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Posts Tagged ‘Nikon’

Nikon developing compact and lightweight 500mm F5.6 lens

14 Jun

Nikon has announced the development of the FX-format AF-S NIKKOR 500mm F5.6E PF ED VR lens. It uses the same type of phase fresnel element as the company’s AF-S 300mm F4E PF ED VR, which is 30% shorter and more than 50% lighter than its predecessor. By design, a Phase Fresnel element reduces chromatic aberration introduced by traditional refractive elements, while also reducing the overall length required to achieve high focal length magnification. This usually results in a decrease in total number of lens elements, as well as in overall size and weight.

Nikon hasn’t divulged any specifics, and more details, pricing and availability will be announced later this year.

Press Release

NIKON ANNOUNCES DEVELOPMENT OF AF-S NIKKOR 500mm f/5.6E PF ED VR, A PORTABLE SUPER-TELEPHOTO FX-FORMAT LENS

The AF-S NIKKOR 500mm f/5.6E PF ED VR Will Deliver Exceptional Agility and Optical Performance in an Incredibly Compact and Lightweight Package

MELVILLE, NY (JUNE 14, 2018 at 12:01 A.M. EDT) – Today, Nikon Inc. announces the development of the AF-S NIKKOR 500mm f/5.6E PF ED VR, an FX-format fixed focal length super-telephoto lens, which will offer a compelling combination of portability and performance.

The AF-S NIKKOR 500mm f/5.6E PF ED VR will be a high-performance super-telephoto lens that is significantly smaller and lighter than comparable predecessors due to the adoption of the same type of Phase Fresnel (PF) lens element found in the AF-S NIKKOR 300mm f/4E PF ED VR lens, introduced in January 2015. Despite its 500mm focal length, the lens is small and light enough to use hand-held in a wide variety of situations where a photographer must capture unpredictable and fast-moving subjects, including sporting events and wildlife photography.

Phase Fresnel Lens Elements

The Phase Fresnel (PF) lens element developed by Nikon effectively compensates for chromatic aberration utilizing the photo diffraction phenomenon*. Compared to many general camera lenses that employ an optical system using the photorefractive phenomenon, a remarkably compact and lightweight body can be attained with fewer lens elements.

Price and Availability

Information regarding the release of the AF-S NIKKOR 500mm f/5.6E PF ED VR lens, including final specifications and pricing, will be announced later this year. For more information on the latest Nikon products, please visit www.nikonusa.com.

*Diffraction phenomenon: Light has characteristics as a waveform. When a waveform faces an obstacle, it attempts to go around and behind it, and this characteristic is referred to as diffraction. Diffraction causes chromatic dispersion in the reverse order of refraction.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon D850 Review

14 Jun

  The long awaited Nikon D850 is here, so is it worth the price tag?  There are the features we have been expecting along with more than a few surprises. Let’s dive in and discuss the pros and cons of this 46- megapixel full frame shooting machine… The Nikon D850 replaces Nikon’s D810, but it does much more than that. Continue Reading

The post Nikon D850 Review appeared first on Photodoto.


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Why I’m Downsizing from a Nikon 70-200mm f/2.8 Lens to the f/4 Version

13 Jun

The Nikon 70-200mm f/2.8 lens has been one of my most used since purchasing it several years ago. It’s a perfect lens for photographing either abstract, intimate or obviously, zoomed in landscapes. However, after borrowing the f/4 version from a local camera store during a trip to the Faroe Islands, I’ve decided to sell my current lens and replace it with the smaller and less expensive (almost $ 1000 less) f/4 version.

Before we get into why I’m replacing it, let’s look at why I went for the f/2.8 lens, to begin with:

Why I Purchased the Nikon 70-200mm f/2.8

When I purchased my first full-frame camera several years ago (the Nikon D800), I started out with only one lens: the 16-35mm f/4. At the time, that was all I could afford and it was my main setup for close to a year.

By that time I had saved enough money to add another lens to my backpack (only having the 16-35mm was quite limiting so I wanted to add more range before heading out on a two-week journey to the US).

Why I'm Replacing my Nikon 70-200mm f/2.8 Lens with the f/4 Version

Though there are several other brands to choose between, I had already made up my mind that I’d go for Nikon’s 70-200mm. The harder choice, however, was whether I should go for the f/2.8 or f/4.

After much back and forth, and long discussions with other photographers, I ended up with the f/2.8. Despite it being heavier and more expensive, it seemed like the right choice as it has a wider maximum aperture. Even though I’m a landscape photographer (I don’t do much wildlife or portraits, etc), I figured the wider aperture might come in handy and be more important than the weight.

I’d say this is the perfect lens if you’re photographing:

  • Wildlife
  • Portraits
  • Macro
  • Concerts/events
  • Under low light
Why I'm Replacing my Nikon 70-200mm f/2.8 Lens with the f/4 Version

Captured with my 70-200mm f/2.8 lens.

Why I’m Changing to the f/4

When looking through the images I’ve shot with my 70-200mm, only a fraction of them were captured at f/2.8. In fact, the majority of those are images I captured at concerts or other events for a local magazine, which I very rarely do anymore.

The fact that I rarely use an aperture of f/2.8 on this lens, combined with the fact that I’m spending more time hiking and need a lighter backpack, made it an easy decision to replace my current lens with the lighter 70-200mm f/4 lens.

Why I'm Replacing my Nikon 70-200mm f/2.8 Lens with the f/4 Version

Captured with the 70-200mm f/4 lens.

As a landscape photographer, it’s rare that you need f/2.8, especially for the type of images I tend to capture.  It’s more important for me to save weight (1540 gm/3.2 lbs versus 850 gm/1.9 lbs) since my backpack gets quite heavy when carrying all my lenses and cameras, a tripod, and other accessories.

Though I only tested the lens for 10 days, I found it’s not a sacrifice of much image quality by choosing the f/4 over the f/2.8. Both the sharpness and autofocus are just as good in the former.

These are the main benefits I’ve found with the 70-200mm f/4 lens:

  • It’s almost half the weight of the f/2.8.
  • It’s smaller in size and takes less space in the camera bag.
  • Autofocus is just as good (in fact it’s better than on my old f/2.8).
  • Sharpness is just as good.
  • It’s nearly half the price of the f/2.8 ($ 2800 versus $ 1400 roughly).

The Consequences of Changing

Of course, sacrificing one stop of light is something worth mentioning, as this does come with a few consequences. While it might not be a big difference between f/4 and f/5.6, there is a significant difference between f/2.8 and f/4, especially in low light situations.

Why I'm Replacing my Nikon 70-200mm f/2.8 Lens with the f/4 Version

If you use a tripod for all of your photography and you avoid photographing wildlife and other scenarios with a shallow depth of field, the sacrifice is minimal and most likely not even notable. However, if you tend to photograph handheld in low light situations and enjoy photographing with a shallow DoF, you might want to reconsider replacing the f/2.8.

Here are some of the sacrifices you’ll make when changing from f/2.8 to f/4:

  • You won’t get as good of a “bokeh” effect nor achieve as much of a shallow depth of field.
  • You’ll need to increase the ISO instead of opening the aperture in low light situations.
  • You will be more dependant on a tripod in low light situations.

That being said,  this was an easy decision and one that I wish I’d made many years ago. Do you have a 70-200mm lens? Which version do you have and why?

The post Why I’m Downsizing from a Nikon 70-200mm f/2.8 Lens to the f/4 Version appeared first on Digital Photography School.


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Nikon D5 firmware update adds useful ‘recall shooting functions’ feature

26 May

Nikon has released firmware version 1.30 for its D5 professional DSLR, and the new camera software offers a new feature that’s potentially very useful: recall shooting functions.

The “recall shooting functions” option is now available for Custom settings f1 (custom control assignment) and can be configured so that pressing and holding specific controls will recall previously saved exposure settings (including shutter speed and aperture). The function is designed to allow for quick changes of shooting parameters in variable light conditions.

The function can be assigned to the Preview button, Fn1 button, Fn2 button, AF-ON button, Sub-selector center, AF-ON button for vertical shooting, or Lens focus function buttons. If you are using a WR-1 or WR-T10 remote control, it can also be assigned to the Fn buttons on those controls. An addendum to the camera manual that explains the new function in more detail can be downloaded on the Nikon website.

All other changes in this update are fairly minor. The focal lengths of some AF-S and AF-I lenses that are displayed with a teleconverter attached to the camera have been updated, and the time zone display in the Setup Menu only shows the names of major cities in the currently selected time zone. There are also a couple of minor bug fixes.

To read the full change log or download the new firmware for yourself, head over to the Nikon website.

Articles: Digital Photography Review (dpreview.com)

 
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Why Nikon and Canon should build mirrorless as a second system – but probably won’t

22 May

All rumors suggest that Canon and/or Nikon is going to get into the high-end mirrorless interchangeable lens camera market, in some way.

I don’t have any insider knowledge of this, or I wouldn’t be able to write this, but it looks pretty likely at this point. It also seems pretty likely to me that both brands will do everything to maintain compatibility with their existing lens mounts. Avoiding the need to design a whole new lens range, maximizing the value of the investment in the existing lineup and side-stepping the kind of anger that Canon generated when it abandoned its previous ‘FD’ mount (all the way back in 1987) are all major motivators.

Let’s imagine what would happen if they decided to make a system that sat alongside their existing DSLRs, rather than heralding their obsolescence

Planning for a future, F-mount compatible mirrorless camera might explain why all of Nikon’s recent lenses have finally abandoned mechanical aperture control from the lens mount, since it means they could be fully controlled by an adapter with electronic mounts.

So what’s the alternative? Let’s imagine they didn’t tie themselves to their existing lens mounts. In fact, let’s imagine what would happen if they decided to make a system that sat alongside their existing DSLRs, rather than heralding their eventual obsolescence.

What if they decided to make a system designed to be companion camera? A system that offers something your DSLR doesn’t do, rather than trying to mimic what it already does?

A small camera, designed for enthusiasts and pros to be used alongside a DSLR or in circumstances where you don’t want to lug a DSLR around. A street shooter’s camera, a carry-everywhere photographer’s camera. Let’s think about the potential benefits.

Canon’s EOS M range has drifted towards the kind of camera I’m talking about, but doesn’t have the lens range to match.

It’s not necessarily true that mirrorless promised to be smaller but, not least because it started with Four Thirds and APS-C sensors, that was one of the differentiators when MILCs first appeared. Yet the expectation that a mirrorless camera must replace a DSLR has resulted in an unfortunate convergence.

Demands (including from us) for more battery life, along with the need to handle and act as a like-for-like DSLR replacement has led to mirrorless cameras getting progressively larger. This has helped create a generation of cameras that are nearly as big as their DSLR rivals. And, with the exception of better video implementation and the mixed blessings of electronic viewfinders, little else to set them apart.

So what do you propose?

Essentially, I’m asking for a full frame, interchangeable lens Fujifilm X100. Ok, that might not sound much like an X100, but the common thread is of something relatively small, that by design, doesn’t try to do everything. A camera that will sit happily alongside your existing camera (mirrored or not).

You can cover a lot of styles of photography with a couple of short-ish prime lenses. After all, it works for Leica

As with everything photographic, it quickly comes down to a question of lenses. This is the key element to it not being a DSLR rival: don’t try to build a full lineup of lenses. I’d propose a camera with a limited number of lenses, starting with a 24mm, a 35mm a 50mm and a 90. And nothing longer than that.

This is because the size benefits that come from removing the mirror from between the sensor and the mount can only be realized with short focal lengths. Stick mainly to the shorter focal lengths and you can keep the camera and lenses smaller.

The lineup should be designed with the expectation that most people will only buy the one or two lenses that suit them. You can cover a lot of styles of photography with a couple of short-ish prime lenses. After all, it works for Leica.

Taking the long view

For me, telephoto lenses ruin mirrorless cameras. There, I’ve said it.

Telephoto lenses for mirrorless are just as long as their DSLR counterparts, so there’s no size benefit to throwing away your mirror. Worse still, these long, heavy lenses demand that mirrorless cameras develop the bulky, bulbous grips that SLRs have evolved since the 1990s.

Creating a limited, dedicated set of lenses relieves a lot of pressure. It means you don’t need to build an extensive, open-ended lens range from scratch. No tele zooms, no mid-price 24-70s. Hell, no zooms at all if you don’t want to. This is something every mirrorless maker has struggled to do, both in terms of the time it takes to flesh-out a new lineup but also because mistakes get made in any learning process. Every mirrorless system has at least one lens that either isn’t as optically good as you’d expect or that focuses much more slowly than you’d want.

For me, telephoto lenses ruin mirrorless cameras. There, I’ve said it

However, building a lineup of any size is better than building a camera with a full-depth DSLR lens mount in the name of backwards compatibility, since this condemns its users to carrying an empty mirror box around with them for eternity. And that’s a punishment with a level of pointlessness right out of Greek mythology.

Just produce a handful of great, dedicated primes that take full advantage of the new system without any compromises that come from maintaining compatibility with DSLRs. That way you don’t have to split your R&D resources trying to keep two full lineups up-to-date.

This also has the advantage that you can sell your camera to photographers with commitments to other systems, because you’re not forcing them to choose. But it still gives your existing, faithful users the benefits of full compatibility with your flash systems and other accessories, along with familiarity with your menus.

A small, self-contained system solely aimed at a subset of photographers, rather than trying to be all things to all men. A camera that complements, rather than competing with the existing lineup.

As I say, it’ll never happen. But it’d be nice, wouldn’t it?

As well as the desire to mesh with the existing lens lineups, the other reason we won’t see the camera I describe is because Fujifilm has already effectively invented it

Articles: Digital Photography Review (dpreview.com)

 
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Nikon restructuring and strong D850 sales lead to 8x increase in annual profit

15 May

All of the camera manufacturers have been reporting their annual profits over the last month or two, and while we don’t typically cover individual company financial results, Nikon’s report stands out. That’s because, despite a modest 4% drop in revenue, the company reported a whopping 776% increase in overall profit year-over-year.

The report—which compares the fiscal year ending March 31st 2018 with the year ending March 31st 2017—shows that Nikon’s attempts to “improve profitability through restructuring” and the release of the ultra-popular Nikon D850 in July of 2017 have led to an impressive year. How impressive? Despite revenue dropping by approximately 3.2 billion yen (~$ 29 million USD), Nikon’s profits managed to jump by more than 34 billion yen (~$ 318 million USD). This translates into an 8x increase over last year’s results, which showed a profit of just 3.9 billion yen (~$ 35 million USD).

Of course, this reflects Nikon Corporation as a whole, but the news out of the Imaging division was also positive. While overall unit sales fell—due to the continued demise of the compact camera segment—strong demand for the D850 is said to have increased the sales of “high-class” cameras “significantly,” leading to a 76.2% year-on-year increase in operating profit. Restructuring helped here, too.

Here’s a relevant excerpt from the report:

As a result, revenue for the Imaging Products Business decreased by 5.8% year on year to 360,703 million yen. Operating profit, however, rose by 76.2% year on year to 30,222 million yen due to the efforts to improve profitability through the restructuring, such as the shift to a business strategy of selection and concentration and the discontinuation of operations of Nikon Imaging (China) Co., Ltd., a manufacturing consolidated subsidiary.

You can read the full report at this link, but the short version of the news seems positive, and may even push Nikon to continue focusing on the high-end market that responded so positively to the release of the D850. Does that mean a full-frame mirrorless is that much more likely? We can only speculate… and hope.

Articles: Digital Photography Review (dpreview.com)

 
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Shooting polar bears with the $12,000 Nikon 180-400mm F4E TC1.4 FL ED VR

10 May

In many respects, the Nikon AF-S Nikkor 180-400mm F4E TC1.4 FL ED VR is a dream lens. Earlier this year, with the support of Nikon Europe, I tested it out in some of the harshest conditions on our planet—on a special Polar Bear production in Svalbard, near the north pole.

I took this lens on two different expeditions—first in early April with temperatures reaching well below -20°C with wonderful low-light, and the second expedition at the end of April with the midnight sun and higher contrast. As a professional wildlife photographer, I have to trust my gear to perform and deliver the sharpest images possible, and while this lens took a beating (sorry Nikon) it survived the freezing temperatures and functioned perfectly while providing razor sharp results.

Nikon D850, Nikon 180-400mm F4 @ 250mm (No TC) F4.5 1/800sec ISO 80

Construction and Handling

This lens is part of the new generation of E lenses with reduced weight compared to older designs. That’s important, since it makes hand-held shooting a lot easier. The entire body of the lens feels firm and well-balanced, although it’s a bit front-heavy in my opinion.

Compared to the much-loved Nikon 200-400mm, the new lens weighs less, and is in fact even lighter than the Nikon 300mm F2.8. The wide zoom ring and focus ring, plus the TC lever, make it easy to manipulate even when wearing the thick gloves required at this latitude, in temperatures well below freezing.

During my shooting, this lens “ate” a lot of snow and wind, and survived being transported for hundreds of kilometers on my snowmobile with nary a complaint.

Nikon D850, Nikon 180-400mm F4 @ 195mm (No TC) F4.5 1/2000sec ISO 80

Zoom Range

Without the 1.4X teleconverter engaged, the 180-400mm has wonderful range and the advantage of a constant F4 aperture. Going from one zoom extreme to the other requires only a 1/4 turn of the zoom ring, which is much quicker than the Nikon 200-500mm.

However, while 180-400mm is a usable range for large mammals or medium-sized ones that allow the photographer to approach relatively closely, its not long enough for safety if you want to capture a tight portrait of a predator like a polar bear. For that extra reach, Nikon has integrated a 1.4X teleconverter, which turns the 180-400mm into a 250-550mm lens at the cost of one f-stop—making it an F5.6 constant aperture zoom.

Nikon D850, Nikon 180-400mm F4 @ 210mm (No TC) F4.5 1/500sec ISO 80

Focus

As you might hope from a lens of this type (and price) autofocus is blazing fast. It feels faster than the old 200-400, and also faster than the Nikon 600mm F4. I didn’t notice any hesitation or ‘hunting’ during focusing.

Aperture, Vignetting and Sharpness

Image quality at F4 is really great—not only usable but actually really sharp throughout the zoom range. My Nikon D850 was pushed to its resolution limit even with the widest aperture selected. When engaging the TC, the lens does get a bit softer, and there is very noticeable vignetting wide-open; the converter is there if you need it, but I’d recommend engaging it only when absolutely necessary.

Nikon D850, Nikon 180-400mm F4 @ 550mm (TC) F5.6 1/320sec ISO 80

100% crop (click to view)

Overall, the images came out crisp, sharp and with excellent contrast—even when shooting backlit subjects. I saw no flare, no ghosting and no noticeable chromatic aberrations.

Vibration Reduction

This lens features Nikon’s new-generation VR system, which is good for around 4.5 stops of correction. During my shooting, VR was very useful for hand-held shots.

Price and Value

The sadistic part of my personality enjoys looking in people’s eyes when they get all excited about the lens and ask me how much it costs. When I say $ 12,000 USD, the bright light of childish enthusiasm is quickly extinguished.

It’s a lot of money, but as the expression goes: “you get what you pay for.”

This is a dream lens with so many advantages, both optically and in terms of handling, and that comes at a cost. The cheaper and more approachable option would be the Nikon 200-500 F5.6, which costs a mere $ 1,500. As a friend of mine said, “I could buy eight of those for the price of one 180-400 F4.” I don’t know what he would do with eight lenses, but you get the point.

Nikon D850, Nikon 180-400mm F4 @ 250mm (No TC) F4.5 1/800sec ISO 80

Final Thoughts

So the 180-400mm is a dream lens, but the dream doesn’t come cheap. For a safari in Africa, a project in Svalbard or any action-packed wildlife shooting it’s perfect. In sports or any activity where the subject is moving in your direction, this lens could be a great option. For capturing birds, small mammals or any subject where you know you’d end up cropping after the fact, I’d tend to go for a long telephoto prime instead.

So… is it worth it? That depends on your standards, requirements and the depth of your pockets. The 180-400 lets in an extra stop of light compared to the 200-500mm and offers much better sharpness, faster focus and better handling, not to mention the ability to reach 550mm with the flip of my thumb. I’d go for the 180-400mm without hesitating.

If your budget is tight and you can’t afford this lens, the Nikon 200-500mm F5.6 is a very attractive option, but it can’t match the 180-400mm for speed, critical sharpness or versatility.


About the Author: Roie Galitz is an award-winning wildlife photographer. He travels in extreme conditions to the remotest places on earth, from the Arctic right down to Antarctica, capturing images of rarely viewed animals in their natural habitats. He is a sought-after public speaker, a photography expedition leader and a proud ambassador of Nikon Israel, Global DJI and Greenpeace.

You are welcome to see more of his work and bio on his website and follow on Instagram and Facebook.

Roie Galitz was not compensated for this article in any way either by Nikon or DPReview, and Nikon had no involvement in its publication.

Articles: Digital Photography Review (dpreview.com)

 
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Video: Testing all the Nikon F to Sony E-mount AF adapters on the market

08 May

Photographer Matt Granger has taken to YouTube to share a useful little gear video for those people who want to use Nikon F glass on their Sony E mount camera. In the video, he tests out all of the current Nikon F to Sony E-mount autofocus adapter on the market.

The video compares three adapters in all—the models available from Commlite, Vello, and Fotodiox Pro—which cost $ 400, $ 400, and $ 350, respectively. To test the gear, Granger tries them out on four lenses in turn: the Nikon 85mm F/1.4G, Nikon 200mm F/2G ED VR II, Nikon 24-70mm F/2.8G ED and the always-trusty 70-200mm F/2.8 ED VR II.

Although unconfirmed, Granger also shares a little tidbit of information from an unnamed source who told him that all of these adapters are effectively made with the same internals, as there’s only one company that’s managed to reverse-engineer Nikon’s tricky lens coding system.

Interestingly enough, this claim seems to be substantiated by the fact that all three adapters are absolutely identical, down to the cutouts, caps, desiccant and screw locations. The only difference is the location of markings on the devices and the fact that the Fotodiox adapter features gold metal mounting plates and gold release buttons, whereas the other two feature silver mounting plates and black release buttons.

We’ll leave it to Granger to break down every detail of the three adapters in the video up top, but we can summarize his experiences by saying that each adapter seemed to have strengths and weaknesses depending on which lens it was being used with.

In the end, Granger says it’s ultimately up to you to decide which one best fits your needs based on price and the location of each company’s respective support services. He also notes that, while each of the adapters do work in environments where your subject isn’t moving much, don’t expect to shoot a football game with one of them—the speed just isn’t there. Still, the adapters left Granger impressed.

Check out the full test up top, and then head over to Matt’s YouTube Channel for more videos like this.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon manager confirms: New mirrorless system coming by spring 2019

01 May
Screen capture: Nikon Eye

In an interview with Japanese TV-channel NHK, a Nikon manager has confirmed the company’s new mirrorless camera system will be on the market by spring 2019. This is the first time we have given an approximate launch date after Nikon officially confirmed it was developing a new system back in July 2017.

Unfortunately, additional details are still scarce. According to the latest rumors, the new lens mount will be called the Z-mount and come with an external diameter of 49mm and a flange focal distance of 16mm.

Given the Nikon Director of Development publicly stated that any new Nikon mirrorless system would have to be full-frame, there’s good reason to assume the new cameras will indeed feature a full-frame sensor, putting Nikon in direct competition with Sony’s A7/A9 series of mirrorless full-frame cameras.

Articles: Digital Photography Review (dpreview.com)

 
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Sample gallery: Nikon 180-400mm F4E TC1.4 FL ED VR

21 Apr

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Announced just in time for the 2018 Winter Olympics, the Nikon 180-400mm F4E TC1.4 FL VR has a built in 1.4x teleconverter – when engaged it provides a 252-560mm focal range with an F5.6 max aperture. Similar in design to Canon’s EF 200-400mm F4L IS USM Extender 1.4x, we expect this $ 12,000 lens to mostly find its way into the hands of working sports, action and wildlife photographers.

Though we at DPReview are none of the above, we also weren’t going to pass up an opportunity to give it a try. An exhibition soccer (football) match between two local Seattle colleges provided the perfect chance to shoot with it mounted on the Nikon D5.

Set up at the midfield line, the 180-400mm range was enough to effectively cover most game play. But the extra bit of reached provided by the teleconverter allowed me to occasionally punch in on the action when I felt comfortable. And engaging the teleconverter is as simple as flipping a switch near its base – a satisfying quiet ‘thunk’ sound lets you know it’s in place. By halftime, I’d mastered the art of flipping it on and off with my eye to the finder.

Weighing about 9 pounds, a monopod is a must when using this lens.
ISO 560 | 1/1000 sec | F4 | 180mm

As you might hope from a camera and lens combination costing almost $ 20,000, the autofocus hit-rate from the soccer match was nearly perfect. A majority of the images were shot with the camera set to its Auto area mode, which for the most part locked on to my intended subject.

Once back in the office, with the images up on a computer, I was impressed by the lens’s sharpness, even with the teleconverter engaged. And though there is some pretty heavy vignetting when the teleconverter is used, it can easily be corrected in post (we chose not to for the purposes of this gallery). Of course one soccer match is hardly enough time spent with Nikon’s 180-400mm F4 to truly test and appreciate what it is capable of. Fortunately we have a little more time with it and the weather in Seattle is just starting to get nice. So stay tuned for more samples, to be posted soon.

See our Nikon 180-400mm F4E TC1.4 FL VR galleryNote: We ordinarily try to keep sample photos in our lens galleries at ISO 800 or below, however we’ve included some higher ISO images shot during the match after the sun set. No noise reduction was applied to these images beyond ACR default.

Articles: Digital Photography Review (dpreview.com)

 
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