Nikon 18-55 VR Compared to Nikon 18-105 VR

After about a year of fumbling around, I now have both of these lenses along with a Nikon D40. On the way, I learned a great many things, so I'll start off with the story.

Last year, after buying my Nikon D40, I was delighted at the image quality of the camera and at the same time, a bit frustrated with the standard kit lens, the 18-55mm G-ED II.

My previous camera was a Sony H-1, a big-zoom compact. The image quality was obviously quite poor compared to any DSLR, but the large zoom range, the vibration reduction system and the DSLR like click and scroll control were brilliant.

Nikon 18-55 VR Compared to Nikon 18-105 VR

The kit lens at first frustrated me mostly because of the missing vibration reduction. I had grown so used to it that it felt at first very hard to take sharp pictures. This had mostly to do with the fact that I had gotten sloppy handholding. The limited focal length range was also somewhat hard to get used to. On the plus side, the kit lens was very light and made the D40 very easy to handle. I found the pictures I made with it to be excellent in good light and OK in low light. A very good kit lens, but a shame that it has no VR.

The focal length limitation I could easily live with, but the lack of vibration reduction not so much. Call me lazy, I know, but it makes it much easier to have sharp photos, even in low light. So I started looking at the options:

The Nikon 18-200mm VR

I had at first decided on this ultimate travel zoom, thinking that while it is expensive, this would be the only lens I would ever need. Things were not so rosy however, when I went to try it at the camera shop. While the size seems to be OK on paper, this lens is very front heavy and it feels completely unbalanced on the D40. Using the camera one handed with this lens on it is out of the question, at least for me. With the 18-200mm out of the running, it was time to look at the alternatives.

The Nikon 18-55mm VR

The great thing about the 18-55 VR is the size and weight. It is fractionally larger and heavier than the 18-55 kit lens but just barely enough to feel the extra weight. Since the focal length is the same as the kit lens, this felt like a bad deal to me. Of course, the fact that the normal retail price is ridiculuously high makes it a doubly bad deal. I thought it would be silly to spend so much money just to have vibration reduction.

The Nikon 18-105mm VR

This lens is in an interesting middle ground. Price wise, it is much closer to the 18-55 VR than the 18-200 VR. In terms of zoom range, it lies right between them. I found this to be an attractive alternative, it was affordable, doubled the zoom range of my kit lens, and had vibration reduction. After trying it on my D40, I found the size and weight much more reasonable than the 18-200VR. Yes, it is larger and heavier than the kit lens, but not dramatically so. One handed operation is a bit trickier, but still ok.

At the beginning, I was really happy with the extended zoom range and the vibration reduction. After some months though, some of the shortcomings became obvious.

I'll start with the most frustrating: The minimum focus distance is far too long on this lens. Sometimes, when you want to take a close up of something, you'll get near it and the lens will simply refuse to focus because you are too close to your subject. This happens so often that it gets really annoying after a while.

Another niggle: The focus ring has no feel and too much travel. Although you can override the focus at any time, you can't easily tell in which direction you are shifting the focus because the travel is far too long. Since there is no distance scale or anything, I can't ever really tell what I am doing. Well, I know I am not the best photographer in the world, yes, but I manage to shoot with manual focus cameras and that works out fine. All of this caused me to practically not ever attempt to adjust the focus manually. Which kind of takes some of the fun away.

The final straw: While I was never dissatisfied with the pictures from the 18-105VR, I was not really satisfied either. For a long time, I couldn't tell why and it took me a really long time to understand the reason. Some of my pictures with my kit lens the 18-55mm, especially those shot in good light, had an almost magical "pop" to them. They looked really, really good. Not that I am a good photographer, I am just talking about the technical quality. You just looked at them and said "wow". I realized that none of the images shot with the 18-105 were like this. So I started examining the kit lens pictures more closely. The thing that these pictures had in common was: Kit lens, shot with an aperture of f8 or f11. Hmm, OK I thought, this is kind of obvious, any lens needs to be stopped down a bit to get optimum quality.

So I started looking at the photos from the 18-105, picking out the f8 or f11s. They looked fine, OK, there were no obvious problems. But they did not have that "bite", that "pop" that something extra that the kit lens pictures had. This is the point at which a better photography site would put up comparison test shots between the two lenses. Since I am lazy and can't bother to shoot pictures just for testing, I will just say the following: The 18-55mm kit lens spanks the 18-105mm VR in image quality, period. Will you notice the difference? I always thought "Lens sharpness is way overrated, it's for pixel peepers, normal people can't see the difference". Well, even with my lowly 6 megapixel D40, I can tell the difference.

On with the rest of the story:

Armed with this information, I snagged a second hand 18-55mm VR to try out. Within minutes, it made me smile. What I had forgotten was how much fun the D40 is with a light lens on it. While the 18-105 is not enormously large, it still is noticeably heavier. The 18-55 VR, on the other hand makes the D40 handle like a dream. The close focusing distance means you can get much closer to subjects and the maximum magnification for macro shots is larger than the 18-105. The image quality is also much better, I think pretty much same as the kit lens, in other words: very good. All of this makes this lens a lot of fun. On paper, this lens looks awkward and expensive, but on a camera, it feels absolutely wonderful. It's a case of the whole being more than the sum of its parts.

The conclusion, then:

The Nikon 18-55mm VR

It doesn't do everything, this one. Zoom range is limited, there is no instant focus override. It is a simple, light, cheap lens with vibration reduction. Doesn't promise you the world. But it does what it does very well. It is a brilliant little lens.

The Nikon 18-105mm VR

This one promises a bit more. Double the zoom range. Instant focus override. Looks a bit more serious as well. In the end: the niggles take a lot of the fun away from this lens. On paper, this is a much better lens, shame that it doesn't work as well in the real world.

So, which one am I keeping?

Despite the 18-105 having double the zoom range, I always find myself using the 18-55VR. As I said, it is a lot more fun.

Is that subjective? Yes.

Will my 18-105 be finding a new home soon? Also a yes...

Sigma & Tamron:

You may be wondering why I did not consider the alternatives from Sigma and Tamron. I had looked at the Sigma 18-200mm OS but ultimately decided on the Nikon 18-200. When I changed my mind due to the size / weight, the Sigma was looking similarly large and much more expensive than the Nikon 18-105. The Tamron 18-250mm, unfortunately doesn't have vibration reduction. Since then, the Tamron has introduced the 18-270 VC which was not available last year. I would quite like to try that one out, although I am pretty sure the size/weight could again be a deal-breaker.

Nikon 18-55 VR Compared to Nikon 18-105 VR
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The New Nikon D5200 Will Have Plenty Of Competition

When Nikon launch the D5200, they will be hoping that will stun all potential critics into silence. However, with the break-neck speed of technological change at the moment, that is a very big ask. Just think of all those previous revolutionary technological break-throughs that now just seem to be run of the mill. There was a time - not so long ago - when a 16 megapixel file size was greeted with astonishment, now the new D5200 will be expected to have at least 24megapixels, if not the 36 megapixel files offered by the Nikon D800. The burst speed will also be improved from 4 Frames per second to a more action friendly number, probably 8 frames per second (though Nikon could probably push it to 10 if they wanted to). Nikon will also push to extend the ISO range and noise reduction options for the potential buyers who are more interested in how the D5200 will perform in low light. These improvements may well make the new D5200 a leader in its class, but there are some pretty strong challengers out there already...

THE NIKON D3200

It seems a misnomer to call this new Nikon an entry-level camera. It boasts many functions that grace much more expensive Nikon bodies. The 24 megapixel sensor is remarkable in a camera in this price range and is a direct challenge to Canon, who can offer only 18 megapixels. The video functions are excellent, with an external stereo Mic and HD, and are going to attract a lot of attention from photographers who fancy a film making option. Nikon have bounced their 3 series for a perfectly good D3100 firmly into the driving seat with the D3200. Price 0/ £500

The New Nikon D5200 Will Have Plenty Of Competition

THE CANON REBEL T4i

This is another recent launch and a very competent performer. The Rebel T4i was supposed to dominate this class but has been usurped by the D3200. The 18MP file is smaller than the D3200, but not significantly (the D3200's file at 24MP is in fact only 16% larger as the size increase is not linear), and in most cases it would be impossible to differentiate between the two. Again Canon recognize that users may want to shoot stills and video and have given this Rebel full HD video and good quality stereo sound. Canon haven't been afraid to innovate - taking T4i a step further than the D5100 by supplying an articulated screen which is touch sensitive. They have also noted the popularity of the mirrorless CSC market and have included the innovative contrast auto-focus system. Whilst many other functions are similar to the Rebel T3i, there is enough here to give the Rebel T4i serious consideration. Price 00/ £990

THE CANON REBEL T3i

Whilst the T4i is stealing all the glory at the moment, the Rebel T3i is still an excellent camera. Remember, we are talking about the beginner-level market. The Rebel T3i has some great functionality and boasts the same 18MP sensor as the T4i and is much more reasonably priced. Just like the D5100, it has an articulated back screen and HD video modes with stereo sound. However the Rebel's burst speed is on the slow side at 3.7 FPS and there are only 9 focus points. Despite now looking a little jaded, it is a great introduction to D-SLRs and the Canon brand. Price 0/ £550

THE CANON REBEL T3

The is Canon's most basic D-SLR. Even though it only offers 12 MegaPixel files and 9-point autofocus, it is a great way to take the step up from a compact or a bridge camera. It has a great onscreen functions guide which is really useful and intuitive and helps the novice find their way around the technology. However the video falls short, offering only 720pp which, these days, is only good enough for the web. Nikon won't regard this as a serious contender to the D5200 as it is aimed at someone who is at the very beginning of their D-SLR experience. Price 0/ £375

THE PENTAX K-30

Of course the big two dominate the D-SLR classes, but for those who aren't diehard fans of either Nikon or Canon, it's worth while looking at other manufacturers. The Pentax K-30 is an excellent camera that sits towards the upper end of the entry-level range, both in price and functionality. It offers a 16 megapixel file size and, unusually, has 100% view through the viewfinder, which makes cropping much easier. Burst speed is pretty good at 6 frames per second, and the buffer has good capacity (allowing 30 frames per burst). The HD video is impressive and offers 24,25 or 30 FPS. Pentax also offer the option to power the camera with normal AA batteries which can be very useful. Designed to face the elements, it is made of toughened plastic and is completely weather-sealed. Price with 18-55mm lens 0/£650

THE SONY A57

The SLR is so entrenched in the photography psyche that it is easy to think there is no other system out there and whilst the main manufacturers are herding D-SLR users steadily towards CSC functionality, Sony have chosen a different path. The Alpha 57 is an SLT - single-lens translucent. Instead of having a moveable mirror that reflects the light to the viewfinder and then moves to allow the camera to take the shot, Sony have produced a fixed semi- translucent mirror that bounces some light to the viewfinder and lets the rest through to the sensor. Sony have used this for a while now and it can produce some pretty good results. The A57 has a 16MP sensor that are good quality, though they do need some work if shot in low light. However the advantage is that you can see the shot continuously, even when the camera is shooting at 10FPS. The HD video is competent and has a choice of 25FPS or 50FPS. It also has an innovative digital zoom and a maximum ISO of 16,000. Altogether, this is a pretty good camera for the price. Price 0/ £500

The New Nikon D5200 Will Have Plenty Of Competition
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Jeremy Bayston has worked in the photography industry for two decades. He has a particular interest in digital imagery and writes on the subject for a number of websites. Learn more about the new Nikon D5200 and its release date at http://www.d5200.org.

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Digital Photography For Beginners - Step by Step Guide to Stunning Digital SLR Sunset Photography!

Having a Digital SLR camera to use is the ultimate thrill for a budding photographer. Taking great sunset shots should be easy with such a tool, surely? You would think so, yet I know people who have invested in decent SLR's - but still could not create stunning sunset shots that even their previous compact camera could take. This digital photography for beginners article therefore suggests steps you can take to optimise your digital SLR for sunset photographs.

Many compact cameras have a setting for sunsets, yet DSLR's don't, so you have to take control of the situation. Turn off your fully auto, or basic shooting modes, and use your creative zone modes of P (program mode), Tv (shutter priority), Av (aperture priority) or M (manual) so that you have full control over the camera's parameters.

Auto White Balance can neutralise a sunset's glow, so switch to Manual White Balance and choose a setting of Cloudy or Shade.

Digital Photography For Beginners - Step by Step Guide to Stunning Digital SLR Sunset Photography!

Most DSLR's give you a number of "user defined" Picture Styles, so set one of these up for taking sunsets. Leave sharpness as standard, and add a little saturation.

You need to reduce the contrast to avoid your final image appearing over silhouetted. Adjust the Contrast slider in your user defined Picture Style one or two notches to the left. A reddish colour cast can also be achieved by doing the same with your Colour Tone settings.

Set your ISO at the lowest setting of ISO100. There's usually plenty of brightness in the sky, so this is fine. Sunsets can suffer from grainy images with higher ISO settings.

Exposure is important in any sunset shot. It's best to switch to Partial metering mode and take a manual meter reading. This can be a difficult aspect of digital photography for beginners to understand, so I'll explain how to do this. Once in Partial metering mode, point the camera at a bright area of the sky, directly above the setting sun. Press the Star button on the back of the camera to take a light reading and to set the exposure. Then compose your shot and press the shutter release to drive the autofocus and capture the image.

Consider your composition. Silhouetted objects and figures in the foreground will add interest. Reflective surfaces, such as lake water, the sea or wet roads will bring added colour to the shot.

Beware - once the sun starts to near the horizon, it sinks surprisingly quickly. This also happens to be the optimum moment when you will catch the strongest shots, yet it can come and go in an instant. Be prepared - make sure all your settings are in place well before this time.

When the sun has disappeared, it doesn't mean you should. For another thirty minutes or so, there can often be some amazing colour across the sky, so keep looking for more opportunities for great photos.

I hope this step by step digital photography for beginners sunset guide has been helpful, and that you can catch some beautiful sunset photographs in the future. They truly are wonderful shots to look back on.

Digital Photography For Beginners - Step by Step Guide to Stunning Digital SLR Sunset Photography!
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The Parts of a Camera and Their Functions

Photographs enable us to capture events and moments in time and preserve these for years. This is made possible by the use of photo Cameras. A Camera is a technological device for obtaining photographic images of objects of interest.

This device is made up of three basic elements: the mechanical element (the Camera body itself), the optical element (the Lens), and the chemical element (the Film [although there are also digital cameras that don't make use of the traditional film]). All the other numerous parts and components that make up a camera simply function to support or enhance any of the above mentioned core functions.

Listed below are 15 functional components of a Camera, following which I will explain the function of 10 of them.

The Parts of a Camera and Their Functions

1. The Camera Body
2. Lens
3. Film
4. Viewfinder
5. The Shutter
6. Aperture
7. Shutter Release Button
8. Shutter Curtains
9. Shutter Speed Control Knob
10. Film Cavity
11. Film Rewind Knob
12. Film Sprockets
13. Flash Shoe (Accessory Jack)
14. Focusing Ring
15. Self - Timer Button

(1) The Camera Body: All the internal mechanical, optical, and chemical parts of a camera are held together by the Camera body. This serves to protect these very sensitive parts. The Camera body also serves as a framework against which the other parts of the Camera articulate to function properly.

(2) The Lens: The Lens is undoubtedly the most important component of the Camera (considering the main purpose of a Camera). The lens takes the beams of light bouncing off an object and focuses this light on the image plane so that a real image is formed that can be photographed. The greater majority of the modifications and refinements that have occurred in the camera since its invention have centered on or around the Lens, and that underscores the importance of this part of the camera.

(3) The Film: This is a thin roll of light -sensitive plastic which is placed at the image plane of the Lens. When the Camera is ready to take pictures, several devices combine to ensure that the film is exposed to the image formed by the lens. When the film is exposed to the image coming from the lens it records the image, and we have pictures! Before and after use, the film is stored in a light-tight film holder. Unknown to most persons, there are no black and white or color cameras. We only have black and white and color films. It is the film that determines whether a picture will come out as black and white or colored.

(4) Viewfinder: This is a part of the Camera that helps us decide which object we want to photograph. It helps us point the camera in the correct direction and indicates what will or will not appear in the final photograph. Viewfinders are of two types: (1) Those that work independent of the lens, known as aim-and -shoot cameras; (2) Those that show exactly what the lens is seeing, found in SLR (Single Lens Reflex) cameras.

(5) Shutter: The shutter determines how long the film is exposed to light or to the image coming from the lens. Shutters are of two types: the one located just behind the lens, called the leaf shutter; the second type is located in front of the film plane, it's called the focal plane shutter. The shutter consists of two metal sheets or "curtains" which remain shut or closed when the camera is not in use. But when the shutter release button is depressed, one of these curtains slide open to allow the image from the lens to hit the film. After a brief moment, the second metal sheet of curtain will slide in to close the opening. The interval between the opening and closing depends on the speed we selected using the shutter speed knob.

(6) Aperture: This is an opening, or hole, at the center of the lens. The function is to cause images to be brightened or dimmed uniformly. This is achieved by increasing or reducing the size of the hole, using a knob called the Aperture Ring. When the opening is enlarged, more light passes through the lens, causing the picture to brighten. Conversely when the opening reduces, less light is let in, thus dimming the image or picture.

(7) Flash Shoe (or Accessory Jack): This is the hook to which one may attach a flash, if one chooses to use a flash and the camera supports it. This accessory is located just above the Viewfinder.

(8) Focusing Ring: When we are looking through the Viewfinder, it is the Focusing Ring that is used to bring the object into focus. It is more like an adjuster.

(9) Film Cavity: This is the location where the roll of film is placed in the camera. This cavity is secured from light. It is a sort of dark chamber whose job is to ensure that the only light reaching the film is the one coming through the lens, and even then only when the shutter is open. This is important since the film cannot differentiate between the light coming from the lens and the one coming from other sources. Without this cavity lights from the surrounding area would easily hit the film and distort the picture quality.

(10) Film Rewind Knob: This knob is used to return all the exposed roll of film back into their casing. This must first be done before removing the exposed film from the camera; otherwise the negative will be ruined! Some modern cameras perform this function automatically once we've taken the last exposure.

Summary: A Camera helps us preserve memories. Understanding how the various parts of this devise work will help us get the best from our Cameras.

The Parts of a Camera and Their Functions
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Portrait Photography - 8 Indoor Portrait Photography Tips

Here are some indoor portrait photography tips that does not require you to have access to expensive studio lightings, but will still be able to produce professional indoor portraits.

What say you if there are ways you can conduct indoor portrait photography at the comfort of your own home? Although with only one light source, you can still take photographs that look stunning. All you'll need is an angle-poise lamp.

8 Tips For Indoor Portrait Photography

Portrait Photography - 8 Indoor Portrait Photography Tips

Photography Tips #1 - Background

To begin, position your subject to be sited in front of a light absorbing black velvet. The velvet creates a black background for your photo shoot. As to support the velvet, you can use about anything to hold it up. A bookcase for instance, is good enough.

Photography Tips #2 - Lighting Tips

After your model is comfortably sited, adjust the lamp so that it is positioned just slightly above his/ her head. Also, have the lamp positioned towards the right side of your model. This light setting will create a classic and stunning portrait photography result.

There are many other lighting effects you can try out. So go wild with creativity and don't limit yourself.

Photography Tips #3 - Fast Shutter Speed

Set your shutter speed to be relatively fast. I normally set my camera to 1/160 sec at f/2.8, ISO500. Also, it is advisable that you use a tripod to complement your photography.

Photography Tips #4 - Use A Tripod

The tripod will get rid of camera shake, hence refrains from ruined indoor portrait photographs. The indoor portrait photos produced will be sharp when you use a tripod.

Photography Tips #5 - Longer Focal Length

I normally use the 80-200mm f/2.8 lens and set it to 145mm. This is because longer focal lengths will result in a much more stunning indoor portrait photograph.

Photography Tips #6 - Take a Few Shots

Another thing you can do is to take a few shots just to test the exposure and general set-up. If you're satisfied with the settings for the photo shoot, you can start your indoor photography session. It will be great if you can discuss with your model beforehand about the various poses and expressions he/she can do.

Photography Tips #7 - Experiment The Various Lighting Conditions

Different lighting angles will result in a different indoor portrait photography effect. All you have to here is to try the different lighting positions and see which one works well for you. Such lighting angles include the right side, above, the left side, below and from behind your subject.

Photography Tips #8 - Use A Reflector

Whenever the light is too harsh, it creates unwanted shadow that ruins your indoor portrait photography attempts. What you can do here is to use a reflector on the opposite side of the light source. The reflector bounces the light onto your subject, thus creating a much softer light illumination.

Portrait Photography - 8 Indoor Portrait Photography Tips
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