Nikon AF-S VR Nikkor 70-200 mm nikon lens one is great for taking pictures remotely, Charged by Nikon as a ‘compact, lightweight’ quick telephoto, the lens functions a complicated visual design of 21 components in 15 categories, such as no less than 5 Extra-low Distribution (ED) components for the modification of aberrations. It enhances on its forerunner, the AF-S 80-200mm f/2.8G, mainly by an visual picture stabilisation device (or in Nikon talk, ‘vibration reduction’), enabling hand having at shutter accelerates to three prevents less than usual without picture deterioration due to trembling digital camera.
The 70-200mm f/2.8 type of quick telephoto zoom capability is (along with the quick conventional zoom) one of the key utility vehicle contacts for the operating professional photographer, and is used for a large range of programs. From marriages and images, though activities and literature, to activities and wild animals, this lens will be a principal of many an experienced, and therefore needs to execute perfectly across almost every possible scenario. As well as this lens is not just the protect of operating pros; eager (and well-heeled) beginners will also value the versatility and actual visual quality guaranteed by a top level quick telezoom.
- 70-200mm focal length range; fast f/2.8 constant maximum aperture
- Optical image stabilization – 3 stops with automatic panning detection and ‘active’ mode
- Ring-type ultrasonic focusing with full-time manual override
- F mount for Nikon and Fuji DX and FX format DSLRS
Nikon AF-S VR Nikkor 70-200mm Body And Design
The Nikon 70-200m F2.8 VR is designed to hold up against the rigours of daily professional use, and the common of development is outstanding. From the super-smooth zoom capability and concentrate jewelry to the perfectly designed and designed tripod increasing foot, everything about this lens gives top quality. Construction seems to be to be mainly of steel, and the lens is ecologically enclosed, such as a rubberized gasket around the install to avoid dirt and water ingress into the digicam. As is conventional for this type of lens, both cruising and concentrating are inner, that creates a unique impact of stability to the ‘one-piece’ development, and preserves the balance of the lens on the digicam regardless of central duration.
In evaluation to other 70-200mm F2.8 zoom, the Nikon is uncommonly long and thin in design, indeed suddenly so for a full-frame lens (especially given the fact that Nikon’s technicians have had to press in an visual stabilizing unit). Overall it rather gives the impact that the cup is focused towards the front of the gun barrel, indeed the filter tubular area instantly nearby to the lens install is simply air space (and we’ll see the likely repercussions of this on its visual efficiency in due course). Aside from that, it’s quite similar in size to other contact contacts of this type, and potential upgraders should be aware that it is really a lot bigger and bulkier than customer telezooms such as the 70-300mm F4-5.6 VR. It’s a serious photography device, but quite possibly not one you’ll want to carry around all day on vacation.
Nikon AF-S VR Nikkor 70-200mm Images Qualiy
This lens features Nikon’s silent-wave motor for auto-focus, which works incredibly well; it’s almost quiet in function, and we saw no proof for any methodical concentrating mistakes. We found concentrating to be very quickly and precise in daily use on both the D300 and D3 test systems, however it must be mentioned that concentrate speed and precision relies upon a number of factors, such as you body used, topic comparison, and light levels.
The lens works well even start up, and at the best possible apertures (F5.6-F8) is remarkably distinct right across the structure at all main measures except for 200mm. Diffraction begins to melt the picture on avoiding down to F11, with F22 for use only when excessive detail of area is essential.
Chromatic aberration can just sometimes be noticeable as green/magenta fringing at 70mm on either DX or complete structure, but is never really a significant problem. The plants below demonstrate the worst-case situation of 70mm and advanced apertures; of course if you’re capturing JPEG with the D300 or D3, basically won’t see chromatic aberration anyway, as both cameras successfully get rid of it in handling.
We consider falloff to become a prospective problem when the area lighting drops to more than 1 stop less than the center. Here it’s a serious problem start up at all main measures, with area lighting varying from 2 to 2.7 prevents (at 105mm) below center. However the visible effect is biggest at 200mm, as here the vignetting expands furthermost into the structure. Stopping down enhances issues, but only gradually; at 105mm, falloff is 1.3 prevents even at F11. Again, not really appropriate for a professional lens.
Distortion levels are overall very low on DX, varying from moderate gun barrel distortions at 70mm (0.6%), through fairly neutral at about 100mm, to minor pincushion at 200mm (-0.8%). Nothing to be concerned about at all here. The 70-200mm isn’t meant to be a macro lens, and results keep this out. Highest possible zoom capability is 0.18x, which is obtained at a calculated nearest concentrate range of 1.4m, amounting to a working range of about 1.14m from the lens to the topic.
The analyze graph picture reveals minor pincushion distortions, smooth sides and red/cyan chromatic aberration. Central quality is rather low start up but becomes very good on avoiding down to F5.6, however sides only improve up at F22, indicating important curve of area at close concentrate ranges. All in all, not the best lens for closeups.
The 70-200mm has a popularity as being somewhat vulnerable to surface, and our real-world assessments to some level keep this out. It usually manages backlit circumstances completely properly, but operates into problems when there is a powerful mild either within the structure, or just outside it; and in the worst-case situation things can go very incorrect indeed.
Our two ‘real-world’ surface illustrations show this clearly; in the first, at 70mm F8 with a powerful mild within the structure, we see an extended range of multicoloured (but not particularly attractive) surface areas, with the complexness of the design a primary effect of that 21-element design. In the second taken, at 200mm F8 with the sun just outside the structure, veiling surface has become serious with a huge loss in picture contrast; however to be reasonable this effect decreases quickly on spinning the digicam further away from the sun.
One truly suitable, but difficult to evaluate part of a lens’s efficiency is the capability to provide efficiently blurry out-of-focus areas when trying to separate a topic from the, usually when using an extended main duration and large aperture. Here the 70-200mm VR is a great entertainer, generating sleek, eye-catching bokeh which hardly ever discounts the topic.
Visual Picture Stabilization
The 70-200mm functions Nikon’s first creation vibrations decrease system, which states to allow handholding at shutter rates of speed three prevents less than regular before cloud from trembling digicam becomes obvious. The procedure is near-silent in use, with just a very silent whirring disturbance when functional, and with unique clicks of the mouse when it triggers and deactivates from the VR team planning and out of the ‘at rest’ place.
We’ve usually discovered the stabilisation models in SLR contacts to be fairly efficient at real-world use, and to quantifiy this, we exposed the 70-200mm to our studio room image stabilisation analyze at the extensive and long finishes of the variety, using the D3 as quality digicam. With this mixture we’d normally anticipate to be able to get great outcomes portable at 1/80 sec at 70mm, and 1/250 sec at telephoto without image stabilisation. The topic variety for these assessments was roughly 2m at 70mm, and 6m at 200mm.
See More Another Nikon Lens News Below :
- Nikon 18-200mm f/3.5-5.6G Specification Review
- Nikon 18-55mm AF-S Specification Review
- Nikkor 24mm F1.8G ED lens review
- The New Nikon AF-S Nikkor 35mm f/1.8G
Nikon AF-S VR Nikkor 70-200mm Specifications
|Street price||• US: $1700
• UK: £1150
|Date introduced||April 2003|
|Maximum format size||35mm full frame|
|35mm equivalent focal length(APS-C)||105-300mm|
|Diagonal Angle of view (FF)||34º – 12º|
|Diagonal Angle of view (APS-C)||23º – 8º|
|Lens Construction||• 21 elements / 15 groups
• 5 ED elements
|Number of diaphragm blades||9, rounded|
|Maximum magnification||0.16x at 200mm|
|AF motor type||• Ring-type ultrasonic
• Full-time manual focus
|Image stabilization||• 3 stops
• Auto panning detection
• Active mode
|Filter thread||• 77mm
• Does not rotate on focus
|Supplied accessories||• Front and rear caps
• HB-29 Hood
• CL-L2 Soft Case
|Weight||1470g (51.8 oz)|
|Dimensions||87mm diameter x 215mm length
(3.4 x 8.5 in)
|Lens Mount||Nikon F only|
|Other||• Dust and moisture sealing
• Reports focus distance information to camera body
• Three AF stop buttons