Nikon Canada launched new lens rebates that will expire on September 10th. Here is the list of discounted products at Camera Canada(the current Nikon US rebates can be found here):

The post New Nikon lens rebates launched in Canada appeared first on Nikon Rumors.

Today, Nikon announced that the Nikon Image Space (www.nikonimagespace.com) will be terminated on October 15, 2026. At the same time, the Nikon Imaging Cloud (imagingcloud.nikon.com) will be enhanced with 5GB of image storage and image sharing capabilities (a year later the Nikon Authenticity Service is still disabled):

Notice Regarding the Termination of the NIKON IMAGE SPACE Service Due to the Expansion of Nikon Imaging Cloud Functionality

Thank you for using NIKON IMAGE SPACE. Due to changes in the market environment, the NIKON IMAGE SPACE service will be terminated on October 15, 2026. We encourage you to download your saved images at your earliest convenience.

Upcoming schedule:

• October 15, 2026, 9:00 AM (Japan Standard Time) The NIKON IMAGE SPACE service will be terminated. After the service is terminated, all features except bulk download will be unavailable.
• October 15, 2026, 9:00 AM – April 15, 2027, 1:00 PM (Japan Standard Time) Bulk download will be available during this period.* Note that downloads specifying individual albums or images will not be available.
• April 15, 2027, 1:00 PM (Japan Standard Time) All data will be permanently deleted.

Starting October 14, 2026 (Wednesday), Nikon Imaging Cloud will be enhanced with 5GB of image storage and image sharing capabilities. Consequently, the NIKON IMAGE SPACE service will be discontinued on October 15, 2026 (Thursday). Following the service termination, customers will be able to download all images stored on NIKON IMAGE SPACE in one go. We apologize for the inconvenience, but please download any images stored on NIKON IMAGE SPACE yourself within the period specified below.

*Images stored on NIKON IMAGE SPACE will not be automatically migrated to Nikon Imaging Cloud. Please download any necessary images yourself.

NIKON IMAGE SPACE Bulk Download Period for Saved Images

October 15, 2026 (Thursday) 9:00 to April 15, 2027 (Thursday) 13:00

The post Nikon Image Space is no more, Nikon Imaging Cloud will be enhanced with 5GB of image storage appeared first on Nikon Rumors.

 
 
Nikon has officially announced only two new lenses this year, but they somehow managed to receive four EISA photography awards for 2026-2027 – not sure how all this works, but here is the full list of “winners”:

Via PhotoRumors

The post Nikon received four EISA photography awards appeared first on Nikon Rumors.

→ New Nikon promotion at Foto Erhardt: free memory card or B+W filter. When you buy a Nikon camera for €990 or more, you’ll receive a free Sony 128GB memory card. When you buy a Nikon Z lens for €501 or more, you’ll receive a free B+W filter.

→ In addition to the free worldwide shipping, you can get an additional 5% discount on the new TTartisan AF 85mm f/1.8 Neo lens for Nikon Z-mount with the code RUMORS by purchasing from the online store.

→ After the end of the Kickstarter campaign, the new Peak Design Field Bracket for Nikon cameras is now available for sale at B&H Photo.

→ New: B&H cable finder tool (cable finder specific for photography).

 
→ 2025 digital camera shipment market share based on the latest Nikkei Industry Report: Fujifilm pushes Nikon to 4th place. No surprise: Nikon has released only two lenses this year, and most new products are delayed.

→ You can order the new Brightin Star 28mm f/2.8 full-frame pancake liquid silver lens with a Z-mount lens adapter (additional information).

→ Is the digital camera industry really recovering?

→ Report from Japan: the top 10 used cameras with the biggest price increases (Nikon D5600 at #1, Nikon Z9 at #10).

→ Meike lens roadmap: new autofocus zooms and fast f/1.2 primes.

→ Nikon Japan started selling a new wooden lens display stand for Z-mount lenses.

→ Nikon seeks stronger skills for Nigeria’s digital economy (The Guardian).

→ Isotta released a new underwater housing for the Nikon ZR camera.

→ The 2.7MP Nikon D1H DSLR camera is 25 years old (2001–2026). You can get one on eBay dirt cheap.

→ Nikon NIKKOR Z 70-200mm f2.8 S II lens first impressions with Sean LeBlanc.

→ Z Cinema feature overview: Nikon ME-D10 shotgun microphone for ZR cameras audio test & comparison.

The post Weekly Nikon news flash #900 appeared first on Nikon Rumors.

A recent Japanese article (Bunshun Online / Bungeishunju magazine’s “Marunouchi Confidential” column from mid-August 2026) mentioned again the speculation about a potential Luxottica acquisition of Nikon. The article notes Nikon’s large losses for the fiscal year ending March 2026. Against that backdrop of restructuring and a new president, the article states that EssilorLuxottica (known for Ray-Ban) has rapidly increased its stake toward 20%, and that “some believe that Luxottica’s large holding of Nikon shares is a stepping stone to an acquisition”. You can read the article on Yahoo Japan (behind a paywall). Here is the relevant quote:

Essilor Luxottica, a major French eyewear company with which Nikon has a joint venture, has been rapidly increasing its stake in Nikon, and its ownership ratio is approaching 20%. Essilor is an international brand known for “Ray-Ban” and some believe that its large holding of Nikon shares is a stepping stone to an acquisition.

EssilorLuxottica is Nikon’s largest shareholder. It began accumulating shares in 2024 (disclosing 5.1% in October 2024 as a “long-term financial investment”). By October 2025, it became the top shareholder at roughly 10.75-10.8% and received Japanese government clearance under the Foreign Exchange and Foreign Trade Act (FEFTA) to raise its holding as high as 20%:

Essilor Luxottica has raised its stake in Nikon to 18.59% from 17.53%

Speculations about Nikon being acquired by EssilorLuxottica are nothing new – see this post on my take:

Another soap opera: speculation (not rumors) about Nikon being acquired by EssilorLuxottica

Here is a quick recap on why I think an acquisition is highly unlikely:

• National Security Constraints: Under Japan’s Foreign Exchange and Foreign Trade Act, Nikon’s technology, particularly its semiconductor lithography equipment used in chipmaking, is classified as “core” to national security. Japanese regulators maintain rigorous control over foreign ownership in these critical sectors, making a full foreign buyout practically impossible.
• Passive Intent: EssilorLuxottica has explicitly classified this as a long-term passive holding. They have stated there is no activist intent or plan to influence Nikon’s internal management, corporate structure, or overall strategy.
• Cultural Resistance: Japanese corporate culture and regulatory frameworks strongly favor maintaining independence and heavily resist foreign takeovers, especially for legacy precision-optics companies.

The post Not again: “some believe that Luxottica’s large holding of Nikon shares is a stepping stone to an acquisition” (source: Yahoo Japan) appeared first on Nikon Rumors.

This article “Field Tips: Planning a Successful Tiger Safari” is by Des Ong (Website | Facebook | Instagram, see also his previous guest posts):

Field Tips: Planning a Successful Tiger Safari

Tigers are on many photographers’ bucket lists. With more than 75% of the world’s wild tiger population, India is the premier destination for seeing these magnificent big cats. Having visited a number of reserves over the past few years, I thought I’d share some of the most common questions I’m asked, along with a few practical insights into what is involved in a tiger safari and what you should consider before booking a trip.

When to visit

Most tiger reserves are open from around October through to the start of the monsoon season, with many closing during the monsoon months from July onwards.

Winter brings cooler temperatures, which can encourage activity throughout the day, while the thinner vegetation can make tigers somewhat easier to spot.

As temperatures rise towards the hotter months, tigers often spend longer periods around waterholes. These can sometimes provide excellent viewing opportunities.

Chances of success

Seeing a tiger, or any wildlife for that matter, is never guaranteed. However, having an experienced driver and guide can make a significant difference. In my view, this is one of the most important aspects of a wildlife safari and something that can easily be overlooked when planning a trip.

Skilled guides understand animal behaviour, know the reserve intimately, and benefit from an invaluable network that keeps them informed of recent sightings. Just as importantly, whenever possible, try to choose drivers who have extensive experience working with photographers. They understand how to position the vehicle for the best angle, anticipate the animal’s movements, and maximise your chances of capturing clean, unobstructed images. This becomes especially important during popular sightings, where multiple vehicles may be competing for the same view.

Encounters

All safari vehicles must remain on designated tracks and, in many parks, within their allocated zones. As a result, much of your time is spent searching and waiting. Well-connected guides often receive information about the latest sightings and are highly skilled at interpreting fresh pugmarks left on the tracks. Depending on the reserve and the abundance of prey species, alarm calls from deer and monkeys can also play an important role in locating a tiger.

Because vehicles generally cannot leave the tracks, ultimately it is the tiger that determines whether an encounter takes place. As sightings can often be fleeting, having your camera ready, with appropriate settings already dialled in, can make a real difference. While the average sighting may only last a few minutes, there are occasional exceptions. The longest I have spent with tigers was close to an hour, but opportunities like that are very much the exception rather than the rule. It is better to approach every safari with realistic expectations and appreciate whatever the reserve happens to offer on the day.

Vehicles

Depending on the reserve and its regulations, safari vehicles range from the compact two-row Suzuki Gypsy to the larger three-row Mahindra. Both are considerably smaller than the Toyota Land Cruisers commonly used on African safaris.

Most vehicles are open-topped, although some are fitted with canopies. The choice often depends on park regulations and/or the lodge. During the hotter months, a canopy can be particularly welcome, especially when the sun becomes intense on long waits.

Daily safaris

A typical day consists of two game drives: one beginning early in the morning and another in the late afternoon. Some parks also offer full-day safaris for an additional fee.

It is worth checking the park’s opening schedule before booking, as some reserves close on certain days of the week, in addition to seasonal closures and selected public holidays. In some cases, buffer zone safaris are available when the main park is closed, although the quality of sightings can vary considerably between reserves.

Equipment

A good telephoto zoom provides plenty of flexibility, particularly when the distance to a subject can change quickly. Personally, I tend to use a fast f/2.8 prime lens, sometimes paired with one or two teleconverters.

The first hour after sunrise and the last hour before sunset can be surprisingly dark beneath the forest canopy. A fast lens can therefore be particularly useful, allowing faster shutter speeds and potentially helping autofocus perform more reliably in low light.

Whatever equipment you choose, familiarity with it is arguably more important than having the largest or most expensive setup. A safari is rarely the ideal time to experiment with unfamiliar equipment.

Other factors to consider

The location of your lodge/s is another important consideration. Staying reasonably close to the park entrances can reduce the amount of time spent travelling to and from the reserve, leaving more time for rest and relaxation between drives.

Comfort and the quality of the overall operation also matter. Accommodation, food hygiene, meal variety and the experience of the local team can all contribute to how enjoyable a safari becomes. These factors inevitably influence the cost, but they can also have a meaningful impact on both the practical side of photography and the overall experience.

Perhaps most importantly, it is worth remembering that a tiger safari is a wonderful wildlife experience. Some days may produce wonderful sightings; others may involve hours of searching.

I hope these observations provide a useful picture of what to expect from a tiger safari. Meeting face-to-face with a wild tiger is a memorable experience, and a little preparation can help you make the most of whatever encounters the forest provides.

Happy shooting.

If you have an interesting idea for a guest post, please contact me here.

Previous guest posts by Des Ong:

Guest post: Nikon Nikkor Z 120-300 f/2.8 TC VR S – my dream lens?

Masai Mara with the Nikon Z System by Des Ong

A month with the Nikon NIKKOR Z 400mm f/2.8 TC VR S lens

My experience of using “consumer” optics, professionally

Photographing Tigers with the Nikon Z9

From snowy mountains to tropical rainforest (part 1)

From Snowy Mountains to Tropical Rainforest (part 2)

Using the Nikon D810 for wildlife photography

Wildlife photography: from Coolpix 4200 to Nikon D3s and every camera in between

Shooting wildlife with an ancient DSLR camera – by Des Ong

The post Field tips: planning a successful tiger safari appeared first on Nikon Rumors.

The previously reported TTartisan AF 85mm f/1.8 Neo lens for Nikon Z-mount is now officially announced. The Neo series focuses on lightweight, affordable autofocus lenses (weight: 332–338g, price: $99 with free shipping when purchased from the official store):

• US Orders: B&H Photo
• Worldwide: TTartisan Store (use code RUMORS for 5% off)
• Full-frame 85mm Focal Length
• 332g-338g Lightweight Design
• F1.8 Large Aperture
• 0.8m Minimum Focusing Distance
• Comes with a Lens Hood
• US addresses ship from US warehouse

Here are the details on the new lens:

Sample photos:

The latest new and upcoming lenses from Meike, Viltrox, 7Artisans, TTartisan, Laowa, Sirui, and SG-image

The post TTartisan AF 85mm f/1.8 Neo lens for Nikon Z-mount is now available for $99 and with free worldwide shipping appeared first on Nikon Rumors.

Nikon USA started a new Z6 III trade-in program that gives you a $200 bonus plus up to $800 in instant savings on a new Z6 III camera. You can trade in any working digital interchangeable-lens camera. This offer is valid through August 30, 2026.

Here is the full list of Nikon USA rebates for August:

• B&H Photo
• Paul’s Photo
• Service Photo

Rebates by categories (see full list):

• Mirrorless Cameras
• Mirrorless Lenses
• Nikon ZR
• DSLR Cameras
• DSLR Lenses
• Accessories
• Nikon Binoculars
• Nikon Z5II trade-in
• Nikon ZR trade-in
• Nikon Z6 III trade-in

I have not seen one of those in a while – Nikon is currently running a sale on eBay where you can save up to 30% on select gear, including cameras, lenses, binoculars, and rangefinders. The items are sold by BuyDig (see all Nikon listings at BuyDig), an authorized Nikon dealer (USA warranty). Some listings are marked as “Certified Refurbished”:

• Nikon cameras
• Nikon lenses
• Nikon batteries

Refurbished Nikon gear is also sold at B&H Photo.

The post Nikon USA rebates for August 2026: new Z6 III trade-in program appeared first on Nikon Rumors.

The post Should you buy a used Nikon AF-S Nikkor 500mm f/4G ED VR ($1,750) or go modern with the Nikon Nikkor Z 180-600mm f/5.6-6.3 VR lens ($2,096): a real‑world comparison is by Gergely, a wildlife, nature, and sports photographer. You can read more of his gear breakdowns and field tests on his website, view his portfolio on Flickr, or watch his documentaries on YouTube.

Super‑telephoto lenses are often the biggest investment a photographer can make. They sit at the top of every manufacturer’s price list, with fast prime lenses easily climbing past 10,000 USD. That eye‑watering cost pushes many photographers toward more budget‑friendly zooms or, as in my case, into the used market. The price gap between the latest fast primes and their second‑hand predecessors is enormous – but it raises an important question: why consider the big primes at all?

These lenses are legendary for a reason. Their mix of microcontrast, subject isolation, and background compression gives images a distinctive, almost sculpted look. Photographers often talk about a certain “magic” in their rendering – something hard to define yet immediately visible. On top of that, fast primes offer one or two extra stops of light that affordable zooms simply can’t match. It may not sound like much on paper, but in deep forests or during the low‑light hours of dawn and dusk, that single stop can be the difference between ISO 6400 – perfectly usable with modern noise‑reduction tools – and ISO 12800. If you’ve been debating whether to pick up an older exotic prime or go for a modern zoom, this comparison will help you weigh the pros and cons.

Why Compare Used Super‑Telephoto Primes to Modern Zooms

Used G‑type super‑telephoto lenses for the F‑mount – like the 500mm f/4G or 600mm f/4G – now sell for prices surprisingly close to a brand‑new Z‑mount 180–600mm or the 400mm f/4.5. Meanwhile, the newer E‑type primes sit in the same price bracket as Nikon’s PF super‑telephoto lineup (600mm and 800mm). Naturally, this leads to the big question: which option is actually better?

To answer that, we need to break things down by use case, lens characteristics, and – for many of us – how well each option performs for hybrid shooting.

The Lenses I Tested: Nikon AF-S 500mm f/4G ED VR, Nikon Z 100‑400mm f/4.5-5.6 VR S, Nikon Z 180‑600mm f/5.6-6.3 VR

I own the Nikon AF‑S 500mm f/4G ED VR, the Nikon Z 100–400mm f/4.5–5.6 VR S, and the Nikon Z 180–600mm f/5.6–6.3 VR, and I’ve used all of them extensively for both photography and videography. The first and most obvious difference between them is size and weight. Modern Z‑mount lenses use improved materials and optical designs to reduce weight, improve balance, and make them far more ergonomic.

Weight, Handling, and Real‑World Usability

My very first experience with the 500mm was almost dropping the “Beast” while taking it off my video head. It’s so front‑heavy that simply cupping the bottom of the lens with one hand made it tip forward, nearly diving front‑element‑first into the ground. This front‑heavy design also makes handholding the 3,880 g / 8.55 lb Beast a real challenge – and the FTZ adapter doesn’t help, pushing the balance even farther away from the camera body while adding another 110 g / 0.24 lb.

The Z 180–600mm, by comparison, is a lightweight at 2.14 kg / 4.7 lb. More importantly, its ergonomics – button layout, balance, and handling – make it easy to handhold for long periods. Handholding the 500mm, on the other hand, quickly becomes a full‑body workout with plenty of huffing and puffing, followed by letting the lens hang low for “regeneration.” And you can’t take photos or shoot video with the lens dangling upside down from the tripod foot.

In daily use, the 500mm lives on a tripod with a video head. But since the Z9 + FTZ + 500mm combo weighs a whopping 6 kg / 13.22 lb, the tripod and head also need to be chunky enough to support that load. The full setup – camera, lens, tripod, video head – reaches 12 kg / 26.45 lb, which is a lot to carry around, especially on uneven terrain.

Stabilization and Video Performance: Old lens based VR vs Modern IBIS + lens VR

A video head is mandatory with the Beast because its 2009 VR system simply cannot stabilize video. Modern Z‑mount lenses, however, work in tandem with in‑body stabilization, giving up to 6 stops of synchronized VR. In real‑world use, this translates to beautifully stable video that looks like it was shot on a tripod, and a smooth, steady viewfinder experience in photo mode. Older F‑mount lenses can’t synchronize VR with the camera and rely solely on their own lens‑based stabilization.

Another quirk of the 500mm is that even though it has a “Tripod” VR mode, it still tries to correct non‑existent movement, causing micro‑drifting in video. You can literally see the VR moving the image even when the camera is perfectly still. Turning VR off removes the drifting but reveals micro‑jitters caused by pressing buttons or turning dials. The viewfinder is also noticeably more jittery when shooting handheld. The Z‑mount lenses, by contrast, are rock‑steady both handheld and on a tripod, with no micro‑jitters when using camera controls.

Autofocus Noise and Speed in the Field

Autofocus is another area where age shows. The 500mm’s AF motor was fast for its era, but it is slower than any of the modern Z‑mount lenses I tested, and loud enough that wildlife might hear it at close distances. The autofocus steps are not as smooth as current technology; you can almost see the mechanical micro-adjustments the SWM motor makes in the EVF. Initial focus acquisition also feels faster on the Z‑mount lenses, especially when shifting from distant to close subjects. The Z‑mount lenses are truly silent while being quicker and more reliable. On top of this, the new Z lenses simply perform better for video, thanks to the stepless, smooth operation of their Stepping Motor (STM) and Silky Swift Voice Coil Motor (SSVCM) AF systems.

Image Quality & Optical Magic: Exotic Prime Rendering vs. Modern Zoom Practicality

Where the old lens absolutely outperforms the modern zooms is image quality. It’s on a different level in sharpness, microcontrast, bokeh, and subject isolation. Color rendering is also more pleasing – it really does produce that “magic” people talk about. For photography alone, the prime would be unbeatable… if flexibility weren’t a factor. This is where modern zooms shine, giving you a plethora of framing options when you can’t move around wildlife.

The zooms are also very consistent throughout their range, though the downside is variable aperture and exposure changes. Price and value are harder to evaluate because usability differs so much. This is why I own both: the prime for low light and subject isolation, and the zooms for handling, flexibility, and video work. My advice is to own both – but if budget forces you to choose, I’d go with the modern zooms.

The Hidden Risk of Buying Used Exotic Lenses: Serviceability and Spare Parts

There’s another important factor: serviceability. At this point, all G‑type and some E‑type F‑mount lenses are out of service. Nikon stopped producing them years ago and no longer provides parts. As I write this, my 500mm is at a Nikon repair center awaiting a repair estimate. The AF motor is acting up after 13 years of use – and who knows how many previous owners or what kind of treatment it endured.

Buying second‑hand always carries the risk of hidden damage or simple wear and tear. But the bigger issue is that Nikon no longer supplies spare parts. I first had to confirm whether the service center could even attempt the repair. Mine also has issues with the rubber coverings simply due to aging materials.

Aging rubber coverings on the Nikkor 500mm f/4G

I’ll keep you updated on how the repairs go and how much it costs to get the Beast back into working order. As for the new zooms? Nikon offers a 5‑year warranty where I live, and they’ll be serviceable for a long time after that.

UPDATE: Since writing this, my 500mm returned from Nikon Headquarters in Düsseldorf completely untouched. Despite initially confirming they could look at it, Nikon officially stated they no longer support or supply parts for this G-type model. The autofocus still functions for now, but this is a big reality check for anyone buying vintage exotics: once the manufacturer discontinues an item and the official support period is over, you are on your own.

Final Verdict: Which Lens Should You Choose?

After hauling the Beast around forests, fields, and muddy riverbanks, I’ve learned one thing: image quality is great, but it doesn’t help if you’re too tired to shoot after dragging around all the pieces needed to make it work. If you’re a stills shooter only, you might get around this by simplifying your setup to a lightweight carbon monopod instead of a heavy tripod and video head. The 500mm still makes images that feel like magic, but the Z‑mount zooms make images while also letting me walk the distance.

If you want the fairy dust, get the prime. If you want your back to survive, get the zoom. Or do what I did: buy both and use each for its strengths.

In the end, the best lens is the one that helps you make the images you actually want to make – and the one you’re still willing to carry.

The original review was originally published here.

Previous coverage of the Nikon Nikkor Z 180-600mm f/5.6-6.3 VR lens can be found here.

If you have an interesting idea for a guest post, contact me here.

You can find more guest posts here.

The post Should you buy a used Nikon AF-S Nikkor 500mm f/4G ED VR or go modern with the Nikon Nikkor Z 180-600mm f/5.6-6.3 VR lens: a real‑world comparison appeared first on Nikon Rumors.

Nikon released a new firmware update version 1.9 for the Coolpix P1000 super-zoom camera with a single fix:

• Fixed an issue where, in rare circumstances, the camera would stop responding when adjusting zoom during burst photography.

Nikon also released a new firmware update version 1.20 for the Z5II mirrorless full-frame camera with multiple fixes:

Still Photography

• Changed the available shutter speed range for [ISO sensitivity settings] > [Minimum shutter speed] in the [PHOTO SHOOTING MENU].

Still Photography/Video Recording

• Changed the following item names in Picture Controls:
  • [Cloud Picture Control] changed to [Imaging Recipe].
  • [Add Cloud Picture Control files] under [Set Picture Control] in the photo shooting and video recording menus changed to [Download Imaging Recipes].

Controls

• Added [On saving user settings] to [Save focus position] in the [SETUP MENU].

Displays

• Added [Automatic monitor display switch] to the [SETUP MENU].

Network

• Added [Wi-Fi Always ON] to [Connect to smart device] > [Wi-Fi connection (AP mode)] in the [NETWORK MENU].
• Added [Inactive connection timeout] to [Connect to FTP server] > [Options] in the [NETWORK MENU].

Other Changes

• Aperture is no longer restricted when recording videos in mode S (Shutter-priority auto).

The post Nikon released new firmware updates for the Coolpix P1000 & Z5II cameras appeared first on Nikon Rumors.

This guest post on using the 7Artisans AF 135mm f/1.8 lens for Nikon Z-mount (order at B&H Photo in the US and the 7Artisans store for international shipping) for wildlife photography in the Manu National Park, Peru, is by the Spanish professional wildlife photographer Francis De Andrés (Website | Instagram):

Wildlife photography with the 7Artisans AF 135mm f/1.8: a different perspective by Francis De Andrés (Professional Wildlife Photographer | Nikon Z Expert from Spain)

If you ask any wildlife photographer what lens they would take on an expedition to the Peruvian Amazon, the answer will almost always be the same: a 400mm, a 500mm or perhaps a 600mm super-telephoto. After all, wildlife photography has traditionally relied on long focal lengths that allow us to keep a respectful distance while still filling the frame with our subjects.

For my recent two-week expedition to Manu National Park, Peru, I packed those lenses as usual—but I also decided to bring something very different: a 135mm f/1.8 prime lens.

The goal was never to replace my trusted super-telephoto lenses. Instead, I wanted to challenge myself creatively and explore a different way of photographing wildlife. A shorter focal length forces you to think differently about composition, perspective and storytelling. Rather than isolating an animal from its surroundings, it allows you to create more intimate environmental portraits while taking full advantage of the beautiful background separation that a fast f/1.8 aperture can provide.

This article is the result of that experiment. Over two weeks in one of the most biodiverse places on Earth, I discovered that a 135mm lens can become far more than a portrait lens—it can also be a surprisingly capable and inspiring tool for creative wildlife photography.

Before we begin, I would like to clarify that this copy of the 7Artisans AF 135mm f/1.8 for Nikon Z mount was provided by the manufacturer for evaluation purposes. However, the loan of this lens has in no way influenced my opinions or the conclusions of this review.

Those who follow my work know that my approach to gear evaluation is based exclusively on real-world field experience. All the assessments in this article reflect my personal use of the lens in actual shooting conditions.

Real-World Field Testing

For two weeks, I tested this lens in one of the most demanding environments imaginable: Manu National Park in Peru, one of the most biodiverse ecosystems on Earth.

Although a 135mm f/1.8 is not, on paper, the most common focal length for wildlife photography, precisely for that reason it was interesting to put it to the test under real field conditions. I used it to photograph squirrel monkeys, tropical birds, and various species of hummingbirds, including fast flight sequences where autofocus speed and accuracy are critical.

Unless otherwise noted, all photographs featured in this review were captured with a Nikon Z8 and the 7Artisans AF 135mm F1.8 during a two-week expedition to Manu National Park, Peru.

Build Quality and Construction

The first impression, straight out of the box, is unmistakably positive. This is a lens that immediately feels like a premium product.

The barrel is fully constructed from high-quality machined metal, with precise tolerances, excellent rigidity, and no noticeable play. Both the focus ring and the external controls operate smoothly and with excellent precision.

The mount features dust sealing and weather resistance, which is especially important for wildlife photographers working in humid or dusty environments. During my time in the Amazon rainforest, the lens was exposed to extreme humidity without any issues.

Another noteworthy detail is the stepless multi-function control ring, specifically optimized for the Nikon Z system. Its operation is smooth and allows different camera parameters to be assigned directly, integrating naturally into the Nikon ecosystem.

Optical Performance

The most surprising aspect of this lens is its performance at maximum aperture.

With very fast lenses, some loss of micro-contrast at f/1.8 is expected. However, the 7Artisans AF 135mm f/1.8 delivers strong detail and contrast even wide open, with a very convincing rendering for its class.

Sharpness has been consistently excellent throughout my wildlife photographs, allowing for strong subject separation without compromising focus-plane quality.

The bokeh is one of its strongest points. Transitions between in-focus and out-of-focus areas are smooth and natural, producing a very pleasing aesthetic, especially in complex jungle backgrounds.

The lens also features Nano Multi-Coating, which effectively reduces internal reflections, flare, and ghosting. Even in harsh backlight conditions within dense vegetation, it maintained good contrast and clean image rendering.

Autofocus: The Big Surprise

The autofocus system has been one of the biggest surprises of this lens.

Based on an STM (Silent Stepping Motor), it delivers silent, fast, and accurate operation.

During testing with wild squirrel monkeys and multiple hummingbird species in flight, AF performance proved highly reliable in both speed and subject tracking.

While it is not intended to replace dedicated wildlife telephoto lenses, its responsiveness comes surprisingly close to some optics I regularly carry in my wildlife kit.

Integration with the Nikon Z8 has been excellent, with stable subject tracking and consistent communication between camera and lens throughout the expedition.

Finding this level of autofocus performance in a 135mm f/1.8 lens was one of the biggest surprises of the entire field test.

Minimum Focus Distance

Another very strong point is the minimum focusing distance.

The 7Artisans AF 135mm f/1.8 focuses as close as approximately 0.68 meters, which is remarkably short for this focal length.

For comparison, the Sigma 135mm f/1.8 Art has a minimum focusing distance of 0.87 meters, while the Nikon Z 135mm f/1.8 S Plena focuses down to 0.82 meters.

This advantage significantly expands creative possibilities, allowing tighter framing and higher magnification without the need for extension tubes or additional accessories.

Areas for Improvement

The main consideration is weight.

At approximately 1,100 grams, this is not a lightweight lens. However, it is still reasonable for this category.

The Sigma 135mm f/1.8 Art weighs around 1,130 grams and requires the FTZ adapter when used on Nikon Z cameras, increasing its overall carrying weight.

The Nikon Z 135mm f/1.8 S Plena is lighter at approximately 995 grams, but belongs to a significantly higher price and market segment.

Overall, the weight of the 7Artisans is acceptable considering its build quality, optical performance, and price point.

Conclusions

After two weeks of intensive field use in the Peruvian Amazon, my overall impression of the 7Artisans AF 135mm F1.8 is clearly positive.

What impressed me most was the balance it achieves between solid construction, weather sealing, excellent optical performance at f/1.8, a remarkably short minimum focusing distance, and autofocus performance that exceeded my expectations for a lens in this category.

Its greatest strength, however, is its character. The combination of outstanding sharpness wide open, smooth focus transitions, and beautifully rendered bokeh gives the lens a distinctive visual signature that is both creative and highly engaging.

Although the 135mm focal length is traditionally associated with portrait photography, my experience in Manu National Park demonstrated that it can also be a compelling choice for wildlife photography. In situations where environmental context, artistic rendering, and subject isolation are more important than maximum reach, this lens offers a refreshing alternative to conventional super-telephoto approaches.

After working with it for two weeks in one of the world’s most demanding natural environments, I can confidently say that the 7Artisans AF 135mm F1.8 not only met my expectations—it exceeded them in several key areas, particularly in wide-open sharpness, bokeh quality, and autofocus performance.

For photographers willing to look beyond the traditional use of a 135mm lens, the 7Artisans AF 135mm F1.8 opens the door to a different way of seeing wildlife. I returned from the Peruvian Amazon convinced that this lens deserves to be considered not only as an excellent portrait lens, but also as a remarkably capable creative tool for wildlife and nature photography.

About the Author

Francis De Andrés is a professional wildlife photographer, Nikon Z Expert (Spain), international workshop leader, and photographic expedition guide specializing in wildlife photography. More of his work can be found at:

• https://www.instagram.com/francis_de_andres/
• https://www.fjamphoto.com/

Pictures used in this post:

• Photo 1 Peruvian Squirrel Monkey – f/2 – 1/2000 – Iso 1400
• Photo 2 Many-spotted Hummingbird – f/1.8 – 1/1250 – Iso 1400
• Photo 3 Pale-tailed Barbthroat – f/2 – 1/1600 – Iso 4000
• Photo 4 Violet-fronted Brillant – f/2 – 1/640 – Iso 400
• Photo 5 Great-billed Hermit – f/2.5 – 1/1000 – Iso 2200
• Photo 6 Rufous-booted Raquet-tail – f/1.8 – 1/250 – Iso 900
• Photo 7 Gray-breasted Sabrewing – f/2 – 1/1600 – Iso 1100
• Photo 8 Many-spotted Hummingbird – f/1.8 – 1/1250 – Iso 2500
• Photo 9 Chestnut-breasted Coronet – f/2 – 1/800 – Iso 1600
• Photo 10 Golden-tailed Saphire – f/1.8 – 1/1000 – Iso 320
• Photo 11 Many-spotted Hummingbird – f/2.2 -1/1600 – Iso 4500
• Photo 12 Violet-fronted Brillant – f/2 – 1/640 – Iso 640
• Photo 13 Gray-breasted Sabrewing -f/2 – 1/1600 – Iso 1250
• Photo 14 Andean Guan – f/2 – 1/640 – Iso 800
• Photo 15 Pale-tailed Barbthroat – f/2 – 1/1600 – Iso 2500
• Photo 16 Golden-tailed Saphire – f/2.2 – 1/1600 – Iso 560
• Photo 17 Golden-tailed Saphire – f/2 – 1/1600 – Iso 1400
• Photo 18 White-necked Jacobin – f/2.2 – 1/1600 – Iso 1800
• Photo 19 Chesnut-breasted Coronet – f/2 – 1/1600 – Iso 320
• Photo 20 Gray-breasted Sabrewing – f/2 – 1/1600 – Iso 1100
• Photo 21 Ameiva –  f/2 – 1/800 – Iso 90

The original review was originally published here.

If you have an interesting idea for a guest post, contact me here.

You can find more guest posts here.

Additional information on the 7Artisans AF 135mm f/1.8 lens for Nikon Z-mount can be found here (order at B&H Photo in the US and the 7Artisans store for international shipping):

7Artisans AF 135mm f/1.8 full‑frame lens for Nikon Z-mount released

The post Wildlife photography with the 7Artisans AF 135mm f/1.8 lens for Nikon Z-mount: a different perspective appeared first on Nikon Rumors.

→ The Peak Design modular field L-bracket system Kickstarter is ending in 4 days (additional information).

→ Save $350.89 on the Adobe Creative Cloud Pro (12-month subscription).

→ The latest new and upcoming lenses from Meike, Viltrox, 7Artisans, TTartisan, Laowa, Sirui, and SG-image.

→ Many memory cards are currently on sale at B&H Photo.

→ Nikon UK offers up to £200 trade-in bonus on selected Nikon products.

The post Weekly Nikon news flash #899 appeared first on Nikon Rumors.

Nikon has ended their relationship with Pro Distributors in the US.

PRO Distributors is an active U.S. wholesaler focused on supplying independent camera retailers with imaging brands. They focus on brick-and-mortar independent photo retailers like Paul’s Photo and Service Photo rather than big-box online stores like B&H Photo.

Update: Nikon has ended its relationship with Photographic Research Organization (PRO), a cooperative of independent camera retailers. Nikon had supported PRO member programs. PRO has never distributed Nikon products, and dealers who carry Nikon have always purchased directly from Nikon. Their ability to buy and sell Nikon is unaffected.

Yesterday, Nikon told Pro Distributors that they are ending the relationship effective immediately. The small retailers under the group will still carry Nikon, but will have to buy directly from Nikon or a distributor that does not pool resources.

The latest list of authorized Nikon USA dealers is available here.

The post Nikon has ended their relationship with Pro Distributors in the US *UPDATED* appeared first on Nikon Rumors.

The consensus from multiple sources is that almost everything coming from Nikon is delayed.

I do not have exact timeframes, but rumored cameras, lenses, and firmware updates will likely be delayed further.  The latest announcement time frames I published in my last post could be further delayed, with some products being pushed into 2027:

What to expect next from Nikon (updated July 2026)

Another indication of the delays is the latest financial results, where Nikon revised downward their numbers by 50,000 cameras and 50,000 lenses for the financial year:

Nikon Q1 financial results: revenue & profit down for Imaging Business, forecasts revised downward

I have been reporting that 2026 will be a very slow year for Nikon. This year (2026), Nikon has officially announced only two new lenses:

• Nikkor Z 70-200mm f/2.8 VR S II
• Nikkor Z 24-105mm f/4-7.1
• Nikkor Z 120-300mm f/2.8 TC VR S (development announcement)

I was told that 2027 will be much better. So far, 2026  is one of the slowest years in terms of new releases as long as I can remember. Here is an AI-generated list of Nikon cameras and lens announcements over the years (the list may not be 100% accurate, but you get the idea):

The post The consensus from multiple sources: almost everything coming from Nikon is delayed appeared first on Nikon Rumors.

I have been reporting that Nikon will release a new camera without an EVF. I received some new information indicating that this rumored Nikon camera may actually have an EVF, but no pentaprism/viewfinder hump/EVF housing on top of the camera body. Possibly something like the Fujifilm X-E5 or Sony a7C II cameras. This is all I have for now. Stay tuned for more updates.

What to expect next from Nikon (updated July 2026)

The post Update on the rumored Nikon camera without an EVF appeared first on Nikon Rumors.

→ The Field Made Summer sale is now live. You can get 25% off all custom indicator labels for cameras, lenses, batteries, and cases with coupon code SUMMER25OFF.

→ Sirui will announce new Sirui Saturn V2 full-frame anamorphic lenses for Nikon Z-mount in September – an update of the current Saturn lineup (additional information).

→ The major new Luminar Prime Fall Upgrade 2026 is now available for pre-order with a 50% off early-bird price (see what’s new).

→ The Godox C100 transparent viewfinder camera is now available for $45 at B&H Photo (additional information).

→ Westcott launched compact FJ100 speedlight and studio strobes (additional information).

→ The Nikon ZR camera was used as a sub-camera for the TV drama “Tsukiyo Koro”.

→ Nikon’s change of officer’s assignment.

→ Nikon 2026-2030 medium-term management plan summary.

The post Weekly Nikon news flash #898 appeared first on Nikon Rumors.

A quick update on the Nikon Z70 camera: a few hours after my post yesterday, Apple completely removed the Nikon Z70 entry from the authorized ProRes products list. Here are the before and after screenshots:

I think it is safe to conclude that this was not a typo. A new high-end Nikon Z APS-C camera has been rumored for a while – here is what we know so far:

• 45MP stacked sensor
• Very fast camera (mini-Z9/mini-ZR), similar to the D500 DSLR
• Expected announcement/release in the fall (we may get teasers or a development first)

Coming soon: new fast, top-of-the-line, high-end, professional Nikon APS-C (DX) camera

Typo or leak: Nikon Z70 camera added to the Apple ProRes and ProRes RAW authorized products

What to expect next from Nikon (updated July 2026)

The post Not a typo: Apple removed the Nikon Z70 listing from the authorized ProRes products appeared first on Nikon Rumors.

Fred Miranda published his review of the Voigtlander Nokton Classic 35mm f/1.4 lens for Nikon Z-mount. Here is the conclusion and pro/cons list (read the full detailed review here):

The Voigtlander 35mm f/1.4 Nokton Z-mount (tested here) occupies a unique place in Nikon’s ecosystem because it prioritizes rendering, character, and shooting experience over absolute optical correction. Cosina could have designed a sharper, more clinically perfect 35mm, but that was never the goal. Instead, they chose to preserve much of what made the original Leica 35mm f/1.4 Summilux pre-ASPH so beloved, while refining the formula with modern glass, coatings, electronic integration, and improved sensor stack compatibility. The result is a lens that feels refreshingly different in a market increasingly dominated by technically perfect optics.

Optically, the lens performs very much as its heritage would suggest. Wide open at f/1.4, it delivers a softer, lower contrast rendering with residual spherical aberration, gentle glow, and field curvature that contribute significantly to its character. This is not a lens designed to maximize MTF charts at maximum aperture. Instead, it produces images with atmosphere, mood, and a rendering style that many photographers find emotionally engaging. Stop down to f/2 or f/2.8 and the lens quickly becomes cleaner and more contrasty. By f/4, it reaches an excellent balance of sharpness and contrast, with a noticeable increase in high frequency detail across the frame. By f/5.6 and f/8, the corners fully come together, field curvature becomes largely masked by depth of field, and the lens delivers strong, consistent performance across the image field for landscape and general photography.

One of the most impressive aspects of this lens is how successfully Cosina adapted the classic 8 element, 6 group double Gauss design for Nikon Z. The familiar Nokton rendering remains intact, yet corner performance appears slightly improved compared to the VM version while maintaining the same overall drawing style. The lens preserves much of the character of the original Summilux pre-ASPH while benefiting from reduced glow, improved contrast, excellent chromatic aberration correction, and full electronic communication with the camera body.

Rendering remains the true highlight. Wide open, images carry a subtle softness and organic quality that many modern lenses intentionally eliminate. Highlights show a bit of outlining, transitions remain smooth, and the overall look feels painterly rather than clinical. Residual spherical aberration is intentionally left in the design, helping create a subtle glow and softer transition zones that gradually disappear as the lens is stopped down, giving photographers a choice between a moodier rendering at wider apertures and a more neutral, lower aberration output at smaller ones. In many ways, it offers two personalities within a single lens.

Despite its classic rendering, chromatic aberration control is surprisingly strong. Axial CA is very well controlled for a fast character lens, with only minor traces of green and magenta fringing visible in demanding situations, while lateral CA is essentially invisible even at the pixel level. The 10 straight aperture blades also produce some of the better sunstars available in a compact 35mm, with clean, well defined 10 point stars appearing as early as f/2.8 and becoming particularly attractive from f/4 onward.

The shooting experience is equally compelling. The beautifully built all metal construction, smooth focusing helicoid, firm aperture clicks, compact dimensions, and surprisingly light 248g weight (measured) make it a pleasure to use. On the Nikon Zf, the addition of focus confirmation transforms manual focusing into an intuitive experience that feels surprisingly close to shooting a rangefinder while retaining all the advantages of a modern mirrorless system. Combined with full EXIF support and IBIS compatibility, it becomes one of the most enjoyable manual focus lenses currently available for Nikon Z users.

The biggest compromise remains wide open performance. Photographers seeking corner to corner sharpness at f/1.4 will find far better options elsewhere. Field curvature, residual spherical aberration, focus shift, coma, vignetting, and mild barrel distortion are all present to varying degrees. Distortion itself is fairly minor and easy to correct, but architectural photographers will still want to apply a small correction for critical work. Close focus performance at 0.27m is useful and slightly improved over the E-mount version, though the absence of a floating element means resolution and contrast only really come together once the lens is stopped down. Flare resistance is generally good, outperforming most vintage designs and showing less flare than the original Summilux pre-ASPH, though the characteristic rainbow ring flare and some veiling flare remain part of the lens’s signature rendering when pointed directly into strong light.

That said, most of these compromises exist because Cosina intentionally chose character over correction. Remove them entirely and the lens would likely lose much of what makes it special. This is not a lens for photographers who want every image to look technically optimized. It is a lens for photographers who care about rendering, atmosphere, and the subtle qualities that give images personality.

In the end, I think Cosina accomplished exactly what they set out to do. The Voigtlander 35mm f/1.4 Nokton Z-mount is not trying to compete with Nikon’s most highly corrected native lenses. Instead, it offers a beautifully balanced blend of classic optical character and modern functionality. It captures much of the spirit of the legendary Summilux pre-ASPH while adding the convenience of native Z-mount integration, electronic communication, and improved optical refinement. In a world increasingly obsessed with perfection, this lens succeeds precisely because it embraces a few imperfections. For photographers who appreciate character lenses, that may be its greatest strength.

Pros

• Beautiful classic rendering with strong Leica Summilux pre-ASPH DNA
• Compact and lightweight at only 248 grams
• Fast f/1.4 aperture in a very small package
• Excellent build quality with all metal construction
• Smooth, beautifully damped focusing helicoid
• Firm and precise aperture click stops
• Native Nikon Z-mount with full electronic contacts
• Full EXIF support and IBIS compatibility
• On the Zf, focus confirmation greatly enhances the manual focus experience
• Excellent axial CA control for a fast character lens
• Outstanding lateral CA correction
• Improved contrast and reduced glow compared to the original Leica design
• Strong performance by f/2.8 and excellent performance by f/4
• Very good landscape performance at f/5.6 and f/8
• Excellent sunstar rendering with well-defined 10-point stars
• Good flare control while maintaining classic character
• Slightly improved corner performance compared to the VM version
• Closer 0.27m minimum focus distance than the E-mount version
• Included hood and practical 58mm filter size
• Perfectly centered review sample

Cons

• Lower contrast and reduced corner sharpness at f/1.4
• Residual spherical aberration and strong coma wide open
• Noticeable field curvature, particularly at larger apertures
• Minor focus shift requires attention when stopping down
• Mild barrel distortion may require correction for architectural work
• Strong vignetting at wider apertures
• Flare resistance is good rather than class-leading
• Characteristic ring flare can appear in backlit scenes, though this is part of the lens’s signature look
• No floating element design, so close focus resolution and contrast only fully come together once stopped down
• Not ideal for photographers seeking maximum wide open sharpness
  Rendering style may be too characterful for those preferring highly corrected modern optics

Previous coverage of the Voigtlander Nokton Classic 35mm f/1.4 lens for Nikon Z-mount can be found here (pre-order at B&H Photo, in stock at Foto Erhardt):

The new Voigtlander Nokton Classic 35mm f/1.4 lens Nikon Z mount is now available for pre-order

Additional information on the new Voigtlander Nokton Classic 35mm f/1.4 lens for Nikon Z mount

The post Voigtlander Nokton Classic 35mm f/1.4 lens for Nikon Z-mount review by Fred Miranda appeared first on Nikon Rumors.

The Intellectual Property High Court of Japan has upheld the Japan Patent Office’s decision to invalidate one of RED’s important patents covering compressed RAW video recording in high-resolution cameras following a challenge by Panasonic.

Here are the details:

The patent (originally filed in the US in 2008) describes a video camera that compresses RAW sensor data in a visually lossless manner. The court found that many of the claims would have been obvious to a person skilled in the art, given prior developments at the time.

The court dismissed the appeal, confirming that the patent is invalid. The challenge originated from Panasonic. After Nikon acquired RED in 2024, Nikon stepped into the proceedings as the successor and sought to defend the patent. The IP High Court rejected that effort.

For years, RED aggressively asserted its compressed-RAW patents (centered on technology later known as REDCODE). This included cease-and-desist actions and licensing demands that shaped the industry’s approach to internal RAW video. Competitors faced hurdles or chose workarounds (partial demosaicing, external recorders, or alternative codecs).

Many camera makers (Canon, Panasonic, Sony, Blackmagic Design, and others) already offer internal RAW video options. The new ruling removes one of the longer-standing patent barriers in Japan and adds an official Japanese court finding of invalidity to the public record.

Prior history:

• In February 2013, RED filed a patent infringement lawsuit against Sony, claiming that Sony’s F65, F55, and F5 digital cinema cameras violated RED’s video compression and RAW video patents.
• In 2019, Apple’s legal challenge on RED’s compressed raw video patents was dismissed, leaving RED’s patents intact.
• Nikon was sued by RED in 2022 over the Z9’s internal compressed RAW. Nikon contested the patents’ validity (citing prior art and obviousness) before the parties dismissed the case. Nikon later acquired RED in 2024, making RED a wholly owned subsidiary.

Sources:

• MLex report on the IP High Court decision (paywall)
• Original Japanese Patent No. 5231529 (JP5231529B2)
• Related invalidation trial: No. 2022-800039
• Official IP High Court judgment – here is the English translation:

Japanese IP High Court Upholds Invalidation of RED’s Key Compressed RAW Video Patent by NikonRumors

The post Japanese IP High Court upholds invalidation of RED’s key compressed RAW video patent appeared first on Nikon Rumors.

A non-existent Nikon Z70 camera was just added to the Apple ProRes and ProRes RAW authorized products.

I believe this is a typo becuase I seriously doubt Nikon will share their upcoming product with Apple in advance. Nikon is known to take months to make their products (mainly software) compatible with Apple, and it just doesn’t make any sense that they will proactively ensure ProRes compatibility.

On the flip side, the Nikon Z7 and Z7II do not support internal ProRes or ProRes RAW recording, so there is no reason for Apple to add them ot the list. Maybe after the RED acquisition, Nikon has a direct communication path with Apple.

What do you think? Thanks to anyone who sent that in.

Nikon has been rumored to release a new top-of-the-line/high-end DX/APS-C Nikon Z mirrorless camera:

What to expect next from Nikon (updated July 2026)

The post Typo or leak: Nikon Z70 camera added to the Apple ProRes and ProRes RAW authorized products appeared first on Nikon Rumors.