Nikon 18-105mm 1: 3.5-5.6G ED Nikkor VR AF-S SWM DX IF Aspherical (this is the full name of this lens, written on its body) is ordinary advanced full-time zoom lens... It comes as a base for some cameras and is often referred to as'whale'(from the English' kit '- kit). Now Nikon 18-105mm f / 3.5-5.6G can be found with almost all Nikon DX cameras elementary and intermediate. It originally came as one of three options for the camera. Nikon D90, own, it was announced along with this camera.
Nikon Nikkor dx 18-105mm
Nikon 18-105mm f / 3.5-5.6G lens suitable exclusively for APS-C DSLR cameras Nikon DX, which means that it is not designed for full frame cameras, but for so-called 'cropped' cameras. The full list of Nikon DX cropped cameras can be viewed here... Install Nikon 18-105mm f / 3.5-5.6G on full-frame cameras Nikon fx Not recommended.
Main technical specifications of Nikon 18-105mm 1: 3.5-5.6G ED Nikkor VR AF-S SWM DX IF Aspherical:
| Review Instance Name | Nikon 18-105mm 1: 3.5-5.6G ED Nikkor VR AF-S SWM DX IF Aspherical ∞-0.45m / 1.48ft Ø67 Made in Thailand US36549947 |
| Basic properties |
|
| Front Filter Diameter | 67 mm, plastic thread for filters |
| Focal length | 18-105 mm EGF for Nikon DX cameras is 27-157.5 mm |
| Zoom ratio | 5.83 X (usually rounded to 6) |
| Designed by | for digital cameras Nikon DX |
| Number of aperture blades | 7 rounded petals |
| Tags | focal lengths for 18, 24, 35, 50, 70, 105 mm, bayonet mount mark and hood mounts |
| Diaphragm | 18 mm from F / 3.5 to F / 22. 105 mm from F / 5.6 to F / 38. The lens is deprived of the aperture control ring, control is via the camera menu (G - lens type) |
| MDF (Minimum Focus Distance) | 0.45 m over the entire range of focal lengths, maximum magnification ratio 1: 5 |
| Stabilizer features | 3.5 stops by CIPA standards, 3 stops by Nikon standards. The stabilizer monitors the movement of the camera while shooting panoramas. |
| The weight | 420 g |
| Optical design | 15 elements in 11 groups, including
Image of optical circuit clickable |
| Lens hood | Nikon HB-32, bayonet type, plastic, the following lenses use the same lens hood: |
| Transportation | With a soft cover CL-1018 |
| Manufacturer country | Thailand, inscription on the lens: “MADE IN THAILAND”. Important: since 2014, the production of these lenses has moved to China. |
| Period | From August 27, 2008 to the present day (at least until the summer of 2017) |
| 3D view | View -> |
| Instructions | View–> |
| Price |
Nikon Nikkor dx 18-105mm, view from the bayonet side
Assembly
A copy of this review was made in Thailand. Important: Since 2014, the production of these lenses has moved to China.
The Nikon 18-105mm f / 3.5-5.6G is pleasant and weighty to the touch, weighing just over 400 grams. The lens uses common 67mm color filters.
Please note that the Nikon 18-105mm f / 3.5-5.6G on the mount side does not have a special rubber gasket, which is an indication that the lens has dust and moisture protection. It is better not to expose the Nikon 18-105mm f / 3.5-5.6G to severe moisture and dust tests.
The focus ring is plastic, and the zoom lens is rubberized. Unfortunately, the Nikon 18-105mm f / 3.5-5.6G has plastic bayonet, for which many photographers dislike it. The plastic mount is the first sign that the user is facing a lens from the simplest Nikon Nikkor line of lenses. For example, among the universal Nikon DX lenses, only the simplest kit lenses of the class have a plastic mount. 18-55/3.5-5.6 and another not very successful Nikon 18-135 / 3.5-5.6G.
The retractable lens barrel consists of two sections, to the touch they are quite durable, without any backlash.
With frequent use, the lens may begin to suffer from spontaneous lengthening of the frame (trunk of the lens) under its own weight.
There is a bayonet mount mark and a mark on the case for quick installation of the hood. The lens uses an HB-32 plastic lens hood, which is fixed in special grooves located near the front lens of the lens. The lens hood comes with the lens. The hood can be installed in the opposite direction for transportation. In this position, access to the zoom ring is partially lost. Exactly the same lens hood Nikon 18-70, Nikon 18-135 и Nikon 18-140.
When changing the focal length, the rear lens moves in the middle of the lens body like a pump - it draws in and pushes out air. This behavior of the rear lens is called 'vacuum cleaner effect', which can increase the amount of dust that accumulates in the camera. You can clearly see the effect of a vacuum cleaner with a Nikon 18-105mm f / 3.5-5.6G lens here.
The Nikon 18-105mm f / 3.5-5.6G comes with a CL-1018 soft case, and the lens itself comes in a small cardboard box with a characteristic Nikon coloring.
Nikon Nikkor dx 18-105mm, rear information part
Diaphragm
Diaphragm lens consists of 7 rounded petalswhich form a fairly even hole. Diaphragm closes to F / 22 by 18 mm and to F / 38 by 105 mm of focal length.
Unfortunately, Nikon 18-105mm f / 3.5-5.6G cannot boast good aperture.
There are marks with a focal length on the zoom ring, the following is a list with the minimum numbers F available for these marks:
- 18 mm - F / 3.5
- 24 mm - F / 4
- 35 mm - F / 4.5
- 50 mm - F / 5
- 70 mm - F / 5.3
- 105 mm - F / 5.6
Nikon Nikkor dx 18-105mm, maximum length
Stabilizer
The Nikon 18-105mm f / 3.5-5.6G has a second generation 'Nikon VR' image stabilizer that can compensate for 3.5 stops by shutter speed. In values excerpts this means that you can shoot at shutter speeds 10-12 times longer than what the lens without a stabilizer requires.
The manual for the Nikon 18-105mm f / 3.5-5.6G lens says 3 stops (measured by Nikon), and the official website 3.5 feet (measured by CIPA). In any case, the stabilizer works well.
To enable / disable the stabilizer on the lens there 'VR ON / OFF' button. The stabilizer itself works well. I was able to take pictures without grease and hard work at 105 mm focal length and 1/30 second. Unlike more advanced lenses, such as Nikon DX AF-S Nikkor 16-85mm 1: 3.5-5.6G ED VR SWM IF Aspherical, this lens does not have the ability to switch stabilizer modes.
While the image stabilizer is turned on and off, the viewfinder may twitch slightly, this is the norm and should not be afraid. The stabilizer is turned on by pressing the focus activation button.
The lens can track the movement of the camera during panorama shooting. In this case, the stabilizer will suppress vibration only in the direction perpendicular to the movement of the camera.
Nikon Nikkor dx 18-105mm with the most extended frame of the case and the established hood
Focusing
Nikon 18-105mm f / 3.5-5.6G focuses quietly thanks to 'SWM'-motor (Silent Wbird Motor - quiet wave / ultrasonic motor) and refers to the lens'AF S'type (with built-in motor focusing), and therefore it will automatically focus on any Nikon digital SLR camera.
Auto Focus Speed - average. On cameras Nikon D90, D200 the lens focuses tenaciously and does not release objects from the field of sharpness.
During focusing, the front and rear lenses remain stationary, as the lens uses internal focusthat is indicated on the case by the letters'IF'-'Iinternal Focus' - 'Inner Focus'. The front lens does not rotate while zooming. It is possible to use any filters without problems.
When changing the focal length, the front lens does not rotate.
The minimum focusing distance is only 45 cm, while you can shoot Macro with 1: 5 magnification... Nikon 18-105mm f / 3.5-5.6G does not have a window with a distance scale, depth of field scale and other useful marks.
In manual focus mode, the ring rotates about 120 degrees, when it reaches the extreme positions it does not rest, but continues to slide, without affecting the focus. Manual focus is easy.
On the lens housing you can find focus switch 'A - M'. In position 'A', automatic focusing works, and in position M - manual focusing.
The 'A-M' switch in this lens is non-standard. Normally, in all lenses equipped with such switches, manual focus cannot be performed in 'A' mode. But here is what the manual says for Nikon 18-105mm f / 3.5-5.6G:
Manual focus can be performed even if the AM lens mode is set to A. Set the camera to focus on AF-S and press the shutter-release button halfway to autofocus. Then, while holding the shutter-release button halfway, manually rotate the lens focus ring to fine-tune the focus. Note. Do not try to rotate the focus ring while the autofocus function is operating. When the autofocus function completes, release and press the shutter-release button halfway again.
Thus, in AF-S mode, after successful focusing, you can still rotate the focus ring to adjust the focus or refocus it. Unfortunately, such a property is only a miserable semblance of a full-fledged regime M / AM with the possibility of constant manual focus control.
You can find more information about lenses with a similar feature in the section Focus Features 'A', for some Nikkor lenses with the 'A-M' switch.
Nikon Nikkor dx 18-105mm with hood in transport mode
Image quality
The lens is sharp enough in the center of the frame, even on open apertures. Sharpness sags a little at 105 mm. Unfortunately, the corners and edges of the image on open apertures remain very weak. The lens also suffers from chromatic aberration and vignetting. Modern cameras can automatically correct vignetting and chromatic aberration.
Of course, at 18 mm you can see barrel-shaped distortion, which becomes pads like with an increase in focal length. The level of dystoria is at an adequate level for comfortable perception of the image.
Nikon 18-105mm f / 3.5-5.6G well tolerates side and back light and shows good contrast, which is typical of modern universal lenses. In general, I did not find anything particularly bad or good in the quality of the image obtained with the Nikon 18-105mm f / 3.5-5.6G.
Nikon Nikkor dx 18-105mm and Nikon AF-S Nikkor 18-70mm 1: 3.5-4.5G ED DX SWM IF Aspherical
Examples of photos on Nikon 18-105mm f / 3.5-5.6G:
UPDATED
More examples on Nikon D5600:
You can download the original photos in RAW format at this link (15 files, 400 MB).
Examples on Nikon D7200:
You can download the original photos in RAW format at this link (15 files, 400 MB).
Nikon 18-105mm 1: 3.5-5.6G ED Nikkor VR AF-S SWM DX IF Aspherical prices
Actual lens prices can see here, or in the price block below:
Comments on this post do not require registration. Anyone can leave a comment. Many different photographic equipment can be found on AliExpress.
My experience
Nikon 18-105mm 1: 3.5-5.6G ED Nikkor VR AF-S SWM DX IF Aspherical was my first universal lens for my first two cameras Nikon D40 и Nikon D90. I used it a little over a year, after which I changed it to Tamron 17-50mm F / 2.8 XR Di II LD Aspherical (IF). Nikon 18-105mm f / 3.5-5.6G is nothing more than an ordinary whale lens with a slightly expanded focal length, which allows you to use part of the tele-range.
For a month, I was simultaneously holding Nikon 18-105mm f / 3.5-5.6G and Nikon DX AF-S Nikkor 18-55mm 1: 3.5-5.6GII ED SWM Aspherical, which allowed me to compare their capabilities. As a result, it turned out that using a range of focal lengths of 18-105 is several times more convenient than using 18-55. The ability to use 105 mm of focal length on the Nikon 18-105mm f / 3.5-5.6G is one of the lens's greatest strengths. Nikon 18-105mm f / 3.5-5.6G also has a more pleasant / solid appearance and it is much more convenient to handle it than with 18-55.
This lens is not a bit suitable as a regular lens for some more or less serious shootings (wedding, responsible reporting, etc.). I took off 4 wedding on the Nikon 18-105mm f / 3.5-5.6G and now I regret it. In the same time Nikon 18-105mm f / 3.5-5.6G fits very well for simple tasks. He repeatedly helped me out on hikes, on vacation, for homely leisurely filming. Like it or not, but finding a more balanced lens than the Nikon 18-105mm f / 3.5-5.6G is very difficult.
From cheap universal lenses for Nikon DX cameras, I advise you to look at the options Nikon AF-S Nikkor 18-70mm 1: 3.5-4.5G ED DX SWM IF Aspherical и Nikon DX AF-S Nikkor 18-135m 1: 3.5-5.6G ED SWM IF Aspherical. True, these lenses can only be found in use on the secondary market. A good replacement for Nikon 18-105mm f / 3.5-5.6G are Nikon DX VR AF-S Nikkor 18-140mm 1: 3.5-5.6G ED SWM IF Aspherical и Nikon DX AF-S Nikkor 18-200mm 1: 3.5-5.6GII ED SWM VR IF Aspherical.
The most similar lens from a third-party manufacturer is Sigma Zoom 18-125mm 1: 3.8-5.6 DC OS HSM (Optical Stabilizer).
An accurate list of all Nikon DX Nikkor lenses
- 10.5 mm/ 2.8G AF Fisheye [gold ring]
- 35 mm/1.8G AF-S
- 40 mm/2.8G AF-S Microphone
- 85 mm/3.5G AF-S VR Microphone
- 10-20 mm/4.5-5.6G AF-P VR
- 10-24 mm/3.5-4.5G AF-S
- 12-24 mm/4G AF-S [gold ring]
- 16-80 mm/ 2.8-4IN AF S VR [gold ring]
- 16-85 mm/3.5-5.6G AF-S VR
- 17-55 mm/2.8G AF-S [gold ring]
- 18-55 mm/3.5-5.6G AF-S [black / silver]
- 18-55 mm/3.5-5.6GII AF-S [black / silver]
- 18-55 mm/3.5-5.6G AF-S VR
- 18-55 mm/3.5-5.6GII AF-S VR
- 18-55 mm/3.5-5.6G AF-P
- 18-55 mm/3.5-5.6G AF-P VR
- 18-70 mm/3.5-4.5G AF-S
- 18-105 mm/3.5-5.6G AF-S VR [Thailand / China]
- 18-135 mm/3.5-5.6G AF-S
- 18-140 mm/3.5-5.6G AF-S VR [Thailand / China]
- 18-200 mm/3.5-5.6G AF-S VR [Japan / China]
- 18-200 mm/3.5-5.6GII AF-S VR
- 18-300 mm/3.5-5.6G VR
- 18-300 mm/3.5-6.3G VR
- 55-200 mm/4-5.6G AF-S [black / silver, Japan / China]
- 55-200 mm/4-5.6G AF-S VR
- 55-200 mm/4-5.6GII ED VR
- 55-300 mm/4.5-5.6G AF-S VR
- 70-300 mm/4.5-6.3G AF-P
- 70-300 mm/4.5-6.3G AF-P VR
Thank you the store www.fotika.com.ua behind provided by Nikon 18-105mm 1: 3.5-5.6G ED Nikkor VR AF-S SWM DX IF Aspherical lens, which I took for a while to create photos with its appearance.
Nikon Nikkor dx 18-105mm on camera Nikon D40x
Results
Nikon 18-105mm 1: 3.5-5.6G ED Nikkor VR AF-S SWM DX IF Aspherical lens performed quite well as universal lens for amateur photographers. On vacation, he is simply indispensable. Unfortunately, one should not expect high optical performance from such a lens. In general, the lens is good for its price class.
I recommend it as the very first lens for Nikon DX cameras. It is best to buy a Nikon 18-105mm f / 3.5-5.6G kit (together with the camera), in which case the cost of the camera and lens will be lower than their total cost separately. Using Nikon 18-105mm f / 3.5-5.6G is much more convenient than class lenses. 18-55/3.5-5.6 due to the wider range of focal lengths.
Material prepared Arkady Shapoval. Training/Consultations | Youtube | Facebook | Instagram | Twitter | Telegram
In the past year, the lens began to suffer from spontaneous 'bouncing' (change in FR) under its own weight in the 'lens down' and 'lens up' positions.
At that time, the lens was about 5 years old and captured at least 80'000 frames
D5300 kit 18-55 costs 40k and for 48-49 is offered with about. 18-105. Is it worth it to overpay? just a good zoom hunting. or take 18-55 and then buy separately 18-140? (expensive Pts)
Arkady, good afternoon! I hope for early answer! I want to buy a Nikon D3100 and an 18-105 lens for it, how will this kit behave in portrait shooting in this case? Will there be a beautifully blurred background?
Maybe Arkady is busy, I'll answer. It will behave somehow (in portrait photography), respectively, the cost and curvature of the arms. I was not too lazy, I made a portrait for you, FR 85mm, f / 5,6; to the object 3m, to greenery 7-8m, in general - the further the background is from the object, the blurrier.
P.S. In general, the kit is not bad for an amateur, to start; if I still had it for cheap and slightly worn. About 5 years ago I took 5100 + 18-105 almost new for 11 rubles, I do not regret it.
generally 6 sput costs only one lens 18-105. Yes, and 5 years ago you took 1,5-2 times cheaper than the market)
Yes, this is a bazaar. Now we have Avto 18-105 worth 8-10 tr., 5100-body from 12.
This lens will blur the background the same on any Nikon DX camera. This lens is weak under the portrait, but with grief it will go in half.
hello.
I want to ask your opinion and advice, because among my acquaintances and friends there are no friends who are passionate about photography.
Just bought my first Nikon D5600 SLR camera + 18-105 lens.
I noticed that there is a very small backlash when the hand shakes the lens body relative to the carcass (with the lens fully attached). The play is very small, back and forth clockwise / counterclockwise (around the longitudinal axis of the lens).
Say this is the norm for all cameras with a removable lens, or everything should be tough, durable, without any backlash.
I ask because there is no one to ask for advice.
Thank you!
So "very" or "small"? Really small can be the norm.
Meant small, i.e. Feels very small without a visual shift in the lens.
Today I went to the store to see how others have it, so it turns out this is true for all samples: some have a little more, some have a little less.
Therefore, I wanted to clarify: everything should sit very tight without the slightest loopholes or there is a slight backlash on all devices with a removable lens (I don’t know how to call it differently)
the more often you “try” the backlash on a lens with a plastic mount, the more backlash will be :)
I remembered how the piston-sleeve pairs were selected for the KMD-2.5 model engines ...
obviously, this parameter affects the quality of the vacuum cleaner
I looked at myself - this is not a backlash, but a slight movement around the axis due to the fact that the stopper is slightly smaller than the groove. If really backlash - then the problem.
Thank you
Arkady, good afternoon!
Does this lens have shift-focus?
There is
The shorter the focus distance, the more noticeable
Thank you.
Hello, is this lens compatible with the Nikon D3100?
YES
Good afternoon!
At the moment there is a Nikon 18-105, but for commercial photography it still began to displease me even with a flash. Now I want to buy Sigma 17-50 instead. Nikon d3100 camera. Can you please tell me if there is a significant difference in the picture between the 17-50 sigma and the Nikon 18-105 when shooting indoors? And is this difference worth $ 300, which is now the 17-50 sigma?
I look at the picture .. and for some reason I like photos on 18-105 more. And then the question is: either the difference is insignificant, or just not a skillful photographer photographed on a sigma)
Thank you in advance for your reply!
I didn't use Sigma, but I tried Tamron 17-50: the sharpness is higher + aperture (the possibility of blurring), minus - the motor is not USM (but in terms of focusing speed - everything is ok), weight (heavier than 18-105), 50mm is often not enough after 105 ...
Looking at what exactly you are looking at. In general, Sigma is a cut above. Sometimes 18-105 may look more profitable, since still 105mm versus 50mm makes itself felt.
The golden rule: if you are not sure whether you need another lens, most likely you do not need it.
as an option to supplement 18-105 with a fix at 35mm
Then add 50 mm. At 50 mm 1.8 in aperture, the gain is 9 times (for 18-105 at 42-52 aperture 5.0), well, the bokeh is good ...
Please answer the beginner. If the 18-105 is a “dark” lens, is it possible to “equalize” its chances with other coated lenses by processing the images? On the website, in the comments, there were phrases that the picture is better dark than overexposed. do not extract anything from the highlight area in the editor. Is it logical to assume that the developers of the "dark" lenses proceeded precisely from good intentions, such as: a user from a "dark" RAW, if desired, can create a perfect JPEG? Understand my question correctly, someone has the opportunity for gold rims, and someone 18-105 is the only one.
Fear not, lens darkness does not mean dark photos. This means a slower shutter speed to obtain the same exposure compared to light lenses. And more depth of field - the background will be less blurry.
Olga, it's not a correct assumption that the developer did a dark zoom in the expectation that the user would draw shadows from raw. A light lens is more difficult and more expensive. For outdoors, in warm weather, dark zooms remain the normal solution. In conditions of lack of lighting, the frame must still be exposed correctly. Use an external flash indoors. If you do not want a flash or a high-aperture lens, then there will be dark frames (we believe that the slower shutter speed and the iso increase have already been done).
"Dark" zoom and "light" make absolutely identical pictures in terms of exposure, it does not depend on the lens at all, but on the settings set on the camera. The difference is that a “dark” zoom cannot take photographs at apertures that are accessible to a “bright” one. As for the quality of the images, it depends on the quality of each individual lens and the capabilities of the camera, except that there will be a difference in bokeh, since a more open aperture blurs the background more than a closed one at the same focal length.
PS “Dark” lens is just a slang name, it does not make the picture dark or bright. The aperture, shutter speed and ISO values you enter into the camera make the photo dark or light.
The benefits of a bright zoom are only at its widest aperture, when it can “open the hole” wider than a dark zoom. But if you close the aperture on a bright zoom to a value with which a dark zoom can also work, then a light zoom no longer has any advantages over a dark zoom.
I will supplement with an example.
For example, a “bright” zoom can have a fully open aperture of 2.8, while a “dark” zoom has a maximum aperture of 4, for example, and cannot be opened any more. (well, such design features of the dark zoom).
In practice, if you are shooting in a dark room or you want to better blur the background by opening the aperture to the maximum, then at a bright zoom 2.8 aperture will help you. But at a dark zoom, the aperture is at best 4, which means that you will need to lengthen the shutter speed by 1 stop (light zoom: 1 \ 250, dark zoom: 1 \ 125), or add ISO at the same 1 stop (ISO 400 -> ISO 800).
As a result, with any of the lenses, the picture will be exposed correctly (neither darker nor lighter). The only differences, as mentioned above, will be a slightly more blurry background on a light zoom due to a more open aperture, a slightly lower ISO or a slightly shorter shutter speed.
But then again, the difference will only be visible on the open aperture. If both lenses are shot at the same aperture (4-5.6 or more closed), then the advantages of bright zoom are not used.
It is believed that the lens shows the best optical quality on the diaphragm covered by 1-1,5 stops, so f4 on the light is not the same as on f4 dark.
Yes, I’ll add that the light zoom is lighter than the dark one by 1-1.5 stops. When shooting in dark rooms, this still does not save the situation: you need a flash.
In studios, light zoom is also useless, since they are shot manually, at ISO 100 and on covered (up to 8-11) holes and exposure is manually adjusted by the power of lighting fixtures.
For portraits, it’s still better to take a 50 or 85mm fix than light zoom.
And Nikkor 18-105 is pretty good glass, don't worry.
This should be done in analys, like a reference book. Everything is fine there. One “only 1-1,5 stops” is worth it.
Surprisingly, I have the horror of reading all these pearls everywhere, in all forums, in different languages.
Maybe they have a training manual, secret?
Peter Sh., Please explain your opinion.
Hmm ... You know what's the matter, Olga.
Dmitry has the misfortune to be mistaken in almost everything that he wrote here. You can't blame him for this - the Internet is full of all kinds of rubbish and very dubious information about photography. It is extremely difficult for a beginner and a non-beginner photographer to figure out where the truth is, where the half-truth, and where outright nonsense is.
I do not mean this site, I am talking about a variety of chat forums, blogs and questionable review sites where there is no kind of supervision over the endless essays of the motley inhabitants of the network. Professional photographers rarely find time for the Internet. Most of these forums are drumming. The people are left to their own devices.
These are people like Dmitry, who are not indifferent to photography, and gather all kinds of near-photographic myths and fairy tales, like fleas.
Often due to a massive epidemic of clip consciousness. People can no longer, do not know how to master arbitrarily voluminous texts. They are only looking for quick answers to fundamental questions.
Peter Sh.
Dear Peter, please explain what Dmitry is mistaken about.
It seems that there is no crime in his words.
You see, I’m just talking about this. You want a quick answer to a fundamental question.
On Radozhiv there are all the necessary articles just for basic education in photography. Arcadite writes in a very accessible and understandable language.
I’ll try to point out a number of inaccuracies in Dmitry’s comment:
1) The advantages of a light zoom over a dark one are usually much more than just a "hole". Some of them are: downward control of depth of field, quality of optics, AF accuracy, exposure accuracy, the viewfinder is brighter and “only 1-1.5 stops” difference in aperture is actually a very big difference.
There are also disadvantages, for example, weight, price, and the diffraction threshold may occur earlier.
Arkady has excellent articles (once again - many thanks to him for creating them!)
https://radojuva.com/2014/01/pro-svetosilu/
and this one
https://radojuva.com/2013/02/fix-and-zoom-lenses/
2) "the maximum open aperture 4, for example, and no more to open". and other considerations about design features are confusing.
I recommend reading
https://radojuva.com/2012/02/diafragma/
3) Examples and arguments about the applicability of certain lenses are too subjective and filled with “personal opinion” far from reality.
Yes, thank you Alexey.
In addition, if we cover the fast lens, say up to f / 4, it will still let in more light than a lens with a maximum aperture of the same f / 4. I have been convinced of this many times from my own experience, especially in a dim light. There is still a t-stop to consider.
Thanks to Arkady, I just pointed to his articles.
I also noticed this feature. I am sure she has a physical explanation.
I will assume that in both cases the lenses are already filled with the luminous flux to the maximum, in a high-aperture lens this flux is “stronger” [since the front lens (and not “aperture-hole”, as Dmitry is mistaken) is physically larger (with the same focal length) and “ captures ”more light], and the last thing that holds back light on the way to the sensor (apart from the shutter and distance to the sensor) is the aperture. With a covered high-aperture lens up to f / 4, the real light-transmission capacity (T-stop) will tend to 4.0 T-stop, in contrast to a darker lens, in which f / 4 is the maximum open aperture value.
Plus, if you cover the aperture to 4.0, for example on some aperture glass, then at the moment you press the shutter, the aperture still opens to full and covers up to 4.0. Therefore, the luminous flux at 24-120 / 4 and 24-70 / 2.8 at aperture 4.0 will be different. Plus, there will be several other minor nuances and reasons.
Olga, want the exact answer, ask the exact question. What doesn’t work from 18-105?
I think I can guess 80% - people in the room. There are several solutions. For a beginner, 2 simple ones: a) improve the lighting of the room + buy a fast fix; b) we buy an external flash (directed to the ceiling). You need a flash with TTL - native or with Ali 586 youngnuo / 586 triopo (cheaper). There are no guarantees of durability for non-native ones, but with careful handling, the amateur will have enough for a long time.
I agree, in my experience, it is better to use a TTL flash indoors than a fast fix.
It is a pity that Bright and Lynx abandoned it all, they would comment 1-1.5 stops.
Complete with the D5100 and the 18-105 lens, an external SB-400 flash (rotates) and a soft diffuser were attached to it.
I suppose for initial self-study courses are needed, but time and ... Or maybe someone will help out with an intelligent CHECKED SELF-TEACHER in electronic form. You can by e-mail tuzoo@bk.ru
The Articles section of this site is a very accessible and concise tutorial. Read the articles (do not read the comments) and practice more.
Oh, that label has turned green. Thanks everyone for the advice!
On the next page of Radozhiva the opinion was expressed that: “for artistic shooting, light, composition, and now post-processing give 90%, the contribution of the lens here is minimal, unless you shoot with outright junk”.
Read site articles, not comments. When you become more experienced, you yourself will understand how much what is said is true.
Hello, which is better Nikon D7000 18-105 VR Kit or Nikon D7000 Nikkor35mm f / 1.8G?
“Nikon 18-105mm f / 3.5-5.6G comes with CL-1018 soft case…” is gone, unfortunately
Are you collecting covers?
A good lens, but dark and in backlight at a wide angle chromatite, and so - the sharpness is normal, the image is pleasant, the stabilizer works well. Large focal lengths have nice soft bokeh. I have been in working order for seven years.
Hobby friends! Maybe someone has an electronic version of 4-hour video tutorials or a tutorial for the photographer, etc. If someone shares, thank you in advance! My email post office tuzoo@bk.ru
Please tell me what is better to take 18-105 or Nikon AF-S DX Nikkor 18-70mm f / 3.5-4.5G the price is the same
Good afternoon. This lens is suitable for Nikon D3400 with AF-P i.e. he has a full-time Nikon DX VR AF-P 18-55 mm 1: 3.5-5.6G. Thank.
Yes, 100% will do
He also supports AF-S lenses.
Nikon 18-105mm 1: 3.5-5.6G ED Nikkor VR AF-S SWM DX IF Aspherical
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Apple saved on August 19, 2018.
Claes
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Please advise replacing the lens 18-105 for shooting the first wedding
Sigma 17-50 / 2.8 OS, Tamron 17-50 / 2.8 VC. In 2008, I filmed my first weddings at 18-105 and 50 / 1.8, so if you try very hard, you can do it too.
Thanks for the advice. Looked closely at Nikon 18-70. Strongly different 18-70 from 18-105?
18-105 it makes no sense to change to 18-70. They differ significantly, but in the general case, 18-105 is better (due to the stabilizer and a larger set of focal lengths). It is better to buy something from fixes by 18-105, like 35 / 1.8G or 50 / 1.8G, so that you can get a decent picture from the fix.
You were correctly written from inexpensive 17-50 f2.8. Changing 18-105 to 18-70 for your task is pointless. Optically 18-105 is not worse (in my opinion is better), has a greater range of focal lengths and a stabilizer. According to the performance, 18-70 is more reliable, but it is an old lens and it is better not to take it for commerce. It is suitable for replacing cetaceans 18-55, if 18-105 is not enough or not desirable, but no more.
the trunk at 18-70 is still plastic and without any seals
offer Nikkor 28-85mm F3.5-4.5 (in excellent condition) for 4000 rubles. should I replace 18-105 ?? ...
It is not entirely clear which of the models you are offered to take. I think that for 4000 rubles this is definitely not Nikon 24-85mm f / 3.5-4.5G ED VR AF-S Nikkor, but most likely Nikon AF Nikkor 28-85mm 1: 3.5-4.5 (MKII), or a whiter old version - MKI ... And if it ate any of the last two, it is NOT WORTH. At 18-105 focal lengths are wider, there is a stabilizer and, most importantly, an autofocus motor. If your camera does not have a focusing motor, then autofocus will not work, you will have to adjust the focus manually. Write what kind of camera you have
I have one in conjunction with the D5300. There are no special complaints about him, I bought in May, in 2015. It is very convenient to take a hike, a trip, or simply walk, wander around the city.
Here is a portrait taken with this lens. I accidentally met a girl in the park, she took a selfie with a phone, I suggested taking a portrait for her. I took it off hand.
https://thumb.cloud.mail.ru/thumb/xw1/%D0%9D%D0%B0%D1%82%D0%B0%D0%BB%D1%8C%D1%8F%20%D0%93%D1%83%D0%B4%D0%BA%D0%BE%D0%B2%D0%B0.%2014%20%D0%B4%D0%B5%D0%BA%D0%B0%D0%B1%D1%80%D1%8F%202018%20%D0%B3.%20%D0%9F%D0%B0%D1%80%D0%BA%20%D0%94%D1%83%D0%B1%D0%BA%D0%B8/%D0%9B%D1%83%D1%87%D1%88%D0%B8%D0%B5/DSC_1877%206.jpg?x-email=9851510003%40mail.ru
https://thumb.cloud.mail.ru/thumb/xw1/%D0%9D%D0%B0%D1%82%D0%B0%D0%BB%D1%8C%D1%8F%20%D0%93%D1%83%D0%B4%D0%BA%D0%BE%D0%B2%D0%B0.%2014%20%D0%B4%D0%B5%D0%BA%D0%B0%D0%B1%D1%80%D1%8F%202018%20%D0%B3.%20%D0%9F%D0%B0%D1%80%D0%BA%20%D0%94%D1%83%D0%B1%D0%BA%D0%B8/%D0%9B%D1%83%D1%87%D1%88%D0%B8%D0%B5/DSC_1885%202.jpg?x-email=9851510003%40mail.ru
Good day, I recently bought this accessory, now I’m looking for another pair of it, not expensive, I’m looking at 50 mm 1.8 G (I don’t know if it’s a good tandem with these 2), I’m doing camera shooting, schools, holidays, weddings, etc. Please advise something for portraits, and in this regard so far, it’s not a pro, and I’m not rich with a bag.
In this case, it is better to first change 18-105 to something light, like Nikon 17-55 / 2.8, Tamron 17-50 / 2.8 VC, Sigma 17-50 / 2.8 OS, and then add fifty dollars to it, of course if you need it at all. Without a good station wagon, life is bad.
The thing is, I’m shooting children at school, and there’s not enough 50mm for the zoom, and now I don’t have enough money to change it, I thought about fix so far, as it is sharp and fast-moving with a beautiful pattern, but oh well, thanks !
Used before d3200 from 18-105. I bought 35 1.8 and took a good price tag of 85 1.8 for the future full frame. I bought a bu d700. And the question is this. For shooting at closed apertures, sharpness will be enough for 18-105 on d700? You need to shoot indoors with a flash, and there’s no money to buy shirik for a full frame
No money even for Nikkor 28-105 / 3.5-4.5?
He sells cheaply at flea markets and is in good condition.
The question is more in time. Relatively speaking, in a couple of months you can allow 35 f2. But now circumstances require the shooting soon, and there is a desire to get by with the existing set. The same 18-105 will give me 27-35 calmly. And the quality on closed diaphragms is of interest, in comparison, for example, with your 28-105. Is it advisable to use the same 28-105 if I need only a wide angle.
Such moments