The original Nikon 70-200 2.8 VR probably has a slight edge over the original Canon 70-200 2.8 L IS. I am basing this off both the actual optical performance as well as the resale value. In other words, people seem to still desire the older version of the Nikon a little bit more than the older version of the Canon. Nikon's Nano-Crystal-Coat does a sterling job of minimising flare and ghosting and the lens performs well for a design comprised of so many elements. A lens constructed of 21 elements in 16 groups would normally be an absolute nightmare for this. With a strong light source placed just out of the image, some ghosting and loss of contrast is present, but not to anywhere near the extent of the previous model. Shooting straight at a strong light source is also surprisingly ghost-free, with only a small amount of blooming around the edges of the light source.

It was only recently that I heard the phrase "focus breathing," and honestly it didn't seem like that big of a deal to me. The basic concept behind focus breathing is that unlike expensive cine lenses used for video, most DSLR lenses do not hold their true field of view when focus is adjusted. Fstoppers writer Tihomir Lazarov posted a great article about the difference between cinema lenses and DSLR lenses, and in that article he shares a great video showcasing how this phenomenon works.This is an in-depth review of the new Nikon TC-20E III teleconverter that was released in December of 2009, along with an updated version of the Nikon 300mm f/2.8G VR II lens. The Nikon TC-20E III is a major update to the existing Nikon TC-20E II teleconverter, sporting a brand new optical design with an aspherical element, which delivers better performance with many specialty telephoto lenses.

Cameras – LCD screen is heavily worn either by de-lamination or has scratches to it. Rubber grips are starting to come away from the body. Now that you know exactly what four lenses are included into this test, let me summarize the findings shown in the video above. Focus Breathing Test Last but not least, if you’re on a very serious budget then I will mention the Nikon 80-200mm f/2.8’s. I would stay away from the older push-pull AF-D models if you’re shooting action sports, but there is a new-ish SWM (Silent Wave Motor) version that is actually even sharper than the mk1 70-200! If you’re okay with using a monopod for low-light photography, this is a fantastic lens to own. While it probably costs about the same as a third-party 70-200 that has stabilization, if you buy a used Nikon 80-200mm at the right price and take good care of it, you will be able to sell it later with basically zero depreciation! Which 70-200 Do I Use Personally? Again, personally, if I shoot Canon or Nikon it doesn’t matter: I’d still rather have an 85 and 135 prime for most shooting conditions, so that is why I would opt for one of the more affordable 70-200mm options. Besides if I really need boat-loads of sharpness or bokeh, I feel like that is what primes are for! I know that many probably don’t feel the same way, but hopefully there are also many photographers out there who can relate. In short, if your 70-200mm is a bread-and-butter type lens that you can’t live without, then buy the best! (Whether it is an f/4 zoom for landscapes or casual shooting, or an f/2.8 zoom for low-light action and bokeh.)Optics: 21 elements in 16 groups. 32 air/glass-surfaces provide a lot of opportunities for flares and ghosts. Nikon has applied their special Nano Crystal Coat on some elements. We’ll see how this works out in practice. The cross-section shows a lot of special elements: seven extra-low dispersion elements. [0] Its only vice is that the corners are never super-duper sharp for landscape photographers at the 200mm end, but these lenses have always been for sports, low light and portraits, not tripods. The new vibration reduction system in this lens is truly amazing! I loved my old 70-200mm, but it made me nervous to shoot it below 1/40-1/50th of a second. After I got the new 70-200mm VRII in my hands, I decided to see what I can get with this lens at much lower shutter speeds. Take a look at this shot: NIKON D700 @ 180mm, ISO 400, 1/13, f/2.8

Similar to other Nikon teleconverters and its predecessor, the Nikon TC-20E III has a rugged all-metal exterior and a metal mount that is built to last a lifetime. The solid construction, along with a whopping 7 elements make it one heavy teleconverter, weighing a total of 330 grams without a lens attached. As a comparison, the Nikon 50mm f/1.4G lens weighs only 280 grams. The Nikon TC-14E II and TC-17-E II weigh 200 and 250 grams, respectively. While the number of optical elements has not changed between the new and the older 2x teleconverters, two key differences to note are the redesigned layout/lens groupings and replacement of a regular lens element with an aspherical one. The aspherical element was added to improve image quality by increasing sharpness, decreasing coma and other aberrations. Like other teleconverters, the Nikon TC-20E III has fixed lens elements that do not move when focus ring or zoom ring are touched on the lens. This means that the lens is protected very well against dust and moisture. NIKON D3S + 300mm f/2.8 @ 600mm, ISO 200, 1/800, f/7.1 Autofocus Speed and Accuracy The lens features the golden ring that we know from pro grade glass from Nikon, but the jury is still out as to what exactly the gold ring signifies. Some think it is the ED glass, others that it is the weather sealing and yet others that it is pro grade glass. No matter what the right answer is, the lens is built very solid in most metal and some rubber (focus ring and zoom). And a bit seldom in this day and age, it is made in Japan (at least my copy is!).

Color rendition

The optics are still the same as the excellent original AF version of 1988, and used the same HB-7 bayonet hood as the previous D version. Our used products are subject to wear and tear in comparison to brand new products. This also applies to accessories that are supplied with the camera including batteries which may have a lower optimum performance level/life expectancy. Its autofocus is slightly faster and more accurate too, so if you shoot anything high-speed you should definitely consider the mk2. As you can see, the bokeh on the new 70-200mm VR II is very comparable to the bokeh of 85mm f/1.4 – it is very smooth and “creamy”. Vignetting

I bought my lens for 900 EUR used (2020), and it came in good condition. Even though prices fluctuate over time, it is a rather expensive lens also used, but certainly much more within reach than the original list price of 2400 USD in 2009. Build and layout The lens comes with 4 buttons, two to control the AF, and two to control the VR. In addition good wide rubber grips are there for manual focus and zoom (just left of the buttons). Some photographers may be wondering about the tripod foot that’s coupled with the Z 70-200mm f/2.8 S. In the past, Nikon has used non-standard, non-Arca-Swiss tripod feet on their high-end lenses, and unfortunately this one is no different. If you want to attach the 70-200mm f/2.8 S to an Arca Swiss-type tripod head, you’ll need to buy a separate tripod foot and replace the one Nikon included. Or, you could add a standard Arca Swiss plate to the bottom at the expense of a bit more weight and an extra attachment point. There is a distance scale sheltered behind a window, but there are no depth-of-field marks and no infrared focus index either. Closest focus distance/max. magnification: 1.4 m (4.6 ft.) / 1:8.3. In my test I was able to go down to 1: 7.9. This meager magnification also means that the effective focal length shrinks some 30% when focusing close. Similar to what the Sigma achieves. [0]

Introduction

The third conclusion I can make from this test is that the Tamron SP lens seems to be ever so slightly more sharp than the newer G2 lens. You can really see this in the corners and pretty much on every small piece of text. Overall though, I think both of these lenses are extremely sharp all things considered. Some lenses look great on paper and on test charts, but cannot perform equally well when used in an outdoor environment, especially with fast-moving subjects like birds. The primary reason is autofocus, the performance of which depends on many different factors. Teleconverters generally negatively impact autofocus performance, due to a considerable loss of light and contrast and the 2x TC is the worst in this regard. Adding a teleconverter slows down lenses and the Nikon TC-20E III slows down by two full stops. What this means, is that when the teleconverter is mounted on an f/2.8 lens, it slows down to f/5.6 and as you may know, autofocus performance on small apertures beyond f/5.6 is unreliable even in broad daylight conditions. Nikon clearly points out that autofocus does not work beyond f/5.6, so if you have an f/4.0 lens, forget about autofocus – you will have to resort to manual focus. One of the main attractions of this lens is the versatile focal range that goes from moderate to close-up telephoto.