Author: Chris Puan

In the world of vintage Nikon glass, there are legends, and then there are the “infamous” ones. If you’ve spent any time researching vintage zooms, you’ve likely heard of the Zoom-Nikkor 43-86mm f/3.5.

It was Nikon’s first mass-market zoom, and while it was a bestseller, it also earned a reputation for being one of the “worst” lenses Nikon ever made due to its heavy distortion and flare.

But what if I told you that Nikon quietly fixed everything that was wrong with the 43-86mm, wrapped it in a sleek, compact body, and sold it under a different name?

Enter the Nikon Series E 36-72mm f/3.5.

Released in 1981 alongside the Nikon EM, this lens was part of the “Series E” line, Nikon’s first attempt at a budget-friendly consumer range. For years, “Series E” was a dirty word among pros who preferred the all-metal construction of the AI-S Nikkors.

But in 2026, as we look for character, value, and portability, this little zoom is finally getting the respect it deserves.

I picked up a mint copy for just SG$15 from the junk bin in a Book Off (used items store) in Japan. After some time trying the lens, I’m believe this is one of the best budget lenses in the Nikon F-mount universe.

*all the shots taken here are on the Nikon Z7II at medium jpeg settings, no extra sharpening.

1. The Series E Philosophy: Cost-Cutting or Genius?

To understand the 36-72mm, you have to understand the Series E philosophy. In the late 70s, Nikon wanted to capture the amateur market. To keep prices low, they made three key changes:

1. Materials: They used high-quality plastics for some external parts (though the 36-72mm is surprisingly metal-heavy).

2. Branding: They dropped the “Nikkor” name, simply calling them “Nikon Lens Series E.”

3. Simplicity: They focused on simple, effective optical designs.

The 36-72mm f/3.5 was designed by Satoshi Mogami, a legendary theorist at Nikon who also worked on the AI Nikkor 24mm f/2. His goal was to create a “legitimate successor” to the 43-86mm that was sharper, wider, and more reliable.

Image Suggestion: A “hero” shot of the Nikon Series E 36-72mm f/3.5 mounted on a compact body like the Nikon EM or a Nikon FE2. The lens should look sleek and proportional to the small camera body.

2. Build Quality and Handling: The “Push-Pull” Experience

The first thing you’ll notice about the 36-72mm is its size. It’s tiny. It uses 52mm filters, which is the standard for almost all classic Nikon primes. This means you can share filters between this zoom and your 50mm f/1.8 or 28mm f/2.8.

The One-Touch Design

This is a “one-touch” or push-pull zoom. You slide the ring forward to zoom in to 72mm and pull it back for 36mm. The same ring also handles the focusing.

•The Good: It’s incredibly fast to use. You can zoom and focus simultaneously, which is great for street photography.

•The Bad: “Zoom Creep.” Because these lenses are 40+ years old, the internal friction felt often wears out. If you point the lens down, it might slide to 72mm on its own. Your mileage may vary depending on your own copy. My copy doesn’t have any zoom creep.

Another issue is that the zoom action actually pushes air. You can feel it when pushing and pulling with the lens unmounted. Not a big problem except when you are in dusty environments.

Construction

Despite being a “budget” lens, the 36-72mm feels remarkably solid. The mount is metal, and the barrel has a high-quality finish that doesn’t feel “cheap” like modern kit lenses. It has a tactile, mechanical soul that you just don’t get with modern plastic zooms.

3. Optical Performance: Sharpness and Character

The 36-72mm features an 8-element in 8-group design. Unlike its predecessor, it uses modern coatings (Nikon Integrated Coating or NIC) which significantly improve contrast and flare resistance.

Sharpness

At f/3.5, the lens is “vintage sharp.” It’s not going to out-resolve a modern Z-mount prime, but it has plenty of detail for 24MP sensors. The center is excellent, while the corners are a bit soft at 36mm.

By onwards f/5.6, this lens becomes a different beast. It’s much sharp across the frame. I will use it for landscape shots, no problem.

Constant Aperture

One of the biggest selling points is the constant f/3.5 aperture. Most modern “kit” zooms are variable (f/3.5-5.6), meaning they get darker as you zoom in. Having a constant f/3.5 at 72mm is a huge advantage for portraits, giving you decent subject separation and a consistent exposure.

Distortion and Flare

Nikon fixed the distortion issues of the previous 43-86mm. There is some barrel distortion at 36mm and on the 72mm side, you get some pin cushion distortion. Both are easily corrected in Lightroom.

Flare resistance is surprisingly good for a lens of this era. You’ll get some “ghosting” if you shoot directly into the sun, but it’s often a pleasing, cinematic flare rather than a messy one.

4. The “Series E” Secret: Why 36-72mm?

You might wonder why Nikon chose such an odd range. Why not 35-70mm?

The rumor in the collector community is that this lens is actually a 35-70mm, but Nikon rebadged it as 36-72mm to avoid competing with their much more expensive 35-70mm f/3.5 AI lens. By shifting the numbers slightly, they could market it as a “different” product for the consumer line.

Whatever the reason, the 2x zoom range is perfect for a “walk-around” lens. 36mm is wide enough for most street scenes, and 72mm is a decent portrait focal length.

5. Adapting to Mirrorless: A New Lease on Life

If you’re a mirrorless Z Mount shooter, this lens becomes much easier to use.

•Focus Peaking: Manual focusing a push-pull zoom is much easier with focus peaking.

•IBIS: With In-Body Image Stabilization, you can shoot this lens at 72mm at shutter speeds as low as 1/30s (tested, but some shakiness remains).

•Video: The constant f/3.5 aperture and somewhat smooth manual focus (mine was from a junk bin so not as smooth, but with servicing i’m sure it will get much better) make it a great “vintage” lens for video creators looking for a nostalgic look.

6. Nikon Series E 36-72mm vs. The Competition

How does it stack up against other vintage zooms?

While the Series E 75-150mm was the “superstar” of the Series E line, the 36-72mm is its perfect companion. Together, they cover almost everything you need for a travel kit. Nowadays, you can cover it with any cheap zoom. I personally have the Nikkor Q.C. 200mm f/4.

7. Conclusion: The Budget Photographer’s Best Friend

The Nikon Series E 36-72mm f/3.5 is the definition of a “bargain.” For less than the price of a CF Express memory card (more than a $100 last I checked in 2026), you get a constant-aperture zoom that is compact, sharp, and full of character.

It’s not a lens for everyone. If you need autofocus or clinical perfection, look elsewhere. But if you enjoy the tactile feel of manual focus, the “one-touch” zoom experience, and the unique look of vintage glass, this lens is a must-have.

It’s the lens that fixed the mistakes of the past and proved that “budget” doesn’t have to mean “bad.” If you see one for under SG$60, don’t think—just buy it. You won’t regret it.

PS.

I also talk about other classic lenses like the Nikon AF-S 300mm f/4D. For another old lens, check out the Nikkor 200mm Q.C. f/4 and the Sigma 50mm Macro 2.8.

If you’ve been browsing the used camera shops in Peninsula Plaza or scrolling through Carousell lately, you might have spotted a long, slender, all-metal lens with a distinctive silver ring. That, my friends, is the Nikkor-Q 200mm f/4 Auto.

Released in 1961 (and in active sales through 1975), this was Nikon’s first “portable” 200mm telephoto lens for the F-mount. Back then, it was a professional tool used by photojournalists and sports photographers.

Today, it’s often dismissed as a “dinosaur” because it lacks autofocus, image stabilization, and even AI-coupling (in its original form).

But here’s the kicker: you can often find these for under SG$80. I bought a beaten up copy of the lens in Japan for SG$15. After spending a few weeks adapting this 60-year-old relic to my modern mirrorless setup (the Nikon Z7II), I’ve discovered that this “dinosaur” still has plenty of bite.

Build Quality: They Truly Don’t Make Them Like This Anymore

The first thing you notice when you pick up the Nikkor-Q 200mm f/4 is the weight. At roughly 630g, it’s not a featherweight, but it’s surprisingly slim. The construction is entirely metal and glass, no plastic to be found here (they don’t make em like they used to). The lens itself is not that big, you can see the Nikon 50mm S beside it for scale.

The Built-in Hood

One of my favorite features is the built-in telescoping lens hood. It’s made of solid metal and slides out with a satisfying “clunk”. The image above shows the lens with the hood slid out.

In an era where we have to pay extra for plastic hoods or worry about losing them, this integrated design is nice and convenient.

The Focus Ring

The focus throw on this lens is long, nearly 270 degrees. This makes it incredibly precise for manual focusing, which is essential when you’re shooting at 200mm. The relatively thick focus ring area also helps, with the added textures as well. The dampening on my copy was still smooth enough though it could do with a little oiling via servicing.

Optical Performance: The “Q” Stands for Quality (and Four)

The “Q” in Nikkor-Q stands for Quattuor, Latin for four, referring to its 4-element in 4-group optical design. It’s a simple, elegant construction that yields surprisingly good results.

Sharpness

At f/4, the lens is respectably sharp in the center, though it has a bit of “vintage glow” (slight spherical aberration) that lowers the contrast. By f/5.6 and beyond, it sharpens up significantly. For landscape photographers on a budget, this is a fantastic performer.

Color and Contrast

Being a single-coated lens (unless you find the later “C” multi-coated version), the contrast is lower than modern lenses. However, this gives the images a beautiful, organic look that many photographers find more “soulful” than the clinical perfection of modern glass. The colors are slightly warm, which I personally love for golden hour shots.

Bokeh

With only 6 diaphragm blades, you might expect the bokeh to be busy. However, because it’s a 200mm lens, at f/4, the background compression is so strong that the out-of-focus areas usually melt away into a smooth, creamy wash. It’s a lovely lens for isolating subjects in a busy street or park.

The Compatibility Catch: Non-AI vs. AI-Converted

Before you rush out to buy one, there’s a major caveat for DSLR users. The Nikkor-Q is a Non-AI (Pre-AI) lens.

•On Modern DSLRs (D7000, D850, etc.): You cannot mount this lens directly without damaging the aperture indexing tab on your camera. You must either have it “AI-converted” (milled down) or use a lower-end body like the D3000/D5000 series (which lacks the tab).

•On Mirrorless (Nikon Z): This is where the lens truly shines. With the FTZ adapter (either version 1 or 2 is fine), you can mount this lens on any mirrorless body. Since mirrorless cameras use focus peaking and EVF magnification, manual focusing a 200mm lens becomes much easier.

I personally use the red peaking to check for focusing. Otherwise, I use the function button (custom setting) beside the grip to do a quick, magnified check.

Real-World Usage: The Manual 200mm Challenge

Shooting with a manual 200mm lens in 2025 is a lesson in patience. Even with in body stabilisation (IBIS), you need to keep your shutter speeds high, ideally 1/200s or faster, to avoid camera shake. On a DSLR or bodies without IBIS, you need a faster shutter speed and manual focusing becomes more difficult as well.

I took the Nikkor-Q to my nearby neighbourhood park for some nature photography. While I missed some fast-moving shots that a modern AF lens would have nailed, the shots I did get had a unique character. The way it renders the image and the soft transition to the background is something special.

Here are some images from my walkaround:

Nikkor-Q 200mm f/4 pricing in 2026

If you are based in the US, you can get some pretty good deals on the lens assuming you’re not caught in a bidding war.

For those based in Singapore like me, we can get the lens at between SG$80-$125 in 2026.

Nikkor-Q 200mm f/4 in 2025: Who is it for?

Is this 60-year-old lens still a good buy?

Yes, if:

•You are a Mirrorless User: It’s one of the cheapest ways to get a high-quality 200mm prime.

•You Love the “Vintage Look”: The lower contrast and warm colors are perfect for creative portraits and landscapes.

•You Appreciate Build Quality: It’s a tactile joy to use a lens that feels like a precision instrument.

No, if:

•You Need Speed: Manual focus at 200mm is not for sports or erratic wildlife.

•You Shoot on a High-End Nikon DSLR: Unless it’s already AI-converted, you risk damaging your camera.

•You Want “Clinical” Perfection: If you hate flare and want maximum contrast wide open, stick to modern zooms.

Conclusion

The Nikkor-Q 200mm f/4 is a reminder that great glass doesn’t have an expiration date. For the price of a few cups of coffee, you get a professional-grade telephoto lens that can still produce stunning, gallery-quality images today. It’s not the easiest lens to use, but the rewards are well worth the effort.

If you see one in a display case, don’t walk past it. Pick it up, feel the weight, and give it a try. You might just fall in love with the “Q.”

I also talk about another classic telephotos like the Nikon AF-S 300mm f/4D. For another old lens, check out the Sigma 50mm Macro 2.8 or the vintage zoom Nikon Series E 36-70mm f/3.5.

The Hidden Gem in the Used Market

Why spend SG$800+ on a modern mirrorless macro lens when you can get true 1:1 magnification for under SG$150? In the world of photography, we often get caught up in the “latest and greatest” hype, but the used market is full of “sleeper” lenses that can still trade blows with modern glass.

The Sigma 50mm f/2.8 EX DG Macro is exactly that, a hidden gem that many photographers overlook because it doesn’t have a fancy “Z” badge.

I’ll be honest: I found my copy via the used item marketplace in Singapore called Carousell. I had been looking for a cheap and cheerful Macro lens that I can use for random walkarounds. It used to be for my D750 but now I have started using it on my Nikon Z7II.

After years of random use, I recently dug it out again for my Z mount cameras. On the Z full frame cameras, this lens isn’t just “good for the price”, it is legitimately one of the sharpest 50mm lenses you can get for under $100.

Whether you’re a student on a budget or a pro looking for a dedicated product photography tool, this small Sigma lens deserves a spot in your bag.

Build Quality & Ergonomics: Old School Sigma “EX” Standard

The “EX” in Sigma-speak stands for “Excellence,” and back in the day, this was their professional line, the equivalent of Nikon’s “Gold Ring” or Canon’s “L” series. The build quality reflects that. It’s a dense, solid little lens that feels like it could withstand some knocks (though I don’t recommend testing that theory).

The “EX” Finish

Most copies of this lens feature Sigma’s classic matte crinkle finish. While it has a unique look (can be good or bad depending on preference) and provides a great grip, be aware that on some older units, this coating can become “sticky” over time due to humidity. I’ve heard of some users in the past finding ways to scrape it off!

The Extending Barrel

Unlike modern internal-focusing lenses, the Sigma 50mm uses a “telescoping” design. As you focus closer toward 1:1 magnification, the inner barrel extends significantly—almost doubling the length of the lens.

This is important to keep in mind for your working distance. At 1:1, the front of the lens is only about 2 inches away from your subject. If you’re shooting skittish insects, you’ll need to be very stealthy!

Focus Limiter Switch

On the side of the barrel, you’ll find a “Full/Limit” switch. This is a lifesaver. Because macro lenses have such a long focus throw, they can “hunt” if they miss focus.

Setting the switch to “Limit” prevents the lens from searching through the entire macro range when you’re just using it as a standard 50mm prime for street or portraits.

The “DG” Difference: Versions Explained

If you’re hunting for this lens on Carousell or eBay, you’ll see a few different versions. It’s important to know which one you’re getting.

•The Non-DG Version: The older “EX” version was designed primarily for film cameras.

•The DG Version: The “DG” (Digital Grade) version is the one you want. It features updated optical coatings on the rear elements to reduce “ghosting” and flare caused by light reflecting off digital sensors. In my experience, the DG version handles shooting against the sun much better.

The Compatibility Catch (Nikon Users)

For my fellow Nikon shooters, there is one major caveat: this lens does not have an internal autofocus motor. It relies on the “screwdriver” motor inside the camera body.

•Will Autofocus on: D70, D80, D90, D200, D300, D7000 series, D600, D700, D800, etc.

•Manual Focus Only on: D40, D60, D3000 series, D5000 series.

If you’re using a Nikon Z mirrorless camera with the FTZ adapter, it will also be manual focus only. However, with focus peaking, manual focusing this lens is actually quite manageable.

Image Suggestion: A close-up shot of the lens mount showing the small “screwdriver” AF pin. Also, highlight the “DG” logo on the side of the barrel so readers know exactly what to look for when buying used.

Optical Performance: Sharpness That Bites

This is where the Sigma 50mm f/2.8 Macro truly earns its legendary status. Macro lenses are designed for flat-field sharpness, and this lens is a prime example of that.

Center and Corner Sharpness

Wide open at f/2.8, the center sharpness is very good. As with many macro lenses, this Sigma 50mm is sharp enough that it can actually be “unforgiving” for portraits, revealing imperfections on a subject’s skin. In shots like this, corner sharpness is irrelevant since you’re focusing on the subject in or near the centre anyway.

By f/5.6, the lens delivers much better detail but not corner-to-corner sharpness, surprisingly. When zoomed in, I can still see some blurriness in the leaves. I was also pretty sure this is not caused by motion from the wind. Maybe the lack of corner to corner sharpness is because of the age of the lens as compared to a sensor.

Macro Capabilities

This is a “true” macro lens, meaning it reaches 1:1 magnification without the need for extension tubes or close-up filters. At 1:1, a tiny object like a grain of rice will fill the entire sensor. The level of detail it can resolve, the scales on a butterfly’s wing or the micro-printing on a dollar bill, is simply incredible.

Bokeh and Color

Despite its clinical sharpness, the bokeh (out-of-focus areas) is surprisingly pleasant. With its 7-blade diaphragm, the background blur is smooth and non-distracting, making it a very capable portrait lens on a DX (APS-C) body, where it acts like a 75mm equivalent. There is excellent contrast thanks to those DG coatings.

5. Real-World Usage: Not Just for Bugs

While the Sigma 50mm f/2.8 EX DG Macro is undeniably a macro specialist, its 50mm focal length (75mm equivalent on APS-C/DX cameras) makes it surprisingly versatile.

It’s not a one-trick pony; it can easily pull double duty as a standard prime lens for a variety of photographic genres.

The 50mm Focal Length: A Versatile Prime

On a full-frame camera, 50mm is often considered the “nifty fifty”—a classic focal length that closely mimics human vision. This makes the Sigma 50mm an excellent choice for street photography, environmental portraits, or even general walk-around shooting.

Its f/2.8 aperture, while not as fast as some f/1.8 or f/1.4 primes, still provides good low-light performance and pleasing subject separation. On an APS-C body, it becomes a short telephoto, ideal for headshots or isolating details in a scene.

Working Distance Challenges

One of the inherent challenges of macro photography, especially with a 50mm macro lens, is the working distance. As mentioned earlier, to achieve 1:1 magnification, the front of the lens needs to be mere inches from your subject.

This can create several practical difficulties:

•Lighting: It’s hard to get light onto your subject without the lens casting a shadow.

•Subject Interaction: Live subjects like insects can be easily startled.

•Depth of Field: At such close distances, the depth of field is razor-thin, requiring precise focusing and often focus stacking for fully sharp images.

However, these challenges also force you to be more creative and deliberate with your shots, which can be a rewarding learning experience.

Autofocus Speed: Managing Expectations

Let’s be clear: this is not a sports lens. The autofocus, driven by the camera’s internal motor, is not fast by modern standards. It can be noisy, and in low light or against low-contrast subjects, it may “hunt” before locking focus.

For macro work, most photographers will switch to manual focus anyway, using live view and focus peaking for critical sharpness. For general photography, it’s adequate for static or slow-moving subjects, but don’t expect it to track a bird in flight.

•Image Suggestion: A “lifestyle” or street photography shot taken in a local Singapore spot (like Haji Lane or a wet market) to show its versatility as a 50mm prime.

6. Sigma 50mm Macro vs. Nikon 50mm S f/1.8

If you are in the market for a 50mm for your Nikon Z Mount body, you could do worse than this lens. I have done a rough check on the Singapore used and international market in 2026, below.

Sigma 50mm Macro Price in 2026

In Singapore, the price of the Sigma 50mm Macro ranges from S$68 to about $150. Prices will vary by condition of course.

From a google search, prices are from US$60 and up. Regardless, this is a budget friendly lens, especially on the used market.

Logically, one could be going for a Z mount lens like the 50mm 1.8 S or the 50mm 1.4. Pricing wise, they will likely be going for about SG$600-700.

Alternatively, you could always look for other 3rd party Z mount lenses like the ones from Meike or Viltrox. But since I don’t own any, I cannot comment on them too much.

7. Conclusion: Should You Buy It in 2026?

•Final Verdict: Who is this lens for? (Budget macro enthusiasts, product photographers).

•Pros & Cons Summary Table.

•Closing Thought: It’s a lens that forces you to slow down and appreciate the small things.

•Image Suggestion: A final “moody” shot of the lens with its hood on, looking professional and ready for work.

PS.

I also talk about other classic lenses like the Nikon AF-S 300mm f/4D. For another old lens, check out the Nikkor 200mm Q.C. f/4 or the vintage zoom Nikon Series E 36-70mm f/3.5.

In the grand timeline of Nikon DSLRs, the Nikon D5000 occupies a very special place. Released in 2009, it was the first Nikon DSLR to feature an articulating (flip-out) LCD screen. At the time, purists scoffed at it, calling it a “gimmick” for amateurs.

Fast forward to 2025, and almost every modern mirrorless camera, from the vlogging-focused Z30 to the professional Z9, owes a debt to this little pioneer. But beyond the screen, the D5000 was also a “wolf in sheep’s clothing,” packing the same legendary 12.3MP sensor found in the much more expensive Nikon D90 and D300.

I recently picked up a well-loved D5000 to see if this “D90-lite” still holds up in the age of 4K video and AI autofocus.

The “D90-Lite” Sensor: 12.3MP of Pure Quality (in 2009)

The biggest selling point of the D5000, both then and now, is its sensor. It uses the same 12.3-megapixel CMOS sensor that made the D90 and the D300 a legend.

Image Quality and Color

In 2025, 12 megapixels might seem low, but as I’ve said before, it’s the quality of those pixels that matters. The D5000 produces images with excellent dynamic range and very pleasing color science. Unlike the CCD sensors in the Nikon D40 or D60, this is a CMOS sensor, which means it handles higher ISOs much better.

I took the D5000 for a night walk around Marina Bay. Even at ISO 1600, the noise is well-controlled and has a “grainy” rather than “digital” look. If you’re shooting for social media or small prints, the 12.3MP files are more than enough.

ISO Performance

•ISO 200-800: Clean and detailed enough for printing and social media

•ISO 1600: Very usable with minor post-processing, especially with post 2025 de-noising software.

•ISO 3200 (Hi-1): Pushing it, but okay for “documentary” style shots. Potentially ok for phones and social media use.

The Articulating Screen: A Game Changer for 2009

The D5000’s screen was revolutionary. Unlike (most) modern screens that flip out to the side, the D5000’s screen flips down. We still had a flip down screen even til the Nikon Z50 I.

The Good

This design is useful for overhead shots (like shooting over a crowd at an event) or waist-level street photography. It allows you to be more discreet, looking down at the camera rather than holding it up to your eye. It’s also great for macro work, allowing you to get low to the ground without having to lie in the mud.

The Bad

Because it flips down, you can’t use it easily on a tripod, as the tripod head will block the screen. Also, by 2025 standards, the screen resolution is quite low (230k dots). It’s fine for framing, but don’t rely on it to judge critical sharpness, you’ll want to zoom in to check your focus. Even zooming in on the screen isn’t that great here.

Side note: The predecessor, the D60, didn’t have a flip out screen and had weak overall specs. It did have a CCD sensor, however. Some people prefer the CCD look, if you will.

Ergonomics and Build: Compact and Capable

The D5000 sits right between the tiny D3000 series and the beefier D90 (thereafter the D7000 series). It’s compact enough to be a travel camera but has enough “heft” to feel like a serious tool.

Handling

The grip is comfortable (for small to average hands), though a bit smaller than the Nikon D7000. One thing to note is that, like the D40 and D60, the D5000 does not have an internal focus motor. You’ll need AF-S or AF-P lenses to get autofocus.

Note the SD card slot on the right of the camera on the grip. This has only a single card slot. Simple.

As with many Nikon cameras, the controls are familiar, with the control dial on the right side for beginner friendly cameras. I personally just used MASP modes and didn’t bother with the presets. Even after so many years, the buttons on the camera worked well.

If you look at the image above, on the left of the camera, there are 2 buttons. The top button is for the pop up flash, handy when you’re shooting in an area with little light and you just need something for the photo. The bottom button is a customisable function button that you can use for different functions. Personally, I set it to ISO for easier control on the fly. These have been implemented from the previous cameras and continue to be used in future cameras even until the D5600 released in 2016.

I would recommend pairing it with the Nikon 18-55mm VR kit lens and the 35mm f/1.8G (or any other small lens for the matter). The balance was perfect. It’s a setup that you can carry all day without feeling like you’ve been to the gym.

Video: The 720p Time Capsule

The D5000 was one of the first DSLRs to offer video (D-Movie). However, in 2025 and beyond, this is where the camera shows its age the most.

•Resolution: 720p HD (not 1080p or 4K). This is the main downer, but you can at least record something in a pinch. But honestly, even your phone will be way better than this.

•Focus: No autofocus during video. You have to focus manually. Not a problem for people with experience, though many have been spoilt in recent years by the fast Autofocus in modern cameras and face detection functions.

•Audio: Mono internal microphone only (the in built mic isn’t the best for audio capture as well); no external mic jack.

If you’re looking for a vlogging camera in 2026, this isn’t it. But if you want to capture short, “vintage-looking” clips for a nostalgic reel, the 720p footage has a certain charm to it.

Pricing in 2026

The D5000 was never an expensive camera even when it was first released in 2009. After 16+ years, you can get it even with a kit lens for SG$100 or less.

Best Lenses for the Nikon D5000

Any of the 18-55mm kit lenses – small, compact, cheap and sharp enough.

If you can find it, the older 18-70mm kit lens.

Small manual lenses if you don’t mind or like manual focus

Nikon 35mm f/1.8G DX – small, cheap and sharp. Being a prime lens, gives you bokeh when the background is far enough.

Nikon 50mm f1.8G – small, cheap and sharp. Being a prime lens, gives you bokeh when the background is far enough. One issue compared to the 35mm is that it might be a little too “zoomed in” when you shoot landscape, but you can learn photo composition with this limitation.

Nikon D5000 in 2025: Who is it for?

Is the Nikon D5000 still a good buy in 2025?

Yes, if:

•You are a beginner on a budget: You get a DSLR with a large sensor for learning photography cheaply (potentially under $100).

•You love low-angle or macro photography: The articulating screen is a lifesaver.

•You want a “beater” camera: Something you can take to the beach or on a hike without worrying about your expensive mirrorless gear.

No, if:

•You need video: The 720p limit and lack of mic jack are dealbreakers for modern creators (why are you using this for content creation in 2026).

•You use a tripod constantly: The bottom-hinged screen is frustrating for tripod use.

•You need fast tracking AF: The 11-point AF system is reliable but not built for fast action.

Conclusion

The Nikon D5000 is a fantastic entry point into the world of Nikon DSLRs. It offers a perfect balance of “old school” charm and “modern” convenience. While it lacks the CCD magic of the D40, it makes up for it with a much more versatile CMOS sensor and that handy flip screen.

If you can find one in good condition (check the screen hinge!) for under SG$100, it’s a steal. It’s a camera that will teach you the fundamentals while still delivering images that can hold their own in 2025.

I also talk about its more advanced cousin, the Nikon D7000, and other old semi professional cameras like D100, D200 and D300.

The Nikon D60, released in early 2008, was a pivotal camera for Nikon. It was the successor to the D40x and sat just below the D80 in the lineup. At the time, it was praised for its compact size and ease of use.

But for the past few years through 2025, the landscape of photography has shifted dramatically. We have mirrorless monsters with eye-tracking that can see in the dark, and smartphones that use AI to fake bokeh.

So, why talk about a 10.2-megapixel DSLR from nearly two decades ago?

I recently spent a few weeks shooting with a “minty” Nikon D60 I picked up for a song on the used market. Having used everything from the D3s to the latest Z-mount bodies (Z6, Z7II, Z30, Z50), I wanted to see if this little CCD-sensor camera still had a place in a modern photographer’s bag.

Ergonomics and Build: Small but Mighty

The “Goldilocks” Grip

One thing Nikon has always nailed is ergonomics, and the D60 is no exception. Despite being one of the smallest DSLRs Nikon ever made, the grip is surprisingly deep and comfortable. If you’re used to the beefy D700 (or Z6, Z7 etc) or even a D7000 (or Z30, Z50), the D60 will feel like a toy at first. However, after a long day of street photography, your wrists will thank you.

It’s light enough to carry all day with a prime lens like the 35mm f/1.8G, yet it feels substantially more “serious” than a entry level compact camera or a smartphone.

The top dial is the usual Nikon entry grade dial with all the presets, for me, I use the usual M, A, S, P modes. When using a manual lens, then M mode for sure.

Nikon D60’s pop up flash

There’s nothing special here, the flash is there if you need it in a pinch. Expect the usual washed out colors from photos taken with a direct flash.

Personally, I use on camera flashes as a trigger for my off camera flashes or strobes. I find it more convenient compared to a dedicated trigger and also to keep my gear simpler.

The Viewfinder Experience

Coming from the electronic viewfinders (EVF) of the Z-series (as if you’re not looking at enough screens), looking through the D60’s optical pentamirror viewfinder is a breath of fresh air.

It’s a direct, lag-free view of the world. It’s not as large or bright as the pentaprism in a D300s or better yet the full frame DSLRs, but it’s more than enough for framing.

The 2.5-inch LCD on the back, however, is where the age shows. With only 230k dots, it’s not great for judging critical sharpness, but it’s fine for checking exposure and navigating the simple menus.

Side note: Officially, the D60 was succeeded by the D5000, with an upgraded flip out screen.

The CCD Sensor: The Secret Sauce

The main reason anyone buys a Nikon D60 in 2025 is the 10.2MP CCD sensor. Most modern cameras use CMOS sensors, which are better for high ISO and video. But many enthusiasts swear by the “CCD look”, a certain film-like quality to the colors and a unique way it handles skin tones and highlights.

Can you try to replicate this look in Lightroom or Photoshop? Sure. Will it be potentially more work for you. Yes.

In this regard, the D60’s color science should help you out.

Color Science

In good light, the D60 produces images that are punchy and vibrant right out of the camera. There’s a “thickness” to the colors that I sometimes find lacking in modern CMOS files. If you shoot RAW (NEF), you’ll find that the files are very malleable at base ISO (200).

ISO Performance (The Trade-off)

Here is the reality check: the D60 is a “fair weather” camera.

•ISO 200: Reasonably clean and detailed. No issues using this image.

•ISO 400-800: Noticeable grain, but it looks more like film grain than digital noise. Noise artefacts are noticeable and needs work.

•ISO 1600: Extensive noise in the shadows, loss of detail. In the sky, there is an ugly red line stretching horizontally. Acceptable in small sizes but needs alot of denoising work.

•ISO 3200 (Hi 1): Use only in emergencies. You can see the image is has noise everywhere, with patterns and the ugly horizontal red line getting worse.

Unlike the modern cameras (like the Z series cameras), the D60 is not ISO invariant. If you underexpose a shot and try to “push” it 3 stops in Lightroom, you’re going to see a lot of ugly noise and color shifting. My advice? Get it right in the camera, use the semi auto modes like A and S for the right exposure settings and stick to well-lit environments. For night shots, use a flash or a tripod.

Autofocus: Three Points of… Simplicity?

The Nikon D60 features a 3-point AF system. Yes, you read that right. Just three.

In an era where we have hundreds of AF points covering the entire frame, 3 points feels incredibly restrictive. However, it forces you to slow down. I found myself using the “focus and recompose” technique almost exclusively. It’s not a camera for tracking fast-moving birds or erratic toddlers, but for portraits, landscapes, and still life, it gets the job done.

Note on Lenses: The D60 does not have an internal focus motor. This means it will only autofocus with AF-S or AF-P lenses. If you mount an older AF-D lens, you’ll be focusing manually. While this might seem like a drawback, it’s a great way to learn the fundamentals of manual focus!

Image Quality: 10 Megapixels is Enough

“Only 10 megapixels?” you might ask.

Unless you are printing billboards, 10MP is plenty. For Instagram, Facebook, and even A4-sized prints, the D60 delivers more than enough detail. The lower pixel density actually makes the images look very “smooth” and less clinical than the 45MP monsters of today.

One personal anecdote: I took the D60 to a local park for some macro shots of flowers. Pairing it with an old manual focus Micro-Nikkor lens, the results were really quite good (for an old camera). The way the CCD sensor rendered the greens and reds was something my Z6 struggled to replicate without significant post-processing.

Pricing in 2026

This is an old camera after all, so the pricing will naturally be quite low. A well used unit can be had for between $60 to $100, with a kit lens as well, if you’re lucky.

The fact that it was an entry level camera should also help lower pricing and help negotiations, though there was a surge in demand for cameras with CCD sensors due to social media.

Nikon D60 in 2025: Who is it for?

Is the Nikon D60 still a good buy in 2025?

Yes, if:

•You are a student or beginner on a tight budget (you can find these for under SG$150 with a kit lens).

•You want to experience the “CCD magic” without spending a fortune on a Leica M9.

•You want a simple, “back to basics” photography experience.

No, if:

•You need to shoot video (the D60 has no video mode).

•You do a lot of low-light or indoor photography without a flash.

•You need fast, reliable tracking autofocus.

Best Lenses for the Nikon D60

Any of the 18-55mm kit lenses – small, compact, cheap and sharp enough.

If you can find it, the older 18-70mm kit lens.

Small manual lenses if you don’t mind or like manual focus

Nikon 35mm f/1.8G DX – small, cheap and sharp. Being a prime lens, gives you bokeh when the background is far enough.

Nikon 50mm f1.8G – small, cheap and sharp. Being a prime lens, gives you bokeh when the background is far enough. One issue compared to the 35mm is that it might be a little too “zoomed in” when you shoot landscape, but you can learn photo composition with this limitation.

Conclusion

The Nikon D60 is a reminder of a simpler time in digital photography. It doesn’t have Wi-Fi, it doesn’t have 4K, and it won’t track a bird’s eye from a mile away. But what it does do is take beautiful, soulful (with it’s own quirk) photographs if you give it enough light.

If you can find one in good condition for a low price, go for it. It’s a fantastic “second camera” or a dedicated tool for when you want that specific CCD look.

I also talk about other classic DSLRs like the Nikon D7000 and the Nikon D300s.

The Nikon D750 released to great fanfare in 2014 due to the long delay with releasing a proper Nikon D700 replacement. There had not been a light (small body) full frame with similar capabilities to the current flagship bodies as had the D700 been to the D3.

I was thrilled to be able to purchase one a year ago as I had already “poisoned” myself into buying one some time back. It was meant to be used alongside my D3S, replacing the D610 that I had been using previously.

After having used it for more than 2 years (and more than 25k shutter actuations later through events, portrait shoots and birding), I feel that I can comment properly on it from both an enthusiast grade photographer and a freelancer.

Note: I have already moved on to the Nikon Z system and these opinions were from the past.

Ergonomics

Grip

Those who dabble regularly in event photography, or anybody who has to hold on to a DSLR for a long period will appreciate the relatively light camera body (compared to a conventional Full-frame DSLR). This, coupled with the excellent grip, allows for great ergonomics.

Personally, having used it with long lenses (70-200mm, Nikon AF-S 300mm f/4D), I feel that the grip will definitely please the user.

The introduction of a tilting LCD monitor was truly a boon for myself. Having used the D3 and the D700 extensively, sometimes, I yearn for an easy way to get shots from unusual angles without having to contort my ageing body into strange positions or adopt un-glamourous positions in public.

One personal anecdote was during a photowalk with other photo enthusiasts, I could get a ground level shot of a cat (yes, another cat photo adding to the billions already out there) simply by tilting the screen and shooting.

The other photographers (using Leicas I might add) had to make do with guesswork or viewing the LCD from an awkward angle.

One concern was durability, since dropping it from an open position with the screen out will likely lead to severe damage. In that case, I recommend being disciplined and always storing the monitor after use.

Speed (FPS)

In an era of blazing fast cameras, the 6.5FPS of the D750 might seem paltry. Nevertheless, the speed is just enough for simple sports and action photography. Ideally, you should be timing your shot instead of spraying and praying anyway. Saves on your time deleting the shots you don’t want 🙂

I use it when birding and shooting some simple dance festivals in Japan. Nothing hardcore but most people buying this probably won’t need anything particularly powerful.

If you do, the D500 will suit you better.

Some people may felt that the mode dial on the D750 is a prosumer dial instead of the pro grade dial on the D800 series. I feel that it is a matter of personal preference, since I do prefer the added user friendliness of the U1 and U2 modes. It’s easy to use in my opinion. For events, I set them to match the ambient light (U1) and to  match my flash settings (U2) respectively.

Nikon D750 Autofocus

AF Point spread

One of the complaints of the D610 was the CAM4800 Autofocus seemingly brought in wholesale from the D7000 without being adjusted for the full frame coverage.

The CAM 3500 AF system in the D750 sort of fixes this with a larger number of AF points (51 points) but one might still miss the larger spread as seen on the D3 series and the D800 series (I may be wrong about the similarities between the two).

For reference, please check the excellent comparison table from: https://nikonrumors.com/2014/10/20/nikon-confirms-the-51-af-points-in-the-d750-are-narrower-compared-to-the-d810.aspx/

Still, the amount of AF point spread should suffice except for the most extreme of photo composers (in which case centre-point focus-recompose might deliver great mileage.)

Autofocus speed

The AF speed is sufficient for most purposes, even for light sporting events. I was fortunate to cover a sports event using this and with some prediction of events, I was able to get some decent shots.

Also, as you can expect, the tested and proven 3D tracking system has worked its magic in many situations such that many photographer swear by it. For the beginner, putting the initial AF point on the subject and then allowing the camera to track the subject will result in the camera automatically following the subject.

As a caveat, the AF accuracy is dependent on lens calibration and compatibility. I have had no issues with most lenses that cannot be resolved with a tweak of the AF calibration settings.

Nikon D750 Lens compatibility

The D750, with its screw drive autofocus system, will drive the AF gears of my AF-D lenses with no issue.

There appears to be no problems with mounting old lenses (AI/ AIS) as well except for the lack of optimisation due to old lens designs and coatings (ie you cannot expect sharpness and flare performance of comparable to modern lens designs)

For reference, check the Nikon USA link.

Sensor and Image Quality on the Nikon D750

Resolution

24 megapixels will suffice for most purposes. You can get a decent amount of detail yet not have to worry about huge files clogging up your hard drive. The megapixel war that’s happening nowadays (seemingly still going on in 2025) is making disk space capacity a problem for many photographers. The quality of the image will most likely be decided by the lens you choose rather than the sensor itself.

ISO invariance

The concept of ISO invariance started when the Nikon D800, with its then incredible sensor, was release. One could shoot at ISO 100 and from a near black photo uncover an astounding amount of details from the shadows.

Continuing the trend, the D750 is not slouch in this area. It has huge amounts of details in the shadow areas when shot at ISO 100. The implication is that you could shoot at low ISOs to maintain the maximum possible dynamic range. In my experience, you can shoot in raw and push the exposure by 5 stops in the raw processor.

Simply magnificent.

Landscape photographers will love this camera for this.

Video on the Nikon D750

The powered aperture makes an appearance again, very much welcome by videographers. Nowadays, people take this for granted, but this feature was something the broke free from the usual Nikon crippling of their cameras in the past (pre-mirrorless) by not being able to switch apertures of G lenses while recording.

The tiling screen is especially useful. I usually take videos at waist level with my arms cradling the camera in a stable position.

Conclusion

Is it still a good buy now in 2025?

Sure, why not.

This is despite newer bodies being introduced that has taken the shine off the older models. This in no way renders the D750 an obsolete model since it can still take outstanding pictures (at 24MP) and videos (albeit FHD instead of 4K). Another plus is that old AF-D lenses with the screw drive AF mechanism can be used with no issues (perfect for those on a budget!)

If you can score unit pre-loved for a good price in 2025(currently SG$750 onwards), go for it and don’t look back. The D750 is a trusty camera that will serve you well.

I also talk about Z mount cameras like the Nikon Z50.

I used a the Sigma 85mm 1.4 in the past on this camera as well.

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The venerable Nikon D7000 was released to much fanfare back in 2010, on the back of the excellent D90. The D7000 came with a sensor upgrade from 12MP to 16 MP, plus an improvement to the autofocus system to boot (from 11 points to 39 points).

It never really replaced the “pro” grade D300s, but rather existed alongside it to provide users with a choice of a higher grade sensor with better video, or a better built body with a better autofocus system.

Now, in 2021, as a digital media manager in charge of photography, videography, design and basic web development, I’ve been using the old but gold Nikon D7000 for the past few months for work (it was the only camera available on company premises, I personally own the Nikon Z6 Mark I).

In my work, I am required to create marketing collaterals for my company’s website as well as for the e-commerce platform.

This is therefore a review of the Nikon D7000 in 2021, from a working professional’s point of view. Some questions addressed here:

Is a 10 year old camera still relevant in 2021 and beyond?

Would I get better results from the latest cameras or even smartphones?

If you have one, should you upgrade from your D7000, even if it is still working?

Nikon D7000’s ergonomics, same old feeling

I was first handed the company Nikon D7000 to use for the creation of our company’s latest venture, using an e-commerce platform to sell hampers and landscaping/gardening goods (the company is a landscaping company).

Having used the D7000 a decade before, the controls all came back to me in a jiffy. The viewfinder, layout and grip felt intuitive, just as I remembered. Certainly, no one will complain about the build quality of Nikon’s enthusiast grade DSLR offerings in general use cases. In any case, this unit was working fine, except for the LCD screen which failing and had severe vignetting.

In this age of smartphones, people might wonder why we even need dedicated cameras. A lot can be said about the feeling of a sturdily built camera in hand. Granted, the weight of a DSLR may not be for everyone, but the tactile feel of the camera, allowing the user to “switch” into photo shooting mode, is something intangible that must be experienced first hand.

Image Quality from the D7000

Pairing it with the Nikon 18-105mm VR f/3.5-5.6 kit lens, I set about taking some shots of the goods that we will be selling. I understood that the older sensors did not have the ISO invariance that became rather famous after the release of the 24MP sensors by Sony. I therefore knew that the raw files could not withstand as much pushing as the ones from the newer sensors.

Generally, the raw files cleaned up very well in Lightroom when taken in good lighting, this shots were taken in the late morning or late afternoon. The first image had some flaring issues, this was lens based and had nothing to do with the D7000 sensor.

I then took photos using speedlights, and here the ISO values were kept below 400. Images were clean and full of detail.

One usability factor to raise is that the pop up flash on the D7000 is extremely useful for controlling external flashes under S1 receiver mode (ie. the external flashes will strobe in response to the on board camera flash). This made my workflow much faster.

I generally had no complaints for the image quality for the work that I was doing (studio lighting with little need for a massive dynamic range) and amount of details that I could get from the raw files below ISO 400. I was able to push the shadow details in Lightroom somewhat.

I would, however, recommend not pushing the shadow slider above 50 if you don’t want to see a lot of noise in the shadow portions of of the image.

How’s the D7000’s Image quality compared to a smartphone?

Smartphone camera image quality has seen astounding improvements over the years. One might wonder if DSLRs have any image quality advantages over computational photography offered by phones like the Google Pixel and the iPhone.

Again, it depends.

If you’re willing to take the time and effort to take a picture using proper technique and also process the raw photos, you realise you may have a lot of more creative control over how your picture will turn out compared to the “pre-baked” photos spit out by an iPhone, for example.

Getting a D7000 second hand in 2021

In 2026, a brief check on Carousell, one of the main platforms for selling second hand items, showed that a D7000 without a lens can be had for under SGD300.If you’re lucky, you may find a beater set (well used) for under $300 including the lens to start you off.

Should you get a second hand Nikon D7000? (update 2025)

Whether a second hand D7000 is still a good purchase depends a lot on your use case.

-If you are on a budget

-You would prefer an enthusiast grade camera with sufficient manual controls

– You want to use Nikon AF-D lenses which use the screw drive for autofocus

– You need a built in flash for external flash control

For:

People on a budget but need a dedicated camera for casual sports, birding, everyday situations, simple studio work not requiring high resolution output.

Not for:

People who need superior image quality, the 16 Megapixel sensor is outdated and the image quality shows, especially when you push it under extreme lighting conditions

People who want very nice and smooth bokeh, especially with the kit lens (one will need to make the jump to full frame)

People who want the instant ability share a photo or video taken (just stick to your smartphone :D)

Check out my other reviews on the D100, D200 and D300s.

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Originally, I wanted to do some research on this tripod to make an informed decision to buy the Manfrotto 055C Tripod (also called 055CB).

During my attempt to find more information about this tripod, I realised to my surprise I could find scant information even on the internet. The only information I could unearth was some basic specs and the rough age of this particular series (more than 20 years from 2016, apparently.)

Hence, here is a modern review of the Manfrotto 055C (Art 055C or 055CB) tripod with the 329 3-way Pan Tilt Head, mainly for landscapes and basic product shoots.

Overview of the Manfrotto 055C Tripod

The 055C is an aluminium, 3 segment tripod. It goes up to a height of about slightly under 6 ft (182cm) when fully extended without including the height of the tripod head ( this is a rough estimate only).

The leg locks are not the modern closing locks, but an older twist design. They are very sturdy, I find that they are pretty stiff during my attempts to unlock the legs when adjusting the tripod height for my landscape shoot. The stiffness does contribute to the rock solid feel of the tripod. Still, if it is an issue, you may wish to loosen the bolts of the leg locks for ease of use in the field.

Despite being a very old model of the 055 series, it already features the adjustable leg angle. This allows the tripod to go low to the ground for macro or a low angle view for your chosen composition.

The 329 3 Way Tripod Head

The 329 Head that came with the tripod allowed me very precise adjustments for my composition. It has dual bubble levels, 2 handles for adjusting tilt and one lock for adjusting the smoothness of panning.

The Manfrotto 3 way head allows for superb control of camera movements. You can control the horizontal, vertical and diagonal movements, allowing for pretty precise positioning and framing of the camera. The head is also very dampened, allowing for precision. This will be greatly appreciated by photographers who do not like cropping or making adjustments in angle in post processing.

For those who need the additional height, you can also extend the central column by another 10-12cm thereabouts. The entire combination becomes pretty tall, about 180cm when deployed with legs fully opened. With the tripod being so sturdy, there is no wobble even fully opened.

The head is also operated by loosening and tightening the levers. When you need to adjust the position, you would loosen the corresponding levers and shift the head. After that, you can tighten the lever by rotating it the opposite direction. Again, once you’ve tightened all the levers, the head will be extremely stable and you can count on it not to move and interfere with your camera framing.

I like that some of the movements allowed are also marked in case you need to remember the positioning of the camera on the tripod head.

Weight Issues

The issue is that the head itself is a rather heavy beast, coupled with the heft of the tripod itself, and we’re looking at a package easily exceeding 2 kg in weight (the 055C alone weighs 2.67kgs/5.9lbs).

If you are using a long lens with a DSLR, the entire combination will be make for excellent arm training. 😉

Conclusion

I bought this tripod and head combination for about SGD$160 in 2012. The tripod has served me well in the studio and during shoots where I need a taller tripod. This was especially useful in crowds where I need to shoot over the heads of others since it is a heavy and stable tripod even when raised to the maximum height.

Weight and size is an issue, especially when I am lugging this around on a hike or taking public transport.

Despite being an old piece of gear, this is something that will last you many years with good care and maintenance, and if you can pick it up cheap, definitely worth it if you can handle the weight.

(Article update in 2023 for weight and usage notes.)

An article about the camera and lens combination I used with this tripod here.

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