The Nikon ZR is enough to make you see red, in a good way. This ‘baby’ cine camera is wonderfully compact and lightweight for go-anywhere shooting, yet packs Red Color Science and a variety of groundbreaking features. For moving pictures, it’s a force to be reckoned with and is the first dedicated cine camera based on Nikon’s acquisition of the legendary cinematography company, Red.

For me, one of the most exciting things about the Nikon ZR is that it features the Z-system lens mount. I’ve been constantly impressed by the image quality and all-round performance of Z-mount lenses, and I strongly feel that they’re generally in a whole different ballpark to the older F-mount lenses – making the most of the Z system's larger-diameter mounting flange and its closer proximity to the camera's image sensor.

Another upside is that most Z-mount lenses are highly suitable for shooting video as well as stills, and are designed with video at least partly in mind. For example, they're usually engineered to minimize focus breathing. Ultimately, choosing the best lenses for the Nikon ZR isn’t entirely straightforward.

Given the compact and lightweight nature of the ZR body, I feel it’s only natural to go for lenses that aren’t big and heavy, thus enabling a well-balanced camera outfit. You also don’t really need lenses with the ultimate in resolving power, more suitable for ultra-high-res 45MP cameras like the Nikon Z8 and Nikon Z9.

With that in mind, I’ve gone for lenses that work really well for cinema, but are manageable and mostly very budget-friendly.

The Quick List

The best lenses for the Nikon ZR

Best video zoom for the Nikon ZR

This lens launched about a year after Nikon’s acquisition of Red, as the company's first ever full-frame cine lens. It naturally makes perfect pairing for the ZR body. Highlights include a power zoom facility for silky-smooth transitions, with no less than 11 speeds on the menu.

The 28-135mm zoom range itself offers fabulous versatility, stretching from generous wide-angle coverage to intimate telephoto reach. And it’s backed up by a constant f/4 aperture rating throughout the entire zoom range.

From the square hood at the front to the distinctive gold band at the rear, the lens looks every inch a serious cine optic. Handling is a dream, with plenty of direct-access switches and customizable function buttons, a rocker switch for the 11-speed motorized zoom, and the obligatory geared control rings.

Up-market glass includes three ED (Extra-low Dispersion) elements, one aspherical element, and a further four aspherical elements, along with high-tech Meso Amorphous Coat to combat ghosting and flare. Image quality and overall performance are absolutely top-notch.

Read more: Nikon Z 28-135mm f/4 PZ review

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Best standard zoom for the Nikon ZR

You can't beat a standard zoom lens for versitility in everyday shooting. Nikon liked the original release of this lens so much that it made its own version with a Nikon badge on it. However, the OG Tamron lens was never made in Nikon Z mount, only in Sony E mount. The ‘Generation 2’ Tamron comes in both flavors and is a significant upgrade.

A new optical layout increases resolution and all-round image quality, the autofocus system is twice as fast, there’s more tactile feedback from the zoom and focus rings, and a customizable function button has been added. Suffice it to say that image quality, all-round performance and handling are all improved.

That’s all great news, but what made the original Tamron (and Nikon) lens such a hit remains just as attractive in the G2 edition. The fast and constant f/2.8 aperture rating makes this a viable alternative to a ‘trinity’ standard zoom and while it doesn’t go quite as wide-angle as a 24-70mm lens, you gain marginally more telephoto reach.

And the best bit is that it’s comparatively compact, lightweight and affordable, in relation to typical trinity standard zooms.

Read more: Tamron 28-75mm f/2.8 Di III RXD G2 review

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Best wide-angle zoom for the Nikon ZR

I liked this compact ultra-wide-angle zoom lens so much when it was originally launched, that I went straight out and bought one. I've never regretted that decision, not even for a moment.

Nikon has released two more ultra-wide zooms since this one – the Nikon Z 14-24mm f/2.8 S and the Nikon Z 17-28mm f/2.8 – but I think the Nikkor Z 14-30mm f/4 S is still the best wide-angle choice for the ZR.

Along with its narrower f/4 aperture rating, it has a space-saving retractable design. For me, that makes it easier to pack and easier to live with. I also like that the longer maximum focal range adds versatility and reduces the number of times I need to switch between lenses.

It doesn’t hurt that image quality and all-round performance are both excellent. Corner-to-corner sharpness is impressive, and it also comes with a lens hood that you can remove to add filters via an 82mm attachment thread. This is an unusual feature in an ultra-wide-angle lens, but a godsend for shooting video.

Read more: Nikon Z 14-30mm f/4 S review

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Best telephoto zoom for the Nikon ZR

I'm not going to try to pretend that a 70-200mm f/2.8 is a classic 'trinity' lens for professional photographers. However, like other examples of the breed, the Nikon Z 70-200mm f/2.8 VR S is big, heavy, and very expensive.

I love that the Nikon Z 70-180mm f/2.8 is much more compact, lightweight and affordable, yet it matches its larger sibling for a constant f/2.8 aperture rating and delivers almost as much zoom range.

I was originally worried that the lens' lack of optical image stabilization would hamper handheld shooting, but I've found that it works really well with in-camera stabilization. And let's face it, in-body stabilization is pretty epic in the ZR. I've used this lens for many shoots in low lighting conditions and it's come through with flying colors every time.

It's a great lens for wedding, event and social photography, and I can honestly vouch for it, having shot several weddings with the lens over the last couple of years. I've been constantly impressed with its blend of excellent sharpness and beautifully smooth bokeh. The delighted reactions from my clients when they see the picture quality is the ultimate proof.

Read more: Nikon Z 70-180mm f/2.8 review

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Best wide-angle prime for the Nikon ZR

I love the perspective that I get using a 35mm lens. This Nikon Z 35mm f/1.4 delivers that classic focal length with a fast aperture, which is actually two-thirds of an f-stop faster than the pricier 35mm f/1.8 S-line lens.

It feels solid and well-constructed, yet surprisingly compact and lightweight for an f/1.4 prime. Sharpness is excellent, even when shooting wide open, rolling off to beautifully smooth bokeh in defocused areas within a scene.

I'm very fond of using this lens for street scenes and environmental portraits, as well as landscapes, cityscapes, architectural shoots and even close-up work. The fast f/1.4 aperture not only delivers on beautiful bokeh but also excels for shooting in low-light situations.

Autofocus performance is swift, silent and accurate, ensuring that you can capture sharp images even when shooting fast-moving subjects. The manual focus ring is smooth and precise, allowing for fine-tuning when needed.

Nikon calls this lens a classic for shooting video and I'd agree wholeheartedly. It's actually designed to perform equally well when shooting video as capturing stills. All in all, it's a super little lens that's a perfect fit for the Nikon ZR

Read more: Nikon Z 35mm f/1.4 review

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Best standard prime for the Nikon ZR

I raised an eyebrow when Nikon launched the Z 50mm f/1.8 S as one of the first ever Z-system lenses, giving upmarket S-line credentials to a prime that ‘only’ had an f/1.8 aperture rating. As soon as I tried it, I was won over with its quality and all-round performance, but still hankered for that faster f/1.4 aperture.

This lens obliges, while also adding a secondary customizable control ring. I find that’s most useful for stepless aperture control when shooting video, which this lens does superbly well.

The lens actually scooped an EISA award for 'best buy lens' in 2025-2026, so I'm not the only one to really rate it. Nikon bills it as a 'video prime' that's a natural fit for gimbals and cages, saying that it also gives an ideal perspective for interviews and first-person shooting.

Although aimed at ‘content creators’, the lens is equally adept at stills as well as video. It doesn’t have an auto/manual focus mode switch but I’m not really bothered. Edge/corner sharpness isn’t the best but I’ve found that the lens is able to do full justice to the resolving power of ZR. The relatively compact, lightweight build make it a great fit.

Read more: Nikon Z 50mm f/1.4 review

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Lab data and comparisons

The graphs below show the comparative performance of the lenses in this guide, based on our in-house lab tests. I’m used to seeing stellar lab results for sharpness from all Nikon Z-system lenses and the ones in this group follow suit.

The Nikon Z 14-30mm doesn’t look quite so impressive, but that’s more to do with having to shoot lab test charts at extremely close range with ultra-wide-angle lenses. The distortion figures flatter some of the zoom lenses, as the scores are averaged out across the entire zoom range.

Scores for sharpness and color fringing are averaged from data taken across the entire image frame, from the center to the edges and corners, throughout the aperture range. For zoom lenses, the scores are also averaged from data measured at all marked focal lengths, and the same applies to distortion.

Bear in mind that these average values don't fully reflect specific areas of performance. For example, a zoom lens might have noticeable barrel distortion at its shortest focal length, which is less obvious when everything is averaged out. For more detailed graphs of each lens's performance, take a look at the graphs published in our full standalone reviews.

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How to choose the best Nikon ZR lenses

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How we test lenses

The lens experts in our testing lab run a range of tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion and chromatic aberrations.

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the centre of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths.

There's more to it than just the technical side, though! Beyond the lab, our reviewers test lenses in real-world environments – and sometimes on professional shoots! We work with lenses both indoors and outdoors, in studio conditions and in natural light, with as many different subjects as is possible (or appropriate – there's no point testing a landscape lens' ability to shoot a portrait!).

We take into account everything from handling and ease of use to speed of autofocus and the overall quality of the images produced.

Find out more about how we test and review on Digital Camera World

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If you shoot with a Nikon DX-format mirrorless camera, you know the standard zoom space can feel a bit… limiting. While 16-50mm (24-75mm in full-frame terms) is a perfect walkaround focal range for portraits, travel, landscapes, and video, most kit lenses offer variable apertures like f/3.5-5.6 – decent, but not ideal in low light or when you're chasing that creamy background blur.

Now, Nikon has just made things a lot more exciting. It has launched the Nikkor Z DX 16-50mm f/2.8 VR, a compact, constant-aperture zoom built specifically for DX shooters who want more creative control – without the weight or price tag usually attached to f/2.8 glass.

Unlike most lenses in this class, this one maintains a bright f/2.8 aperture throughout the zoom range – making it perfect for handheld low-light shooting, subject isolation, and smoother background separation. It includes built-in Vibration Reduction (VR), giving you up to five stops of camera-shake compensation. Add in a nine-blade aperture that produces soft, circular bokeh and you've got a serious photographic tool.

This lens is built for creators who shoot video, too. The design suppresses focus breathing, and the stepping motor (STM) ensures quiet and accurate autofocus (AF), which is exactly what you want for video capture.

You also get a customizable control ring, enabling you to assign direct control over aperture, ISO, focus or exposure compensation. Inside, Nikon has packed it with ED (extra-low dispersion) glass and two aspherical elements, minimizing distortion and aberrations for crisp, clean results.

In short, this is a lens some might feel shouldn't exist in the DX world – and I'm positively surprised that Nikon launched it. Whether you're upgrading from a kit lens, creating content on the go or just looking for a do-it-all zoom, the Z DX 16-50mm f/2.8 VR delivers in a way few others do.

Comparison

Nikkor Z DX MC 16-50mm f/2.8 VR vs kit lens

The Z DX 16-50mm f/3.5-6.3 VR is the existing kit lens that ships with many DX-format Nikon Z cameras (like the Z50, Z fc, and Z30). It covers the same focal length, but it's built for portability and affordability. The f/3.5-6.3 is ideal for casual use and compact setups.

The new f/2.8 version is designed to meet the demands of serious photographers and video creators who need speed, stabilization and quality in a small package.

Specs

Nikkor Z DX MC 16-50mm f/2.8 VR

Type: Nikon Z mount
Format: DX
Focal length: 16–50mm (24-75mm equivalent)
Maximum aperture: f/ 2.8
Lens construction: 12 elements in 11 groups (including 1 ED element and 2 aspherical elements)
Angle of view: DX format: 83° to 31° 30′
Focal length scale: Graduated in millimeters (16, 24, 35, 50)
Focusing system: Internal focusing system
Size: approx. 8.8cm (3.4 inches)
Weight: approx. 330g (11.6 oz)

Price & Availability

The new Nikon Nikkor Z DX 16-50mm f/2.8 VR lens is now available for pre-order in the US for $899.96, in the UK for £799, and in Australia for $1,299. The sales start date is the 30th October 2025.

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Browse the best Nikon cameras and the best Nikon Z lenses.

If you love prime lenses and the 50mm focal length is your lens of choice in any situation then you are going to love this latest news from Nikon as the camera giant has expanded its Z series full-frame lens lineup with the addition of the new  Nikon Nikkor Z 50mm f/1.4.

This new prime lens offers photographers a versatile tool for capturing natural perspectives with remarkable precision. With its fast f/1.4 aperture, advanced optical performance, and quick autofocus, it allows for creative expression in any lighting condition.  Whether shooting portraits, landscapes, or everyday scenes, the NIKKOR Z 50mm f/1.4 promises stunning depth, clarity, and sharpness.

This new 50mm f/1.4 from Nikon neatly sits between the flagship Nikon Nikkor Z 50mm f/1.2 S and the Nikon Z 50mm f/1.8 S - this new f/1.4 offers both portability and pro-grade optics in an affordable package that will offer both photographer and videographers a useful 50mm prime that can offer great compression, good light gathering, and at a price point that is very reasonable for a f/1.4 from the Nikon lineup.

Designed for flexibility in available light, this new 50mm lens is ideal for various photography styles, including travel and street photography. Its wide f/1.4 aperture not only enhances low-light performance but also creates smooth, soft bokeh for beautifully isolated subjects. 

Zurab Kiknadze, Product Manager, Nikon Europe says: “We’re extremely happy to add this 50mm standard lens to our budding range of accessible f/1.4 prime lenses. Offering boundless creativity and portability, it partners perfectly with our recently launched Nikon 35mm f/1.4 lens. Keep these compact Z series primes side by side in your camera bag and you can maintain a consistent aesthetic as you shift perspectives from wide to normal.”

The new Nikon Z 50mm f/1.4 is available to order now for a retail price of $496.95 / £499 / AU$929.

Pre-order at B&H (US) for $496.95

Pre-order at WEX (UK) for £499

I think most photographers start out with either buying something new, that's also cheap and growing their kit or buying something slightly better but secondhand to see if they actually like photography and then expanding upon that camera/lens combo.

I started out like that myself and slowly bought better second-hand cameras until I was in a position to buy new, and while I knew that buying new would also have a depreciation over time the lenses would more than make their money back during my professional career - which they all did, but when it came time for them to move one, the only lens I bought brand-spanking-new was the one I lost the most money on... and it will surprise you. 

The lens in question was quite a rare item in terms of photography telephotos, while most dream of owning a 300mm f/2.8 or at a push the lavish 400mm f/2.8 - I had to go one better and buy at the time the brand new Nikon AF-S 600mm f/4G ED VR lens for an eye-watering £8,000 / $9,500 - and I enjoyed all 11.2 Ib / 5.1kg of it for many man-years and traveled the world with it covering international events.

But when it came to letting this beautiful lens go I was hit with a sting that even today sends a shiver down my spine, due to the up-turn Nikon releasing some of the best Nikon Z lenses around the same time, including the new Nikkor Z 600mm f/4 TC VR S my 'slightly-used' but pristine optics 600mm took a nosedive on the secondhand market and my investment look like a poor choice in the grand scheme of things.

So how much did I sell one of the best lenses I've ever owned you ask? I initially bought it for $9,500 / £8,000 in 2012, and 12 years later I sold this massive lens for a mere $2,619 / £2,000... a massive loss of $6,881 / £6,000!

Yes, I had enjoyed using this lens and I know it made its money back ten-fold over those 12 years of ownership, but man... what a hit, and lesson learned!

In fact, it is the only lens I have ever bought brand-new, and as a special order. Heck, it even came directly from Nikon Japan in a wooden transport box - something straight out of an Indiana Jones movie!

But what this story does teach you all reading this is these exotic lenses in the Nikon F-mount are now a steal of what they once used to cost, and if equipped with the Nikon FTZ-adaptor you can still use these wonderful F-mount lenses your Nikon Z9 or any of the best Nikon mirrorless cameras. Take a look on eBay and secondhand specialists – there are bargains to be had!

Nikon has rolled out new firmware to 5 of its Z-mount Nikkor lenses, adding a much-longed-for feature for all manual focus shooters.

Linear focus has now been added as an option when manually focusing with the focus ring – in addition to the default non-linear focus – making it easier to make fine adjustments.

The lenses benefiting from the update include some of the best Nikon Z lenses on the market – the Nikon Nikkor Z 28-75mm f/2.8, Nikkor Z 28mm f/2.8(SE), Nikkor Z 40mm f/2(SE), Nikkor Z 40mm f/2, and the Nikkor Z 28mm f/2.8.

The firmware notes are the same for all included lenses and reads as follows:

" • The lens now supports options for [Focus ring rotation range] * in the camera [CUSTOM SETTINGS MENU] in addition to [Non-linear]. When a linear option is selected, rotating the control ring the selected amount in manual focus mode will take the lens from the minimum focus distance to infinity, regardless of the speed with which the ring is rotated.

* As of August 2024, the cameras that support this option are (from “C” firmware version 2.00) the Z9, Z8, Z6III, Zf and (from “C” firmware version 1.40) the Z7II and Z6II. "

The download pages for each lens can be found using these links:

Nikkor Z 28-75mm f/2.8 (Ver.1.10), Nikkor Z 28mm f/2.8(SE) (Ver.1.10), Nikkor Z 40mm f/2(SE) (Ver.1.10), Nikkor Z 40mm f/2 (Ver.1.10), and the Nikkor Z 28mm f/2.8 (Ver.1.10).

For those wondering what linear and non-linear focusing means, and the differences between them, you're not alone. I had to do a little research myself to find out.

Both are terms to describe different ways lenses allow you to manually focus when using the focus ring. Non-linear focusing moves the focal point based on how fast you rotate the ring,

Linear focusing is the type of manual focusing that existed before the invention of autofocus and is perhaps the one most often thought of. Instead of the focal point moving depending on how fast you turn the ring, linear focusing moves the focus point depending on how much you turn the ring. This is the same way focusing works on traditional manual lenses and cine lenses as it allows the user to pull focus gradually.

Linear focusing enables the users to make more refined adjustments by incrementally turning the ring, a very useful update for owners of these Nikon Z lenses. If you are unfamiliar with how to update your Nikon lens, there is a helpful step-by-step guide on the download page.

You may also be interested in our guides to the best Nikon lenses, the best Nikon cameras, and the best mirrorless cameras.

Earlier this year, in a move that sent shockwaves throughout the industry, Nikon acquired cinema camera manufacturer Red. There have since been many speculations about what this means for both brands moving forward, but after a recent leak it looks likely that we will soon see the first Nikon Nikkor cine lens!

The acquisition of Red was a sign that Nikon would enter the cinema market in some fashion. Many thought this might indicate that Red's video technology find its way into the best Nikon cameras, which is still likely to happen, but the more exciting thought is the introduction of Nikon cine lenses – which now looks to become a reality.

Earlier this year, at NAB 2024, Nikon admitted to actively considering developing Nikkor cinema lenses. Now, not six months later, we have seen the first potential images of what's to come.

Nikon Rumors has shared leaked images revealing part of a presumed upcoming cine lens, with the piece inscribed with "Nikkor 28-135mm Power Zoom". Although there has been no official comment from Nikon, the photos look like they could be legitimate.

The images depict someone holding what seems to be a collar that reveals the diameter of the lens – and as could be expected, it's on the large side.

The same article shows what looks like a patent application drawing of a Nikkor cine lens. This drawing does not necessarily depict the leaked power zoom, as it looks more like a prime, but it does indicate what may come next.

Nikon has a long history of developing some of the best lenses that money can buy, and the idea of having the same level of expert craftsmanship in a cinema lens could make Nikon's introduction to the market a memorable one.

To have your first foray into the cine market be a power zoom lens is a bold move that shows Nikon means business. Also, being a zoom that covers the large range of 28mm to 135mm, it may provide time for the development of future prime cine lenses while still having a lens that covers the most popular focal lengths.

I think it's important to state again that this is, for the moment, just speculation, as the leaked images could mean several different things. We will just have to keep watch for upcoming Nikon announcements.

You may also be interested in our guides for the best Nikon cameras, the best Nikon lenses, and the best cine lenses.

I have a theory that most photographers go through phases in their work. It could be that this involves changing what you want to shoot, switching between the best mirrorless cameras on the market to find a different camera system that suits your workflow better, or changing lenses, either type or focal length.

I've also been through these phases in my professional photography career, and while I've now switched from being a professional sports photographer to someone who's trying to find beauty in the mundane through street and documentary-style photography I've seen my gear change from multiple cameras and lenses to just one camera and one lens most of the time: a 50mm now being my focal length of choice.

While I love my 50mm on my Leica M-E for digital work, my Leica M2 is still in its 6-month turnaround to be fixed so my trusty Nikon F5 is keeping my analog photography going with a Nikon Nikkor AF 50mm f/1.8D, and I don't like the way that lens renders anything, on film or digital via my Nikon D800.

So I did something drastic and picked up a 1960s gem, the Nikon Nikkor-H Auto 50mm f/2, and that gave me 'the look' my modern glass could not achieve. Plus it is by far the sharpest lens I've ever used both on film and in my digital work!

The 50mm Nikkor-H Auto was made between 1960 and 1972 for the famous Nikon F camera and this incredible lens stole the hearts of many photographer at the time for its easy-to-focus nature, as well as being very sharp.

One thing all you hawk-eye Nikonians will know is that this lens is what they call a 'Non-AI' lens – meaning it does not offer 'Auto Indexing'. This is a fancy way of saying most of the best DSLRs from Nikon won't be able to read what aperture you are on, and neither will advanced film cameras like the Nikon F5.

'Hang on, he just said he uses it on a Nikon F5 and D800?' you might be saying at this point. That's because, with a little DIY, I made this wonderful lens – that most think is now useless – useable on my Nikon cameras. That is a story for another time, I'm afraid, but the results are incredible – but they really shouldn't be if you read the specs on paper.

The 'H' in Nikkor-H stands for Hex, meaning this little gem only features 6 elements and is coated, but not multi-coated, so the lens has a slight blue-ish tone to it when you hold it to the light.

Everything would make you believe that by today's standards, this lens would fall by the wayside, even when compared to my 'newer' f/1.8D lens, but that's so far from the truth. This 50mm f/2 lens from the 1960s is the BEST and SHARPEST lens I have ever used (capital letters fully intended), and its focus tab is one of the smoothest and easiest on any Nikon lens I've used. It gives off, dare I say it, a 'vintage' look to my photos that I've been missing, teamed up with its incredible sharpness wide-open. I was so convinced it made me list my Nikon AF 50mm f/1.8D on eBay within record time of being able to use this lens on my cameras.

I guess the time-honoured adage "old is gold" is true in this case, and I could not be happier to be able to use this remarkable lens that I picked up for a mere $51 / £40. That price included the original lens hood, which, if lost, can be the same price as the lens itself!

It just goes to show if it was good enough to be capturing world events as they happen in the hands of some of the best documentary photographers of its era, it's certainly good enough for me - and it looks incredible too!

We've just reviewed Nikon's latest Z-mount lens: the Z 35mm f/1.4. As we've come to expect from the best Nikon Z lenses, it's very impressive. However, this isn't the only 35mm Z lens that Nikon offers. The older Z 35mm f/1.8 S was one of the very first Z-mount lenses, but despite its age and slower aperture rating, it's around 40% more expensive to buy than the f/1.4.

Traditionally a lens with a faster aperture has commanded a price premium over a slower optic: take standard zoom lenses as an example - a 24-70mm f/4 will always be cheaper than an f/2.8 version. But it's exactly the opposite in the case of the Nikon 35mm pair - why is that? The answer is that little 'S' moniker at the end of Z 35mm f/1.8's model name. Nikon's S-Line lenses, are, according to Nikon:

At the top of the line-up of NIKKOR Z lenses and were developed by Nikon engineers aiming at the very highest levels of optical performance...they provide distinct advantages such as the ability to shoot wide open with near-zero drop in sharpness right across the frame.

S-line lenses are also likely to receive advanced coatings like Nikon's Nano Crystal coat to minimize ghosting and flare, while their general build quality should be more robust than a non-S-Line optic, and you can expect more comprehensive weather sealing.

But is this just marketing hype to justify a premium price tag, or do S-Line lenses like the 35mm f/1.8 S actually perform significantly better than a non-S-line optic like the new Z 35mm f/1.4? Well, we've lab tested both lenses, and we can actually confirm that spending the extra cash on the f/1.8 S WILL indeed get you a higher performing lens.

Read more:
Nikon Z 35mm f/1.4 full review
Nikon Z 35mm f/1.8 S full review
The best Nikon Z lenses

Lab results

In terms of simple sharpness, the f/1.8 is noticeably and consistently sharper across the whole image frame, although it is worth noting that the f/1.4 is still a very sharp lens.

It's the same situation when we look at chromatic aberration. Both lenses keep color fringing below noticeable levels, but where the f/1.4 only just manages this, levels of fringing from the f/1.8 S are almost non-existent at smaller apertures.

We also found that both lenses also register almost zero distortion, however since Nikon Z bodies automatically correct for optical distortion and this can't be disabled, our distortion scores aren't necessarily reliable.

So there you have it: here's a rare instance of a slower lens being better than an equivalent faster optic, and it seems that Nikon S-Line premium really is worth the extra cash. None of this is to say that the Z 35mm f/1.4 is bad though - far from it - the take-home here is that the Z 35mm f/1.8 S is a truly spectacular lens.

I'm sure you've all clicked the headline ready to roast me. Maybe to say what the heck am I talking about, as you have been using image stabilization or vibration reduction for years and it saved your images.

But in nearly 20 years of being a pro sports photographer, I have not once used IS or VR on any of my lenses – be that 28mm up to my 600mm f/4. And throughout my career I photographed horses going 30mph across all terrains, in all weather conditions, all around the world.

Now, I'm not going to say that I'm a better photographer than anyone who was and is using image stabilization on their lenses. I used a monopod for most of my shots above 400mm, and yes I did handhold everything from 300mm and below. But what made me not use IS / VR was that it limited my ability to capture motion.

That might sound like an ironic message, when stabilization is meant to enable you to take images at lower shutter speeds and capture motion. But when I was taking images nearly 20 years ago, Nikon's VR was rubbish. I recall activating it on my Nikkor 70-200mm and doing a quick pan, and the VR motor would move so much that it could not keep up with my own movement to capture a solid image.

I also used Canon's IS system on its 400mm lens back in the day (when I debated switching systems) and still, that would not be able to nail a secure image when I would swing with the movement of the horse – even with a little motion when the IS was set, it just would not work for me at all.

Of course, I will admit that image stabilization has got a lot better than the early days when it arrived on pro-grade lenses – and I was shooting way before in-body image stabilization was even a thing!

So turning IS / VR off taught me that I needed to be still, steady and control my breathing – especially if I was shooting my 600mm f/4 at 1/200 sec. While this all might sound rather dated in today's world of modern tech, it did teach me a lot about lens technique, body movement and how it can affect the overall image.

One thing that I always hate to hear is how many stops of stabilization the latest and greatest lens has. Think about some of the best sports photographs you've seen from the likes of Chris Smith, Nick Walker, Leo Mason or Mark Sutton – these guys didn't have IS / VR back in the day, they had a bean bag at best or a strong arm!

There is something to be said for a good handheld technique that can save you if you're in a pinch. So after nearly reaching that 20-year mark, I have still to this day never used stabilization in my professional career. I'm quite possibly a bit "old hat" about it, but I'm certain that I don't need it – and I bet some of you would be better without it, too.

You might be interested in the best lenses for sports photography – and the best cameras for sports photography, too. 

I was keen to buy the Nikon Z 9 to photograph bullets after seeing a Nikon advert of a biathlete with a rifle round visible leaving the muzzle of a match rifle taken by a Z 9 armed photographer. It was given in these pages as a reason the image showing the bullet seen near Trump was real.

I was not expecting the task to be the easiest that I had ever undertaken, but I had still underestimated the effort involved. 

5.56mm NATO ammunition has a muzzle velocity of around 900m/s.

Thus in 1/125 sec the rifle bullet travels around 7m – using the slowest shutter speed to get 120 frames in one second. In 1/250 sec the bullet travels around 3.5m

In 1/500 sec the bullet travels around 1.7m and so on up to 1/32000 sec where the bullet travels 0.026m.

It needs skill and planning, allied to a huge dollop of luck, to succeed.

I spent my first day on the range, with no real expectation of being able to get anything useful. I varied my distance from the shooters, using the NIKKOR Z 70-200mm f/2.8 VR S lens. I had the luxury of time and lots of ammunition, varying shutter speeds for each sequence, starting from 1/500th sec and going all the way to 1/32,000th sec. All shots were hand-held from a prone position.

I shot 20,922 images and things didn’t look too hopeful, but I was able to track back to the visible point of firing, the smoke exiting the muzzle – the bullet being long gone by then. By tracking back and keeping an eye on the firer’s trigger finger, I was able to distinguish images that exhibited what I was looking for and found that I had captured ten bullets. The most obviously ‘bullet looking’ images were taken at speeds faster than 1/10,000th sec.

More than a day...

On my second day, I was able to isolate the shooter against a neutral background, using the NIKKOR Z 24-70mm f/4 lens – because my proximity allowed for no other option. (Do check the guide to the best Nikon Z lenses.) 

I took 51,598 shots of 300 rifle rounds expended, obtaining 36 images of bullets. Most were taken at 1/32,000th sec. (That is about a 0.07% success rate.)

A longer lens is preferable if the situation allows, as photographing at right angles to the line of fire means that the bullet will always be in focus during its flight, with a shallow depth of field allowing the bullet to be seen more clearly.

I had assumed that the Norwegian biathlete on Nikon's example used a 7.62mm NATO round travelling at around 2,900m/s, but after one contacted me I discovered that they use .22in LR ammunition which ‘only’ has a muzzle velocity of 350-500m/s. So I had succeeded beyond my wildest dreams, managing to capture bullets in flight in 46 frames out of 71,922 frames taken.

Without a Nikon Z 9 I would have achieved nothing, but I can say no longer is a photo of a rifle firing defined only by showing the empty cartridge case ejecting.

Richard wrote this summary of his experience for DCW, but if you crave more detail you'll find it on his site.

Nikon has announced a 35mm f/1.4 mirrorless lens, just weeks after Canon launched one of its own. And while the lenses have their differences, the biggest one is the price: Nikon's lens is about a grand and a half cheaper than Canon's. 

The Nikon Nikkor Z 35mm f/1.4 is the company's long-awaited wide-angle Z system lens, ideal for street photography, reportage and documentary work, carrying a retail price of AU$1,099.

That compares to the similarly long-awaited Canon RF 35mm f/1.4L VCM with its $2,599.95 price tag. That's a AU$1,500 difference, which is 137% more expensive. 

Again, they're very different lenses that do very different things; Canon's is a premium L-series lens, and one of its new generation of hybrid photo-video optics. Nikon's, meanwhile, is not even a member of its premium S-series family.

Still, if you're one of the many people for whom a 35mm f/1.4 lens is an essential part of your kit bag, on paper this is a helluva win for Nikon. 

This full-frame lens features 9 groups featuring 11 elements, including a pair of aspherical elements, with a 9-diaphragm aperture design. Measuring 88.5mm in length, with a 74.5mm diameter, it has a 62mm filter thread with a minimum focus distance of 0.27m and a maximum magnification of 0.18x.

Notably, it's also Nikon's first Z lens to feature an f/1.4 aperture. (Equally of note, Canon's 35mm is also its first RF lens with an f/1.4 aperture.) Rumors persist that this will be followed by a 50mm f/1.4, and a premium 35mm f/1.2 S lens is officially on Nikon's roadmap.

The Nikon Nikkor Z 35mm f/1.4 lens is set to go on sale in July. 

Take a look more of the best lenses for street photography. You might also be interested in the best Nikon Z lenses, designed for the best mirrorless cameras from Nikon.  

Nikon has announced a 35mm f/1.4 mirrorless lens, just weeks after Canon launched one of its own. And while the lenses have their differences, the biggest one is the price: Nikon's lens is about a grand cheaper than Canon's. 

The Nikon Nikkor Z 35mm f/1.4 is the company's long-awaited wide-angle Z system lens, ideal for street photography, reportage and documentary work, carrying a retail price of $599.95 / £649.

That compares to the similarly long-awaited Canon RF 35mm f/1.4L VCM with its $1,499 / £1,819.99 price tag. That's an $899 / £1,170 difference, which is 150% / 180% more expensive. 

Again, they're very different lenses that do very different things; Canon's is a premium L-series lens, and one of its new generation of hybrid photo-video optics. Nikon's, meanwhile, is not even a member of its premium S-series family.

Still, if you're one of the many people for whom a 35mm f/1.4 lens is an essential part of your kit bag, on paper this is a helluva win for Nikon. 

This full-frame lens features 9 groups featuring 11 elements, including a pair of aspherical elements, with a 9-diaphragm aperture design. Measuring 88.5mm in length, with a 74.5mm diameter, it has a 62mm filter thread with a minimum focus distance of 0.27m and a maximum magnification of 0.18x.

Notably, it's also Nikon's first Z lens to feature an f/1.4 aperture. (Equally of note, Canon's 35mm is also its first RF lens with an f/1.4 aperture.) Rumors persist that this will be followed by a 50mm f/1.4, and a premium 35mm f/1.2 S lens is officially on Nikon's roadmap.

The Nikon Nikkor Z 35mm f/1.4 lens is set to go on sale in July. 

Take a look more of the best lenses for street photography. You might also be interested in the best Nikon Z lenses, designed for the best mirrorless cameras from Nikon.  

If you’re of a certain age, there’s a good chance you spent your formative photography years lusting after a Nikon. After all, Nikon was the it camera brand for decades. Its gorgeous SLRs were ahead of their time and captured the hearts and minds of millions. It even landed on the Moon. And when digital rocked the industry, Nikon acted decisively, beating its peers to the punch by launching the now-legendary D1. 

This trend continued well into the noughties. Remember hit crime procedural CSI? The whole forensic crew and their mothers were packing the best Nikon cameras. And so, for that matter, was everyone else. Owning a digital compact camera was like owning a watch: everyone had one. How else could you photograph your tipsy friends sipping WKD, while listening to Scooter in Ibiza?

But trouble was brewing...

Apple launched the iPhone in 2007, starting a chain reaction that would bring the compact market to its knees. In 2013, Sony challenged both Nikon and Canon’s dominance over the pro market with the release of the world’s first pro mirrorless, the A7R. Despite launching some of the best DSLR cameras ever made, Nikon was no longer seen to be operating at the forefront of camera technology. And it hurt. 

Unaware of the Big N’s legendary history, new generations of photographers adopted Sony as their camera brand of choice. And somewhere along the way, the Internet ilk started referring to Nikons as potatoes. The Big N’s cool factor was at an all-time low. Nikon finally entered the full-frame mirrorless market with its incredible Z mount. And by the Nikon Z6/Z7 II, I really thought it was firing on all cylinders. But the naysayers persisted. Then, the Nikon Z 9 came out. 

Suddenly, the delay in joining the mirrorless party made sense. It launched with a newly developed stacked sensor, internal 8K 30p video and the world’s fastest burst speed. Then came the Nikon Z8; an all-but-flagship camera in a smaller body. Then the Nikon Zf, arguably the most authentic retro-themed digital camera ever made. Heck, Nikon even landed the lion's share of the prizes handed out at the prestigious Camera Grand Prix Awards. 

YouTubers are reviewing Nikon cameras without a wry smile, once again a Nikon is set to land on the Moon, and the gap in mirrorless tech between Sony has been bridged. Imagine my glee, when I visited the cinema recently to watch the Alex Garland movie Civil War, only to find the experienced photojournalist (Kirsten Dunst) using a Sony mirrorless and the up-and-coming Gen Z journo (Cailee Spaeny) touting a Nikon FE2. 

Nikon’s back, baby! But for us fans, it never went away.

You might be interested in the best Nikon lenses, including the best Nikon Z lenses for its mirrorless system. 

An extremely rare, and huge, collectable lens has become available to purchase, the Nikon fisheye 14.3mm f4.

The lens is available to buy from the Leica Store Lisse, in the Netherlands.  

"We currently don't really have a price in mind yet, as we aren't officially putting it up for sale at this time. We are happy to have it in our collection ourselves! Although we never know what offers might come our way..." Martijn de Clercq from the Leica Store Lisse told DCW.

This museum-worthy, one-of-a-kind, lens is a piece of photography and optics history, and was originally made for Disney with plans to use it for futuristic film and theatre viewing with 360-degree screens. 

Made by Nikon, the lens could be fitted to IMAX film cameras shooting onto 70mm film.

With some professional engineering, this lens can be adapted to attach to multiple modern cameras, including the Leica S, and Hasselblad XCD. Its speed of f4, which translates to f2.8 on 35mm can be considered ultra-fast for a fish-eye lens.

In the photo below, the giant lens is sat next to the Leica Noctilux 50mm f1.2, which takes a moment to even notice in comparison!

Described by Leica Store Lisse as “the holy grail of (fish eye) lenses,” they add, “Considering this lens is one of a kind vs the dozens of copies of the 6mm, features 70mm coverage vs 35mm of the 6mm, has a similarly ultra-fast aperture scaled up to 70mm, you can begin to understand the significance of what we have on our table today!”

Fisheye lenses date back to 1906, when inventor and physicist Robert W. Wood developed a lens based on how a fish would view the world underwater.

The lenses were used in the 1920s when they were used to study cloud formations, when they were known as whole-sky lenses, but it wasn’t until the 1960s that the fisheye lens became more popular, and mass-produced.

Nikon released their first consumer fisheye lens in 1962 and the style of photography became synonymous with the swinging sixties. Many famous album covers were taken with fisheye lenses including Jimi Hendrix’s ‘Are You Experienced, and The Rolling Stones ‘Big Hits (High Tide and Green Grass).

Check out our guide to the best fisheye lenses on the market. We've also put together our guide to the best Nikon lenses. 

If you are on the hunt for a high-performance mirrorless camera, I've uncovered this incredible deal that could land you one of the best Nikon cameras while slashing a over £700 off the Nikon Z7 II, which can now be bought with the Nikkor Z 24-70mm f/4 S kit lens at the lowest price we have ever seen it at..

With enhanced processing power, and expanded versatility, yet retaining its familiar design to the Nikon Z7, the Nikon Z7 II buillt upon the strengths of its predecessor, elevating its capabilities to new heights. Boasting a formidable 45.7MP FX-format BSI CMOS sensor and dual EXPEED 6 image processors, this camera is tailored for photographers who obsess over capturing every intricate detail.

While many other Nikon cameras are currently on sale, I believe this one represents the pinnacle of the prosumer of Nikon's range at the moment and is priced to suit the budgets of many users who want a camera that has high megapixels, good video capabilities and is a fantastic all-rounder for many photography genres. 

For the release of its full-frame mirrorless camera, the Nikon Zf, Nikon challenged me to take photos based on the theme of 'standing the test of time'. The idea was to take photos that appear timeless, so that the viewer wouldn’t know whether they were taken in 1913 or 2023. 

While I was on a boat on my way to Vancouver Island, Canada, I was immediately inspired by the vintage-style leather seats. It was almost as if I had taken the picture in my head before I even pulled out the camera. I asked my friend to be part of the frame. Luckily, he was dressed in what appears to be a 'timeless' outfit, so it all just clicked into place. 

I asked him to look out of the window to convey the journey and the emotion that a boat crossing can evoke – the hope of a new beginning or the melancholy of
a life left behind. I wanted everyone to see themselves in the photo and what their own journey might look like. Traveling leaves no one indifferent; we all go through emotions when we leave or return, and this is the message I wanted my final image to depict.

The biggest challenge was to take the photo without anyone else in the field of view. It's a popular public transport route that fills up quickly so, as soon as I saw the potential, I ran and asked my friend to sit down so I could take the photo. I knew if anyone else sat down the image would be ruined. It must have taken me two minutes to take the photo and was worth every second.

Tech details

Camera: Nikon Zf
Lens: Nikkor Z 24-70mm f/2.8 S
Aperture: f/4.5
Shutter speed: 1/400 sec
ISO: 320

Take a look at the best Nikon cameras, along with the best Nikon lenses and the best Nikon Z lenses specifically for mirrorless models like the Zf.

Nikon is certainly on the upswing winning multiple awards for its recent camera and lens releases.  

The release of the Nikon Z8 and Nikon Zf in 2023 has revitalized the Nikon name along with the ever-expanding lens lineup for the Z system. Last year also saw the release of the Nikon Nikkor Z 180-600mm f/5.6-6.3 VR supertelephoto zoom which also won a TIPA 2024 award.

Nikon has just released a firmware update for this lens, fixing an issue that affected focusing accuracy when used at the longer end of the lens' focal range. 

The full firmware notes can be found below along with the download page:

Nikon Nikkor Z 180-600mm f/5.6-6.3 VR (Version 1.01)

"Changes from Firmware Version 1.00 to 1.01

Fixed an issue that focus may be inaccurate at a focus distance of infinity with a focal length around 400mm to 600mm in a low-temperature environment".

Nikon has made its award-winning lens even better by fixing this issue, meaning users can realize the full potential of the lens.

 The lens performed remarkably during our testing, resulting in a five-star review. It was praised for its internal zoom and focus mechanism and its incredible stabilization capabilities that enable 5.5-stop optical VR, essential when using a lens of this focal range.

Updating firmware on lenses is relatively new, and the procedure of updating depends on the lens in question. Some modern lenses have USB-C interfaces on the body, and some require an update through the camera body via a memory card.

This lens falls into the latter category and a more detailed step-by-step guide can be found on the download page.

Nikon is one of the best at issuing firmware updates and is constantly future-proofing its cameras and lenses. I personally think that Nikon's establishing an incredible Z lens lineup and keeping it updated is one of the main reasons for its increase in popularity, and has made Nikon a cool brand again!

You may also be interested in our guides to the best Nikon camera, the best Nikon Z lenses, and the best Nikon telephoto lenses.

Nikon announced that it has reached a major milestone, having produced a total of 120 million Nikkor lenses as of April 2024. 

That’s 55 million up from 2011, as the company almost doubled its lens production over the last 13 years. (For reference, Canon hit the 160 million EF/RF lens mark mark in June 2023.)

Nikon is one of the world’s only manufacturers that begins its process with the production of optical glass, offering Nikkor F lenses for single-lens reflex cameras and Nikkor Z for mirrorless cameras. 

Last year saw the company celebrate the 90th anniversary of its first Nikkor release, the Aero-Nikkor lens for aerial photography in 1923.  

“Drawing inspiration from the Nikkor brand's remarkable 90-year history and its endless technological advancements, Nikon remains committed to contributing to the development of imaging culture, with the hope of expanding possibilities for imaging expression,” said Nikon.

The Nikkor line has had a rich history, with photos taken during the Korean War by David Douglas Duncan featured in Life magazine, and in 1948 the New York Times published an article that highlighted the high quality of Nikkor products, which helped to establish the concept of "made in Japan" quality.

Nikkor lenses have also been used in NASA’s space missions. In 1971, both the Nikon Photomic FTN (NASA specifications) and Nikkor lenses were used on the Apollo 15 mission, the fourth United States Apollo mission to land on the moon, and the first to use the Lunar Roving Vehicle.

In 2009, the D3S and AF-S Nikkor 14-24mm f/2.8G ED lenses were used to document activities at the International Space Station. Specially modified Nikkor Z lenses, along with a Nikon-designed Handheld Universal Lunar Camera (a modded Nikon Z9), will be used by astronauts on the moon when NASA returns in 2026 on the Artemis 3 mission.

"These lenses, among many others, showcase Nikon’s commitment to providing unique and high-quality options that support users in expressing their creative vision," concluded Nikon.

Check out our list of the best Nikon lenses and best Nikon Z lenses on the market today, as well as the best Nikon cameras.

Nikon picked up most gongs at the 2024 Camera Grand Prix Awards, including the best lens of the year.

The Sony A9 III won camera of the year, while the Nikon NIKKOR Z 135mm f/1.8 S Plena won lens of the year, as well as the reader-voted choice of lens of the year. 

The Editor's Award and Technology Prize was also won by Nikon with the Z8 Auto Capture Function. 

The Nikon Z8 and the Nikon Zf took second and third positions in the top five camera models with 126 and 49 points respectively, beaten only by the Sony α9 Ⅲ with 307 points.

The Fujifilm X100VI came in fourth position with 38 points, and the Canon EOS R8 came in fifth with 37 points. 

Unsurprisingly, the Nikon NIKKOR Z 135mm f/1.8 S Plena came in first place in the lens category with 169 points, followed by the Sony FE 300mm f/2.8 GM OSS with 92 points, the Canon RF 10-20mm f/4 L IS STM with 65 points, the Sigma 500 f/5.6 DG DN OS / Sports with 58 points, and the Panasonic LUMIX S 100mm f/2.8 MACRO came in fifth place with 53 points. 

Nikon won the most awards of the night with three, Sony and Canon came next with two each and Fuji, Sigma, and Panasonic all got one each. 

Nikon has been having a good awards season so far, picking up four Red Dot Awards for product design, with two of the best Nikon cameras and best Nikon lenses among the winners.

Two flagship Nikon full-frame mirrorless cameras were among the winners, the Nikon Zf and the Nikon Z8. The Nikon lenses, the 135mm f/1.8 S Plena and the Nikon Z 600mm f/6.3 VR S. 

The Red Dot wins come off the back of even more awards for Nikon at the TIPA (Technical Image Press Association) awards, where Nikon was recognized in two categories for both lenses and their cameras 

The Nikon Zf was judged the Best Full Frame Expert Camera and the Nikon Z8 came top in the Best Full Frame Professional Camera. 

The Camera Grand Prix is held every year by the Camera Journal Press Club (CJPC), a group of representatives from magazines and websites specializing in photos and cameras. 

“The Camera Grand Prix “Camera of the Year” is awarded to a still camera recognized as the best of all released during the period. “Lens of the Year” is awarded to the best lens launched in the Japanese market, while the “Readers Award” is determined by general camera users’ votes on a dedicated website.

Check out our list of the best Nikon cameras and lenses in our 2024 guide.

It's been a great award season for Nikon as it received 4 more awards to add to its cabinet. 

Off the back of winning four TIPA awards, Nikon picked up four Red Dot Awards for product design, among the winners are two of the best Nikon cameras and Nikon lenses on the market. 

Two of Nikon's flagship full-frame mirrorless cameras were among the winners, the Nikon Zf and the Nikon Z8 were both recognized by the jury of esteemed design specialists. In the lens department, two further awards were won by the Nikon Z 135mm f/1.8 S Plena and the Nikon Z 600mm f/6.3 VR S. 

For those unfamiliar, the Red Dot Design Awards is a prestigious competition that celebrates the best in design and business, often awarding state-of-the-art products with a 'Red Dot'. It covers all aspects of design, from cars to camera equipment, and the red dot signifies an industry seal of confidence in great design. (Despite the name, they are not signifying that the winner suddenly becomes a Leica, though the awards are organized in and hosted in Germany).

This year, product submissions from over 60 countries were entered and deliberated over by a panel of judges. The products were judged on the degree of innovation, functionality, ergonomics, and durability. Nikon's winning products were:

Nikon Z8 

Released in May 2023, the Z8 brings the features of the flagship Nikon Z9 to a body that is 30% more compact. The 45MP stacked CMOS sensor provides exceptional image quality and substantial dynamic range. Deep learning AF system provides fast and efficient focus, for capturing even the most action-packed scenes, making it ideal for sports and wildlife. 

Nikon Zf

Classic analog Nikon design meets modern mirrorless technology in one of the best retro cameras on the market. Since its release in October 2023, the Nikon Zf has taken the market by storm enticing those who want the appearance of shooting analog without the added effort and cost of film development. 

As well as looking the part it also walks it, with a 24.5MP full-frame sensor, powered by the Expeed 7 processor, which delivers great autofocus performance. 

Nikon Nikkor Z 135mm f/1.8 S Plena

Nikon's signature portrait beast of a lens, the Plena offers exceptional image quality with an 11-blade rounded aperture for extremely attractive and soft depth of field. The 11 aperture blades minimize diffraction and aberrations, suppressing them at any aperture. 

The 135mm focal length is coupled with the f1/8 widest aperture enabling exceptional subject separation making it a fantastic portrait lens option. 

Nikon Z 600mm f/6.3 VR S

The super-telephoto lens was released in October 2023 and offers a surprisingly lightweight design with superb optics. Typically, lenses of this focal length are incredibly heavy and cumbersome, but this is the lightest and most well-balanced 600mm lens that I have held, which is ideal for keeping up with fast-paced action such as wildlife and sports.

So, congratulations to Nikon for winning yet more awards. Nikon has been releasing some exceptional cameras and glasses of late, and the awards that they are gaining are certainly echoing the thoughts of the market. It makes me excited to see what comes next!

You may also be interested in our guides to the best Nikon camera, the best Nikon lenses, and the best Nikon flashguns.

If you love Leica then prepare to be amazed at the 44th Leitz Photographica Auction, which will be held on June 08 at Leitz-Park in Wetzlar, focusing on the iconic history of Leica's M range and celebrating 70 years of the Leica M system.

Since its establishment in 2002, this auction house has held biannual events dedicated to vintage cameras and accessories, earning global recognition as a premier source for historically significant photographic equipment. While featuring items from various manufacturers, the auction primarily highlights Leica cameras and lenses.

This year's auction centerpiece is a rare 1958 Leica MP2 Black Paint model, one of just six ever produced. This specific camera, with serial number 935509, boasts advanced features like a special electric motor drive, capable of capturing 3.5 pictures per second. Its estimated value comes in at $647,000 - $755,000 / £515,000 -  £600,000 / AU$977,000 - AU$1,140,000, reflecting its unparalleled rarity and historical significance.

Another standout lot is the Leica I Mod A Luxus from the Thirties, serial number 48438, distinguished by its original leather covering and gold-plated body. This exceptionally preserved camera is estimated at $323,000 - $377,000 / £258,000 - £300,000 / AU$489,000 - AU$570,000.  

Also up for auction is the Leica NY Rifle, a unique camera accessory crafted for wildlife photography, believed to be one of fewer than 15 ever made. Additionally, a prototype Summilux 1.4/35mm lens, featuring distinctive test characteristics, will be auctioned for charity, with all proceeds benefiting Licht ins Dunkel that aids disabled photographers. The estimated value of this special lens is $6,500 - $7,500 / £5,150 - £6,000 / AU$9,800 - AU$11,400.

This auction promises to be an exceptional event celebrating the legacy and innovation of Leica's photographic heritage. Visit the auction website for more information and to see all the lots. 

Take a look at the best Leica cameras, along with the best Leica M lenses for rangefinders, and the best Leica SL and best L-Mount lenses for mirrorless viewfinder cameras.

This year's list of TIPA Award winners has been released with some of the best photo imaging products on the market being awarded, with Nikon and Sony each scoring twice as many trophies as Canon.

Founded in 1991, the TIPA (Technical Image Press Association) Awards select the year's best products, from the full range of the industry, including consumer, professional, business-to-business, and fine art photography and imaging. The awards feature a range of categories including 11 for cameras, 12 for lenses, and several categories for accessories and peripherals. 

Nikon took home the joint biggest haul this year winning four awards, two for its cameras and two for lenses. The Nikon Zf was named Best Full Frame Expert Camera and the Nikon Z8 won in the category Best Full Frame Professional Camera. 

The lenses that gave Nikon the double over Canon were the Nikkor Z 135mm f/1.8 S Plena, named Best Professional Portrait Lens, and the Nikkor Z 180-600mm f/5.6-6.3 VR for Best Super Telephoto Zoom Lens. 

Sony equaled Nikon's haul of four awards, with the impressive Sony A9 III taking home Best Professional Hybrid Camera, and the Sony A6700, Sony FE 300mm f/2.8 GM OSS and Sony FE 70-200mm f/4 Macro G OSS II completing its list of winners. 

Although Nikon and Sony received more awards than Canon this year, the world's biggest camera manufacturer was still recognized for the Canon EOS R100 as Best APS-C Entry Level Camera, and for the Canon RF24-105mm f/2.8 L IS USM Z as the Best Hybrid Zoom Lens. 

The TIPA Awards cover a wide range of camera categories, featuring the best compact cameras, instant cameras, and even the best professional cine/ video cameras.

Some recently released cameras can be found among this year's winners including the Fujifilm X100VI and Fujifilm GFX100 II, the Polaroid I-2, and the Red V-Raptor 8K VV (I wonder if this should technically count as a fifth Nikon, win after Nikon acquired Red?). 

It is also interesting to note that there are an impressive number of third-party lens manufacturers among the winners of the lens categories. Tamron won a pair of awards for the Tamron 70-180mm f/2.8 Di III VC VXD G2 and Tamron 17-50mm F/4 Di III VXD. 

Further wins for Sigma, Laowa, Viltrox, and Voightländer complete the list and provide further evidence that third-party lenses are on par with, if not exceeding native lenses in many areas. 

Further categories including the best printers, the best storage media, and lighting, the full list of Award winners can be found on the official TIPA website. 

See our guides for more information on the best Nikon cameras, the best Sony cameras, and the best Canon cameras. 

They say change is hard, but it can also be exhilarating, as I recently found out when I defected from the Canon camp for arch-rival Nikon. Not only did I change brands, but I also upgraded from the enthusiast-level Canon EOS 6D Mark II DSLR to the pro-level Nikon Z8 mirrorless camera – a giant leap.

I’ve made no secret of the fact that I’d been lusting after the Z8 since it was released last year. It was one of the DCW team's picks for the best cameras of 2023 and the only thing that stopped me from getting hold of one sooner was its 'pro' price tag. While I hadn't personally tested the Z8 myself, from my colleagues' accounts it was one heck of a camera, and I couldn’t think of a better upgrade from my DSLR.

Well, I finally did bite the bullet on it… and just weeks before I jetted off to beautiful New Zealand – Queenstown in the South Island to be specific – in March. 

What I didn’t anticipate was the Nikkor lenses I wanted for the camera being out of stock at most retailers in Sydney, Australia, where I am based. By the time I managed to pick up some glass, I had a day left before traveling and hadn't spent any time learning the ins and outs of the camera.

So there’s me, on a plane, trying to go through a far more extensive menu system than I’ve been previously used to, and thinking I'll manage just fine since I play with different camera systems as part of my job.

Well, that didn't quite work out as I thought.

Muscle memory magic

One worry I’ve had about switching systems is the physical control layout, but the Nikon Z8 felt like an old friend in my hand with a lens on. It’s not only almost as big as my old DSLR, but most of the buttons and dials are just where I want them. In fact, I prefer it to the setup on the Canon EOS R5. So, thankfully, the muscle memory I had developed after years with a Canon DSLR translated almost well enough to make me feel comfortable using the Z8.

There was one small hiccup there, though. The placement of the Mode and Drive buttons are different on the Z8, which caused some delays in taking shots on the first few days of my trip – I’m someone who goes very quickly from shooting single shots to bursts, and I also move between Program, Aperture Priority and Manual modes quite often. 

On the Canon, I was used to the Mode dial being on the left of the top panel (beside the viewfinder bump) and the Drive button on the right. On the Z8, both are on the left and there is no dial there, instead replaced by a cluster of four buttons.

Looking for the Drive button, in particular, made me miss some aerial acrobatic shots of what is locally called a ‘shark ride’ – a submersible speedboat that can leap out of the water and is designed to look like a shark.

ISO impasse

While muscle memory didn't leave me with too many regrets, it was the ISO settings that threw me off entirely. I tend to keep ISO set to auto for simplicity's sake, particularly when traveling. And that’s what I set the Z8 to. During my first day in Queenstown, however, when the weather was overcast and wet, a lot of my shots were very underexposed as the camera was only shooting at ISO 100.

I double-checked the ISO settings in the menu system and it seemed I had it selected correctly, but I was still not having any luck getting better results. So I began to manually select the sensitivity levels for each individual shot, but that was proving to be far from ideal while traveling.

I did the usual shut-off, take-out-battery, restart process – no joy. I tried to figure out what the issue was through a tedious process of trial and error and, eventually, found that reselecting the same setting fixed the problem.

I can’t explain it, but I’m putting it down to a temporary glitch – one that I could have done without, as I lost a lot of images from when I was up in the mountains (called the Remarkables) after some early-season snow.

Off track(ing)

One of the main reasons I decided to go with the Z8 was its tracking precision – after all, it’s the same tech that’s in the Nikon Z9 pro sports camera. However, my years with a Canon DSLR with no such prowess made me forget I had this speed and precision at my fingertips.

Case in point: I was trying to capture some fun pictures during an Easter egg hunt while in Queenstown and, while the autofocus was spot on, I didn’t have the tracking set up properly, resulting in some shoddy work on my part. Well, I really can’t blame the camera for that.

I also didn’t have time to install the latest firmware (update 2.00) before my trip, which would likely have made the Z8 a far more phenomenal experience in terms of precision.

Money well spent

Despite some glitches at the start, the Z8 served me well for the rest of the trip, although it became evident that I will have a steep learning curve to learn everything the camera can do for me. 

For example, only on returning from the trip did I realize the camera gives me extra reach by selecting the DX crop option without compromising too much on resolution. Had I known this, I probably would have been able to zoom in further with the Nikkor Z 24-200mm f/4-6.3 VR kit lens that I took with me on this trip to keep things light. However, upgrading to a 45.7MP effective resolution full-frame sensor from 26.2MP gave me leeway to crop my photos where necessary without losing too much image quality.

Speaking of keeping things light: while the Z8 itself is heavier than the 6D Mark II, the Z-series Nikkor lenses are remarkably lightweight, which more than makes up for the camera body itself.

The Z8 gives me the freedom to capture so many more scenarios than my old Canon could, like a high-speed jet boat that would have been a blurry streak with the DSLR. I’m passionate about wildlife photography, which was another reason for me choosing the Z8 – its speed.

Sure, I could have chosen to buy the Canon EOS R5, which would have more than met my needs and saved me some money too. I prefer Canon's color science over Nikon, but the Canon mirrorless lenses are heavier than Nikon's options. 

That said, the idea of not having a mechanical shutter in the camera appealed to me. Whether the lack of moving parts will extend the life of the camera is a different story altogether – after all, electronics can fail – but the Z8, like the Z9, is revolutionary that way. 

Either way, I wish I had jumped on the Nikon bandwagon a touch earlier as I regret some of the missed opportunities during my trip because of the teething problems in this new partnership. What I don't regret, though, is practically emptying my savings for the Z8 as I did come back with some good photos and I can't wait for my next adventure with the camera.

Learn more about the Nikon Z8 vs the Canon EOS R5, or you can check out what we think is the best full-frame mirrorless camera right now. If you're already a Nikon user, find some of the best Nikon lenses or the best Nikon Z lenses for your camera.

Documentary photography captures moments from everyday lives that not only show how people around the world live but can also serve as a reminder of events in our own lives. By reflecting on the past, bygone moments are brought back to life and reflected in our memories. This is particularly true when the images document aspects of childhood. 

“These boys had just finished school and were fooling around before heading home,” Rico explains. “Watching them reminded me of my own childhood memories. Most days, I would drag out the time from finishing school to getting home, messing around with friends.” 

The most interesting images are the ones that allow the viewer to interpret the scene. In this photo, the focus is on the interaction between multiple subjects, creating a sense of intrigue in the viewer. “In this case, it was important for me to include the boys who were watching. You have one boy watching me and another boy watching them, while I am watching them all.” This gives the picture a narrative level.

“When composing this image, I needed to get everything proportionally in the frame – and especially the two boys watching,” Rico explains. To do so, he paid particular attention to the framing of the image in post-processing. 

“It was all about the corners. I cropped the image in post-processing and converted it to black-and-white. I felt that their skin tone against the school uniform would really make the image pop.”

Tech details

Camera: Nikon D850
Lens: Nikon AF-S Nikkor 24mm f/1.8G ED
Aperture: f/9
Shutter speed: 1/200 sec
ISO: 1600

You might be interested in the best cameras for black and white photography, along with the best lenses for street photography. 

The 28-75mm F/2.8 Di III VXD G2 is the fourth Nikon Z mount lens from Tamron, and goes head to head with Nikon’s identically-specced Nikon Z 28-75mm f/2.8. The Nikon lens is itself a very affordable pro-level lens, but the new Tamron will be cheaper still and is a ‘G2’ (generation 2) lens with a more sophisticated optical construction.

It follows on from Tamron’s award-winning Sony E-mount version, and joins the Tamron 70-300mm F/4.5-6.3 Di III RXD (2022), 35-150mm F/2.8 Di III VXD and 150-500mm F/5.0-6.7 Di III VC VXD (2023) in the Nikon Z line-up. For intermediate users and enthusiasts, these Tamron lenses could prove amongst the best Nikon Z lenses.

Tamron clearly wants to raise the bar for optical performance, and the new 28-75mm F/2.8 Di III VXD G2 has no fewer than 17 elements in 15 groups, including two LD (low dispersion) and two GM (glass molded aspherical) elements. This contrasts with the 15 elements in 12 groups used by the Nikkor Z 28-75mm. Tamron is aiming for a level of image quality to match the latest high-resolution Nikon sensors and edge-to-edge sharpness across the whole focal range.

Autofocus is handled by Tamron’s VXD (Voice-coil eXtreme-torque Drive) linear AF motor, which is said to deliver speed, precision, quiet operation and excellent focus tracking to make it suitable for both stills and video. It focuses pretty close for a lens of this type too, with a MOD (minimum object distance) of 0.18m at the wide and of the zoom range and a maximum magnification of 1:2.7.

The new Tamron is certainly compact for a constant-aperture f/2.8 standard zoom, with an overall length of 119.8mm and a maximum width of 75.8mm. It weighs 550g and uses 67mm filters. It has a scratch-resistant coating on the barrel, a moisture-resistant design and a fluorine coating on the front element to repel water and oil.

Tamron 28-75mm F/2.8 Di III VXD G2 specifications

Mount: Nikon Z
Focal range: 28-75mm
Maximum aperture: f/2.8
Minimum aperture: f/22
Aperture blades: 9
Optical construction: 17 elements in 15 groups
Minimum object distance: 0.18m (wide), 0.38m (tele)
Maximum magnification: 1:2.7 (wide), 1:4.1 (tele)
Filter size: 67mm
Dimensions: 75.8 x 119.8mm, 550g

Tamron 28-75mm F/2.8 Di III VXD G2 price and availability

The Tamron 28-75mm F/2.8 Di III VXD G2 in Nikon Z mount will be available from 18 April 2024 at a recommended retail price of $999 / £849 (about AU$1,550).

See our full Tamron 28-75mm F/2.8 Di III VXD G2 review

Pre-order at:
B&H Photo in US
Wex Photo in UK

Nikon has announced a new full-frame superzoom for its Z-mount mirrorless that sets a new range for an all-in-one zoom lens. The Nikkor Z 28-400mm f/4-8 VR offers a phenomenal 14.2x zoom ratio - which beats all other contenders for its reach.

The lens is designed for use on full-frame cameras, but its size, weight and price means that you will also be able to used on APS-C DX Nikon cameras, such as the Z50 and Zfc. On these DX models, the effective focal range becomes 42-600mm.

Superzoom lenses offer an all-on-one lens solution, that offers wide-angel and telephoto focal lengths in the one zoom. With this lens, anyone can effortlessly capture the finest details and facial expressions of distant subjects, opening up new possibilities for your photography or filmmaking. The longest range superzoom previously available for Nikon cameras was the Tamron 18-400mm f/3.5-6.3 Di II VC HLD - but that could only be used on Nikon F-mount DX-format DSLRs.

Whether you're shooting sporting events, amusement park attractions, or parade shows where the subject's distance varies continuously, this lens allows anyone to adapt to any situation with ease. Its versatility means I could rely on just this one lens to capture a wide range of scenes, eliminating the need to switch between multiple lenses.

What's more, the Nikkor Z 28-400mm f/4-8 VR excels in close-up photography, with a minimum focus distance of just 0.2m at the widest angle and 1.2m at the maximum telephoto position, while also offering a maximum reproduction ratio of 0.35x. It therefore promises to be able to can subjects in exquisite detail, whether it's delicate plants or intricate tabletop scenes.

Despite its impressive telephoto reach of up to 400mm, this lens maintains a very compact and lightweight design, weighing only approximately 725g / 1.59 lbs this portability makes it the perfect lens for travel and everyday use, allowing you to carry it wherever you go without feeling weighed down - making this the perfect lens for content creators wanting to shoot video while out on location.

Additionally, the Nikkor Z 28-400mm f/4-8 VR features a stepping motor (STM) for fast autofocus drive, ensuring quick and accurate focusing on moving subjects, Its vibration reduction function provides the equivalent of a 5.0-stop increase in shutter speed, minimizing blur and allowing for sharp handheld shots even in challenging conditions.

The lens supports linear manual focus operation, making it easy to focus precisely on your intended subject during video recording, enhancing the quality of your videography no end.

I'm excited about Nikon's commitment to pushing the boundaries of optical performance and meeting the evolving needs of photographers or filmmakers like myself. With the Nikkor Z 28-400mm f/4-8 VR, Nikon is not just providing a lens; they're empowering users to explore new possibilities. 

Nikon already has two superzooms in its ever-expanding Z-mount lens range - the Z 24-200mm f/4-6.3 VR for full-frame cameras, and the  Z DX 18-140mm f/3.5-6.3 VR for APS-C models.

I can see this being a very popular lens with many beginners, content creators, and anyone in between who just wants one lens to cover a vast array of distances whenever the mood or situation strikes. Also, filmmakers will be thrilled, as I think this lens could be used in any situation and again cover so many different scenarios that this lens might just be on their camera forever, with no need to change it - and I like that!

Pre-order and Pricing

The Nikon Z 28-400mm f/4-8 VR will go on sale from mid-April for $1,299 / £1,399 / AU$2,199 - and will come with a rectangular lens hood.

Pre-order at B&H (US)
Pre-order at Adorama (US)
Pre-order at London Camera Exchange (UK)
Pre-order at Wex (UK)
Pre-order at Ted's Cameras for a special price (AU)
Pre-order at CameraPro (AU)

I love that tilt-shift lenses enable me to do things in-camera that are difficult or impossible to replicate during editing without some serious compromises. This Fujinon 30mm T/S is one of the very best tilt-shift lenses on the market right now, and arguably the best of all time. It’s also will go down in the history of best Fujinon GF lenses, period.

So what exactly is a tilt-shift lens? In essence, it has a moveable front section that allows you to tilt the optical path in relation to the camera, or to shift it (most commonly) up and down. The tilt function changes the plane of focus, effectively allowing you to alter the depth of field irrespective of the aperture setting. That can be useful in landscape photography where you want everything sharp from a very close distance away to infinity. At the other end of the scale, you can create a really shallow depth of field for a ‘toy village’ effect.

For architectural photographers, the shift function comes to the fore. With this, you can keep your camera level and ‘shift’ the area of a scene captured in the image. The big advantage is that it allows you to shoot tall buildings without pointing your camera upwards, so vertical walls stay upright instead of leaning inwards towards the top.

This is one of Fujifilm’s first pair of ‘GF’ tilt-shift lenses for its medium format GFX camera system. Thanks to the focal length multiplier (or rather the opposite), the 30mm lens has an ‘effective’ focal length of 24mm in full-frame terms, therefore giving a wider field of view than you might expect. The sibling new lens is the Fujinon GF 110mm F5.6 T/S Macro. This one has an equivalent viewing angle of using approximately a 90mm lens on a full-frame camera, and adds a 0.5x macro magnification factor, as discussed in our separate review.

Fujinon GF 30mm F5.6 T/S: Specifications

Fujinon GF 30mm F5.6 T/S: Price & Availability

We broke news of this forthcoming lens last year and it’s now available to buy, at least if your credit card can take the strain. It’s priced at £3,899/$3,999 and, to put that into some kind of perspective, the full-frame Canon TS-E 24mm f/3.5L II Tilt-Shift costs around £1,999/$1,899 and the Nikon PC-E Micro-NIKKOR 45mm f/2.8D ED costs about £1,899/$2,047. The bottom line is that the Fujinon costs about twice the price but, then again, it’s based on much wider-diameter glass elements, catering to medium format rather than full-frame cameras.

Fujinon GF 30mm F5.6 T/S: Design & Handling

Fully functional tilt-shift lenses can be complex beasts, compared with one-trick lenses that are only capable of either tilt or shift, but not both. Even then, some tilt-shift lenses can only enable shift in one axis and tilt in the other. This Fujinon lens gives you a full range of movement, and thus full creative freedom. The oversized image circle enables a generous +/-15mm of shift, and up to +/-8.5 degrees of tilt. Furthermore, the tilt/shift function can be rotated through 90 degrees with a 45-degree click step along the way. You can also rotate the lens on its mount through 90 degrees clockwise or counter-clockwise, in 30-degree click step increments. The net result is that you can employ either tilt or shift functions in any orientation that you want.

For tilt and shift adjustments, there are the usual fixing screws that keep everything locked off, and the typical adjustment knobs. The tilt function also comes with a sliding locking switch. For a measured approach, tilt and shift both have calibrated scales marked on the lens, in increments of 1 degree and 1mm respectively. What’s more unusual is that the physical parameters of adjustment can be stored in the EXIF data of image files for future reference.

As with other tilt-shift lenses, autofocus is impossible so you have to focus manually. However, light metering is automatic so you’re not limited to manual exposure mode. The optical path is of very high quality, befitting such an expensive lens, and includes three aspherical elements, two ED (Extra-low Dispersion) elements and one Super ED element. Front to back, there’s a grand total of 16 elements arranged in 11 groups.

Accessories that come bundled with the lens include a hood with an adapter ring, enabling the use of oversized 105mm screw-in filters. There’s also a detachable tripod collar. This not only enables a better balance, especially when shooting in portrait orientation but also helps to keep consistent framing when adjusting tilt and shift for capturing multiple shots that you want to stitch together further down the line. When in use, the tripod collar keeps the front section of the lens fixed in place, while the rear section and attached camera body move around when making tilt-shift adjustments.

Fujinon GF 30mm F5.6 T/S: Photo Performance

When you’re monkeying around with tilt and shift, there’s often some compromise in terms of image quality. I was really impressed that the Fujinon GF 30mm F5.6 T/S retains scintillating levels of sharpness and clarity even at the full extents of its tilt and shift ranges. Naturally, the ‘in-focus’ area can be very small when using tilt for minimum depth of field, but manual focus puts it where you want it. What’s more there’s very little vignetting even when taking tilt and shift to the max. Overall image quality is simply spectacular.

If you generally only use autofocus, super-precise manual focusing can be a little tricky, even when using the ‘focus peaking’ facility or other manual focus aids of the host camera body. This being a manual-focus lens, I often found it best to use the magnified preview facility of the Fujifilm GFX 100 II with which I tested the lens, and to check the results with magnification in playback mode.

Fujinon GF 30mm F5.6 T/S: Sample Images

Fujinon GF 30mm F5.6 T/S: Lab Results

We run a range of lab tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion and chromatic aberrations.

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the center of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths. The tests also measure distortion and color fringing (chromatic aberration).

Sharpness:

Sharpness is spectacular in the central region of the frame and remains excellent right out to the edges and corners. More remarkably, superb levels of sharpness are maintained even when pushing tilt or shift to the max.

Fringing:

There’s extremely little color fringing to be seen. In fact it’s barely perceptible at all even out at the edges and corners of the image frame.

Distortion: -0.15

It’s not technically a ‘zero distortion’ lens but with only the slightest hint of barrel, it comes as close as makes no difference in practice.

Fujinon GF 30mm F5.6 T/S: Verdict

Like any tilt-shift lens that offers a full range of functions in any orientation, the Fujinon GF 30mm F5.6 T/S isn’t entirely straightforward to use. Even so, the learning curve isn’t steep and the rewards are rich. From correcting perspective to altering depth of field, the lens has plenty of scope, while image quality remains scintillating even at the extremes of tilt and shift movements. Ultimately, it’s the best wide-angle tilt-shift lens I’ve ever used, even if it does come with a hefty price tag.

Alternatives

Tilt-shift lenses are the darlings of professional architectural and landscape photographers, enabling perspective correction to stop tall buildings appearing to lean inwards towards the top, and for gaining control over depth of field, largely independent of aperture settings. With these photo opportunities in mind, the best tilt-shift lenses are often wide-angle optics with a large field of view. The Fujinon GF 110mm F5.6 T/S Macro is even more of a specialist lens. Designed for Fujifilm’s GFX medium format system, it has an ‘effective’ focal length of just under 90mm in full-frame terms. As such, it’s more useful for product photography, still life and, thanks to its 0.5x maximum macro magnification factor, extreme close-ups. Whichever way you look at it, this is one of the best Fujinon GF lenses , full stop.

Fujinon GF 110mm F5.6 T/S Macro: What's changed?

Nothing’s really changed as this is one of a brace of brand new tilt-shift lenses for the medium format Fujifilm GFX system. The companion lens is the Fujinon GF 30mm F5.6 T/S, which gives the same field of view as using a 24mm wide-angle lens on a full-frame camera with a smaller image sensor. The GF 30mm lens comes complete with a tripod mounting ring and a hood, both of which are absent with the GF 110mm T/S. The only accessories you get are front and rear lens caps and a soft lens pouch.

Fujinon GF 110mm F5.6 T/S Macro: Specifications

Fujinon GF 110mm F5.6 T/S Macro: Price & Availability

The lens is very new – so much so that at the time of writing this review, it was only available to pre-order from retailers stocking Fujifilm products. It comes with a price tag of £3,499/$3,499, making it very expensive for a tilt-shift lens but, then again, it needs to produce a much bigger image circle than a full-frame tilt-shift lens. That means wider-diameter glass elements that are more expensive to manufacture. By way of comparison, the Canon TS-E 90mm f/2.8L Macro lens costs around £2,439/$2,199, and the Nikon PC-E Micro-NIKKOR 85mm f/2.8D costs about £1,799/$1,977.

Fujinon GF 110mm F5.6 T/S Macro: Design & Handling

The GF 110mm feels a mighty chunk of lens and is really solidly built from metal parts. There’s no hint of plasticky construction here. Even so, it’s not quite as heavy as the GF 30mm T/S, weighing in at 1,255g. Handling is every bit as complex as I’d expect from a fully functional tilt-shift lens, with lots of control knobs and levers. As with other tilt-shift lenses, autofocus is off the menu so manual focusing can be the typical challenge if you generally rely on autofocus to do the job for you.

Control for creative effect benefits from a full range of adjustments. There’s a sizable +/-15mm of shift, and up to +/-10 degrees of tilt. Unlike with some older tilt-shift lenses, you can rotate the tilt/shift function through 90 degrees with a 45-degree click step, as well as rotating the lens on its mount through 90 degrees in both clockwise and counter-clockwise directions. That comes with 30-degree click step increments. The outcome is that you can use tilt or shift in any orientation to suit pretty much any shooting scenario.

Locking screws for both tilt and shift mechanisms enable you to keep everything locked in place while shooting and, for making adjustments with the locking screws untightened, there are the typical adjustment knobs. An additional locking switch is featured for the tilt mechanism, to keep it fixed at its central position with zero tilt applied. Printed scales are on hand for easy reference, marked in increments of 1 degree for tilt and 1mm for shift. Unusually for a tilt-shift lens, positional adjustments are recorded in the EXIF data of images for reference.

The optical design is based on 11 elements in 9 groups, which is simpler than the 16 elements in 11 groups of the sibling GF 30mm T/S lens. And whereas the latter incorporates three aspherical elements, two ED (Extra-low Dispersion) elements and one Super ED element, the GF 110mm T/S has one aspherical element and two ED elements, but no Super ED element.

Fujinon GF 110mm F5.6 T/S Macro: Photo Performance

The more tilt or shift you apply, the more you’re likely to degrade image quality, because you’re utilizing the extreme outer section of the lens’s entire image circle. I’m very impressed that the this lens maintains superb levels of sharpness and clarity from its central configuration right out to the maximum extent of both tilt and shift adjustments, although the ‘in-focus’ area is naturally very selective when using tilt in the necessary direction for minimum depth of field, where you can pick out the area you want to be sharp with manual focusing. Vignetting is also minimal even with tilt or shift taken to their maximum positions, which is no mean feat considering the relatively large medium format image sensor of the host camera.

Testing the lens with a Fujifilm GFX 100 II I found that precise manual focusing was a little tricky. Perhaps I rely too much on autofocus these days, which is unavailable with tilt-shift lenses. The ‘focus peaking’ facility and other manual focus aids of the host camera body can help to some extent but, for real precision, I generally resorted to a magnified preview facility, and kept a constant check on the results with maximum magnification in playback mode after each shot. In a nutshell, it's a razor-sharp lens but it pays to be precise, especially when making the most of a medium format camera with a 102 megapixel image sensor.

Fujinon GF 110mm F5.6 T/S Macro: Sample Images

Fujinon GF 110mm F5.6 T/S Macro: Lab Results

We run a range of lab tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion and chromatic aberrations.

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the center of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths. The tests also measure distortion and color fringing (chromatic aberration).

Sharpness:

Supreme center-sharpness isn’t quite as off the scale as with the companion GF 30mm F5.6 TS lens but it’s still pretty epic. What’s more, levels of sharpness are remarkably consistent across the entire image frame, right out to the edges and corners. And that remains true when taking tilt or shift to the outer limits.

Fringing:

There’s a touch of lateral chromatic aberration towards the edges and corners of the frame, throughout the aperture range. Even so, it’s very slight and automatic correction can rule it out altogether.

Distortion: -0.08

Technically, there’s an extremely slight amount of barrel distortion but it’s virtually impossible to spot in real-world shooting.

Fujinon GF 110mm F5.6 T/S Macro: Verdict

There’s a bit of a learning curve with any tilt-shift lens if you’re not accustomed to the breed. Once you’re up to speed with the basics, however, the Fujinon GF 110mm F5.6 T/S Macro is a joy to use. I found all the controls intuitive, sensibly placed and easy to use. Handling is very refined and the lens feels beautifully built. There’s plenty of scope for correcting perspective and altering depth of field. More importantly, the lens maintains absolutely superb image quality even at the extremes of its tilt and shift movements. The ‘effective’ 87mm focal length in full-frame terms makes this lens even more of a specialist item than a wide-angle tilt-shift lens but it performs excellently and justifies its extravagant asking price.

Alternatives

Last year, Viltrox released a 20mm f/2.8 AF lens for Sony full-frame cameras costing less than AU$270 - now it’s available in Nikon Z mount too. 

Viltrox proves time and time again that it is possible to produce, affordable, compact, light-weight lenses. You may possibly not be able to compare the image quality to that of the Nikkor Z 20mm f/1.8 S lens but Viltrox does what very few lens brands can - it make desirable focal lengths accessible to photographers on a budget. At about AU$1,500 less than the Nikon equivalent, for the price, the Viltrox lens is very impressive. 

Designed with landscape, architectural and astrophotographers in mind, this wide-angle lens offers a 91.6-degree angle of view, perfect for capturing expansive night skies or stunning vistas. At just 173g it’s extremely lightweight and very portable making it also a great choice for photographers who travel regularly and need to be conscious of how much weight they’re carrying. With a minimum focus of 0.19m and a maximum aperture of f/2.8, it’s also great for capturing subjects up close with a beautiful, blurred background. 

The Viltrox 20mm f/2.8 AF is made up of 10 elements in 8 groups, consisting of 2 ED lenses, 1 high refractive index lens and 2 aspherical lenses which help to minimize chromatic aberration and lens flares. There is also a USB-C port fitted into the lens making it quick and easy for users to update its firmware.

One of the standout features of this lens is the fact it’s autofocus. Most lenses around this price point you’d expect to be Manual Focus only but this one introduces an almost silent STM Motor that allows for quick and precise autofocus. As it’s so quiet, it’s also a great option for videographers who want to avoid picking up on focusing sounds and it’s capable of eye and face tracking too. 

The Sony version of this lens has been very well received, with people describing it as underrated, sharp and consistent. Despite its low price point, images don’t get distorted which you might expect and image quality is very good overall. 

All too often, photography is deemed a rich man’s game and there is some truth in that. Cameras and lenses are expensive but we are starting to see lots more good quality affordable options  - such as from Viltrox who cater to beginners, novices and even seasoned photographers who can’t justify the cost of the big brands. 

Check out the best wide-angle lenses perfect for capturing vast views

Last year, Viltrox released a 20mm f/2.8 AF lens for Sony full-frame cameras costing less than $160 - now it’s available in Nikon Z mount too. 

Viltrox proves time and time again that it is possible to produce, affordable, compact, light-weight lenses. You may possibly not be able to compare the image quality to that of the Nikkor Z 20mm f/1.8 S lens but Viltrox does what very few lens brands can - it make desirable focal lengths accessible to photographers on a budget. At almost $700 less than the Nikon equivalent, for the price, the Viltrox lens is very impressive. 

Designed with landscape, architectural and astrophotographers in mind, this wide-angle lens offers a 91.6-degree angle of view, perfect for capturing expansive night skies or stunning vistas. At just 173g it’s extremely lightweight and very portable making it also a great choice for photographers who travel regularly and need to be conscious of how much weight they’re carrying. With a minimum focus of 0.19m and a maximum aperture of f/2.8, it’s also great for capturing subjects up close with a beautiful, blurred background. 

The Viltrox 20mm f/2.8 AF is made up of 10 elements in 8 groups, consisting of 2 ED lenses, 1 high refractive index lens and 2 aspherical lenses which help to minimize chromatic aberration and lens flares. There is also a USB-C port fitted into the lens making it quick and easy for users to update its firmware.

One of the standout features of this lens is the fact it’s autofocus. Most lenses around this price point you’d expect to be Manual Focus only but this one introduces an almost silent STM Motor that allows for quick and precise autofocus. As it’s so quiet, it’s also a great option for videographers who want to avoid picking up on focusing sounds and it’s capable of eye and face tracking too. 

The Sony version of this lens has been very well received, with people describing it as underrated, sharp and consistent. Despite its low price point, images don’t get distorted which you might expect and image quality is very good overall. 

All too often, photography is deemed a rich man’s game and there is some truth in that. Cameras and lenses are expensive but we are starting to see lots more good quality affordable options  - such as from Viltrox who cater to beginners, novices and even seasoned photographers who can’t justify the cost of the big brands. 

Check out the best wide-angle lenses perfect for capturing vast views

Researchers at the University of Sussex have developed a camera that is able to view the world as animals see it. It’s a well-known fact that lots of animals can see way more colors than us, while others such as dogs see less, but exactly what they visually perceive has remained a mystery. 

It’s hard to imagine seeing the world any other way. Humans are capable of perceiving ten million colors, making our planet a truly beautiful place to live (and of course photograph), but to a lot of animals it looks very different. Animals possess a unique set of photoreceptors (different to those of humans) that can perceive ultraviolet and infrared light. Many animals can also detect polarized light, which makes the colors that animals see look different.

Using cutting-edge camera software that can record and process videos under natural light conditions, scientists have finally been able to accurately represent what animals see. Using commercially available parts from a Sony A6400 fixed in custom 3D-printed housing, the camera was modded with a beam splitter mirror, a short pass filter cone that minimizes light leakage, and a bellows lens mount. A Nikon 80mm f/5.6 EL Nikkor lens was then attached to the adapted camera to take the photos. 

How it works is incredibly complex, and I’m not ashamed to admit that I don’t fully understand the ins and outs, but my very basic understanding is that light passes through a beam splitter that reflects a short wavelength and transmits visible light. This reflected short wavelength of light is then passed through a shortpass filter before reaching a full-spectrum camera. The transmitted visible light is captured by a stock camera and the UV and some visible light reaches the receptive camera, which can create curves that can be used to work out the image. 

I’m no scientist, but I am an animal lover and when I had dogs I always found myself wondering what life looked like through their eyes. We often hear that dogs are colorblind, so the world would look very different to them – while humans can perceive red, green and blue, dogs can only see yellow and blue, making them green/red colorblind. Being colorblind doesn’t mean you necessarily see the world in black-and-white, as I used to think, but more that some tones are muted or swapped with different colors. 

With technological advances such are this, it’s hoped that humans will develop a better understanding of why animals see as they do and deepen our connection to the complexity of nature. There is still a lot we don’t know about color vision, and we often take our color vision for granted, but animals see in ways that make it easier for them to hunt, navigate and communicate with each other – so even if they can see less colors, lots of them have way more advanced vision. 

You can read the full academic paper here.

You might be interested in the best cameras for wildlife photography, along with the best lenses for birds photography, as well as the best trail cameras to see what animals are up to in your back yard!

I have a deep love of lenses and all the physics, chemistry and mechanical engineering that goes into their designs. It really came about as a spin-off from my camera collecting – specifially 35mm SLRs – because often a body would come with an interesting lens. Many were, of course, classic primes from the camera maker, but there have also been plenty of third-party curiosities from brands now long gone. 

In the past, these were mostly destined to sit on the shelf as very few of them warranted a roll of film even just for fun. Mirrorless has changed all that because the configuration – with its shorter flange back distance – means that mount adapters really come into their  own and you can pretty well fit anything you want to any mirrorless mount with levels of functionality varying from nothing to the works, including corrections for fitting 35mm format lenses to cropped sensor bodies. Or you can go the other way and fit full frame DSLR lenses to your Fujifilm GFX medium format mirrorless body. These adapters with conversion optics are pretty expensive, but if you want to revive a beloved ‘legacy’ lens, it could well be worth the investment. I have a brilliant Zeiss Distagon T* 15mm f/3.5 rectilinear ultra-wide in the Contax/Yashica mount and I use it on my Fujifilm X-Pro3 via a C/Y-to-X adapter with full exposure control functionality maintained (it’s equivalent to a 22mm on ‘APS-C’).

Testing the Nikon Z f recently, there was yet more fun to be had with another brilliant ultra-wide prime – this time the Sigma AF 14mm f/3.5 which I actually bought in the early 1990s to use on my Nikon F4 (and, later, F5). I bit the bullet and purchased the FTZ II mount adapter – well, there may be a Z mount camera in my life sometime in the future – and so was able to play with quite a number of old F mounts lenses on the Z f. In reality, there are numerous limitations with anything other than AF-S motorized Nikkors, so the Sigma has to be focused manually, but the focus peaking display makes it easy. Like the Zeiss 15mm, the Sigma 14mm also has bags of depth-of-field so it doesn’t need much focusing especially when shooting at f/8 or smaller.

Talking of depth-of-field, the lens highlight recently has been the Fujinon GF 110mm f/5.6 T/S Macro. I’m a sucker for tilt/shift lenses and the precision engineering of the GF 110mm’s movements is a pure delight, especially as there are two rotational adjustments too, so you can have any combination of up/down tilt and/or shift and left/right tilt and/or shift. It all looks a bit daunting to start with, but once you start working with it, the extra control over both sharpness and perspective becomes addictive… it really takes some key technical aspects of photography to another level. Yes, yes, I know there are software solutions that are arguably easier and certainly cheaper, but nothing beats doing it in camera.

It’s often said that T/S lenses are highly specialized tools, but the reality is that you can make good use of, particularly, the tilt adjustments in just about any situation, but the shift is equally useful with a wider-angle lens. It certain makes a lot of sense to have them in a macro lens because the depth-of-field is inherently shallow at short focusing distances. The tilt adjustments essentially tip the plane-of-focus over so, regardless of anything else, you end up with a greatly extended depth-of-field… handy with many subjects that need to be sharply rendered from front to rear. Of course, you can also do the opposite and deliberately minimize the D-of-F to create the miniature effect.

The GF 110mm T/S is a big beast – you’re touting nearly 2.3 kilos when it’s on the Fujfilm GFX100 II – and it needs more hands than you’ve got for the focus (no AF on these lenses), tilt, shift and rotation adjustments so it needs a tripod otherwise you’ll be constantly reframing and cursing a lot. Not surprisingly, it’s not cheap either especially as you need a GFX body on the back end, but the GF 110mm T/S has convincingly reconfirmed the usefulness of the extra technical controls. Most rollfilm medium format camera systems had one, but they’re a lot rarer in the 35mm/full frame world although Canon, which introduced the very first 35mm format T/S lens in 1973, still lists five new models in the EF mount. Even the original Canon TS 35mm f/2.8 SSC still commands good money on the used market, but it’s rough-y a third or even less of the cost of the new TS-E 24mm f/3.5L. However, I think that the usefulness of a tilt/shift lens is vastly undervalued… especially when you consider that the alternative, in technical terms, is a large format view camera. 

Firmware updates for lenses are not all too common, but when they do arise they are welcomed by the community as they often fix ease-of-use issues and improve performance.  

Nikon's new firmware update is for the Nikkor Z DX 18-140mm f/3.5-6.3 VR lens, and will be the first since it was released back in 2022. The APS-C superzoom covers a wide focal range and has received positive reviews when coupled with the Nikon Z50 and the Nikon Z fc. The new update fixes a rare but important issue that occurs when recording video.

Downloading and applying the new update (Ver. 1.01) "fixe[s] an issue that in rare circumstances would cause interruption of video recording with a message 'Recording interrupted' displayed on the camera when the lens zoom ring is operated during recording."

This is a small but somewhat substantial update that corrects a vital performance issue when recording and zooming simultaneously. It is not apparent, however, if the issue is "rare" because the issue happens so rarely or because it is rare for someone to be zooming while recording in the first place.

Due to its 7.8x zoom, the Z DX 18-140mm offers substantial versatility, enabling the user to capture people, places, and spaces in great detail. With the new firmware update, the lens resumes its usefulness as a powerful video tool, with five stops of Vibration Correction, "precise, smooth and silent focusing", and a customizable knurled control ring. The lens also benefits from being one of the budget-friendly Z-mount options, making it popular among new Nikon mirrorless shooters. 

If you are not familiar with updating firmware, Nikon has provides a helpful step-by-step guide on the download page that talks you through the process of updating your lens (which in this case is performed traditionally, by downloading a file and uploading it to your camera via an SD card).

Firmware updates are a great way to keep your gear fresh and future-proof so, if you're unsure if your equipment needs one, I recommend taking a look at the manufacturer's product page. 

For more helpful information on Nikon products, check out our guides on the best Nikon cameras and the best Nikon Z lenses. 

After the launch of the Nikon Z9 in 2022, it was hard to see how it could possibly top that in 2023 – and yet it did. The Z8 borrows a lot of the tech from the Z9, so it’s not exactly a new camera as such, but it’s definitely a new concept – a ‘baby’ Z9 with almost all the power of Nikon’s flagship pro camera.

But that wasn’t the end of. Rumors were also circulating around a ‘full frame Nikon Z fc’ using the same combination of retro Nikon styling and modern digital technologies. The rumors were true. What’s more, the Nikon Zf took a step forward in build quality and finesse, a grown up alternative to the pretty but plasticky Nikon Z fc.

We didn’t just get two new full frame Nikon Z cameras – we also got a positive deluge of new lenses, both from Nikon and from third-party lens makers. We were especially pleased to see Nikon’s Z DX cameras get some support with a new ultra-wide power zoom and a fast prime.

So let’s go on a little trip through 2023 to see how Nikon’s year unfolded…

January 2023

Nikon has been spoiling us with new Z-mount cameras, but what about lenses? 2023 gets off to a fast start for Nikon fans with a development announcement for two new lenses – which could hardly be more different. The Nikkor Z 85mm f/1.2 S will be a hefty portrait prime with a super-fast maximum aperture for pro users, while the dinky little Nikkor Z 26mm f/2.8 pancake lens will be an ultra-portable low cost prime ideal for travel or street photography.

There are more lenses in the pipeline, this time from legendary lens brand Voigtländer. The Voigtländer Nokton 50mm f/1 will be an ultra-fast ‘nifty fifty’, not quite as fast as Nikon’s 58mm f/0.95 Noct but a fraction of the size. The Voigtländer Super-Weide Heliar 15mm f/4.5 Aspherical, meanwhile, looks like a very handy wide prime lens for landscapes and interiors.

Otherwise, it’s a month of firmware updates. With firmware version 2.40, the Nikon Z50 gets eye-detect AF for video, while four of Nikon’s super-telephoto lenses get a version 1.10 update to add control customization features – the Nikkor Z 800mm f/6.3 VR S, Nikkor Z 600mm f/4 TC VR S, Nikkor Z 400mm f/2.8 TC VR S and Nikkor Z 400mm f/4.5 VR S. There’s even a Nikon D850 firmware update, six years after this camera was first launched.

Still in retro-land, we publish our Nikon FE review, a classic 35mm SLR from the 1980s and surely the inspiration behind the Nikon Z fc. We also check out the best lenses for the Nikon D800, a ground-breaking camera in its time and still an effective professional tool today.

February 2023

Lenses are still in the news in February as patents emerge for three new Nikon Phase Fresnel lens designs, including a 400mm f/4.5, 600mm f/5.6 and 1000mm f/8. PF lenses use special optical elements to reduce size and weight and control aberrations. A lot can happen between patent registrations and actual product launches, but there’s more definite news from Sigma, which announces Nikkor Z versions of three lenses – the 16mm, 30mm and 56mm f/1.4 Contemporary primes. These are APS-C/DX format lenses, which will be music to the ears of Nikon Z30, Z40 and Z fc owners.

The BIG news for February, though, is that Nikon wants us to save the date – March 25th – for a major announcement? Could this be the much anticipated Nikon Z8? If so, this could be the camera launch of the year, not just from Nikon but from ANYONE.

March 2023

While everyone was buzzing with rumors of a Nikon Z8, another rumor dropped as a Nikon exec revealed there could be a retro themed full frame version of the Nikon Z fc. Indeed, we hear that this new camera is already in development.

We also get our hands on one of the new Nikkor Z lenses announced in January – Matthew Richards posts his Nikon Z 26mm f/2.8 review and comes away impressed. Editor James Artaius is even more impressed by the 125x optical zoom of the Nikon P1000 bridge camera. It’s a tiny sensor in a huge camera, but you can’t argue with the magnification. Giant US retailer B&H, meanwhile, shares its list of the top-selling Nikon Z lenses in 2022.

So what about Nikon’s ‘save the date’? We had to wait until the following month to release the news we’d all been waiting for.

April 2023

First, some rumors, leaks and lenses. Speculation about the Nikon Z8 is rife and what looks like a major Nikon Z8 leak reveals some key details. The story about a full frame Z fc isn’t going away, either, though there are other contenders.

While we wait for the Z8, Nikon announces the Nikon Z DX 12-28mm f/3.5-5.6 PZ VR, an ultra-wide power-zoom for its APS-C/DX Nikkor Z cameras. About time too, we say. This could prove as important for this end of the market as the Z8 will be for pros. And Matthew Richards’ Nikon Z 85mm f/1.2 S review has the definitive verdict on the pro portrait lens first announced in January. 

But then we get the main event – the Nikon Z8 launch. Or do we? NO! It’s a countdown timer for May 10th. Oh, come ON.

May 2023

At last! The Nikon Z8 is finally, officially, announced. The new Nikon is everything we hoped and more. Nikon says customers wanted a ‘baby’ Z9, and that’s what they’ve got, but packed with power and features, including a stacked 45MP sensor and – amazingly – 8K 60p video. We got our hands on a sample for our Nikon Z8 review and we were not disappointed. The Z8 takes the same bold step as the Z9, already Nikon’s best-selling flagship camera since the D3, in ditching a mechanical shutter completely.

In other news (yes, there was other Nikon news in May), the Nikkor Z DX 24mm f/1.7 is announced as a much-needed fast prime lens for Nikon’s DX format Z-mount cameras, and independent lens maker 7artisans drops a budget 24mm f/1.4 APS-C lens at a hard-to-believe price.

June 2023

The Nikon Z8 launch has had quite an impact. We report how the Nikon Z8 is “is smashing across Japan like Godzilla”, though let’s not forget about the Nikon Z9 either. As we compare the specs of the Nikon Z8 vs Z9 (and the Nikon Z8 vs D850, just to include Nikon’s legendary pro DSLR), Nikon releases a clever Nikon Z9 Auto Capture firmware update with a bunch of other enhancements too.

The speed of both the Nikon Z8 and Z9 makes them top-flight sports and wildlife cameras, so the new Nikkor Z 180-600mm f/5.6-6.3 VR super-telephoto zoom looks the perfect match, right? Actually, though, this is more of a ‘consumer’ lens priced to be within reach for enthusiasts, not just pros, and it’s been on the Nikon lens roadmap for a while.

If the 180-600mm is just a little too long, Nikon also launches a new Nikkor Z 70-180mm f/2.8 constant aperture zoom that has the same maximum aperture as the S-line 70-200mm pro lens, but is smaller, cheaper and lighter. We also get to review the Nikkor Z DX 12-28mm f/3.5-5.6 PZ VR ultra-wide zoom for Nikon Z DX format cameras.

July 2023

Are we never satisfied? No sooner have we got over the arrival of the amazing Nikon Z8 than we’re looking ahead to the next launch. The rumors of a new full frame Nikon Z fc, reportedly "about as ergonomic as a brick", are gaining momentum. This prompts us to revisit our Nikon Df review, Nikon’s retro-themed full frame DSLR which, in view of today’s resurgence in interest in retro cameras, was probably just a few years ahead of its time. DSLRs do still have a big fan base, including N-Photo magazine’s Mike Harris, who buys a Nikon D850, while the author of this very article (ahem) picked up a used D800 and loves it.

Meanwhile, it seems as if every month brings more Nikon lens news. This time it’s the announcement of a super-fast Tamron 35-150mm f/2-2.8 Di III VXD zoom and a very interesting looking Viltrox 75mm f/1.2 AF telephoto prime. This is an APS-C lens, so it’s equivalent to around 112.5mm in full frame camera terms. It’s not just ridiculously fast, but has autofocus too. Also, we publish our full Nikon Z DX 24mm f/1.7 review, Nikon’s very handy-looking fast prime lens for the Z30, Z50 and Z fc.

August 2023

Everything goes quiet in August. We find out that the Nikon’s full frame retro camera is definitely coming as the Nikon Japan website accidentally listed the Nikon Zf ahead of its launch, and the Nikon Z8 scoops the EISA Camera of the Year award. And remember Nikon’s announcement of its new low-cost constant-aperture telephoto zoom? We get a sample for our Nikon Z 70-180mm f/2.8 review – and we like it a lot. 

September 2023

It’s here! The Nikon Zf is launched, and Reviews Editor Gareth Bevan already thinks it’s the true successor to the Nikon FM2. Key specs include a full frame 24MP sensor, external shutter speed and ISO dials and superior build quality to the Nikon Z fc. But what are the other differences? Our Nikon Zf vs Z fc comparison spells them out.

There’s more. Nikon announces a new Nikon Z 135mm f/1.8 S Plena lens, its first ‘signature’ lens since the Noct. So what does ‘Plena’ actually mean? Is it some obscure optical design, a new method of construction, a special physical property? None of the above. It’s kind of based around the idea of ‘plenty’, and for a 135mm lens, an f/1.8 maximum aperture is certainly ‘plenty’.

And swapping plenty of bokeh for plenty of reach, we get to review the Nikon Z 180-600mm f/5.6-6.3 VR, the first affordable super-telephoto for the Nikon Z system. We say ‘affordable’, but probably only for the keenest enthusiasts.

October 2023

Our Nikon Zf review goes live, and reviews ed Gareth Bevan is smitten by its retro looks and modern specs. It sparks a wave of nostalgia from the DCW crew. The Editor of Australian Camera Magazine Paul Burrows says “the Nikon Zf brings back memories of my love affair with the Nikon FM2… and I am being seduced once again”, but Gareth is more cautious, musing that “testing the Nikon Zf has made me rethink if I want a digital Canon AE-1”. 

Incidentally, if you’re put off by the cost of the new Nikkor Z 180-600mm f/5.6-6.3 VR we reviewed in September, take a look at the new Tamron 150-500mm F/5-6.7 Di III VC VXD. It will offer most of the reach but at half the price. Nikon is watching your cash for you too, by announcing a new Nikkor Z 600mm f/6.3 VR S super-telephoto that’s cheaper and lighter than the f/4 pro version – though still expensive by any ordinary standards.

November 2023

November brought no new launches but an important anniversary – 2023 marks 90 years of Nikkor lenses. The Nikkor brand name actually appeared in 1932, and has since been used across Nikon’s lens portfolio right through to the present day and its Nikkor Z lenses. We reviewed two of its latest offerings. Our Nikkor Z 135mm f/1.8 S Plena review confirmed what we expected all along – razor-sharp resolution and fabulous bokeh. Our Nikkor Z 600mm f/6.3 VR S review, meanwhile, left us impressed by its optical quality and light weight, but with mixed feelings about its f/6.3 maximum aperture and stiff price.

December 2023

Perhaps we should call this the year of the super-telephoto? We post a story on Nikon's "monster of zooms", its 30-year-old Zoom-Nikkor 1200-1700mm f/5.6-8P IF-ED. It’s a five minute walk just to put the lens cap back on!

There certainly seems to have been an explosion of interest in telephotos in and around the Nikon Z ecosystem. But is there a cheaper and more convenient alternative to super-expensive super-tele lenses? We round off 2023 with a review of the Nikon Z Teleconverter TC-1.4x and Nikon Z Teleconverter TC-2.0x, which fit between a (compatible) telephoto and the camera body to provide 1.4x and 2x magnification respectively. What’s more, Lab Manager and lens tester Ben Andrews checks Nikon’s claim that the TC-1.4x and TC-2.0x don’t adversely affect image quality. Can this really be true?

So that’s it for Nikon in 2023. It’s been a wild ride, and we don’t even know what’s round the corner in 2024.

When launched, the Tamron 70-180mm F2.8 Di III VC VXD G2 is the second ‘Generation 2’ lens in Tamron’s alternative trinity for Sony E-mount cameras. It followed in the footsteps of Tamron 28-75mm F2.8 Di III RXD G2 standard zoom, and the Tamron 17-28mm F2.8 Di III RXD wide-angle zoom, the latter still in its original version. All three of the original lenses really impressed me, and I'm not the only one. Nikon was very taken with them as well, and morphed them into NIKKOR lenses for its Z-system cameras. The updates and upgrades of the Tamron G2 are now also available in a Nikon Z-mount option, whereas the original Tamron was only made in Nikon E-mount. So let’s see what it adds to the equation, as it sets out to be one of the best telephoto lenses on the market.

Specifications

Mount: Nikon Z (FX), Sony E (FE)
Full-frame: Yes
Stabilization: Yes
Lens construction: 20 elements in 15 groups
Angle of view: 34.3-13.6 degrees
Diaphragm blades: 9
Minimum aperture: f/22
Minimum focusing distance: 0.3m (W) 0.85m (T)
Maximum magnification ratio: 0.38x (W) 0.21x (T)
Filter size: 67mm
Dimensions: 83x156.5mm
Weight: 855g

Key features

There was nothing really wrong with the feature set of the original Tamron 70-180mm. Our only real criticism was that, as with the Nikon Z 70-180mm f/2.8 version of the lens, it lacked optical image stabilization. Sure, all but the first generation of full-frame Sony mirrorless cameras have IBIS (In-Body Image Stabilization) but that tends to be less effective with telephoto lenses. A key feature upgrade of the G2 is that optical stabilization is present and correct, in the form of Tamron’s proprietary ‘Vibration Compensation’. Not just for stills, Tamron says that the VC system in this lens uses AI (Artificial Intelligence) tech to deliver optimized stabilization when shooting video, at least at focal lengths of up to 100mm.

While the addition of VC can make a big difference to sharpness in handheld shooting, outright image quality in terms of contrast, clarity and color rendition as well as sharpness, plus the lack of unwanted aberrations, is all about the glass. The optical layout of the G2 has been redesigned and includes one XLD (eXtra Low Dispersion) element, one hybrid aspherical lens element, three LD (Low Dispersion) elements and two GM (Glass Molded aspherical) lens elements. Tamron’s BBAR-G2 (Broad-Band Anti-Reflection Generation 2) coating is also applied to minimize ghosting and flare.

Like in the original lens, autofocus is based on a VXD (Voice-coil eXtreme-torque Drive) system that uses a linear stepping motor. It’s billed as delivering Tamron’s fastest and most precise autofocus performance to date, as well as giving smooth and virtually silent autofocus transitions when shooting video. As you’d hope for in a Sony E-mount lens, the autofocus system is compatible with the likes of Fast Hybrid AF and Eye AF, where featured in recent Sony cameras, as well as taking advantage of the latest Nikon Z autofocus tech.

Like the 28-75mm G2, the 70-180mm G2 adds a customizable function button, nominally assigned to ‘Focus Set’. The two lenses also feature a USB port which you can use for applying firmware updates and customizing the lens, using the free-of-charge TAMRON Lens Utility and TAMRON Lens Utility Mobile apps. The 70-180mm actually makes more of this feature, as I’ll come to next in ‘build and handling’.

Build and handling

Although relatively lightweight for an f/2.8 constant-aperture telephoto zoom, the Tamron feels solid and robust. Convincing build quality is backed up by a set of weather-seals and a fluorine coating on the front element, to repel moisture and greasy fingermarks, and to make cleaning easier. Another handling bonus is that the lens has the same 67mm filter attachment thread as its f/2.8 16-28mm and 28-75mm siblings.

With the addition of Vibration Compensation and a redesigned optical layout, the G2 is slightly bigger and heavier than the original version, at 83x156.5mm and 855g, compared with 81x149mm and 810g. As we’ve mentioned though, that’s considerably smaller and only about half the weight of many 70-200mm f/2.8 trinity zooms, and handling is all the better for it. As with the original lens, the inner barrel extends a little as you stretch through the zoom range from 70mm to 180mm.

A bonus of the first edition lens was that it offered 0.5x macro magnification at the short end of its zoom range, but this was only available in manual focus mode. The G2 offers a more modest 0.38x magnification at 70mm, dropping to 0.21x at 180mm, but autofocus is available right down to the shortest focus distances of 0.3m and 0.85m, respectively.

Despite the inner barrel extending at longer zoom settings, the zoom ring works smoothly and precisely, and comes complete with a zoom lock switch. The manual focus ring also works with smooth precision, enabling very fine adjustments.

Handling is enhanced by a function button and 3-position custom modes switch, that were lacking in the original lens. As I mentioned earlier, you can use the TAMRON Lens Utility and TAMRON Lens Utility Mobile apps to create custom modes, via a USB cable. These include options like AF/MF, focus limiter, focus preset, dual position A-B focus and ring function (focus/aperture). You can also use the apps to set the MF ring rotation direction, and whether its action is linear or non-linear. The lens function button can be customized via in-camera menus, where available.

All in all, handling is excellent and the customization options enable you to set things up just how you like them.

Performance

I was impressed by the performance of the original lens and the G2 is even better. In my real-world tests, it proved a little sharper in the central region of the frame, and significantly more so in the mid-to-edge region. Color fringing is also better controlled at the long end of the zoom range, and less reliant on automatic in-camera correction. There’s more distortion at most focal lengths and pincushion is actually rather noticeable throughout the zoom range. However, many lenses designed for mirrorless cameras rely on in-camera correction for distortion, so the G2 isn’t unusual in this respect.

I usually find that Tamron lenses give particularly pleasing bokeh and that’s true of this lens. The only caveat is that bokeh disks produced by defocused bright spots or pinpricks of light aren’t particularly smooth and take on irregular shapes towards the edges and corners of the frame. Again though, that’s quite common, not only in zoom lenses but in primes as well.

All things considered, the G2 is a top performer and a real step up from the original (and rather excellent) lens.

Sample images

Lab results

We run a range of lab tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion and chromatic aberrations.

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the center of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths. The tests also measure distortion and color fringing (chromatic aberration).

Sharpness:

Sharpness is excellent throughout the entire zoom range, even when shooting wide-open at f/2.8. And that’s not just in the central region of the image frame, but right out to the edges and corners. It’s well ahead of the original version of the lens for mid/edge-sharpness.

Fringing:

Color fringing is well controlled and of a low order, throughout the zoom range and across the entire image frame. It’s actually not quite as good as the original lens at the shortest zoom setting, but much better at the long end. Either way, automatic in-camera correction is available.

Distortion:

We found that the original lens gave slight barrel distortion at its shortest focal length of 70mm. The G2 gives noticeable pincushion at the short end instead, and it becomes more pronounced at longer zoom settings. Even so, there’s rather less distortion than in many recent lenses designed for mirrorless cameras, some of which rely entirely on automatic correction.

Verdict

The original Tamron edition of this lens impressed me so much that I bought the own-brand Nikon version, which was as close as I could get for my Z-system cameras. The Tamron G2 is better in every way, from handling exotica to image quality and all-round performance. The Nikon Z lens remains in its original trim, with no optical stabilization nor any of the other ‘G2’ enhancements. It’s good to know therefore, that the Tamron G2 is now available for Nikon Z as well as for Sony E-mount cameras. I feel it’s time to trade in my much-loved Nikon tele zoom!

Read more:

• Best camera lenses to get
• Best Canon lenses
• Best Nikon lenses
• Best Sony lenses

When Nikon released its first Z mount APS-C in 2019 (the Nikon Z50) there was one major problem with it – there were hardly any dedicated lenses to choose from. Things have since improved and now there are 5 Nikkor Z mount DX lenses available. Very soon users will have access to the massive range of Fujifilm lenses thanks to the new Boryoza FX-Z AF lens adapter.

With the new Boryoza adapter, Nikon users will have access to loads of Fujifilm lenses including a range of high-quality primes, zooms, wide-angle and telephoto lenses. With more than 40 lenses to choose from such as the supertelphoto Fujifilm XF 150-600mm f/5.6-8 R LM OIS WR, the professional Fujinon XF 50-140mm f/2.8 R LM OIS WR or even the Fujinon XF 56mm f/1.2 R lens which delivers beautiful rounded bokeh and silky smooth background blur while keeping the in-focus sections pin sharp.

It’s all very well and good releasing a new camera, but if the selection of lenses is limited, people might start looking elsewhere. We love the Nikon Z50 and Z30 but it does feel a little bit like Nikon has forgotten about massively expanding its DX lens lineup. You can of course use any Nikkor S lens designed for full-frame cameras but these are generally bigger, more expensive, and heavier than the APS-C equivalents. Chances are if you’ve gone for an APS-C body you’re looking to save on all of the above. 

This is where adapters come into their own. Adapters are quite possibly one of the most underrated bits of kit in the photography world. They’re relatively cheap to buy, they make it possible to shoot with lenses made by other brands and can save you from having to fork out on a whole set of expensive lenses straight away if you’re switching systems. One of the downsides to adapters is that the cheaper ones sometimes don’t allow you to use the autofocus feature, which is why we’re so excited by the announcement of the new Boryoza lens adapter.

FujiRumors describes the Boryozac adapter as the thinnest AF adapter on the market, and say it is compatible with both autofocus and automatic aperture priority modes. It also supports the image stabilization of those X-mount lenses that have it, passes on the EXIF information, and its firmware can be updated. According to Asobinet, prices will start at 1480 yuan or around $208 / £165 / AU$315.

As things stand there are just five DX lenses available for Nikon Z cameras (compared to 39 for its full-frame models such as the Z6 or Z9). In fairness, they do cover a massive focal range and include the Nikkor Z DX 24mm f/1.7, DX 12-28mm f/3.5-6.3 VR, DX 18-140mm f/3.5-6.3 VR, DX 16-50mm f/3.5-6.3 VR, and the DX 50-250mm f/4.5-6.3 VR. None of the lenses is particularly fast except for the only prime lens so there is indeed demand for better lens selection and we reckon this will be a popular purchase among Nikon mirrorless APS-C users.

I might be a little biased as I used to own a Fujifilm X-T3 which I loved, but if you haven’t already bought an APS-C route I would seriously consider going down the Fujifilm route instead. They are the OG retro camera brand and you won’t need to buy an additional adapter to access the amazing range of lenses. But if that’s not the case and you already have a Nikon, I would buy this as soon as I could – it’s a bit of a game-changer. 

If nothing here works for you, why not explore our guide to the best Nikon lenses.

One of Nikon's most famous lenses has resurfaced, attracting attention and amazement in equal parts. 

The rare Nikon Zoom-Nikkor 1200-1700mm f/5.6-8P IF-ED lens is an absolute monster, and like the one in Loch Ness, pops its head up occasionally to remind us of its existence. The Nikon lens, however, is very much real and is one of the largest full-frame zoom lenses ever developed, dwarfing the best telephoto lenses of the modern era. PCH Pro Shop in Belgium happened to get its hands on one, and the sheer size of the lens is unbelievable.

Released in 1994 at an eye-watering price of $60,000 (with inflation that's around $124,800 / £98,800 / AU$188,100 today), sightings of the lens are few and far between. So when PCH Pro Shop had a customer bring one to the shop, the photos started doing the rounds. 

The size of it is the crazy thing, with that being the feature that now defines it. It has a length just shy of 3ft (888mm) and a weight of over 35lbs (16kg) making it difficult for the shop employees to pose for a photo with it.

First used in 1990 at Japan's Koshien Stadium, the baseball ground at which the spring high school baseball tournament is staged, it wasn't until 1994 that it was made available to the general public – which at the time boasted the longest focal length of any zoom lens for 35mm cameras.

At the same time, Canon was developing its own monster lens and created the Canon EF 1200mm f/5.6 L USM, which recently fetched $462,321 at auction. Nikon distinguished its lens from Canon's by featuring a zoom function, instead of Canon's switch teleconverter function, meaning the photographer was free to use the whole focal range between 1200-1700mm.

The lens found popularity with photojournalists and sports photographers due to its enormous focal length. It has been used in many notable historic events, such as the French Charlie Hebdo hostage situation in 2015 to capture photos from a safe distance, and a famous incident in 2013 where a photographer used it to capture a photograph of the then-new Pope.

The engineering and design of the lens are remarkable for the short time in which it was developed. The "monster of zooms" consists of 18 elements in 13 groups, including 3 extra-low dispersion (ED) lenses. With a minimum focusing distance of 32.8ft / 10m, it offers a variable maximum aperture of f/5.6-8, controlled by a 9-blade diaphragm.

Although now mainly fallen into disuse, Nikon says that, "the experience that the engineers of the 1200-1700mm gained in developing the lens has subsequently been put to good use in the development of contemporary super telephoto lenses."

Nikon is currently celebrating 90 years of Nikkor lenses, and this certainly counts as a standout!

You may also be interested in our guides to the best Nikon cameras along with the best Nikon lenses, and the best Nikon Z lenses for mirrorless cameras.

Update: 22/03/2024: A report via  Nikon Rumors has suggested that this lens could be announced by Nikon next week;  Wednesday, March 26 - undermining previous rumors that the lens would arrive in the later half of 2024. This new superzoom is not expected to be part of the Nikon S-line lenses, and the aperture range could be a half-stop faster or slower on both ends.

If this lens is announced next week I can see it ending up in many baskets for beginners and camera enthusiasts alike, especially if it does ship with the f/3.5-6.3 aperture range.

Original story: The latest rumor to hit the mills could possibly be the best Nikon superzoom ever to hit the market, but is it just a rumor or is there smoke with this fire? Let's discuss it!

The rumor originally surfaced from Nikon Rumors suggesting that a new Nikkor Z 28-400mm f/3.5-6.3 lens could be on the horizon for 2024 and it got us thinking… If this lens did see the light of day would this be the best-ever superzoom from Nikon?

It might be obvious this type of line won't be hitting the pro-grade S-line of Nikon Z lenses, or being attached to a Nikon Z9. However, can see this being an extremely popular lens, strapped to one of the best cameras for beginners. 

Looking back at the days when we were all using the best DSLRs, Nikon launched the Nikon 28-300mm f/3.5-5.6G ED VR. This was the first full-frame superzoom that everyone could afford and it became a very popular lens. I know at least four of my photography enthusiast friends who all owned this lens at some point, and all said how easy it was to use and that they could capture anything with it.

So, if Nikon is to re-make this lens for its mirrorless cameras in the form of a Nikkor Z 28-400mm f/3.5-6.3 I can see it being a very popular lens indeed - I mean think about it this one les has all the popular focal lengths in one, hopefully, lightweight frame, 28mm for all your wide shots for landscape, 50mm for portraits,  85mm for studio work, 135mm for that telephoto compression and then 300mm makes it ideal for those that love to take images of their children at soccer/football practice or those that love wildlife. 

While I think this lens will be a popular choice with today's modern Nikon mirrorless cameras, there is no official word from Nikon on when this lens might be coming to the market or if at all - as it is a mere murmur at this point, with a suggested 2024 release date, if it is 2024, well we don't have long to wait and if it does come to market I can see it flying off the shelves.  

Known as the richest photography competition in the world, each year the Hamdan bin Mohammed bin Rashid Al Maktoum International Photography Award (HIPA) offers a large prize pool to its grand prize and special category winners. This year, the grand prize of US$120,000 (AU$180,000) was won by an unbelievable jellyfish photo.     

The theme for this year's edition of the competition was Diversity which was won by Massimo Giorgetta, a photographer from Italy. His winning image depicted 'a magical 5cm Jellyfish Tunicate that is filled and covered by other marine creatures; like a miniature diverse ecosystem'. The judges described the winning image as 'mesmerizing', showing the diversity of marine life. 

His image was shot using a Nikon D800E DSLR camera with a Nikkor 60mm f/2.8 Micro lens in a waterproof housing with flash. The exposure was 1/250sec at f/18, ISO 320.

• Interested in our guide to the best waterproof cameras?

HIPA held its annual awards ceremony for its Twelfth Season of competition, held at Dubai Opera and attended by various dignitaries and members of the photography community. The winners all share a cut of the competition's $400,000 prize fund (AU$614,000).

Secretary General, Ali Bin Thalith expressed at the ceremony, “This year, we honour the concept of ‘Diversity’. We firmly believe that it represents the mysterious essence of the planet we all live on. Due to recent and ongoing world events, we felt a need to further appreciate and understand the beauty of Diversity".

HIPA is free to enter and offers a range of categories to enter. One other the other larger categories of HIPA 2023 was the ‘Portfolio’ category, won by Australian photographer Scott Portelli for his selection of marine wildlife images.

Other award winners included:

Photography Appreciation Award: Frans Lanting

Photography Content Creator Award: Margaret Steber

Emerging Person in Photography Award: Fatima AlMosa

General Award categories featuring color and black and white featured winners from around the world, with the top positions being awarded to Aleksandr Chehonin from Russia and Ravi Kanth Kurma from India, respectively.

The winners of the category of Digital Art category were honored by HIPA with first place going to Wanhua Zhao from China, followed by Palestinian photographer Mahmoud Alkurd in second place. This category has been singled out by HIPA as being dominated by female photographers, an apt fact that represents the theme of this year's awards greatly.

The diverse selection of winners and contributors is a great representation of the progress in inclusivity and diversity within photography, and confirms that even if there is more work to do, we are heading in the right direction! 

Previous HIPA winners

• Malaysian photographer grabs 2019 $120,000 HIPA grand prize
• $120,000 photo: bird shot wins big bucks in HIPA 2022
• $120,000 grand prize winner announced for HIPA 2018
• Winners of world's richest photographic awards 2021
• Amazing image of whales  $120,000 HIPA 2020 prize

Known as the richest photography competition in the world, each year the Hamdan bin Mohammed bin Rashid Al Maktoum International Photography Award (HIPA) offers a large prize pool to its grand prize and special category winners. This year, the grand prize of $120,000 was won by an unbelievable jellyfish photo.     

The theme for this year's edition of the competition was Diversity which was won by Massimo Giorgetta, a photographer from Italy. His winning image depicted 'a magical 5cm Jellyfish Tunicate that is filled and covered by other marine creatures; like a miniature diverse ecosystem'. The judges described the winning image as 'mesmerizing', showing the diversity of marine life. 

His image was shot using a Nikon D800E DSLR camera with a Nikkor 60mm f/2.8 Micro lens in a waterproof housing with flash. The exposure was 1/250sec at f/18, ISO 320.

• Interested in our guide to the best waterproof cameras?

HIPA held its annual awards ceremony for its Twelfth Season of competition, held at Dubai Opera and attended by various dignitaries and members of the photography community. The winners all share a cut of the competition's $400,000 prize fund.

Secretary General, Ali Bin Thalith expressed at the ceremony, “This year, we honour the concept of ‘Diversity’. We firmly believe that it represents the mysterious essence of the planet we all live on. Due to recent and ongoing world events, we felt a need to further appreciate and understand the beauty of Diversity".

HIPA is free to enter and offers a range of categories to enter. One other the other larger categories of HIPA 2023 was the ‘Portfolio’ category, won by Australian photographer Scott Portelli for his selection of marine wildlife images.

Other award winners included:

Photography Appreciation Award: Frans Lanting

Photography Content Creator Award: Margaret Steber

Emerging Person in Photography Award: Fatima AlMosa

General Award categories featuring color and black and white featured winners from around the world, with the top positions being awarded to Aleksandr Chehonin from Russia and Ravi Kanth Kurma from India, respectively.

The winners of the category of Digital Art category were honored by HIPA with first place going to Wanhua Zhao from China, followed by Palestinian photographer Mahmoud Alkurd in second place. This category has been singled out by HIPA as being dominated by female photographers, an apt fact that represents the theme of this year's awards greatly.

The diverse selection of winners and contributors is a great representation of the progress in inclusivity and diversity within photography, and confirms that even if there is more work to do, we are heading in the right direction! 

Previous HIPA winners

• Malaysian photographer grabs 2019 $120,000 HIPA grand prize
• $120,000 photo: bird shot wins big bucks in HIPA 2022
• $120,000 grand prize winner announced for HIPA 2018
• Winners of world's richest photographic awards 2021
• Amazing image of whales  $120,000 HIPA 2020 prize

Over the last 90 years, humanity has been through a lot – and Nikon's Nikkor lenses have been there to capture the vast majority of it.  

Nikkor began in 1932 when Nikon Corporation, known then as Nippon Kogaku KK, registered the Nikkor trademark. A year later, the release of Aero-Nikkor aerial photographic lenses started the 90-year production of optical instruments. The Nikkor brand has subsequently grown and is renowned globally for delivering the highest performance on the best Nikon cameras. 

To celebrate the anniversary, Nikon aims to increase awareness of the Nikkor brand through several promotions. A new logo has been designed for the occasion, noting the 90 years of Nikkor, surrounded by silhouettes of 18 standout lenses that helped put the brand on the map. 

Inscribed within the ring of lenses is a new message, 'A Story in Every Lens'. According to Nikon, "this phrase expresses the unique characteristics and thoughtful dedication found in all Nikkor lenses, as well as their power to capture precious moments while preserving history and telling stories that resonate with people’s hearts."

Nikon will add to the promotions of the Nikkor brand by releasing a number of videos highlighting its value and influence, as well as the history of its lenses.

The lenses have been used to capture innumerable historical events over the past 90 years. In 1963, the Zoom-Nikkor Auto 43-86mm f/3.5 was the first standard zoom lens to offer practical performance, and was featured often in Life magazine. 

The lenses also played a part in NASA's space missions. In 1971 Nikkor glass was employed on the Apollo 15 mission, and in 2009 the Nikon D3S coupled with the AF-S Nikkor 14-24mm f/2.8G ED lens was ordered to document activities at the International Space Station.

Nikon has continued to push the limits of the Nikkor line with the advent of the Z mount, which boasts the largest diameter mount among full-frame mirrorless cameras – enabling a "new dimension in optical performance" for Nikon. In 2019 the Nikkor Z 58mm f/0.95 S Noct, the flagship among Z lenses, achieved the milestone of being the fastest lens in Nikon history with an aperture of f/0.95.

Nikon remains among the top camera and lens manufacturers, and the transition into mirrorless has enabled it to continue innovating and manufacturing specialized lenses – its latest signature lens, the Nikkor Z 135mm f/1.8 S Plena, being the most recent example.

For any company to remain so dominant over 90 years is a triumph, but it is even more impressive within the fast-paced and ever-changing landscape of technology. Congratulations, Nikon, and happy birthday, Nikkor!

For the best optics for your Nikon body, take a look at the best lenses for the Nikon Z fc along with the best lenses for Nikon Z7 II and best lenses for Nikon Z9 and Z8. 

I had used Nikon since my college days, back in the early Eighties. Everyone who I ever assisted used the same combination of Nikon, Hasselblad, and Sinar. It’s what the pros of the time used, and who was I to buck the trend? Obviously, as a student, Hasselblad and Sinar were way out of my budget, but I was able to afford a used Nikon F2A and a couple of second-hand Nikkor lenses. 

I then remained with Nikon for the rest of my career. I was privileged to represent it as a brand ambassador in 2016-17, shooting the launch brochure for the Nikon Df. I have always enjoyed using Nikon cameras and lenses; the bodies have always suited me ergonomically, and the lenses – of course – were of the highest quality available. From the F2A and F4S through to the D2X and onto the D850, I have loved the handling and usability of the Nikons.

So, why change? There are two main catalysts for change, both personal. I just didn’t like the feel of the new, mirrorless Nikons – the Z6 and Z7. I felt that Nikon had lost something, that "Nikon feel". The cameras could have come out of any old factory, and looked and felt like just about any other mirrorless camera on the market. I also disliked the electronic viewfinder.

The second reason I was looking to change was that I no longer wanted to carry large amounts of camera equipment around with me, in an even larger and very heavy rucksack. I looked at what I was shooting – landscapes, panoramas, and architecture – and looked at the focal lengths I was using; 20mm, 35mm, and 50mm were the mainstay, with the occasional use of a longer lens.

A funny thing then happened. A friend of mine showed me his Leica M3, made in 1956. I handled it and fell in love with it. A camera, it’s just a camera, but my god, what a camera. Within two weeks I had bought one with a 50mm lens, just to shoot the occasional roll of film as a bit of fun. 

A short time later Leica introduced the digital M10, based on the original M3. It had a shutter release, shutter speed dial, ISO dial, and an aperture ring on the lens. So beautifully simple; no modes, no auto-this, that, and the other – just wonderful simplicity.

I bought a second-hand M10 and a 50mm lens to run alongside my Nikon kit, more for occasional use than anything, but I found myself going out with just the Leica and 50mm. I loved using it. The M10 was replaced by the M10-R which was then replaced by the M11, which I think is stunning. My lenses are 21mm, 35mm, 50mm, and 90mm – and they all fit neatly into a Billingham bag with the M11 body and two or three filters. Do I miss longer lenses or extreme wide angles? Not really. Having limited focal lengths makes me go and look harder for images that will work.

I have now sold all my Nikon kit, apart from my original F2A. Other than that, the sum total of my camera kit is now the Leica M11 and 4 lenses.

It is hard to explain why using an old-fashioned rangefinder camera and manual lenses is so much fun. It is inspiring to use but it is, after all, just a camera. But there is something about it; it oozes quality, the solid feel. It is just so wonderfully tactile and incredibly well-built. The lenses are stunning as well, and small, provided you don’t go for the f/1.4s.

Since switching to using just the Leica, I carry a camera with me wherever I go, and it has opened new horizons. I am still shooting mostly landscapes, for which I am known, but I now shoot a lot of architecture and what I would call ‘urban’ scenes (though I am certainly not a ‘street’ photographer, and I hate the phrase).

I love my Leica M11, but here’s the sad thing. Nikon once made a series of rangefinder cameras in the film era, and they too were superb. It’s such a shame it never brought out a digital version.

If you're interested in the best Leica cameras and the best Leica lenses we've got you covered – and if you're not feeling as flush we also have a best Leica alternatives list (which might include a Nikion!).

Nikon has once again dipped its toe into the popular world of vintage-inspired camera design, with the release of the APS-C Nikon Z fc and the impressively-featured full-frame Nikon Zf. Both cameras are heavily inspired by the iconic Nikon FM2, offering tactile traditional camera controls alongside digital technology and functionality that sit firmly within the realm of the modern world. 

These cameras are, in a nutshell, an impressive blend of old and new that deliver a thoroughly enjoyable shooting experience and excellent image quality. But with vintage SLR design influence, both models have very little in the way of a grip on the front of the camera to make holding them more comfortable, and no thumb grip on the back of the body. This basically means that the bodies don’t balance particularly well with larger Z-series lenses.

Give me bigger if it’s better

There are currently two Special Edition lenses available.here’s the Nikkor Z 28mm f/2.8 SE lens (that provides a 42mm equivalent focal length on the Z fc), and for the latter there’s the Nikkor Z 40mm f/2 SE (that gives a 60mm equivalent focal length on the Z fc). They’re small and lightweight primes that balance perfectly with the two camera models and sport a pleasing vintage design to match. 

There could be more retro-style lenses on the way, but for many people, this current lack of small and lightweight prime lenses designed to match the Z fc and Z f is a problem. For me though, I don’t care and would rather use the best Z-series lenses available with the Z f, for instance, rather than stoically sticking to the retro-inspired lenses. They may balance well with the cameras and look the part, but they’re simply not the best options available.

Don’t get me wrong, they’re great little lenses. But I’ve been using the far superior Nikkor Z 50mm f/1.2 with the Z f, and the combination is sublime; image quality is sensational and the excellent performance allows you to fully appreciate, and indeed take advantage of, the seriously impressive autofocus functionality of the Z f.

The 50mm f/1.2 coincidentally has the same list price as the Z f body, it’s a professional lens and quite large due to the optical construction and the large maximum aperture. As such, the balance between the camera body and lens isn’t great if you mostly hold the camera. This too, is the case with many other Z-series lenses that are considerably larger than the SE lenses.

So, to find the perfect balance, I would prefer to place more emphasis on supporting the lens with the camera body kind of floating behind and steadied by my hand to enjoy the best image quality available. Whether that’s high-quality primes like the 50mm f/1.2 or, longer focal lengths such as the 70-200mm f/2.8. For me, although the Z f is a joy to use, it’s ultimately an image recording device that can only ever be as good as the glass that’s attached to the front of it.

If you're in the mood to read more about the camera, there is a full review of the Nikon Zf, plus we debate where it fits against its sibling: Nikon Zf vs Z fc.

The European Wildlife Photographer of the Year competition, organized by the German Society for Nature Photography (GDT), illuminates the beauty and wonder of the natural world through the lens of passionate photographers. Renowned worldwide for its celebration of nature photography this year an impressive 18,000 photographs from 42 countries were entered. 

Spanish Photographer Javier Aznar González de Rueda was crowned European Nature Photographer of the Year 2023 for his image Maternal Care capturing the intricate behavior of a brood stink bug in Ecuador's Yasuní National Park. For two weeks, Javiar carefully observed a female stink bug guarding her eggs and newly hatched larvae revealing its remarkable maternal instincts. 

The best lenses for bird photography and wildlife will help you capture stunning natural shots without causing any disturbance

On winning the award, Javier Aznar González de Rueda commented, "Maternal care significantly increases an offspring's chances of survival. In Ecuador's rainforest, juvenile stink bugs are vulnerable to attack by numerous predators and parasitoids, making it a highly complex ecosystem with countless interconnected life forms." Insects play a vital role in ecosystems by maintaining healthy soil, recycling nutrients, pollinating flowers, and controlling pests. 

In total, nine winners were selected from each category; Hungarian photographer Csaba Darôczi was selected from the Birds Category, Jens Cullman won the mammals category for Last Dance showing a pride of lions preying upon a buffalo herd at the Chitake Springs in the Mana Pool National Park, Zimbabwe, while Marjan Artnak was selected from the Other Animals category for their capture of a beautiful f5 [Taking first place in the plants and fungi category is photographer Roberto Bueno for his shot of a lichen-covered stone table, Joel Delmas came first for his aerial landscape shot of the Geldingadalur volcano in Iceland erupting. 

The Underwater World category was awarded to Catherine Holmes for a mesmerizing shot of Munk’s Devil Rays taken at night in the shallow bay of Isla Espirito Santo. Angel Fitor came first place in the man and nature category and GDT member Bruno D’Amicis won the Nature’s Studio category for his shot of an endangered Mediterranean monk seal taken in the shallows of the Halout cave in Greece. 

Up-and-coming photographers also had the chance to demonstrate their skills in the competition, with Alberto Román Gómez winning in the category for young photographers aged 14 and under, while Luca Lorenz from Germany claimed the first place in the junior talents category for ages 15 to 17.

The Fritz Pölking Prize, dedicated to nature photo stories and portfolios was awarded to Jasper Doest from the Netherlands for his project A Fragile Refuge for Forest Elephants. The Fritz Pölking Junior Prize went to Mateusz Piesiak from Poland for his creative portfolio Sunflower Paradise.

The competition's success was made possible thanks to the generous support of Canon, AC-Foto, Nikon, PanOceanPhoto & Travel, Transcontinental GmbH, Sigma, and Sparkasse an der Lippe. The winners received cash prizes of $3,190/£2,616/€3,000 for the overall winner, $2,126/£1,744/€2,000 for the Fritz Pölking Prize, and $1,595/£1,308/€1,500 for the Fritz Pölking Junior Prize, among other awards, totaling $35,600/£29,214/€33,500.

An exhibition featuring all the winning images will tour Germany and several other European countries after the award ceremony beginning at the Deutsches Pferdemuseum in Verden near Bremen, with an official opening ceremony scheduled for December 7, 2023.

For more information about the European Wildlife Photographer of the Year competition, the winning photographs, and upcoming exhibition dates, please visit the official website.

If you love taking photos of insects, the best macro lenses will enable you to get ultra-high-quality images taken close to your subject 

Every so often, a new big superzoom telephoto lens pops up to grab everyone's attention. Mostly it’s third-party lens makers like Sigma and Tamron, duking it out over different stratospheric focal lengths or huge apertures. It seemed like Canon was content to focus on sensible quality and let other companies make the headlines. But no longer! The Canon RF 200-800mm f/6.3-9 IS USM has arrived on the scene as a serious challenger to the superzoom throne.

In the realm of full-frame superzoom lenses, there are a few different priorities. There is simply the longest lens in terms of maximum reach, like the Nikkor 1200-1700mm f/5.6-8P IF-ED, or there is the widest aperture superzoom like the battlefield-ready Sigma APO 200-500mm f/2.8 EX DG, or there is the widest zoom range, like the Sigma 60-600mm f/4.5-6.3 DG OS HSM Sport and its broad 540mm of reach.

The Canon RF 200-800mm offers a (currently) record snatching 600mm difference in focal length from wide to tele, for full-frame cameras anyway, and manages to achieve this in a body weighing just over 2kg and just 31cm long. There are, however, compromises to be made, with the maximum aperture being limited to f/6.3-9, which puts it considerably narrower than other rival lenses with slightly less ambitious focal lengths.

The RF 200-800mm is designed for full-frame cameras, but its reach can be extended even further if paired with a Canon APS-C camera like the Canon EOS R7 with its 1.6x crop factor, which makes the lens a whopping 320-1280mm! The lens is also compatible with Canon’s 1.4x and 2x teleconverters, although you have the penalty of losing one or two stops in maximum aperture respectively.

Canon has delayed getting into the super-zoom wars for so long, but has finally turned up to the party – has Canon found the secret formula for near to far perfection?

Specifications

Price

At $1,899 / £2,299 / AU$3,499 – the RF 200-800mm is an expensive lens, but not unreasonably so, with Canon clearly banking on its extra reach offering enough to set this above cheaper lenses with a shorter zoom range. However, Canon’s restrictive practices around its mount mean that this is one of the only true superzoom lenses available for the RF system.

Sigma’s closest EF lens – the Sigma 150-600mm f/5-6.3 DG OS HSM Sport, comes in considerably cheaper bundled with a Sigma 1.4x teleconverter – and while you then have to use another mount adapter, this might be a worthwhile trade-off for a substantial saving.

Design & Handling

On my first impression of the lens, I was initially struck by the size – while it isn't dramatically smaller than superzoom lenses from the likes of Sigma and Tamron, I was expecting it to be so much larger and heavier. When you remember just how much focal length it covers, the overall size actually is quite remarkable. Although, the mediocre maximum aperture can likely be thanked for some of this size reduction.

Unusually the lens is in white, which is normally reserved for Canon’s more premium L-series lenses, but it has been employed here as it reflects more heat off the quite substantial surface area of the lens for better performance in extreme conditions. This does also have the psychological benefit of making me subconsciously assume it's going to be a more optically impressive lens to the quality of the L-series – if that was intentional then, smart move Canon.

For its huge 200-800mm range, the lens is surprisingly lightweight, at just over 2kg. I have been using the lens mostly handheld in my testing while attached to the Canon EOS R5, and the weight was not really troublesome when being carried around, although holding the lens up to my eye for long periods when tracking wildlife did drain my arms quickly, but a shoot with this lens means I can skip the gym.

At 31.4cm (12.4in) in total length when collapsed, the lens should slip into a decent-sized camera backpack alongside a camera with no issue, so wildlife and sports photographers can be saved from a little less back pain. 

The lens comes with a built-in tripod foot, which I found doubled perfectly as a carry handle as I walked around. There is also an additional carry strap included if you prefer to use it (I personally find straps just get in the way). I didn't find any issues balancing the lens and EOS R5 camera on a tripod, even on unstable and uneven ground at my local bird sanctuary, it wasn't much hassle to kick the legs into a strong balanced position.

Unusually for a Canon non-L lens – the hood is included. Although for the price of the lens, throwing in a plastic lens hood is a small concession from Canon. 

The lens hood is in black (unlike the white lens) and doesn’t match the same quality as the hood included with lenses like the Canon RF 70-200mm f/2.8L IS USM, but I won't look a gift horse in the mouth – it is nice to have.

In terms of the lens features, the switches on the 200-800mm are relatively simplistic, with one for AF-MF and a second for OIS on or off, there are no options for different stabilization modes or focus limits on this lens. I don’t know if this is an engineering decision in terms of what was possible to achieve with the lens, Canon suggesting the lens/camera is now smart enough to pick everything itself, or just a costing decision to keep the price affordable. 

You do, however, have two custom function buttons on the lens as well as Canon’s customizable control ring, which also does double duty as the manual focus ring when required. There is also a ring to make the zoom tighter or smoother, which might be useful to some who need very precise zoom. I found the lens was challenging to turn all the way from 200 to 800mm in one fell swoop, even on smooth, as it is just a long throw and a big barrel to turn.

Photo Performance

Canon has almost gone and done it! The Canon RF 200-800mm lens comes so close to touching optical greatness, with only some minor quibbles with quality towards the top end of the zoom range, but throughout its huge 600mm zoom range, you can achieve some stunning results.

This is in the context of the prosumer superzoom lens category – don't start putting your telephoto primes on eBay just yet! There are unfortunately a few reasons why this lens probably didn't get the red ring of professional approval – but in certain situations, it comes tantalizingly close.

The RF 200-800mm is best through its 200-700mm range – between 700-800mm there is a noticeable drop in image quality, with sharpness becoming a bit murkier. I actually found I could achieve better results using the 45MP sensor from the Canon EOS R5 while shooting at 600mm and cropping the image to the same aspect as 800mm. In the image below you can see the difference between 600mm and 800mm in the fine lines around the robin's features and feathers.

The results look more dramatic when you directly compare them side-by-side. When viewed in isolation, I didn't clearly notice the robin at 800mm being a narrowly lower-quality image, and I was actually really happy with the image until I viewed the wider shots next to one another. You can see the same image below at 400mm, 600mm, and 800mm to compare the results at each length.

The range that the 200-800mm lens can achieve is astounding. You can see just what a difference 600mm makes in the image of the plane below. I live nowhere near an airport, so this plane is way up in the air – at 200mm, the plane remains somewhat of a dot in the sky, but zooming in to 800mm I can almost read the plane's tail number! 

Where the lens comes a little unstuck is with its limited aperture. I tested the lens chasing birds around a wildlife park, which meant shooting a lot of fast-moving critters – thus high shutter speeds. Due to the smallish f/9 aperture at the top end of the zoom, the camera ISO kept jumping higher than was ideal. With heavy cloud cover, it became a dance between going as slow with the shutter as I could while avoiding subject blur and trying to keep the ISO down.

Lower peak sharpness at 800mm, combined with reduced quality at higher apertures meant that shots I hoped would capture a lot of detail in feathers or fur were just a little lackluster and smoothed. 

The RF 200-800mm lens is compatible with Canon's RF 1.4x and 2x teleconverters. Throwing the 1.4x and the 2x converter on the lens, I could not notice any perceptible drop in quality to my eye caused by the converter at the low end of the focal range, with shots from around 200-600mm looking good, with sharpness and contrast remaining consistent with the lens alone at the equivalent length. 

But, unsurprisingly, matching the lens, shots at the top end of the lens when used with teleconverters were also soft. When the 2x teleconverter was used at 800mm (1600mm with the x2 converter), the image contrast also suffered quite heavily as well with shots becoming more washed out.

Finally – the autofocus of the RF 200-800mm is exceptional. Now, the autofocus on the Canon EOS R5 is one of the best in the business, and the RF 200-800mm lens had no issues keeping up. I mostly used bird tracking autofocus, which flawlessly pinpointed each bird's eye with the RF 200-800mm moving just following along in near total silence – there is definitely no danger of this scaring off any skittish wildlife. 

Pulling from near to far focus was a tiny little bit slower than shorter lenses, probably down to the distances internal parts need to be pushed and pulled inside the big white lens, but I didn't really miss any crucial shots from the lens being too slow to find focus.

Sample Images

Lab Results

We run a range of lab tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion and chromatic aberrations.

We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the center of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths. The tests also measure distortion and color fringing (chromatic aberration).

Sharpness:

Center sharpness is very good in the 200-600mm focal range, but becomes more average at 800mm. Corner sharpness is average at all focal lengths, but this is less problematic for a super-telephoto lens, where your subject is likely to only occupy the center of frame.

Fringing:

Color fringing is quite easily visible at all tested focal lengths and apertures, and is most noticeable at 400mm. These results were obtained with in-camera aberration correction disabled though, so this is a worst-case scenario.

Distortion:

There's minor pincushion distortion at 200mm, which gradually reduces as you zoom in. Again, we disable any in-camera lens corrections to ensure a fair test, so enabling distortion correction would likely improve things considerably.

Video Performance

With a lens of this length, stable video is going to be the biggest hurdle. The best advice is to invest in a study video tripod, with a video head capable of smooth panning and tilting reducing the amount of jerkiness and handshake – although at the full stretch of this lens, every tiny vibration is reflected on the final footage. Even when mounted on a tripod, I still found a few tremors from my movement around the lens sneaking into the footage.

Luckily, the image stabilization is a savior in the RF 200-800mm – especially if you are willing to use Canon's enhanced digital image stabilization at the penalty of a slight crop on the footage. 

You can see some of the differences in stabilization modes and the effect on handheld footage in the sample video above.

The optical image stabilization built into the lens on its own is fantastic, but handheld, couldn't quite achieve the levels of stabilization I would consider usable. Adding the Digital I.S. (Enhanced) however, did nudge the lens to a level of steadiness to which I would actually consider shooting 800mm video footage handheld and leaving my tripod in my bag.

The image stabilization is fairly solid when held steady, although small movements did sometimes spur significant jumpy autocorrections from the I.S. However, I was especially impressed when panning with the lens – tracking birds as they swam around the lake produced beautifully smooth and stable footage.

Again, I wouldn't recommend leaving a tripod at home, but if you need to get footage quickly then these combined image stabilization modes can come to the rescue in a pinch.

Verdict

If you want a lens that covers the absolute widest range of telephoto focal lengths possible, then the Canon RF 200-800mm f/6.3-9 IS USM is an easy decision. This is (at the time of writing) the reigning champion of all the full-frame superzooms for focal range. It is also remarkably light and compact for the massive focal length, so shooting wildlife all day with this lens should be a walk in the park (pun very much intended). And it should fit into most decent-sized camera bags, too.

The downside, however, is the maximum aperture is less than what you get on other less ambitious superzoom lenses. At focal lengths as long as this, background blur and subject isolation are great, although the lens will suffer in lower light conditions. In good light, the lens is impressively sharp throughout most of the zoom range – and although sharpness and contrast could have been a little stronger at 800mm in my testing, but the autofocus was lightning-fast and accurate.

While the lens is hugely impressive for its reach – the price is quite a lot to pay unless you really need the additional length. You can pick up the Canon RF 100-400mm F5.6-8 IS USM for about a quarter of the price if you can make do with the shorter length – and it can be paired with the 2x converter, a combination that still comes in cheaper than the 200-800mm alone. 

However, the RF 200-800mm is a bargain compared to Canon's L-Series telephoto lenses, and the best choice for any enthusiast, at least until Canon opens up its mount to third-party lensmakers anyway. 

Alternatives

Will the Nikon Z9 be the next mirrorless camera on the moon? Judging from pictures released by the European Space Agency this week, we think it may well be.

The images show the Handheld Univeral Lunar Camera (HULC) being put through its paces, ahead of it being used on the Artemis III mission which is due to land on the south pole of the Moon in 2025.

Looking at close-ups of the images you can see clearly that the camera is a Nikon Z mirrorless camera. You can identify a Nikon Z 40mm lens being used on location in Lanzarote. And back in the briefing room, a further forensic close-up shows that the rear screen has the same infographic design of camera like the Nikon Z9 and Nikon Z8.

NASA and the ESA, who are working together to develop the Moon Camera, have not yet formally announced which camera company they are working with. But they have said that it will be the "first mirrorless camera for handheld use in space". We have also been told that the camera has been built using "professional off-the shelf cameras".

From the shape of the camera, it is almost certain that the camera that has been modified for the next lunar landing will be the Nikon Z9. The size alone is a giveaway - despite the thermal housing that the camera being used in the trials is covered by.

But the housing also gives us clues as to just how much of the Z9 has had to have been changed to allow for use by gloved astronauts in space suits. The rear LCD looks like has been moved to a more central position - and is no longer tiltable, but instead set at a 10° angle (according to a slide we can see from the technical briefing, above). 

Key buttons on the back of the camera have also been moved, we can see from markings on the housing, to help with the ergonomics.

Nikons in space

It should come as no surprise that Nikon is the brand of choice for NASA. The two have been working together since 1971, when the Nikon Photomic FTN was used on the Apollo 15 mission. 

In the late ’70s, Nikon worked on two NASA-modified versions of the F3 for use in the Space Shuttle program. The so-called ‘Small Camera’ was equipped with a motordrive and was capable of holding up to 72 frames per film. There was also a ‘Big Camera’ that had a large 250-exposure film back that could be loaded with thinner long film. It had a dark slide that allowed astronauts to remove the film back in the middle of a roll and switch to a back loaded with different film.

Nikon’s relationship with NASA has continued into the digital age, with NASA requesting D2Xs DSLRs in 2008, followed by D3s bodies in 2009 for use in recording activities aboard the Space Shuttle and International Space Station.

These days, you are likely to see a Nikon D5 in the hands of ISS astronauts… but it looks likely that they will move from Nikon DSLRs to Nikon mirrorless for the next chapter of lunar exploration.

New 'moon camera' developed for NASA's upcoming Artemis III lunar landing

If you're like many of us you probably have a camera shelf that has at least one of the best 35mm film cameras that you love using – or at least loved to use before the color film prices increased dramatically!

Well, a Kickstarter from I'm Back Film now takes your old dusty film camera and makes it a Micro Four Thirds digital camera with 20MP of resolution, thanks to a crafty 35mm canister insert – but with the extra baggage of a grip, too.

While the funding target of $27,700 / £22,800 / AU$43,900 was hit in just 17 minutes, the Kickstarter now has over $213,000 / £177,000 / AU$340,000 pledged to the cause, at the time of writing, with over 40 days still to run, which is an impressive feat. Still, we must acknowledge that this is a Kickstarter, so please be aware that this product might not ever reach the market - so there is a risk with any investment you make.

I'm Back Film is at a pivotal stage. The company has already produced its first functional printed circuit board assemblies and device design prototypes, a significant milestone that the company claims is "close to our dream. But to make this dream a widespread reality, we need your support."

While this is a novel idea – and by the number of backers, many people are interested in seeing this project come to the market – it isn't completely without its flaws. 

Obviously, with a Micro Four Thirds sensor inserted into a 35mm full frame film camera, you are going to have a 2x crop factor (which will double the effective focal length of your lens). However, to battle this effect, I'm Back Film has also produced an adapter to attach to your lens, so you still get your full-frame image with no cropping – albeit with a little distortion, as can be seen in the sample images below:

50mm lens on a full frame sensor

50mm lens on I'm Back Film with adapter 

While I still think this is a rather novel idea, and even though it will suit a load of 35mm film SLRs from Nikon to Leica-M cameras, this isn't just an insertable film canister with a digital image sensor; it also requires the added bulk of a grip on the bottom of the camera, along with wires connecting to to the camera back. To me, it feels like it is an "almost there" product more than a finalized one.

If they could minimize the overall bulk, and just have it as its 35mm canister with the sensor, I can see this being a really nice product to have when you want to use your old film camera but have the convenience of digital tech. I'd certainly buy one, but not in its current form – but what do I know?

If you're interested, check out the video above and take a look at the Kickstarter page.

Editor's note: As with all crowdfunding projects, there is no guarantee that the final product will match the early depictions in the campaign – or that the final product will be completed or delivered at all. DCW does not endorse this or any other crowdfunding campaign. 

If film is your bag, check out the best film for 35mm cameras, along with the best film scanners to scan your own negs. 

We’re no strangers to the term ‘supply shortage’. Whenever a new camera or lens is released, it seems almost impossible to avoid. The latest product to be affected is Nikon’s new super-telephoto 600mm prime. 

It’s only been a few days since Nikon announced the Nikon Z 600mm f/6.3 VR S lens and already the company is hinting at possible delays. The super-tele lens is geared towards wildlife, sports and aviation photographers who can’t justify the cost of the Nikon Z 600mm f/4 TC VR S (which will set you back an eye-watering ($15,497 / £15,499 / AU$27,499) and want the freedom to shoot without a tripod. 

A message has appeared on the Japanese Nikon Direct website informing customers that: “We have received more orders for the Nikkor Z 600mm f/6.3 VR S than expected, so it may take some time for delivery”. 

Nikon Direct is currently offering 10% off pre-orders of the 600mm lens, which could be one of the contributing factors in the unprecedented number of orders. At $4,796 / £4,999 / AU$8,599, it still isn’t cheap but it is a third less expensive than Nikon’s top-of-the-range version. Weighing 1,390g it’s also considerably lighter than the 3,260g f/4 beast, which you certainly couldn’t use handheld for an extended period of time. 

There’s been no comment from Nikon about how long customers should expect to wait for their lens to arrive, and right now the delay warning is limited to Japan. However, if you’re keen to get your hands on one, it would be wise to get your order in fast. Based on previous experience, unexpected high demand and a serious backlog of orders left customers waiting months for their item to arrive – hopefully, Nikon can get on top of it and orders will start shipping soon. 

Why not also check out the best lenses for bird photography and wildlife photography, as well as the best Nikon telephoto lenses and the best Nikon Z lenses overall.

Nikon has add a new premium supertelephoto lens to its range which is designed to offer handheld shooting for wildlife, sports and aviation photographers.

The Nikkor Z 600mm f/6.3 VR S is just 11in (278mm) long and  weighs  1,390g (3lbs) - which Nikon says makes it  the lightest in its class.

The zoom becomes the third in the Nikon Z lens line-up to offer a focal length of 600mm - and in terms of pricing falls in between that of the Nikon Z 600mm f/4 TC VR S and the Nikon Z 180-600mm f/5.6-6.3 VR.

As we used on previous Nikon lenses, a Phase Fresnel (PF) lens element has been used in the design to lead to a significantly smaller overall size and weight reducing the need for a tripod. The Vibration Reduction (VR) system provides up to 5.5 stops of stabilization in normal mode. Synchro VR offers a boost to 6 stops of image stabilization with a compatible body

Unusually for a lens of this focal length, the new 600mm is designed to take video recording into consideration "with quiet operation, stable exposure and a focus-breathing suppression function".

Interestingly, the lens was not one that features on the Nikon Z lens roadmap - which tallies with rumors that Nikon is no longer going to pre-announce new lenses in this way, now that it has 36 different Z-mount options on offer.

Pricing and availability

With a maximum aperture of f/6.3, it is around a stop and a quarter slower than the flagship Z 600mm f/4 TC VR S, which costs $15,500 and comes with a built-in 1.4x teleconverters. But the new lens does not offer any speed advantage over the significantly more affordable Z 180-600mm f/5.6-6.3 VR zoom (which retails at $1,700). As such the new lens will have to impress optically when we get a chance to test it in order to be a viable choice for the price.

The new Nikkor Z 600mm f/6.3 VR S will go on sale in late October for $4,799/£4,999/AU$8,499.

Sample images

Noboru Sonehara at the Japanese Kakaku.com Magazine has been putting Nikon's NIKKOR Z 100-400mm f/4.5-5.6 VR S lens through its paces while pairing it with Nikon's 1.4x and 2x Z-mount teleconverters. His results left us rather puzzled.

See, at Digital Camera World we've come to expect an inevitable reduction in image quality when a teleconverter is fitted to any lens. Heck, even Canon's EF 200-400mm f/4L IS USM Extender 1.4x - a super telephoto lens with a built-in 1.4x teleconverter - produced softer images in our testing with its teleconverter engaged, and that's a lens designed from the outset to work as well as possible with a teleconverter.

But Sonehara's testing reaches the conclusion that Nikon's Z-mount teleconverters have no noticeable negative impact on image sharpness. Regarding an image taken using Nikon's Z TELECONVERTER TC-2.0x to give an 800mm effective focal length:

"I thought that if [magnification] were doubled, there might be a certain amount of image quality deterioration, but even in this case, the image was very sharp and there was no noticeable deterioration in image quality."

Any observable image sharpness reduction was instead attributed to the Nikon Z8 test camera ramping up its auto ISO to cope with the doubling in focal length.

The tester took things further by contacting Nikon Japan to get their take on the findings. (Quotations translated from the original Japanese):

Q: (Sonehara) "As far as I tested with the Z series, I feel that the image quality does not deteriorate even when using a teleconverter. What do you think about it actually?"

A: (Nikon Imaging Japan): "The teleconverter of the ``NIKKOR Z lens'' can extend the focal length by taking advantage of the high descriptive power of the master lens. Image quality will not be degraded."

So there you have it, from Nikon itself: "Image quality will not be degraded." (when using a Nikon Z teleconverter). The theory behind this assertion is that as the optical quality of Nikon's premium S-line Z-mount lenses is so darned high, even when a teleconverter magnifies the image, there are so few optical flaws in the 'master' lens' optical rendition that there are consequently no discernible imperfections for the teleconverter to magnify.

This is a bold statement, though there is an element of truth to it. We've lab tested almost every NIKKOR Z-mount lens, and the S-line optics do indeed score extremely well. The Z 100-400mm f/4.5-5.6 VR S isn't actually the best of the bunch - the S-line prime lenses are sharper still - but nevertheless we extracted respectable sharpness numbers from this lens. The Z 100-400mm also produces low levels of lateral chromatic aberrations which would go unnoticed when the lens is used on its own. But, crucially, add a 2x teleconverter and those aberrations are then magnified, to a point where at some focal length/aperture combinations we'd wager they will start to become noticeable.

However, this isn't accounting for Nikon's ace card: automatic in-camera lens correction. Should you enable a feature like chromatic aberration correction, it's definitely plausible that even when such optical flaws are magnified by a teleconverter, a camera such as the Z8 could still supress them to a point that they do indeed go unnoticed. This won't help offset any reduction in image sharpness though, and whichever way you slice it, magnifying an image by 1.4 or 2x will inevitably reduce its sharpness by some degree.

Furthermore, adding a teleconverter will also tighten the lens' maximum aperture by one f-stop with a 1.4x converter, and a whole two f-stops when a 2x converter is fitted. Even if you ignore the possible image quality repercussions, such a significant aperture reduction brings with it the potential for slower autofocussing, especially in low ambient lighting. Combine the darker image and resultant slow shutter speeds with the substantial increase in effective focal length and it won't just be optical performance that could impact image sharpness; you'll also be struggling to overcome camera shake to nail a sharp shot. Optical image stabilization and in-body image stabilization are effective, but even they have their limits.

We plan on testing Nikon's Z-mount teleconverters soon, to conclusively test Nikon's claim that they don't degrade image quality. To say we're sceptical would be an understatement.

Story credit: kakakumag.com

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