Uncategorized – Page 597

Extended Spring Roll Camera Jacket launches for mirrorless cameras

Japanese company Extended has launched a new protective case for select cameras, the Extended Spring Roll Camera Jacket. This case is compatible with the Leica M series, Leica Q, Fuji X-Pro series, and other similarly-sized cameras. As the product’s name suggests, the Spring Roll protects cameras by wrapping around them; two small snap clasps are used to keep the case closed.

According to the company’s website, Spring Roll measures 155mm x 290mm when open; the lens cover has a 70mm diameter and a 55mm length. Extended Photographic recently launched the Spring Roll Camera Jacket on its website, where it is priced at ¥12,800 / $ 110 USD with shipping to the US being an additional ¥2,000 / $ 18.

Via: LeicaRumors

Articles: Digital Photography Review (dpreview.com)

June 2, 2017

New Nikon D3400 and D5600 firmware improves Snapbridge connectivity

In our review of the Nikon D5600 we reported connectivity issues with the Nikon Snapbridge app that allows for automatic image transfer from the camera to your smartphone. It appears these issues might now have been resolved.

Nikon has released firmware updates for the Nikon D3400 and D5600 DSLRs to improve the pairing and connectivity between the Android version of SnapBridge and the cameras. Firmware version 1.12 for the Nikon D3400 and 1.02 for the D5600 are now both available to download and install via Mac OS or Windows PC from the Nikon website. Connectivity issues with the iOS version of the app had already been solved via a previous firmware update.

Articles: Digital Photography Review (dpreview.com)

June 1, 2017

It’s a photo album… and a camera: the Sony Cyber-shot DSC-N1

In the mid-2000s camera manufacturers had to find ways to differentiate themselves from the competition. Kodak brought Wi-Fi to the camera world with its EasyShare One, Panasonic released the DMC-LX1 that had a 16:9 sensor and Samsung put selfie mirrors on the front of its compacts. Not to be outdone, Sony released its Cyber-shot DSC-N1 in October 2005, which was a compact camera and a 500-shot photo album in one.

On the front panel, the N1 had an 8.1MP, 1/1.8″ CCD with a top ISO of 800, a 38-114mm equivalent lens, 5-area AF system and a battery that lasted for roughly 300 shots (which is quite respectable). Images and VGA video could be saved to internal memory or a Memory Stick Pro Duo slot.

Photo quality was typical for 2005, which is to say, good until about ISO 400 or so.

The real action takes place on the back of the DSC-N1, where you’ll find a 3″, 230k-dot RGBW LCD. The display was touch-enabled and offered features that we take for granted today, like touch AF, menu operation and image playback.

Enough beating around the bush: here’s what made the DSC-N1 unique. Every time you took a photo, a VGA-sized version would be saved to the camera’s internal memory bank. Album photos are saved ‘first in first out’, which means that older photos will be automatically deleted from the album if you don’t protect or copy them first.

Images were organized by date and time and you could view slideshows of images from that date or the whole album. Slideshows were accompanied by fancy transitions and generic background music. One nice thing was that you could replace the built-in music with your own, drawing from CDs or MP3s.

As the photo above says, you could ‘paint’ on top of a photo using an included stylus. You could pick a color and a line size and draw away or add ‘stamps’. Thankfully, an eraser was also available.

Sony offered an optional dock, known as the Cyber-shot Station, which let you charge the battery or display your slideshows on a TV.

Read DCResource DSC-N1 review

Sample Gallery

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Did you have a Cyber-shot DSC-N1 or the DSC-N2 that followed it? Share your memories in the comments! As always, suggestions for future tbt’s are appreciated.

Articles: Digital Photography Review (dpreview.com)

June 1, 2017

DPReview on TWiT: Is the Sony a9 worth $4500?

DPReview has partnered with the TWiT Network (named after its flagship show, This Week in Tech) to produce a regular segment for The New Screen Savers, a popular weekend show hosted by technology guru Leo Laporte.

On this week’s episode of The New Screen Savers, DPReview editor Carey Rose joins Leo and Iain Thomson to talk about the Sony a9, who it’s for, and whether it’s really worth the $ 4500 price tag. The full episode also takes you on a tour of Jupiter with the Juno spacecraft and a quick review of the latest Lenovo Yoga 2-in-1. Lastly, what if you’re going traveling and want a camera for $ 300? We’ll help you out there, too.

You can watch The New Screen Savers live every Saturday at 3pm Pacific Time (23:00 UTC), on demand through our articles, the TWiT website, or YouTube, as well as through most podcasting apps.

Articles: Digital Photography Review (dpreview.com)

June 1, 2017

Video: a grayscale method for matching colors in Photoshop

Adobe Senior Creative Director Russell Brown recently posted this neat demo showing a technique for matching colors in Photoshop without touching a hue or saturation slider. His method uses adjustments in grayscale to individual color channels, comparing a swatch of the color he’s attempting to change directly to the color he’s trying to match. See how he does it in the video above.

Articles: Digital Photography Review (dpreview.com)

June 1, 2017

Hands on with Halide, a new gesture-based iPhone camera app

What do you get when a former Apple designer and a former Twitter developer combine forces? You get Halide — a brand new gesture-based iPhone camera app designed for those who want more control over the picture-taking process.

Designed by Sebastiaan de With, developed by Ben Sandofsky, and released yesterday, Halide — a name reminiscent of film-based photographic processes — is designed with the aim that anyone from an amateur to a pro can achieve advanced results with minimal effort.

Advanced apps like Camera+, ProCam, and ProShot offer vast shooting flexibility and go beyond the basics provided by Apple’s stock Camera app, but come with a higher learning curve. Unless you use such apps consistently, it’s hard to remember the location of various controls for a quick shot. In urgent situations, many shooters resort to the app they know best — the default Camera.

Halide aims to be the ideal, elegant middle ground between ‘too simple’ and ‘airplane cockpit,’ peacefully co-existing with the iPhone’s default Camera app and perhaps occupying at least some of the same muscle memory space.

Halide lets you compose your shot in portrait or landscape orientation.

Halide starts out shooting in smart auto mode, but a single tap calls up a manual mode where you can adjust ISO, shutter speed and white balance. The same gestures you use with the iPhone’s native camera work for Halide, though with some variations. The zoom gesture, for example, does not work for some handset models, but instead adjusts exposure, which is similar to the original Camera app’s vertical swipe gesture.

Toggle controls let you switch between automatic and manual settings, and the grid lights up when the camera is level. Tap focusing also works.

Moreover, Halide’s sole concentration on shooting still photos gives it wider latitude within that narrow task. Halide doesn’t do panoramas, video or other special effects like HDR, but it does give you an optional, real-time live histogram, Raw capture and a friendly visual interface. It’s not an editor, so you can’t use it to open a photo from your Camera Roll.

Halide focuses on three major points of interest: tactile controls, focus peaking and instant review. Smart Auto picks your ISO and shutter speeds while an EV feature lets you flick up or down to adjust exposure. Focus peaking automatically highlights in red the sharpest areas in the scene. You can enable an optional overlay grid that doubles as a level – the center tile glows when your camera is level – to help align your shot.

Automatic and manual focus and focus peaking.

Controls at the bottom of the interface let you tap to switch between auto and manual focus, as a toggle evokes focus peaking. You can also tap to focus. Finally, you can choose to shoot JPEG or Raw and customize which controls appear on screen.

When you’re ready to check out your shots, Halide lets you view your recent captures via 3D touch and quickly swipe left or right to either favorite your picks or discard rejects.

Halide runs on iPhone 5 and above — essentially any iPhone that can run iOS 10, but it works a little differently, depending on which device you own. The iPhone 6s and up supports both the real-time histogram and focus peaking. The test sample shots in this story are from an iPhone 6s.

The single layer of controls at the top are customizable. View, save or discard shots right away.

Halide is available from the App Store now at a discounted price of $ 2.99. It is available in English, with Spanish, Dutch, German, and French localizations in progress. On June 6, the price goes up to $ 4.99. There are no plans for an Android version at this time.

Articles: Digital Photography Review (dpreview.com)

June 1, 2017

Beastgrip launches Kickstarter to fund next generation DSLR lens adapter for smartphones

Beastgrip has created a Kickstarter campaign to fund its latest series of adapters that allow smartphone photographers to shoot through SLR lenses and achieve the associated shallow depth of field. The company has not only officially launched the Mk2 model of its existing DOF Adapter but is also offering the new Pro Series 1.33x Anamorphic Lens and the Beastrail to attach focusing aids when using cinema lenses.

Beastgrip says that it has redesigned some of the build and handling aspects of the DOF MK2 but has also given it new optics that are said to reduce the occurrence of aberrations while at the same time making the system compatible with a wider range of lenses – including zooms.

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The new anamorphic lens compresses a wider view onto the smartphone’s sensor which can then be worked in post-production to create videos with a 2.4:1 aspect ratio and stills in the 16:9 format. The lens has a 58mm filter thread on the front and is prone to ‘cool horizontal lens flare that you get when the lens is pointed towards a bright light source.’

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The Beastgrip DOF MK2 will cost $ 269.99 on its own or $ 409.98 with the Beastgrip Pro housing, while the 1.33x Anamorphic Lens will cost $ 175 or $ 314.99 with the Beastgrip Pro. The Beastrail will be $ 159.99. Each of the items, and various kit combinations, will be offered at a discount on the Kickstarter page for ‘early bird’ investors.

For more information see the Beastgrip DOF MK2 Kickstarter page or the Beastgrip website.

Press Release

Beastgrip is Releasing New Gear to Turn Your Smartphone Into a Pro Camera Rig

Beastgrip is proud to announce the DOF Adapter MK2, the next generation of the best-selling DOF Adapter that allows photographers and filmmakers to mount a real SLR or DSLR lens to a smartphone for a stunning bokeh, shallow depth of field and manual focus control.

“Smartphone cameras are great, but they have substantial limitations. Without true depth of field, larger sensors and/or the option to add lenses or camera gear, most photos/videos that are shot with one all look the same,” said CEO Vadym Chalenko. “We’re here to change that.”

“Using lenses and depth of field adapters with your smartphone give you an entirely new look, by changing the focal length, perspective, and emotion of your shot so you can focus the viewer’s attention on what’s most important,” VP of Business Development Sean Lawrence explains.

The original DOF Adapter has been a monumental advancement in “phoneography.” Since it was released on Kickstarter back in 2015, professional filmmakers have been pushing it to its fullest potential with films like Ghost Digital Cinema’s “MALTO,” Edward Sharpe and the Magnetic Zeros’ “No Love Like Yours,” National Geographic’s “Wasfia,” and Boat Magazine’s “Of Land and Sea.”

“We couldn’t be happier to be a part of these projects, but we knew that the DOF Adapter could be – and should be – better, so that creators of any skill level can harness its power in their workflow,” added Chalenko.

New Features for the DOF Adapter MK2

The new design dramatically improves the image quality from the first version and provides a simple, user-friendly experience. The MK2 also boasts the following new features:
Custom optics that dramatically reduce vignetting/hotspotting, chromatic aberration and distortion.
Compatibility with a much wider range of full-frame SLR/DSLR lenses, such as zoom lenses.
Sealed focusing screen and components for a maintence-free user experience.
Durable, black anodized aluminum casing with a rotating barrel that aligns the focusing screen and bayonet mount in one simple motion.

Beastrail

Beastgrip also created a rail support for attaching additional accessories like a follow focus to the DOF Adapter MK2 for a complete filmmaking system with the same features found on professional camera rigs.

Pro Series 1.33X Anamorphic Lens

Following the recent release of the Beastgrip x Kenko Pro Series .75X Wide Angle lens, Beastgrip is adding a 1.33X Anamorphic Lens to the Pro Series Lens Collection as well. This lens transforms videos into a widescreen 2.4:1 aspect ratio and adds a more dramatic perspective without the need to crop, resulting in a high resolution, cinematic look and creative lens flares like seen in Hollywood film

Articles: Digital Photography Review (dpreview.com)

May 31, 2017

Sigma Quattro H Review

The Sigma Quattro H is a mirrorless interchangable lens camera with an APS-H (1.3x crop) sensor. It has a spacial resolution of 25.5MP but uses a sensor technology very different from other cameras, capturing around 38M pieces of information and capable of producing files with far higher levels of detail than you’d expect from a conventional 25.5MP camera.

Key Features

25.5MP Foveon X3 Quattro APS-H sensor
Hybrid (combined phase + contrast detection) autofocus system
JPEG, X3F Raw or DNG file output
2.36m dot (1024 x 768 pixel) LCD viewfinder
1.62m dot (900 x 600 pixel ) LCD rear screen
Dust and splash-resistant magnesium alloy body
In-camera Raw conversion (X3F only)

In keeping with Sigma’s history of idiosyncratic innovation, there are two things that set it apart from the majority of mirrorless cameras: the use of a full-depth DSLR mount (the company’s own SA mount) and the use of a Foveon X3 Quattro sensor, which captures light and perceives color very differently from other cameras.

Full depth SA mount

This isn’t the first time we’ve seen a camera maker build a camera around a full depth DSLR mount, rather than taking advantage of the lack of mirror to make the camera smaller: Pentax’s K-01 took the same approach.

There are two potential disadvantages of this approach. The first is, as you’d expect, the wasted space of building a mirror box for a camera with no mirror. The second, arguably more important downside, is that most DSLR lenses are designed and optimized for phase detection autofocus and they often perform poorly when asked to focus by contrast detection, meaning you have a wide choice of lenses but perpetually hamstrung performance. Sigma has tried to mitigate this by adopting on-sensor phase detection in the SD Quattro H.

If nothing else, the use of the full-depth SA lens mount means you can use any of Sigma’s impressive Art series of lenses.

The obvious appeal of using an existing mount is that the lenses already exist for it. Sigma produces SA mount versions of 39 of its lenses, which plausibly means the Quattro H has more native lenses available than any other mirrorless camera.

Foveon X3 Quattro Sensor

The X3 Quattro sensor is at the heart of what makes the SD Quattro H interesting and is, far more than any physical difference, the thing that most sets this camera apart from all its rivals.

As with all Foveon chips, the sensor interprets color based on the fact that different colors of light have different amounts of energy and so can penetrate the sensor to different depths. This is radically different from conventional designs that place filters in front of the sensor, throwing away around half of all the light so that each pixel only ‘sees’ light of a predetermined color.

Unlike previous Foveon chips, the Quattro design doesn’t attempt to capture full color information at every pixel, instead capturing more spatial resolution than color resolution. This is a fundamentally similar trade-off made by conventional sensors, so it’ll be interesting to see whether this latest design can maintain enough of what made Foveon distinctive while trying to offer more competitive results in other respects.

DNG capability

The other big difference is that the Quattro H can be set to shoot DNG files. These are produced by the camera deconvoluting its sensor’s output and writing them as ~150MB files with three 12-bit color channels. This means the files are significantly larger and theoretically less flexible than the camera’s native X3F Raw files.

The DNGs can’t be used with the camera’s in-camera Raw converter and you can’t shoot DNG + JPEG, but it hugely expands choice of software for processing the files. For this reason, the rest of the review will primarily be based on the camera’s DNG output.

Articles: Digital Photography Review (dpreview.com)

May 31, 2017

Full-frame Nikon 8-15mm F3.5-4.5E ED fisheye zoom now available

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The Nikon AF-S Fisheye Nikkor 8-15mm F3.5-4.5E ED is a circular fisheye for the company’s full-frame DSLR bodies. At its wide end it has a 180-degree vertical and horizontal angle-of-view, changing to a non-circular 180-degree diagonal AOV at its long end. The lens has three ED and two aspherical elements as well as Nano Crystal and fluorine coatings.

The 8-15mm F3.5-4.5E ED is available immediately for $ 1249.95.

Press Release:

NIKON ANNOUNCES THREE NEW WIDE-ANGLE NIKKOR LENSES

AF-P DX NIKKOR 10-20mm f/4.5-5.6G VR – Compact Ultra-Wide-Angle Perspective DX-format Zoom Lens
AF-S Fisheye NIKKOR 8-15mm f/3.5-4.5E ED -Circular Fisheye Zoom for the Ultimate in Versatility and a Unique Perspective
AF-S NIKKOR 28mm f/1.4E ED – Outstanding Definition and High Resolution Wide-Angle Prime Lens

MELVILLE, NY (May 31, 2017 at 12:01 A.M. EDT) — Today, Nikon announced three exciting new wide-angle NIKKOR lenses to give a diverse array of users brilliant image quality and maximum versatility whether shooting vast landscapes, architecture, interiors, events and many other wide-angle applications. The new ultra-wide zoom and lightweight DX-format AF-P DX NIKKOR 10-20mm f/4.5-5.6G VR is an excellent value for budding shutterbugs and novice shooters looking to explore a wide-angle point of view, while the new AF-S Fisheye NIKKOR 8-15mm f/3.5-4.5E ED is an FX-format circular fisheye zoom lens for photographers and content creators who desire a truly unique perspective. Lastly, the new AF-S NIKKOR 28mm f/1.4E ED is a superior prime lens that provides professional and advanced photographers the ultimate in wide-angle image quality. Both the AF-S Fisheye NIKKOR 8-15mm f/3.5-4.5E ED and AF-S NIKKOR 28mm f/1.4E ED are the latest additions to the Gold Ring Series of NIKKOR lenses, a mark identifying Nikon’s premium lens offerings.

“Nikon continues to push the limits of optical excellence, while making new perspectives more attainable than ever before with our latest wide-angle NIKKOR offerings,” said Kosuke Kawaura, Director of Marketing and Planning, Nikon Inc. “Whether a photographer is a novice learning the art of landscapes, an enthusiastic video creator or a working professional shooter, Nikon now makes the wide-angle perspective achievable for everyone.”

The AF-P DX NIKKOR 10-20mm f/4.5-5.6G VR – Ultra-Wide Zoom Lens That’s Compact and Portable

The new NIKKOR 10-20mm is an ultra-wide-angle DX-format zoom lens that opens new perspectives and possibilities for those new to photography, and is ideal for shooting travel and scenery, real estate, large group portraits or vlogging. This new lens combines superior image quality and an attainable price to give consumers wide-angle versatility with a lens that’s remarkably compact and lightweight.

Like all NIKKOR lenses, the new AF-P DX NIKKOR 10-20mm f/4.5-5.6G VR provides advanced optical technologies for stellar image quality in any light, whether shooting a sun-drenched coastal vista, tight spaces or the night sky. The lens features the equivalent of 3.5 stops¹ of Vibration Reduction (VR) performance, to help capture sharp images while handheld or in challenging light. Additionally, it utilizes Nikon’s Pulse Motor technology for super-fast and whisper quiet AF operation- which is especially useful when recording video. The optical formula contains three aspherical elements for excellent image quality with minimal distortion even at the widest focal length.

This is a versatile lens that not only excels at shooting expansive horizons, but also offers a remarkably close working distance that’s useful for images or showing up-close details when making product-related videos or how-to content. To get closer to capture small objects with big details, the lens has a close minimum focusing distance of only 8.6 inches (0.22 meters), bringing small objects to life in glorious size.

AF-S Fisheye NIKKOR 8-15mm f/3.5-4.5E ED – Circular Fisheye for Photographers and Content Creators

Nikon’s first fisheye zoom gives photographers and filmmakers an FX-format lens with the look and feel of a circular fisheye and the versatility of a full-frame fisheye, all in one lens. The new lens design provides a creative circular 180-degree vertical / horizontal angle of view on full frame cameras, and zooms to a non-circular fisheye view (180-degree diagonal angle of view) on the long end of the focal range. The lens can also be used on DX-format cameras for a distinctive point-of-view and extreme wide-angle applications. When looking to push creative boundaries, the intriguing perspective from a fisheye lens should be considered to provide a distinct look to your photos and videos, such as a dramatic emphasis on a subject or an extremely wide interior point of view.

The AF-S Fisheye NIKKOR 8-15mm f/3.5-4.5E ED is also the latest in Nikon’s Gold Ring Series of premier lenses and features a next-generation design for high-resolution Nikon DSLR cameras. Made for advanced photographers and creators, this durable lens is constructed of lightweight magnesium alloy, and employs internal focusing (IF) to retain its compact size, even while focusing. It is also Nikon’s latest lens to use an electromagnetic diaphragm for consistent exposure during high speed shooting, or smooth exposure control while capturing video.

The optical formula of the Fisheye NIKKOR 8-15mm consists of three ED elements to reduce chromatic aberration, while two aspherical lens elements minimize coma even at the widest aperture, and enable a more compact lens size. Additionally, the front lens element is coated with Nikon’s non-stick Fluorine coat to help resist dirt, fingerprints and smudges, while Nikon’s exclusive Nano Crystal Coat helps reduce ghost and flare.

AF-S NIKKOR 28mm f/1.4E ED – The Latest in The Gold Ring Series of f/1.4 Primes in the NIKKOR Line

The new AF-S NIKKOR 28mm f/1.4E ED is Gold Ring glass that provides maximum versatility for outstanding definition and sharpness regardless of shooting scenario. With a fast f/1.4 maximum aperture and nine blade rounded diaphragm, it affords a shallow depth of field with gorgeous bokeh and stellar low light performance, making it a great choice for shooting low light landscapes, interiors and events.

The superbly balanced and solid body is composed of lightweight magnesium alloy, and features dust and water drop resistant sealing to withstand the elements, combined with a fluorine coating to resist dirt and smudges. The optical construction of the lens is engineered for the best possible wide-angle image quality. It consists of 14 elements in 11 groups, with three aspherical elements that virtually eliminate coma, aberration and distortion, with two ED glass elements that minimize chromatic aberration. The lens also uses Nikon’s Nano Crystal coat to reduce instances of ghosting and flare.

The new AF-S NIKKOR 28mm f/1.4E ED is a welcome addition to Nikon’s stable of impressive f/1.4 primes that give professional photographers and creators the highest levels of image quality and performance, which also include; The AF-S 24mm f/1.4G ED, AF-S NIKKOR 35mm f/1.4G, AF-S NIKKOR 58mm f/1.4G, AF-S NIKKOR 85mm f/1.4G and AF-S NIKKOR 105mm f/1.4E ED.

Price and Availability

The Nikon AF-S Fisheye NIKKOR 8-15mm f/3.5-4.5E ED will be available immediately for a suggested retail price (SRP)* of $ 1249.95. The AF-P DX NIKKOR 10-20mm f/4.5-5.6G VR and AF-S NIKKOR 28mm f/1.4E ED will be available in late June for a suggested retail price (SRP)*, $ 309.95 and $ 1999.95, respectively. For more information on these NIKKOR lenses as well as the latest Nikon products, please visit www.nikonusa.com.

1: Based on CIPA Standard. This value is achieved when DX-format compatible lenses are attached to a DX-format digital SLR camera and zoom lenses are set at the maximum telephoto position.

*SRP (Suggested Retail Price) listed only as a suggestion. Actual prices are set by dealers and are subject to change at any time.

Nikon AF-S Fisheye Nikkor 8-15mm F3.5-4.5E ED specifications

Principal specifications
Lens type	Zoom lens
Max Format size	35mm FF
Focal length	8–15 mm
Image stabilization	No
Lens mount	Nikon F (FX)
Aperture
Maximum aperture	F3.5–29
Minimum aperture	F4.5–29
Aperture ring	No
Number of diaphragm blades	7
Optics
Elements	15
Groups	13
Special elements / coatings	Three ED + two aspherical elements, Nano Crystal and fluorine coatings
Focus
Minimum focus	0.16 m (6.3″)
Maximum magnification	0.34×
Autofocus	Yes
Motor type	Ring-type ultrasonic
Full time manual	Yes
Focus method	Internal
Distance scale	No
DoF scale	No
Physical
Weight	485 g (1.07 lb)
Diameter	78 mm (3.07″)
Length	83 mm (3.27″)
Materials	Magnesium alloy
Sealing	No
Colour	Black
Zoom method	Rotary (extending)
Power zoom	No
Zoom lock	No
Hood supplied	Yes
Tripod collar	No

Articles: Digital Photography Review (dpreview.com)

May 31, 2017

Nikon adds to fast prime series with AF-S Nikkor 28mm F1.4E ED

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Nikon has added a sixth lens to its collection of fast F1.4 primes (the others being 24mm, 35mm, 58mm, 85mm and 105mm). The AF-S Nikkor 28mm F1.4E ED lens features nine rounded aperture blades, two ED and three aspherical elements, and Nikon’s Nano Crystal Coating. The lens is made of magnesium alloy and is sealed against dust and moisture.

As you might imagine, this is a pricey lens – it’ll go on sale in late June for $ 1999.95.

Press Release:

NIKON ANNOUNCES THREE NEW WIDE-ANGLE NIKKOR LENSES

AF-P DX NIKKOR 10-20mm f/4.5-5.6G VR – Compact Ultra-Wide-Angle Perspective DX-format Zoom Lens
AF-S Fisheye NIKKOR 8-15mm f/3.5-4.5E ED -Circular Fisheye Zoom for the Ultimate in Versatility and a Unique Perspective
AF-S NIKKOR 28mm f/1.4E ED – Outstanding Definition and High Resolution Wide-Angle Prime Lens