#NIKKOR-S Auto 35mm f/2.8

[ultralowoxygen]

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[catrinathomas]

Nikon AF-S 85mm f/1.8G Nikkor overview

This is a top to bottom audit of the Nikon 85mm f/1.8G prime picture focal point that was reported in January of 2012. The Nikon 85mm f/1.8G is a customer grade representation focal point for lovers and occasional stars that need quality optics of a decent picture focal point at a reasonable sticker cost. Its huge opening of f/1.8 is perfect for low-light photography and the shallow profundity of field disengages subjects from the foundation, wonderfully delivering foundation features.

Nikon AF-S 85mm f/1.8G Nikkor overview

The Nikon 85mm f/1.8G replaces the more seasoned Nikon 85mm f/1.8D focal point that had been underway beginning around 1994. Contrasted with the AF-D variant that has 6 optical components in 6 gatherings, the new 85mm f/1.8G has a totally different optical plan with 9 optical components in 9 gatherings. You would think with such a lot of glass inside the new 85mm f/1.8G would weigh more than its ancestor, yet truly, it really weighs 30 grams less. The focal point is intended to deal with both DX (trimmed sensor) and FX (full-outline) cameras from Nikon. On DX sensors, the focal point is comparable to a 128mm focal point, which is a decent reach for representation, however perhaps excessively lengthy for most different kinds of photography.

Very much like the old Nikon 85mm f/1.8D, the front focal point component of the Nikon 85mm f/1.8G doesn't broaden or turn during self-adjust tasks, which makes the focal point more solid and furthermore makes it simple to utilize roundabout channels and channel holders. Notwithstanding the previously mentioned optical enhancements, the focal point consolidates quiet wave engine (AF-S), which gives close quiet center activity as well as permits the focal point to be completely utilized on passage level DSLRs like Nikon D3100 and Nikon D5100 (the more established Nikon 85mm f/1.8D can't self-adjust on passage level DSLRs without a center engine). Likewise, the AF-S engine provides the capacity to utilize self-adjust with a manual center supersede, which you can't do on any of the AF-D prime focal points.

Very much like the more seasoned AF-D cousin, the Nikon 85mm f/1.8G additionally has Very Incorporated Covering, which lessens focal point flare and ghosting. What's more, not normal for the 85mm f/1.8D, which had a 9-edge stomach, the 85mm f/1.8G has a 7-cutting edge stomach. This could seem like a downsize, yet it is really not - the 7-cutting edge stomach utilized on present day Nikkor focal points is adjusted, while the old ones are straight. This implies that bokeh on a 7-sharp edge adjusted stomach focal point could really look as great or better than on a 9-sharp edge straight stomach. The heptagon-molded bokeh that is delivered by the more established focal points is for the most part not apparent at large apertures and is just observable when halted down to f/2.8 or more, as found in the bokeh examinations underneath.

In this survey, I will give a careful examination of the Nikon 85mm f/1.8G focal point, alongside picture tests and correlations against the expert Nikon 85mm f/1.4G and the Nikon 105mm f/2.8G.

Nikon 85mm f/1.8G Details Mount Type: Nikon F-Blade Central Length: 85mm Most extreme Opening: f/1.8 Least Opening: f/16 Design: FX/35mm, DX Most extreme Point of View (DX-design): 18°50′ Most extreme Point of View (FX-design): 28°30′ Greatest Multiplication Proportion: 0.12x Focal point Components: 9 Focal point Gatherings: 9 Viable Format(s): FX, DX, FX in DX Harvest Mode, 35mm Film Stomach Cutting edges: 7 (adjusted) Distance Data: Yes Very Incorporated Covering: Yes Self-adjust: Yes AF-S (Quiet Wave Engine): Yes Inside Centering: Yes Least Center Distance: 2.62 ft./0.8 m Center Mode: Auto, Manual G-type: Yes Channel Size: 67mm Acknowledges Channel Type: Screw-on Size: 3.1×2.9 in. /80x73mm Weight: 12.4 oz. (350g) Itemized particulars for the focal point, alongside MTF outlines and other valuable information can be found on the Nikon 85mm f/1.8G page of our focal point data set.

[designersgreys]

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Adobe Camera Raw runs on the following operating systems: Windows/Mac. The most current update of Adobe Camera Raw for Photoshop CS6 is 9.1.1 Photoshop CS5 (April 30, 2010) The most current version for Photoshop CS5 is 12.0.4 or 12.1 The most current version of Adobe Camera Raw for Photoshop CS5 is 6.7.1 Photoshop CS4 (October 15, 2008) The most current update for Photoshop CS4 is 11.0. It was initially added to our database on. The latest version of Adobe Camera Raw is 14.5, released on. (*) Lens corrections for the SIGMA dp1, dp2,and dp3 Quattro cameras are for JPEG images only.Host file block website list download. Adobe Camera Raw is a Freeware software in the category Graphics Applications developed by Adobe Systems Inc. Adobe has released an update to its Camera Raw Plug-in for Photoshop CS4. ZY Optics Mitakon Speedmaster 50mm f0.95 Pro 1 Photoshop CS4 (October 15, 2008) The most current update for Photoshop CS4 is 11. TAMRON SP 90mm F/2.8 Di MACRO 1:1 USD F004S Voigtlander SL II 28mm f/2.8 Color-Skopar Aspherical Voigtlander SL II 20mm f/3.5 Color-Skopar Aspherical Nikon AF-S DX NIKKOR 55-200mm f/4-5.6G ED VR II Voigtlander MFT 17.5mm f/0.95 Nokton Aspherical Voigtlander LTM 35mm f/1.7 Ultron Aspherical they should hit Adobe CS3, CS4 and CS5 first. Voigtlander LTM 28mm f/1.9 Ultron Aspherical Mac CS3 is no longer supported for Adobe Camera Raw and DNG Converter. Venus Optics 60mm f2.8 2X Ultra-Macro Lens

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To see the new Merge feature in action, check out these videos. Because of this, you no longer need to edit your photos before merging. If you are merging raw files, then the merge is performed using raw image data and the resulting DNG is just as much a raw file as the originals (and retains all the editing flexibility that comes with shooting raw). The merged result is a DNG file and is saved to disk alongside the input images. You can download the appropriate files from links below.ĭownload Camera Raw 9 for Photoshop CC/2014Ĭombine your photos to produce panoramas and HDR images in ACR. Update for Photoshop CC also includes the new features listed below. Camera Raw for Photoshop CS6 only include new camera support, lens profile support, and bug fixes. Links to the latest Adobe DNG Converters: DNG Converter for Mac and Windows.

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[nesobuhikena]

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[dominikagruzlewska]

STRUCTURE - RESEARCH, TASK 1

Joseph-Philibert Girault de Prangey (21 October 1804 – 7 December 1892) is known as the first architectural photographer who started to take photographs with daguerreotype from early 1841 of significant sites like Paris, Egypt, Greece, Palestine, Syria, and Turkey.

Frederick H. Evans (26 June 1853 – 24 June 1943), a notable British Photographer known for his contribution to Architectural Photography as his photographs focused on French and British Cathedrals, and his works were among the finest work at that time, for which he was made an honorary fellow of the Royal Photographic Society in 1928 and also a member of Linked Ring photographic society.

Modern architecture started to flourish with photographs in about the 1920s when urban photographers like Eugène Atget, Berenice Abbott, Walker Evans, and T. Lux Feiningercame into play. Eugène Atget(12 February 1857 – 4 August 1927), a French photographer known for his documentation of the streets of Paris before it entered Modernization. His works were published by Berenice Abbott after his death.

Berenice Abbott(July 17, 1898 – December 9, 1991), an American Photographer is known for New York and urban design photographs in the 1930s and also for her portraits of between-the-wars 20th century cultural figures.

Walker Evans who was also an American Photographer and photojournalist and believed that being a photographer he must make the picture “literate, authoritative, transcendent”. He worked for Farm Security Administration (FSA) and documented the effects of The Great Depression.

Historically, what type of camera did photographers predominantly use for architectural photography to ensure that those vertical lines remained constant throughout?

The photographers most often used a large-format camera which helps to minimalize parallax errors. They could parallax shift the plate in the back of the camera in order to control perspective.

How does this camera differ from a traditional analogue 35mm or digital equivalent SLR?

View camera vs analogue 35mm

The main difference is that in 35mm you can’t change the angle of plate and perspective which view cameras allows that. Apart that view camera has much longer exposure time than 35 mm.

View camera vs DSLR

As above – in DSLR we can’t change the angle of plate or perspective, but we can attach the tilt lens, which allows to control the perspective.

What types of lenses are available to photographers working with a DSLR, that are designed to function in this same way? What range of focal lengths are available from Canon & Nikon with these types of lenses?

CANON

Canon TS-E 45mm f/2.8.

Canon TS-E 90mm f/2.8 Tilt-Shift Lens.

Canon EF 1.4x III Extender.

Canon EF 70-200mm f/2.8L IS II USM Lens.

Canon EF 50mm f/1.4 USM Lens.

Canon EF 16-35mm f/2.8L ll USM Zoom Lens.

Canon TS-E 17mm f/4L Tilt-Shift Lens.

NIKON

Nikon AF-S DX NIKKOR 10-24mm f/3.5-4.5G ED Zoom Lens with Auto Focus.

Tamron AFA012N700 SP 15-30mm f/2.8 Di VC USD Wide-Angle Lens.

Nikon AF-S DX NIKKOR 10-24mm f/3.5-4.5G ED Zoom Lens with Auto Focus.

Nikon 18-200mm f/3.5-5.6G AF-S ED VR II Nikkor Telephoto Zoom Lens.

Nikon AF-S FX NIKKOR 50mm f/1.8G Lens with Auto Focus.

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[eduardomachuca]

Mejores lentes Nikon para fotografía de bodas | zoom o fijo | FX o DX

Nuevo artículo http://bit.ly/2KuraM0

Mejores lentes Nikon para fotografía de bodas | zoom o fijo | FX o DX

En este artículo veremos mi recomendación de los mejores lentes Nikon para fotografía de bodas con cámaras FX (Full Frame) o DX (APS-C), del tipo Zoom (lente de distancia focal variable) o Primo (lente de distancia focal fija).

Contenido

Lentes Nikon zoom para fotografía de bodas con cámaras FX (Full Frame).

Lentes Nikon primos para fotografía de bodas con cámaras FX (Full Frame).

Lentes Nikon zoom para fotografía de bodas con cámaras DX (APS-C).

Lentes Nikon primos para fotografía de bodas con cámaras DX (APS-C).

Requerimientos ideales de equipo para fotografía de bodas

En la actualidad, la fotografía de bodas es una de las especializaciones de la fotografía más competida y conlleva un alto nivel de exigencia por parte de los novios.

Debido a la naturaleza irrepetible del evento, el fotógrafo o fotógrafa debe seguir el ejemplo de muchos organismos en la naturaleza, incluido el cuerpo humano, o la estrategia de la tecnología de misión crítica: tener doble de todo.

Redundancia en equipo para el día de la boda

Se sugiere entonces una redundancia o equipo de respaldo mínimo en lo siguiente:

2 cuerpos de cámara.

2 lentes.

Una  o más baterías adicionales a la ya instalada en la cámara (x2). Depende de la longitud de la cobertura del evento y de si, por ejemplo, se usan cámaras mirroless que consumen más batería que las DSLR. Pero por lo menos son dos baterías por cámara, una instalada y la otra de respaldo.

Tarjetas de memoria adicionales. Si la cámara tiene doble ranura de memoria, usarlas en modo espejo (respaldo).

Dos unidades de flash portátil y suficientes baterías.

Dos fotógrafos(as), o al menos, alguien listo para cubrirte por si te enfermas o te surge cualquier imprevisto el día de la boda que te imposibilite cubrir el evento.

Aclarado lo anterior, esta guía entonces considera que el fotógrafo tiene dos cuerpos de cámara y por ende, se recomiendan los dos mejores lentes Nikon, ya sean zoom o primos, para cada formato, FX (full frame) o DX (APS-C).

Los mejores lentes Nikon zoom para cámaras FX (full frame)

Esta es la recomendación de lentes tipo zoom para dos cuerpos de cámara en formato FX (full frame). Tendrías un rango combinado de 24-200mm a f/2.8 y con VR (reducción de vibración), suficiente para enfrentar cualquier situación en fotografía de bodas.

De hecho, con este par de lentes puedes hacer casi cualquier tipo de especialización fotográfica, desde paisaje y arquitectura y retrato hasta deportes de salón (aunque no los de cancha grande como el futbol, el americano o el béisbol, ni tampoco fotografía de aves, puesto que se necesita de mayor magnificación).

Descripción Cámara FX 1 Cámara FX 2 Distancia focal.  24-70mm 70-200mm  Apertura máxima (constante).  f/2.8 f/2.8  VR (reducción de vibración).  Sí, 4 pasos.  Sí, 4 pasos. Diámetro de rosca para accesorios (ej. filtros).  82mm  77mm  Autoenfoque.  Sí, motor silencioso.  Sí, motor silencioso.  Óptica.  Recubrimiento de nano-cristales, recubrimiento de fluorina, recubrimiento súper integrado, 2 elementos ED, 3 elementos asféricos.  Recubrimiento de nano-cristales, recubrimiento de fluorina, recubrimiento súper integrado, 6 elementos ED, 1 elemento de fluorina, 1 elemento de alto índice refractivo.  Hojas del diafragma (a más hojas, mejor bokeh*).  9  9  Peso y dimensiones.  1070 g (38.4 oz). 88.0 x 154.5 mm (3.4 x 6.0 pulg.). 1430 g (50.5 oz). 88.5 x 202.5 mm (3.4 x 7.9 pulg.).  Modelo (clic para ver precio).  AF-S NIKKOR 24-70mm f/2.8E ED VR  AF-S NIKKOR 70-200mm f/2.8E FL ED VR  

*Otras cosas impactan en la calidad estética del bokeh, además de la cantidad de hojas con las que está hecho el diafragma.

  Opción más económica de lentes zoom para fotografía de bodas y cuerpos FX

Si el presupuesto está limitado, aunque no mucho porque en fotografía todo es caro, la recomendación de lentes Nikon zoom para full frame sería:

AF-S FX NIKKOR 24-70mm f/2.8G ED (clic para ver precio). No tiene VR (reducción de vibración).

AF-S NIKKOR 70-200mm f/4G ED VR (clic para ver precio). La apertura máxima es f/4, pero es constante para todo el rango de distancias focales. Tiene reducción de vibración.

  Lente zoom para fotografía de bodas con una sola cámara FX

Si gustas de andar en moto, salta en bungee, hacer paracaidismo de base y fotografiar bodas con una sola cámara, la recomendación de un lente único zoom para full frame sería:

AF-S FX NIKKOR 24-120mm f/4G ED VR (clic para ver precio). Tiene una apertura máxima constante de f/4 para todo el rango de distancias focales del zoom y tiene también reducción de vibración.

Los mejores lentes Nikon primos o fijos para fotografía de bodas con cámaras FX (full frame)

La ventaja de utilizar lentes primos contra los zoom, es que los primeros pesan menos, son más rápidos (abren más y dejan pasar más luz y por ende, permiten velocidades de obturación más rápidas) y tienen mejor calidad óptica que un zoom (debido a que los zoom tiene más elementos de vidrio dentro). La única desventaja es que tienes que hacer zoom con tus pies.

Recomiendo al distancia focal de 35mm porque es la distancia de gran angular máxima antes de que se comiencen a distorsionar las proporciones de cuerpos y rostros de manera notable.

Distancia focales más amplias, como 28mm o 24mm distorsionan mucho las proporciones, especialmente si las personas se encuentra en los bordes del encuadre.

35mm es suficiente para retratos de grupo (familia) y fotografía en espacios cerrados (iglesia, recepción) o retrato ambiental durante las sesiones.

Recomiendo la distancia focal de 100mm porque para retrato de acercamiento distorsiona menos las proporciones del rostro que, por ejemplo, el 85mm.

También, el 100mm es más adecuado para la iglesia cuando no puedes acercarte mucho a los novios o a los invitados. Igual es útil para retratos de cuerpo entero y desenfocar más el fondo.

Descripción Cámara FX 1 Cámara FX 2 Distancia focal.  35mm 100mm  Apertura máxima (constante).  f/1.4 f/1.4  VR (reducción de vibración). No. No. Diámetro de rosca para accesorios (ej. filtros).  67mm  82mm  Autoenfoque.  Sí, motor silencioso.  Sí, motor silencioso.  Óptica.  Recubrimiento de nano-cristales, 1 elemento asférico.  Recubrimiento de nano-cristales, recubrimiento de fluorina, 3 elementos ED.  Hojas del diafragma (a más hojas, mejor bokeh*).  9  9  Peso y dimensiones.  600 g (21.2 oz). 83.0 x 89.5 mm (3.27 x 3.52 pulg.). 985 g (34.8 oz). 94.5 x 106 mm (3.7 x 4.2 pulg.).  Modelo (clic para ver precio). AF-S NIKKOR 35mm f/1.4G AF-S NIKKOR 105mm f/1.4E ED  

Opción más económica de lentes fijos para fotografía de bodas y cuerpos FX

Si buscas una opción más económica a la recomendada, ésta sería:

AF-S NIKKOR 35mm f/1.8G ED (clic para ver precio). Dos tercios de paso más lento que el f/1.4, pero más económico y menos pesado.

AF-S VR Micro-Nikkor 105mm f/2.8G IF-ED (clic para ver precio). Un paso más lento que el f/1.4 aunque tiene VR (reducción de vibración) y además es macro 1:1, con lo que podrás hacer mayores acercamientos de anillos y detalles de la boda. Ah, y también es más económico y pesa menos. Pero, no hay lonche gratis, es un poco más lento para enfocar.

Nikon AF-S NIKKOR 35mm f/1.8G ED

Nikon AF-S VR Micro-NIKKOR 105mm f/2.8G IF-ED

Lente fijo para fotografía de bodas con una sola cámara FX

De nuevo, si te gusta la escalada libre en solitario, el vuelo de proximidad con traje de ala, nadar con tiburones y fotografiar bodas con una sola cámara, también puedes hacerlo con un sólo lente fijo y la recomendación sería:

AF-S NIKKOR 35mm f/1.4G o su versión más económica en f/1.8.

¿Por qué no el 50mm? Porque el campo de visión no será lo suficientemente amplio para espacios cerrados o fotografía de grupos.

Sin embargo, por increíble que te suene, puedes fotografiar toda una boda, y toda una vida, con un sólo lente.

Se dice que Henri Cartier-Bresson sólo utilizó lentes de 50mm durante toda su carrera fotográfica. Y no sólo eso, sino que lo hizo con una de esas camaritas que parecen de juguete, con auto-nada, y que son carísimas, las Leica. Y Cartier-Bresson, o Enriquito pa’ los cuates, es algo así como el Planck de la física cuántica, el Bach de la música clásica, el Schumacher de la Fórmula 1 o el Aretha Franklin del Soul. ¿Quedó claro quién es —era— Henri?

  Los mejores lentes Nikon zoom para fotografía de bodas con cámaras DX (APS-C)

La razón por la cual utilizar cámaras con sensores más pequeños, como el formato DX APS-C, es que los lentes también serán más pequeños y menos pesados. Tendrás un sistema más portable.

En otras palabras, de nada sirve tener una cámara DX y montarle pesados lentes diseñados para full frame, excepto por ciertas situaciones en las que se aprovecha el factor de aumento óptico del sensor (p. ej. telefotos para fotografía de aves o deportes).

De nuevo, aunque a los cuerpos DX se les puede montar lenses FX, con el consabido factor de aumento de 1.5x en la distancia focal aparente, en esta sección restringiré la selección a lentes explícitamente diseñados para el formato DX.

Descripción Cámara DX 1 Cámara DX 2 Distancia focal.  16-80mm (24-120mm equivalente en full frame) 55-200mm (82.5-300mm equivalente en full frame)  Apertura máxima (variable).  f/2.8 @ 16mm, f/4 @ 80mm f/4 @ 55mm, f/5.6 @ 200mm  VR (reducción de vibración). Sí. Sí. Diámetro de rosca para accesorios (ej. filtros).  72mm  52mm  Autoenfoque.  Sí, motor silencioso.  Sí, motor silencioso.  Óptica.  Recubrimiento de nano-cristales, recubrimiento de fluorina, recubrimiento súper integrado, 4 elementos ED, 3 elementos asféricos.  Recubrimiento súper integrado, 1 elemento ED.  Hojas del diafragma (a más hojas, mejor bokeh*).  7  7  Peso y dimensiones.  480 g (16.1 oz). 80 x 85.5 mm (3.1 x 3.2 pulg.). 300 g (10.6 oz). 70.5 x 83 mm (2.7 x 3.2 pulg.).  Modelo (clic para ver precio). AF-S DX NIKKOR 16-80mm f/2.8-4E ED VR AF-S DX NIKKOR 55-200mm f/4-5.6G ED VR II

Nikon AF-S DX NIKKOR 16-80mm f/2.8-4E ED VR

Nikon 55-200mm f/4-5.6G ED IF AF-S DX VR

Como podrás observar, aunque los de arriba son los mejores lentes de Nikon para formato DX, no son tan luminosos como sus contrapartes para FX. Sin embargo, pesan mucho menos y cuestan menos.

En situaciones de poca luz, como la ceremonia religiosa, la función de VR te ayuda a tener imágenes nítidas sin tener que subir tanto el ISO, sobretodo que durante la ceremonia los novios y las personas están sentadas o de pie y no se mueven.

En las sesiones en exteriores, durante el día, pues no tendrás problema: si quieres desenfocar el fondo sólo abre toda la apertura del lente y coloca el zoom al máximo (a mayor distancia focal, menor profundidad de campo).

Durante la fiesta  u otras situaciones, igual puedes mantener toda abierta la apertura, subir el ISO para lograr una velocidad suficiente de obturación, o bien usar flash.

  Los mejores lentes Nikon fijos o primos para fotografía de bodas con cámaras DX (APS-C)

En lentes fijos para formato DX se reduce mucho la oferta de Nikon. Sin embargo, con estos dos lentes igual puedes hacer todo, el primero es equivalente a un 50mm en FX y el segundo a 128mm en FX. El 35mm DX es un lente rápido y  el 85mm DX no tan rápido, pero decente y además de servir como telefoto y para retrato, es un lente Macro 1:1, con lo que podrás hacer fotografía de detalles como anillos y otros.

Lo que va a suceder con el 35mm DX (50mm equivalente en FX), comparado contra un 35mm en FX, es que vas a tener que dar dos o tres pasos hacia atrás para tener la misma amplitud de visión.

Descripción Cámara DX 1 Cámara DX 2 Distancia focal.  35mm (50mm equivalente en full frame) 85mm (127.5mm equivalente en full frame)  Apertura máxima (constante).  f/1.8 f/3.5  VR (reducción de vibración). No. Sí. Diámetro de rosca para accesorios (ej. filtros).  52mm  52mm  Autoenfoque.  Sí, motor silencioso.  Sí, motor silencioso.  Óptica. Recubrimiento súper integrado, 1 elemento asférico.  Recubrimiento súper integrado, 1 elemento ED.  Hojas del diafragma (a más hojas, mejor bokeh*).  7  9  Peso y dimensiones.  200 g (7 oz). 70 x 52.5 mm (2.8 x 2.1 pulg.). 355 g (12.5 oz). 73 x 98.5 mm (2.9 x 3.9 pulg.).  Modelo (clic para ver precio). AF-S DX NIKKOR 35mm f/1.8G AF-S DX Micro NIKKOR 85mm F3.5G ED VR

Nikon AF-S DX NIKKOR 35mm f/1.8G

Nikon AF-S DX Micro NIKKOR 85mm f/3.5G ED VR

  Opción de cámara DX con lentes FX

Si y sólo si consideras que el 35mm DX (50mm equivalente en FX) no es lo suficientemente amplio, pero tampoco quieres romper el cochinito, entonces la recomendación sería montar un AF-S NIKKOR 24mm f/1.8G ED (clic para ver precio). La distancia focal de 24mm en FX se convertirá en una equivalente a 35mm en DX.

En la otra cámara puedes mantener el 85mm DX que se lista en la tabla.

  Opción de una sola cámara DX para fotografía de bodas

De nuevo, si gustas de bucear en cuevas, apostar todo al 8, poner todos los huevos en una canasta y fotografiar bodas con una sola cámara, tengo dos recomendacioens de lentes para ti.

La primera recomendación es el lente que vimos al principio de esta sección, el AF-S DX NIKKOR 16-80mm f/2.8-4E ED VR (clic para ver precio). Con este lente tienes una distancia focal equivalente en full frame a 24-120mm, con aperturas de f/2.8 en 16mm y de f/4 en 80mm. Y tienes VR.

Ahora bien, la segunda recomendación, si prefieres un lente de apertura constante, sería el AF-S NIKKOR 24-70mm f/2.8E ED VR (clic para ver precio). Al montar este lente full frame en un cuerpo DX, tendrías una distancia focal equivalente a 35-105mm, con apertura constante de f/2.8 y VR. Para mi, el rango de 35-105mm es el ideal para todo lo que tenga que ver con retrato y bodas y eventos sociales, pero no existe como tal en FX (con Nikon). Pero, al montar el 24-70mm en una cámara DX, tienes ese rango ideal.

  Te puede interesar:

Exposiciones equivalentes o pares recíprocos en fotografía

↵ Regresar a tutoriales de exposición fotográfica.

#aps-c #dx #full frame #fx #Lentes

[photographyarticle]

Best Lenses for Landscape Photography in 2021

Many times we are not selective about the camera lenses. People do a lot of research about the best mirrorless camera, DSLR camera or a light-weight camera extra. But when it comes to lenses, we may only look to the rating it has. Thus they buy one. Let us see some lenses for landscape photography.

We don’t take much effort to know the specifications, features, uses, pros and cons. There are macro lenses, wide-angle lenses, standard lenses, telephoto lenses extra. Also, there are short focal length, long focal length, the middle focal length or zoom lens in the market. Many of us choose the lens which we think is apt. But we have to research lenses before buying it too. Because lenses have many features and benefits. A lens might be better for one type of photography and not so apt for other types of photography. So we have to understand the features of each lens. Here we are going to discuss some lenses for landscape photography.

Contents [hide]

1 Best Lenses for Landscape Photography

2 Affordable Lenses for landscape photography

3 Top Lenses for Landscape Photography

4 Concluding Thoughts

2.1 Canon EF-S 10-22mm f/3.5-4.5 USM

2.2 Nikon AF-P DX NIKKOR 10-20mm f/4.5-5.6G VR Lens

2.3 Tokina 17-35mm f/4 AT-X Pro FX Lens

2.4 Canon EF-M 11-22mm f/4-5.6 IS STM

2.5 Samyang 14mm f/2.8 Auto Focus Lens

3.1 Sony FE 24mm f/1.4 GM

3.2 Zeiss Milvus 35mm f/1.4 ZE Lens

3.3 Sony FE 16-35mm f/2.8 GM

Best Lenses for Landscape Photography

Most of us know that wide-angle lenses are better for landscape photography as they can cover more area. In landscape photography we don’t have to go for close up shots rather we have to click pictures which can cover more area. The wide-angle lenses are best for landscape photography. There are many wide-angle lenses by many brands and at different rates in the market. Now let us see some lenses in several categories.

Affordable Lenses for landscape photography

Budget is a factor which we look into while purchasing anything. Given below are some affordable lenses for landscape photography.

Read more

#bestlandscape #photo #phototips #photography

[lensinserze]

%^ " Near Mint " Nikon Nikkor-S Auto f/2.8 35mm Non-Ai Wide Angle Lens from Japan https://ift.tt/2N7Smmf

#lens #lenses #camera

[bestlensreviewstamron]

The Best 24-70mm f2.8 Lens You Can Buy

Click Here for the Best Deals on Amazon for Tamron

Buy the Tamron here: https://www.bhphotovideo.com/c/product/1345958-REG/tamron_afa032n_700_sp_24_70mm_f_2_8_di.html/BI/6857/KBID/7410

Buy the Nikon here: https://www.bhphotovideo.com/c/product/1175033-REG/nikon_af_s_nikkor_24_70mm_f_2_8e.html/BI/6857/KBID/7410

Buy the Sigma here: https://www.bhphotovideo.com/c/product/1321310-REG/sigma_24_70mm_f_2_8_dg_os.html/BI/6857/KBID/7410

Nikon AF-S NIKKOR 24-70mm f/2.8E ED VR Lens: https://www.bhphotovideo.com/c/product/1175033-REG/nikon_af_s_nikkor_24_70mm_f_2_8e.html/BI/6857/KBID/7410

To get more daily photography content visit www.fstoppers.com To watch our full length photography tutorials visit http://www.fstoppers.com/store

Click Here for the Best Deals on Amazon for Tamron

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from Best Lens Reviews Tamron http://www.bestlensreviewstamron.com/tamron/the-best-24-70mm-f2-8-lens-you-can-buy/%20

[gryphon1911]

image © NikonUSA

All thoughts and ideas are my own personal beliefs based on years of working in the photo industry.  While they may not be 100% right, or you may not agree with them all, they are just that, opinions that are open to interpretation, speculation and debate.   Please feel free to comment on any aspects of the post in the comments below.  Be aware though that I will not tolerate being spiteful or hate.  We can debate, but in a manner that is conducive to a healthy conversation.  I'm telling you now that I will delete your posts if you get combative or out of line.

Introduction

There has been a lot of hype and speculation surrounding the new Nikon mirrorless camera.  Rumor sites have been buzzing for months and fanboys have made it out to be the next coming of Jesus and haters have dismissed the camera as an utter failure even before the official announcement.  To say that this is a polarizing camera is an understatement.  Even after people have gotten their hands on them, we are getting reviews and opinions based on a limited amount of time shooting with the cameras. That is nothing new if you have been around the tech blogs, and especially the photography forums. We are going to stay away from that kind of talk and look at the camera from my perspective.  A years long Nikon SLR/DSLR shooter as well as an ex-Fujifilm and a current Micro Four Thirds/Olympus shooter. August 23, 2018, Nikon announced the following cameras, lenses and accessories for their new z-mount, 135 sensor size (FX in Nikon speak) mirrorless camera.

BODY

The Nikon Z6 is the all arounder, 24mp camera.  Could be considered the mirrorless version of the D750.  MSRP is $1999 body only or $2599 with the 24-70/4 lens.  If you bought during launch and got a camera/lens bundle, Nikon discounted the FTZ adapter by $100. The first launched Z7 is the high megapixel camera, 45mp.   Your almost D850 but mirrorless option. Price is $3399 body only or $3999 with the 24-70/4, same FTZ adapter discount as with the Z6.

LENS

Nikkor S-Line 24-70mm f/4 Price $999 Nikkor S-Line 35mm f/1.8 Price $849 Nikkor S-Line 50mm f/1.8 Price $599

ACCESSORIES

Battery Grip - release date TBD FTZ Adapter - allows for full function of ~90 existing Nikon f-mount lenses and potentially manual use of D type and older lenses. Price $249 or $149 if purchased with a camera and lens combo.

The Tech Stuff

Let's dive into the technical aspects of the new cameras.

Camera Body

What I'm looking for from the Z6 is to see if it can handle the job of what I bought the D750 for. Just so you have an idea in your head of the Z6 and how it compare to other mirrorless cameras on the market.  Series of images below were pulled from CameraSize website. After these images and comparisons, we'll get into the initial thoughts on the camera itself.

front Nikon DF / Nikon D750 / Nikon Z6

top Nikon DF / Nikon D750 / Nikon Z6

all with the Nikon 50mm f/1.8G attached (Z6 has FTZ adapter) Nikon DF / Nikon D750 / Nikon Z6

native f-mount cameras have Nikon 50mm f/1.8G Z6 has native 50mm f/1.8S in middle adapted 50mm f/1.8G on far right Nikon Df / Nikon Z6

front view Nikon Z6 / Olympus OMD EM1 Mark II

front view Nikon Z6 / Olympus OMD EM1 Mark II / Fujifilm XH1 / Fujifilm XT3

similar fields of view Nikon Z6 - native 50mm / Nikon Z6 - adapted 50mm / Olympus OMD EM1 Mark II - M. Zuiko 25mm f/1.8

Lens Lineup

Out of the gate three lenses were announced.  A 24-70/4, 35/1.8 and 50/1.8 The 50mm was not initially available during pre-order. My initial testing will bring me to one initial decision.  Can the native 24-70/4S hold its own in IQ versus the veteran f-mount 24-70/2.8G.  If IQ is something that is a wash, I can do without the f/2.8 on that lens and replace it.

Accessories

I did not get anything else outside the FTZ adapter, so I have nothing first hand that I can report on in this regard.

Why the FTZ Adapter Matters More Than You Might Think

While it is always the best option to use the native mount lenses for a given system, in the early stages of the release, only so many lenses can be made to go along with the cameras.  Nikon makes some great lenses in the f-mount space and if you are like me, you have a large library of those lenses. Seems like Nikon listened and put out an adapter that is quite versatile.  Full functionality for lenses that are AF-S had AF-P and E or G type lenses.  Nikon has a full list of what they consider compatible on their website and I recommend checking that out. I've used quite a few f-mount lenses on the FTZ and Z6, more detail on that later, but just as a teaser, I've been very happy with the experience so far. If the f-mount lenses is CPU enabled, the FTZ adapter has the ability to use the aperture lever of the lens to shift exposure for you.  THis is done via a lever arm within the f-mount side of the adapter.  This could make a potentially stop down metered, manual focus lens a fully meterable lens that just needs to be manually focused. If the lens does not have a CPU, then it can still be mounted to the FTZ adapter.  You change the aperture value by using the aperture ring on the lens.  The only issue is that there is no way built into the camera for the aperture value to be recorded, except the widest aperture that is in the non-CPU lens data menu in the camera. I challenge Nikon to either update the Z cameras firmware to allow a command dial to match the aperture ring value manually or to create another adapter for those non-CPU lenses with an aperture feeler arm to record those values from the lens directly.

Future potential

With the new z-mount, Nikon engineers are claiming that it is possible for them to make lenses that are fully functional as fast as f/0.65.  They also claim that the communication bandwidth in the new mount can handle quite a lot and should be sufficient for all they want to do in the future, potentially for the next 100 years.

Performance

Here, we are going to be looking at overall system performance, native and adapted lens performance optically and AF/MF, metering. Overall System Performance From powering on to waking from sleep the system performs well.  One of the biggest issues I had early on with the Fuji X system was power on and wake from sleep.  Lost a lot of potential images because of the lag.  The Z6 is not that way at all.   That is one of the first things that I look at when evaluating a new system. Is it as quick to power on as a DSLR.  No.  Is it going to make me lose the opportunity to grab an image.  No, I've never missed a shot.  That is from powered down to powered on.   Waking from sleep is actually faster. Even the menu diving, touch screen interface is quick and snappy, getting you setup how you want quickly. Auto Focus AF-S performance is very quick with native lenses and just as good and possibly just a little bit slower with some adapted f-mount lenses.   This is really lens dependent. Sometimes while using the 24-70/4S, I did not realize that the camera had focused.  It was that quick and quiet.  The other thing is that the AF confirmation is not a dot in the bottom corner like it is on a DSLR.  The focus box is red, and then turns green when AF is acquired. I didn't notice too many issues with AF locking that a DSLR would not have had an issue with either.   Contrast detect AF systems need good contrast and there were some times, like when trying to get images of the umbrella girl fountain below that it did hunt or could not get focused. I set the AF point on the statues face and there was enough shadow and low contrast that the system did struggle a little.   Post processing allowed me to pull the shadows up in post processing.

Nikon 24-70/4S Z-Mount 1/320, f/4, ISO 100 @ 70mm

Then we look at the street image below where I just composed and fired straight off on the lady with the bike.  AF point on her face and the camera nailed focus with no issues.  Focus more was S-AF.

Nikon 24-70/4S Z-Mount 1/160, f/5.6, ISO 100 @ 54mm

AF-C performance might take some time to get a full accounting.   I do not have a lot of upcoming shoots where I can really push it and test it like I would with the other DSLRs in my stable.  I will say this.  I was never a fan of fully automated AF like the AUTO AF or 3D AF on the DSLRs from Nikon.  I much preferred to use the single point AF or the D9/D25 in AF-C modes.   The Z6 doesn't change my mind on that either.  Going forward, I'm most likely going to use the same tried and true AF modes I've always used on my Nikon cameras, and will do it happily. I did get a chance to shoot some dogs running about at a local dog park.   Far from a definitive test, as I only got to check out single point and dynamic area AF using the Nikon 300mm f/4E PF on the FTZ adapter.  I did get some shots, but  I still have a lot to learn about the AF system.  I've heard from some that I should have used the wide area S or L for tracking and would have gotten a better hit rate.   Will post future impressions when I get a chance to use those other focusing modes.  I also shot at high extended, which might have been an issue as well.

Nikon Z6 & Nikon 300mm f/4E PF + FTZ 1/320, f/4, ISO 1100

Nikon Z6 & Nikon 300mm f/4E PF + FTZ 1/1000, f/4, ISO 4000

Nikon Z6 & Nikon 300mm f/4E PF + FTZ 1/1000, f/4, ISO 3600

Manual Focusing On native lenses, the ring that you would normally associate with manual focusing is actually a programmable function ring.  By default Nikon set it up to be manual focus, but it can be exposure compensation or aperture values. This is a focus by wire system, meaning that the focus ring is not directly hard wired to the gears that move the glass elements.  Instead, it sends electrical signals to the motors to tell them what to do.  This allows variable speeds on the focus to occur.    Some people may looks this, but for video, this could be an issue as it makes it difficult to hear impossible for the lens to do a pull focus consistently. Focus Peaking This is one thing that I wanted to test out quite a bit.  Having used adapted lenses on Micro Four Thirds a lot, I use focus peaking with yellow highlights.   I setup the Nikon the same way.  I like having the peaking and it makes manual focusing much less of an issue.  On the Olympus using adapted lenses, you must press a button to activate the peaking feature, then it stays active until you press the shutter and if you power the camera off or it goes to sleep, you must press the button you assigned to peaking to re-activate. Nikon's solution is, in my opinion, much better.  If you are using a manual focus lens with the FTZ adapter, the peaking is on and stays on.  If you are using a native Z-mount lens, then the peaking kicks in when you manually focus, either by selecting it or whenever you use the focus ring.  Thank you Nikon for making this solution work the way I think is best. Here are some manual focus only lens sample images.

Nikon 135mm f/3.5 AIS 1/500, f/5.6, ISO 100

Nikon 135mm f/3.5 AIS 1/640, f/4, ISO 100

Nikon 135mm f/3.5 AIS 1/250, f/8, ISO 100

Nikon 135mm f/3.5 AIS 1/250, f/4, ISO 100

Viewfinder The viewfinder is excellent and the best EVF I've had the pleasure of using. It is crisp and clear, low levels of smearing when moving quickly following subjects. I used the camera in bright sunlight and had no issues with the eye sensor getting tricked and turning the EVF off while I was looking  through it. While not specifically about the viewfinder persay, I do want to mention the modes switching between the EVF and the rear LCD.   There are 4 modes.  EVF only, LCD only, Auto Switch and Prioritize Viewfinder. They are all pretty well described, so I will not go through a description of all of them.  However, I use prioritize viewfinder.   What this mode does is keep the viewfinder as the main display, but when you want to review images or hit a menu option, the rear LCD is employed at those times.  For those who want to shoot off camera flash, here is a tip for you.   Get familiar with d8 - Apply Settings to Live View in the custom settings menu.  This option switches between the EVF showing you a real time view of what the exposure settings will do to the image versus a standard bright view.  Why does this matter?   In a DSLR, the optical viewfinder shows you just a through the lens view of the scene.  If shooting portraits indoors and you are using your shutter speed to kill the ambient light by shooting at 1/200 or faster shutter speeds, the EVF view would be very dark and hard for you to see your subjects and frame accurately. Use the d8 option to switch between these 2 modes.  I'm familiar with this from shooting portraits on the Olympus M43 cameras.   Olympus added an option called S-OVF, which basically does the same as what I've described above.  It simulates the view so that it always looks bright and "normal".   You can also put this menu setting in the "i" menu or the My Menu section. I placed mine in the "i" menu. Rear LCD Again, another great display here.  The big issue with some - it is only a tilt screen and not fully articulating.  For me, any articulation is good.  Fully articulating is better for me with video modes, but I have an external monitor for that kind of work. F-Mount Lenses I've Tested On The Z6 Tamron 70-200mm f/2.8 VC (generation 1) - some jittery movement if the AF is way out of focus, but much better and more consistent if the focus is not that far off.  Exposure functionality is 100% ZhongYi Mitakon Creator 85mm f/2 - meters perfect (Stop down metering required) but does not record aperture values used, manual focus (this lens auto focus' in the opposite direction of the other Nikon manual focus lenses. Nikon 20mm f/3.5 AIS - meters perfect (Stop down metering required) but does not record aperture values used, manual focus Nikon 28mm f/2.8 AIS - meters perfect (Stop down metering required) but does not record aperture values used, manual focus Nikon 135mm f/3.5 AIS - meters perfect (Stop down metering required) but does not record aperture values used, manual focus Nikon 35mm f/2.8 Nikkor-S Auto - Nikon lists this as incompatible, so I did not try it out. Nikon 55mm f/3.5 Macro - meters perfect (Stop down metering required) but does not record aperture values used, manual focus - great macro option. Nikon 105mm f/2.5 -  meters perfect (Stop down metering required) but does not record aperture values used, manual focus Nikon 300mm f/4E PF VR - perfect AF and exposure metering Nikon 24-70mm f/2.8G - perfect AF and exposure metering Nikon 28-85mm f/3.5-4.5D - perfect exposure metering, but just manual focus Nikon 80-200mm f/4.5-5.6D - perfect exposure metering, but just manual focus Nikon 50mm f/1.8G - perfect AF and exposure metering Nikon 300mm f/4.5 AI - meters perfect (Stop down metering required) but does not record aperture values used, manual focus Nikon 200mm f/4 Pre-AI - meters perfect (Stop down metering required) but does not record aperture values used, manual focus Nikon 180mm f/2.8 ED AIS - meters perfect (Stop down metering required) but does not record aperture values used, manual focus

Nikon 24-70mm f/4S 1/60, f/4, ISO 4500 @ 54mm (hand held)

Batteries The Z6/Z7 cameras use the newer EN-EL15b batteries.  These are very similar to the EN-EL15a, except that allow for in camera USB-C charging. I have spare EN-EL15a batteries as well as some third party ones, so I tested them in the Z6. Results are as follows - prices of the battery when I bought them : EN-EL15a - same performance as the EN-EL15b ($60) Bower - worked fine to power the camera, about 2/3 of the longevity ($20) RAVPower - worked fine to power the camera, about 3/4 of the longevity ($25 - 2 batteries + charger) ProMaster - worked fine to power the camera, about 3/4 of the longevity. ($25)

Nikon 24-70mm f/4S 1/60, f/4, ISO 2800 @ 62mm (hand held)

Ergonomics

Feel In The Hand The camera feels good in the hand.   The grip is deep enough to feel secure if holding the camera in one hand.  Some people have had issues with reaching the 2 function buttons next to the mount, but I have had no such issues.  I might have longer fingers than most, though or perhaps my grip on the camera is different.  The little thumb grip is a nice touch as well. My pinkie fingers does fall off the bottom of the grip, but to be honest, it is not really bothering me that much with the current lenses I am using.  I might see about getting an l-bracket or similar thing if I find myself using larger lenses. The way I feel about these things is that I'd rather have smaller and add on to make it larger than have something larger that you are stuck with the size. Button Placement The buttons feel familiar to me, coming from a Nikon DSLR.  The power switch is still around the shutter release button.  Love it there. The exposure comp, ISO and movie record button are just behind the shutter and the same setup as in the D500/D850.  That's good for me as an owner of the D500. The AF joystick is great, too as I have become enamoured with it since having it on the D500.   I've setup the center press of the AF joystick to reset the AF point to center position.  I've also setup the OK button in shooting mode to be the punch in zoom, used when I need to verify focus.  I did this because I use zoom view quite a bit and the OK button is easier to reach than the + magnifying glass button. Some people want to have the rear LCD used as a touchpad for AF points.   My Olympus cameras  have that and I did not like it and turned it off.   Too much accidental touching and it just didn't feel right to me.  I appreciate the joystick implementation of the AF point selector. I like having the AF modes as a button on the camera body, like on the Df or D500, but the Z puts it in a menu option.  This is easily accessible through the "i" button and since the menus are fully touch compatible, switching is quick and easy, but it will take me some time to get used to going into a menu option instead of just pushing a button and turning a dial. Drive modes are accessed via button at the bottom right of the camera body.  Again, like the focus mode, I would have preferred to have it like on the D500 or Df as a button and command dial turn or a dedicated switch.  Perhaps higher end bodies in the future will have this.  Don't get me wrong, it is a perfectly usable setup, it is just different than what is in DSLR land and will take some time to get used to working this way.

Nikon 24-70mm f/4S 1/30, f/8, ISO 3600 @ 31mm (hand held)

Image Quality - Stills Nikon is my favorite camera as far as IQ goes.   Great dynamic range, love the colors and the files are very pliable in both JPG or RAW configurations. There has been some mention of banding and it certainly is true that it is there...but you really need to push the exposure to over 5 stops to run into it.   I cannot honestly say that I have very had a need to push it that far.  Even if you did, there are post processing options that will help with correcting that banding issue, so all is not lost. The Z-Mount 24-70mm f/4S lens is a great lens.  It focus' quickly and the zoom is stiff enough to prevent zoom creep.   It is very sharp even wide open.   I could shoot this lenses at f/4 all day and all night with no issues.  It is very similar in the way that I can shoot my micro four thirds lenses wide open without sacrificing image quality.   The benefits of a good contrast detect AF systems helps with this too by eliminating AF accuracy issues with a separate PDAF module. No surprise, though if you are familiar with our reviews - I like to let the images speak for themselves.      Check them out below!

Nikon 70-300/4.5-5.6E AF-P VR 1/320, f/5.6, ISO 4000 @ 300mm

Nikon 70-300/4.5-5.6E AF-P VR 1/320, f/5.6, ISO 8000 @ 300mm

The image below is at ISO 18,000.  Just wanted to point that out and it is not a typographical error.

Nikon 70-300/4.5-5.6E AF-P VR 1/320, f/5.6, ISO 18000 @ 300mm

Nikon 70-300/4.5-5.6E AF-P VR 1/320, f/5.6, ISO 1600 @ 300mm

 This image below shows off the IBIS a bit.  Hand held and shot using the rear touch screen to activate the shutter release.

Nikon 24-70/4S z-mount 1/24, f/4, ISO 250 @ 24mm

Nikon 24-70/4S 1/100, f/5.6, ISO 100 @ 56mm

Nikon 24-70/4S 1/80, f/5.6, ISO 125 @ 70mm

Nikon 24-70/4S 1/60, f/5.6, ISO100 @ 38mm 

Nikon 24-70/4S 1/200, f/5.6, ISO 100 @ 70mm

Nikon 24-70/4S 1/60, f/8, ISO 100 @ 54mm

Image Quality - Video Nikon provides both 4k and 1080p video options.  1080p gives you the ability to shoot in 120fps for some cool slow motion effects.  No grading, sharpening on the video below, shot in 1080p 30 and 1080p 120, basically straight out of the camera.  I'll probably go back and grade, sharpen and then republish for a side by side.  Slow mo and transitions in Premiere Elements 2019.

Final Thoughts

You never know what you will think or feel about a new camera until you get it in your hands and have some quality time shooting with it. Even after a short time with the Z6, I love how it gives me all the stuff I love about shooting a Nikon DSLR mixed with all there is to love about the Olympus OMD cameras. If this is the quality that Nikon has started with, and the trend/trajectory is for this to only get better, then we are in for a great ride and Nikon should have a great stronghold not only in the mirrorless stills market, but also a strong video camera contender. Right now, the Nikon Df is still my favorite camera of all time, but the Z series mirrorless could get close to taking that #1 spot.   It will take some time to figure that out. Some additional images for your viewing:

Nikon 24-70mm f/4S 1/400, f/4, ISO 100 @ 70mm McLaren 720s In Green

Nikon 24-70mm f/4S 1/80, f/11, ISO 100 @ 47mm

Nikon 24-70mm f/4S 1/250, f/8, ISO 100 @ 70mm

Nikon 24-70mm f/4S 1/640, f/4, ISO 100 @ 35mm

Nikon 24-70mm f/4S 1/50, f/11, ISO 100 @ 24mm

Nikon Z6 & Nikon 50mm f/1.8G + FTZ 1/50, f/3.5, ISO 250

Nikon Z6 & Nikon 50mm f/1.8G + FTZ 1/400, f/1.8, ISO 100

Nikon Z6 & Nikon 300mm f/4E PF + FTZ 1/1000, f/4, ISO 4500

Nikon Z6 & Nikon 300mm f/4E PF + FTZ 1/320, f/4, ISO 3200

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[agnizahowardyh]

Buy it on Amazon - http://ift.tt/2nJBmpk - Nikon AF-S DX NIKKOR 35mm f/1.8G Lens with Auto Focus for Nikon DSLR Cameras Coupon -- Click the link to buy now or to read the 294 4 & 5 Star Reviews.Subscribe to our Channel: https://www.youtube.com/channel/UCYgR8elkU_BQIBYFCdAHW4Q?sub_confirmation=1 Like us on Facebook for videos, pictures, coupons, prizes and more - http://ift.tt/2wCDdi2 Nikon AF-S DX NIKKOR 35mm f/1.8G Lens with Auto Focus for Nikon DSLR Cameras Coupon The lens is OK, but it was make in China? I had order this one with Free cloth Cleaning but they sent only the lens (without free cleaning kit!) by who's mistake? I don't know!!! Anyway, Test the Lens it was working good. ... Reviewer : Toms2013 For your APS-C sensor it works good, decently sharp, the Bokeh is a bit octagonal sometimes but really if you're looking for exceptional sharpness and bokeh you need a lens thats $800+. This lens will get the job done and give you good looking photos for its price. I recommend this Lens over the 50mm F/1.8 simply because the 50mm is a Full frame lens and will not do as well on a crop body. The 50mm does have better Bokeh however if you need it. ... Reviewer : Greg Nash Click http://ift.tt/2nJBmpk to buy now on Amazon or to read more reviews. 52.5mm (35mm Equivalent) Aperture Range: f/1.8 to 22 Silent Wave Motor AF System Rear Focusing; Manual Focus Override Lens not zoomable The 50 1.8 was the first prime I'd bought for my Nikons. I loved the low light performance but it always felt too long indoors. The 35mm fixes that issue, it's plenty wide and plenty fast. I love how small it is too. I can tack the 35 on my 300s and have a great camera for indoor situations like restaurants and family outings. The focus could be a bit faster, but then again my only other AFS lens to compare it to is my 24-70 2.8 and it's in a totally different class than the 35. Great lens... Reviewer : Davis D Click http://ift.tt/2nJBmpk to buy now on Amazon or to read more reviews. ***Let Us Know What You Think… Comment Below!!*** Watch my other review Videos – https://www.youtube.com/channel/UCYgR8elkU_BQIBYFCdAHW4Q See other products on http://ift.tt/2xhK4Ru Subscribe to our Channel: https://www.youtube.com/channel/UCYgR8elkU_BQIBYFCdAHW4Q?sub_confirmation=1 Like us on Facebook for videos, pictures, coupons, prizes and more - http://ift.tt/2wCDdi2 #Nikon, #Nikon AF-S DX NIKKOR 35mm f/1.8G Lens with Auto Focus for Nikon DSLR Cameras This is a review video for : B001S2PPT0 Manufacture : Nikon Thanks for watching! http://ift.tt/2xhK4Ru Related Videos in Channel

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[henriettaiaaduncan]

Buy it on Amazon - http://ift.tt/2nJBmpk - Buy Nikon AF-S DX NIKKOR 35mm f/1.8G Lens with Auto Focus for Nikon DSLR Cameras -- Click the link to buy now or to read the 294 4 & 5 Star Reviews.Subscribe to our Channel: https://www.youtube.com/channel/UCVf7gHEAP0kJID0NIhAcLCQ?sub_confirmation=1 Like us on Facebook for videos, pictures, coupons, prizes and more - http://ift.tt/2wCDdi2 Buy Nikon AF-S DX NIKKOR 35mm f/1.8G Lens with Auto Focus for Nikon DSLR Cameras The lens is OK, but it was make in China? I had order this one with Free cloth Cleaning but they sent only the lens (without free cleaning kit!) by who's mistake? I don't know!!! Anyway, Test the Lens it was working good. ... Reviewer : Toms2013 For your APS-C sensor it works good, decently sharp, the Bokeh is a bit octagonal sometimes but really if you're looking for exceptional sharpness and bokeh you need a lens thats $800+. This lens will get the job done and give you good looking photos for its price. I recommend this Lens over the 50mm F/1.8 simply because the 50mm is a Full frame lens and will not do as well on a crop body. The 50mm does have better Bokeh however if you need it. ... Reviewer : Greg Nash Click http://ift.tt/2nJBmpk to buy now on Amazon or to read more reviews. 52.5mm (35mm Equivalent) Aperture Range: f/1.8 to 22 Silent Wave Motor AF System Rear Focusing; Manual Focus Override Lens not zoomable The 50 1.8 was the first prime I'd bought for my Nikons. I loved the low light performance but it always felt too long indoors. The 35mm fixes that issue, it's plenty wide and plenty fast. I love how small it is too. I can tack the 35 on my 300s and have a great camera for indoor situations like restaurants and family outings. The focus could be a bit faster, but then again my only other AFS lens to compare it to is my 24-70 2.8 and it's in a totally different class than the 35. Great lens... Reviewer : Davis D Click http://ift.tt/2nJBmpk to buy now on Amazon or to read more reviews. ***Let Us Know What You Think… Comment Below!!*** Watch my other review Videos – https://www.youtube.com/channel/UCVf7gHEAP0kJID0NIhAcLCQ See other products on http://ift.tt/2xhK4Ru Subscribe to our Channel: https://www.youtube.com/channel/UCVf7gHEAP0kJID0NIhAcLCQ?sub_confirmation=1 Like us on Facebook for videos, pictures, coupons, prizes and more - http://ift.tt/2wCDdi2 #Nikon, #Nikon AF-S DX NIKKOR 35mm f/1.8G Lens with Auto Focus for Nikon DSLR Cameras This is a review video for : B001S2PPT0 Manufacture : Nikon Thanks for watching! http://ift.tt/2xhK4Ru Related Videos in Channel

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[akramsharaf-blog]

العدسات الأصلية .NIKON LENSES # العدسات الأصلية لا يمكن استخدامها إلا مع الكاميرات المصنعه من نفس الشركة (مثال : عدسة نيكون لا يمكن أن تركب على كاميرا من شركة بينتاكس والعكس صحيح) # العدسات الأصلية المصنوعة من نيكون مثلا بأغلب موديلاتها ستعمل على جميع كاميرات نيكون SLR # جودة صناعة العدسات الأصلية (بالأخص عدسات النيكون والكانون) هي السبب الذي يجعل محترفي التصوير الفوتوغرافي لا يستعملون غيرها . # بسبب أن العدسات الحديثه أغلبها تعمل بشكل الكتروني ، فإن المصنع الذي يصنع الكاميرا هو الذي يستطيع صنع عدسات متوافقة بشكل كامل مع الكاميرا . اضغط هنا لمشاهدة الصورة بحجمها الاصلي العدسات التجارية # من أبرز الشركات الكبرى في هذا المجال : ( سيجما ، تامرون ، توكينا ) . # العديد من العدسات التجاريه ليست ذات سعر مرتفع بالمقارنة بالعدسات الأصليه التي تصنعها الشركات لكاميراتها. # الشركات المصنعه للعدسات التجاريه توفر تشكيلة أكبر من العدسات الأصلية . # يجب الحذر عند الشراء لأن عدسات السيجما للكانون تختلف عن عدسات السيجما للنيكون ، فتأكد عند الشراء إذا كانت تعمل مع كاميرتك , وهناك عدسات تعمل مع أكثر من نوع من الكاميرات على سبيل المثال : العدسه Tamron 28-70mm zoom تعمل مع الكانون والنيكون في نفس الوقت . في الفترة الأخيرة تم تطوير العدسات التجارية بشكل كبير جدا ، لتكون قريبة من مستوى العدسات الأصلية. اضغط هنا لمشاهدة الصورة بحجمها الاصلي مواصفات عدسة DSLR اذا نظرت لأي عدسة سنلاحظ عليها بعض الرموز بغض النظر عن البعد البؤري مثل : Nikkor AF-S 18-55mm 1:3.5-5.6 ... ما الذي يقصد بها ؟ تابع القراءة للتعرف أكثر Silent autofocus تركيز آلي صامت بعض العدسات عندما تعمل الفوكس تصدر اهتزازات وأصوات مزعجه ، مما يخيف الحيوانات والحشرات ، فهذه الميزه تجعل العدسة تعمل بهدوء مما يسهل التقاط الصورة , والرمز الخاص بهذه الميزه تجده على العدسات بالصيغه USM أو HSF Full-time manual focus تركيز يدوي طوال الوقت تمكن هذه الميزة من تحويل العدسة من التوجيه التلقائي الى التوجيه اليدوي والعكس صحيح ، لأنه في بعض الأحيان التوجيه اليدوي يعطي نتائج أفضل من التوجيه التلقائي وهذا يتطلب مزيد من الخبره. Image stabilization ثبات الصورة يرمز لها في العدسات ب (vibration reduction ) VR ، وهي تساعد على تقليل اهتزاز العدسه اثناه التصوير. اضغط هنا لمشاهدة الصورة بحجمها الاصلي الرموز الخاصة لبعض العدسات عدسات النيكون NIKON LENSES F-mount يقصد بها العدسات اللي تتناسب مع الكاميرات النيكون ذات 35 مم. AF - auto focus designation ذات ضبط تلقائي AF-S Auto focus-Silent. ذات ضبط تلقائي هادئ وسريع AF-D Auto focus-Digital عدسات اوتو فوكس و هي اوتوماتيكية بالكامل AF-I - Auto focus-Internal ضبط تلقائي داخلي سريع , بها نظام حاسوبي منفصل يرسل بيانات العدسة للكاميرا و الفلاش ED - “Extra-low Dispersion” تقليل التشتيت في العدسة DX عدسات صممت للكاميرات الرقمية فقط , حيث ان مساحة الصورة المنعكسة تغطي السينسور بالكامل فلن تحتاج إلى كاميرا فل فريم لتحصل على كامل زاوية الصورة , فأرقام العدسة ستحصل عليها بالكامل و لكن العدسات من غير DX فلن تحصل على كامل الفريم . VR - Vibration Reduction يقصد بها تقليل الاهتزازات D عدسة قادرة على استعمال 3d matrix على الأجسام التي تدعمها. G تعني ان العدسة ليس بها حلقة للتحكم بفتحة العدسة و فتحة العدسة تتحكم بها من ازرار الكاميرا اضغط هنا لمشاهدة الصورة بحجمها الاصلي عدسات الكانون CANON LENSES EF - The EF lens يقصد بها الضبط الإلكتروني USM - Ultrasonic motor drive عدسة ذات محرك هادئ IS - Image stabilizer مثبت للصورة L -series lenses أفخم سلسلة من عدسات كانون لما تتميز نوعية الزجاج الموجود في هيكل العدسة وبوجود الشريط الأحمر حولها. اضغط هنا لمشاهدة الصورة بحجمها الاصلي عدسات السيقما SIGMA LENSES APO - Apochromatic lens elements ويقصد بها أن هذا الصنف يحتوي على عناصر أقل لتحسين أداء العدسة . OS - “Optical Stabilization مثبت لصورة HSM - “HyperSonic Motor” خاص لكاميرات الكانون EX - “Excellence”, professional series عدسات هذا النوع سلسلة تتميز بالجودة والأفضلية DG عدسات تتناسب مع الكاميرات الفلمية والرقمية DC تتناسب مع الكاميرا الرقمية فقط DF - “Dual Focus” الضبط المزدوج HF - “Helical Focusing ضبط حلزوني اضغط هنا لمشاهدة الصورة بحجمها الاصلي عدسات التامرون TAMRON LENSES Di — “Digitally Integrated عدسات تتناسب مع الكاميرات الرقمية فقط . SP — “Super Performance” عدسات تمتاز بأداء عالي IF — “Internal Focus” الضبط داخلي LD — “Low Dispersion” elements العناصر الموجودة داخل العدسة مخفضة التشتت XR — Extra Refractive إضافة انعكاس داخل الزجاج VC — Vibration Compensation تعويض الإهتزازات مثل النيكون VR و بالكانون IS اضغط هنا لمشاهدة الصورة بحجمها الاصلي عدسات التوكينا TOKINA LENSES AT-X - “Advanced Technology-Extra” عدسات مصنوعة بأحدث ما توصلت إليه تقنية العدسات F&R يقصد بها أنها تتميز بأقل انحرافات باللون . SD - Super Low Dispersion مخفض للتشتت HLD - High-refraction, Low Dispersion يقصد بها الانعكاسات العالية وانخفاض التشتت IFS - Internal Focus System نظام الفوكس داخلي اضغط هنا لمشاهدة الصورة بحجمها الاصلي كيف يمكن معرفة نوع وفتحة العدسة بالنظر إليها ؟ جميع مصنعي العدسات يحرصون على كتابة معلومات العدسة على الجسم الخارجي لها ، وذلك حتى يتمكن المصور من التمييز بسهولة بين عدسة وأخرى . أمثلة : اضغط هنا لمشاهدة الصورة بحجمها الاصلي الأرقام في الصورة أعلاه تقول أن البعد البؤري للعدسة يبدأ من 18 mm إلى 55 mm ، وفتحة العدسة تبدأ من f/3.5 إلى f/5.6 - وبالتالي هي عدسة نيكون زوم اضغط هنا لمشاهدة الصورة بحجمها الاصلي الأرقام في الصورة أعلاه تقول أن البعد البؤري للعدسة يبدأ من 10mm إلى 20mm ، وفتحة العدسة تبدأ من f/4 إلى f/5.6 - وبالتالي هي عدسة سيجما وايد أنجل زووم اضغط هنا لمشاهدة الصورة بحجمها الاصلي الأرقام في الصورة أعلاه تقول أن البعد البؤري للعدسة ثابت 85mm ، وفتحة العدسة تبدأ من f/1.2 - وبالتالي هي عدسة كانون تليفوتو اضغط هنا لمشاهدة الصورة بحجمها الاصلي اضغط هنا لمشاهدة الصورة بحجمها الاصلي الأرقام في الصورة أعلاه تقول أن البعد البؤري للعدسة ثابت 10.5mm ، وفتحة العدسة تبدأ من f/2.8 - وبالتالي هي عدسة نيكون وايد أنجل ، إلا أن هذه النوعيات من العدسة تسمى عين السمكة (Fisheye) ، لأنها تنتج صوراً بزوايا تصل إلى 180 درجة وتعطي إيحاءاً مشابهاً لما تراه عين السمكة أولا عدسات DX و هي عدسات عالية الجودة و مصممة خصيصا لكاميرات النيكون الديجيتال ذات السينسور بخاصية DX و الأبعاد التي على العدسة لن تتغير عند استخدامها لكاميرات الديجيتال التي هي ليست (فل فريم) كباقي العدسات الأخرى AF-S DX VR Zoom-Nikkor 55-200mm f/4-5.6G IF-ED هذه العدسة هي جديدة في سلسلة عدسات DX خفيفة الوزن و ذات أوتوفوكس صامت استخدامات هذه العدسة عديدة و أبرزها تصوير المهرجانات و ربما البورتريه بشكل بسيط قد لا تكون مفيدة لتصوير الطبيعة لأن اقري زاوية لها هي 55 السعر 250$ -------------------- AF-S DX Zoom-Nikkor 18-55mm f/3.5-5.6G ED II هذه العدسة جديدة في سلسلة عدسات DX خفيفة الوزن و صغيرة الحجم مفيدة لكثير من أنواع التصوير , الطبيعة و البورتريه نوعا ما و المباني السعر 120$ -------------------- AF-S DX Zoom-Nikkor 18-135mm f/3.5-5.6G IF-ED عدسة عديدة الإستخدامات و خفيفة الوزن البورتريه نوعا ما و التصوير الداخلي و النشاطات و الطبيعة السعر 319$ -------------------- AF-S DX VR Zoom-Nikkor 18-200mm f/3.5-5.6G IF-ED عدسة أساسية جدا جدا (أنصح بأن تكون أول عدسة بمجموعتك) خفيفة الوزن و صغيرة الحجم نوعا ما متعددة الإستخدامات , طبيعة , رياضة , مهرجانات , بورتريه نوعا ما , مباني السعر 950$ -------------------- AF DX Fisheye 10.5mm f/2.8G ED فيش آي (تعطي حواف مستديرة للصورة) عند استخدامها على كاميرا بسينسور بخاصية DX تعطيك زاوية 180 صغيرة جدا و خفيفة جدا عديدة الإستخدامات , مباني و طبيعة و بورتريهات مضحكة ! ليست عدسة أساسية وإنما هي مكملة لمجموعة عدساتك السعر 580$ -------------------- AF-S DX 17-55mm f/2.8G IF-ED رائعة لأبعد الحدود خفيفة الوزن و تتميز بفتحة العدسة 2.8 و الفوكس سريع جدااا ممتازة للغاية لتصوير البورتريه بل هي الأفضل في هذا المجال و تتميز أيضا لتصوير الإحتفالات الداخلية و المؤتمرات و التصوير الصحفي و تعطي نقاوة عالية للصورة و جودة كبيرة لقلة العدسات التي تتكون منها هذه العدسة السعر 1200$ -------------------- AF-S DX 18-70mm f/3.5-4.5G خفيفة الوزن و صغيرة الحجم جيدة لتصوير البورتريه و الطبيعة و الاحتفالاات الداخلية مع استخدام الفلاش السعر 330$ -------------------- ثانيا عدسات ZooM عدسات ذات تدرج في الأبعاد و هي ليست بخاصية DX مما يعني أن الأبعاد المكتوبة على العدسة ستختلف على الكاميرات التي هي ليست (فل فريم) و سوف تعطيك بعد أكثر من الذي هو مدون على العدسة 55 مثلا تصبح 72 تقريبا AF-S VR Zoom-Nikkor 70-300mm f/4.5-5.6G IF-ED خفيفة الوزن فوكس صامت و دقة بالصورة و مانع الاهتزاز جيدة للتصوير الرياضي و تصوير المهرجانات السعر 505$ -------------------- AF 28-200mm f/3.5-5.6G IF-ED خفيفة الوزن و صغيرة الحجم مناسبة لتصوير الطبيعة و التصوير الرياضي البسيط و تصوير البورتريه نوعا ما السعر 300$ -------------------- AF-S 24-85mm f/3.5-4.5G IF-ED خفيفة و صغيرة الحجم جيدة لتصوير الطبيعة و البورتريه نوعا ما السعر 239$ -------------------- AF VR 80-400mm f/4.5-5.6D ED عدسة جيدة للتصوير الرياضي و لتصوير الحيوانات البرية و الطيور ليست جيدة لتصوير الحيوانات السريعة و الطيور السريعة بسبب بطئ الفوكس بها ممتازة جدا لتصوير المهرجانات و الاحتفالاات الخارجية السعر 1500$ -------------------- AF-S 17-35mm f/2.8D IF-ED خفيفة الوزن و تمتاز بسرعة الفوكس و فتحة العدسة 2.8 ممتازة لتصوير البورتريه و التصوير الصحفي و الطبيعة نوعا ما السعر 1444$ -------------------- AF-S 28-70mm f/2.8D IF-ED عدسة ممتاااازة جدا لتصوير البورتريه و المباني تتميز بسرعة الفوكس و فتحة العدسة 2.8 السعر 1440$ -------------------- AF 80-200mm f/2.8D ED عدسة ممتازة و فتحة عدسة 2.8 جيدة للتصوير الرياضي عن قرب و المهرجانات و ممتازة و أساسية بتصوير الاحتفالاات الموسيقية السعر 830$ -------------------- AF-S VR 70-200mm f/2.8G IF-ED عدسة أكثر من رائعة بفتحة عدسة 2.8 و فوكس سريع جدا و مانع اهتزاز أساسية بتصوير عروض الأزياء و الاحتفالاات الموسيقية و السيرك و التصوير الرياضي القريب السعر 1575$ -------------------- AF-S VR 200-400mm f/4G IF-ED عدسة قوية جدااا فوكس صامت و سريع جدا لتصوير الطيور و الحيوانات السريعة البرية و هي الأفضل بهذا المجال لأنها من 200 - 400 لتحصل على جميع الأبعاد المطلوبة عند استخدامها مع كاميرا ذات سينسر بخاصية DX مثل D200 تصبح 300-600 سوبر زووم قد تنفع بالتصوير الرياضي ولكن فتحة العدسة 4 قد لا تعطيك حرية كبيرة بهذا المجال السعر 5110$ -------------------- ثالثا عدسات FishEye و هي عدسات تعطي حواف مستديرة و هي ليست بخاصية DX مما يعني أن الأبعاد المكتوبة على العدسة ستختلف على الكاميرات التي هي ليست (فل فريم) و سوف تعطيك بعد أكثر من الذي هو مدون على العدسة 55 مثلا تصبح 72 تقريبا ذكرنا مسبقا واحدة من عدسات DX (أعلى الصفحة) و هذه الثانية AF Fisheye 16mm f/2.8D صغيرة و خفيفة الوزن يمكنها أن تملئ فل فريم بالكامل من غير أي استقطاعات بالحواف للكاميرات الفلمية أو للديجيتال ولكن مع الديجيتال تصبح 25 بدل 16 تقريبا السعر 816$ -------------------- رابعا عدسات الوايد أنجل WideAngle عدسات لتصوير الطبيعة و لتصوير في الغرف الضيقة و الاجتماعات و الاحتفالاات الداخلية و هي ليست بخاصية DX مما يعني أن الأبعاد المكتوبة على العدسة ستختلف على الكاميرات التي هي ليست (فل فريم) و سوف تعطيك بعد أكثر من الذي هو مدون على العدسة 55 مثلا تصبح 72 تقريبا AF 14mm f/2.8D ED خفيفة الوزن و صغيرة الحجم تستخدم غالبا في تصوير الطبيعة و التصوير الصحفي للصور الجماعية في الأماكن الضيقة السعر 1430$ -------------------- AF 35mm f/2D عدسة ممتازة لتصوير داخل المنزل و تصوير أعياد الميلاد تتميز بصغر حجمها و خفتها و فتحة العدسة 2 السعر 330$ -------------------- AF 28mm f/2.8D خفيفة و الوزن و صغيرة الحجم متعددة الاستخدام و جيدة للبورتريه داخل المنزل السعر 220$ -------------------- AF 28mm f/1.4D خفيفة الوزن تتميز بفتحة العدسة 1.4 مما يجعلك تصور تحت إضاءة خافتة جدا من غير فلاش رائعة للطبيعة و البورتريه (كامل الجسم) و التصوير داخل المنزل من غير الحاجة للفلاش و ممتازة للسيرك للتصوير من غير فلاش و تجميد الحركة السعر 400& -------------------- AF 18mm f/2.8D عدسة خفيفة الوزن ممتازة لتصوير الطبيعة و التصوير العلمي لأنها تعطيك ألوان مقاربة جدا للطبيعة و هذا الشيئ أساسي بالتصوير العلمي و هي ممتازة أيضا في تصوير المباني السعر 800$ -------------------- خامسا العدسات الطبيعية و هي العدسات التي تكون ذات بعد بؤري مقارب لنظر الإنسان و غالبا ما تكون 50mm و هي الأفضل للتصوير تحت الاضاءة الخافتة من غير فلاش و هي ليست بخاصية DX مما يعني أن الأبعاد المكتوبة على العدسة ستختلف على الكاميرات التي هي ليست (فل فريم) و سوف تعطيك بعد أكثر من الذي هو مدون على العدسة 55 مثلا تصبح 72 تقريبا AF 50mm f/1.8D صغيرة و خفيفة الوزن تصنيعها بسيط جدا و من البلاستيك الخفيف تستخدم لتصوير البورتريه مع عزل رهيب نظرا لفتحة العدسة الواسعة و تتميز بسعرها الرخيص جدا السعر 115$ -------------------- AF 50mm f/1.4D رائعة و تتميز بفتحة العدسة 1.4 للتصوير تحت الإضاءة الخافتة من غير أي فلاش مع تجميد الحركة تصميمها أقوى بكثير من سابقتها و صورها أكثر دقة رائعة لتصوير البورتريه (الوجه) تعطي عزل قوي جدااااا للخلفية السعر 320$ -------------------- سادسا عدسات TelePhoto و هي عدسات للتقريب ذات بعد ثابت لتعطي أفضل النتائج المطلوبة في التصوير و هي ليست بخاصية DX مما يعني أن الأبعاد المكتوبة على العدسة ستختلف على الكاميرات التي هي ليست (فل فريم) و سوف تعطيك بعد أكثر من الذي هو مدون على العدسة 55 مثلا تصبح 72 تقريبا AF-S 400mm f/2.8D IF-ED II عدسة خفيفة الوزن نسبيا مصنوعة من حديد المغنيسيوم الخفيف تتميز بسرعة الفوكس و فتحة العدسة 2.8 أساسية جدا في التصوير الرياضي و الحيوانات و الطيور السريعة و تصوير البورتريهات البعيدة مع العزل الرهيب الذي تقدمه هذه الرائعة السعر 7300$ -------------------- الدمج الآلي للمشاركات المتعاقبة التي لم يكن بينها 24 ساعه --------- هذه المشاركة اضيفت في 04:07 PM ----------- المشاركة السابقة اضيفت في 04:05 PM --------- AF-S 500mm f/4D IF-ED II عدسة بفوكس سريع و تقريب خرافي قد لا تنفع للتصوير الرياضي نظرا لقتحة العدسة 4 مخصصة لتصوير الحيوانات السريعة و المفترسة و الطيور و الحياة البرية دون الحاجة الى الاقتراب كثير السعر 7200 -------------------- AF-S 300mm f/2.8D IF-ED II عدسة تتميز بسرعة الفوكس ممتازة لتصوير الحيوانات البرية الراكدة القريبة و جيدة جدا للتصوير الرياضي السعر 6500$ -------------------- AF-S 600mm f/4D IF-ED عدسة بفوكس سريع و تقريب خرافي قد لا تنفع للتصوير الرياضي نظرا لقتحة العدسة 4 مخصصة لتصوير الحيوانات السريعة و المفترسة و الطيور و الحياة البرية دون الحاجة الى الاقتراب كثير السعر 14000$ -------------------- سابعا عدسات الماكرو و هي عدسات مخصصة للتصوير المايكروسكوبي الدقيق كالحشرات و هي ليست بخاصية DX مما يعني أن الأبعاد المكتوبة على العدسة ستختلف على الكاميرات التي هي ليست (فل فريم) و سوف تعطيك بعد أكثر من الذي هو مدون على العدسة 55 مثلا تصبح 72 تقريبا AF-S VR Micro-Nikkor 105mm f/2.8G IF-ED أول عدسة ماكرو بمانع اهتزاز رائعة جدا و دقيقة جدا و تعطي ألوان رائعة و خلابة و مقاربة جدا للحقيقة و تتميز بفوكس سريع و صامت و بها ميزة الفوكس عل نصف البعد للحصول على فوكس سريع جدا للمواضيع التي هي أبعد من قدم السعر 822$ -------------------- AF Micro 70-180mm f/4.5-5.6D ED أول عدسة ماكرو بالعالم (أوتو فوكس) نتذكر بأنها ليست DX لذلك ستصبح 90-200 تقريبا السعر 1000$ -------------------- هذه هي مجموعة من افضل عدسات النيكون هناك المزيد ولكنها ليست ذات أهمية كهذه المجموعة الأساسية الاسعار مأخوذة من عدة مواقع و بعضها تقريبية لإختلافها من موقع لآخر. اخترت لكم الموضوع Abu yanal

[luckypl26]

Radioactive lenses -- group shot by s58y Radioactive lenses -- group shot: (a bit drab, not a very colorful group) These lenses exhibit low-level radioactivity, probably caused by Thorium Oxide added to the glass to enhance its optical properties. Top Row (Left to Right): - CANON LENS FL 58mm 1:1.2 - CANON LENS FD 35mm 1:2 (chrome filter ring) - CANON LENS FD 55mm 1:1.2 S.S.C. ASPHERICAL - CANON LENS FD 17mm 1:4 S.S.C. - CANON LENS FL 50mm 1:1.8 Middle Row (Left to Right): - AUTO YASHINON-DX 1:1.4 f=50mm YASHICA - AUTO YASHINON-DS 50mm 1:1.7 YASHICA - ASAHI OPT. Co. JAPAN Super-Multi-Coated Takumar 1:2/35 - ASAHI OPT. Co. JAPAN Super-Multi-Coated Takumar 1:1.8/50 - ASAHI OPT. Co. JAPAN Super-Multi-Coated Takumar 1:1.4/50 Bottom Row (Left to Right): - Ernst Leitz GmbH Wetzlar Summicron f=5cm 1:2 (collapsible, M39) - OLYMPUS OM-SYSTEM G.ZUIKO AUTO-S 1:1.4 f=50mm (early) - FUJINON 1:1.4/50 FUIJI PHOTO FILM CO. (metal focus ring) - UV TOPCOR 1:2 f=50mm TOKYO KOGAKU - RE GN TOPCOR M 1:1.4 f=50mm TOKYO KOGAKU Taken with Canon T2i (550D) with Canon EF 20mm f/2.8 lens. ISO 100, f/8, 0.3 sec During the shot, the level of gamma radiation measured at the camera (about 0.5 meter above the lenses) was about 4-5x normal background, as measured with a Ludlum 44-2 NaI scintillation probe. One meter away, the level dropped to about 2x normal. (Ludlum 2221 settings: HV=775V, threshold(LLD)=10mV, background about 1900 CPM). . . ============================== Measurements (informal, unscientific) ============================== . . -------------------------------------------------------------------- 1) Surface (near contact) readings with geiger counter . . -------------------------------------------------------------------- These are the typical readings where the Geiger Mueller tube is pressed up as close to the front or rear glass as possible. Ludlum Model 2221 Scaler/ratemeter, with Ludlum 44-9 Pancake GM probe Settings: High Voltage = 900V, Threshold (LLD) = 55mV The 4 readings on each row are "F=r1/r2 R=r3/r4 CPM [x%]" - r1 = close to front - r2 = close to front with plastic cap (little/no alpha, some beta, most gamma) - r3 = close to rear - r4 = close to rear with plastic cap (little/no alpha, some beta, most gamma) - x% = Max(r1,r3)-background / same value for Pentax 50/1.4 S-M-C Takumar Lens caps off, focus at infinity, aperture fully open (may not affect some lenses) Each reading was a 10 minute average. Plastic cap off - background level was about 28CPM (26-30) - from 2x10 min averages. Plastic cap on - background level was about 27CPM (25-29) - from 4x10 min averages. Lens: F=r1/r2 R=r3/r4 CPM Readings ------------------------------------------ Slightly radioactive lenses: (not in group shot -- low radioactivity) - - - - - - - - - - - - - - - - - - - Nikon Micro-Nikkor AI-S 200mm f/4: (not in group shot -- too tall, would be fuzzy) F=92/53 R=28/29 CPM [0.2%] Canon FL 28mm f/3.5: F=34/34 R=102/65 CPM [0.3%] Canon EF 135mm f/2 L: F=167/74 R=28/32 CPM [0.5%] Canon EF 200mm f/2.8 L: F=170/69 R=27/26 CPM [0.5%] Canon EF 400mm f/5.6 L: F=170/72 R=29/27 CPM [0.5%] . Radioactive lenses (presumably with thorium): - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Pentax S-M-C Takumar 20mm f/4.5: (not in picture) F=60/59 R=705/456 CPM [3%] Olympus Zuiko MC Macro 20mm f/3.5: (not in group shot -- too small, no lenscap) F=818/342 R=37/33 CPM [3%] Pentax S-M-C Macro Takumar 50mm f/4: (not in picture) F=1034/371 R=1754/667 CPM [6%] Canon FD 35mm f/2 (concave): F=524/473 R=1422/1061 CPM [5%] Topcon UV Topcor 50mm f/2: F=212/190 R=1427/933 CPM [5%] Yashica Auto Yashinon-DX 50mm f/1.4: F=54/47 R=2715/1157 CPM [10%] Canon FL 58mm f/1.2: F=481/449 R=3074/2321 CPM [11%] Nikon Nikkor-N 35mm f/1.4: (not in picture) F=1697/1544 R=3051/2395 [11%] Yashica Auto Yashinon-DS 50mm f/1.7: F=525/466 R=3434/2474 CPM [13%] Topcon RE GN Topcor 50mm f/1.4: F=623/591 R=4483/3278 CPM [17%] Steinheil Auto-Quinon 55mm f/1.9 KE mount (chrome, black arm): F=6542/2661 R=184/165 CPM [24%] Canon Lens FD 17mm f/4: F=126/96 R=8957/3635 CPM [33%] Olympus G.Zuiko 50mm f/1.4: F=12238/5397 R=201/191 CPM [46%] Canon FL 50mm f/1.8: F=95/85 R=14116/5346 CPM [53%] {Super Canomatic R 50mm f/1.8 is about the same} Pentax S-M-C Takumar 55mm f/1.8: F=194/169 R=17251/7028 CPM [64%] Leica Collapsible Summicron 50mm f/2 (M39): F=17769/7597 R=863/668 CPM [66%] Pentax S-M-C Takumar 35mm f/2 (49mm filter): F=738/641 R=18663/8336 CPM [70%] CZJ Pancolar 50mm f/1.8 (zebra) F=18670/7996 R=19313/7869 CPM [72%] Auto Rikenon 55mm f/1.4: F=132/129 R=22937/7565 CPM [85%] AUTO mamiya/sekor 55mm f/1.4 (M42, chrome+black, flat rear glass) F=2500/2008 R=26078/8430 CPM [97%] Pentax S-M-C Takumar 50mm f/1.4: F=858/778 R=26838/12512 CPM [100%] Canon FD 55mm f/1.2 S.S.C. Aspherical: F=33251/16713 R=6226/4725 CPM [124%] Fujica Fujinon 50mm f/1.4 (old style): F=26115/13222 R=35197/16306 CPM [131%] Konica Hexanon AR EE 57mm f/1.2 (green EE): F=40328/17606 R=28597/10412 CPM [150%] . . . ======================================== . --------------------------------------------------------------- 2) Gamma counts 100mm away from side of lens . --------------------------------------------------------------- These readings should give a better indication of how much exposure you'd get farther away from the lens. Ludlum Model 2221 Scaler/Ratemeter, with Ludlum 44-10 "high energy" gamma scintillation probe (2" x 2" NaI) Settings: High Voltage = 850V (middle of 500v-1200v range), Threshold (discriminator) = 10mV. These settings gave a background reading of about 4400 CPM, which is near the minimum that this probe is supposed to read for the background. I wonder if the NaI crystal is degraded? Method: The probe was placed horizontally on a table, with a small amount of lead shielding near the crystal. This reduced the background reading to about 1500cpm. The lens being measured was placed with the "hotter" end (front or back) downward, at the same level as the bottom of the probe. The lens was wide open (if possible), focused at infinity (if possible), and had both front and rear caps on (correct caps, when available). A 10 minute run with the 2221 scaler was done, and compared to 10 minute runs with no lens (background). In the table, the "xxx CPM", value is xxx = (C-B)/10, where C is the 10-minute count 100mm away from the lens, and B is the 10-minute (shielded) background count. The "[ppp%] is the xxx value for this lens compared to the xxx value for the 50mm f/1.4 S-M-C Takumar, computed as a percent. . Lens: xxx CPM [ppp%] ------------------------------------------------- Olympus Zuiko MC Macro 20mm f/3.5: 132 CPM [0.5%] Yashica Auto Yashinon-DX 50mm f/1.4: 1043 CPM [4%] Pentax S-M-C Macro Takumar 50mm f/4: 1410 CPM [6%] Pentax S-M-C Takumar 20mm f/4.5: 1447 CPM [6%] Canon Super-Canomatic R 50mm f/1.8: 2292 CPM [9%] Canon FL 50mm f/1.8: 2393 CPM [10%] Canon Lens FD 17mm f/4: 3129 CPM [13%] Steinheil Auto-Quinon 55mm f/1.9 KE mount (chrome, black arm): 3774 CPM [15%] Topcon UV Topcor 50mm f/2: 4146 CPM [17%] Pentax S-M-C Takumar 55mm f/1.8: 4790 CPM [20%] Olympus G.Zuiko 50mm f/1.4: 5042 CPM [21%] Auto Rikenon 55mm f/1.4: 5750 CPM [24%] Leica Collapsible Summicron 50mm f/2 (M39): 7576 CPM [31%] Minolta MC W.Rokkor - SI 28mm f/2.5: 11241 CPM [46%] Yashica Auto Yashinon-DS 50mm f/1.7: 12018 CPM [49%] Canon FD 35mm f/2 (concave): 14463 CPM [59%] Topcon RE GN Topcor 50mm f/1.4: 19108 CPM [78%] Canon FL 58mm f/1.2: 19290 CPM [79%] Canon Super-Canomatic R 58mm f/1.2: 19328 CPM [79%] Pentax S-M-C Takumar 35mm f/2 (49mm filter): 20087 CPM [82%] AUTO mamiya/sekor 55mm f/1.4 (M42, chrome+black, flat rear glass) 21251 CPM [87%] CJZ Pancolar 50mm f/1.8 (zebra): 23849 CPM [98%] Pentax S-M-C Takumar 50mm f/1.4: 24350 CPM [100%] Nikon 35mm f/1.4 NIKKOR-N: 30571 [126%] Konica Hexanon AR EE 57mm f/1.2 (green EE): 30656 CPM [126%] Fujica Fujinon 50mm f/1.4 (old style): 36486 CPM [150%] Canon FD 55mm f/1.2 S.S.C. Aspherical: 46532 CPM [191%] Note: There is no detectable gamma radiation coming out from four of the lenses marked "slightly radioactive" in the first section, so they do not appear in this section. http://flic.kr/p/bn5vbY

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%^ Nikon Non-Ai/Pre-Ai NIKKOR-S Auto 35mm f/2.8 Manual Focus Wide-Angle Lens #P5216 https://ift.tt/346Vre7

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Nikon D5200 with 18-270mm f/3.5-6.3 lens samples

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Sample photos from Nikon D5200 with 18-270mm f/3.5-6.3 lens.

Sources: 7 Hot Springs (5) by HorneEfterskole https://flickr.com/horneefterskole/17130636645 Attribution-NoDerivs License: https://creativecommons.org/licenses/by-nd/2.0/

7 Hot Springs (6) by HorneEfterskole https://flickr.com/horneefterskole/16942863918 Attribution-NoDerivs License: https://creativecommons.org/licenses/by-nd/2.0/

7 Hot Springs (14) by HorneEfterskole https://flickr.com/horneefterskole/16944438859 Attribution-NoDerivs License: https://creativecommons.org/licenses/by-nd/2.0/

4 Lake Victoria (31) by HorneEfterskole https://flickr.com/horneefterskole/17130691375 Attribution-NoDerivs License: https://creativecommons.org/licenses/by-nd/2.0/

4 Lake Victoria (36) by HorneEfterskole https://flickr.com/horneefterskole/17130681365 Attribution-NoDerivs License: https://creativecommons.org/licenses/by-nd/2.0/

3.2 Tailor Bukoba (3) by HorneEfterskole https://flickr.com/horneefterskole/17130086791 Attribution-NoDerivs License: https://creativecommons.org/licenses/by-nd/2.0/

4 Lake Victoria (9) by HorneEfterskole https://flickr.com/horneefterskole/16942943008 Attribution-NoDerivs License: https://creativecommons.org/licenses/by-nd/2.0/

7 Hot Springs (18) by HorneEfterskole https://flickr.com/horneefterskole/16510456963 Attribution-NoDerivs License: https://creativecommons.org/licenses/by-nd/2.0/

6 Hos smeden i Bukoba (1) by HorneEfterskole https://flickr.com/horneefterskole/16510505323 Attribution-NoDerivs License: https://creativecommons.org/licenses/by-nd/2.0/

5 Vandfald 1 i Bukoba (3) by HorneEfterskole https://flickr.com/horneefterskole/17129121902 Attribution-NoDerivs License: https://creativecommons.org/licenses/by-nd/2.0/

4 Lake Victoria (18) by HorneEfterskole https://flickr.com/horneefterskole/16942934458 Attribution-NoDerivs License: https://creativecommons.org/licenses/by-nd/2.0/

3.2 Tailor Bukoba (1) by HorneEfterskole https://flickr.com/horneefterskole/16942952658 Attribution-NoDerivs License: https://creativecommons.org/licenses/by-nd/2.0/

4 Lake Victoria (24) by HorneEfterskole https://flickr.com/horneefterskole/16923315367 Attribution-NoDerivs License: https://creativecommons.org/licenses/by-nd/2.0/

4 Lake Victoria (7) by HorneEfterskole https://flickr.com/horneefterskole/17129157962 Attribution-NoDerivs License: https://creativecommons.org/licenses/by-nd/2.0/

4 Lake Victoria (35) by HorneEfterskole https://flickr.com/horneefterskole/16944499029 Attribution-NoDerivs License: https://creativecommons.org/licenses/by-nd/2.0/

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from Best Lens Reviews Tamron http://www.bestlensreviewstamron.com/270-tamron/nikon-d5200-with-18-270mm-f-3-5-6-3-lens-samples/%20