Nikon AF-S NIKKOR 70-200mm f/4G ED VR Lens

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The Kirk collar is a better choice than Nikon’s, though I still think you’d want to put some downward pressure on the top of lens to make sure that it’s front support engages the lens completely. ED VR II vs AF-S Nikkor 70-200mm f/4G ED VR compared review, the new lens proved a joy to use, outputting sharp and pleasant images at all focal lengths. I took the lens out to a couple of birding spots around my area and while at first it felt like it was not as quick as my f/2.

s. Yeah it's a little bit of a beast but it does give you a lot more flexibility to use it for more than just hiking. At 200mm, hand-held, we were able to get consistently sharp results from shutter speeds at least as low as 1/15 sec, which matches the best lenses we've tested in the past. The Really Right Stuff collar makes a tighter fit than Nikon’s, but still can fulcrum on you if you’re not careful to get it fully locked down.Though it will depend on your personal circumstances/working practices, I personally always find myself working nearer the 200mm end of my 70-200mm F/2. At 70mm, the Nikon 70-200mm f/4G VR yields better contrast from center to corners than the 70-200mm f/2. If you don't shoot much action with the 70-200/4, I think it can produce excellent results with a very pleasing overall rendition.

In less than ideal lighting conditions though (especially indoors), AF speed and accuracy did suffer visibly more, with some loss of contrast. We weren't able to save any images, but from a very quick test Nikon's claims of a 5-stop vibration reduction don't seem entirely unreasonable. On the other hand, I would definitely move it to “Infinity-3m” when you know for sure that your subjects will never get closer than 3m (i. I expected the lens to suffer like my Nikon 200-400mm f/4G VR does when using it with the TC-17E II, but it certainly did better. Falloff on FX and 35mm is nearly nonexistent, especially at 200mm and wide open, where many telephoto zooms have nasty hotspots in the middle of their images.My first comment a lot of folks don't like to hear, but this lens is significantly better than any F-mount 70-200/2. Anecdotally, maybe half a dozen times I've had my camera EVF go completely white and needs to be shut off and turned back on again, at which point it is perfectly fine.

The 70-200mm f/4G is has no significant flaws to speak of, resolves well on even the highest megapixel count bodies, yet saves you size and weight over its older sibling. Longitudinal chromatic aberration / LoCA (which is the effect of color fringing in front of and behind the focused area) is also handled well at large apertures. Consistently sharp at 1/15sec, and impressive sharpness, if not 100% of exposures, a stop or so slower than that. When used on a DX camera, it gives angles of view similar to what a 105-300mm lens gives when used on an FX or 35mm camera.Fortunately, you have to very deliberately pull the knob out and unlatch the collar to release it entirely, preventing expensive noises from ensuing. I suspect that some native english speakers may forget about the other use fo the idiom - "all but" also means "second to last" (from the game of cribbage, where you are all but one hole from the last hole. According to Nikon, you can leave VR on even when the camera is on a tripod, but I’d not recommend it for critical work. We've been using a full production version of this 120 fps sports camera, to see what you gain (and, perhaps, lose). Performance is very similar to the native camera - but some cameras and some lenses are faster or slower than others.

So, if this sounds close to the way you’d use this lens or the way you plan to use your images, follow my advice and get a tripod collar, you’ll be glad you did. To put it bluntly, the new AF-S Nikkor 70-200mm f/4G ED VR’s images show a lot of distortion, much more so than the Nikon AF-S Nikkor 70-200mm f/2. As this page is copyrighted and formally registered, it is unlawful to make copies, especially in the form of printouts for personal use.The 70-200mm f/4 rounds out the trio of slower aperture zooms that Nikon makes (16-35mm, 24-120mm), probably in response to the f/4 zoom trio that Canon produced. The D500, D850, and Z6ii and Z7ii have dual processors, but the D500 and D850 are better tuned to take advantage of the processor.