If there is one type of lens that many photographers look for in a good street photography camera or any compact camera body is a good pancake lens. And while Nikon is not known for producing many ‘pancake’ style lenses, they did have a couple of winners. One of these lenses is the Nikkor 50mm f/1.8, a real winner. In contrast, there have been many versions of this lens, including a long-nose version, the 50mm f/1.8 is a solid performer for the smaller form-factor camera bodies (think FM, FE) and while it may look like a Series E, it is all Nikkor. Lens Specifications Make:Read More →

When it comes to fast Nikon Zooms, the modern trinity is the 14-24/2.8G, 24-70/2.8G and 70-200/2.8G (although I’m sure these have all been updated to the new E-Type lenses by this posting). However, a pair of these lenses have older versions; while the focal lengths are different, the constant f/2.8 aperture is the same. Now in my own lens catalogue I have only a pair of the G-Type in the trinity, the 14-24 and 70-200, but the cost of the 24-70 plus the word being it doesn’t work too well with film (I’ll have to test that) kept me from purchasing the lens. But theRead More →

I’m a sucker for wide-angle lenses. And when it comes to it, sometimes the wider, the better, and while the 28mm is an excellent lens to work with, sometimes you want something that little bit extra. The trouble is that the wider and faster the lens is, the more expensive it is on the used market. And some lenses have a cult following around them, which drives up the price. So often have to compromise on focal length, speed, image quality, or cost. Well, I can certainly say that by going with some of the less expensive lenses in the Nikon manual focus catalogue, IRead More →

While I’m not always a fan of third-party lenses, every so often, one comes along that impresses me as an alternative to an OEM lens. And the Osawa is one of those lenses that I probably would have used more if I had known what a sleeper I was sitting on. Unlike Vivitar, Osawa is a lens manufacturer in their own right and produced lenses starting in the 1970s when many SLRs were beginning to gain popularity in the consumer market, and many were clamouring for inexpensive alternatives. While working with this lens in an OM-Mount, they also produced for other major camera makers likeRead More →

When I first started into the Minolta Maxxum system, my first two lenses were zooms, the iconic duo of f/4 classics, the 35-70mm and 70-210mm. A trip to Burlington Camera yielded a couple of prime lenses that would be perfect additions to my kit; they were the classic 50mm f/1.7 and the lens I’m reviewing today the 28mm f/2.8. The Maxxum 28/2.8 is a great lens and a perfect fit. Doesn’t take too much space. It is close to the same size as the 50 and even the 35-70 and is my favourite prime lens for my Maxxum 9 system without a 35mm prime. AndRead More →

When it comes to wide-angle lenses, you don’t always need the fastest lens in the bunch. While an f/2.8 28mm or 24mm is a nice addition to any kit, they often come with a steeper price tag. But what if you only needed something that would get you that 28mm and were not as concerned with speed and could get away with something not as fast but the same performance. Enter the lens that opened my eyes to the more bargain focused wide-angle lens, the Nikkor 28mm f/3.5. This lens actually helped me decide to add the Zuiko 28mm f/3.5 lens for my Olympus kit.Read More →

When I first started working with the Maxxum system, there were two lenses recommended; the first is the 35-70mm f/4 (which will get a review next year) and the 70-210mm f/4; these were both parts of the original lineup of lenses in 1985 and have stood the test of time. Affectionately known as the ‘beer can’, a name was applied to several different lenses of the same type. While it might not be a fast lens (f/4), it still produces fantastic results, and despite the solid metal construction, the lens remains a well balanced long lens for outdoor use and one that works perfectly withRead More →

When it comes to lenses, some out there have become a key part of many photographers’ main kit. And for me, this lens marked my first major lens purchase and investment in the Nikon system. This lens marks the fifth iteration of the 70-200mm f/2.8 series of telephotos and the second Silent Wave Motor (AF-S) of this iconic lens. First released in 2003 alongside two other f/2.8 G-Type lenses, the 14-24mm and 24-70mm, which forms the Nikon Trinity. This lens quickly became a go-to lens for wedding, event, and reenactment photography originally paired with my Nikon D300 and later my F5 and D750. It’s heavy,Read More →

If there is one lens that completely changed my outlook on photography, this is that lens. I know I usually don’t say that gear can make you a better photographer, and I’m not saying that this lens made me a better photographer. But it did help me realise and execute my vision. I use these two photos as an example of that, in the first photo, shot in 2005 on a K-M Z2 digital camera at the widest angle I knew exactly what I wanted to capture. That grand scale of the Hearn generating station, but I couldn’t with the gear I had. So whenRead More →

If you’re deep into the Minolta/Sony A-Mount system, you probably know this lens better as the Secret Handshake; in fact, that’s how my friend (fellow photographer and brother-in-arms) James introduced the lens to me. The nickname, given erroneously, is one of the first instances I’ve heard of an Internet rumour going ‘viral’ when it was shared that Minolta sold these lenses at cost when it was initially introduced with the first Maxxum cameras in the mid-1980s. This rumour is not true; at an initial price of 350$ USD (that’s 1,073.55$ CAD in 2021), honestly, that doesn’t sound like at cost to me. But ultimately, itRead More →