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<blockquote data-quote="editorial_use_only" data-source="post: 648948" data-attributes="member: 40895">Congrats on your new camera.&nbsp; The 7000 series are great cameras.For what it's worth, a piece of advice.&nbsp; One of the sacrifices you make with a DX versus an FX body is high ISO performance; if you're a DX shooter, fast glass takes on some additional utility and importance.&nbsp; A stop can be the difference between the native ceiling and a Hi1, an image that is salvageable versus not.&nbsp; Assuming that's your complete list of kit, you might just keep an eye out for a fast long/med lens.&nbsp; I know you have the 50/1.8 and a 105/2.8, but something like the 85/1.4D or 85/1.4G used possibly, or the Sigma 50-100/1.8.&nbsp; In my experience shooting DX, that stop so often meant the difference in getting the shot, between having to compromise shutter speed or ISO.&nbsp; If I was a DX shooter, that Sigma 50-100 is a lens I'd be very interested in.&nbsp; There's also the Nikon 105/2, 135/2, and of course the 105/1.4.</blockquote>

[QUOTE="editorial_use_only, post: 648948, member: 40895"] Congrats on your new camera. The 7000 series are great cameras. For what it's worth, a piece of advice. One of the sacrifices you make with a DX versus an FX body is high ISO performance; if you're a DX shooter, fast glass takes on some additional utility and importance. A stop can be the difference between the native ceiling and a Hi1, an image that is salvageable versus not. Assuming that's your complete list of kit, you might just keep an eye out for a fast long/med lens. I know you have the 50/1.8 and a 105/2.8, but something like the 85/1.4D or 85/1.4G used possibly, or the Sigma 50-100/1.8. In my experience shooting DX, that stop so often meant the difference in getting the shot, between having to compromise shutter speed or ISO. If I was a DX shooter, that Sigma 50-100 is a lens I'd be very interested in. There's also the Nikon 105/2, 135/2, and of course the 105/1.4. [/QUOTE]

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