Nikon has finally updated its 85mm F1.8 AFD with the NEW Nikon 85mm F1.8G AFS. The new AFS lens is aimed at professionals and amateurs a like. What makes this a very enticing lens is the fact that it sells for $499.99. At that price it gives amateurs and pros a reasonably priced professional lens to help them take their images to the next level.

In this review I put the new AFS against the older AFD and for fun I brought out the 85mm f1.4 AFS Nikon. While I was at Allen’s Camera I set up a quick little test shooting scene and than used the three lenses listed above to capture the same scene. You can find all of the full res images below for you to download and analyze. All the images are unedited straight conversions from the RAW FILE. This way there was no corrections added to correct for imperfections.

Please check out AllensCamera for all your camera needs as they fully support this site.

As I mention with each of my reviews I tend not to over analyze or pixel peep. There is nothing wrong with doing some genearl comparing between images but some people have a tendency to spend to much time looking for issues opposed to just going out and shooting. My hope is that I have given you enough information and sample images to help you make your own judgements on whether this lens is for you.

When comparing the sample images at f1.8 it is clear that the new AFS blows the older AFD out of the water. You can see a 100% Crop of the same scene with both lenses below. You can see how the one image just pulls out so much more sharpness than the other.

In terms of build quality the new AFS feels lighter and has a more plastic feel, the older AFD felt noticeably heavier in the hands.

The question that I get asked all the time is should I buy this lens. What it comes down to is if you are trying to decide if you should get the newer AFS vs the AFD its a no brainer to go with the AFS. If you own a DX camera that does not have a focus motor this would be a great option for you. If you are a full time pro I would consider looking at the 85 f1.4 AFS as the extra stop and build quality may suit you better.

Though there is not a huge price difference between the AFS ($499.99 and AFD ($459.99) the 85 1.f AFS is $1699.99. So unless you have a major need and the ability to spend the extra cash I would recommend going with the 1.8 AFS.

Is this lens for you? This lens may be for you if you do a lot of portraits or photography in low light situations. When using prime lenses you really need to understand that in order to zoom you will need to move your feet. Some people love having the ability to zoom while others love the added sharpness you tend to get out of prime lens.

In closing if you would like to pick up any Nikon lens including the new 85mm f1.8AFS please CLICK HERE to check out AllensCamera.com>.

I can not stress enough the importance of having quality audio for your DSLR Videos. It has been a proven fact that viewers are more willing to give you a pass on bad video quality of the audio is great opposed to solid video with poor audio.

As many of you know I have been using the SONY UWP Wireless Lavaliers for almost five years now and they have served me very well. Recently we decided to test out the Sennheiser G3’s which are what many consider to be the industry standard. With that being said I did a full review of the G3’s along with a comparison to the older UWP’s. One thing that has to be mentioned is SONY has a newer version of the UWP’s that I would consider to be a much closer competitor to the G3’s.

For the review I wore both microphones at the same time as well as made sure we set all the levels to the same places in the camera and on our recording devices. As you will be able to hear in the video, it’s almost impossible to tell which microphone is better if any. They both do a fantastic job. If I had to make an educated guess I would say the new SONY UWP’s which added a lot of the same features that the G3 already had would come very close in quality and function.

Some of the features that I found useful in the G3’s are the easy sync function which enables you to find the best channel for the location you are in and than sync it to the transmitter. I like how there is no battery tray just a flip open door opposed to a slide out battery tray that in time could come loose.

The G3’s have a better preamp built into them which allows you to bring your levels down in your DSLR which will lead to “cleaner” audio.

The build of the windscreen and how it stays on the microphone may not sound like a big deal but it is. On the SONY’s they have a foam windscreen that just slides over the microphone and does not attach anywhere. I have lost countless windscreens over the years and resorted to super gluing the foam to the mic.

The clip that allows you to attach the microphone to your shirt is better built and attached on the G3’s as well. It’s not going to fall off or get lost when someone pulls the mic off their shirt. Where with the SONY the plastic clip keeps falling off and is extremely easy to misplace.

We tested out the range that you will get with the microphones and the SONY’s allowed you to be farther away. But with that being said, they may have let me be further away but they did not send back a clear usable signal. Either way I was amazed that I walked over two city blocks away form the receiver and it was still getting audio.

Like I said above, I have been using the SONY packs for almost five years now and they have served me well. They would continue to serve me well if I did not replace them with the Sennheiser G3’s. In the end the truth of the matter is they both capture audio that is pretty much going to be indistinguishable.

I will be keeping my SONY’s on hand as a backup to the two new sets of G3’s I just purchased.

Download the RAW files to analyze yourself Right Here

Download the FULL RES Exported JPEGS

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When Nikon announced the new 70-200 2.8E VR lens I was the first to RANT about a few of its key features. First and foremost, the fact that it was priced at $2,800, and second–that they reversed the zoom and focus rings. Combine both of those revelations and I was not a happy camper.

Why is this lens $500 more than it should be and why in the world would you want the zoom ring all the way out where the focus ring used to be? Don’t get me wrong, I said it’s probably going to be one of the sharpest 70-200 2.8’s ever made but that doesn’t make the fact that it’s priced so high hurt less.

Fast forward a few months to when I personally bought the lens at Allen’s Camera to review it and in the hopes that it would be worth the extra money.

This time around I did not take it out onto a “Real World Review” or a “5 Min Portrait”. I wanted to change it up and do a more scientific / technical comparison. Everyone knows I prefer real world situations for reviews but this lens called for something more and I hope you like the change of pace.

What I wanted to do was pit the NEW Nikon 70-200 2.8E vs the Nikon 70-200 2.8 VR II in an all-out side-by-side comparison where we conducted the same tests with both lenses.

The first test was a simple one: photograph a brick wall at 200mm and 70mm while shooting sample images from f/2.8 to f/22 to test a few things. One thing this tests is how much vignetting is there at the wider apertures. Second, it lets us see at 200mm if both lenses match when at 200mm. Third it lets us see which lens is sharper edge-to-edge. And finally, shooting at 70mm lets us see if there is any distortion with the lines.

All the images for this test were shot RAW but were not processed in any way other than the defaults that were set in Lightroom. This means no sharpness added, no exposure changes–nothing.

I was a little surprised to see a slight bit more vignetting at 2.8 from the new 70-200 compared to the old one. I’m not sure what would cause this but it was subtle, it wasn’t major but it’s something that was there.

Both lenses were pretty close to matching at 200mm with the newer one having a slight zoom advantage over the old one at least based on the distance I was shooting at. We will further explain the difference at 200mm later on in the review.

When we got the images back in the computer and put them side-by-side at f/2.8 zoomed in to 200mm, we saw a world of difference. The first thing I looked at was the top left corner’s edge sharpness. You could clearly see the new 70-200 2.8 was sharp, contrasty and clear. Conversely, the older 70-200 2.8 was not clear around the edges, had less contrast, and was just not as sharp.

When you shift to the center of the images and compare them side-by-side, it’s no contest at all. The NEW lens blows the old lens out of the water so much that I instantly debated getting rid of it in favor of a second 70-200 2.8E to be used for video.

I honestly was shocked at the clear visual difference right in front of my eyes. I knew the new lens should be better and it better be for the price, but I didn’t expect it to blow the older one straight out of the water.

The final part of this test was to shoot both lenses at 70mm to see how the lines of the bricks would look. Generally with telephoto lenses you won’t see distortion where the lines don’t look straight and that was the case here. Where you would see issues would be more so when you’re shooting and testing out wide angle lenses.

So after the first “scientific test,” the new lens is clearly ahead.

We didn’t just look at these lenses from a stills perspective, we also took video into consideration. How well does the VR in these lenses work for when you’re standing still zoomed out to 200mm as well as when you’re walking?

We built a little test rig where we were able to set up both lenses on a Manfrotto rail system to make this side-by-side comparison as equal as possible. We used two Nikon D750’s, the same ball heads and the same settings on both cameras.

The goal was to hand hold both lenses will attempting to keep a no parking sign as centered as possible to see which lenses VR worked better. Again, in this side-by-side comparison, the clear winner was the newer one. It has an extra stop of VR capability which will allow you to get smoother, cleaner video when hand-held. These results should not come as a surprise as the new lens far outperformed the old one.

Which lens did better when it came to the walking VR video test? Once again, the new lens was the clear and steady winner with its extra stop of VR.

I hope you’re enjoying this more scientific look at gear. Please be sure to leave a comment if you think we should add this type of technical review into future workflows.

Next, let’s jump to how VR handles when it comes to shooting stills. The general rule of thumb when shooting is your shutter speed should never drop below your focal distance. This means if you have a 200mm lens, you should not have a shutter speed slower than 1/200th. Keep in mind, this is the case if you don’t have VR.

This is just a rule of thumb and I’ve been able to break it over the years with pretty good results. But with the advent of Vibration Reduction, it’s allowed me to break the rules even more. For this test I decided to see how low of a shutter speed I could shoot while hand-holding at 200mm and focusing as close to the bobble head as possible. I only tested the newer lens at this shutter speed.

I decided to shoot at 1/2.5 of a second which is just shy of a half-a-second. I locked my focus on the eye of the bobble head, tucked my elbows, held my breath and shot off three frames in a row. Let me quickly explain why I shot multiple images in a row: the reason is you tend to settle into the shot at one point or another which will give you the best chance of one of them being in focus.

It turns out I was able to hand-hold at just shy of a half-a-second and get a SHARP image. The I SHOOT RAW on the bobble head shirt is perfectly sharp and the face looks good as well. What you need to understand is if there is any movement in your subject at such a slow shutter speed, you will see motion blur. VR does not stop a subject, it simply counters your movements.

One question people keep asking: “is the new lens a TRUE 200mm?” My quick answer to this is what is a true 200mm? Do you know what lenses actually are 200mm vs ones that are not? The question that should be asked is “how does the new 70-200 2.8 compare to the old one when zoomed out at 200mm, is one longer than the other?”

The test I chose to conduct is a close-focusing test zoomed out at 200mm. Close focusing means I got as close to the subject as possible until the auto focus would no longer lock on. The new lens allows you to close-focus at 3.6 feet where the old one would only let you at 4.6 feet.

As you can tell from the sample images, the newer lens fills the frame a lot more at 200mm compared to the older one. As I said above, this is due in part to the fact you can close focus more with the newer one.

This was the best test I could come up with for testing this out. I know a lot of people (including me) noticed that at 200mm the VR II seemed not as close than the VR I, and there really wasn’t much explanation as to why. Some people called it “lens breathing” but I think people are confused at what lens breathing really is, I know I am and was. I contacted Nikon to attempt to get an explanation as to what is lens and focus breathing and they honestly didn’t have a conclusive answer.

Nonetheless, we conducted a “focus breathing” experiment with both lenses zoomed out to 200mm and racked the focus the entire range to see if the field of view changed. This issue with the VR II lens was that at close-focus at 200mm, your field of view was drastically different than how it was at infinity focus at 200mm. You could clearly see the new lens had far less breathing than the older one.

Which lens has better bokeh? This is one of those tests I never fully could wrap my head around. Some people say they can tell the difference between lenses and their bokeh. They say things like, “oh the bokeh is so creamy or it’s a circular bokah.” Now I can tell the difference between a cheap kit lens bokeh and a more expensive lens but between these two lenses, I’m not sure what I am looking at exactly.

The out-of-focus areas seem to look good to me on both lenses. The newer one of course is a much tighter shot but I will leave it to you to analyze both RAW files to determine if one bokeh is better than the other. Be sure to download the RAW files to conduct your personal experiments and pixel peep to your hearts content.

Keep in mind this is not a FULL “Real World Review” and I do plan on doing that in the future as those are my favorite reviews where I test it out in the “real world.” My goal with this more “scientific comparison” was to give you the sample and test images to look at on your own to make an informed decision on which is better.

To me, there is a clear winner between these two lenses and it comes as no surprise that the NEW 70-200 2.8E VR is far superior. With that said, is it worth the $2,800 price tag? The answer begrudgingly is yes, it’s worth it if you can afford it. That doesn’t mean I am happy that I have to shell out $500 more than I should have to in order to own it.

But it always comes down to can you afford it? If you are a working professional or you make money from photography or capturing video, then yes you should consider replacing your older 70-200 2.8G VR II with the 70-200 2.8E VR. Simply seeing the sharpness, contrast and clarity difference sold me. All the extra functions, buttons and features are simply added value.

Don’t forget to download all the FULL RES Exported unedited JPEGS as well as sample RAW files so you can analyze them for yourself:

Download the RAW files to analyze yourself Right Here

Download the FULL RES Exported JPEGS

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DJI Mavic Pro vs Phantom 4 Pro vs Inspire 2 Comparison: DRONE WARS

DJI has released three new drones in the last few months and I wanted to compare them side by side to help you decide which is the one for you.

DJI Mavic Pro / DJI Phantom 4 Pro / DJI Inspire 2 which would you go with and why?

SIGMA 100-400 F5-6.3 DG OS is a 4X Zoom Lens Priced to Sell: VS Canon 100-400 and Nikon 80-400

Sigma announced pricing and availability of their new 100-400 F5-6.3 DG OS zoom lens. It’s priced at $799 and will be available end of April (in the video I said May, I was wrong).

I wanted to compare it to the Canon 100-400 which is $1999 and the Nikon 80-400 which is $2,296 to help you decide based on price and weight which one is for you.

Pre order on B+H

Official Press Release

Sigma Announces 100-400mm F5-6.3 DG OS HSM Contemporary Lens Pricing and Availability
Sigma’s new full-frame 4X zoom lens features a compact design optimized for telephoto photography; shipping late April 2017 for a retail price of 799.00 USD

Ronkonkoma, NY – March 31, 2017 – Sigma Corporation of America, a leading DSLR lens, camera, flash and accessory manufacturer, announced today that its 100-400mm F5-6.3 DG OS HSM Contemporary lens will begin shipping late April 2017 for a retail price of $799.00. Boasting a 4X zoom ratio, the lens offers long reach and outstanding performance for a great value. The 100-400mm F5-6.3 DG OS HSM Contemporary telephoto zoom lens delivers excellent image quality and all-day usability thanks to its lightweight and compact design. Featuring a dust- and splash-proof mount, this lens is designed to be outdoors. With the newly updated Sigma optical stabilizer (OS), featuring a new gyroscopic sensor, the lens provides enhanced overall performance and exceptional handheld shooting at lower shutter speeds. The lens autofocus (AF) features a new, more responsive algorithm. Highly versatile, the 100-400mm F5-6.3DG OS HSM Contemporary lens also features Sigma’s unique macro function (1:3:8 ratio) and push/pull zooming for ease of use.

The all-new Sigma 100-400mm F5-6.3DG OS HSM Contemporary lens supports Canon, Nikon and Sigma mounts, and works with Sigma’s MC-11 Sony E-mount converter for use on the full-frame and APS-C Sony systems. The Nikon mount features the brand new electromagnetic diaphragm.

Sigma 100-400mm F5-6.3DG OS HSM Contemporary Lens Features and Benefits:

Optimal Ultra-Telephoto Performance with Exceptional Image Quality:
The new lens retains its performance in a compact 400mm ultra-telephoto zoom package with a filter size of 67mm and weight of 2.55lbs. It also comes with the full range of features and functions expected of a pro-caliber ultra-telephoto zoom: OS, hypersonic motor (HSM) with an updated algorithm for fast autofocus, a focus limiter and more. In addition, this uncompromising lens has unique customizable functions via the Sigma USB Dock. The Sigma USB dock works in conjunction with Sigma Optimization Pro software in order to connect a photographer’s lens to their personal computer to update firmware, calibrate the lens and other customizations such as a focus limiter, three-tier autofocus speed, manual focus override and optical stabilizer viewing functionality.

Compact Design Without Compromising Image Quality:
Four SLD (Special Low Dispersion) glass elements and an optimized power distribution help minimize optical aberrations. In addition, Sigma has ensured outstanding image quality throughout the zoom range by minimizing transverse chromatic aberration, which cannot be corrected via aperture control.

Push/Pull Zoom Mechanism Incorporated:
For quick control, the zoom ring incorporates a push/pull mechanism in addition to the regular twist mechanism. The exclusive lens hood has also been designed to accommodate push/pull zooming and overall lens control. By making it possible to adjust the angle of view instantly, photographers have a better chance of capturing fleeting moments.

Ultra Telephoto Lens with Macro Functionality:
Optimized for a variety of scenarios, with a minimum shooting distance of 5.5ft and a maximum magnification ratio of 1:3.8, this lens can shoot from a distance, as well as in close position to the subject.

Other Features:

Dust- and splash-proof mount
All new optical stabilizer unit with enhanced algorithm
Nikon electromagnetic diaphragm mechanism included (Nikon mounts only)
Nine-blade rounded diaphragm
Designed to minimize flare and ghosting
Compatible with the newly developed teleconverters
Fast autofocus with full-time manual override
Compatible with Sigma Mount Converter MC-11 for Sony E Mount
Customizable and flexible adjustment with Sigma USB Dock
High-precision, durable brass bayonet mount
Crafted in Aizu, Japan with each lens individually tested with Sigma’s own MTF measuring system “A1”
Lens barrel is engraved with the year of release
About Sigma Corporation
Craftsmanship. Precision. Dedication. Since 1961, Sigma has been devoted the pursuit of advancing photographic technology. Unique to the industry, the family-owned business produces its high-quality, award-winning camera lenses, DSLR cameras, flashes, filters and accessories from its state-of-the-art manufacturing facility located in Aizu, Japan.

In 2012, the company introduced the Sigma Global Vision with three distinct lens lines: Art, Contemporary and Sport. Designed for industry camera mount systems including Canon, Nikon, Olympus, Pentax, Sony and Sigma, each lens is handcrafted and tested in Japan to ensure a high-performance, premium product that is purpose-built to last.

Sigma continues its tradition of imaging excellence with the mirrorless sd Quattro, sd Quattro H and the compact dp Quattro camera line. Leveraging the ultra-high resolution Foveon sensor, the Sigma Quattro cameras are designed to produce the highest quality image with every shot.

CANON 80D vs Nikon D7500: Which is right for you

Even though the Canon 80D is a year old how does it stack up next to the NEW Nikon D7500. This video is to help you decide based on the specs and what I know about these cameras, which one might be right for you.

Nikon D500 VS Nikon D7500 Comparison: grab my 11 days to better photography videos right here froknowsphoto.com/11days

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Canon T7i vs Canon 77D vs Canon 80D Comparison: When it comes to deciding which Canon camera is right for you in the cropped sensor range, this video is meant to help you figure that out.

If I had to pick a camera out of these three, it would be hard not to take the 77D because it’s a year newer than the 80D and has better ISO range.

There’s a video out there saying how the Nikon D850 isn’t as good as the Nikon D5 when it comes to the 3D Auto Focus Tracking.

Now, I didn’t take the D5 out and run a test against the D850. But what I did do is use the D850 in a Real World Situation shooting a motocross rider. I share examples of the rider coming directly at camera as well as across the frame.

I personally rarely use 3D tracking and explain in the video why I prefer Dynamic AF 9 or 25 point on the Nikons.

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Nikon D850 Real World Review

It can be tough decision deciding between not only cameras but brands these days. I’ve done “Real World Review” of all three of these cameras which puts me in a position to help you decide which camera might be right for you.

If you just want to shoot video you may look one way. If you’re looking for portraits or sports, you may go the other way. In this day and age, we’ve reached a place where you can’t go wrong with any of these bodies.

Nikon D850 Real World Review

Sony a7R III Real World Review

Canon 5D Mark IV Real World Review

At The ZOO Photographing With 3 NEW TAMRON Lenses (18-400, 100-400, 24-70 G2)

I took three TAMRON lenses out to the zoo to get sample images for reviews I am doing of each of these lenses. You should be able to tell which lenses shot which photos based on the lens hood and size of the lens.

When I do the final reviews I will make the RAW files available for you to download and play with.

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Real World Review
Sony a7 IIII http://bit.ly/2Bi8gE7
Canon EOS R http://bit.ly/2BiP2OW
Nikon Z6 (COMING SOON)

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Canon EOS R http://bit.ly/2Q23pgz

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In this video I put the Nikon Z6, Sony a7 III and the Canon EOS R all head to head to help you decide which one might be the one you should go with if you’re in the market for a new camera. This is updated for 2019. This is the ULTIMATE BATTLE!!!

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Let me help you decide between the Nikon D850, Sony a7R III and the Nikon Z7. Which camera is right for you, a mirrorless or a DSLR. Based on my Real World Experience with all three of these cameras, I help guide you towards the one that’s right for you.

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Real World Review
Nikon D850 http://bit.ly/2EKDkQe
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Nikon Z7 http://bit.ly/2ENpf4z

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Let’s out the Sony 135mm f1.8 GM up against the $500 less expensive Sigma 135 f1.8 ART and see which one comes out on top. This is a Review / Comparison of the lenses.

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Download Sample RAW Files from both lenses Zip 1 Zip 2  ZIP 3 ZIP 4

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We were lucky enough to get our hands on a Nikon Z6 a week early with the latest firmware that brings EYE-AF. As you know, I love taking the cameras into Real World situations to test them out. That’s exactly what we did this time around with our model.

Download the Firmware for the Z6 and Z7 right here.

Not only did I do regular hand held shooting with the Nikon Z6. But I also broke out the Sony a7 III and Canon EOS R, which both have eye-af. On top of the hand held shooting, we set up all three cameras with their respective 70-200 2.8’s and Atomos recorders. The Atomos’ allow us to record our EVF and share with you a first person look inside the camera.

I was honestly expecting the Nikon eye-af to suck…… but it didn’t. It’s not on par with the Sony but it’s certainly not the worst in the world. It has a long way to go though to catch up to Sony.

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Which Camera should you BUY between the Nikon Z7 and Sony a7R IV? That’s the exact question I help you get an answer to in this comparison video. Be sure to check out the Real World Reviews that are linked below to see how I came to my choices.

Nikon Z7 Real World Review http://bit.ly/2ENpf4z
Sony a7R IV Real World Review http://bit.ly/2pIxOZi
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I’ve used both of these cameras in the Real World and wanted to share my thoughts on which one might be the right choice for you!  I LOVE Nikon but have decided for now to switch over to the Sony a7R IV for my personal work for many reasons that I explain in the video.  Two of the main ones are simple…2 card slots, battery grip.  There’s more, but for that, check out the video.

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I’m GIVING AWAY A $3,499 CAMERA!!! Get enter here http://bit.ly/megafro2020

This is a COMPARISON between the Canon 1DX Mark III and the Sony a9 II. Both of these cameras are considered their companies flagship cameras. I put them head to head to help you decide which might be the right one for you. Is it the DSLR with Mirrorless leanings or the straight Mirrorless camera?

Click Here to access RAW files and full-res exported JPEGS https://froknowsphoto.com/1dx3rwr/

Purchase the Canon 1DX Mark III from Allen’s Camera https://bit.ly/3bdlK4k Purchase the Sony a9 II from Allen’s Camera https://bit.ly/2UKikzw

Real World Review https://youtu.be/NSsxpejhvsI Auto Focus Review vs Sony a9 II https://youtu.be/VaYQ5yphhsE

Initial Auto Focus Preview https://youtu.be/ypLxPmXuGGY

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This is the OFFICIAL Hands-on Preview of the Sony a7S III. We decided to test it against Canon’s EOS R5 since the video features are somewhat “similar”. I was not expecting the results we ended up with.

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A few minor corrections 4:32 – 4:47 – Correction: Sony Angle was used 6:31 – 6:33 – Correction: Canon Angle was used 14:08 – 14:23 – Correction: Canon Angle was used

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Back in 2018 we did our first EYE AF test between Nikon, Canon and Sony. https://www.youtube.com/watch?v=gxqa_f6LsQI . Now here we are a few years later with firmware updates to put the big three up against each other once again in 2020. We have the Canon EOS R5, Sony a7R IV and Nikon Z7 all with the latest firmware. How well do they handle tracking the subject as well as getting them in focus in actual photos. This is our EYE AF Head to Head battle for 2020.

Download the still photos from the CANON, SONY and NIKON right here.

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