The Nikon AF-S 18-200mm f / 3.5-5.6 G IF-ED VR II is one of the most sought after products and also one of the hardest to find at the global launch. Some good reviews that are found around the internet have done nothing but increase the demand. It is a DX lens designated to reduce the circular image and is only compatible with APS-C cameras. The effective focal length is equivalent to a 28-300 mm on a full frame SLR. As for its 11x zoom is obviously intended as a goal in the round.
The optical construction consists of 16 elements divided into 12 groups, including two ED (Extra Low Dispersion) and three aspherical elements. The minimum focusing distance is 0.5m and consequently the maximum of an object magnification of 1: 4.5 at 200mm. The size of the filter is 72 mm. The opening mechanism is characterized by 7 diaphragm blades. Due to its slow maximum aperture, the lens is very compact (77x97mm) and lightweight (560g) despite the extremely long zoom. One of the key features is – of course – the second generation mechanism VR
The VR is safe cabin
Camera shake is detected by two gyro sensors that measure the angle and speed of the shock. This information is used to move a group of off-axis optical lenses (a forced decentralization) to counteract this movement. The result is a significant improvement in extreme conditions. Nikon claims a potential equivalent to 4 f-stop. The lens offers two modes VR – “normal” mode for most situations including static scenes, monitoring of an object, while the secondary mode is activated to compensate for the more pronounced vibrations (for example for filming from a vehicle in movement).
When the camera is mounted on a tripod the VR must be switched off on that goal. As regards its price of card, relatively high, the constructive quality of the lens is a bit ‘disappointing. Many of the parts are made of plastic, for good quality charity, but still plastic. It is not even remotely comparable to the professional objectives of the Nikon line. The action of the zoom is very uneven across the range and is suffering from a creeping zoom when it is tilted down. The focus ring is smooth enough, but it really is not dampened.
The wait has been rewarded ?
The AF-S 18-200mm telephoto lens is a G-type, that is, that does not have a dedicated aperture ring (exclusively selected on the camera). Adding the supplied lens hood is nearly doubles the total lens length. Thanks to the earlier design of the IF (internal focusing) the motor does not rotate, then the use of a polarizer is not a problem. The objective has a very quiet AF motor (ultrasonic), with the result of very quick operation and almost totally devoid of noise. The extreme zoom tend to suffer from a distortion rather heavy and the AF-S 18-200mm telephoto lens is no exception in this regard. In fact the amount of barrel distortion (4.1%) to 18 millimeters broke a new record low against the Canon 17-85mm telephoto lens. All in all one of the worst performances ever encountered. Read some rave reviews on the web the wait was rather poorly rewarded. Unfortunately the Nikon AF-S 18-200mm f / 3.5-5.6 telephoto lens failed to convince at all. The weak points are the rather heavy distortion and high vignette at 18mm. The resolution is quite good. The VR can definitely help you save the day in situations where similar zoom fail completely. The build quality is a bit ‘what is for a lens in this price range. Overall the Nikon is a goal of great interest, but not without flaws.
The telephoto zoom lenses are useful in various branches of nature photography: allow to photograph animals and action, or to isolate a detail of the landscape, or to photograph small subjects like butterflies and flowers, thanks to good macro capabilities, and the long focal length. On paper, the 100-400 seems one of the best telephoto Lens: it has a good flow rate, image stabilization, fast AF and is an L-series lens (professional). In practice, it is not as perfect as you might think, but it’s still a lens very useful and versatile.
The Canon EF 100-400mm f/4.5-5.6L IS USM Telephoto Zoom Lens is a professional and objective, as you can expect, has a very good build quality, although it has some flaws. In my opinion the biggest flaw is the lack of weather sealing – taking into account that this is a goal created for sports and nature photography (outdoor activities), this is a serious lack. That said, the goal is strong enough, and the rubber rings allow you to focus when focus and zoom quickly. The dimensions are similar to those of the 70-200 f / 2.8 L IS, but it is much smaller than the Sigma 120-300 f / 2.8 or the Canon 300 f / 2.8 IS. It is no featherweight, but it is easy to use freehand. Left: the aim to full extension, 400mm; Right: the lens at its shortest length.
Left: the aim to full extension, 400 mm; Right: the lens at its shortest length.
The lens has a 77 by attachment to the filters and the large black plastic lens hood. This lens hood (ET-83C) has a fairly economical aspect and not always easily mounts; a metal hood would have been much better.
The 100-400 telephoto lens has a real zoom ring: Use the unusual pump system. This system allows you to zoom quickly, but I find it quite uncomfortable; in some situations it becomes difficult zoom (for example, when there is in a very restricted space or when shooting according lying on the ground). In addition, the manual focus is not as convenient as with other objectives, because of the pump system. ‘Also a thin ring to control the zoom hardness, but it is easy to tighten too much or leave it too loose. Over time you can get used to pump zoom, but I’d definitely have the classic zoom ring.
The lens extends substantially to the longest focal, where it becomes a little unbalanced, unless you mount it on a head Rocker. Furthermore, the wide excursion and the lack of weather sealing make it more vulnerable to wet and dust.
Near the zoom, there are the stabilizer switches. This lens has the first generation stabilizer, which is not as effective as the newer versions (equivalent to about 2 stops, while the latest version reaches 4 stop). E ‘need to turn off the stabilizer when mounting the lens on the tripod, otherwise the IS unit might act improperly, causing a blur (this restriction has been eliminated with the following versions of stabilization). The IS mode switch lets you choose between Mode 1 and Mode 2. Mode 1 corrects the vibrations both on the horizontal and vertical planes, while Mode 2 acts only vertically: when you make the panning, you have to select the mode 2, otherwise the stabilization also tries to compensate for voluntary movements.
Or closest to the camera there are the AF control. The autofocus is very fast and quiet thanks to Canon USM motor, and has the full time manual focus. There is also a dial to set the range of focusing distances between 1.8 meters and 6.5 meters infinity-infinity; It is not essential, but in some situations allows speeding up the AF. The minimum focusing distance, 1.8 meters, this lens gives a good magnification ratio of 1: 5 – the Canon EF 100-400mm f/4.5-5.6L IS USM is great for parties “macro” medium sized like butterflies or flowers.
The lens has a tripod collar, which can be taken off – although I often use hand-free 100-400 for birds and animals, I suggest you keep the tripod collar, which is essential when using this lens for macro and landscapes.
The biggest question that I had about Canon EF 100-400mm telephoto lens before buying it was the image quality. Although it is a perspective L series, it is not considered one of the clearest objectives: the quality is still acceptable?
From my experience, the answer is certainly yes, although I’m not 100% happy. The sharpness between 100 and 300mm is very good, also to the larger aperture, but to 400mm there is a noticeable decrease of sharpness, in particular to f / 5.6. Do not hesitate to use it to 400 f / 5.6 – the detail is still quite good and is also used for large prints – but the image quality is clearly not at the level of the fixed focal length 400mm 5.6.
Apart from the decrease of sharpness, in some instances 5.6 to 400, there are light halos around the areas of strong contrast; I am certainly not as visible as halos of other objectives such as the 70-300 DO, but they can give a little discomfort.
The bokeh is good when the background is very distant and blurred; if the background is not very out of focus, in some cases it gives a bokeh hard enough. At 400mm there is also a bit of chromatic aberration, but this is not a problem since you can completely eliminate with Photoshop.
Overall, I think the image quality of this lens goes from very good (100-300mm) to acceptable (400mm); It is not bad, but could be better. The Canon 28-300 L IS USM, the latest point of view, is a 11x zoom but it is just as sharp as the Canon EF 100-400mm f/4.5-5.6L IS USM Telephoto Zoom Lens, which is just a 4x zoom: clearly demonstrates that Canon would be able to achieve a 100-400 updated with superior image quality, thanks to technological progress.
. Zoom very versatile, ideal for animals
. E ‘small and light enough to be carried anywhere, and is easy to use freehand
. excellent autofocus
. Good image quality between 100 and 300mm
. Closest focusing distance focus of macro 1.8 ratio of 1: 5
. Slight lack of sharpness and little nice bokeh at 400mm
. Uncomfortable pump system
. first-generation IS (not as effective as the newer versions, and cannot be used on a tripod)
There are many alternatives to Canon EF 100-400mm f/4.5-5.6L IS USM Telephoto Zoom Lens, and definitely not the right target for everyone. If you do not need a long lens, and you want the best quality, the 70-200 f / 2.8 IS it is the best choice. Otherwise, if size and weight does not bother you, the Sigma 120-300 gives much better results and greater capacity (it is an excellent 180-420 f / 4 with 1.4x TC and a good 240-600 with 2x TC). If you do not need the versatility of a zoom, I recommend the 300 f4 IS 400 or 5.6; on the contrary, if you want maximum versatility, the Canon 28-300 IS or the Sigma 50-500 give a very wide focal range (11x and 10x), respectively.
Review Canon EF 70-200 F4 L USM
Yes, I admit, the Canon EF 70-200 F4L USM is one of my favorite targets, my first choice for certain photographic genres. And at the beginning I did not take it! I own this lens for nearly two years, taken after many doubts, hesitations and of course endless budget calculations. I needed a telephoto lens for photos of shows and sports. It abandoned the idea of 2.8 IS, so I aimed to F4 version always IS, which still cost more than € 1,000. Then one day a photographer told me to assess the version F4 not stabilized, I had dismissed out of hand because I thought that without stabilizer I would have been really difficult to photograph. I am making an argument I told myself that for the use that I wanted to do, my subjects are always in motion and then the stabilizer I was doing little or nothing. I finally decided, I took the 70-200 F4 smooth and at a cost around the € 500 I take home a real gem. Do not deny it, it was a bargain! Every so often comes into my mind the idea to replace it with the version 2.8, but honestly I did not dare to deprive me of this beautiful lens.
The Canon EF 70-200 F4 L USM is a telephoto zoom lens, providing high performance, the L series
• Excellent build quality.
• The opening F4 is constant at all focal lengths
• size and weight rather small (it weighs g. 700, against g. 1300 Version 2.8 IS) making it very portable and very practical to use. Hard to leave it at home!
• An image clarity and quality comparable to fixed targets. Even at full aperture and extreme focal maintains the same sharpness, without any loss of quality. Of all the 70-200 range this model appears to be the sharpest. Suffice it to say that the version 2.8, wide open, has a lower sharpness, and only using it to F4 can achieve its performance.
• When the focus and zoom the front lens element does not rotate and does not come out. This therefore makes it more waterproof and more compact, and facilitates the use of polarizing filters or filters gnd.
• The focus is fast, quiet and is very precise. It is possible to adjust the minimum focusing distance: 1.5 m or m 3. This makes it very handsome and very reliable.
• Excellent performance even with a multiplier. With a multiplier becomes 1.4 Canon 98-280 with a minimum F5.6 aperture. The quality remains very high, the loss of sharpness is not even perceptible to the human eye! With a 2x multiplier becomes a 140-400, but the maximum aperture becomes F8, so impractical. Honestly I have not got to use it and check their quality.
• E ‘only F4, so in some cases it may not be very bright.
• It is not stabilized, but often this is not even a defect!
• It is not weather sealed.
• I cannot think of more …
Thanks to its characteristics and versatility of this lens has a wide range of use.
As mentioned earlier I use it often in concerts. I know it may seem a contradiction, since it is only F4 and, not being stabilized, the focal maximum I cannot click on 1/200, however, I must admit that this has rarely been a problem. The musicians move during their performances and use longer times would lead me to have blurred photos. If we consider that the recent SLR pointing more and more to get more performance even at high ISO, this target is really very suitable.
Certainly labor advantage, since the use with Canon 6D, however, I must admit that even with the Canon 50D has never betrayed me!
Thanks to the fast focusing is indicated for sports photos; thanks to the sharpness and pleasant blur is ideal for portraits. Tripod mounted via adapter ring you can safely use even for landscapes. And being so light is very useful in the reportage. In short, you can use it for everything and it’s really hard to leave it at home!
If you look for a telephoto lens, providing high performance, versatile, compact and that there empty your bank account, this Canon EF 70-200 F4 L USM is absolutely for you. Definitely the best lens with the highest quality / price ratio. Sometimes I wonder how it is that a lens of this size costs so relatively little.
AF-S NIKKOR 200-500mm f / 5.6E ED VR: Nikon changes the landscape of super telephoto lens
Turin, August 4, 2015 – Nikon S.p.A. is pleased to introduce a new super telephoto zoom Lens NIKKOR extremely versatile and equipped with the latest technology, the AF-S NIKKOR 200-500mm f / 5.6E ED VR.
Intended for those who likes to photograph landscapes, nature, animals, airplanes or sports events, this powerful zooming in FX format provides exceptional performance in all conditions.
The wide zoom range 200-500mm offers exceptional reach, while the constant aperture of f / 5.6 ensures uniform brightness and fluid control of depth of field over the entire zoom range. The optical construction, composed by 19 elements in 12 groups with three ED lenses to minimize chromatic aberration, offers exceptional performance. In addition to being more powerful zoom to fixed aperture of the NIKKOR line, the new NIKKOR 200-500mm also includes the latest generation of Nikon’s VR optical image stabilization technology. This incredible system lets you shoot at shutter speeds up to 4.5 stops slower and even includes how SPORT VR dedicated to the recovery of particularly fast actions. Furthermore, Nikon’s exclusive Silent Wave Motor (SWM) ensures fast AF response and electromagnetic diaphragm ensures the stability of the AE control even when shot in sequence at high speed.
Nikon said: “In general, for super telephoto lenses should be made for a substantial budget and therefore many photographers are forced to make compromises with regard to quality. Able to extend well beyond the 300mm, this super-telephoto lens from Nikon 200-500mm is the ideal choice for photographers who want a target of considerable extent to which capture distant subjects at a very affordable price. ”
The AF-S NIKKOR 200-500mm f / 5.6E ED VR, characterized by the innovative way SPORT VR built into the VR optical image stabilization system, is the ideal choice for photography of moving subjects such as volatile or marked sports by fast action. Set to SPORT VR, the optical excels when a photographer has to perform a recovery in “panning” (photographic technique by which a moving subject is held stationary in the frame while the background is moved) to pursue subjects. This mode ensures a stable image even in the viewfinder and enables a frame rate in sequence similar to that reached when the VR system is turned off.
The fixed maximum aperture of f / 5.6 throughout the zoom range also allows the AF operation when using a tele-converter from 1.4x mounted on a camera compatible with f / 8.
The AF-S NIKKOR 200-500mm f / 5.6E ED VR includes a zoom lock switch to keep it safe when not in use, as well as a removable tripod foot that helps to stabilize the lens when using a tripod. They are supplied with a removable lens hood and a soft case.
Canon today introduced the new version of a timeless classic, the optics which by definition can not miss in the professional’s camera bag. We are talking about the new Canon EF 70-200 f / 2.8 L II USM that replaces the version introduced in the “far” in 2001.
The new version has been completely redesigned to better accommodate the advanced features of the new professional SLR Canon.
Revisited first of all the optical pattern now it consists of 23 elements in 19 groups and characterized by well 5 UD lens and a fluorite so as to ensure a drastic reduction of chromatic aberration throughout the zoom range.
Also new is the USM autofocus motor even more powerful. Updated finally the stabilization system from the first information available to us seem to “standard” type and not in the new hybrid version as seen on the new EF 100mm macro.
Note the complete weather sealing of the barrel, of the ferrules and the command over that of the filler pipe with gasket that coupled to professional camera bodies prevents infiltration of moisture, water and dust.
The new Canon EF 70-200 f / 2.8 L II USM will be available from March 2010 at a price of 2,928 Euro including VAT.
– Optical stabilization system up to 4 stops
– Wide opening: f / 2.8
– Minimum focusing distance of 1.2 meters
– Elements in fluorite and UD to correct chromatic aberration
– A circular iris diaphragm blades 8
– Making full-time manual focus
– Weather protection
Canon EF 70-200mm f / 2.8L IS II USM: the new Telephoto Zoom Lens dedicated to professional photographers.
The famous telephoto lens; EF 70-200mm f / 2.8L IS II USM gives way to a goal of equal focal completely redesigned, which represents a great step forward for optical quality, constructive and Canon’s rapid reaction adds to the prestigious new L series Telephoto Zoom Lens EF 70-200mm f / 2.8L IS USM II, successor to the popular EF 70-200mm f / 2.8L IS USM, offering improved performance even in the most demanding situations. In addition to a review of the optical system, the lens has also been structurally redesigned based on user suggestions, and is now more robust and reliable.
“The EF 70-200mm f / 2.8L IS USM has been used by Reuters photographers for many years, providing them with a great level of flexibility,” said Kevin Coombs, Reuters Production Editor. “The focal length, the wide aperture and image stabilization have contributed to making this goal a workhorse, certainly present in the kit of many professional photographers. I am very curious to see the improvements offered by the new EF 70-200mm f / 2.8L IS USM II “.
Quality and premium performance
The EF 70-200mm f / 2.8L IS II USM features a re-designed optical system, consisting of 23 elements in 19 groups to achieve truly amazing results. A fluorite lens is placed in the heart of the objective, along with five lenses ultra-low dispersion (UD), thereby drastically reducing chromatic aberration throughout the zoom range, for the production of high contrast images with optimal definition from one corner of the frame. The autofocus system (AF) High Speed perfectly adapted to the ability to focus of the latest EOS models: EOS-1D Mark IV and EOS 7D. The new lens also has a ring USM AF motor, which combines with a new high-speed CPU and an optimized AF algorithm to make the development faster and quieter autofocus.
The reduced minimum focusing distance of 1.2 meters at all focal lengths and magnification improved 0,21x, allow you to get closer to subjects without having to change the lens: a great advantage for photographers who They are working under pressure and that require flexibility. An Optical Image Stabilizer improved also offers greater security mechanism in the choice of shutter speed – with a compensation of up to four stops compared to normal safety times – reducing blur caused by camera shake.
Advanced design, exceptional ease of use
In addition to an update of the internal construction, the EF 70-200mm f / 2.8L IS II USM features a renewed appearance that improves utilization. The thickness of the projecting parts and switches has been significantly reduced, minimizing the possibility of an accidental contact, and improving overall design and ergonomics. The rubber ring to the focus has been redesigned and enlarged, with finely designed grooves to make it easier to focus manual. Being of an L-series lens, the EF 70-200mm f / 2.8L IS II USM is fully resistant weatherproof, making it ideal for any kind of shooting and weather conditions. The graft, the selector and the ring of focus are all equipped with a weather-proof structure, preventing dust or water from getting inside the camera and lens, when it is used with EOS bodies with sealing gaskets. The lens has been designed to resist wear daily professional use, making it highly durable and reliable for daily use by professional photographers.
High quality L-series accessories
The EF 70-200mm f / 2.8L IS II USM features a variety of accessories, including the new lens hood ET-87 and Tripod Collar B (W). A new case LZ1326 is also included as standard, offering quick and easy access when you need to change lenses in critical situations. Compatibility with a wide range of optional Canon accessories also allows you to combine EF 70-200mm f / 2.8L IS II USM Extender EF 1.4x II, EF 2x II, the EF 12 II Extension Tube EF 25 II and filters from 77 mm
The goal is built very well, the attack on the machine body is made of metal as well as the focus ring while the construction is solid barrel yielding, plastic lens in hand, a very good feeling.
The optical scheme of the Canon EF 85mm f/1.8 Telephoto Lens consists of 9 elements in 7 groups while the dimensions of the optics (71.5 x75mm) make it pleasant to grip even if mounted on entry level bodies smaller.
SHARPNESS AND BOKEH
I have fixed other lenses but I decided to compare it to the 50 mm 1.8 review because the only my kit lens from maximum aperture of 1.8 and the mythical 50 mm extreme opening had a modest and an unfocused sharpness moderately implantation, our 85 mm is already satisfactory sharpness at maximum aperture. The construction of 8 Diaphragm Blades ago then it’s dirty work to all available reaching excellence if taken at f4.
The lens has a USM motor providing very rapid focusing and silent even under back-light and lighting is not at the top. Also, very useful thing the goal is offering Full Manual Focus which allows manual correction of focus at any time even with the AF posted.
The vignette is absent or minimal in all the pictures I took, unfortunately I haven’t been able to test this lens in full frame where I say that the vignette occurs in some conditions in a slightly more noticeable but nothing annoying apparently.
Unfortunately the worst flaw of the experienced excessive weakness in the”frigging” purple “(purple halos around subjects photographed for intended) phenomenon accentuated if shooting in conditions of high ambient light, anything that compromises the quality of the optics but it definitely is a factor
to be taken into account in Dover’s Chronicle.
The Canon EF 85mm f/1.8 Telephoto Lens was in my opinion a very good warning. It argues very well in portraiture and is reliable in all those situations where you need an honest short telephoto. The price is interesting ($US 420 again) and considering the several years that goes behind it is not hard to find on the used market, in this case a purchase to be done with eyes closed.
Sharpness and contrast
The Nikon 85mm f/1.8G Telephoto Lens has a remarkable contrast to the edge of the frame, has a conspicuous decline in the corners even if this small flaw is a classic on all lenses due to the decay of the quality of the lenses at the edges. Bearing in mind that the human eye has a resolution estimated at 20 lines/mm we can consider ourselves satisfied with the fact that the contrast in the center of the frame certifying around 0.8.Obviously a comparison with AF-D version f/2.8 is required and, as we can see, the Nikon 85mm f/1.8G Telephoto Lens as “antiquated” behaved slightly better in terms of contrast in the Center, going to lose as it recedes.
Summing up the two MTF charts are quite similar in that you deal on comparable starting values and decay on the edge has a similar gradient. However the new Nikon 85mm f/1.8G Telephoto Lens is a much more luminous optical (1, 5stop) for which Nikon has done a really excellent job.
Regarding the sharpness falloff at the edges I was pleasantly impressed. From the MTF is foreshadowed a bit drab but the results look much better. Already at f/2.8 retention is good and improves at f/5.6. Wanting to use the 28 mm for some landscape, on the diaphragms from Hyper focal (f/16 fire 2 m plan) we will have a sharpness at the edges of the center of the frame:
The goal has rounded blades 7 (less than big brother 2 Nikon 24 mm f/1.4) and has a very nice bokeh. The light points (details in the article on PDC in portraits)are rounded up to an aperture of f/3.5 to f/4 onwards began to manifest a form “Heptagonal” dictated precisely by 7 strips.
For using Nikon 85mm f/1.8G Telephoto Lens , namely portraits mainly stolen in dearth of light and never posing,I never failed and has always been fast. To be a very bright fixed speed is adequate given that TA there is some need for precision. Obviously the speed is not comparable to that of a Nikon AF-S 70-200 f/2.8 or AF-D telephoto lens mounted on a PRO body with internal motor for auto focus quite important.
The fall of brightness at the edges was a hated enough to feature film time, precisely because there was the possibility of applying in a beat of Cilia a correction (vignette, distortion, chromatic aberration, etc) that put in place such a “feature” (often known today). I believe that should not be a distinction between the lenses having regard to the progress made by the Post production though, to honor of review, here too the results:
As you can see there is a moderate vignette from f/2 to f/1.8 on FX which is weakening at f/2.8 up to almost vanish at f/4. Regarding the DX vignette practically is not present unless a minimum really at f/1.8 (only visible on clear background).
Pleasantly impressed! The Nikon 85mm f/1.8G Telephoto Lens features a barrel-distortion (or barrel) that is hardly noticeable if not in architectural photos. However, if you do not want to use the lens profile created by Adobe (in Light room or Camera Raw), in Photoshop is easily correctable with a +1.5 with focus on infinity or +5 with at minimum focus distance. On FX, you can then pick with architectural or interior picture without fear, the lens performs very well!
We are all aware that with large openings chromatic aberrations are a serious problem. With the advent of chromatic lenses that, unfortunately, they cost a lot, something is resolved but, in this case, their use would further influenced the price. That said tests show that the chromatic aberration of the Nikon 85mm f/1.8G Telephoto Lens can be extreme enough if the lens is used to make close-up:
In actual use, and not with a close-up on a sheet and ISO12233 100% crop, the outcome is definitely better and, for the most discerning clientele, here’s an example:
It is not a feature to be particularly frightened because the actual impact, especially considering that almost all the post-production software remove (with Light room just a click).
Flare & Ghost
It is not certainly the Nikon 12-24 f/4, i.e. the sacred monster of wide angles with respect to the light. The little 28 suffers from a bit of flare when used for photographing the Sun but it’s nothing too alarming, very far indeed from the Nikon 14-24. With a little careful shutter time (slightly tilt the sensor in such a way as to minimize the effect) and a few next shot with the clone you can often eliminate them altogether.
The shot that I propose has the largest flare + ghost that I managed to get intentionally (I have done several tests with different angles) and, as you may have noticed the flaw as 28 to backlight management.
The opinion on Nikon 85mm f/1.8G Telephoto Lens can only be positive. Behaved very well in all tests we conducted, the only flaw is the resistance to flare and ghost, maybe Nikon &could improve this aspect with a more aggressive treatment of Nano crystals, but doing so would affect the opening of shadows and contrast of the lens. For the use that I do personally, or portraits set, I prefer a slight suffering in the Sun rather than a character similar to the 14-24. The Council is therefore not think twice: If you are looking for a bright fixed “all done”, this wide angle lens will allow you to move from portraits in dark environments to breathtaking sunsets ,from reportage “light weight” a fantastic night. If you were in possession of a body DX (APS-C) I don’t feel to suggest that when the 7 mm optical that separate it from the excellent Nikon 35 mm f/1.8 aren’t worth the $ 500 difference.
Evaluation of test reports :The Nikon 55-300mm f/4.5-5.6G VR Telephoto lens is a universal zoom with slight telephoto burden when it is connected to an APS camera. Then it has a focal length of about 82-450 mm. Especially for beginners, this zoom is interesting, because with the cheap lens all telephoto focal lengths are covered, a layman might need.
Alternatives : There is hardly comparable lenses for the Nikon F-mount. Only to the extent of 70-300 mm (equivalent of KB 105-450 mm) there is a small selection of lenses with image stabilization. In-house competition is for example the Nikon AF-S 4,5-5,6/70-300 mm VR G IF-ED. Also by Sigma, there is an interesting option with 4,0-5,6/70-300 mm DG OS. The most promising candidate is the Tamron SP di VC USD, which offers a slightly better initial brightness, already has gotten a lot of awards in the tests 4,0-5,6/70-300 mm and could well deal also on Nikon DSLRs.
Mechanics : For the performance and features, the price of the lens is small, yet the production quality in order. The luminous intensity of the Nikon 55-300mm f/4.5-5.6G VR Telephoto lens is ED VR f4, 5-f5, 6 only modestly – especially because further darkens the whole thing fade out. After all, the built-in image stabilizer is to counteract there a little.
The lens with an ultrasonic motor and an image stabilizer is equipped. The auto focus has been in the test as a Very good described. The front element rotates when focusing with. Also the focus ring moves in AF mode. Favor can, that a lens hood and a bag in the scope of delivery are included.
Image quality : Great zoom and moderate price, as you would expect any miracles by the picture quality. The resolution had as far as well, however one must reckon with resolution waste according to several tests at full aperture, and the rising telephoto. To two aperture closed to Dim 5 but at initial aperture of f4, to improve these values -, it must be already as bright as day. In the short and middle focal length, image quality at full aperture was a test according to good, even though the Center was here more than the edges.
The vignetting (vignetting) is visible, but relatively weak at full aperture. Applies also here: dimming, if feasible because improved the result. The distortion(distortion of straight lines) is quite visible with approximately 1% in the shortest and the longest focal length. Chromatic aberration was good, for a strong focal length lens in this price class taking again weakened the telephoto range.
Weight, size: The Nikon 55-300mm f/4.5-5.6G VR Telephoto lens is combined with a D5000 everything remains relatively light weight and easy to handle. As you can see from the picture, even extending to the maximum (+ focal focus) the lens can be used securely on a Gorilla pod Focus, without need of the ring to secure it to the goal.
Auto-focusspeed: I timed steps at various focal lengths, from minimum focus to about 90 and vice versa, and the weather has always been around 1-1.5 s. In more favorable conditions the response is almost immediate. The problem arises when it is out of focus at 300 mm: If the image appears from the eyepiece completely blurred, it is likely that the mechanism you ran to empty, maybe going to look in the wrong direction.
Stabilization: I get acceptable shots at maximum focal length with shutter speeds of 1/30s, and perfect with 1/60s. Truly awesome, earning three stop there are all, perhaps something more. As long as the object is static, with my D5000 you can shoot indoors by 5-6EV at maximum focal length. Although the shutter speeds of Nikon 55-300mm f/4.5-5.6G VR Telephoto lens are fast, the stabilization is very useful in tracking phase, drastically reducing the jitter. Only negative is that sometimes the control takes about a second to “snap” the stabilization.
–Telephoto zoom lens from the attractive price
-Focal length equivalent to 88-400 mm
-4 image stabilizer with automatic detection of the stop panning
-Super Spectra Coatings
Powerful telephoto zoom and attractive price
Canon EF-S 55-250 mm f/4-5 .6 IS II is a telephoto zoom lens that combines excellent performance with high quality images. Featuring a focal length equivalent to 88-400 mm in 35 mm format is ideal for photographers who want a versatile lens and reasonably priced for any shot with telephoto lens.
Image stabilizer with automatic detection of panoramas
To counteract the effects of camera shake, EF-s 55-250 mm f/4-5 .6 IS incorporates the image stabilizer Canon of last generation, with up to 4 stop compensation. It allows you to use shutter speeds up to 4 times slower, with nodiscernible increases of blur.Automatic panning detection ensures effectiveperformance with moving subjects.
EF-S 55-250 mm f/4-5 .6 IS II incorporates an element UD (ultra-low Dispersion)Canon is able to reduce the effects of secondary chromatic aberrations, always sharp images and high contrast over the entire zoom range.
Super Spectra Coatings
The patented multi-layer coating reduces flare and Canon ghosting caused by reflections off the camera and sensor inside the lens surfaces. Light transmission is better, while the reflexes are minor, always sharp images.
Circular aperture diaphragm
For shots with large openings, a circular aperture diaphragm creates a pleasantly blurred backgrounds, perfect to bring out the subject.
For telephoto EF-S 55-250 mm f/4-5 .6 IS II is used only lead-free glass, fully respecting the environment.
EF-S 55-250 mm f/4-5 .6 IS II features lens cap e anti-dust cover. Optional accessories include a lens hood (ET-60) and an enclosure (LP1019).
Focal range: 55-250 mm
(focal length equivalent to 88-400 mm)
Optical image stabilizer up to 4 stop
Optical diagram 12 elements in 10 groups, with a lens at very low dispersion (UD)
Minimum focusing distance: 1.1 m
The judgment of CANON EF-S 55-250 mm f/4-5 .6 IS II Telephoto Zoom Lens
EF-S 55-250 mm f/4-5.6 IS II of Canon is a telephoto zoom with optical image stabilizer 4 speed with automatic recognition of scenic movement. Uses a system of 12lenses in 10 groups. This lens has a nearly circular aperture diaphragm to dispense with incredible precision the brightness of each frame.
Own affordable video, the Canon EF-S 55-250 mm f/4-5.6 IS II has a stabilizer with automatic recognition function of the panoramic movement to reduce the effects of vibration of the unit and avoid wavy effects. This Canon also corrects chromatic aberrations and uses powerful performance to limit the distortions of the image.
Thanks to its high focal, the Canon EF-S 55-250 mm f/4-5.6 IS II fits perfectly to the needs of the most demanding photographers, looking for a flexible optical complement into the scene in telephoto and close-ups.
Introduction of Nikon 55-200mm f/4-5.6G VR Telephoto Zoom lens
Reading only the technicalities of this objective remains favorably impressed: VR system for vibration reduction, and glass lenses, with rounded aperture and AF Motors of type SWM (Silent Wave Motor), in short everything that normally found in professional Nikon products but at a price that normally characterizes a entry level product. To this was added the curiosity resulted from reading MTF test of this lens released by Nikon itself, where it appears evident how the contrast that the resolution be on very high levels even higher in some lenses and most expensive houses in the same House. Certainly the MTF curve perfect not only to have an overview of the real potential of a certain perspective, but measures some aspects of particular relevance in the ability to reconstruct an image without artifacts. Another aspect, however, specify, in case you want to compare MTF data present on the official website of Nikon, lies in different test methodology oftraditional optics and the DX-format cameras, whose curve is referring, of course, down to just 15 mm from the Center and not to the 22 mm of optics for the 135format. This leads to a better yield on the edge (the MTF chart) DX lenses, but even considering this difference, the new 55-200 mm lens comes out with respectable results, and not at all scales.
What Nikon 55-200mm f/4-5.6G VR Telephoto Zoom lens use?
55-200 mm zoom can be considered universal, from portrait to landscape or sports photography to that nature, each application can exploit the peculiarities of this light. If I were to find a simple but suitable motivation in buying this lens, I might seriously consider the possibilities offered to move light while having a focal significant coverage. Often the idea of traveling with a SLR kit involves bending at the weight and overall dimensions of the equipment, an unrewarding when you are forced to carry around on their shoulders. This perspective, however, combined with a DSLR like the D40 or D40X with standard zoom offers the potential of a high-quality SLR system with the weight and clutter just above that of a presumed compact. Increase the possibility of traveling with your cameras, and consequently extend opportunities to photograph and make the most of their equipment. I have witnessed at first hand the benefits personally in the realization of Experience “walking with a D40”. Having said that, let’s find out more about how it acts on this perspective. In landscape photography often resorts to tripod to study the scene and shoot by cutting off the lens with the purpose of having an extended depth of field, and at the same time operate under the best possible conditions the goal; However, thanks to the possibilities offered by the optical stabilization, Nikon 55-200mm f/4-5.6G VR Telephoto Zoom lens enables you to dedicate himself to the landscape even more extemporaneous.
The yield of this lens is surprisingly good, the slight vignette, physiological at full aperture, disappears by cutting one-stop already and the vibration reduction system ensures a higher percentage of crisp shots when you’re working with fairly slow shutter speeds. The contrast is high and it is equally good yields in backlight with an excellent behavior in the presence of direct sunlight into the lens excellent also the work of protection against parasitic light performed by the supplied lens hood. The front of the lens does not rotate during focusing (manualor automatic) or the zoom gesture, and is therefore ideal for use of polarizing filters. It is a very discreet in size but with a great personality when you put on the track; often the results surprise at the amount of detail and ease of execution despite knowing that originate from a class goal certainly unprofessional. The focal length of 200 mm starts to be interesting even for nature photography ,though especially in Italy, the widespread distrust of the animals and to humans may prove to be an obstacle.
The judgment of Nikon 55-200mm f/4-5.6G VR Telephoto Zoom lens
Nikon 55-200mm f/4-5.6G VR Telephoto Zoom lens, elected best 2007 economic objective by TIPA, will complement perfectly your professional photographic equipment.
Nikon 55-200mm f/4-5.6G VR Telephoto Zoom lens 55-200 mm f/4-5 .6 adapts to digital SLRs to capture images like never before color and rich detail and faithful to reality, thanks to the presence of the lens and that corrects chromatic aberrations.
Perfect for portraits and distant subjects, Nikon 55-200mm f/4-5.6G VR Telephoto Zoom lens also has a VR function that allows the use of speed 3 times slower and slower: it acts directly on the frame reduces vibration and correcting chromatic aberrations due to a weak light.
Nikon 55-200mm f/4-5.6G VR Telephoto Zoom lens has interesting focal, equivalent to an 82.5 mm 24 x 36 -300. Integrates the engine “Silent Wave Motor for fast focusing and silent. Ideal for all occasions: weddings, trips or walks in the countryside.
Nikon 55-200mm f/4-5.6G VR Telephoto Zoom lens: all the best memories a snap.