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The following opinions have been automatically translated with Microsoft Translator. | Nikon AF-S Nikkor 24mm f/1.8 G ED Pros: In the case of a 24mm: everything. Cons: It's a bit pricey, but the substance there is. F1.8 often goes out of focus. Opinion: Half length length, diameter72, for a total weight of 3.5 inches: an optimal packaging that can be used in any photographic condition. It is not tropicalized, but has a peripheral gasket on the graft (stuff that some tropicalized do not have, for example). The MaF ring is soft and precise to use. To be a 24mm is practically free of distortion. By taking close-ups to tiled walls, for example, the majolica lines are almost perfectly rectilinear. TA is portentous: incisive and responsive, detailed as a macro, but not with macrocontrasti (dishes) of the macros. It is therefore a surgical lens, but it can very well be employed in more 'passionate' applications. Anti-reflection treatment is a reality: it filters any type of AC while maintaining realistic, greenish or bluish colors as well as some other latest generation lenses. To make yourself aware of it, you have to challenge it in the most extreme backlight. Chromed surfacesAnd reflectors are not affected by any spherocromatism or robe of that kind. Flare? What's this??! Excellent photographic tool. If you make horizontal full-field photos at f8 (for example), the degree of detail that is on the extreme dx margin is the same as in the center and the opposite margin. It is to say that I use it on 12Mp, but I think that 24 is the same resolving, and almost completely even on the 36 of the D810 (as you can read around the web). It has a blur soft and relaxed (less nervous than 28 f1.8G). Clearly it is not comparable to that of 24 f1.4G (for three-dimensionality and detachment between focal plane), but frankly, on 24mm is not what I seek, myself personally. And we still talk about very different prices (3: 1 ratio). The AF engine is quick, silent and pretty accurate. I think it statistically suffers from the 'need' to be calibrated in a car that has the 85 f1.8G. All open, my specimen mounted on machinesLike D3 and D700, it fails to fire in many photos, unfortunately. Closed to f2 significantly improves. The minimum distance of MaF is fabulous: the subject can be shot with the ends of the petals of the hood! At f16 (all closed), it generates good light spots with 14-pointed stars. The average price of the new (Nital), today (May2017) stands at 850euro (in some shops it costs 880euro). Is it worth saving 300, for the import version? I would say it's worth it, regardless of that, but those 300eurs less are not bad! sent on May 26, 2017 |
 | Sirui K10x Pros: Construction, abundant flow. Cons: Nothing. Opinion: Really a fine mechanical object, very well constructed, super-assembled, with sublime friction, beautiful aesthetically. Despite weighing only 3, it seems to be heavier, however massive. It is a good buy. Associated with a robust and not expensive tripod (I have the R1004 Sirui) guarantees stability under a flagship with impressive flash and an important telephoto lens (eg Tamron 70-200 Di). sent on May 03, 2017 |
 | Nikon AF 135mm f/2 D DC Pros: Portrait lens par excellence: you have to choose carefully to avoid repentance, and the embarrassment of not being able to properly choose your own photographic tools. Cons: Spreading purple Frange. Opinion: A superb goal that stands out for its pictorial talents, with a glamorous glitter that represents the best you could possibly want from a portrait lens. At f2.5 it's almost as intense as 105 f2.5ais at TA. At f2.8 is equal (if not better) than 180 f2.8AFD to TA. But the exclusive bokeh of this 135 has no one, except the 85 f1.4AFD. It has deep, balanced microcontrasts that make it more decisive from f2.8 onwards. REFERENCE TO TA PERFORMANCES AT TA: f2 is clearer than you think, especially if you refer to the complaints of so many users about it. Simply, pdc is so small that you want to open, or for focal length, that the parts in focus (especially if you use the 'spot' mode) drown in the midst of huge and well-drained parts out of focus. Progressions of the blurred, therefore, delve into delightfully giving a gentle and relaxing effect to the photographs. Clearly underlining its peculiarity as a portraitist, as for other applications (where requiredTo a more stentorious and inspirational temperament, even to TA) may not be so rewarding. It should be said, however, that from f2.8 onwards it fades firmly, and f4 turns into another lens, very sharp and detailed. At f2 you just have to be careful about the flare, which tapered the photos with the usual veils, contrasts, and fire errors. DEFOCUS CONTROL: it is certainly an interesting feature, which can be useful in certain creative circumstances, but that is understood and used to exploit it appropriately. It should be set selectively according to the diaphragm in use (eg: f2, set DC, F or R, to 2. With f2.8 you set to 2.8, and so on ...). Surely an added value, though not indispensable. It is enough and advances the conventional function of this lens. RELEVANT TO AF MOTOR: Sufficient enough (a slimmer than 85 f1.8AFD) and very accurate. So lends itself to street and reportage, without any problems. WORDING TO AC AND FLARE: purple frank like it rains! I'm almost everywhere under lHigh, on clear and reflective surfaces. They are well seen even without cropping. The hood helps, but only in part. AC and flare are in the norm of the Nikon D Series, so you know what to expect if you know them. CONSTRUCTION ON THE CONSTRUCTION: optimal weight, not too heavy, not too light. Compact dimensions. There are often so-called 'noble materials' on the one hand (referring to Nikon D), and so-called 'plasticacce' by another (alluding to G) ... I know a simple difference in embossing, since the optics should be used Carefully regardless of their outside cover. The built-in hood seems an anachronistic insect, but it is rather precious, quick to operate, and there is no bayonet plugging or just screw that can compete. Really a beautiful lens, distinctive in everything and for all, with its wonderful merits, its defects, its limits. sent on April 27, 2017 |
 | Voigtlander SL II 58mm f/1.4 Nokton - S Pros: Price of the new. Construction and materials. Immediate Usability. Minimum distance MAF (less than half a meter). the blurred light points clear and rounded. In indoor photos it is impeccable and very clear. Cons: Traceability limited. Front cap 'was'nt'. Tendency to overexpose (1 / 3-2 / 3stop). It excels in the backlight and under incident light. Hood not included, and if purchased separately, the original, does a bang! Opinion: A lens impressive: compared to a conventional 50/58 (eg: Planar Zeiss or Nikkor Noct) is more armored and voluminous, and certainly makes its figure. In addition, handling it and weighing it, it demonstrates its consistency and superb quality of construction: an almost horological piece. Two ferrules with impeccable handling: that of MAF fluid and lightly braking for optimum control of fire, and that of the diaphragms with a sublime friction, but which unfortunately is unusable on DSLR, as it must be kept fixed in 'fully closed position' in order to use the electronic control by means of ring nut on the camera. Both 'scalloped' (processing scalloping, without the need of coating rubbers), which give the barrel a valuable and robust mechanical aspect. I have chosen the version 'silver', bicolor, with aluminum parts and clear black chrome satin (great to combine with a Nikon Df). neo constructive One, the front cap: a small ciofeche, with the springs of the little buttonsloaded, and which is a bit 'moscino to unhook and hang up. Not bad would say (a dia58 cap costs two money), but for 600euri and in the face of all this wonder of aluminum and glass, I would have liked better attention throughout the product (moreover, the inscription engraved on the cap has a Voigtlander his undeniable charm). From the optical point of view it is in a class, with the usual pros and cons of a ultrabright: not crystal clear at RT, a few sferocromatismo, especially on chrome surfaces surfaces (but you can clearly see only croppando a lot), resistance to flare not miraculous ... But it should be noted a strong point no small feat: f1.4 to focus when focus is very much easier, contrary to what I feared: to focuse TA with this 58mm it is easier than doing it through another lens, so in my case it is not necessary to resort to a broken slide of focus. In addition, the chromatic translation is faithful in good measure (I always mostly text red green and blue) with a slight hint of dominant freddto. In the case of portraits, has a plastic and polished embodied, the type Nikkor 105 f2.5ais, then the human figures are well etched, compotes and statuary. It has a vitreous temperament and clear, with a retro mood (thanks to T treatment that does not filter all frequencies of warm color, as do the latest Zeiss, to the detriment of a certain passion ... and so this his 'fault' is transformed into a feature for fans of the genre). A TA is more than sharp, compared to the average (provided that there is adequate lighting, and that you maintain medium / low iso values, otherwise they run the risk of collecting photo tends to knead), bearing in mind the fact that tends to overexpose of 1 / 3-2 / 3 of stop, with consequent contrast microcadute. Moreover, in outdoor photos and when it's sunny, it's good to always have the hood montanto older. to avoid real 'disaster'! However, it is sharper than a Nikkor 50 f1.4D, for example,and risolvenza from edge to edge, also completely open, is remarkable. The CAs are more contained, as long as you have due attention. A lens to study a bit ', in fact. The MAF race is a bit longish, then it should be us the hand, and the minimum distance for focuse is 0.45m, then great. Being a 58mm, it is great for the head / shoulders portraits and you can also allow for close-up without incurring ovalized caricatures that I do not always like it. And then, if mounted on APSC, it becomes a perfect 85mm, then a lens in a somewhat 'strategic way' if you have both blurred formati.rnLo is of type 'gritty': in a bit noisy but still soft, and points well rounded light and clear (without the so-called coroncine onion). Some cat eye here and there (which I do not distrurbano, in fact), and a clear break between the subject in focus and the background, with well digradata progress with the rest of the frame. A pleasant and relaxing effect, even austere. A TA has a vignettatura that instills a sense of extra depth, so in my view pleasant and well exploited for a certain type of photography. Frankly, I think it is a lens which mainly lends itself to use for this (portraits, domestic views, urban views, photo studio, still life, food, street / photo essays ...), while the landscape, where everything Occor risolvenza field and presence over long distances, perhaps not particularly excels. I think it's a viable alternative to the Zeiss Planar 50, and even 50 f1.2 Nikkor always that we can source and / or time ragionevoli.rnIl price I consider it commensurate with the quality of the object in question, and if you think that new costs as a Planar used T50, and practically in equal optical / build quality, I would say that it can be peacefully preferable to the latter, and those gaining more than 8mm in return utili.rnAh, forgot: the lens hood in the box not c ' is. If you buy it separately, original Voigtlander, cost the beauty of € 70: legalized theft! sent on December 28, 2016 |
 | Zeiss Sonnar 135mm f/2.8 (C/Y) Pros: exemplary mechanical construction. Sharpness / clarity, depth. Blurry well digradato and relaxing. Price flea. Cons: MAF minimum distance (1.6m.). Bayonet with C / Y (so you need to use an intermediary adapter ring, or to a permanent intervention of attack change). F8 begins to feel the effects of diffraction. He works in stop-down: from f11 is virtually impossible focused. Opinion: My first Zeiss.rnC'è to emphasize the fact that it is (are) a tool (tools) constructed (i) in a superlative way: the various components are assembled perfectly with each other, and moving parts flow beautifully than fixed. rnOtticamente is commendable: perfectly sharp focus the parties, and well digradate blurry parts. Crazy color rendering, as 'cruel' for its realism. Has a thrift price absolutely accessible to all budgets (I paid € 240, like new, with box and soft bag leather) .rnÈ rather lightweight and compact (length / diameter content) although the chassis is entirely metallic. The quality of finish is ineccepibile.rnOtticamente: significant chromatic aberrations do not see, I would say that it behaves quite well from this point of view, apart longitudinal AC, especially at the edges of the chrome surfaces or glossy finish (green reflections, blue, purple, purple ... even large, depending on the incidence2C is the absence of 'fixed' parties to hold during its tightening on the camera, which means almost grotesque action in overcoming various flottanze the ferrules of MAF and diaphragms (in practice, try to screw the lens, and you do not have firm points on which to grip with your hand!). Whether using it with the adapter and with the permanent engagement of Leitax, the room does not detect the changes in aperture, and remains nailed to the minimum. This is obviously a matter also missing in Exif.rnLavorando data in stop-down, the eye is affected by the current brightness to the various openings, and f11 on, the camera does not respond practically. sent on December 07, 2016 |
 | Nikon 50mm f/2 AI Pros: Small and lightweight. Risolvenza throughout the frame. Sufficiently clear to TA. Cons: MAF race a bit 'long. A TA suffers a shift focus pelino. Opinion: Lente.rnDirei great that it is almost a must-buy, if you love the overall yield of 50 F1.8D ais.rnRispetto series, has a more vintage pasta that distinguishes it, in addition to a lower color saturation, which makes him translate the colors more faithfully to reality. It has a slight yellow cast that 'warms' various hues. The blur is very nice and digradato, to 'crushed ice' effect. A TA is already sharp enough, and f2.8 onwards sharpens his definition statuariamente becoming sharper at f4 and 5.6.rnAnche long distance performs well while maintaining detail and limpidezza.rnDavvero a bell'oggetto.rnMi seems that resists enough well with AC (some magenta reverb, as on all the / ais ... some more than others), but succumbs a little bit in backlight, with a veiled fall of contrast, and an unpleasant effect evanescent at RT. Just know regular conseguenza.rnPer 100/120 € (current prices, in October 2016), it is definitely worth possession. sent on October 29, 2016 |
 | Nikon AF-S 60mm f/2.8 G ED Micro Pros: Accuracy, color fidelity, blurred delicious, risolvenza and sharpness worthy of a good macro. Weight and size. Privacy No Minimum distance of MAF (less than 20cm). IF (value / down). Cons: AF Motor not lightning. IF: the diaphragm often closes by 1 / 3-2 / 3stop automatically and autonomously, if set to TA. Opinion: What about ... a lens as it should be: flexible (from the macro, to portraits, to landscapes, to reportage ...), light, well protected by aberrations and reflections of light, with a true color rendering, a blurred very well digradato and relaxing, a fantastic risolvenza throughout the frame, a quality / price ratio eccellente.rnUna lens azzeccata.rnL'AF is not extra-lightning, and sometimes hesitates a little bit (especially at room temperature and low light), but it's definitely accurate, then fault anything in particular. On APSC does not excite me as the full-size ... rnUna lens in her perfect whole. sent on October 12, 2016 |
 | Sigma 105mm f/2.8 Macro DG OS HSM Pros: Accurate, silent, fast enough. Excellent standard equipment (carrying case, two APSC / FX lens hood). Distinctiveness (color rendering and blurred). Price could not be beat. Cons: The maximum aperture remains almost always blocked f3min (on FF) and 3.3 on the rest Apsc.rnPer fault anything. Opinion: Really a nice tool. It is his duty and does it well: it's accurate, and although it is a macro, maintains a certain romantic tone, with a blurred very mushy and muffled, and exceptionally accurate color rendering. Very suitable for all applications, not afraid to nothing. The stabilizer acts appropriately. It resists quite well to shoot lights (some sferocromatismo margins chrome surfaces, but nothing dramatic) .rnHo could see for themselves that resembles the Nikkor 105 f2.5ais, as a character, although the Nikkor has an unbeatable crystalline yield, perhaps due to tecnologica.rnOttimo another generation. sent on September 30, 2016 |
 | Nikon 24mm f/2.8 AI Pros: Crisp and resolving long enough (on 12Mp, both DX FX). Construction, convenience. Cons: I would say no. Opinion: 20mm f3.5 compared to the same series, is less armored against flare, but it's bright and with a very limited distortion (may be unnecessary to correct PP) .rnHa a beautiful rendered pasty and organic, typical of these old lenses, and with the CRC you can shoot close-ups (including portraits) without incurring caricature insensate.rnHa a thrift price that ranges between 220 and 280euri (to date, the end of September 2016), if you look in good condition (I l 'I got to 250, including original box), and prices are buoyant, as mercato.rnOttimo instrument prices. sent on September 21, 2016 |
 | Nikon AF 85mm f/1.8 D Pros: Accuracy and responsiveness. Affordable price. Behavior rather uniform at all focal lengths. Dimensions / weight spot on / i. Cons: Whether it is out of production. Opinion: It is a reliable tool. And so basta.rnForse depends on the machine on which it is mounted. I use it on D3, D300, D700.rnFocheggia more precisely, it is very fast, you face portraits or photos impromptu, has a blurred appropriate, neither too ethereal, nor too flat, or too hard. The in-focus subject is in focus, always, even in the diaphragm fully open, and the aberrations are rather contained. It has an attractive appearance: not too large (dia62), balanced weight ... makes you want to take him along. Chromatically speaking, it is a full-blown D: lively and mellow colors, balanced and not too severe sharpness. The blur is 'reed' type, a bit 'noisy,' tritato'.rnRiguardo ice effect at the G version, it is a slow to learn, to study, to govern ... this however is ready, always efficient. The blurry best and silky yield and stroke are the G, but for everything else, there is the D. rnAffiancato from 35 f2 and 180 f2.8, guarantees perfect results, as long as you do not ef at too high resolutions. sent on September 17, 2016 |
 | Manfrotto 496 RC2 Pros: 6kg capacity. Robustness. Quality construction. Practical use. Cons: Nobody. Opinion: C I would say that there is nothing so competitive, plus branded and garantito.rnLo also safely use the Manfrotto monopod MM290A4. sent on August 26, 2016 |
 | Tamron SP 70-200mm f/2.8 Di LD Pros: Value for money in its meaning. Cons: It is not a fully all-around zoom. Opinion: It is an atypical 70-200 in the sense that it lends itself more to portraiture than to action pictures. Its main limit, in fact, is the non-ultrasonic AF engine, and the absence of a gyro makes it difficult to control, since it is beautiful big and beautiful heavy (as is normal, zoom in this focal range). His delightful blur, along with these two functional limits, transforms him into a 70-200 predominantly portrait, hence an atypical 70-200 but surely useful and precious. "His incisiveness to TA is not miraculous, but certainly good . Let's say that diaphragming a pelina (f3.2) fades sufficiently. Since the lens is focussed and is large and heavy, it is necessary to observe the minimum shelf life (safety), in order to avoid micromouse and overflowing. A monopod helps a lot, in this case. Regarding its use in action photography: as long as it is about to capture moving subjects that perform predictable trajectories and at roughly constant speed (eg cars) Can be done with some commitment. But on sudden and unpredictable movements (eg dancers) it is definitely unsuitable. For street and photoreportage, it is fair enough, keeping in mind its limits. Valid at 70mm as well as at 200, without falling quality. He works very well with the 24-70 couple in the same house, the photos taken with both of them keep some continuity between them. It has an unbeatable price: 600euri, with 5 year warranty Polyphoto. sent on August 20, 2016 |
 | Nikon 20mm f/3.5 Ai-S Pros: Compact, strong. Yield vivid, realistic and pasty. Resolving enough, lacking in character. Cons: I would say no one in particular. Opinion: excellent lens: easy to focus when focus, and very quick. E 'sufficiently sharp for all uses, keeping warm and deep tones. The images do not 'fry', then, but rather cutlery, full-bodied and very vivid, with the 20mm wide-angle momentum of that on short distance do not caricatures forms. It is not indicated for pixel-peepers, but for me it is the ideal lens of this focal length, as it is very balanced. In terms of sharpness ranks one step away from Voigtlander Color Skopar 20 f3.5 (which costs twice, again) and two from the Nikkor 16-35 f4 (which costs four times as much, use) and has a low distortion, and a excellent resistance to flare. E 'best of f2.8 version (both ais that AFD, which share the optical scheme) and could adapt to dell'f4.rnForse is not particularly dense sensors (eg: D800 / D810). On 12Mp it is spot on. I think 18-20Mp are the expressive limits of this lens, then begins to sgranare.rnA infinite does not give the best ofthough, it must be said. A TA is very good, and f5.6 becomes sharper and chanted, up to f11, which then begins to affect diffraction, but without much quality falls. rnPermette of compelling close-up, thanks to the CRC system. rnBell'oggetto: useful, powerful, practical. Smart Purchase. sent on July 04, 2016 |
 | Nikon AF 180mm f/2.8 D ED IF Pros: Compactness and ergonomics. adequate and well-balanced weight (mounted on camera). Risolvenza, AF accuracy (although loupe), blurred brushed, construction, built-in hood, clarity of images. Price approachable. Cons: AF not fast (but the height of ordinary situations, not overly dynamic). Opinion: B happen ... but also in the camera filler you can enter the dust, right? ;-) RnAcquisto intelligent, well worth the money for a product that gets the job done in a commendable way. sent on June 21, 2016 |
 | Yongnuo YN-568EX II (Nikon) Pros: Performance / price. Cons: Constructively not great: rnle rotations of the head are a bit 'jerky. Opinion: I personally have never tried a SB910 and SB700, so do not know if this device is able to fully replace them, but I must say that the impressions that I am having are good. The rotation of the head on two axes is essential for me, and also those 7 ° more on the horizontal axis. Unfortunately, its movement is not smooth, but rather jerky, and this is the only negative I am having this YN.rnPer the rest, has everything I was cercando.rnIl manual is is tight, but after all the use of these devices is fairly intuitive, and are four main functions: mode (TTL, manual, triggers) focal length, compensation, type of flash ... rnMi like because no scorches pictures. It has a background haze I'm trying to govern. Leave a few dominant, in general (red / yellow), correctable via SW.rnDa expert NOT flash devices, I can be satisfied with the shopping, which corresponds to 1/5 of theprice of the Nikon SB910, so I'd say it's worth groped this strada.rnLa external transmitter and the pair triggers are sold separately at a total cost of about 120-130 €. sent on June 12, 2016 |
 | Nikon AF 35mm f/2 D Pros: Photorealism. Clarity. Cons: Personally nothing... maybe the screw hood, but metal. Typical aberrations of the AfD. Opinion: A lens that gives great shots, both on FF and APSC: Clear frames, pasty and with the typical colors of Nikon D-series. AC is also typical, and this 35 is not immune to it, however it behaves better than the 50 F 1.4 D, at F2. I use it indiscriminately on both formats, and for both color and grayscale photos, with great satisfaction. It does not cost very little, but certainly less than the version G F 1.8, but it is more aseptic, as a general yield, and my opinion too contrasty/sharp. Small, lightweight, with less ' rough ' character than the 50 F 1.8 AfD. A beautiful object that lends itself to all uses, from Photoreportage to portraits set. sent on March 25, 2016 |
 | Nikon AF-S 85mm f/1.8 G Pros: As a whole, all. Cons: The usual nervous effect, characteristic of the new Nikon lenses not treated with N technology (low resistance to high lights). It should definitely be calibrated: on several occasions suffering from 'squint' harassing! Opinion: A beautiful object. And 'as if it was a taste of what it would feel with the 1.4G, but with all the differences of the case. It 'really a bell'acquisto, as it lends a little' for all uses other than the pure portraiture. I took alongside all times should focus when focus automatically, and when I want a silky performance and less vitreous my ais f2 (superb). I have already written all over this lens, so I do not add reps. Remarked only the quality / excellent price. Finally, let me say a few positive words about the constructive question: I share the Nikon political weight reduction (... but not the costs!) Of its products, as the most widely complained of customers concerned on this factor. The fact that these new G lenses are minimal and light does nothing but benefit wrists and shoulders, after full days walking with the camera on the back. In the specific case of this 85, in weigh it in hand, it seems to be ragionevolmente consistent. But when you aggangia to the camera body, perhaps, it seems to resonate as 'empty' (a chilling feeling!). However, disdaining the so-called 'plastic' in the years 2010 (remember that the interior trim of the Rolls Royce, or Bentley are plastic, as well as all the others) seems to me more of a trend to be heard, rather than a real consideration. Puttosto would say that to make a difference is the assembly precision of the parts, that in this and in other cases (Nikon) I rate excellent. Fortunately, the focus ring turns smoothly and without play (unlike my 35 f1.8 DX). sent on March 05, 2016 |
 | Samyang 135mm f/2 ED UMC Pros: Construction (well assembled, also nice to see and hold), sharpness and risolvenza amazing, very nice blurred, bright colors, minimum focusing distance (0.8metri), MF precision, weight and size 'right / i', good balance and excellent ergonomics. rnPrezzo unequaled. Cons: Flare. dominant green / blue background. Opinion: Those rascals of Koreans were able to pull out of the hat a very cool lens at a very competitive price of sale. Previously, Samyang did not convince me that great (considering just the photos that are on the web), but with this 135 I am convinced, and how! I state that I own a Nikon 135 f3.5 to, but I have not ever had to tear the hair from the excitement ... therefore I was looking for a worthy improvement, containing at most groceries. I rated the Nikon f2.8 ais, ais the f2, the 135 f2 DC, the 11th Tair Zenit, the Zeiss Apo Sonnar .... The last of these was the only one who fully centrava my idea of ??photography perfectly balanced (light, color, contrast, shadows, transitions ...), but the expense (minimum 1400) worried me a bit '. Then, while I was going to 'fall back' on the 135 DC, I stopped on this Samyang.rnDevo say it is a remarkable object: It is crisp and clean to f2, with outstanding blurry one (very similar to the Nikon 85 f1.8G), including f4, and f8 is graniticamente neddo and chanted, it has a focusing ring precise and pleasant fire to rotate, has a very good construction with aluminum frame, an important weight but balanced, as well as for the size, the hood 'seriously' with a good coupling (type Nikon), the CPU for the focus confirmation, shows no significant chromatic aberrations, is an IF, so no 'ledge' floating esterna.rnUnico neo, are the highlights: he is not completely immune, does not take a lot of the high lights (Nikon's worse), a sign that the UMC technology could do something better to eliminate the flare, at least in a credible way! rnFantasmi and purple fringes do not know, I seem reasonably kept at bay. It has a general, veiled blue cast ... solvable in PP. The bag included in the package is a simple handkerchief in which to wrap, so you need to take a more robust case to carry it around. I would say that spending 550euri, guaranteed FOWA 5years, we will take home a lens on which to rely, and that costs mety of the price of a Nikon or a Canon of the same focal length. Clearly you must be willing to always focuse and still hand (which I prefer, among other things). Compared to the aforementioned ais, has a cooler made, more modern, without forgetting the most immediate focus centering. In the portraits is expressed in almost flawlessly, best of Nikon 85 f1.8G (although the latter has a little bit softer blurred). rnHa breakneck risolvenza: not enough for me the pixels of my cameras (12Mp) when I do the on-screen magnification !! It's sorpendendo every minute passa.rnAcquisto to consider seriously, unless you can not afford the Sonnar (which still costs three times), which is significantly better, but not on another planet. rnSe want to compare him to a car, I would say that is a DeTomaso Pantera, who at the time was a match to the Ferrari and Lamborghini. rnBello.rn sent on March 05, 2016 |
 | Nikon D3 Pros: On the whole everything. Cons: It makes you want to obtain the D3X (resolution) and the D3S (iso and high operational speed). Opinion: The feeling that infuses in his hands, is the right one: absolute professional instrument, a true action-room. impeccable Design (Giugiaro), a powerful and reliable tool, with shutter Kevlar which makes itself felt gritty, but certainly less than that of stentorian D700.rnHa one shutter-lag virtually non-existent, so that you can take to burst suddenly pressing the button shutter. The ergonomics are excellent: you grab the good on both axes, but transportation is a little 'uncomfortable vertical handle (upside down, for instance). The commands accessibility is complete, convenient and immediate, except for the absence of a control-secondary pad in proximity of the vertical shutter button. The main control-pad (the only one so) is soft to operate (appears to have used for some time) so fast and comfortable to operate, contrary to what one might think at first glance. Compared to a D700 + BG is pver balanced (center of gravity), reminding more of a D300 + BG, but clearly heavier. The viewfinder coverage is total. If the light is good, you can shoot fine to ISO3200 smoothly and beyond, but if it is in short supply, the quality of the image stops to ISO2000 / 2500. The AF motor is responsive and fast, and engages well in twilight, also on the lateral points. The tracking-3D is quick and precise, but it must be revised periodically to keep it in optimal calibration. Needless to say that the optical Nikon D series are exploited at best, on a machine like this. It does not have automated sensor cleaning command. The battery life is sublime: 3000/3500 actuations. The dual CF slot is a boon. integral Tropicalisation, monocoque chassis alloy solid magnesium and imposing, though useless if used in non-extreme conditions. If it were polypropylene or ABS would be better to retain all of its dimensions and controls distribution, but weighing less than half. 12MP canbeing cramped in some applications, therefore, the great anger is in not being able to have a single machine that has the resolution of the D3X and operational rapidity / iso sealing of the D3S. The buffer does not hold the gusts prolonged, depending on adapters used, but say it is fat that runs ... It 'still a very good car. sent on January 14, 2016 |
 | Nikon 28mm f/2.8 AI-s Pros: Construction, weight, size, crisp, glassy rendering, color and passionate forms. Cons: Sometimes it is hard to focus when focus (especially when the light is not 'friend'). Opinion: Objective assoluto.rnE 'very, very similar to the 28mm f3.5, which is in a bit less contrast, so I use it instead of APSC (D300) to its full potential, while this one has a better fuzzy and well digradato , focus to 20cm away from the subject, and has a more vivid clarity and marcata.rnForme and colors are tasty / and full-bodied, like the pictures of the great glamor magazines, full of depth and sensazione.rnE 'fairly neutral, which whether inanimate objects or human forms, capturing the significant details of everything without attacking, keeping a second participant and plan well digradato.rnLa made the edges is equal to or slightly lower than the 3.5, but not much. The strength of this lens is that it has a rather uniform behavior at all diaphragms without boring the quality or sharpness falls. I plan to buy a 28mm f2 ais, but put me thinking of its vulnerability to the reflections and reverberations of light, inconvenience I suffer frequently on meor 85mm f2 ais TA.rnAd in every way, is a prestigious lens and worth the money it costs (used I paid 300euri, original in excellent condition), also because there are no other 28mm of the same optical quality nor higher, home Nikon, (not even 28 f1.4AFD, which is greatly brighter, but qualitatively not higher. but Costa six / seven times!). rnInsieme to 105 to 180 f2.8 and f2.5 ais ais ED is a lens to hold on to for vita.rnFocheggia at close range, giving photographs a fantastic prospective momentum, while maintaining a certain geometric balance and contained distortions (24mm, for example, is too extreme for me as it has the most close fires therefore tends to bend the lines. The 28, instead, is very similar to 35, but most 'athletic' and dynamic) sent on January 02, 2016 |
 | Nikon 28mm f/2.8 AI Pros: SEE REVIEW 28mm f2.8ais ******************************************** ******************** Cons: SEE REVIEW 28mm f2.8ais ******************************************** ******************** Opinion: SEE REVIEW 28mm f2.8ais****************************************************************rn****************************************************************rn****************************************************************rn****************************************************************rn****************************************************************rn****************************************************************rn****************************************************************rn****************************************************************rn****************************************************************rn****************************************************************rn**************************************************************** sent on December 29, 2015 |
 | Nikon 200mm f/4 Ai-S Pros: Dimensions and weight. impeccable construction. neutral and realistic photo rendering. uniform and consistent behavior at all focal lengths. Cons: Loss of accuracy in low light conditions. slight vignetting at f4. Opinion: Although autofocus lenses are more ready to use, have colder and mechanical behavior compared to manual focus, which are more organic, passionate, and this shines through scattate.rnSto photographs by gradually shifting from first to second, and I must say that the series to / ais is really prestigiosa.rnQuesto 200mm lens is a beautiful, crisp and full-bodied at all focal lengths, with the focus ring to smooth and precise focus, even though it clearly is not always easy to use, due to the fact that it is MF as already mentioned, and is not stabilizzato.rnForse, the small size (especially the diameter) penalize the due stability more slender handle. I write this because compared to 180 f2.8, for example, is more difficult to maintain firm (maybe it's just my imagination ...). RNE 'incisive but gentle, very clear, pastelloso, as if dipingesse.rnIl 180 f2. 8 and this 200, on nikon d700 are very similar behavior, evenThough clearly the 180 is brighter and better fuzzy (and the 200 is more stable and steady as behavior at all focal lengths), but this, perhaps, is more suitable for outputs scalmanate.rnA f4, it transmits more light than 135 f3. 5 closed at f4. sent on November 01, 2015 |
 | Nikon 85mm f/2 Ai-s Pros: Sharpness at all focal lengths, especially f4 up. small size (almost indistinguishable from a 35 or 50mm). Construction. metal lens hood with spring-applied. the focus ring soft. Cons: Fringed purple in the light. Fast, but not always easy to use in focusing. Opinion: Ais life! Rn28, 85, 105, 135, 180 ... now use them almost exclusively, and manual focus is no longer prohibitively expensive for me, plus I save the various front / rear focus and AF ritardati.rnQuesto 85 I imported from Japan, in excellent condition, and confirms the definite idea that I have done on this legendary series of Nikon lenses, made from fresh crisp, glassy and brillante.rnE 'selective lens that respects the delicacy of the lines of face as he beats the cold lines of the surrounding objects. Superbo.rnIn many cases reminiscent of the 105 f2.5, are virtually indistinguishable, but basically this is more gentile.rnA TA and under incident light shows of even large purple fringes, which may resolve underexposing a 'Pelino, or be corrected with a little 'PP of patience (I think is a common vulnerability to almost all of f2 slow down). Better not to use it in the pushed against the light, as it loses contrast facilmente.rnA f2 seems to be soft, but it really depends on the utilizzi ... it should definitely be used for portraits (head and shoulders). It is not always easy to focuse correctly, but the ring nut, it must be said, it can rotate with the little finger only! It has an excellent blur, perhaps exaggerated because of the depth of field very small (especially if you use it on FF with 'spot' mode of focus), so it may be preferable to mount it on APSC, earning a bit of a 'scene' , in order to obtain more incisive and less 'suspension'. However, it is really superb: when centers the fire becomes a bit of compasso.rnDa f4 up, is graniticamente crisp, like the 105 f2.5.rnGemma for life. sent on October 16, 2015 |
 | Nikon 180mm f/2.8 ED Ai-S Pros: Sharpness, smooth ring of focusing, ED lenses. Integrated lens hood. magic blurred. Cons: Second-cost, sensitive lenses. Unbalanced center of gravity forward. Opinion: Compared to the 200 f4, this is more crisp and clear (the 200 is softer and ... painting, if we want) but the 180 has made more fuss, thanks to increased blurry and more vivid colors. rnCosta dear, I have paid 390euri (well maintained), but I do not think you are less than 350 if decenti.rnIo conditions the use of D700 and D3 and I must say that the yield is typically Nikon, brilliant and battered. The focus ring slips beautifully (like the 105 f2.5) and the sharpness is already good at f2.8, even if it is from f4 and older that gives the best of himself. Smaller apertures (22 and 32) hit hard diffraction ... but then, who uses them? !! It 'a nice beast to govern while shooting, is also pesantino and a little unbalanced forward due to its taper, and then to accept the challenge is great: no VR, no AF, important focal length (missing only the strong wind and someone who makes you the scherzi from behind while photographers!). rnSoffre a bit 'of AC (red / magenta dominant especially), so must be used appropriately to avoid them as much possibile.rnHa reason Ken Rockwell claiming that the 200mm f4 ais is great, but the 180 is superb , since the ED lenses do their duty trasmettebdo light without diperderla, blur and is really gelatinous dream: what is in focus is engraved in the crystal, and everything blurs fantastically creating a beautiful effect tapering off . Bokeh at f2.8 is almost the same as f4, then he begins to schiudersi.rnQuando dim light is' off 'a bit' frowning (exactly like the 105 f2.5). They are slow to give their best when light shines like crystals, or they can disappoint. In this respect, perhaps, are the most effective modern Nikon projects, although the yield is more silky and less vitrea.rnE 'a fantastic gem, to be guarded con care (the rear lens is only scratching at her) and pull off when you want to get something superb in terms of photography, although I think it is more for lovers than for ordinary users. sent on September 06, 2015 |
 | Nikon 135mm f/3.5 Ai Pros: sturdy construction, incisive photographic performance but gentle, second-price, compact size and low weight, hood intergrated. Cons: minimum distance of focus (1.3 meters), the focus ring does not soft. Not easy to be focused. Opinion: With 120euri I took this ragazzuolo, which initially gave me pause because I could not handle it (focal length / manual focus), but the time a couple of days and I began to subdue him with great success and satisfaction. At f3.5 and 'a little' less clear, but from f5.6 corrects the shot definitely up to the most 'apertures. It has a nice balanced bokeh (nothing miraculous, mind you), it does not have geometric defects and does not turn colors. And 'crisper Model f2.8 ais, costing half. It 'fell on the ground and stones rolling for a few dozen meters down' for a cliff, and has suffered only a few scratches on the hood and front cap! Great to take along on trips more 'adventurous. The photographic performance and 'pleasant, a bit' retro 'as I like it, with the distinctive crystallinity of this Nikon series, for me I do not love the photos too sharp and nervous. Unfortunately, compared to other ais, it is more stupid in focus. sent on August 27, 2015 |
 | Zenit MC Zenitar 16mm f/2.8 Fisheye Pros: Price, brightness ', more' than good sharpness (slopes down from the center to the edges, but not dramatically). solid and aesthetically appealing building. small footprint. Cons: Manual focus. Opinion: It 'a goal' fanciful '. It costs little and is' quite clear. Better to mount it on FX to fully exploit the angle to 180. On D700 and 'excellent. The colors are warm and crystalline, semi-solid forms and vintage, but the images are bright and fresh. Being the fisheye an occasional lens, which tends to tire as extreme, it should invest on an object like this, without remorse for having spent too much money for Nikon branded pieces. sent on April 10, 2015 |
 | Nikon AF-S DX 35mm f/1.8 G Pros: Price. Out of focus. Bokeh. Lightness. Lens hood included. Cons: MAF ring creepy! (Feeling of fragility, friction, loose games). Distortion more pronounced compared to 35 f2AFD. He suffers AC and flare. Opinion: If you want to manually focheggiarci, you must prepare for a terrible feeling: the ring seems to have sand in it! Apart from that RNA and some decline because of falling contrast spread (flare) and the usual AC series G-free treatment -N- I would say it is the most suitable purchase, either for those who are entering the SLR-Nikon world and not wanting to spend big money for a 35mm on APSC, and for the most demanding users. And 'light, bright, precise as AF, sharp, point, with typical silky colors of G. It' also fast enough to make us a bit 'of everything without problems, but perhaps the 35 f2 AFD is faster and I would say even clearer I .rnIo them both and choose them as appropriate. The construction of the barrel (to the MAF ring part) is excellent, well assembled with games and narrow profiles. A sensible and inexpensive purchase, for an honest lens, the ratio Q | P unparalleled. sent on April 09, 2015 |
 | Nikon D60 Pros: The synthesis of the SLR world, essential, practical, good to learn how to photograph. Cons: All the limitations that may belong to a low-end SLR ... Opinion: My first reflex.rnE 'excellent as a gateway to SLR photography, it is easy to use, and despite being a' machine 'asserts itself! The CCD sensor is then almost a rarity, with bright colors and shining forms. The black and white picture then reminiscent of Leica (with some differences, of course) .rnCome all DX low-end, suffers a bit 'in the absence of light, but the files, although noisy, are still fascinating, pasty and saturated . Under optimal conditions of light, however, it is a time bomb, with the 18-55 goes like a dream, almost unique in some ways, even by DX higher end. The D3000 is a worthy heir, although a bit 'more modern, and perhaps more digitalosa.rn sent on April 09, 2015 |
 | Nikon D700 Pros: Body pro. Brilliance of the files. dynamic range and held at high ISO. Coverage improved AF points of the D3. Cons: Sheaths of tropicalisation and pliable rubber caps in a few months. Weight (which by the way is also an advantage if you impressive optical mountain). MS-D10 module which is not always communicating properly with the camera circuit, and AA batteries that are discharged almost immediately (identical defect on APSC, but perhaps more content). The weight (including MB-D10) is a bit 'unbalanced, and handling it for a few hours the pulse is affected (the D300 is more balanced and manageable). Insufficient buffer for gusts over 10 frames. Opinion: The digital SLR designed for real professional setting commands, tropicalisation (though pliable after a short time), held at high ISO (up to 3200 if there is enough light, if scarce 2000/2500), brightness of images (compared to new sensors Nikon has a more organic stamp which also resembles that of the film), reliability of the chassis (robust to withstand any accident). A perfectly balanced machine: no miracles and does not deceive the user. It merely gratifies him with his great qualities. In a contemporary full-frame SLR tormented by the calls for failures and manufacturing defects, the D700 remains the old Fiat UNO Fire, which runs its quiet as a mouse 150k / 200k triggers without missing a beat. Super affidabile.rnLa IQ of his images is certainly less than that of the latest generation of sensors, but I still prefer the D700 to D750, to date. When (and if) change my mind, I will replace it. It just 12Mp, and maybe that's his real deficit, mwhen exposed to good, his prints can also reach 70x100. It works well with all Nikon lenses, from the series / ais on, and the more you raise the shot is better, of course. The AF motor is very sensitive and precise, almost like the D3, although it has a snap-in micro-micro delay that keeps behind the D3. The WB-car performs well in most cases, but sometimes spectacularly misfires. To be 'antiquated' has a thrift price still quite high, but maybe it is for its quality fruibilissime today. Very nice car. sent on April 09, 2015 |
 | Nikon 28mm f/3.5 Ai Pros: Light weight and small size. Competitive price. impeccable construction. Good sharpness and low distortion. User-focused. Cons: The best sharpness is obtained with the central aperture and focal lengths not very long. Opinion: How wide is delicious: distorts pohissimo, and color rendering and 'faithful and balanced. Blurred gradually and not estremo.rnLa focus and 'manual, but the ring and' soft and precise, so no regrets for automatismo.rnMi gives the impression of being more 'punchy on APSC rather than FF.rnVa however, it said that the sharpness in general is good but not amazing, and the difference is found by comparing this lens with the other or ais the likes of the 105 f2.5 or f2.8 180, or 85 f2.rnIl 28 ais f2.8, however, has an added value, worthy of note, and that they prefer it, as more selective about the focal points, and more sensitive to color spectrums. However, as either a goal with limits, I consider it a personal tool and definitely helpful. Him, ripaga.rnLa grayscale is well digradata, as in old photographs, and then the b / w photos appear pleasant and not aggressive or ridondanti.rnCosta little, I took it for 120euri (2015). sent on April 09, 2015 |
 | Tokina AT-X Pro 12-24mm f/4 DX II Pros: Construction. Lightness. Price. Sufficiently clear. Cons: Vignetting omnipresent. Opacity'. Opinion: It 'a very very well built instrument. The two nuts are a wonder (even that of the MAF you can 'turn with just the little finger) .rnTuttavia has in its functional: cartoon, not' extra-bright, it is not perfectly clear / limpido.rnVignetta, especially f4 and especially to 12mm, but the constant haze and 'still a feature of this lens, a bit' in all lengths and all openings (unless you close it completely). RNLA main consequence and 'always an opacity' cross this, and an operational limitation of PP, where the photos are a bit '-lessate-. Definitely a special effect, that makes artistic motif, if you will, but if it becomes a habit, can 'disturb, this -tempera- effect of shades ... these pasty forms and sepia. Works best between f8 and f16.rnI colors are typical Tokina: tending to hot, so the yield is usually 'soft'. In the backlighting it is weak and loses contrast and dettaglio.rnIl hood engages abit 'too, so much so that it disengages depart' Madonnas', and at the risk of spezzarlo.rnNel complex and 'a good travel companion, taking into account that it is' light, is sufficiently clear (not to scream), has a low distortion , and you buy it as well well used. sent on April 09, 2015 |
 | Nikon 105mm f/2.5 Ai-S Pros: flawless crystal yield. Price flea content (if you can find it!). Integrated lens hood. Solidity 'constructive. soft focus ring. Cons: Difficult to focus when focus in low light and with spot mode. Opinion: Like all AIS lenses behave in an exemplary manner on my two D300 and D700. For portraits or photos of detail and 'superb: always crisp and realistic, with faithful color reproduction and vivid, blurred caramel and bright as the photos once. The only drawback, in my opinion, and 'focus is not always easy to guess, which inevitably makes' fade' some shots, especially in dim light, and when the subject is poorly standing out. When using the setup 'spot' fire, then, things get even more complicated. But when it hits, is unrivaled (if like the glassy effect and clear). For the rest it is incredible: it is 'only' a f2.5 and a diameter 52, yet it is very bright! It has a double standard within f4 kind and poetic, and f4 up, it hardens emphasizing any form in detail. Compared to the more modern 105 it is more cozy, romantic. The minimum distance meter to focuse Talvolta is annoying, but never a drama, unless you want to 'get' in the wrinkles of a face, but for this kind of uses the macro exist, and it is not my case (for now). The contours and colors of the portraits seem engraved in the crystal, for clarity and vividness, and the scene is always fresh and brilliant. The eplodono colors in all their vivacity, no aberration, no tack, perhaps about the focal 2.5 which is light but resistant to high lights and reflections. I think I'll keep 'with me all my life, and as' a lens with personality' and that excels in terms of construction, as well as historians. sent on April 09, 2015 |
 | Nikon AF 50mm f/1.4 D Pros: Price of used, luminous, blurred. Cons: Vulnerable on transverse lights. Opinion: Beautiful bright lens, with beautiful blurry, beautiful colors, small and light. This as long as it works indoor.rnPorting it outdoors makes it a true AC catalyst, purple fringes, spherocromatisms, flare (and consequent contrasts), ghosts and sometimes some color tint. RnLean the haze from this lens Is fairly limited. From f1.4 to f2 it is unusable (except for the search for particular effects) for the limited definition. In addition to these features you need to avoid photographic disasters, it is a tool that, if used appropriately, gives great shots, with delicate and delicate shapes and a beautiful feeling of depth. It tends to overexpose a couple of thirds of stop. sent on April 09, 2015 |
 | Nikon AF 50mm f/1.8 D Pros: Price / Performance, size and lightweight. Accurate and fast enough. Cons: A bit 'rough under f4 (slightly clear). Opinion: Attracted by the low price I bought my first SLR, the Nikon D60, and remember that the manual focus does not thrill me particularly, and so 'I kept it from unused for some anno.rnPoi I took a D300, and the' automatic focus I had him pull out of the drawer giving me great satisfaction and excitement. With the D700, then, even more '! RnRispetto 50 f1.4D' more 'cruel on portraits, because it highlights mercilessly all skin defects, so I see more' suitable for other uses, or at most for full length portraits, being more 'surgery, such as yield. Below f4 has a little 'rough character, not perfectly clear. The colors are fantastic, saturated nice and creamy and the shapes are round and vivid, soft bokeh, although not pennellatissimo. In general I find it a bit 'mushy (shapes and colors), less cool version of AFS, and I think as a value for' money (and brand) there are no alternative and competitive.rnNon &serious; fast (it is enough in the majority of the 'usual' circumstances), and goes to sign with virtually always precision (from f4 onwards). sent on April 09, 2015 |
 | Tamron 24-70mm f/2.8 Di VC USD Pros: Sharpness, block excursion zoom control, small size, robustness and compactness. Quality construction. Excellent risolvenza both FF and on APSC. Tropicalised. Stabilized. Cons: Autofocus not always 'Prey', the focus ring without limit switches when focheggia hand, hood hardback. fairly ubiquitous aberrations. Vignetting up to f4. Opinion: Compared to the Nikon 24-70 it is certainly more compact, but equally heavy, as the substance is in equal measure. Who complains about the lack of clarity is because it uses it improperly (perhaps with VR position, if it would not) or because gl'è happened exemplary ciucco.rnLa risolvenza is very good, as well as the sharpness, just less of saturated Nikon consideration, and more opens the shadows. The engine USD is handsome and quiet. The seal around the bayonet labbrino is appreciable, at least since the excursion blocking command Zoom. The hood is not a ciofeche as I expected. It has an anti-reflective coating of excellence, and this results in sometimes toned colors (also in terms of temperature). A 24mm loses a bit ', including distortion and vignetting, but the 35 is 70 is very good (70mm There are pulled out of the finest portraits). great only drawback, the AF unresponsive in low-light conditions. Octoberimo value for money. sent on March 19, 2015 |
 | Nikon D300 Pros: Anti-atomic chassis, bursts 8fps (but only 12bit), pro, dynamic range, internal AF engine (to take advantage of Nikon D series optics) Cons: High ISO (1000-1250, and sometimes 1600). Not from the best of itself with all the lenses. Limited look coverage. Depleted fat if you work at 14bit. MS-D10 module that does not always communicate correctly with the camera circuit, and stylus batteries that discharge almost immediately (identical defect on D700, if not worse). Shutter lag. White measurement is not always reliable. Opinion: A reliable machine as a whole. It is well done, works well in all circumstances, from photos to the extravagant ones. Compared to the various D7XXX series is certainly more impressive, as chassis setup / construction. Maybe the D500 remembers it more. Very similar to the D3, except for some open controls (eg bracketing) and clearly for the sensor. It has a shutter-lag that can sometimes disturb you. The WB-car does not always get in touch (sometimes turns to blue). It has a lot of functions. The AF engine is apt to bring home a number of 'critical' shots. It works fine with AFD lenses and also with al / ais. It's a bit cheaper than the D700 and seems to be more balanced. With BG it becomes a small D3, with 8fps burst and full-bodied effects. The MS-D10 carriage (AA battery stack) is to be forgotten because it does not communicate with the CPU steadily and the batteries are discharged after less than three hundred operations (I have changed 4) .nn better fit the Patona EN-EN4a batteries compatcost, which cost 1/4 of the price compared to Nikon and guarantee at least two thousand performances. If you do not have big requirements on the iso range, I would say that it is an excellent car to get us everything, also considering the price of very cheap, today. Good as a reflex, how and how much you want it: it does not fear anything. sent on March 13, 2015 |
 | Nikon AF 28-70mm f/3.5-4.5 D Pros: Beautiful blurred (9lame), good resistance to flare and fights well the AC. Price flea. Weight | size. Lentuccio and noisy. Cons: Up to f5.6 it is too soft. Opinion: It's cheap and it's convenient to carry around. It 'a bit' noisy when focheggia and the front lens rotates with the motor, so you have to have the right precautions when using a CPL filter. It is not far enough at room temperature (3.5 to 4.5), but f5.6 unfolds decisively, and f8 onwards becomes a bomb, etched with lines and shapes and pasty (typical of Nikon D) and colors scream, vivid and warm. It can be used safely in the backlight: fears nothing. Some ghost (typical D) and a slowness that sometimes can make you lose a few shots. The bokeh character reminiscent of the first lens series brighter Q: chopped ice effect, very pleasant and relaxing. To go on the road (photo report) without worries for expensive photographic equipment and delicate, it is definitely ideal. The full size tends to saturate most of the colors and forms to knead. I do not think rivolva well on very dense sensors (over 16MP of APSC). sent on January 18, 2015 |
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