Capturing the aurora borealis is part science, part patience, and part magic. Use this guide to give yourself the best chance of returning home with truly stunning images.
🎒 1. Preparation Before You Go
Check the Forecasts
Aurora activity (Kp Index): Look for Kp 3+ for mid-latitudes; Kp 2+ is often sufficient in the Arctic.
Cloud cover: Clear or mostly clear skies are essential.
Moon phase: New moon or low moonlight reduces sky brightness.
Don’t hold the phone – movement will ruin the shot.
Wipe the lens (phone lenses fog easily).
Avoid digital zoom; move closer instead.
Test different shutter lengths until stars remain sharp.
🌍 TOP TEN LOCATIONS TO PHOTOGRAPH THE NORTHERN LIGHTS These locations offer reliable aurora activity, dark skies, and dramatic landscapes.
1. Tromsø, Norway High aurora frequency, accessible city, incredible fjords. 2. Abisko, Sweden Famous “blue hole” microclimate keeps skies clearer than surrounding regions. 3. Fairbanks, Alaska, USA Strong aurora zone, easy access, long season. 4. Yellowknife, Canada Flat horizons create uncluttered sky views—excellent for wide-angle shots. 5. Reykjavik Region & Þingvellir, Iceland Volcanic landscapes and easy access to dark skies. 6. Finnish Lapland (Rovaniemi, Saariselkä) Snow-covered forests make perfect foregrounds. 7. Svalbard, Norway Auroras even in daylight during polar night. 8. Kangerlussuaq, Greenland Minimal light pollution and frequent clear skies. 9. Murmansk & Kola Peninsula, Russia High latitude with unique Arctic landscapes. 10. Scottish Highlands & Isle of Skye, UK Best low-latitude aurora spot in Europe during strong solar storms.
The Nikon 70–180mm Micro is one of the most unusual lenses Nikon ever produced. Released in the late 1990s, it remains the only zoom lens Nikon designed specifically for macro work. Its combination of flexible framing, close-focus capability, and classic F-mount ergonomics makes it a cult favourite among macro specialists and collectors.
Below is a practical, and technical guide to help you decide whether this lens is right for you — and what to look for when buying one today.
1. What Makes This Lens Unique
Unlike conventional telephoto zooms, the 70–180mm Micro was engineered to maintain high optical performance at close-focus distances.
The standout features are:
True macro-centric optical design
Most zooms “can focus close,” but this lens was built to deliver macro-level magnification and edge-to-edge correction. It reaches approximately 1:1.3 reproduction, which is unusually high for any zoom.
Zoom flexibility at macro distances
At close range, small adjustments in camera position drastically change your composition. Being able to zoom instead of physically moving makes macro shooting faster, steadier, and more precise.
Very stable working distance
The lens doesn’t require you to get extremely close to your subject to get strong magnification, which is useful for shy insects, controlled studio setups, or maintaining clean lighting.
2. Optical Performance
Macro / close-up behaviour
This is where the lens shines. Sharpness in the center is excellent when stopped down slightly, contrast holds well, and chromatic aberrations are well-controlled for a zoom of this age. Performance is strongest in the mid-range (around 100–150mm).
Long-distance behaviour
At normal shooting distances, sharpness is more modest. Corners soften noticeably at the 180mm end unless stopped down. If your primary use is wildlife or sports, this isn’t the ideal lens — its optical strengths are clearly tailored to close-range imaging.
Bokeh and rendering
The lens produces smooth, clean foreground/background blur due to its long focal length and relatively simple optical formula. The aperture is not especially wide, so background separation relies more on focal length and distance than on shallow depth-of-field.
3. Autofocus & Handling
Autofocus
Being an older AF-D lens, it relies on the camera’s screw-drive motor.
Expect:
Audible, mechanical AF noise
Slower autofocus compared to modern AF-S or Z lenses
Decreased AF reliability at macro distances (normal for most macro lenses)
Many users treat it as a manual-focus-first lens, especially for macro photography where precision beats speed.
Build quality & ergonomics
Sturdy construction with classic late-film-era Nikon materials
Large, well-damped zoom ring
A dedicated tripod collar for stable macro work
No weather sealing
No internal focusing — the lens grows longer as it focuses
Despite being a zoom macro, it balances well on mid-sized DSLR bodies and adapts smoothly to Z-mount via FTZ.
4. Compatibility
On Nikon DSLRs (F-mount)
Full autofocus available only if the camera has a built-in screw-drive motor.
(D7500 downwards users will not get AF.)
Metering and exposure modes work on all modern DSLRs.
On Nikon Z mirrorless
Requires FTZ or FTZ II adapter
Autofocus operates using the mechanical coupling but is noticeably slower
IBIS (in-body stabilization) helps compensate for the lack of VR in the lens
If you’re a Z-mount macro shooter comfortable with manual focus, this lens adapts surprisingly well.
5. Ideal Use Cases
This lens suits photographers who need macro versatility, including:
Botanical photography
Product & tabletop work
Jewelry, collectibles, and small objects
Controlled studio macro
Insect or reptile photography where extra working distance is helpful
Film-era collectors who appreciate rare Nikon optics
It is not ideal for:
Fast action
Portrait work requiring fast AF
Low-light handheld telephoto shooting
Travel situations where weather sealing is needed
6. What to check on a used /second-hand version
Because all examples are now decades old, condition matters more than usual.
Check these critically:
1. Optical condition
Look for internal haze, fungus, or separation
Inspect for dust clusters (small dust is normal; large clumps affect contrast)
Shine a light through the lens to check for fogging or residue
2. Aperture mechanism
Aperture blades should be dry, snappy, and evenly responsive
Any visible oil is a red flag
3. Focus & zoom rings
Both should turn smoothly with no grinding
Excess stiffness or looseness indicates mechanical wear
Check for zoom creep when pointing downwards
4. Tripod collar
Should rotate smoothly and lock firmly
Missing collars reduce the lens’ usability and resale value
5. Autofocus coupling
Test AF on a camera body with screw-drive capability
Listen for grinding or misalignment
6. Exterior condition
Look for dents near the filter thread or evidence of drops
Confirm the front and rear caps are included
Check if the lens hood fits securely
7. Price Expectations (Typical Used Market)
(General ranges—not pulled from any specific listing)
Excellent condition: high end of used pricing
Good condition: mid-range pricing
Collector-grade: sometimes significantly above normal market value
Poor / fungus / stiff rings: strongly discounted and generally not worth buying unless you plan to repair
This is a sought-after lens, so prices vary more widely than typical 20-year-old zooms.
8. Should You Buy It?
If you want a macro lens that gives you the flexibility of a zoom, this is essentially the only Nikon-made option — and still an extremely capable one. Its image quality at close distances rivals many primes, and the ability to fine-tune framing without moving the camera is a powerful advantage.
If you need fast AF, VR, modern coatings, or uncompromising telephoto sharpness, you should look elsewhere. But for macro shooters, product photographers, or Nikon collectors, the 70–180mm Micro remains a uniquely valuable tool.
The Noct 58mm f/1.2 is a purpose-built, character lens: extraordinary center rendering and one of the best historical solutions to sagittal-coma flare, paired with very smooth, flattering bokeh — but it demands respect. On modern digital sensors it rewards careful technique (precise MF, stopping down when you need uniform sharpness) and modern tools (live-view magnification, focus peaking) make it far more usable. If you want a unique “wide-open” look for portraits and low-light moods, the Noct is still hard to beat; if you need corner-to-corner clinical sharpness at f/1.2 for landscapes or architecture, this isn’t the lens for that job.
What Nikon designed this lens to solve
The Noct was created to solve a specific optical problem: sagittal coma flare in wide-aperture “normal” lenses (how point lights smear and turn into comets off-axis). Nikon’s design priorities were to perform exceptionally at maximum aperture for night and low-light shooting — not to chase modern corner-to-corner micro-resolution at every aperture. That heritage explains the lens’s soul: beautiful wide-open rendering and point-light control rather than “evenness” across the frame at f/1.2.
Build, ergonomics, and focusing
Build: Classic all-metal Nikon Ai/AI-S construction — solid, compact, with engraved markings and a tactile aperture ring. Feels like a precision tool.
Focus: Manual focus only. At f/1.2 the depth of field is wafer-thin; tiny focus errors are punished. On mirrorless bodies use focus-peaking and magnified live view — these modern tools make the Noct usable for critical wide-open work. If you plan to zone-focus or shoot moving subjects, the lens is a poor fit unless you’re very practiced.
Optical performance
Center: Very strong. The Noct’s centre performance wide open is unusually good for a vintage f/1.2; it produces high perceived sharpness and contrast when perfectly focused. This is consistent across modern tests.
Midframe & corners: The outer field lags at f/1.2. Expect softness and lower micro-contrast towards the edges at infinity focus; stopping down improves it dramatically, with most reviewers finding the lens “most comfortable” between f/2 and f/5.6 for balanced frame performance. If you need edge-to-edge sharpness on a high-resolution mirrorless sensor, anticipate stopping down.
Practical takeaway: center shots wide open = magical; wide scenes at f/1.2 = mixed results unless you stop down.
Bokeh and rendering
This is where the Noct shines emotionally: buttery, smooth out-of-focus transitions and pleasing highlight shapes from its blade geometry. Reviewers consistently praise its “non-busy” bokeh and subject separation that flatters skin and portraits. Expect rounded, painterly highlights without aggressive onion-ringing in most situations. If your aim is subject isolation and a classic portrait look, the Noct delivers.
Coma, point-light handling, and night use
The Noct was explicitly tuned to minimize sagittal coma flare, so point lights in the corners (street lights, stars) behave far better than most “normal” lenses wide open — fewer comet tails, more consistent discs. For night street photography and low-light environmental portraits, that unique coma control is a major reason to reach for the Noct.
Chromatic aberration & vignetting
Axial/Lateral CA: Longitudinal chromatic aberration (color fringing in front/behind focus) is noticeable at very wide apertures; lateral CA in the outer frame is more pronounced on high-pixel sensors. Most reviews show CA becoming much more manageable by f/2.8–f/4.
Vignetting: Expect noticeable fall-off at f/1.2 — often a stop or two in the corners at infinity focus. Closer focusing distances reduce apparent vignetting, and stopping down tames it.
Practical tip: shoot RAW and use targeted CA removal + profile vignette correction (or use it creatively — the vignetting can be flattering on portraits).
How it behaves on modern mirrorless / high-MP bodies
Adapted to AF bodies (via FTZ or other adapters) or used with adapters on Sony/Canon mirrorless, the Noct shows both its strengths and weaknesses more clearly:
Strength: centre micro-rendering and bokeh are preserved; coma control remains a standout advantage for night work.
Weakness: higher-resolution sensors reveal the midframe and corner weaknesses and CA more readily; some reviewers recommend stopping down more quickly than you might have with an older film era body.
Practical workflow: use magnified live view, focus peaking, and consider slight back-button magnify + shutter-half-press preview to ensure micro-focus accuracy.
Recommended uses
Environmental and studio portraits where you can control focus and want creamy backgrounds.
Street / night work with point lights — the Noct’s coma control makes it exceptional here.
Creative wide-open photography where center pop and subject separation are priorities.
Avoid: landscapes or architectural work where corner resolution at wide apertures is critical.
How to get the best images from the Noct
Use focus-magnification and focus peaking on mirrorless bodies.
If subject distance > ~10–15 m (infinity/landscape), stop down to f/4–f/8 for better edge performance.
For portraits where you want strong subject separation, f/1.2–f/1.8 is spectacular — just nail focus.
Shoot RAW and apply modest CA correction and vignette control in post; preserve the bokeh and micro-contrast.
When shooting night points, frame to use the Noct’s coma strength — corner lights will behave nicely compared to other “normal” lenses.
Quirks
The lens rewards technique: minor focus errors are visible at f/1.2.
It has a personality — micro-contrast and “pop” vs modern clinical contrast can vary depending on sensor and processing.
Some testers report a focus shift or slightly different micro-behavior depending on camera (film vs high-MP digital), so check your pairing.
Who should buy this?
Buy it if you are looking for a unique portrait/night lens with classic rendering and you enjoy manual focus craftsmanship. Don’t buy it if you need modern AF convenience or clinical, pixel-peeping corner sharpness wide open for technical landscape or studio product work. It’s a specialty tool that rewards respect and technique.
Comparing to modern alternatives
Compared with newer 50–60mm fast lenses (and Nikon’s own modern Noct Z variants), the vintage Noct is less “even” across the frame but has a distinctive personality that many modern ultra-fast lenses try to mimic. If you want perfectly neutral, ultra-sharp wide-open modern optics, look to contemporary designs; if you want classic character, silky bokeh, and the legendary night performance, the vintage Noct is a soul-fulfiling choice.
Further reading
Highly recommended if you want to dive deeper: Photography Life (detailed optical measurements and field tests), Phillip Reeve (recent mirrorless/42–61MP body tests), Moment (coma and night testing), Ming Thein (practical imaging notes), The Cine Lens and Steve Huff (character and sample galleries).
This guide explains what the Metz SCA system is, the difference between its main versions, how to select and install SCA adapters, how to use TTL and manual flash control, high-speed sync, off-camera options, and common troubleshooting tips.
1. What the SCA system does
Metz designed the System Connector Adapter (SCA) to make their flashes adaptable across many camera brands. Instead of buying a different flash for each brand, you pair a Metz flash with an SCA adapter that “translates” the electrical contacts and control signals. That way, a single Metz unit can work with Nikon, Canon, Minolta, Leica, and many more — while still providing TTL or other camera-specific functions.
2. Main SCA families
SCA 300 – the original series, developed during the film SLR era. These adapters allow TTL and basic communication but don’t support newer digital protocols.
SCA 3000 – the updated family for the digital age. These modules handle modern TTL systems (E-TTL, i-TTL, etc.) and sometimes add features like high-speed sync. Versions are marked M3, M5, M6, etc., with higher numbers usually indicating newer firmware.
Other SCA branches – Metz also released other system connectors (e.g., SCA-500) for special applications, but the bulk of modern use involves the 3000 series.
3. Choosing the right adapter
Check your flash model (e.g., 54 MZ-4i, 58 AF-1).
Look up Metz’s compatibility charts — these list which adapter matches which camera brand and model, plus what features will work.
Pay attention to version codes — if your camera is recent, you may need an adapter with updated firmware (e.g., SCA 3102 M6 instead of M3).
4. Attaching the system
Switch off both flash and camera before connecting.
Slide the adapter into the flash’s detachable base until it clicks.
Mount the assembled unit on the camera hot shoe and lock it in place.
Power up the camera first, then the flash. On most cameras, the flash-ready indicator should appear in the viewfinder or LCD if the setup is correct.
5. TTL flash operation
With the proper adapter, your camera can control flash exposure through its native TTL system. Flash exposure compensation (FEC) is often set on the camera, though some Metz units allow adjustment on the flash itself. If exposures are slightly off, dial in a correction using the camera’s controls.
6. Manual control
Even with no adapter at all, Metz flashes can be used in manual mode. Here you choose the power output (full, 1/2, 1/4, down to 1/128) and set the zoom head as needed. Manual is the most predictable approach when working with studio lights or third-party triggers.
7. High-speed sync and sync limits
If your flash + adapter + camera all support high-speed sync, you can shoot above the camera’s normal sync speed (e.g., 1/500s).
If not, you’ll be limited to the standard X-sync speed (usually between 1/60s and 1/250s). Check the compatibility chart to confirm.
8. Off-camera options
Wired: Metz made SCA extension cords so you can keep TTL communication even with the flash off-camera. One type has a plug at one end to fit Metz hammerhead flash units, the other (SCA 307A) has a male module connector on one end and a female module connector on the other and is used for all hot shoe Metz flash off camera.
Optical/radio: Many Metz flashes have an optical slave mode. For radio triggers, most photographers use them in manual mode unless the trigger system specifically supports Metz TTL (rare).
9. Troubleshooting checklist
Make sure you’re using the correct adapter family and version.
Always power down before connecting or removing modules.
Test the flash in manual mode at your camera’s sync speed to confirm the basic connection works.
Clean the contacts with a cotton bud and alcohol if the flash misfires.
Be cautious with older Metz flashes: some output higher trigger voltages that may damage modern cameras unless the SCA adapter regulates it.
10. Care and storage
Avoid stress on the camera hot shoe if you’re using a heavy Metz flash use a bracket or cable.
Keep adapters in labeled pouches so you don’t mix them up.
Don’t store the flash with batteries installed for long periods – leaking batteries will ruin the contacts inside your flashgun..
There is some confusion about which battery fits which Nikon camera and which charger you should use when considering the Nikon EN-EL3 (also supplied as the EN-ENL3a and Nikon EN-EL3e. This is not surprising as both batteries look pretty much the same, dimensionally at least. They’re both also Li-ion 7.4V 1400mAh. The real difference is the Nikon EN-EL3e has three contacts while the Nikon EN-EL3/EN-EL3a has just two.
The third contact on the EN-EL3e battery sits in the middle of the two contacts found on the EN-EL3. This third contact was added to provide additional information for Nikon’s D200 Digital SLR. The battery will however fit and work in older cameras. But the older two contact EN-EL3 battery will not go fully into the more modern three contact cameras as the camera’s third internal contact will prevent the battery from slipping all the way into the housing.
When it comes to the battery charger the MH-18 / MH-18a will charge both the EN-EH3 and the EN-EH3e batteries
Cameras that take the EN-EL3e battery Nikon D50 Nikon D70 Nikon D70s Nikon D80 Nikon D90 Nikon D100 Nikon D200 Nikon D300 Nikon D300S Nikon D700
Cameras that take the EN-EL3 / EN-EL3a battery Nikon D50 Nikon D70 Nikon D70s Nikon D100
Wildlife photographers often wish they owned a longer lens of 500mm or so to taking close ups of birds and other smaller creatures. And often they may already have such a lens in the form of a spotting scope. By attaching the camera to the rear end of the spotting scope you create a lens with a similar magnification to that of around 800mm
This technique is referred to as digiscoping.
You need to buy an adaptor to attach the camera to your spotting scope. These are often specific to the spotting scope and with the exception of a few
camera brand adaptors, they usually all have a T2 mount thread at the camera end. So you buy the adaptor, attach it to the scope and then screw in a T2Â adaptor that’s specific to your camera mount. We have the T2 camera mounts here at PhotographyAttic
Camera specific scopes such as the Pentax PF80D need the PF-CA35 which has a direct camera mount.
The Nikon Fieldscope range including the EDIII A need the FSA-L1. Nikon also produce the FSA-L2 for exclusive use on EDG Fieldscopes
Opticron have a wide range of scopes and several adaptor combinations all requiring a T2 mount at the camera end. See the Opticron Telephotography and Digi-scoping page for more details
Barr & Stroud supply a spotting scope adaptor for their Sahara and Bresser Safari spotting scopes. T2 mount required. This adaptor also fits some Helios, Bresser, Meade and Praktica spotting scopes.
Leica’s DSLR Photo-adaptor allows T2 mounted SLRs to be attached to the Leica Spotting scopes
T2 adaptors do not have any form of electrical contacts so you have to use your camera’s manual or aperture-priority mode. As the spotting scope doesn’t have apertures you just point and shoot and the camera will set the correct shutter speed. You could use the ISO setting to adjust shutter speed and increase the ISO for a faster shutter speed.
Focusing is manual. Focus the scope like you normally would but take more care on accurate point as the lack of depth of field will mean you have to be spot on to get a sharp photo. Also the increased magnification will make it difficult to hand hold so it’s better to use a tripod.
The 220Âş Nikkor fisheye lens weighs 5.2kg, measures 171mm in length and has a diameter of 236mm. It’s one of the few 220Âş Nikkor fisheye lenses ever to be made.
