Nikon 50mm f/1.4G Review

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This is an in-depth review of one of my favorite prime lenses – the Nikon 50mm f/1.4G, which was announced in September of 2008. For many years the focal length of 50mm lenses was considered a “standard” or “normal” focal length, because it closely resembles the perspective of the human eye. These lenses were widely popular on film cameras and the focal length was ideal for portraiture and everyday photography. As digital SLRs and zoom lenses started taking over the market, popularity of 50mm primes also decreased. The smaller size of APS-C sensors made the field of view of 50mm lenses narrower, while the flexibility of zoom lenses and their low price drove the demand towards convenience. Now that full frame digital cameras are getting more and more affordable, the once forgotten 50mm lenses are regaining their popularity among many photographers. In this review, I will provide a thorough analysis of the Nikon 50mm f/1.4G lens, along with image samples and comparisons against other 50mm lenses from Nikon and Sigma. The lens was kindly provided by B&H – the largest photo reseller in the world that I use more than any other to buy my photography gear.

Nikon 50mm f/1.4G AF-S

Nikon 50mm f/1.4G AF-S

The Nikon 50mm f/1.4G is a professional-grade lens for enthusiasts and pros that need a high quality lens for portraiture, food and everyday photography. Its large aperture of f/1.4 is great for low-light photography and the shallow depth of field helps isolate subjects from the background, beautifully rendering background highlights, also known as bokeh.

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Nikon 50mm f/1.8G Review

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This is an in-depth review of the new, much anticipated Nikon 50mm f/1.8G prime lens that was announced in April of 2011. The lens was kindly provided by B&H – the largest photo reseller in the world that I use more than any other to buy my photography gear.

Nikon 50mm f/1.8G

Nikon 50mm f/1.8G

The Nikon 50mm f/1.8G is a consumer-grade lens for enthusiasts and seasonal pros that need quality optics of a fixed portrait lens at an affordable price point. Its large aperture of f/1.8 is great for low-light photography and the shallow depth of field helps isolate subjects from the background, beautifully rendering the background highlights, also known as bokeh. The Nikon 50mm f/1.8G replaces the older Nikon 50mm f/1.8D lens (introduced in 2002). Compared to the AF-D version that has 6 optical elements in 5 groups, the new 50mm f/1.8G has a modified optical design with 7 optical elements in 6 groups, one out of which is an aspherical element (reduces coma and chromatic aberrations). The Nikon 50mm f/1.8G is the first Nikon 50mm lens that comes with an aspherical element; even the more expensive and higher-end Nikon 50mm f/1.4G does not have one.

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Shooting a wedding with an entry-level DSLR

I recently received an email from one of our readers about photographing weddings with an entry-level DSLR (Nikon D3000) and an 18-55mm f/3.5-5.6 kit lens. The request was to help out in understanding how to photograph weddings, figuring out the right camera settings and proper posing. Without much thinking, I responded to the query by saying that he/she should not photograph the wedding and perhaps leave the task to someone who knows what equipment to use and more importantly, how to use it. I never got a follow up email after that, but I have been thinking about the email ever since. I then remembered watching this video a while ago:

It is a funny video and even if it might be totally made up, it brings up a heated debate over the type of equipment wedding photographers should and should not use. I know that I am opening up a can of worms here, but here is my personal take on the subject – please let me know what you think.

Yes, most modern DSLR cameras are great and even the cheapest entry-level DSLRs today are equipped with a better image sensor than the most expensive cameras from a few years ago. As I have said it in some of my posts like Nikon vs Canon vs Sony, a camera is just a tool. However, there are certain factors that have a direct impact on images, such as lenses and the skill of the photographer. So, the camera is only a part of the equation here. Can cheap cameras create great photographs? Absolutely. Just like expensive cameras that can produce bad photographs.

So why did I tell the reader not to photograph the wedding with the D3000 and a kit lens? Because he/she had no idea how to use it.

When I get asked what to recommend for wedding photography, my response is always to get the best lenses first, and then worry about the camera. Lenses are far more important than cameras. A cheap zoom lens cannot do what a 50mm prime can. If you want to create beautiful images for your clients that you can showcase for your business, get the best glass you can afford. And as for the camera, if you can afford a full-frame camera, go for something like Nikon D700, Canon 5D Mark II or Sony A900. If budget is an issue, get a cropped-sensor camera like Nikon D7000. This is assuming that you already have a camera and know what you are doing. But don’t go out and shoot weddings with an entry-level DSLR if you are serious about your business. After-all, your gear is also the face of your company and business. Unless you are doing this for fun or just helping out a friend.

How Much is Too Much?

When it comes to our wedding business, Lola put me in charge of “QA” (Quality Assurance) before images are delivered to our clients. After she is done with all post-processing work, we sit down together and review all images. She is naturally good at working on images and her creative and artistic side really comes into play when she photographs and then edits images. I have a very different approach to photography and I often pay lots of attention to such things as image sharpness, detail, framing and angles. It is surprising to see how well our different perspectives merge into a productive environment – while we sometimes do disagree, we both understand that our ultimate goal is to provide the best results to our clients.

On average, Lola and I come back with approximately 1,000-1,500 images per wedding, all shot in 14-bit NEF (RAW) format. Once we sort everything out and pick our favorites, we leave approximately 500-600 images that will be delivered to our clients, with only about 1/10th that are retouched in Photoshop. I was once talking to a photographer based out of Florida, who told me that he only takes between 100-250 images per wedding. When I told him how many images Lola and I take, he laughed, arguing that most images are probably duplicates of each other and that we should learn how to take fewer, but higher quality images. Being in business for over 30 years as a successful full-time pro, he definitely knew what he was talking about. But I also realized that his habit of taking fewer pictures definitely has to do with film days, where more photos meant more photo lab work. With digital SLRs that have a shutter lifespan of at least 150 thousand clicks, we no longer need to worry about the cost or working with chemicals in a lab. So, what is better – take fewer, but higher quality images right on the set, or take as many pictures as possible at different angles, perspectives and settings? As far as I’m concerned, I am somewhere in between. I think that taking very few pictures is risky, as you might think you got everything right on camera, but you might have missed some details – eyes closed, focus not 100% accurate, etc. The last thing you want is a frustrated customer that asks for another picture you do not have. On the other hand, walking with a DSLR and shooting non-stop is also counter-productive, since then you have to deal with too many images and the process of choosing the best ones and working on them later might take hours of precious post-processing time. Wedding photography is a tough business to be in mainly because of a photographer’s time, especially if complex Photoshop retouching is involved. Details can take away too much time and the question that I have been asking myself lately is “how much is too much”, when we work on images.

Take a look at the below image, as it came out of the camera:

Shoes 1

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Two Good News are Best News!

win_large Judging from my face in the below image, you can probably tell that I am very excited about the latest news that have been announced a couple of days ago. With all of your kind help and support, we have just won Denver’s 7 A-list contest!

Lola and Ozzy

We are thrilled to be named the #1 Best Photographer in the Denver area. From the bottom of our hearts, Nasim and I thank everyone who got involved in helping us achieve this goal. Thank you, thank you, thank you! We knew that your votes got us to #3 spot about two weeks ago, but we had no idea that we would be #1!

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Nikon 85mm f/1.4G Review

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This is an in-depth review of the recently-released Nikon 85mm f/1.4G AF-S lens that was announced with three other lenses earlier this year. Ever since the manual focus AI-s version of the Nikon 85mm f/1.4 lens was introduced back in 1981, the Nikon 85mm f/1.4 lenses have been used as references for superb sharpness, best-looking bokeh and beautiful color renditions. The last autofocus AF-D version of the lens produced in 1995, the Nikon 85mm f/1.4D, was often called the “king of bokeh”, yielding extremely pleasing out-of-focus areas, in addition to producing tack-sharp, colorful images when shooting wide open at maximum aperture of f/1.4. Its legendary performance made the Nikon 85mm f/1.4D lens a must-have for portrait photographers and many professionals have been heavily relying on this lens for their commercial work. The Nikon 85mm f/1.4G AF-S lens is the latest update to the 85mm f/1.4 line, which replaces the outdated AF-D version with the latest optical and technology innovations from Nikon. In this review, I will not only provide information on the Nikon 85mm f/1.4G lens, but will also compare it against the older Nikon 85mm f/1.4D and the Nikon 70-200mm f/2.8G VR II lenses.

The Nikon 85mm f/1.4G lens was kindly provided by B&H – the largest photo reseller in the world that I use more than any other to buy my photography gear.

Nikon 85mm f/1.4G

Nikon 85mm f/1.4G

The highly anticipated Nikon 85mm f/1.4G AF-S is a professional-grade lens that is specifically designed for portrait, studio and wedding photographers that need an ultra-fast, high quality lens with a large aperture of f/1.4 for low-light situations and shallow depth of field to isolate subjects from the background, without compromising image quality and sharpness. The Nikon 85mm f/1.4G is built to work extremely well on both FX and DX sensors, yielding very sharp results in the center frame, as shown in the following pages of this review. Nikon has incorporated the latest technology and optical formulas to this lens, including AF-S silent-wave focus motor and Nano crystal coating. Just like most Nikon professional lenses, the Nikon 85mm f/1.4G has a 77mm filter thread and is also sealed against dust and tough weather conditions for outdoors field use.

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Best Nikon Lenses for Wedding Photography

What are the best Nikon lenses for wedding photography? This question comes up so often via comments and emails from our readers, that I was first going to include it in our Photography FAQ section, but then decided to write a separate article and elaborate on the subject a little more. Specifically, I want to not only write about what lenses I think are the best for weddings, but also why and in which cases we use a particular lens. Please keep in mind that the information I present below is a personal opinion based on my experience so far. If you have a favorite lens of yours for wedding photography that is not listed below, please feel free to add a comment on the bottom of the page with some information and pictures (if you have any that you would like to share).

1) Nikon 50mm f/1.4G AF-S

The first on the list is my (and Lola’s) most favorite lens for wedding photography – Nikon 50mm f/1.4G AF-S. We like it for four main reasons: it is sharp, colorful, lightweight and the bokeh it produces is outstanding.

Nikon 50mm f/1.4G AF-S

Nikon 50mm f/1.4G AF-S

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