, at the intermediate diaphragms it is really good. The problem is that the edges do not improve by closing the diaphragm, they are always very scarce. After a few months I realized that it's not the lens for me. sent on February 12, 2021 |
 | Tamron 70-300mm f/4-5.6 Di LD Macro Pros: Price, semi functionality - macro, focal range both APS - C and FF Cons: af performance but especially in AF it is not possible to adjust the focus manually. Opinion: I bought this lens when I started photographing, I used it mainly for birdlife and macro seeds but it was always she who introduced me to landscape detail photography. In fact, its focal range, once mounted on APS - C, becomes such as to allow you to approach bird life, but still allows you to approach a kind of inspired landscape photography. Compared to a 70- 300 Nikon or Canon, which cost 400 euros more than mine, the cheap Tamron sins in some things. First of all there is no stabilizer, in fact at 450 mm equivalent you can not go below 1/500 of a second and also it is also very difficult to frame the scene well with all those vibrations. Then we have the achromatic essence, which at 300 mm f5.6 makes itself felt enough, so much so that I immediately noticed, despite being inexperienced. The construction is very plastic, but is acceptable everywhere except in the AF/MF switch. Precisely the latter is the worst flaw of the goal, in fact being the AF rightly very slow (but sometimes precise) being able to adjust the fire manually would have totally changed the experience of use, especially in bird life. While as far as the photographic look is concerned, the price difference for me is not justified. The photos coming out of this glass are not of high quality, but at good f8, acceptable if at 300 mm. Personally with this lens I took some of the photos I like the most, including a jay with prey, taken at 450 mm equivalent, high ISO and f5.6, which stands out for colors and shades. I sold it when I bought the Tamron 70 - 200 2.8 LD, but I regret it, in fact it is a good alternative to the latter when I need to mount on FF a lens that allows me to cover the entire landscape in the medium to long focal on some excursions. sent on February 02, 2021 |
 | Nikon D3 Pros: It's a flagship, space viewfinder, it's not afraid of the mountains, photo quality. Cons: The 2007 sensor obviously cannot compete with modern ISO > 3200. Live view is there but it's not there. Opinion: I am a photoadamator, I bought this historic room in 2020 at an unbeatable price (13 years after the release, it was the FIRST FX Nikon). My previous car was a Nikon d3100, which is the entry level. This camera gave me the opportunity to enter the world of photography holding a unique and irreplaceable piece, from which I learned a lot. I start from the crosshairs saying that, after getting used to the circular one of the D3, I can no longer shoot with any other machine (only the D8xx has the same). Its circular construction brings the eye directly into the lens and elisses the undesvolved lateral vision. Continuing, the top-of-the-range setting allows you to handle the handle as you can't do on any other body with battery grip. This allows you to organize WB, ISO and Q separately from time and diaphragms thanks to the presence of the lower screen and dedicated keys (UNFORTUNATELY NOT BACKLIT!). In a nutshell, when small objectives are mounted, the ergonomics are perfect and each finger corresponds to a command. The "large DSLR body" therefore allows you to be more and more efficient, but weighs a lot. However, this is an advantage for me: if important canvases are mounted, the weight of the body balances the lenses both by hand but above all on tripods, while if light lenses are mounted the weight gives handling and does not weigh too much. However, what really makes this object unique is the superior tropicalization. Experience has taught me that for mountain excursions from September to May it is not possible to replace the Nikon Dx series, such as the D3, with other body cars. In fact, its construction allows you to always be ready to shoot not taking care of the mixed ice snow, but above all it does not suffer from the difficult moments when the climber is forced not to be able to take particular care of the safety of the camera. Snow, polar cold and small bumps due to climbing are not a problem (if you use your head a minimum). Imagine you have a crazy D850 with the tipper screen... The ISO estate is that of 2007. In 2007 this was nikon's first digital full frame sensor (Canon still didn't have them) and at the time getting to 4000 ISO as the D3 gets there was unthinkable. Now a Z5 arrives without problems at 10,000 ISOs, it has been 13 years, but it has to be said that the D3s represents a further leap high and also reaches 12,000 excellent ISOs. Personally with this machine I never exceed 4000 ISO but at the need you can use the 6400, higher ISO I would say no. So the merits of this body are limited to the "body"? ?. The autofocus is very precise and fast, the exposures and WB perfect, the CF cards very fast. The volley is excellent (11 fps) and allows you to capture the action dramatically when flanked by a good goal. Thanks to these features the images are fabulous, they almost never need a slight correction, the colors are typical of the best of Nikon so at the absolute top. These 12 mpx are great, but if you need to print bigger then maybe you need a 45mpx, but honestly I don't see any difference between 12 and 24 if you use your smartphone. Finally: a car to photograph and fall in love with. sent on October 19, 2020 |
 | Nikon 20-35mm f/2.8 D IF Pros: Bright, focal range, 77 filters, construction, appearance Cons: Remarkable drop in sharpness at the edges, focus distance. Opinion: A lens that goes well with digital machines. That said, it's a slow granite, with extremely satisfying shapes, and that guarantees at a reduced price (about 300 euros used but also less) a good wide angle at 2.8. Twenty millimeters for me is a great focal point, maybe by today's standards a little long for certain uses but 20-35 mm is all you need when walking down the street. I would have kept it if it were not for the lack of sharpness at the edges that is also noticeable to the medium diaphragms (I used it on the D3, 12 Mp). Too bad because it costs 1/3 of the other wide angles. However, I must add that I have badly digested the 0.5 meters as the minimum distance of focus. Maybe he's not among the better-aged Af-Ds. sent on October 03, 2020 |
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