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Green Mountain Camera Blog

  • This Week's Instant Savings on Nikon Digital Cameras and Lenses!

    Nikon Coolpix L24
    Nikon Coolpix S6100
    Nikon Coolpix S80
    Nikon Coolpix S9100
    Nikon D5100 18-55mm VR Lens Kit
  • Order Prints From Our Website, Pick Them Up In Our Store

    Did you know you can order prints directly from our website and pick them up at a later time in our store? That's right, you can! And, all from the comfort of your underwear. No need to lug around big, heavy memory cards, or no need to wait ages for CDs to burn. Just upload files directly from your own computer.

    Here's how you get started. At the bottom of our website is an area that looks like this:

    Click on the link highlighted by the red circle.

    You will be directed to a new page that looks like the picture below. You may encounter a pop-up or a dialogue at the top of your web browser asking if it is OK for Java to run. Make sure you say that it's fine. If you don't have Java installed, you will need it. You can find Java here for download.
    Go ahead and click on the "Add Photos..." button. You will get this pop-up window that allows you to select a source for finding the photos you will want printed:

    You can choose pictures from Facebook, but we almost never recommend that you do. Why not? Well, when pictures are uploaded to Facebook, Facebook automatically compresses the files for quick viewing. The decrease in file size is great for viewing on the computer because it allows for quick web browsing, but there is a caveat. Smaller file sizes mean poorer image quality when printed. Unless you want blurry, pixelated prints, we suggest you stick with choosing pictures from your computer.

    Clicking on "My Computer" brings up a window that allows you to browse the file structure of your computer. Simply click to the folder where you store the photographs you want printed, and images will be shown on the right side of the window. Click the check boxes next to the pictures you absolutely want printed, and then hit the "Ok" button after all of your desired photos are selected.

    Your selected images will now show up on the webpage. Hover you mouse icon over an image to get access to print sizes and quantities. Use the plus and minus to add or remove print sizes and quantities. Please note any sizes with a red "x" next to them. These indicate images that will suffer in quality if printed at those sizes. Print at your own risk if you see this icon.

    Hover your mouse icon over another picture to select the desired sizes and quantities for that image. It is important to remember that print sizes and quantities are different for each image. Selecting the desired print size and quantity for one image will not automatically apply those settings to all images. So, feel free to mix and match! In the screen shot above, notice the "Crop/Edit" option. If you would like to alter an image, click this icon to crop, change colors, remove red-eye, etc..

    When the "Crop/Edit" icon is clicked, you will be given the above window. Click the double arrow icon in the lower right-hand corner of the image and drag to alter the transparent box and indicate your desired crop. Any dark area around the transparent box will be cropped out during printing. Please note that the more you crop the more the image quality of your final print will suffer, so please make only minor crops or else your prints may look blurry/pixelated. Click the green arrows in the blue boxes to switch between images.

    If you would like to add more photos for printing, feel free to click the "Add More Photos..." icon. Note the crop of any photos you have altered, and the print sizes and quantities for all photos. If everything looks correct, click the "Next Step" button. If you would like to print a lot of photos at, say, 4x6 and doubles, click the "Express Order" button. This will allow you to apply a specific size and quantity to all of the photos you have selected, so you won't have to go through each one individually.

    On this window, select the desired options you would like including either Matte or Glossy finish. Matte finish is textured. Make sure "Quick Photo Upload" is selected, otherwise you may have to wait a lot longer for the images to be uploaded. Also, make sure you make any comments or special instructions in the box at the bottom of this page.

    Review your order, and please note that any cropping you may have selected will not be previewed on this page. Check quantities, sizes, and the total and then click "Add To Cart".

    This page shows your shopping cart. Continue with the order by clicking "Proceed to secure checkout". Also, here is another chance to review your total to make sure it is correct. This is especially important if you used the Express Order feature in case you selected more photos than you originally wanted. If the total does not look correct click on the "Print Order# ........" on the top-left of the page to alter the order.

    On this final page, make sure to enter your information so we can identify your order. When all of your information is entered, click "Order now". Once this button is clicked, your order and images will be sent to us for printing, and we will start printing your order as soon as possible.

    Most orders are printed within 24-48 hours. If you require faster service, please contact us first to arrange for expedited printing before submitting any orders. All orders are printed in the order they are received. Please allow extra time during holiday/high traffic seasons. Please feel free to call us to check on an order before coming to the store for pick up.

  • NEW! Olympus PEN E-P3, E-PL3, E-PM1 Digital Cameras and 12mm f/2.0, 45mm f/1.8 Lenses


    New Olympus Pen Digital CamerasWe are excited for the new Olympus PEN digital cameras, and we are also very excited for the newly announced 12mm f/2.0 and 45mm f/1.8 lenses. The full-frame equivalent focal-length for these lenses will be 24mm and 90mm respectively, making the 12mm perfect for low-light/fast wide-angles, like landscapes, and the 45mm perfect for portraiture.

    Olympus M.Zuiko Digital ED 12mm f/2.0 Lens

    Olympus M.Zuiko Digital ED 12mm f/2.0 Lens

    Olympus M.Zuiko Digital ED 45mm f/1.8 Lens

    Olympus M.Zuiko Digital ED 45mm f/1.8 Lens

    In our opinion, although it is fun to adapt lenses to the PEN system, it is about time Olympus has announced some faster aperture, fixed focal length lenses to compliment the 17mm we saw a while ago. And, we are happy to see that the build quality looks to be better than any of the lenses we have seen thus far.


  • Playing with Lens Mount Adapters

    Did you ever play with your food as a child? Ever stick broccoli in mashed potatoes to make them stand like trees? Then created a road of ketchup through the forest of broccoli to lead to a cabin built of toast?

    Playing with food

    Photo: Saxton Freymann, taken from the New York Times website

    Maybe playing with food is not a universal desire for children, but there is something undeniably appealing about mixing and matching that even adults cannot forsake. If you are a photographer, the desire to mix, match, or adapt has reached a golden era. I can think of no other time in photography when one could experiment with so many different lens and camera combinations with efficacious results. A lot of this success can be attributed to the mirrorless interchangeable lens digital camera.

    Leica Lens Adapted to Panasonic Lumix GH1

    Leica Dual-Range Summicron-M 50mm f/2 Lens adapted to a Panasonic Lumix GH1

    Doing away with the mirror box of a traditional SLR has opened up a whole new world for adaptation. And, this can only be done with digital, since digital cameras do not need a viewfinder for composition. The electronic LCD works just fine. Virtually any lens can now be adapted to these cameras because of the short distance from the sensor to the lens mount. Lens mount adapter manufacturers have a lot of play for getting lenses adapted to these cameras without jeopardizing the infinity focus of the lens being mounted.

    We sell a lot of different mount adapters. Most of the ones we sell are inexpensive, generic adapters we import ourselves. The results are generally good, but can be mixed. The overall build quality of the adapters are above average, but the machining is not always consistent. For example, when using adapters with an M42 screw-mount, once the lens is screwed on, it may not always line up as you would want. What is often considered the top of the lens--the focus and aperture markings facing up--may face down. The great benefit of these adapters is the value. None of theses adapters cost more than $50. If you are interested in any of these adapters, please give us a call.

    When it comes to high-quality lens mount adapters, the universal name is Novoflex. The machining of these adapters is right on, and the quality control is consistent. We have yet to experience a Novoflex adapter that does not smoothly and securely latch in to place when being mounted on a camera body, and the same goes when mounting a lens to the front of the adapter. In addition, the tolerances are spot on. Once the lens and adapter are mounted to a camera, there is virtually no play--the mount is solid. The downside of the Novoflex adapters is price. These adapters range from $150 to close to $300, which makes them as expensive as some lenses. If you are making an investment for a lifetime of use, however, the Novoflex adapters are a perfect choice. Many of the Novoflex adapters we sell can be found for sale at our website here.

    We recently took the GH1 pictured above for a photography stroll. The dual-range summicron is an excellent lens in terms of sharpness. The only issue with using a 50mm lens on a micro 4/3rds camera, however, is the 2x focal length multiplier. The 50mm focal length of the Leica on a GH1 has the field-of-view of a 100mm lens on a full-frame camera (you can learn more about this and depth-of-field on a another post we made here). The images featured below have no post processing, besides the cropped images, which were...cropped. In terms of sharpening and other enhancements, there was nothing done in post-processing to these images. I will say that the camera was set to JPG, so the image processor will have added some in-camera sharpening there. As you will see, however, the little 50mm dual-range Leica is a great performer. CameraQuest speaks highly of this lens, and more information can be found at their website here. In fact, you can find this statement from their website: "A 50 DR had the honor of having the highest resolution ever tested by the now sorely missed American photography magazine, Modern Photography, at over 100 lines per mm".

    Picture of flowers taken with a Panasonic GH1 and an adapted Leica 50mm f/2 lens

    Picture of flowers taken with a Panasonic GH1 and an adapted Leica 50mm f/2 lens

    Flower picture cropped to show detail

    Flower picture cropped to show detail

    Picture of walk sign taken with the Panasonic GH1 and an adapted Leica 50mm f/2 lens

    Picture of walk sign taken with the Panasonic GH1 and an adapted Leica 50mm f/2 lens

    Picture of plant taken with the Panasonic GH1 and an adapted Leica 50mm f/2 lens

    Picture of plant taken with the Panasonic GH1 and an adapted Leica 50mm f/2 lens

    Plant picture cropped to show detail

    Plant picture cropped to show detail


    Picture of Yoda taken with the Panasonic GH1 and an adapted Leica 50mm f/2 lens

    Picture of Yoda taken with the Panasonic GH1 and an adapted Leica 50mm f/2 lens

    Perhaps the most interesting part of using lens mount adapters is the sheer fun of mixing and matching old lenses with different camera bodies and observing the results. There is so much excitement in taken lenses from the 30's to 60's, or whatever time period, and using them on modern cameras. The results are usually surprisingly good, and often create a look that is not achievable with modern lenses. So go ahead, play with your food.

  • Spectacular July 4th Savings on Select Canon Cameras!

    Spectacular July 4th Savings on Select Canon Cameras

  • Current Instant Savings on Select Nikon Digital Cameras, Including Lens Add-Ons

    Nikon Coolpix S3100
    Nikon Coolpix S4100
    Nikon Coolpix S80
    Nikon Coolpix P7000
    Nikon Coolpix S6100
    Nikon Coolpix L120
    Nikon Coolpix P500
    Nikon Coolpix P7000
    Nikon D5100 18-55mm VR Kit
    Nikon D5100 18-55mm VR Outfit
    Nikon D3100 18-55mm VR Kit
  • Curious what $30,000 looks like?

    The Leica M9 "Titan" or "Titanium" was made as a special edition set of just 500 pieces. Walter de'Silva "re-interpreted" the M9 design to come up with a pretty unique camera. The set included a 35mm f/1.4 and an "innovative carrying and holding concept" (read: case), plus a couple other non-standard goodies. We ran across an unboxing of this $30,000 behemoth set and thought we would reshare it with you:

    If we've whetted your appetite to learn more, you can check out the full description of the special edition M9 at Leica's website here.

  • Depth-of-Field and Small(er) Sensor Digital Cameras

    The image sensor housed in a traditional compact point-and-shoot digital camera is very small.

    Digital Image Sensor SizesIn the image above, most compact digital cameras have image sensors that range in size from the yellow to light-blue boxes, or smaller. The full-sized, gray box is "full-frame" and is considered so because it represents the full-frame of a traditional 35mm negative. Although there are not many digital cameras that currently use a full-frame image sensor, many of the more expensive, and higher image quality digital cameras like the Canon 1Ds series, Canon 5D Mark II, Nikon D3 series, Nikon D700, and Leica M9, to name a few, have full-frame digital image sensors.

    When using a camera with a smaller image sensor the lens has to have a shorter focal length to achieve the same field-of-view as a lens mounted in front of a full-frame image sensor. For example, the popular Olympus micro 4/3rds digital cameras have an image sensor, in the image above, of 4/3" in size, which is 1/2 the area of a full frame. Due to the area being 1/2 that of the full-frame, these cameras have what is called a 2x crop factor. Essentially, in order to achieve the same field-of-view as full-frame, a lens with 1/2 shorter focal length is required. Or, when using the micro 4/3rds, or the 4/3rds, Olympus, you can calculate the focal length field-of-view equivalent for full-frame by doubling the lens's focal length that is mounted to the camera. If a 14mm lens is being used, it's effective field-of-view in terms of a 35mm full-frame focal length is equivalent to 28mm. Taking this a step further, due to the very small size of many compact digital point-and-shoot cameras, in order to achieve a a 24-28mm equivalent field-of-view with a full-frame camera, the lenses on the smaller-sensor cameras start at around 4-5mm in focal length.

    This is very important in thinking about depth-of-field because shorter focal length lenses produce images with a greater perceived depth-of-field at an equivalent aperture and distance to subject. Using a 100mm lens set to an aperture of f/4 on a full-frame camera with a subject distance at 10 meters, the depth-of-field with acceptable sharpness starts at approximately 8.9 meters and ends at 11.5 meters. Whereas, the same setup using a 28mm lens set to an aperture of f/4 has acceptable sharpness from approximately 3.8 meters to infinity. If you are using a micro 4/3rds camera with a 14mm lens, although the perceived field-of-view is 28mm, the depth-of-field is guided by the absolute focal length, in this case 14mm. The depth-of-field will, therefore, be greater with the micro 4/3rds camera using a 14mm lens than a full-frame camera using a 28mm lens, even though the overall perspective (field-of-view) of the images will look the same. When thinking about compact point-and-shoot cameras, this becomes even more dramatic considering the short 4-5mm lenses currently beings used.

    Take a look at the images below. These were quickly taken to illustrate the differences in depth-of-field noted above.

    Nikon D700 (full-frame) with 70mm lens, set to 1/10 of a second, f/5.6 and 400 ISO

    Nikon D700 (full-frame) with 70mm lens, set to 1/10 of a second, f/5.6 and 400 ISO

    Olympus E-PL2 (micro 4/3rds) with 36mm lens, set to 1/10 of a second, f/5.6 and 400 ISO

    Olympus E-PL2 (micro 4/3rds) with 36mm lens, set to 1/10 of a second, f/5.6 and 400 ISO

    The first image was a D700, which is a full-frame sensor camera, mounted on a tripod with a 70mm lens attached. White balance was auto, but doesn't matter anyway as we are only looking at the depth-of-field. The second image was an Olympus E-PL2, which is a micro 4/3rds camera and therefore has a smaller image sensor than the D700, with a 14-42mm lens that I set to what I thought was 35mm on the focal length scale, but the EXIF data told me was actually 36mm. Everything else was set the same on both cameras. As you can see the auto white balance of both cameras yields very different results. In any case, what is important, however, are the differences in depth-of-field. The perspectives of both images are slightly off, but the D700 does sit higher than the E-PL2 on a tripod, and the E-PL2 has a different aspect ratio (hence why the left and right edges are cut-off by the E-PL2). But, you do get the idea that you are looking at the same scene without any real major differences in the composition. For both images, the autofocus point for the cameras was set to the center dot, and it was pointed on the PE of the Pentax box in the center of the frame. Lets take a close up look at the images:

    Nikon D700 Crop

    Nikon D700 Crop

    Olympus E-PL2 Crop

    Olympus E-PL2 Crop

    Nikon D700 Crop

    Nikon D700 Crop

    Olympus E-PL2 Crop

    Olympus E-PL2 Crop

    As you can see in the cropped images, the E-PL2 overall shows a greater area of sharpness even though the apertures were set to same f/5.6. Due to the differences in the sensor sizes the overall composition remains the same, even though the focal lengths of the lenses were different, 70mm and 36mm. When thinking about or trying to decide on a digital camera, it is important to keep in mind the differences in sensor sizes as the size will effect the lens choices you make and how the images are ultimately rendered.

  • Carl Dunn: World Published Rock Photographer

    Mick Jagger Color Photograph by Carl Dunn

    Mick Jagger (Rolling Stones) - Fort Worth, Texas

    Stop in to any record or CD store anywhere in the world and you can find examples of Carl Dunn's work. Carl Dunn has been photographing musicians for over 40 years. His scope of work includes 10s of thousands of photographs of some of the biggest names in music. Carl has photographed David Bowie, Bruce Springsteen, Mick Jagger, James Marshall Hendrix, Led Zeppelin, Elvis, Jeff Beck, and The Who, just to name a few. His album and book credits include Jimi Hendrix, Led Zeppelin, Emerson, Lake and Palmer, Moody Blues and many lessor known artist from the 70's, as well as having credits in many documentary films. Early on, Carl was able to form unique relationships that allowed him full access to the biggest names in music. He's shot musicians in varied environments from concerts, to bars, in studios, backstage and in candid situations.

    Robert Plant B&W Photography by Carl Dunn

    Robert Plant (Led Zeppelin) - Dallas, Texas

    Many of his images are iconic in nature. Carl's ability to capture a musician in a single moment and to tell a story about their artistry through a single image is remarkable. Yet, speaking with Carl you do not get the sense that his photographs are really that big of a deal. In fact, for Carl, you get the sense that photographing musicians is a second nature to ordinary life: "I shoot the same photograph over and over." He likes to consider his photography as a "curiosity driven by some underlying passion."

    Pete Townshend B&W Photograph by Carl Dunn

    Pete Townshend (The Who) - Dallas, Texas

    Carl is a Nikon shooter, and he always has been. Carl's choice in a camera system was based on the quality of Nikon lenses at the time of his start in photography. In considering lens sharpness, Carl thinks that "Nikon [lenses] compared to other 35mm manufacturers of the day were by far the best with the possible exception of Leica." His early photographs were shot with a Nikon F and the Nikon 300mm f/4, 50mm f/1.4, 85mm f/1.8, and 180mm f/2.8. The 300mm f/4 was stolen, however, so the majority of his early photographs were taken with the remaining three lenses.

    David Bowie B&W Photograph by Carl Dunn

    David Bowie - Memphis, Tennessee

    Carl has recently been working on scanning many of his older negatives into digital files. He acquired a Nikon Coolscan 9000 from us a little while ago (unfortunately these great scanners are discontinued and no longer available), and is impressed with the quality. The scans require a little bit of work, and Carl makes sure to use the multi-sampling functionality to get the highest quality results. One issue that plagues his work is getting the negatives clean. Years of storage, even in archival negative sleeves, have not been kind to the scanning process. Carl tries to get the negatives as clean as possible with PEC-12 emulsion cleaner by Photographic Solutions. Scratches and stubborn spots cannot be resolved in this way, however, so Carl resorts to post-processing. He spends a lot of time with each photograph, viewing the digital image at 100% and correcting any artifacts at their size scale.

    Photograph by Carl Dunn

    Paul Rodgers and Brian May (Queen) - MGM Grand, Las Vegas, Nevada

    Carl lives in Texas, but has been our customer for several years now. He first contacted us when he was interested in a Nikon D3 and saw that we had some. Lucky for us, Carl has been a customer ever since, and he calls us up whenever he needs something, or to just talk about life. Carl's transition into digital photography has been a satisfying one. Carl is especially impressed with the low-light advantage of the Nikon D3. He says, "With Nikon's ability to capture at low light I find the biggest advantage  is to get the shutter speed up and the aperture squeezed down." Carl has often told me that he likes to shoot stopped down to at least f/5.6 because that is when he gets a more 3-dimensional feel to the image. And, being able to use a camera with a very clean high-iso allows him to do this and still be able to maintain a useful shutter speed. A tip he suggests, "The main thing is to avoid over exposure, which is especially critical with digital cameras and concert lighting."

    Concert Hall Panorama by Carl Dunn

    Jeff Beck Group - Palace Theater, Louisville, Kentucky

    One of the more recent excitements in digital photography for Carl is the panorama. In his earlier days of photography he tried capturing concert venues with a wide-angle lens. Unfortunately, the wide-angle never captured the entire feel and moment of the concert. With digital photography Carl is able to capture multiple images and stitch them together to get a perspective that would not otherwise be possible with a single shot using a wide-angle lens.

    Concert Venue Panorma by Carl Dunn

    Jeff Beck Group - Eastman Theater, Rochester Jazz Festival, Rochester, New York

    In addition to the changes seen by digital photography, Carl is amazed by the quality of modern lenses. He notes that the sharpness of his current images are far better than anything he has before produced. His most used lenses are the Nikon AF-S 24-70mm f/2.8 and the Nikon AF-S 70-200mm f/2.8 VR. The first instinct many photographers might have is that these lenses are too slow for the low-light situations of concert venues, wanting to grab for a f/1.8 or faster lens. Again, the unparalleled high-ISO performance of the D3 allows for Carl to use smaller apertures and still maintain a fast enough shutter speed for sharp images.

    James Marshall Hendrix B&W Photograph by Carl Dunn

    James Marshall Hendrix (The Jimi Hendrix Experience) - Dallas, Texas

    Carl is still photographing musicians, and recently followed Jeff Beck. He is a contributor to the UK Cancer Research charity and auction held annually at Abbey Road Studio in London and hosted by Sir George Martin. Carl has published a book of his work and the book can be seen at He has prints available for sale at Prints and books are also available directly through Carl.

  • First Impressions of the New Nikon AF-S NIKKOR 50mm f/1.8G Lens

    Nikon has been going through some of their most popular lenses and updating them with enhanced features like, but not limited to, SWM (silent wave motor, designated by the AF-S), the addition of an aspheric lens element (to help correct spherical and optical abberations), and full-time manual focus override (allowed by the SWM). The AF-S 85mm f/1.4 and AF-S 50mm f/1.4 are a couple of other lenses that I can quickly think of that have also gone through this type of updating. The latest to this updating is the very popular Nikon 50mm f/1.8. We recently received the new Nikon AF-S NIKKOR 50mm f/1.8G lens, and were curious how it stacked up.

    Nikon AF-S NIKKOR 50mm f/1.8G Lens

    The older version Nikon 50mm f/1.8 was considered a must-have lens, if for no other reason than the $134 price tag. The new AF-S 50mm f/1.8G is over 60% more expensive, but still very reasonably priced at $219. There aren't many quality lenses out there in this price range. We've been seeing a lot of more modern, inexpensively priced lenses being made with plastic lens mounts. Although this will not hinder the image-making performance of the lens, we've seen a lot of broken lenses having to go out for repair due to the plastic mounts cracking, snapping, or wearing over time to a state of being loose from mounting and unmounting the lens to camera bodies. The new 50mm f/1.8 to our excitement has a shiny, all-metal mount:

    Nikon AF-S NIKKOR 50mm f/1.8G LensWhile staying on the topic of build quality, the build quality of this updated lens is great. The focus ring is larger and more burly than the previous version, making for an easy grip for manual focusing, and the overall design and finish of the lens is clean. This lens even has a rubberized gasket around the metal mount to help keep out dust and moisture when mounted to a camera body.

    Nikon AF-S NIKKOR 50mm f/1.8G LensThis Father's Day weekend, I had my nephew's birthday party to attend, and I thought it would be a good opportunity to take the new 50mm f/1.8 for a stroll. I gave the lens a test drive with the Nikon D7000. I was extremely impressed with the results.

    The first thing I noticed with this lens is that it was still very sharp wide open, especially for a lens in its price range, and provided an excellent overall wide-open image quality with the D7000. This lens is compatible with FX cameras (full frame digital and film cameras), and it would be interesting to see how the corners look there. But, on a DX (crop) camera, I was impressed.

    Nikon AF-S NIKKOR 50mm f/1.8G Lens

    Lens set at maximum aperture: f/1.8


    Nikon AF-S NIKKOR 50mm f/1.8G Lens

    Same image with 100% crop on in-focus area

    The silent wave motor was fast and silent. I was able to pop off several shots of my 6 year old nephew (who, like any 6 year old, changes his expression every fraction of a moment), and I couldn't even hear the lens working. Although I did not test the video much, anyone shooting video with the autofocus engaged will appreciate the silence of this lens, instead of hearing the whir-clink-whir-clink-whir-clink of a more noisy, non-SWM lens.

    Stopping down the lens to f/5.6 made for some extremely sharp images. In a couple of cases (do I dare say it?), the images were so sharp I felt it detracted from the photograph. Sometimes seeing every nook and cranny is not the most aesthetically pleasing experience for a photograph.

    Nikon AF-S NIKKOR 50mm f/1.8G Lens

    Lens set to f/5.6, 100% crop of portrait

    Overall I was very pleased with my experience over the weekend of using this lens. Compact, quick, silent, sharp, overall pleasing bokeh, with minimal aberrations for my lighting conditions, and good build quality...all at an affordable price.  Throughout the day I kept looking at my images and thinking, these look really good, which, to me, makes for a worthwhile lens. Please see some more examples below to get a better overall feel for the lens:

    For the money, I really don't see how you could go wrong with this lens. For full-frame users, it might be a different story, if the edges fall completely apart. All of the images shown in this article are unaltered, except for the 100% crops, which were cropped...of course. I didn't need to apply any unsharp mask, etc., although I was using the D7000 saving to JPG, so there was some sharpening going on there. In conclusion, I would recommend this lens to a friend.

    If you have any questions about the lens, please feel free to comment on this post. If you are interested in purchasing this lens, please visit our website by clicking on this text.

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