Nikon 28mm f/1.4 E

Full-Frame AF-S (2017-)

Intro   Format   Compatibility   Specifications

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Compared   Recommendations

 

Nikon 28mm f/1.4 E

Nikon 28mm f/1.4E (77mm filters, 22.8 oz./645g, 0.92'/0.28m close focus, $1,997) bigger. I got mine at B&H. I'd also get it at Adorama, at Amazon, or at Crutchfield, or used at eBay if you know How to Win at eBay.

This all-content, junk-free website's biggest source of support is when you use those or any of these links to my personally-approved sources when you get anything, regardless of the country in which you live. Nikon does not seal its boxes in any way, so never buy at retail or any other source not on my personally approved list since you'll have no way of knowing if you're missing accessories, getting a defective, damaged, returned, store demo or used lens. Buy only from the approved sources I use myself for the best prices, service, return policies and selection. Thanks for helping me help you! Ken.

Nikon Z6, FTZ lens adapter and 28mm f/1.4

Nikon Z6, FTZ Adapter and 28mm f/1.4. bigger.

 

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Original Nikon 28mm f/1.4 AF-D (1994-2006)

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Introduction

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Adorama Pays Top Dollar for Used Gear

B&H Photo - Video - Pro Audio

Crutchfield

I buy only from these approved sources. I can't vouch for ads below.

This 28/1.4 is an ultra-speed wideangle for use in ultra-low light and for sports and action. This lens lives to be shot at f/1.4; don't get it if you're planing on shooting it at f/4 and smaller all the time, in which case you're wasting most of this lens' capabilities. It's a silly choice for nature and landscapes if you're going to stop it down, at which point it's no better than your zoom, and a great choice if you feel the need for speed and shoot at f/1.4 and f/2 often.

This Nikon 28mm f/1.4 E is a newer version of the extraordinary Nikon 28mm f/1.4 AF-D of 1994-2006.

This new lens can be a bit sharper wide-open, while the original is smaller, lighter and made of all metal, not plastic, like this new lens.

Nikon 28mm f/1.4 E

Nikon 28mm f/1.4 E. bigger.

 

Format

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This is a full frame FX lens, and I'm reviewing it as such.

It works great on DX cameras, too, on which you may make the usual inferences, but why? The Nikon 35mm f/1.8 DX does the same thing on DX in a much smaller package for one-tenth the price. Please use this lens on full-frame and use DX lenses on DX cameras.

 

Compatibility

Top   Intro   Format   Compatibility   Specs

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Compared   Recommendations

It has a new electronic diaphragm; that's the "E" designation.

It works on all FX Nikons, and works well on DX Nikons introduced since about 2007.

It won't work properly on older DSLRs or any 35mm camera because they won't be able to work with the electronic diaphragm and will only shoot wide-open at f/1.4.

It won't work with any of the Nikon 1 series (even with the FT1 Mount Adapter) or Pronea cameras — but who cares?

See Nikon Lens Compatibility for more.

 

Specifications

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Name

Nikon 28mm f/1.4 E

Nikon 28mm f/1.4 E. bigger.

Nikon calls this the Nikon AF-S NIKKOR 28mm f/1.4E ED.  

    AF-S and SWM: Silent Wave Autofocus Motor.

    NIKKOR: Nikon's brand name for all their lenses.

    E: Electronic diaphragm. Silent operation, but only works with cameras introduced since about 2007.

    ED: Magic Extra-low Dispersion glass for reduced secondary chromatic aberration.

    RF: Rear Focusing. Only the rear elements move to focus.

 

Also has:

    D: Couples distance information to the Matrix Meter.

    IF: Internal focusing; nothing moves externally as focused.

    Aspherical: Specially curved glass elements for sharper pictures.

    G: Gelded; has no aperture ring.

    Nano Crystal Coat (N): Magic anti-reflection coating that has a variable index of refraction that's far more effective against ghosts and internal reflections than traditional multicoating.

    ∅77: 77mm filter thread.

 

Optics

Nikon 28mm f/1.4 E construction

Nikon 28mm f/1.4 E internal construction. Aspherical and ED elements.

14 elements in 11 groups.

3 aspherical elements.

2 extra low dispersion ED elements.

Rear focusing.

Nano coating inside the front element, and fluorine coatings on the outsides to resist dirt and fingerprints.

 

Diaphragm

Nikon 28mm f/1.4 E

Nikon 28mm f/1.4 E. bigger.

9 rounded blades.

Stops down to f/16.

 

Focal Length

28mm.

When used on DX cameras, it sees the same angle of view as a 42mm lens sees when used on an FX or 35mm camera.

 

Angle of View

75º diagonal on FX.

53º diagonal on DX.

 

Autofocus

Internal focus: no external movement as focused, so no air or dust is sucked in.

 

Focus Scale

Yes.

 

Infinity Focus Stop

No.

 

Depth of Field Scale

Sort of.

 

Infrared Focus Index

Yes; a little gold dot to the left of the focus index..

 

Close Focus

0.92 feet (0.28 meters).

 

Maximum Reproduction Ratio

1:5.9 (0.17 ×).

 

Filters

77mm.

 

Hood

Nikon 28mm f/1.4 E

HB-83 hood for Nikon 28mm f/1.4 E. bigger.

HB-81 plastic bayonet hood, included.

 

Case

CL-1015 included.

 

Size

3.27" maximum diameter × 3.97" extension from flange.

83.0 mm maximum diameter × 100.5 mm extension from flange.

 

Weight

Nikon specifies 22.8 oz. (645g).

 

Announced

12:01 AM, 31 May 2017, NYC time.

 

Promised for

Late June 2017.

 

Included

Lens.

Standard LC-77 77mm front cap.

Standard LF-4 rear cap.

HB-83 bayonet hood.

CL-1118 case.

 

Nikon's Model Number

20069.

 

Price, USA

July 2023

$1,997 at B&H, at Adorama, at Amazon and at Crutchfield.

About $850 used if you know How to Win at eBay.

 

May 2017 ~ April 2018

$1,997.

 

Getting a Legal USA Version

Top   Intro   Format   Compatibility   Specs

USA Version   Unboxing   Performance

Compared   Recommendations

This section applies in USA only.

In the USA, be sure your box has a 5-year warranty sticker:

Nikon 28mm f/1.4 E

Nikon 28mm f/1.4 E. bigger.

and that you have a USA warranty card on top when you open the box. The serial number on the card must match the serial number on the bottom of the lens and it must have been purchased from an authorized dealer for the warranty to be valid. The serial number on the box should match, too.

If not, you got ripped off with a gray market version from another country. This is why I never buy anyplace other than from my personally approved sources. You just can't take the chance of buying elsewhere, especially at any retail store, because non-USA versions have no warranty in the USA, and you won't even be able to get firmware or service for it — even if you're willing to pay out-of-pocket for it when you need it!

You really need to get an exotic lens like this only approved sources, since less scrupulous dealers will be handing a lens like this out to every lookie-loo to play with before reselling it to you for full price as "new."

Nikon USA enforces its trademarks strictly. It's unlikely, but possible that US customs won't let your lens back in the country if you bought a gray-market version in the USA, carried it overseas, and try to bring it back in. (If you take the chance of buying one overseas, be sure you have a receipt to prove you bought it overseas and be prepared to pay duty on it.)

If a gray market version saves you $700 it may be worth it, but for $400 or less I wouldn't risk having no warranty or support.

Always be sure to check everything while you can still return it, or just don't buy from unapproved sources or at retail so you'll be able to have your camera serviced and get free updated firmware as needed.

Get yours from the same places I do and you won't have a problem, but if you take the risk of getting yours elsewhere, be sure to check everything while you still can return it.

 

Unboxing

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USA Version   Unboxing   Performance

Compared   Recommendations

The box is completely unsealed. There is no way to know if anyone else has been fiddling with your lens, swapping parts and accessories, or even if it's a used lens. Especially with an exotic limited production lens like this that everyone wants to play with without having to buy, you need to be extra picky about where you get it.

This is why it's critical only to buy from an approved online source, since they ship from automated warehouses where no shifty salesmen or customers ever get to touch your new camera before it ships. While new $10 CDs, DVDs, Blu-Rays and bottles of milk and drinking water are sealed and quite obvious if anyone's opened them, paradoxically Nikon doesn't bother sealing anything, so your only insurance is to buy only from a trusted online dealer.

Nikon 28mm f/1.4 E

Nikon 28mm f/1.4 E. bigger.

Open the unsealed microcorrugated cardboard box and you'll see a black sack in a plastic bag covering the USA warranty card and multilingual instruction sheet:

Nikon 28mm f/1.4 E

Nikon 28mm f/1.4 E. bigger.

Pull out the paperwork and pull-up the white foam and you'll see the capped lens in a plastic bag with the hood in bubble wrap around it:

Nikon 28mm f/1.4 E

Box Contents, Nikon 28mm f/1.4 E. bigger.

 

Performance

Top   Intro   Format   Compatibility   Specs

USA Version   Unboxing   Performance

Compared   Recommendations

Overall   Autofocus   Manual Focus   Breathing

Bokeh   Distortion   Ergonomics  Eyeblow

Falloff   Filters   Flare & Ghosts   

Lateral Color Fringes   Macro  Mechanics

Noise & Vibration   Sharpness  

Spherochromatism   Sunstars

 

Overall

Performance          top

The Nikon 28mm f/1.4E is of course an excellent lens. The real question is if you are a good enough photographer to deserve this $2,000 masterpiece?

 

Autofocus

Performance          top

Autofocus is swell, but not ultra fast. AF takes a moment because all cameras need to take a little longer to ensure perfect focus at f/1.4.

The good news is that my D850 gets perfect focus every time even wide-open at f/1.4. This is excellent performance; cameras and lenses never used to give perfect focus every time at f/1.4, where even a slight misfocus leads to a soft image.

 

Manual Focus

performance          top

Manual focus is marvelous. The focus ring slides easily and smoothly with a single fingertip.

Just grab the focus ring at any time for instant manual-focus override.

 

Focus Breathing

Performance          top

Focus breathing is the image changing size as focused in and out. It's important to cinematographers because it looks funny if the image changes size as focus gets pulled back and forth between actors. If the lens does this, the image "breathes" by growing and contracting slightly as the dialog goes back and forth.

The image from this 28mm gets larger as focused more closely.

 

Bokeh

Performance          top

Bokeh, the feel or quality of out-of-focus areas as opposed to how far out of focus they are, is reasonably good. As a wide lens. even at f/1.4 there isn't much of anything that far out of focus; any 50mm f/1.8 will have backgrounds much farther out of focus than any 28mm lens.

Nikon 28mm f/1.4 Bokeh

Davis 6250 weather station, 17 March 2018. bigger or camera-original © file to explore on your computer (mobile devices rarely display full resolution images properly).

As always, if you want to throw the background as far out of focus as possible, shoot at f/1.4 and get as close as possible.

 

Distortion

Performance          top

The Nikon 28mm f/1.4E AF-S N has no visible distortion, which is excellent.

For more critical scientific use what small amount of residual barrel distortion can be completely corrected with a value of +1.00 in Photoshop's lens distortion filter, or use your camera's built-in distortion correction. My D850 overcorrects the distortion, so when used with Distortion Correction on, I need to correct that with a value of -0.5 in Photoshop's lens distortion filter.

In both cases these values are too small to see in real photographs unless you're putting rulers on big prints.

 

Ergonomics

Performance          top

Nikon 28mm f/1.4 E

Nikon 28mm f/1.4 E. bigger.

Ergonomics are easy. Other than it's a big lens to carry around your neck all day, once it's in your hands the focus ring is easy to move with any single fingertip.

The AF/MF switch falls right under my thumb.

Perfect. although I wish the mounting index dot was bigger and day-glow red instead of small and white, as if it's some sort of mistake.

 

Eyeblow

performance          top

While the rear element moves slighting as focused due to the rear focusing. design, the 28/1.4 has no eyeblow. No air pumps in or out of the back of the lens as focused

 

Falloff

Performance          top

Falloff on FX and 35mm is minor at f/1.4 and invisible otherwise.

It won't be an issue at all on DX (see crop factor).

I've greatly exaggerated the falloff by shooting a gray field and placing these on a gray background:

 

falloff on FX and 35mm at infinity, normal Vignette Control (correction):

f/1.4
f/2
Nikon 28mm f/1.4 falloff
Nikon 28mm f/1.4 falloff
Nikon 28mm f/1.4 falloff
Nikon 28mm f/1.4 falloff
f/2.8
f/4

© 2018 KenRockwell.com. All rights reserved.

 

falloff on FX and 35mm at infinity, no correction:

f/1.4
f/2
Nikon 28mm f/1.4 falloff
Nikon 28mm f/1.4 falloff
Nikon 28mm f/1.4 falloff
Nikon 28mm f/1.4 falloff
f/2.8
f/4

© 2018 KenRockwell.com. All rights reserved.

 

 

Filters, use with

performance          top

There's no need for thin filters.

I can use three stacked standard 77mm filters without vignetting on full frame.

Go ahead and use your standard rotating polarizer and grad filters.

If you are going to get any vignetting, it is worst at infinity and less as focused more closely. Any vignetting is sharpest at f/16. it's the same at f/1.4, just that the edge is much softer.

 

Flare & Ghosts

Performance          top

Flare and ghosts are well controlled. They seem worse as shot at smaller apertures, where you can get a big blue dagger across your image — but I'm greatly exaggerating it in these images where I'm deliberately putting the midday sun in one corner and then exposing for the shadow under a tree.

I didn't see much difference with or without a filter.

What looks like a vertical smear of the sun at the largest apertures is an artifact from the digital camera; not the lens. At f/1.4 the mid-day sun is burning a hole in my sensor, and what you're seeing is called interline leakage, a limitation of the sensor. Be glad I didn't burn my sensor; this isn't a lens problem; the extreme brightness put on the camera's sensor at its limits.

This is the very worst I could get it to flare; you'll never see anything this bad in actual use.

Click any to enlarge:

Nikon 28mm f/1.4 flare, ghosts and sunstars

Nikon 28mm f/1.4 flare, ghosts and sunstars

Nikon 28mm f/1.4 flare, ghosts and sunstars

Nikon 28mm f/1.4 flare, ghosts and sunstars

Nikon 28mm f/1.4 flare, ghosts and sunstars

Nikon 28mm f/1.4 flare, ghosts and sunstars

Nikon 28mm f/1.4 flare, ghosts and sunstars

Nikon 28mm f/1.4 flare, ghosts and sunstars

 

Lateral Color Fringes

Performance          top

Paradoxically there are some slight blue/yellow lateral color fringes as shot on my D850, which by default corrects for them.

 

Macro

Performance          top

This 28/1.4 gets reasonably close as fixed wide lenses go, but an iPhone X gets even closer.

 

At f/1.4

What does stand out is how sharp this lens is close-up, even shot wide-open at f/1.4 as I've done here:

Nikon 28mm f/1.4 macro performance

Kienzle Flieger Automat 800/2843, 17 March 2018. Nikon D850, f/1.4 at 1/5,000 at ISO 32. bigger or camera-original © file to explore on your computer (mobile devices rarely display full resolution images properly).

 

Nikon 28mm f/1.4 macro performance

1,200 × 900 pixel crop from above. bigger or camera-original © file to explore on your computer (mobile devices rarely display full resolution images properly).

The texture you're seeing is on the watch.

What looks like color fringes are spherochromatism on out-of-focus areas. There are no fringes on what little is in perfect focus, while there are yellow-green fringes on the background areas (the crown) and blue-violet fringes on things in the foreground, like the hands.

If this crop is about 6" (15cm) wide on your screen, the complete images would print at a huge 27½″ × 41¼″ (70 × 105 cm) at this same high magnification. If this is about 12" (30cm) wide on your screen, the complete images would print at a mammoth 55 × 82½″ (1.4 × 2.1 meters) at this same extremely high magnification!

 

At f/8

As expected, it's ultrasharp at f/8:

Nikon 28mm f/1.4 macro performance

Kienzle Flieger Automat 800/2843, 17 March 2018. Nikon D850, f/1.4 at 1/5,000 at ISO 32. bigger or camera-original © file to explore on your computer (mobile devices rarely display full resolution images properly).

 

Nikon 28mm f/1.4 macro performance

1,200 × 900 pixel crop from above. bigger or camera-original © file to explore on your computer (mobile devices rarely display full resolution images properly).

Stopped down, spherochromatism goes away and so do all the color fringes, and everything is ultrasharp.

If this crop is about 6" (15cm) wide on your screen, the complete images would print at a huge 27½″ × 41¼″ (70 × 105 cm) at this same high magnification. If this is about 12" (30cm) wide on your screen, the complete images would print at a mammoth 55 × 82½″ (1.4 × 2.1 meters) at this same extremely high magnification!

 

Mechanical Quality

Performance          topNikon 28mm f/1.4 E

Nikon 28mm f/1.4 E. bigger.

This is a mostly plastic lens, with glass optics, and a metal mount, screws and electrical contacts. The internals seem like they are a mixture of metal and plastic.

 

Hood

Plastic bayonet HB-83, included.

Hood made in China.

 

Front Bumper

None.

 

Filter Threads

Plastic.

 

Hood Bayonet Mount

Plastic.

 

Gold ED Band

Solid 14 karat gold.

 

Front Barrel

Plastic.

 

Focus Ring

Rubber-covered plastic.

 

Rear Barrel

Section with focus distance window: plastic.

 

Identity

14 karat gold-filled debossed metal plate around focus distance window.

 

Internals

Seem like both plastic and metal.

 

Dirt Seal at Mount

Yes.

 

Mount

Dull chromed metal.

 

Markings

Paint.

 

Serial Number

Nikon 28mm f/1.4 E

Nikon 28mm f/1.4 E. bigger.

Sticker glued into recess in the bottom of the lens barrel; not an acceptable way to serialize a $2,000 lens.

 

Date Code

None found.

 

Noises When Shaken

Moderate clunking.

 

Made in

Japan.

 

Noise and Vibration

Performance          top

The electronic diaphragm operates silently. Bravo!

 

Sharpness

Performance          top

Sharpness is disappointing. Unlike most every other lens introduced since 2010, this lens isn't ultrasharp in the corners wide-open at f/1.4. Yes, of course it's sharp, but sadly on a D850 it's not perfectly sharp in the corners at f/1.4 as most other expensive other hyper-performance lenses are.

It's always ultra-sharp in the center at every aperture, and it is sharper in the corners at f1.4 than the original 28mm f/1.4D, but not by that much.

While all modern lenses are about as sharp in the center and stopped down, my 24-70.2.8 AFS G from 2007 is a bit sharper in the corners at f/2.8 at 28mm, and my 16-35mm VR is sharper in the corners at f/4 at 28mm. Sorry.

Of course all lenses get softer at f/11 and smaller due to diffraction. If you want a sharp photo, shoot at f/8 or larger, shoot at ISO 100 and be sure nothing moves.

Amateurs confuse lens sharpness with picture sharpness, which is unrelated. It takes skill to make a sharp picture, and a skilled photographer can make sharp pictures even with soft lenses, while many amateurs have problems making sharp pictures even with the best lenses.

Nikon 28mm f/1.4 E MTF

Nikon 28mm f/1.4 E MTF at 10 cyc/mm and 30 cyc/mm.

 

Spherochromatism

Performance          top

Typical for a very fast lens, this lens has strong spherochromatism (color fringes on out-of-focus areas) at f/1.4:

Nikon 28mm f/1.4 Spherochromatism

Kienzle Flieger Automat 800/2843, 17 March 2018. Nikon D850, f/1.4 at 1/8,000 at Auto ISO 64. bigger or camera-original © file to explore on your computer (mobile devices rarely display full resolution images properly).

 

Nikon 28mm f/1.4 Spherochromatism

1,200 × 900 pixel crop from above. bigger or camera-original © file to explore on your computer (mobile devices rarely display full resolution images properly).

Stopped down, spherochromatism goes away and so do all the color fringes, and everything is ultrasharp.

Spherochromatism, also called "color bokeh" by laymen, can cause colored fringes on out-of-focus highlights, usually seen as green fringes on backgrounds and magenta fringes on foregrounds with fast, long lenses shot wide open.

It is an advanced form of chromatic aberration in a different dimension than lateral color. Spherochromatism is most commonly seen in fast lenses of moderate focal length when shooting contrasty items at full aperture. It goes away as stopped down.

If this crop is about 6" (15cm) wide on your screen, the complete images would print at a huge 27½″ × 41¼″ (70 × 105 cm) at this same high magnification. If this is about 12" (30cm) wide on your screen, the complete images would print at a mammoth 55 × 82½″ (1.4 × 2.1 meters) at this same extremely high magnification!

 

Sunstars

Performance          top

Even with its rounded diaphragm, this Nikon 28 1.4 makes great 18-pointed sunstars on brilliant points of light at most of the smaller apertures.

Bravo!

Click any to enlarge:

Nikon 28mm f/1.4 flare, ghosts and sunstars

Nikon 28mm f/1.4 flare, ghosts and sunstars

Nikon 28mm f/1.4 flare, ghosts and sunstars

Nikon 28mm f/1.4 flare, ghosts and sunstars

Nikon 28mm f/1.4 flare, ghosts and sunstars

 

Compared

Top   Intro   Format   Compatibility   Specs

USA Version   Unboxing   Performance

Compared   Recommendations

 

Versus the Nikon 28mm f/1.4D

Nikon 28mm f/1.4 E

Nikon 28mm f/1.4 E (left) and 28mm f/1.4 AF-D (right). bigger.

 

The original Nikon 28mm f/1.4 AF-D (1994-2006) is smaller, lighter and much tougher, but isn't quite as sharp wide-open, and the older lens requires holding a button while you rotate a ring to switch between auto and manual focus. The older lens is made of 100% metal.

This new lens offers instant manual-focus override simply by moving the focus ring at any time, and focuses a little closer. This new lens is also bigger, heavier and made of mostly plastic.

 

Versus the Nikon 24mm f/1.4G

The 24mm f/1.4G is the same price, but slightly smaller, lighter and wider, and better made with a metal focus ring.

The real difference is that this new lens has the newest "E" electronic diaphragm so it will be quieter and potentially work at higher frame rates on all FX cameras, while the older 24mm f/1.4G has Nikon's classic mechanical diaphragm and will work on older digital and 35mm cameras.

 

Versus the Nikon 35mm f/1.4G

Both are equally super-sharp.

The 35mm f/1.4G costs a bit less, and is slightly smaller, lighter and has a more narrow field of view. Personally I'm not a fan of 24mm or 28mm lenses and prefer what a 35mm lens sees, but that's just me.

The real difference is that this new 28/1.4E lens has the newest "E" electronic diaphragm so it will be quieter and potentially work at higher frame rates on all FX cameras, while the older 35mm f/1.4G has Nikon's classic mechanical diaphragm and will work on older digital and 35mm cameras.

 

Recommendations

Top   Intro   Format   Compatibility   Specs

USA Version   Unboxing   Performance

Compared   Recommendations

If you already own the 24mm f/1.4G, 28mm f/1.4 AF-D or 35mm f/1.4G, you don't need this. While it's bigger than the 28mm f/1.4 AF-D, the advantage of this new lens is slightly closer focus, and instant manual focus override, but this new lens won't work on 35mm cameras.

f/1.4 lenses are for shooting action in low light, or astronomy. For general photography, we rarely need f/1.4; if you want soft backgrounds, you're much better off with a longer lens like a 50mm f/1.8 or 85mm f/1.8, either of which will have softer backgrounds than this much wider lens. Focal length has far more to do with depth of field than aperture.

I got mine at B&H. I'd also get it at Adorama, at Amazon, or at Crutchfield.

This all-content, junk-free website's biggest source of support is when you use those or any of these links to approved sources when you get anything, regardless of the country in which you live. Nikon does not seal its boxes in any way, so never buy at retail or any other source not on my personally approved list since you'll have no way of knowing if you're missing accessories, getting a defective, damaged, returned, store demo or used lens. I use the stores I do because they ship from secure remote warehouses where no one gets to touch your new camera before you do. Buy only from the approved sources I use myself for the best prices, service, return policies and selection.

Thanks for helping me help you!

Ken, Mrs. Rockwell, Ryan and Katie.

 

© Ken Rockwell. All rights reserved. Tous droits réservés. Alle Rechte vorbehalten.

 

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19 July 2023 prices and housekeeping, 17 &16 March 2018, 31 May 2017