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10 Things You Need to Know About Prime Lenses

10 Things You Need to Know About Prime Lenses

Photo by Diego PH on Unsplash 

While some people give prime lenses the cold shoulder because they don’t offer the focal length versatility of a zoom lens, others, like me, hold prime lenses in high regard.

In fact, there are a lot of reasons why a prime lens is a great addition to your camera bag - more so than a zoom in many cases.

Not convinced?

Table of Contents

What are Prime Lenses?

prime lenses

Photo by Jeffrey Wegrzyn on Unsplash 

Let’s go over a few things you need to know about prime lenses.

First, let’s explore what prime lenses are and how they work.

Unlike a zoom lens, a prime lens has a fixed focal length. Common focal lengths include 24mm, 35mm, 50mm, and 85mm, though there are many other variations, like the 135mm prime pictured above.

what are prime lenses

photo by lzf via iStock 

This means that you’re “stuck” with one focal length whereas a zoom lens gives you a wide range, like 12-24mm, 24-70mm, 70-200mm, and so forth. 

I say “stuck” because you obviously can’t change the focal length with a flick of your wrist like you can with a zoom lens.

However, as I’ll hit on later, many photographers actually consider this to be an advantage because it forces you to “zoom with your feet.” 

So, while zoom lenses are built for versatility, prime lenses are built for a specific purpose. 

For example, an 85mm prime lens is traditionally used for portraiture. A 24mm prime lens is often used for landscapes.

How do Prime Lenses Work?

I’m no physicist, so I’ll leave the experts at CanonAsia to explain how camera lenses work in the video above. 

What I can tell you is this - prime lenses and zoom lenses work the same way in terms of the physics of light.

The difference, of course, is that in a prime lens, the lens elements - the glass - do not move as they do in a zoom lens.

Because prime lenses do not have moving elements, they benefit from a number of advantages, not the least of which is improved optical performance.

Below, I offer an overview of this and other advantages of prime lenses.

Prime Lenses are Smaller Than Zooms (Usually)

canon prime lenses

Photo by Evan Wise on Unsplash 

Thanks to fewer pieces and parts inside the lens, many prime lenses are much smaller than their zoom counterparts.

Not only does this mean a smaller form factor, but prime lenses are often much lighter than zoom lenses as well. 

This makes prime lenses a top choice for photography pursuits that require you to be able to move fast and light, like travel photography or street photography. 

Now, some prime lenses - like high-end professional models - can be quite heavy because of higher-quality optics and weather-resistant build quality. But by and large, most prime lenses are small, compact, and lightweight.

Learn More:

Prime Lenses Have Large Apertures 

nikon prime lenses

 photo by brightstars via iStock 

Whether it’s Canon prime lenses, Nikon prime lenses, Sigma prime lenses, Sony prime lenses, or another brand we’re talking about, these lenses have large apertures that let tons of light into the camera.

It’s not uncommon to find zoom lenses that have an aperture range from f/3.5-f/5.6. But with prime lenses, you can find options with an aperture as wide as f/1.2. 

All that extra light-gathering capability means prime lenses are better-suited to low-light photography. 

A large aperture opening means you don’t have to rely as much on boosting the ISO or slowing down the shutter speed, which results in cleaner shots with less noise and a reduced incidence of camera shake due to a slow shutter.

Prime Lenses Can Be Found on the Cheap

canon 85mm prime

Professional-grade prime lenses can be extremely expensive. For example, the Canon EF 85mm f/1.2L II USM shown above is a cool $1,849.00.

However, many other options are quite budget-friendly.

The Nikon 50mm f/1.8G AF-S is less than $200.00 brand-new.

You’ll find that as the size of the aperture increases, so too does the price. That means that if you’re looking for something that won’t destroy your bank account, prime lenses with an aperture of f/1.8, f/2, f/2.8, or f/4 will be much more cost-effective than prime lenses with an aperture of f/1.4 or f/1.2.

Prime Lenses are Sharp

sigma prime lenses

 photo by MarioGuti via iStock 

One of the advantages of prime lenses is that they are typically sharper than their zoom counterparts. 

This makes sense because prime lenses have fewer elements and moving parts inside, so there’s less stuff for light to travel through. 

Prime lenses aren’t just generally sharper than zooms, either - they’re sharper from corner to corner as well. Now, even the best prime lenses aren’t going to be their sharpest when shooting wide open at their maximum aperture, but the point remains the same - primes are sharper than zooms. 

Naturally, there’s a difference in sharpness from one prime lens to the next, but you can expect a prime lens of any focal length to outperform a zoom lens when it comes to sharpness.

Learn More:

Prime Lenses Offer Improved Image Quality 

sony prime lenses

  photo by jk78 via iStock

Aside from being sharp, prime lenses typically get you better results than zoom lenses in several important image quality areas. 

For starters, prime lenses create less distortion than zooms. Distortion makes straight lines appear to bend, and it usually occurs in one of two ways:

  • Pincushion distortion, in which lines appear to pinch inward
  • Barrel distortion, in which lines appear to bow outward.

While all lenses create these kinds of distortions to some degree, prime lenses do a better job of limiting it than zooms.

what are prime lenses 1

 photo byGizemBDR via iStock

Secondly, prime lenses usually display much less vignetting, or darkened areas around the edges of the frame. This is especially true when comparing the performance of a prime lens to the wide-angle end of a zoom lens.

Lastly, prime lenses typically have much less chromatic aberration than zooms. Chromatic aberration appears as color fringing (usually purple or green) on the edges of elements in a high-contrast scene.

Prime Lenses Combat Lazy Photographer Syndrome

LAZY PHOTOGRAPHER SYNDROME

 photo by nycshooter via iStock 

When you can rely on turning the lens barrel of a zoom to reframe your shot, you can become a bit of a lazy photographer.

But with prime lenses, you don’t have that option, and instead you must “zoom with your feet” to frame up a shot that’s closer or further away. 

Though some might say this is inconvenient, it helps you to develop your creative eye, to think purposefully about the composition, and can help you find new and interesting perspectives from which to shoot.

Exploring the world around you is a good thing! And since prime lenses are so light and compact, you don’t have to lug a huge, heavy lens around to do it.

Fast Prime Lenses = Beautifully Shallow Depth of Field

As explained in our primer on depth of field, one of the factors that influence depth of field is the size of the aperture being used.

Since some prime lenses open up to f/1.2 and f/1.4, you can get a minute depth of field that’s ideal for things like macro photography and portrait photography.

This isolation of a sharp subject against a blurry background not only looks fantastic, but separates the subject from the rest of the scene, thereby allowing the subject to be a much stronger focal point in the shot. 

Get more details on how focal length and depth of field are related in the video above by Dylan Bennett.

Learn More:

Prime Lenses Help You Develop Your Photographer’s Eye 

Help You Develop Your Photographers Eye 1

Photo by Mario Calvo on Unsplash 

Part of the challenge of photography is looking at a particular scene and being able to see the different photographs that are possible in your mind’s eye.

When you use a zoom lens, developing this skill can be a bit of a challenge. After all, with a wide range of focal lengths available, it can muddy the waters when it comes to seeing the scene and figuring out how your final shot will look.

Help You Develop Your Photographers Eye 2

Photo by Markus Lompa on Unsplash 

Conversely, when you frequently utilize a prime lens, you begin to see the world at that focal length. You become familiar with what 35mm, for example, looks like in your viewfinder, and then when you’re surveying a scene with your own eyes, it’ll be easier to see what vignettes you can capture at 35mm.

In other words, prime lenses can be a creative tool that helps you determine what will be in the shot (and what won’t be) as well as how the shot will be framed, all before you ever bring the camera to your eye.

You begin to feel the shot, and with less hunting for framing and messing around with composition, you’ll likely find that photography becomes a more satisfying and fruitful exercise.

What’s not to like about that?!

Which Prime Lenses to Get

As Matt Granger discusses in the video above, the prime lenses you add to your camera bag will depend on a variety of factors:

  • What do you intend to do with the lens?
  • How fast of an aperture do you need?
  • What is your budget? 

Regarding what you intend to do with the lens, you need to tailor the focal length to your style of photography.

That is, if you primarily shoot landscapes, you might want to opt for a 24mm lens rather than an 85mm lens. The former just has more applicability for landscapes than the latter.

prime lenses 3

Photo by William Thomas on Unsplash

Secondly, not everyone needs an f/1.2 lens. If you typically shoot portraits using natural light, an 85mm f/1.8 will suit you just fine. There’s no need to spend more money on an 85mm f/1.2!

And that brings us to the final, and perhaps most important factor - your budget.

As noted above, the larger the aperture, the higher the price tag. If you have the budget to spend a couple thousand dollars on a lens, by all means, spring for an f/1.2 or f/1.4 professional prime lens like this one if you need it.

Otherwise, if you need to mind your wallet, opt for an f/1.8, f/2, f/2.8, or f/4 prime lens and save yourself some cash!

 



We Recommend


Canon RF 15-35mm f/2.8L IS USM Hands-On Review

canon rf 15 35mm f2.8l reviewPhoto by welcomia via iStock

One of the reasons I waited for over a year to get a Canon EOS R is because there weren’t many lens options to start with, let alone professional-grade lenses.

But that’s changed…

The Canon RF 15-35mm f/2.8L IS USM lens is some big, bad glass that absolutely knocks it out of the park.

Yeah, it’s expensive, but that shouldn’t be a shock given that it’s a L-series lens with a constant f/2.8 aperture.

So, how does this incredible lens work with the EOS R? Let’s find out!

Canon RF 15-35mm f/2.8L Specs

canon rf 15 35 price

Before we get into the nitty-gritty of this hands-on review, let’s take a sec to review the essential specifications of this lens:

  • Full frame RF mount
  • 15-35mm effective focal Length
  • Hybrid image stabilization with 5 stops
  • Maximum magnification factor of 0.22x
  • Minimum focusing distance of 0.28m
  • Weather sealed
  • Electronic manual focus override
  • 82mm filter size
  • 4.99 inches in length

So, this lens is stuffed with all kinds of goodies, which is why it’s such a hefty lens at nearly five inches long with a weight of 1.86 pounds.

That’s a big lens for any camera, let alone a small mirrorless body like the EOS R.

However, if you ask me, the size and weight are worth it to have features like 5-stop image stabilization and full weather sealing.

Canon RF 15-35mm f/2.8L Build Quality & Handling

canon rf 15 35mm specs

Even though this lens is a beast, it handles extremely well.

The f/2.8 aperture is overkill for most of what I do, but it's nice to have that option if I get a wild hair and want to take some portraits.

The motor in this thing - a Nano USM - is hugely powerful, which is a good thing because it needs to move around the enormous glass elements inside the lens.

It does this beautifully, too - and nearly silently as well, which is a bonus for shooting video.

canon 15 35mm build

When you pick up this lens, it is unmistakably a Canon L-series. It feels weighty and robust, and though I haven't had a chance to use it in poor weather, I'm willing to bet that the weather sealing works like a charm!

Of course, as an L-series lens, the optics are outstanding, providing clear, sharp, beautiful results.

This lens has a customizable control ring that can be used for just about any functionality you need - aperture, ISO, white balance, and so forth.

There isn't a focus distance scale on the lens, but one is displayed in the viewfinder and on the rear LCD when shooting in live view in manual focus mode.

Canon RF 15-35mm f/2.8L Image Quality

The reason I picked up this lens is because as a landscape photographer, the focal range is perfect.

I can go ultra-wide at 15mm and capture tons of detail or narrow the field of view and capture simpler compositions that draw attention to a specific landscape feature.

Of course, this focal range is great for many other pursuits, too, like travel photography, event photography, and even wedding photography when a wide-angle lens is needed for small venue spaces.

I've got a review of this lens upcoming, but in the meantime, see what Matti Haapoja thinks of it in the video above.

canon rf 15 35mm

In terms of image quality, this lens definitely delivers.

There's excellent sharpness from edge to edge throughout the focal range, though the edges aren't as sharp as the center, as you'd expect.

Distortion is actually minimal even at 15mm. In fact, it's hard to detect any distortion at all, which is quite the feat. This is all done optically, too - there's no digital shenanigans going on to correct distortion.

The five-stop image stabilization is great, though you can't really rely on it to actually provide that much leeway.

Nevertheless, I was able to handhold the camera at exposures of up to one second and still get beautifully sharp results.

Canon RF 15-35mm f/2.8L Price

canon rf 15 35mm performance

At the time of this writing, the Canon RF 15-35mm f/2.8L is $2,300.00, so it's not a cheap lens by any means.

At this price point, I don't see many shooters other than professionals picking one of these lenses up.

However, if you're an enthusiast shooter and you have the money, this is a great lens to have in your bag.

The fact that there is so little distortion, good sharpness, and a large f/2.8 aperture, along with L-series optics, impeccable build quality, and image stabilization make this a must-have for pro EOS R shooters.

Yes, it's a big lens and sharpness diminishes at the edges, but Canon really knocked it out of the park with this lens, if you ask me.

As Canon expands the EOS R lineup and higher-resolution cameras become available, I think this lens will prove to be even more valuable - the EOS R with its low-pass filter and 30.3-megapixel sensor just can't reap all the benefits that I think this lens can offer. We'll have to wait and see what the next EOS R cameras and this lens can do!



We Recommend


Canon RF 85mm f/1.2 L USM: The Perfect Portrait Lens?

Canon RF 85mm 1.2 L USM The Perfect Portrait Lens

Photo by Carlos Vaz on Unsplash

I realize that many Canon shooters haven’t enjoyed the slow roll release of new glass for the EOS R system, but man, has it been worth the wait!

Just the other day, Canon unveiled their latest RF lens, the 85mm f/1.2, and it has been met with just about universal acclaim thus far. 

In fact, it seems that Canon shooters have already started to dub this the perfect portrait lens. Let’s see why this might be an accurate statement.

Canon RF 85mm f/1.2 L Specs

canon rf 85mm f1.2 Specs

Let’s first have a peek at this lens’s specs to see what’s under the hood:

  • Format: Full frame
  • Maximum aperture: f/1.2
  • Minimum aperture: f/16
  • 9-blade aperture
  • Angle of view: 28-degrees
  • Optical design: 13 elements in 9 groups
  • Minimum focusing distance: 2.79 feet
  • Integrated control ring for changing lens settings
  • 1 aspheric element and 1 UD lens
  • Fluorine coating
  • Blue Spectrum Refractive Optic (BR) to reduce chromatic aberration
  • Air Sphere Coating (ASC) to minimize lens flare and ghosting
  • Dust-resistant and weather resistant

canon rf 85mm f1.2 specs 2 1

Clearly, Canon has made an effort to present us with a lens that’s at the top of its class in terms of performance.

The dust and weather sealing was a given since it’s an L-series lens, and I imagine when the weather turns and I can put it through its paces that it will reveal itself to be built like a tank.

All the coatings and optics that reduce aberrations, ghosting, and flare, is certainly a nice bonus too. The result of all that is clean, crisp images with a deliciously blurry background - ideal for portraits!

Canon RF 85mm f/1.2 L Autofocus & Image Quality

The autofocus on this thing is mind-blowingly good. That’s especially true of the face and eye detection. See it in action in the video above by TheCameraStoreTV.

You’ll find that when you’re tracking a subject, the lens is more than able to maintain its focus on them. More to the point, it can maintain tack-sharpness on the model’s eyes even as they move around.

Naturally, this means superb sharpness and excellent image quality, as you’d expect. Bokeh is off the charts. Compression is beautiful. It’s just a great look.

In fact, this lens at this focal length and at f/1.2 produces portraits that look almost like they were taken on a medium format camera. Even when shooting at f/1.2 with a flash, you still get jaw-dropping results in terms of sharpness, clarity, contrast, and minimal aberrations.

Canon RF 85mm f/1.2 L Build & Handling

As the daniel life explains in the video above, this isn’t a small lens, by any means, but it also isn’t cumbersome. In fact, it feels great when paired with the EOS R. At first, you might think that a lens of this size would feel like it overwhelms such a small camera, but that isn’t the case.

At just over 4.5 inches long and 4 inches wide, it is a beefy lens that feels good in the hand. Weighing in at 2.6 pounds, it feels like an L-series lens for sure.

In fact, this lens looks and feels a lot like Canon’s other L-series lenses.

canon rf 85mm f1.2 Build Handling 

The programmable ring at the front, the focus ring, and the red “L-series” ring are all familiar components.

When you hold the lens, you immediately note the slightly rough, matte texture of the lens. This is a welcome addition because it makes the lens easier to grip. I suspect this will be a major benefit when shooting in the rain, cold, and other inclement weather. But I can assure you that even when it’s balmy and sunny out, it still gives you added confidence that you can grip the lens.

Like other RF lenses, this one is sleek and minimalist. There’s two autofocus switches (one to control the kind of focus and the other for focusing distance), and that’s it.

Canon RF 85mm f/1.2 L: The Perfect Portrait Lens? 

canon rf 85mm f1.2 4 

First impressions are that this is one of Canon’s best portrait lenses thus far. It truly produces results that will make your jaw drop to the floor.

Some will say that a 50mm is all you need for portraits, but I disagree. In this case, if you have the money to buy a $2,700.00 lens, go for it. You won’t be disappointed!

If however, you don’t have $2,700.00 laying around, it might be worth it to sell your old lenses to ease the financial hit that the new RF 85mm f/1.2 L would make on your bank account.

 lensfinder

Sites like Lensfinder specialize in dealing with vintage and used lenses, so you can unload a couple of your older lenses (or newer ones for that matter) and start saving up for this bad boy.

I’ve used Lensfinder on multiple occasions to buy and sell old lenses, and it’s been smooth sailing every single time. 

There’s no fuss, no muss, just a bunch of photographers coming together in one place to take care of their lens needs.

Give it a shot today and see how much you can get for your old lenses!

 



We Recommend


Nikon 14-30mm f/4 S - A Serious Lens for Landscapes?

nikon 14 30mm f4 s

Many of you have expressed interest in moving to the Nikon Z6 or Nikon Z7.

But many of you have also expressed reservations about doing so because of the limited native Z-mount glass currently available.

Sure, you can slap the FTZ mount adapter on a Z6 or Z7 that allows you to use your F-mount glass, but who wants to deal with that?

Heck, at the time of this writing, the Nikon Holy Trinity set of glass isn't even completely available. Well at least you have two-thirds available with the 14-30mm f/4 S Nikon lens and then you have 24-70mm f/4 and another f/2.8 version available of the 24-70mm.

I'll admit that I was a little worried about the f/4 aperture on my new 14-30mm f/4 S lens, and I assume many of you share the same concern.

Well, this weekend I traveled up to the hottest place on this planet to test this lens out - Death Valley.

For me, I was not sure about this lens, at least in the beginning. Let me explain why...

nikon 14 30mm f4 s hands on

Since Nikon released the 14-24mm f/2.8 back in 2007, it's been the backbone of most Nikon landscape photographers' camera bags.

It's big, heavy, and can be spotted from a mile away with that huge glass element bulging out of the lens.

In its early days, there weren't any filter options for it, which sucked. Then, a number of big filter kits from companies like NiSi, Formatt-Hitech, and Lee came onto the market.

I started shooting with this lens when I got my Nikon D700, then continued to use it with my D800, D810, and my late D850.

It was seriously one of my favorite lenses to use. It was fast, sharp and was a joy to use. And those days I missed the gym? Not a concern! I would get a solid work out just from slinging that thing around. But that was OK because the image quality was remarkable.  

nikon 14 30mm f4 s review

So, what about my concerns with the new 14-30mm f/4 S?

Honestly, as I mentioned earlier, my primary reservation was the f/4 aperture. Aside from that, this lens has tons of great features. Here are its full specs:

  • Lens Mount: Nikon Z
  • Focal Length: 14-30mm
  • Aperture Range: f/4-f/22
  • Minimum Focusing Distance: 11.02"
  • Filter Size: 82mm
  • Groups/Elements: 12/14
  • Length: 3.35"
  • Maximum Diameter: 3.50"
  • Lens Format: Full Frame
  • Angle of View: 114 degrees to 72 degrees
  • Weight: 1.07 lbs

For starters, it costs significantly less than the 14-24mm f/2.8 - the 14-24mm f/2.8 runs $1,896.95 while the 14-30mm f/4 is $1,296.95. It's also a fraction of the weight at just 1.07 pounds, as noted above.

Plus, the 14-30mm f/4 takes an 82mm filter thread and is missing that huge glass bulb on the front of it. That's a huge advantage for landscape photographers that need to utilize an array of filters to perfect the shot.

nikon 14 30mm f4s sample

Let me tell you, this is one of those don't-judge-a-book-by-its-cover moments...

In my opinion, the 14-30mm gives the 14-24mm lens a serious run for its money.

The extreme weight reduction was a dream come true. The last thing I wanted was to lug around a big, heavy lens in the oppressive heat of Death Valley.

As you might expect, the internal focusing system was ultra-quiet with autofocusing that worked like a champ, even as dusk rolled around and there wasn't a ton of light.

nikon 14 30mm f4s landscape lens

I saw little-to-no funny business that some wide-angle lenses tend to have.

That's thanks to the construction of the lens, which includes four extra-low dispersion glass elements and four aspherical elements. Combined with Nikon's Nano Crystal coating, flare, ghosting, and aberrations are minimized.

Like its S-series compatriots, this lens has rounded aperture blades that render gorgeous bokeh, and the lens is sealed against dust (which was a good thing for Death Valley) and moisture (which, funnily enough, I didn't need in Death Valley!).

nikon 14 30mm

Aside from the technical aspects of this lens being impressive, I also enjoyed how the lens felt.

There's a nice, big rubber zoom ring that you feel like you can really get a handle of, even when your palms are sweaty from shooting in the hottest place imaginable.

The size and weight of the lens are ideal for landscapes, too. It feels well built, but without the bulk I noted earlier with the 14-24mm f/2.8.

Of course, that wide-angle view this lens offers gives you the opportunity to get tons of foreground interest in your shots. As you can see in my sample photos throughout this article, you can get images with tons of dimension thanks to all that foreground detail.

So, between the price, the size and weight, the focal length, and optical performance, this is truly a must-have landscape lens if you ask me. DxOMark agrees, for what that's worth.

nikon 14 30mm 3

Now let's talk about where I picked this lens up.  

There are camera stores and then there is Samys.

I’ve known Samy for better part is decade. Matter of fact, I picked up my Nikon D800 from him when that camera first came out.

Then when my son was born and the Nikon D810 would be too much to carry in a diaper bag, I picked up the Sony a6300 from them.

What brings me back to Samy's is that the guy is the real deal - a bonified family man who loves the photography industry just as much. And his staff is the same way.

Camera gear like this lens is sold everywhere, so you can very easily pick this up on Amazon for the same price.

However, if you are tired of being treated like a number on an accounting spreadsheet and want to support a company who will treat you like an old friend, then give Samy's a shot. And if you get the chance to meet Samy himself, you'll see what I'm talking about!



We Recommend


Nikon Z 14-30mm f/4 S Review

nikon 14 30mm f4 s review

Last month, I highlighted the performance of the Nikon Z 14-30mm f/4 S on my trip to Death Valley.

It was a short trip, and the first such excursion I was able to take with this lens. Now that I've had more time to explore its capabilities, I have a more detailed review ready for you.

As I mentioned in my Death Valley article, though many folks have pondered a move to the Nikon Z6 or Nikon Z7, there has been some apprehension about the availability of glass for those cameras.

I'm here to tell you that even though the selection is thin at the moment, this lens and its S-series compatriots are certainly more than make up for it with quality.

Let's get to the Nikon Z 14-30mm f/4 S review!

Table of Contents

Nikon Z 14-30mm f/4 S Specs

Since this is the first ultra-wide lens for Z-series cameras (and it will be the only one for about another year), it was met with universal interest.

It had a lot to live up to given that the image quality of its predecessors in the S-line of lenses has been nothing short of impeccable.

I'll get into the image quality later in this review, but for now, let's have a look at some of this lens's noteworthy specs:

  • Focal length: 14-30mm
  • Aperture range: f/4-f/22
  • Aperture blades: 7 rounded
  • Diaphragm: Electronic
  • Lens elements/groups: 14/13
  • Special elements: 4 aspherical, 4 ED
  • Coatings: Nano crystal, fluorine, super integrated
  • Mount: Metal
  • Filter size: 82mm

Many of these specs are self-explanatory, but there are a couple of things I'd like to point out.

First, note that this lens takes a standard 82mm filter. That's because there's not a huge, bulbous glass element on the front of the lens like the 14-24mm f/2.8.

Second, not only is the mount on this lens metal, but the lens is also weather and dust-sealed, so it's durable and up to the challenge of shooting in adverse conditions.

Other features worth noting are a near-silent AF-P stepper motor, a minimum focusing distance of 11 inches, and a viewing angle that ranges from 114-degrees to 72-degrees.

Lastly, this lens is miles smaller and lighter-weight than the 14-24mm f/2.8 I've been lugging around for years. Coming in at just 1.07 pounds, it's featherlight.

Get a complete rundown of the features of this lens in the video above by TheSnapChick.

Nikon Z 14-30mm f/4 S Handling & Build Quality

As far as handling goes, the light weight and smaller form factor make for a pleasant shooting experience.

The lens doesn't weigh you down, nor does it feel overly obstructive, as I have found the 14-24mm f/2.8 to feel at times.

Beyond that, Nikon have done a fantastic job building this lens to improve handling.

In fact, as a long-time Nikon shooter, this feels like a Nikon lens - it's ergonomically spot-on, has familiar construction, and handles well. If you've ever used a Nikon lens before, this one will feel familiar to you.

From a design standpoint, it's sleek and minimal.

There's a single switch that's used to change from autofocus to manual, along with a focus ring and a zoom ring.

Some reviewers have noted that this sleek design is too streamlined, but for me, it's worked beautifully thus far.

It has a locking mechanism that makes the lens shorter when not in use, which gives you a little added room in your camera bag and less surface area to catch on things as you walk around (though it is too easy to unlock the lens inadvertently).

Though the mount is metal, there are many plastic parts on this lens, which at first is a little disconcerting. No one would blame you for wondering if it's actually a durable lens the first time you hold it.

But as you use it, you quickly realize that this is one heck of a well-built lens.

There is no wobble when the lens barrel is extended, its weather and dust-sealing are excellent, and it can tolerate extreme temperatures (at least on the high end, as I learned in Death Valley).

In addition to Death Valley, I've taken this lens to several beaches here in Southern California and no sand has made its way into the lens yet, so I'm impressed on that front!

Having said that, since this is an external zoom lens, I concede that there is always going to be a possibility that a grain or two of sand gets in there and makes zooming a more difficult task.

Likewise, external zoom lenses are more prone to water and dust creeping in. But, at this point, the build of this lens - particularly the seals Nikon used - seem to be more than capable of protecting the delicate internal components of the lens.

By the same token, the fluorine coating on the lens glass makes removing water, smudges, dust, and so forth a much easier task.

Nikon Z 14-30mm f/4 S Optical Performance

This lens is surprisingly sharp throughout the aperture and zoom range.

Unsurprisingly, it's the least sharp on the edges of the frame at 14mm. Even zooming in to just 16mm improves corner sharpness. It's important to note that the corners are never supremely sharp, but they're never terrible either.

In the center of the frame, this lens really shines. Whether you're at 14mm, 30mm, or somewhere in between, you can expect superb sharpness in the middle, particularly at f/5.6 and f/4. Get more details on the optics of this lens in the video above by The Art of Photography.

Vignetting is fairly significant especially at 14mm, but nothing so bad that it can't be easily corrected in post-processing. Vignetting is present as you zoom in as well, but between 16mm and 30mm, the vignetting is noticeably reduced.

This is true even when using a filter on the lens. So long as the filter has a slim housing, you won't notice any increase in vignetting.

Distortion is high at 14mm - very high, in fact. Distortion is also present at longer focal lengths. But since Adobe has a built-in profile for this lens, you'll likely never see all that distortion.

The issue with this is that Adobe corrects for the distortion by stretching the pixels in the corners of the photo, which makes the corners - which are already not as sharp - even less sharp.

However, for me, this isn't a huge crisis. Yes, the corners are less sharp, but not so much that I would get rid of this lens and never shoot with it again!

nikon 14 30mm f4 s specs

From a focusing standpoint, it's hard not to be impressed with this lens's autofocus. It's both fast and virtually silent, and gives you accurate results as well.

In fact, the precision with which it works in Live View and in the viewfinder is quite impressive.

For close-ups, the lens will get you a maximum magnification of 1:6.25 at 30mm, which is good enough to fill the frame on the horizontal axis with a subject that's about 8-10 inches in size.

That's not going to knock anyone's socks off, but this lens was never intended to be used for close-up or macro work anyway.

And while the AF-P motor in the lens makes manual focusing not as easy as it could be, you can still use manual focus and get clear, pinpoint sharpness.

Nikon Z 14-30mm f/4 S Price

nikon 14 30mm f4 s price

At $1,296.95, this is not exactly a cheap lens, but it's not the most expensive lens in the world either.

As I mentioned earlier, when you first pick up this lens and realize how lightweight it is and how much of it is plastic, you can't help but wonder if it's worth the $1,300 price tag.

But as I've explained above, while this isn't a perfect lens, it's a darn good one - a great one, in fact.

I primarily shoot landscapes, and I've been totally impressed with its handling, build quality, features, and performance in the field thus far.

I picked up this lens from my buddies at Samy's Camera, and they told me that it would be a good fit for my workflow, and they were right.

After a decade of being their customer, they know me, the type of work I do, and what will and won't work for me, and that's worth its weight in gold!

If you shoot with a Nikon Z6 or Z7, and you want to pick up this lens or another S-series lens, do yourself a favor and hit up Samy's for a great deal and excellent service before, during, and after the sale!



We Recommend


Nikon Z 14-30mm f/4 S vs Nikon AF-S 14-24mm f/2.8

nikon 14 30mm f4 vs nikon 14 24mm f2.8

Last week, I offered up my initial thoughts on the Nikon camera lens Z 14-30mm f/4 S.

If you missed it, you can read that article here. Basically, I noted how I think it's the ideal landscape lens for Nikon Z shooters.

I also mentioned in that article that the Nikon AF-S 14-24mm f/2.8 had long been my go-to landscape lens.

So, this go-round, I wanted to compare these two lenses to see which one comes out on top. Let's get started!

Table of Contents

Nikon Z 14-30mm f/4 S vs Nikon AF-S 14-24mm f/2.8 Specs

First, let's have a peek at the primary specs for these lenses.

Nikon Z 14-30MM f/4 S Specs

nikon 14 30 f4

  • Mount: Nikon Z
  • Focal Length: 14-30mm
  • Maximum Aperture: f/4
  • Minimum Aperture: f/22
  • Angle of View: 114-72 degrees
  • Elements/Groups: 14/12
  • Minimum Focus Distance: 11.02 inches
  • Maximum Magnification: 0.16x
  • Aperture Blades: 7 rounded
  • Size: 3.50 x 3.35 inches
  • Weight: 1.1 pounds
  • Price: $1,296.95 at Samy's

Nikon AF-S 14-24mm f/2.8 Specs

nikon 14 24 f2.8

  • Mount: Nikon F
  • Focal Length: 14-24mm
  • Maximum Aperture: f/2.8
  • Minimum Aperture: f/22
  • Angle of View: 114-84 degrees
  • Elements/Groups: 14/11
  • Minimum Focus Distance: 11.02 inches
  • Maximum Magnification: 0.152x
  • Aperture Blades: 9 rounded
  • Size: 3.86 x 5.29 inches
  • Weight: 1.1 pounds
  • Price: $1,596.95 at Samy's

Now, let's unpack some of these features and see how these lenses stack up to one another.

Nikon Z 14-30mm f/4 S vs Nikon AF-S 14-24mm f/2.8 Similarities

Though there are plenty of differences between these lenses, there are some notable similarities, as Jared Polin discusses in the video above.

For starters, though their focal lengths are different, they're quite similar and offer virtually the same versatility from a focal length perspective.

Secondly, both lenses sport an 11.02 minimum focusing distance for those up-close, detailed shots you wish to take.

Third, both lenses have the same maximum aperture of f/22 and nearly identical maximum magnification.

Having tested both lenses (and owned the f/2.8 for over a decade), I can attest to similar build quality as well.

Both lenses feel great in the hand, though there is a significant weight difference (more on that below).

Nikon Z 14-30mm f/4 S vs Nikon AF-S 14-24mm f/2.8 Differences

nikon 14 30mm f4 specs

Aside from the obvious differences - the mount, the maximum aperture, and the focal length, these lenses have other distinct differences in terms of their build and functionality.

I think the most salient difference for me is the weight.

Where the 14-24mm f/2.8 weighs a hefty 2.2 pounds, the 14-30mm lens halves that at just 1.1 pounds.

That's a huge difference, particularly when you're a landscape photographer like me and you have to carry your gear far and wide to get the shots you want.

With so much less weight, the 14-30mm is a much easier lens to use, in my opinion.

nikon 14 24mm build quality

Along the same lines, the dimensions of the 14-30mm lens make it an easier lens to handle than the f/2.8.

When collapsed, the 14-30mm is about 3.5 inches long while the 14-24mm is 3.86 inches long. That might not seem like a huge difference, but like the weight difference, the length of the lens certainly impacts its handling performance.

That being the case, the 14-30mm lens simply feels better in the hand. You feel more capable of holding it still as well.

nikon 14 30mm f4 vs nikon 14 24mm f2.8 differences

Of course, another big difference between these lenses are their maximum apertures.

I was hesitant about the 14-30mm f/4 at first because I'm so used to having the option of shooting at f/2.8 with my 14-24mm lens.

But here's the thing - as a landscape photographer, I virtually never shoot at f/2.8. I honestly couldn't tell you the last time that occurred.

So, from that perspective, the fact that my old 14-24mm lens is faster really doesn't make a difference for the type of work I usually do.

Nikon Z 14-30mm f/4 S vs Nikon AF-S 14-24mm f/2.8 Build Quality & Handling

nikon 14 24mm f4 specs

As noted above, the older AF-S 14-24mm f/2.8 is a beast of a lens that weighs over two pounds.

When you're used to that heft, it's almost off-putting the first time you pick up the 14-30mm lens because it's so light.

Now, the 14-30mm lens is well built, but to think that it's of equal build quality as the older 14-24mm is a mistake.

The 14-30mm lens is extremely streamlined with tons of plastic components. And while it's high-end, durable plastic, it's still plastic. A small concern is whether this lens will prove as durable over the years as the 14-24mm has.

nikon 14 30mm f4 build quality

That concern stems from the fact that the 14-30mm lens has an external zoom.

And while there are tons of seals that should keep the elements out, I worry that dust and sand will find its way into the barrel. Time will only tell, but if dust and sand get in there, it'll be difficult for the lens to zoom anymore.

By contrast, the mostly metal 14-24mm f/2.8 has performed well over the years in all sorts of conditions - rain, snow, heat, cold, dust - you name it.

And even though it's a big, heavy lens, it's very balanced and feels solid in the hand. This isn't to say the 14-30mm doesn't feel good in the hand...it's just a different feeling since it's so small and lightweight.

Nikon Z 14-30mm f/4 S vs Nikon AF-S 14-24mm f/2.8 Image Quality

Of course, it really all comes down to image quality, and these lenses are quite close in that department.

When comparing these lenses at 14mm, the 14-24mm f/2.8 is definitely sharper. In fact, I've found over the years that the 14-24mm is sharpest at 14mm, and in an intensive weekend of testing the 14-30mm in Death Valley, I found the 14-30mm to be the least sharp at 14mm.

Changing the aperture to f/4, f/5.6, and beyond, the 14-24mm lens is still sharper in the corners.

See the 14-30mm f/4 in action in the video above by Kai W.

At 16mm, the 14-30mm lens starts to get much sharper, especially in the center.

This is particularly noticeable at f/4, though that mid-frame sharpness is a continuing theme for the 14-30mm lens throughout its aperture range.

The 14-24mm, however, continues to be sharper in the corners at all apertures.

The 14-30mm lens really begins to shine at longer focal lengths. When shooting at 24mm, the 14-30mm is noticeably sharper in the middle and particularly at the corners. This is especially true once the aperture reaches f/5.6 and above.

At that point, the 14-24mm f/2.8's performance is markedly "worse" (it's still pretty damn good) than the 14-30mm lens.

Get more details on the 14-24mm f/2.8 in the video above by DigitalRev TV.

Nikon Z 14-30mm f/4 S vs Nikon AF-S 14-24mm f/2.8 Pros & Cons

As with any gear, there are plenty of pros and cons with both of these lenses.

Nikon Z 14-30mm f/4 S Pros & Cons

nikon 14 30mm f4 pros

For me, the lightweight design and small size are the biggest pro of this lens. It's simply a dream to handle!

Likewise, you can use 82mm filters with it and not get a ton of vignetting, so that's a definite bonus.

The sharpness is great, too, especially at 16mm and above. The autofocus system is super accurate and incredibly quiet as well.

On the downside, I'm not convinced it's a super durable lens. Though it's weather-sealed, the fact that it's an external zoom gives me a little bit of pause.

Corner sharpness isn't mind-blowing by any means when shooting at 14mm. It's not terrible, but certainly not as good as the 14-24mm f/2.8 in that department.

Nikon 14-24mm f/2.8 Pros & Cons

nion 14 24mm f2.8 pros

The excellent optical performance of this lens cannot be understated, particularly at 14mm. It's just fantastic.

The weather sealing and build quality of this lens are also off the charts. As I mentioned earlier, I've put this thing through its paces over the years without ever worrying if it would make it through unscathed.

Like the 14-30mm lens, the f/2.8 has a great autofocus system that is blazing fast and supremely accurate too.

As far as cons go, the biggest one is the weight of this lens. I got used to it over the years, but, man, she's a big one.

There's also noticeable distortion, which, though that can be corrected, it's still a bit of a downer.

I also don't like the fact that you have to use a special filter holder to use filters with this thing.

Nikon Z 14-30mm f/4 S vs Nikon AF-S 14-24mm f/2.8 Verdict

nikon 14 30mm handling

At the end of the day, the comparison between these lenses is a surprisingly close call.

Both have their strengths and weaknesses, to be sure. But taken in totality, I'm not sure either lens comes out on top here.

I honestly thought that in comparing these lenses that I'd find the 14-30mm f/4 to be far, far better than the 14-24mm f/2.8. That's just not the case.

Instead, both lenses are pretty dang good, if for different reasons.

If you're a landscape photographer and you have a Z-series camera, I think the 14-30mm is a great investment - certainly better than using the 14-24mm f/2.8 and the FTZ adapter.

That said, if you already have a 14-24mm f/2.8, there's not much reason to buy a 14-30mm for your Z6 or Z7. You can get similar work out of your older F-series lens.

I suppose that means this comparison will end in a draw!

Learn more about the Nikon Z 14-30mm f/4 S

Learn more about the Nikon AF-S 14-24mm f/2.8



We Recommend


These Crazy Camera Lenses Have to Be Seen to Be Believed

These Crazy Camera Lenses Have to Be Seen to Be Believed

Photo by Jakob Owens on Unsplash

People have been fascinated with crazy camera lenses since the dawn of photography, when crazy camera lenses were any camera lenses.

Now, unique camera lenses are a sight to behold. Sometimes, they’re ridiculously large and sometimes they’re ridiculously vintage. However, I’d bet money you’ve never seen all of these 7 rare camera lenses.

Table of Contents

Fujifilm XF 56mm f/1.2 R APD

The first on my list of unique camera lenses is this apodization filter Fujifilm lens. Fujifilm released an XF 56mm f/1.2R exactly 9 months before they released this lens, the exact same lens except for the addition of the apodization filter.

Now, apodization filters are very rarely included in lenses because you could just as easily buy an attachable apodization filter. An apodization filter is a type of graduated neutral density filter that allows you to achieve very creamy bokeh and a very dramatic blurring in shallow depth-of-field photos. 

It also features 2 aperture values: one aperture value for the f/stop value and one for the depth of field. 

See this lens in action in the video above by Zed Pro Media.

Canon MP-E 65mm f/2.8 1-5x Macro

The Canon MP-E has an insane range for macro photography, and no range for anything else. If you’re looking to photograph something in high-magnification, though, this bad boy is for you.

As an example of the power behind this macro lens, you can fill a full-frame sensor with just one ant, and the way it pulls it off is by only allow photographers to shoot objects up to 4 inches away from the front of the lens.  

You heard me right, in order to use this macro lens, you have a whole 3.4 inches of wiggle room; you can shoot from 1.6 inches to 4 inches away from your subject.  

The interesting focusing range aside, this camera comes with an Ultra Low Dispersion glass element which helps clear your photos of any distortions or chromatic aberrations so those ants look as crisp as they do vibrantly black or red. 

Learn more about this lens in the video above by Snazzy Labs.

Leica Noctilux-M 50mm f/0.95 ASPH 

Okay, I admit you may have heard of this Leica lens before but I had to touch on it because of its cult status.

This Noctilux was a replacement that came out in 2008, a mere 30 years after it’s predecessor, the f/1.2 Noctilux of 1966 was released. 

This lens features an incredibly bright maximum aperture (obviously) which lets you shoot incredibly well in low light. But, it also shoots unlike any lens I’ve ever shot with. No, it isn’t even close to Leica’s sharpest lens but it has character. Your shots come out looking almost vintage with a softness that can make even the ugliest of places look almost pristine.  

Plus, it’s only 1.5 pounds which is a feat for the unique camera lenses on this list. 

Check out this lens in the video above by Leica Review.

Lomography Petzval 85mm f/2.2

This is hands down the most beautiful, unique camera lens on this list, and that’s because it’s a recreation of the 175-year-old Lomo Petzval lens (except this time you can use it on Canon and Nikon DSLRs).  

The Kickstarter for this Petzval recreation rapidly raised over $1 million from over 3,000 camera enthusiasts. This happened, in part, thanks to the glowing history of the original Petzval lens which revolutionized photography. 

Each one of these recreated Petzval lenses are crafted out of brass, and comes with a Waterhouse aperture set (f/2.2, f/4, f/5.6, f/8, f/11 and f/16). 

This Petzval also does what the original Petzval did: it takes incredible portraits.  

Get a hands-on review of this lens in the video above by Irene Rudnyk.

Learn More:

Sigma 200-500mm f/28 APO EX DG 

I’ve always hated the look of this Sigma lens because it looks like it belongs on the top of a tank shooting missiles instead of in the hands of a photographer. 

This lens remains the longest zoom to feature a f/2.8 max aperture. It also weighs 25 pounds and features a rechargeable battery to power the incredible zoom. 

My favorite aspect of this crazy camera lens is that it doesn’t unscrew from its camera, the back of the lens unlocks so you can unscrew the camera out of the lens.

However, you really need to watch the above video in order to see what this ridiculous creature looks like. 

See Matt Granger with this massive lens in the video above by PhotoNewsReviews.

Venus Optics Laowa 15mm f/4 Macro 

I actually got the chance to use this macro lens a few years back, and everything they say is true. You can shoot from 0.2” away from your subject with this funky little lens and create a 1:1 magnification ratio.

It’s known as a wide angle lens and a macro lens because it does both. It comes with a shift mechanism to move the optics up or down the lens mount (hint: panoramas, anyone?).

Plus, I love a camera lens maker that thinks about the little people, the little people being broke photographers. The filter thread allows you to use filters easily without splurging on expensive square filter systems.  

When you’re using this camera lens as a wide-angle, you’ll either love or hate the results. The center of your photo will be extremely sharp if you’re shooting at a close distance, but the corners of your shot may appear almost smudged like a painting. 

But, for a macro/wide-angle/do-it-all lens, it handles chromatic aberrations like a champion. Your shots may still suffer from chromatic aberrations in the corners (like the above-mentioned problem), but they will be very consistent, easy to take out in post-production, and won’t happen when shooting low contrast shots stopped down. 

DSLR Video Shooter takes a closer look at this lens in the video above.

Canon EF 1200mm f/5.6L USM

One of these beautiful lenses was sold on B&H back in 2016 for just $180,000, which is a steal if you ask me. 

It only took the lens 8 years on the market to sell (who woulda’ guessed). 

This lens is the longest fixed telephoto lens ever built by Canon and it focuses down to 49.5-feet. It’s rumored that Canon never made more than 20 of these lenses, which helped me to understand why someone would buy this instead of a home.

The lenses were made in the 1990s, and Canon was only able to produce 2 of them a year thanks to the time it took to “grow fluorite crystals large enough to be ground and polished for use in the lens.”  

It weighs 36 pounds, which also makes it the heaviest crazy camera lens on our list, and looks seriously hilarious when strapped onto a regular-sized DSLR. 

Get a complete overview of this lens in the video above by B&H Photo Video.

Where to Buy Your Crazy Camera Lenses

Though many of these crazy camera lenses are tough to come by, you might be able to find a few of them on the used market. 

And even if you can’t, the used market is a great place to find more traditional lenses that you can use every day. 

I use Lensfinder for buying my used glass because it’s such an easy process. 

Just logon to the site, search for what you need, and peruse the listings other folks have posted. 

But unlike eBay, you don’t have to look through tons of unrelated search results (or pay tons of fees, either). 

And unlike Craigslist, you don’t have to worry about scams because Lensfinder has built-in fraud protection. You also can communicate with sellers directly on the platform if you need to ask questions.

It’s just a clean, simple way to buy used gear. You can sell your old gear on Lensfinder and make a bit of money too!

Learn More:



We Recommend


This f/1.2 Lens Might Be the Best Ever Made

Konica 57mm f1.2

Screenshot from YouTube video

The Konica 57mm f/1.2, colloquially known as the best f/1.2 lens ever crafted, is hard to get your hands on. For one thing, it costs about $800 secondhand. For another, it’s old, and going on really old for photography equipment.

But, one of my favorite YouTube photographers, Mathieu Stern, lucked out and purchased one for only $300. As only YouTube photographers do, he then went on a photoshoot with the best lens ever and posted it for the whole world to enjoy, even if you can’t afford an $800 lens.

What a Photoshoot Looks Like With the Best Lens Ever 

rare camera lenses

Screenshot from YouTube video 

“I realized that at f/1.2, this lens is way sharper than the other f/1.2 lenses I tried,” Stern said. Although, he did note how heavy the lens is. The bokeh on his photos, like the one above, is almost unbelievable.

best lens ever

Screenshot from YouTube video

The sharpness of the lens is fantastic. You don't loose detail in low light shooting with the lens wide open. Though it's tough to tell in a screenshot, check ou the video to see how truly sharp this lens is.

sharpest camera lens

Screenshot from YouTube video

If you aren’t totally convinced you should try this lens if you ever get the chance just from these photos and Stern’s testimony, then let’s convince you with some stats.

Konica 57mm f/1.2 Stats 

 Konica 57mm

The Konica 57mm f/1.2 was created from 1960 to 1987. The earliest version of the lens had only one half-stop between f/1.2 and f/2 and this lens is even harder to find amongst the rare camera lenses crowd.

You’ll also need a pretty specific camera in order to use the 57mm f/1.2 since Konica’s AR lenses have a really short focal distance and aren’t usually compatible with modern SLR cameras.

The lens has a fully automatic aperture and is quite heavy given how quick the shutter speed is. The lens does cast a yellowish color onto all of the shots it takes, though, but I think this quirk is also a bonus.  

The filter thread is 62mm, the length is 50mm, and it weighs a whopping 1.25 pounds.  

Learn More:

Where to Purchase Rare Camera Lenses 

lensfinder 

If you’ve read my articles for any length of time then you know how I’m a huge fan of Lensfinderbecause of their wide array of rare camera lenses at relatively cheap prices. 

I sell my used equipment on Lensfinder, and although most of it is nowhere near as rare as the $180,000 Canon EF 1200mm f/5.6L USM,it feels good to be part of a community of photographers trying to give their equipment a second life.

Unlike Ebay, where a lot of the Konica 50mm f/1.2 lenses are being sold, all of the fees with Lensfinder are up front. You know exactly how much you’re paying for shipping and exactly how long your new equipment will take to reach your house.

Plus, unlike Ebay, you’re primarily dealing with professional photographers. In my experience, these professional photographers are much more willing and able to answer your in-depth questions about the equipment they have up for sale. 

On Ebay, it’s common to never hear back from the seller about questions at all (especially with prized, in demand equipment like Konica lenses). 

If you’re looking for the sharpest camera lenses, or cheaper camera lenses, then you’d be wise to check out Lensfinder. 

Learn More:

 



We Recommend


Three Killer F-Mount Lenses for Nikon Z Cameras

killer f mount lenses for nikon z cameras 

If you’re like me, you adore your Nikon Z6 (or Nikon Z7, for those of you who could afford one because you don’t have kids!).

But, you might not have adored the fact that there weren’t many Z-mount lenses available when the Z6 and Z7 were launched. That’s changed now, thankfully, but there’s still way more F-mount Nikon lenses out there that make great companions for these cameras. 

All you need is the FTZ adapter to make F-mount lenses work with your Z-series camera, and boom, you have dozens and dozens of lenses you can use.

The question is, which ones are worth the money? 

Sigma 14mm f/1.8 DG HSM Art

sigma f mount lens

I love a super-wide prime lens, because I’m all about capturing wide landscapes, and this ultra-wide angle from Sigma does the trick.

This Sigma features an aperture range of f/1.8-f/16. It comes with 9 rounded aperture blades and weighs in at a whopping 39.2 oz (you need somewhere to fit all the greatness, right?).

Unfortunately, this Sigma doesn’t have image stabilization, but it is weather sealed, so it’s best for astrophotography, landscape photography and architecture photography.

sigma f mount lens 2

As a bonus, this lens is also compatible with Z-system cameras with the FTZ adapter.

You can purchase this Sigma 14mm f/1.8 DG HSM Art for $1,300 on Amazon. 

Nikon AF-S NIKKOR 50mm f/1.8G

nikon f mount 

This NIKKOR 50mm, as opposed to Nikon’s 50mm f/1.8 lens for its Z system, is cheaper and smaller.

While F-Mount lenses for Nikon Z6 and F-Mount lenses for Nikon Z7 can be made to fit both cameras, this NIKKOR 50mm may work a bit better with the Nikon Z6, primarily because you can use it wide open, which will create a softer photo.

However, the NIKKOR 50mm comes with Nikon’s Silent Wave Motor (SWM), an aspherical lens, and it works beautifully with the in-body image stabilization on the Z cameras that makes it the perfect lens to carry around with you any day of the week. 

PhotographyTV did an in-depth look at this lens; you can view it above.

You can purchase the AF-S NIKKOR 50mm f/1.8G starting at around $175 on Amazon. 

AF-S NIKKOR 24-120mm f/4G ED VR 

nikon 24 120 f mount 

If you’re looking for a step up from the NIKKOR 50mm, this AF-S NIKKOR 24-100mm f/4G ED VR lens definitely fits the bill thanks to its sheer versatility.

With much more reach than a more typical 24-70mm zoom, this lens opens up possibilities for shooting wide landscapes at 24mm, intimate portraits at 100mm, and all sorts of subjects in between.

Sure, it’s only an f/4 lens, but the added focal range makes up for it in my book.

This lens also has vibration reduction, and working with the in-body image stabilization in the Z6 or Z7, you can use it in low-light situations with great success despite the f/4 aperture. 

With so much versatility to offer, this is a great option if you’re looking for an all-day lens for tackling all kinds of subject matter. 

JKLenses reviews this NIKKOR in more depth in the video above.  

You can purchase the AF-S NIKKOR 24-120mm f/4G ED VR for $1,100 on Amazon. 

Looking for a Better Bargain? 

lensfinder homepage

Lensfinder is my go-to for newer lenses that are definitely not cheap, because I can buy them used but know they’re still in phenomenal condition. 

I can also get all of my questions about the lenses answered in the same place I buy them, because this site is built exclusively for photographers.  

Gone are the days of trying to purchase lenses on eBay, where whatever is going to show up in the mail is basically a total surprise. 

Plus, if you can’t find any of these three killer F-Mount lenses there, you’re bound to stumble on something that’s too good to pass up!

Visit Lensfinder today to find the lens for you.

 



We Recommend


Top 3 Canon RF Lenses You Want

Top 3 Canon RF Lenses You Want

Photo by Eriks Abzinovs on Unsplash

Canon RF Lenses

Those of you that follow my articles on PhotographyTalk know that I recently picked up a Canon EOS R after having used Sony cameras for 6-7 years. 

I’m loving this camera so far, and I’m loving the Canon RF lenses with it as well.

The RF line of lenses has greatly expanded over the last year, and now includes the “holy trinity” - the Canon RF 15-35mm f/2.8L IS USM, Canon RF 24-70mm f/2.8L IS USM, Canon RF 70-200mm f/2.8 L IS USM. 

Let’s dive into the details of why these are the three Canon RF lenses you want in your camera bag. 

Canon RF 15-35mm f/2.8L IS USM

As I mentioned in my hands-on review of the RF 15-25mm lens, the build quality is matched only by the image quality it produces.

This is definitely L-series glass, with serious optics, weather sealing, and excellent sharpness throughout its focal range. 

I like that it’s smaller than the EF version (though it’s still big!), and the five-stop image stabilization is certainly a bonus. 

I also love the 15-35mm focal range. For my landscape photography exploits, it’s the ideal length to capture beautifully wide shots of vast scenes.

On the downside, this is a huge lens, and the sharpness, while superb in the middle, does have a noticeable drop-off toward the edges.

However, the pros certainly outweigh the cons, and professional shooters will be served well having this wide-angle lens in their bag.

Canon RF 24-70mm f/2.8L IS USM

canon 24 70mm 1

Of course, no ultimate Canon RF lens kit would be complete without the uber-versatile 24-70mm f/2.8L. For many professional shooters, this focal range is the most important, so this lens represents a must-have.

Naturally, the L-series glass is a huge bonus as is the large, bright f/2.8 aperture. 

Like its 15-35mm counterpart, this lens is supremely sharp in the middle with some fall off toward the edges, and, also like its counterpart, it offers 5 stops of image stabilization.

canon 24 70 2

This lens is beautifully fast, thanks in part to the inclusion of Canon’s Nano USM motor, which does a masterful job of moving around the huge glass elements inside the lens. The motor is fast, precise, and Ninja quiet. That’s a huge bonus for you video shooters out there. 

In fact, this lens is a dream for video work. The Dual Pixel AF system on the EOS R combined with the image stabilization, quiet USM motor, and the complete lack of focus breathing make it an ideal rig for shooting video. 

Of course, this isn’t a perfect lens…

The price, like with the 15-35mm f/2.8, is quite large, and will prohibit many EOS R shooters from investing in it. 

And that huge price tag makes the just-average edge sharpness a bitter pill to swallow. If you plunk down this kind of money, you expect better results around the perimeter of the image. 

Nevertheless, this is still a fantastic lens that should probably be the first RF lens purchase you make. Get more details about this lens in the video above by David Lopez.

Canon RF 70-200mm f/2.8 L IS USM

canon 70 200 1

The final component of the top three canon RF lenses you want is, unsurprisingly, the RF 70-200mm f/2.8. 

This is the newest member to the RF lens family, and also one of the most expensive at a whopping $2,700. 

But, as we all know, you have to pay to play to get the best glass, and this bad boy definitely ticks all the boxes of a badass lens.

canon 70 200 2

Sure, the fact that the lens extends as you zoom has caused a lot of debate and consternation, but for a zoom lens, this thing is surprisingly lightweight, and that alone makes up for the difference in handling (for me, anyway).

The length of the lens when it is not zoomed out is also excellently short, making it a much easier fit into your camera bag.

More so than in the other two lenses on this list, the five-stop image stabilization system rocks it out. The image quality is also impeccable, even when you slam the aperture open to f/2.8.

canon 70 200 3

The price, though, is a huge hurdle for a lot of photographers - even professionals. And since many professionals are used to zoom lenses that don’t extend upon zooming, I can see a lot of folks skipping this lens simply due to the weird ergonomics of the base of the lens having a huge circumference and the tip of the lens being much smaller when extended.

But if you want the holy trinity of f/2.8 lenses, you’ll have to overlook some minor issues and focus on the many, many advantages of this lens. 

 



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Top Autofocus Lenses for Micro Four-Thirds Cameras

Top Autofocus Lenses for Micro Four Thirds Cameras

Photo by ShareGrid on Unsplash

I love shooting with Micro Four Third cameras, and I’m not alone.  

Google searches for “best micro four-thirds lenses” have gone through the roof in the past few years. But, newfound popularity in Micro Four Third cameras, also means that we can play around with some (resale!) top autofocuses lenses. And I’m always down for a bargain.

So, I compiled a list of the top autofocus lenses you can use with a Micro Four-Thirds camera, and all for under $300.

BEST PRIME AUTOFOCUS LENSES

PANASONIC LUMIX G 14MM F/2.5  

panasonic lumix 14mm f2.5

If you’re looking for the Micro Four-Thirds equivalent of a 28mm, this one by Panasonic is for you. I use it for street photography, and I’ll also take it traveling with me because it works just as well in low-light as it does at noon. 

It’s also tiny at 0.8” thick and 2oz, so it fits in my luggage, and comes with a multi-coated lens so it’s less prone to scratches. 

It’s also fun to play with the rounded seven-blade diaphragm because it produces cool highlights when working with selective focus.

PANASONIC LUMIX G 25MM F/1.7

panasonic lumix g 25mm 

Not to be that person, but I’m recommending another one of Panasonic’s line for my best prime autofocus lenses.  

This LUMIX strikes me as one of the best micro four-thirds lenses because it’s the equivalent of a 35mm, which means it can be used to shoot virtually any subject at pretty much any time of day, and for one of the cheapest prices of any top autofocus lenses. 

It comes with a f/1.7 aperture for incredible low light shooting, and doesn’t skimp in strong lighting conditions either due to a Nano Surface Coating which reduces lens flare. 

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SIGMA 30MM F/1.4 DC DN CONTEMPORARY

sigma 30mm f1.4 

We can’t get into the best prime autofocuses lenses and not at least mention Sigma’s versatile contemporary lens.  

The f/1.4 aperture offers wonderful opportunities for minimizing the depth of field for portraits and close-up shots. 

This Sigma should also be considered one of the best micro four-thirds lenses because of the aspherical elements in its optical design, which prevent spherical aberrations and produce sharper photos than any one of these other prime autofocus lenses. 

The Super Multi-Layer Coating on this Sigma also enables photographers to grab images with incredible contrast without color distortion. It’s a win-win!

OLYMPUS M. ZUIKO DIGITAL 45MM F/1.8

olympus m zuiko 45mm

Portrait photographers who haven’t worked with the Olympus Zuiko Digital, what are you doing? This is absolutely one of the best autofocus lenses for portrait photographers, thanks to the short-telephoto focal length and the f/1.8 maximum aperture. 

With this lens, you no longer need to be worried that golden hour is fading because it handles low-light portraits just as well.

This is also one of the top autofocus lenses for micro four-thirds cameras because of the Movie & Still Compatible (MSC) autofocus system. It shoots video in the same way it shoots photos - quickly and quietly. 

Learn More:

Best Zoom Autofocus Lenses 

LUMIX G VARIO 45-150MM F/4-5.6 ASPH. MEGA O.I.S. 

lumix g vario 45 150mm

This Lumix is so cheap, yet it’s great for 4K, is the full frame equivalent of 90-300mm, and is comparatively light. 

No, I wouldn’t recommend this Lumix as one of the top autofocus lenses for still photographers, but if you so much as dabble in videography, you need to experience shooting with a Mega O.I.S. It basically prevents your hand shake from diminishing the video quality, so you’re shooting better than with any other micro four-thirds lens. 

It also comes with a stepping motor to create an almost silent autofocus.  

Olympus M. Zuiko Digital ED 14-42mm f/3.5-3.6

olympus m zuiko digital ed 14 42 

No, this lens isn’t as exciting as the previous Lumix, but it does everything it’s supposed to, which is sometimes a lot to ask of a lens. 

It’s small (3.2oz and less than 1in. In depth), quiet and comes with the MSC autofocus. 

It does have one downside though: at f/3.5-5.6, it’s not the fastest lens out there. So, if you’re not involved in sports or wildlife photography in which you need to crank up the shutter speed, check this zoom autofocus lens out. 

Where to Buy These Top Autofocus Lenses

Whenever I’m bargain shopping for the best micro four-thirds lenses, I always head straight to Lensfinder. 

Not only do they have an incredible array of the top autofocus lenses, but they are a resale website so each one of the lenses in their inventory has a caring photographer behind them. 

This means you can rest assured your lenses were taken care of before you came across them, and you can also ask any and all questions of the sellers (no more hassling with third-party sellers on eBay).

Plus, Lensfinder ensures the sellers pay all of the fees and you know exactly what your total is going to be up front. 

And, if you can’t find the exact lens you are looking for today, you can always come back tomorrow because the chances are it will be there! It’s a one-stop-shop for lenses that could help you save a good bit of money. What’s not to like about that?

Learn More:

 



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Top Lenses for Landscapes with the Sony A7

top lenses for landscapes with the sony a7

The Sony A7 series of cameras is, in a word, incredible.

These full frame beasts pack a huge punch but are packaged in a tiny body, making them ideal for landscape photographers.

They're easy to carry around, user-friendly, and there are a ton of lenses available for them for landscape photography.

Let's have a look at a few of my top lenses for landscapes with the Sony A7 series cameras.

ZEISS Batis 18mm f/2.8: A Must-Have Prime Lens

best landscape lens sony a7

As I noted in this article last week, the ZEISS Batis 18mm f/2.8 is a killer lens that has a boatload of features:

  • Focal length - 18mm
  • Max aperture - f/2.8
  • Lens elements/groups - 11/10
  • Floating elements design that minimizes aberrations
  • OLED display on the barrel that shows focus distance and DOF
  • Dust and weather sealed
  • Weight - 11.6 oz
  • Dimensions - 3.94 x 3.15"
  • Price - $1,499.00 at Adorama

best landscape lens sony a7 2

Obviously, many of the features listed above make this a fantastic lens for landscapes.

The 18mm focal length paired with a full frame sensor offers a beautifully wide view of the landscape.

The OLED display on the barrel is a handy feature with its focus distance and depth of field displays to help you get the focus just right.

best landscape lens sony a7 3

I'm also super impressed with the weather sealing on this lens - I'm not at all worried about sand at the beach getting into this guy. It's built like a tank!

On top of that, it's small, lightweight design pairs perfectly with the small, lightweight A7 series cameras.

Add in exceptional sharpness and lightning-fast autofocus, and you have a recipe for one of the best Sony lenses for landscapes.

Get a complete review of this lens in the video above by Jay SonyAlphaLab.

Learn more about the ZEISS Batis 18mm f/2.8

Sony FE 16-35mm f/4 Z OSS: A Versatile Zoom

top lenses for landscapes sony a7 2

If it's a versatile zoom lens you're after, Sony's own FE 16-35mm f/4 isn't a bad choice at all.

Check out these specs:

  • Focal length - 16-35mm
  • Max aperture - f/4
  • Lens elements/groups - 12/10
  • OSS image stabilization
  • Dust and moisture resistant
  • Weight - 18.27 oz
  • Dimensions - 3.07 x 3.88"
  • Price - $1,348.00 at Adorama

top lenses for landscapes sony a7 3

Obviously, sometimes you need a good zoom lens because not all landscapes are conducive to zooming with your feet.

With a nice zoom range of 16-35mm, this lens will get you super wide shots all the way up to the familiar-looking 35mm range for instances in which you want to cut out clutter or focus the viewer's attention on a smaller aspect of the landscape.

As you'd expect with something made by ZEISS, this lens is supremely sharp with virtually no distortion thanks to five aspherical elements, one advanced aspherical element, and three ED elements. That's just all the more reason why this is one of the top lenses for landscapes with the Sony A7.

Like the ZEISS Batis lens outlined earlier, this lens is small, lightweight, and well built.

It has OSS image stabilization, ZEISS' T* coating that suppresses reflections (perfect for those landscapes with lakes, ponds, and other water features), and is fantastically sharp.

With all those features, why wouldn't you want this lens in your photoshoot camera bag? Plus, it's about $850 cheaper than Sony's 16-35mm f/2.8 version.

For a detailed look at this lens, check out the video above by Christopher Frost Photography.

Learn more about the Sony FE 16-35mm f/4

Sony FE 12-24 f/4 G: An Ultra-Wide Beast

landscape lenses for sony 1

If it's ultra-wide landscape shots you're after, the 12-24mm f/4 G is one of the best landscape lenses for Sony that money can buy.

With specs like those listed below, this lens is ready to rock any landscape:

  • Focal length - 12-24mm
  • Max aperture - f/4
  • Lens elements/groups - 17/13
  • Dust and moisture resistant
  • Weight - 1.24 lbs
  • Dimensions - 3.43 x 4.62"
  • Price - $1,698.00 at Adorama

landscape lenses for sony 2

Since this is the shortest focal length lens you can get for a Sony E-mount camera, there's no lens better-suited to capture ultra-wide-angle views of breathtaking landscapes.

True to form, this lens is impeccably crafted and offers top-of-the-line resolution from corner to corner at any aperture.

In fact, you'll find that the refined optics in this lens allows you to photograph scenes with jaw-dropping clarity and sharpness.

This lens is also compact, lightweight, features a handy customizable focus hold button, dust and moisture resistance, and Sony's Nano AR Coating, which suppresses reflections, flare, and ghosting.

See this lens in action in the video above by Mark Galer's Alpha Creative Skills.

Learn more about the Sony FE 12-24mm f/4 G



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Top Sony Lenses for Full Frame Cameras

Top Sony Lenses for Full Frame Cameras

Photo by GMax Studios on Unsplash

If you ask me, Sony is all the rage right now, and for good reason: their cameras and their selection of lenses just keeps getting better. 

Although Canon and Nikon are both ahead of the game in terms of the sheer selection of lenses that are available, Sony is rapidly catching up.

In this article, I’ll break down some of my favorite Sony full frame lenses, no holds barred.

Sony 24-70mm f/2.8 GM

sony 24 70mm f2.8 gm

This full frame Sony lens is definitely on my Christmas wishlist this year because it’s built for travel and I’ve got a trip to Germany planned in March. 

This full frame Sony lens is what truly made them a valid competitor with Canon and Nikon.

sony 24 70mm f2.8 gm 2 

This lens crafts extremely sharp photos with beautiful bokeh, and it’s sturdy, too - just what you want in an all-rounder travel lens. 

Other Sony FE lenses don’t offer the same level of features or quality, but that is definitely reflected in the price of this rig... 

The Sony 24-70mm f/2.8 GM is available on Amazon for $2,200.

Learn More:

Sony 55mm f/1.8 

sony 55mm f1.8

If you can’t afford the Sony 24-70mm f/2.8 GM, this Sony lens is another good option in the travel and portrait categories. 

While Sony does provide the same type of lens in f/1.4, it’s much more expensive and not necessary for most photographers. Plus, this 55mm creates sharp photos with fast and quiet autofocus. It’s also really light, weighing in at just 9.9 ounces, so it won’t be hard to throw it in your carry-on.

sony 55mm f1.8 2

Again, you could spring for the Sony 55mm f/1.4 for an additional $500, but many Sony cameras already have incredibly high ISO capabilities, so in my mind it makes more sense to save the $500, bump up the ISO a little bit, and work with this f/1.8 version.  

The Sony 55mm f/1.8 is available on Amazon for $898.

Zeiss Batis 18mm f/2.8

zeiss batis 18mm f2.8

I love my Zeiss Batis lens. If sharpness is what you want, look no further!

Zeiss has a reputation for sharp optics, and this lens is certainly no different with beautiful detail from corner to corner.

I use my Zeiss Batis for landscape photography because it’s light and it’s a great pairing with my Sony a7R III. The wide-angle view it provides allows me to incorporate wide, sweeping vistas and beautiful foreground detail as well. 

zeiss batis 18mm f2.8 2

This lens also offers superb color rendition, very little distortion, and quick autofocus performance.

It’s shape is a little weird, which makes it a tad bulky, but at least it’s bulky without being heavy - it weighs just 11.6 ounces.

The Zeiss Batis 18mm f/2.8 is available on Amazon for $1,260. 

Sigma 85mm f/1.4 Art

sigma 85mm f1.4 art 

Sony full frame lenses, like this Sigma 85mm f/1.4 Art, are popular. Most of my photography friends were waiting for this Sigma for well over a year, and for good reason. It’s got almost all the qualities of Sony’s GM version, except it’s $600 cheaper.

Sigma created an 85mm f/1.4 for both Canon and Nikon and they quickly became the most popular lens for portrait photographers. 

Unfortunately, Sony lenses can get pretty heavy, and this one is no different weighing in at nearly 40 ounces, which doesn’t seem like much until you’re carrying it for 14 hours!

However, this lens is ultra-sharp and produces deliciously beautiful bokeh, and that 85mm focal length is perfect for portraiture.

The Sigma 85mm f/1.4 Art is available on Amazon for $950.

Learn More:

Sony 70-200mm f/2.8 GM

sony 70 200mm f2.8

There’s no way I could write a whole article about Sony full frame lenses and not include this awesome telephoto, the Sony 70-200mm f/2.8 GM. 

Around this time last year, nobody could get their hands on this Sony lens because it almost immediately sold out everywhere, but it’s back.

sony 70 200mm f2.8 2

The images it produces are sharp, except for in the far corners, and it’s got built-in image stabilization. Plus, it focuses quickly and it produces nice bokeh. 

The built-in image stabilization is a nice feature, too, especially when shooting at longer focal lengths. 

If you need a versatile, all-around lens with more reach than a typical zoom, this lens is a great choice.

The Sony 70-200mm f/2.8 GM is available on Amazon for $2,600.

How to Save Money on Lenses

sony full frame lenses

Photo by lucas Favre on Unsplash 

Clearly, each of the lenses described above cost a pretty penny. Fortunately, there’s a way around their steep prices - buying used. 

I know some photographers that refuse to buy used gear, and it just doesn’t make sense to me. 

I’ve bought (and sold) a ton of used gear over the years, and by and large, it’s been a good experience, particularly now that I use Lensfinder for my gear needs.

lensfinder homepage

Lensfinder is a community built by photographers, for photographers, so you know that the items listed for sale aren’t knock-offs or stolen.

That’s because Lensfinder has built-in fraud protections. Plus, you can message sellers, make your purchase, and leave feedback all right within Lensfinder, so it’s a great little community for getting what you need and building connections with other photographers.

Plus, the savings you can find can be quite large, so you might even be able to pick up a couple of used lenses for the price of one new one. Nice!

Check out Lensfinder’s inventory and see if you can find a great Sony full frame lens on the cheap.

 



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Zeiss Batis 18mm f/2.8 First Impressions

zeiss batis 18mm first impressions

A couple of weeks ago, I got a Zeiss Batis 85mm f/1.8 lens. In this article, I offered my first impression of it, which was, spoiler alert...that it's an incredible lens.

Well, this time around, I've got a Zeiss Batis 18mm f/2.8 lens to take for a test drive, and initial impressions are that this bad boy is every bit as good as its 85mm cousin.

Zeiss 18mm f/2.8 Batis Specs

zeiss batis 18mm 5

This lens is stuffed with features that photographers of all ilks will appreciate:

  • Focal length - 18mm
  • Angle of view - 99
  • Max aperture - f/2.8
  • Min aperture - f/22
  • Electronic aperture
  • Lens elements/groups - 11/10
  • Floating elements design that minimizes aberrations
  • OLED display on the barrel that shows focus distance and DOF
  • Dust and weather sealed
  • Weight - 11.6 oz
  • Dimensions - 3.94 x 3.15"
  • Price - $1,499.00 at Adorama

Zeiss 18mm f/2.8 Batis Pros & Cons

zeiss batis 18mm 4

Just as I discovered after only a few days with the Zeiss Batis 85mm lens, the 18mm lens has a number of slam-dunk features that are distinct benefits:

  • Exceptionally fast autofocus
  • Delightfully sharp
  • Super lightweight construction, ideal for small Sony mirrorless cameras
  • Excellent rubber focusing ring
  • Superb weather sealing

I think all of the above are pretty self-explanatory except perhaps for the rubber focusing ring.

I list it as a benefit of this lens because I love the tactile nature of it. It feels beefy without being cumbersome, and you feel confident dialing in the specific zoom you want thanks to its smooth motion.

zeiss batis 18mm 2

As far as cons go, I don't have any thus far.

Like I noted in my first impressions of the 85mm, the OLED display is a little cumbersome to turn on and off, but other than that, this lens has impressed the hell out of me.

Who Should Buy the Zeiss Batis 18mm f/2.8?

zeiss batis 18mm 3

I'm mostly a landscape photographer, so I'll advocate for this lens as being an excellent candidate for any landscape photographer's camera bag.

The 18mm focal length is perfect for capturing those wide, sweeping vistas on a full frame Sony camera. Heck, with a 99-degree angle of view, you can capture a ton of detail!

In my case, shooting with the Sony a6400, the lens has an effective focal length of 27mm, which is still plenty wide for landscapes.

And since this lens is supremely sharp, all of that detail will be beautifully displayed!

The weather-sealed design is another reason why landscape photographers need this lens in their bag. Be it rain, snow, dust, or something in between, Zeiss has made sure the interior of the lens will remain safe.

It's not the cheapest lens in the world, but, hey, you get what you pay for! Learn more about the Zeiss Batis 18mm f/2.8.



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