Nikon System Guide and Recommendations
For those of you who don't follow me regularly, I've recently switched back to the Nikon system after trying out Fuji for about a month. In hindsight, the Fuji system is interesting - it's a nice system that has potential for improvement, but compared to the well established Nikon and Canon systems, it still has a while to go.
As always, I always like to do my research before purchasing. My research involves reading online user reviews, reading technical reviews, as well as trying out the lenses I want to buy for myself. Instead of wasting all the notes I've made for myself, I've compiled the following guide to the Nikon FX system. I'll be creating a similar page for the Nikon DX system in the near future as well. Here, I'll be looking at cameras and lenses from the following categories:
For each of the eight categories, I'll be making several recommendations, based on what you want to spend and how important that class of lens is to the work you might be looking at doing:
As always, I always like to do my research before purchasing. My research involves reading online user reviews, reading technical reviews, as well as trying out the lenses I want to buy for myself. Instead of wasting all the notes I've made for myself, I've compiled the following guide to the Nikon FX system. I'll be creating a similar page for the Nikon DX system in the near future as well. Here, I'll be looking at cameras and lenses from the following categories:
- Nikon FX Camera Bodies
- Ultra Wide-Angle Zoom Lenses (< 35mm)
- Wide-Angle Prime Lenses (24mm and similar)
- Standard Zoom Lenses (24-70mm and similar)
- Standard Prime Lenses (35mm, 50mm)
- Telephoto Zoom Lenses (> 70mm)
- Portrait Lenses (85mm, 135mm...etc.)
- Macro Lenses (Lenses with 1:1 Macro Ability)
For each of the eight categories, I'll be making several recommendations, based on what you want to spend and how important that class of lens is to the work you might be looking at doing:
- All-Round Recommended - This is what I would recommend as a great balance between price and performance. Good for most people.
- Best Performance - This is what I would recommend as the best performing reasonable lens in that class. (I.e. No Zeiss Otus...etc.)
- Best Value - Not necessarily the cheapest, but the lens that offers good enough performance at an attractive price.
- Honourable Mentions - Lenses which are great alternatives to the ones I've listed (only where relevant).
Nikon FX Camera Bodies
Nikon only really have four current FX camera bodies - the D610, D750, D810 and D4s. If you're seriously considering the D4s, you already know what you want, so it's really a toss up between the three remaining ones, which split themselves into the categories quite naturally. I've decided not to include the Nikon Df here because it's a specialty camera that's about form over function.
- All-Round Recommended - Nikon D750. This is Nikon's best all-round FX camera. It integrates the most desirable features from the D610 and D810, combining them into a great package that suits the needs of most photographers. It has the smaller and lighter body of the D610, with the same great 24MP image sensor, but incorporates the D810's (and D4s') superior 51 point autofocus system and better high ISO performance. Being able to shoot at 6.5fps, it's faster than both the D610 and D810. Priced right between the D610 and the D810, it's hard to beat. I currently own this camera.
- Best Performance - Nikon D810. This is Nikon's best FX camera for image quality. With its 36MP sensor and lack of an antialiasing filter, it is sharper and can resolve more detail than any of Nikon's other cameras. It has the same autofocus system as the D4s, meaning that it's excellent. High ISO performance is great, going to 12,800, improved from 6,400 on the D800 (previous model) and D610. At this level of pixel density, it requires the best lenses and technique to get the most out of the sensor. Recommended for landscape, studio and fine art photographers. Most others would be happier with a D750.
- Best Value - Nikon D610. Personally, I really like the D610, except it has one major flaw which keeps it from being a much more potent camera - the autofocus system. With its 39 point AF system from the D7000, the points don't cover enough of the full-frame image and don't even cover the intersection points for the rule-of-thirds, it's an inconvenience. The autofocus is also noticeably slower and much worse in low light, compared to the D750 and D810. In terms of image quality, it has a similar 24MP sensor to the one in the D750, meaning that it performs exceptionally well. Unlike the D750, the D610 only goes up to ISO 6,400 rather than ISO 12,800, so it might not be as strong in low light.
- Honourable Mention - Nikon D4s. If you're a news and sports shooter, you probably already know what you need and the D4s is the camera you want. It shoots 11fps, much higher than any of Nikon's consumer FX bodies. Its 16MP sensor isn't as sharp and detailed as the others, but it's better in low light. The autofocus system is great, same as the D810 and D750. Expensive though, coming in at over $6,000.
Ultra Wide-Angle Zoom Lenses
For ultra wide-angle lenses, you're really looking at only Zoom lenses. Though Nikon does make a 14mm f/2.8 lens, it's an older D series lens that'll probably be phased out soon. It costs almost as much as the far superior 14-24mm f/2.8. For most photographers, an ultra wide is the last lens I would recommend adding as they're generally difficult to use.
- All-Round Recommended - Nikon 16-35mm f/4G VR. I actually really like this lens. It's one of my favourite lenses because it's very light for what it is and it features a complete feature set and nice zoom range. 16mm isn't as wide as some people like, but it's plenty wide for basically everyone and being able to zoom out to 35mm actually makes it a very useful lens for everyday street and cityscape shooting. Even though it's an f/4 lens, it has VR, so you can use slower shutter speeds, which is useful for static subjects or if you want to induce subject motion blur for artistic effects. It takes 77mm filter threads, which is a very convenient size and costs significantly less than the Nikon 14-24mm f/2.8! I own this lens and thoroughly recommend it for most people who need an ultra-wide.
- Best Performance - Nikon 14-24mm f/2.8G. This has been Nikon's top ultra-wide since it was released back in 2007. It's a great lens. Prior to about a year or two ago, Canon users would make crude mounts to be able to use this lens (fully manually) on their Canon bodies. It's that good. Not only is it able to zoom out to 14mm (second widest lens after the Canon 11-24mm f/4), but it's also remarkably sharp, slightly sharper than the already excellent Nikon 16-35mm f/4 VR. The f/2.8 aperture makes it a great choice where you're struggling to get enough light. There are only two things I don't like about this lens - that it doesn't take standard screw-in filters and that it's a heavy beast. I'd recommend this for landscape shooters who expect the greatest edge-to-edge sharpness.
- Best Value - Tokina 17-35mm f/4. Perhaps a bit of an odd choice, but Tokina's wide lenses are great. This one fits the bill perfectly for a "best value" lens. It comes in at less than half the cost of the Nikon 16-35mm f/4 VR. It's well built, but doesn't contain over the top features such as advanced coatings or VR...etc. It's simply a no-nonsense, sharp wide-angle lens that is great for most people. Nikon also makes an 18-35mm lens, but this Tokina goes slightly wider and has a constant f/4 aperture, not to mention cheaper too. That gives it the nod from me.
- Honourable Mention - Tamron 15-30mm f/2.8 VC. I feel uneasy "recommending" this lens, because I haven't tried it and there's scarce information about it, but initial tests and reports suggest that it's as good as the Nikon 14-24mm f/2.8, with added VC (VR) and it comes in at around 30% cheaper. Once I know more about this lens, if it genuinely is better than the Nikon 14-24mm f/2.8, it'll become the new best performer. Right now, it's a great lens to have a look at and consider if you're looking for an ultra wide lens.
Wide-Angle Prime Lenses
I'll keep this section short and sweet because I don't find wide-angle prime necessary for the work I do. Ultra-wide zooms are much more flexible and make much more sense for most people. Wide primes are for capturing low light action - they're great for wedding photographers. Surprisingly, the Nikon 24mm f/1.4 isn't included at all, the Sigma 24mm f/1.4 ART just beats it and comes in at an even better price.
- All-Round Recommended - Nikon 20mm f/1.8G. This lens is excellent - it's sharp, it's relatively free from distortion and it's got a fast f/1.8 aperture that beats any current zoom. It goes wider than 24mm lenses, which is useful, because you can always crop, but you can't always get further away from your subject when composing. Unless you specifically need f/1.4 or the 24mm focal length, I would go with this Nikon 20mm f/1.8 - it's optically great and despite being plastic, is still mechanically very well built, as most Nikon primes are these days.
- Best Performance - Sigma 24mm f/1.4 ART. Sigma's released another winner, after their success with the 35mm and 50mm f/1.4 ART lenses. This lens steals the best performance limelight from the Nikon 24mm f/1.4, offering sharper and more contrasty images at around half the price. This is a great lens and for wedding pros who use 24mm f/1.4 lenses on a daily basis, I'd be happy recommending this lens over the Nikon. It's mechanically great as well, with plenty of metal and a solid, secure feel to the lens.
- Best Value - Nikon 28mm f/1.8G. Even though this lens is sharp, reasonably well built and cheap, it lacks the wider 20mm or 24mm focal lengths the others offer. Its aperture of f/1.8 is still nice and fast, offering over a stop of light more than the best zooms, meaning you can capture the same images in less than half the amount of light. If you don't need to go as wide as 24mm and find yourself with some room to move in composing, then maybe this Nikon 28mm f/1.8G can give you the same images and performance in a smaller and cheaper package.
Standard Zoom Lenses
Amateurs love the 24-70mm (and similar) lenses. They're usually great lenses - sharp, fast to focus, well built and very reliable. However, very few actually need standard zooms. Wedding and reportage photographers will often need one, because most of what they shoot falls within this focal length, however, most of us who have the time to switch lenses or to move around a bit will be happier with a set of primes instead. For example, a set of primes (e.g. Sigma 24mm, 50mm f/1.4 and Nikon 85mm f/1.8) costs less than the Nikon 24-70mm and offer up to two stops (four times!) extra light capturing ability - not to mention the primes will be sharper).
In saying that, however, here are my recommendations for a standard zoom.
In saying that, however, here are my recommendations for a standard zoom.
- All-Round Recommended - Tamron 24-70mm f/2.8 VC. Tamron really came up with a winner when they released their 24-70mm f/2.8 VC lens. Not only was it the first standard zoom with VC (VR), but it's also an exceptional lens. Reports show that it's approximately on par with the Nikon 24-70mm f/2.8 lens (with them winning at different focal lengths). Mechanical quality is okay - it's tough plastic that will last, but it feels nowhere near as good as the Nikon 24-70mm f/2.8, which is an all metal, tough beast. Autofocus speed is great, silent and on par with the Nikon. Coming in at half the price of the Nikon 24-70mm f/2.8 lens, however, it's hard to not recommend the Tamron 24-70mm f/2.8 VC. Only complaint is the strange 82mm filter threads.
- Best Performance - Nikon 24-70mm f/2.8G. The Nikon wins this category not simply because of pure image quality, but because of the quality of the lens. Its image quality isn't really any better than the Tamron, but it's simply much better built, with more metal parts, a tougher feel and simply a more premium finish. The Nikon 24-70mm f/2.8G is a great lens that's built to last. Optically, it's amazing - sharp and contrasty right through the zoom range. Autofocus performance is amazing - of course, this is expected being a lens used mostly by wedding pros. If you have the money, you'll be very happy with this lens, but you'd be almost as happy with the Tamron.
- Best Value - Sigma 24-105mm f/4 ART. This category conflicted me. There were three lenses I was tossing up between, the Nikon 24-85mm VR, Nikon 24-120mm f/4 VR and this Sigma 24-105mm f/4. In the end, this Sigma offers better image quality than the Nikon 24-85mm for ony around 20% more and it's simply much better value than the Nikon 24-120mm f/4 VR, which is almost the same, but costs around 15% more. At the end of the day, any of these three lenses are great choices, but if I had to make one recommendation, I would say this Sigma wins - try to save up a little more if you're eyeing the Nikon 24-85mm, pocket the difference if you're looking at the Nikon 24-120mm f/4 VR.
- Honourable Mentions - Nikon 24-85mm VR, Nikon 24-120mm f/4 VR. Great lenses, but didn't make the cut, owing to the reasons above. That said, you'd be very happy with either of these. The 24-85mm might be a little slow and plastic, but it's sharp. The 24-120mm f/4 VR is an excellent lens. I own that lens, but I got it for cheaper than what it usually goes for. At market rates, I'd say the Sigma 24-105mm f/4 is a better buy.
Standard Prime Lenses
Standard prime lenses are important. They're a great focal length for every day photography. They're often cheap, great for low light and small, making them a great option to start on. All photographers, from hobbyist to seasoned pros will have a standard prime in their bag for when they just want a lens that works or when the light goes dim. I've split this category into 35mm lenses and 50mm lenses. Traditionally, 35mm lenses have never been popular on DSLRs, they're more for reportage photography and at the moment, there are much fewer affordable 35mm lenses. So it seems 50mm lenses are the more popular and cheaper option for most photographers looking at getting a standard prime.
My recommendations for 35mm lenses is simple. The Sigma 35mm f/1.4 ART simply beats everything else. The Nikon 35mm f/1.4G and 35mm f/1.8G are both great lenses both worth considering, but when the Sigma offers better image quality than the Nikon 35mm f/1.4G at less than half the price, it's hard to look past that. The Nikon 35mm f/1.8G is lighter and smaller than the Sigma, but at around 10% cheaper, unless size is that important to you, I'd rather just pay a tiny bit extra and get f/1.4 over f/1.8 and slightly better image quality.
For the 50mm focal length, however, there is much greater choice, with many different options to choose from. When there's so many available, it's easy to make recommendations because there's one for everyone. Here are my recommendations.
My recommendations for 35mm lenses is simple. The Sigma 35mm f/1.4 ART simply beats everything else. The Nikon 35mm f/1.4G and 35mm f/1.8G are both great lenses both worth considering, but when the Sigma offers better image quality than the Nikon 35mm f/1.4G at less than half the price, it's hard to look past that. The Nikon 35mm f/1.8G is lighter and smaller than the Sigma, but at around 10% cheaper, unless size is that important to you, I'd rather just pay a tiny bit extra and get f/1.4 over f/1.8 and slightly better image quality.
- All-Round Recommended AND Best Performance - Sigma 35mm f/1.4 ART. Sigma really shook things up when they released their 35mm f/1.4 ART lens. Not only was it sharp, fast and very nicely built, but it came in at significantly less than the competition. Selling for less than half the price of the Nikon 35mm f/1.4G, this Sigma is truly a winner. It has a very stylized, contrasty and sharp look that goes well with most styles and wide-open, it's sharp and free of chromatic aberration and other visual anomalies. It's hard to recommend anything other than this Sigma if you have the budget for it.
- Best Value - Nikon 35mm f/2D. This is Nikon's older 35mm lens and, to be fair, it's okay. It's not a terrible lens, but it's not as sharp as the more modern lenses, especially out towards the corners. In the centre portion of the image, it's acceptably sharp, especially if stopped down. Coming in at much cheaper than any of the other 35mm lenses available on the market, it's a great starting point if you're looking at getting a 35mm lens. Coming in at less than half the price of the Sigma, this is quite a viable alternative if you can't reach the high asking price of the Sigma 35mm f/1.4 ART. Note that this is an older AF, not AF-S lens, so autofocus is noisy and less accurate.
- Honourable Mentions - Nikon 35mm f/1.4G, Nikon 35mm f/1.8G. For the reasons discussed above, the Sigma 35mm f/1.4 ART is simply a better lens that offers much better image quality, similar build quality and superior value to these two. That said, both these Nikon lenses are excellent and I'd still comfortably recommend them if you prefer to use Nikon lenses or if you find them for a solid price. You'd be very happy shooting with either of them. The 35mm f/1.4G is tougher, though still mostly plastic, the 35mm f/1.8G feels more hollow and less solid overall.
For the 50mm focal length, however, there is much greater choice, with many different options to choose from. When there's so many available, it's easy to make recommendations because there's one for everyone. Here are my recommendations.
- All-Round Recommended - Nikon 50mm f/1.8G. This is probably the best 50mm lens you can get in terms of all-round value and performance. Compared to the more expensive 50mm f/1.4G, it's pretty much the same, sharpness is excellent, it's fast to focus and it even has an aspherical element for better image quality and a simpler optical design. Coming in at less than half the price of the 50mm f/1.4G, though, it's hard to look past this lens. Available for around $200, it's a sharp, fast, lightweight lens that would suit pretty much all photographers looking for a 50mm lens.
- Best Performance - Sigma 50mm f/1.4 ART. The best 50mm lens available on Nikon. Some might say the Zeiss OTUS is the "best", but being a manual focus lens that costs over $4,000, most people wouldn't even be considering it. Sigma have really upped their game in recent years, building a solid line of ART branded primes that are designed to offer great performance at reasonable prices. Whilst $800 or so might seem a lot, it's not that much more expensive than the Nikon 50mm f/1.4G and it goes a long way to justify its price. It's sharp, contrasty, the colours it produces are excellent and it feels solid and tough, meaning it'll be a lens that lasts. I personally own this lens and would highly recommend it to anyone looking for the best performing 50mm f/1.4 lens they can get their hands on.
- Best Value - Nikon 50mm f/1.8D. Nikon's older 50mm f/1.8D lens is a great choice if price is really a concern. It comes in at less than half the price of the newer 50mm f/1.8G, but of course, sacrifices are made to get there. Whilst image quality is largely the same, the older 50mm f/1.8D is an AF, not AF-S, lens, so autofocus is noisier and less precise. It's also much less well built, feeling slightly cheap. The front element moves as you focus, both in and out as well as rotating, meaning that if you use circular polarizers, you'll have to re-adjust every time you focus. It also has 7 rather than 9 aperture blades, so bokeh is rougher. That said, this is still a really sharp lens, for $120 or so, it's the best lens you can buy for your Nikon camera. So if you've saved up $100 and don't know where to start, the Nikon 50mm f/1.8D is great!
Telephoto Zoom Lenses
I'm not going to look into telephoto primes here because most telephoto primes, such as the 200mm f/2, 300mm f/2.8...etc. are specialty lenses mostly used for catwalk fashion, sports and wildlife. I generally don't shoot any of these genres, so I don't use telephoto primes. These are my recommendations for medium telephoto lenses.
- All-Round Recommended - Nikon 70-200mm f/4G VR. Instead of the larger 70-200mm f/2.8 lenses, this f/4 lens is smaller, lighter, and the image quality you can get from it is exactly the same as the f/2.8 version. It even has the newer 3rd generation VR, rather than the 2nd generation VR in the Nikon 70-20mm f/2.8G VR. Weighing in at around half the weight and costing half the price of the f/2.8 version, this lens is only a stop slower (gathers half the amount of light), but in return, it allows you to move more freely and get less tired. This results in better images and more creativity. I own this lens and I love it! Even though the mechanical quality isn't as great as the f/2.8 version, it's still solid feeling and much tougher than consumer lenses. Autofocus is excellent.
- Best Performance - Nikon 70-200mm f/2.8G VR. Despite the internet on fire with the focus breathing issues this lens might have, it's genuinely a 200mm lens at infinity where it matters. Unless you're doing close-ups, where you're better off with a macro lens anyway, magnification doesn't matter as much as most people want you to think. Optically, this lens is superb, it's as sharp wide-open at f/2.8 as the f/4 version is at f/4. When stopped down to f/4, it's sharper than the f/4 version wide-open. That said, it costs twice more than the f/4 version and also weighs twice as much. Optically, I would say they're the same - you'll never realise any difference in real world shooting. The biggest separator between these two is the ability to go to f/2.8 when required (which might be a lot for some) and a tougher, metal construction. Autofocus is as fast as it gets on the Nikon system.
- Best Value - Tamron 70-300mm f/4-5.6 VC. Another winner from Tamron with their new 70-300mm VC lens. Despite being a variable aperture, f/5.6 at 300mm isn't terrible and its image quality is great. Coming in at around half the price, or even less, compared to the Nikon 70-200mm f/4, this Tamron is great value for money. Even though it won't be as tack sharp as the Nikon, especially at the longer end, it makes up for that in being cheaper and lighter. Mechanical quality is okay - not excellent, but for a lens that costs so little, definitely okay. I would recommend this Tamron over the similar, but older, Nikon 70-300mm f/4.5-5.6 VR due to its superior image quality at the long end and better VC (VR). Even the autofocus on this lens is quite solid.
- Honourable Mention - Tamron 70-200mm f/2.8 VC. In the end, it was a toss-up between this lens and the Nikon 70-200mm f/4 VR as to which would get the all-round recommendation. The Nikon is slightly sharper, smaller, lighter and just slightly more expensive. This Tamron can go to f/2.8, but is larger and heavier. For me, being able to carry a lens around all day is a big deal. For some people, especially those who shoot a lot in low light without flash, f/2.8 might be important, but I rarely ever need to go below f/4, so for most people, the smaller and lighter Nikon is the better choice. Don't judge how heavy a lens is by taking a few shots in a camera store. A heavy lens will tire you out after a few hours of shooting.
Portrait Lenses
When it comes down to it, any lens can be a portrait lens. It's your decision as a creative artist to choose the perspective and compression you're after. There are many people who are happy shooting portraits with an ultra wide-angle and they love it - it's different. Here, I'll be looking more at the traditional focal lengths for portraiture and how these lenses stack up.
- All-Round Recommeded - Nikon 85mm f/1.8G. I'm recommending an 85mm lens as my all-rounder as this focal length is generally useful - you can take a variety of portraits with this length and still have great perspective and working distance. This lens is good. It's actually reported to be sharper than the f/1.4 version which costs over three times as much. Personally, I don't see any difference between the two lenses. They're both equally sharp, the images look equally as good, the f/1.8 even autofocuses faster than the f/1.4, but both are still on the slower side. The bokeh from the f/1.4 is smoother, but hardly much better than what the f/1.8 can give. The only real difference between the two lenses, that I can see, is that the f/1.4 version is more contrasty and has stronger colours, likely due to the Nano Crystal Coat it has. The f/1.8 version is less well-built, but still solid nonetheless. Given how similar these are, I'd pick the Nikon 85mm f/1.8G and that's what I own!
- Best Performance - Nikon 200mm f/2G VR. One of Nikon's best lenses on the market at the moment. The 200mm f/2 is tack sharp, has extremely good separation and is the lens of choice for the most successful portrait photographers. It's a great choice for wedding portraits or for catwalk fashion. For environmental portraits or full-length body shots, you'd have to look at a shorter lens, such as the 85mm. Optically and mechanically, this lens is amazing, it's tough, all metal and heavy. Whilst most people would be happy using their 70-200mm f/2.8 at the long end, this 200mm f/2 separates the subject in a way the zoom simply can't. It's also sharper, punchier and gives a very distinctive shallow depth of field look. You'll pay for it though - it costs over $6,000 where I live, but if you can afford it, it's great. I'd recommend using this on a monopod for longer shoots. It's very heavy.
- Best Value - N/A. If you want to spend as little as possible on a portrait lens, use what you already currently have! Any lens can take a portrait, but generally, most people prefer longer lenses because of they give a more pleasing and flattering perspective compared to wider lenses, which enlarge noses and shrink ears. If you already have a mid-range zoom or a telephoto, that's all you need to start taking great portraits!
- Honourable Mention - Nikon 135mm f/2 DC. What once was Nikon's top portrait lens is now an honourable mention. The 135mm f/2 DC is an interesting lens. It's the only lens, apart from the very similar 105mm f/2 DC, to have Nikon's Defocus Control technology, which adjusts the position of the elements inside the lens, allowing you to control the look of the out-of-focus areas. I don't own this lens, so I'm not sure how this actually works from a scientific standpoint. However, from what I know, it seems unlikely that the DC feature is worth much - the effects are very subtle. That said, the 135mm f/2 DC is an extremely sharp lens wide open at f/2. At the end of the day, this lens is a very sensible choice for a portrait lens. If you're tossing up between this and the 85mm, you should consider getting both because they're different lenses - the 85mm is great for half-body shots or so, but too short for nice headshots. This 135mm will fill that role perfectly. It's also much more reasonably priced than the 200mm f/2 VR.
Macro Lenses
I love macro lenses. Not only are macro lenses great for doing macro photography, but they also generally tend to be very useful and optically excellent lenses. Usually getting a macro lens will allow you to drop another lens in your collection, so you can add macro capabilities without having to add another lens so to speak.
- All-Round Recommended - Nikon 105mm f/2.8 VR. If you've used the Nikon 24-70mm f/2.8 pro zoom, then this 105mm f/2.8 VR will feel very familiar. It's made out of a solid metal construction which feels solid, tough and durable. This lens is awesome because not only is it optically excellent, being tack sharp and completely free of any distortion, it also features VR, Nikon's only reasonably priced prime lens to feature it and it also doubles excellently as a portrait lens. For example, if you want to cover weddings on a tight budget, just skip a portrait lens, get this 105mm f/2.8 VR and use it as both your short telephoto portrait lens and your macro lens to get all those amazing ring or detail shots. Given how affordable this lens, it really is a no-brainer. It's optics and mechanics are first-rate, you'll love it just as much as I do.
- Best Performance - Nikon 200mm f/4 Micro. Micro is just Nikon's word for macro, so that's what they call their macro lenses. This 200mm f/4 is a classic. It hasn't been updated since the last century, but it's an amazing lens with the optics and mechanics to boot. It comes in at around twice the price of the Nikon 105mm f/2.8 VR though and personally, I don't think a 200mm f/4 lens is as useful as a 105mm f/2.8 VR lens. With macro, you're often using studio strobes or ring lights, but at a slow-ish f/4 aperture and a long focal length of 200mm, you really need VR otherwise it just won't be too useful in anything but daylight for general shooting. Unlike the 105mm f/2.8 VR, this is a specialist macro lens, get this lens if you want the very best macro lens for macro and nothing else. If you want a great lens that can do basically 95% of the macro this lens can do and adds more useful features, get the 105mm f/2.8 VR.
- Best Value - Tamron 90mm f/2.8 VC Macro. I tossed up between the Nikon 60mm f/2.8 Micro and this lens for the best value category. At the end of the day, they both come in at a similar price. However, this Tamron has the benefit of VC (VR) and a longer focal length. This is important in macro because, since you're up so close, shorter focal lengths will give you strange perspective distortion. Longer lenses are better for macro because you can stand further back and get a more natural perspective. Compared to the Nikon 60mm f/2.8, this Tamron is probably not as well built, but still very acceptable. Personally, I would say that the difference between this Tamron and the more expensive Nikon 105mm f/2.8 VR is still very negligible, but the Nikon's tougher build quality gave it the nod for my all-round recommendation.
- Honourable Mention - Nikon 60mm f/2.8 Micro. I do feel sad not being able to give this lens any awards because it is a great lens. In terms of optics, it's amazing - it's sharp, it's completely free from any distortion and it's sharper than basically all of Nikon's 50mm fast primes. This lens is designed to be sharp, and optically excellent. The mechanics are great as well. It's a shame that the Tamron pips the post with this lens in terms of real world photography. However, if you prefer Nikon lenses and want to get this 60mm f/2.8, it'll serve you very well.