Or at least a longer focal length than conventional wisdom suggests. I’m always reading that so-called street photography is best undertaken with a prime lens within the 35mm to 50mm range and I understand the merits of this range for reasons I will elaborate on further down. But convention is naturally a gauntlet that Alpha Whiskey cannot ignore. So before meeting my date I decided to kill an hour in town the other night shooting with a telephoto zoom and mostly at the maximum focal length (210mm: 420mm equivalent field of view).
In today’s digital photography age, most novice bird photographers are happy just capturing a bird portrait with their cameras. After a while, the natural progression is to try and capture some action shots of birds in flight, but that is where most avian photographers struggle. Why? The answer is quite simple; they don’t have enough shutter speed!
Recently, my wife and I headed to the Texas hill country near San Antonio for a brief getaway at the Block Creek Bed and Breakfast. This trip offered me a chance to spend some time using the new Nikon 200-500mm f/5.6E VR zoom and it has changed my opinion of it. I’m now pleasantly surprised at how good this lens is for the money. On the trip we used both the 200-500mm f/5.6E VR and the 500mm f/4G VR lenses interchangeably with Nikon D750 and D4 bodies. In this brief post, I will share a few photos to show why I am impressed with this new lens.
When using telephoto and macro lenses, it is often desirable to get tighter framing on a subject that is being photographed. There can be many reasons for wanting to make subjects appear larger in images, but the main reasons are typically related to enhancing composition, improving subject detail and increasing image resolution (particularly after extensive cropping). For example, photographing a bird with a short focal length lens from hundreds of feet away will result in the bird appearing very small and insignificant, with very little to no detail in the resulting image. But if the same bird is photographed at a closer distance or with a longer focal length telephoto lens, a lot more detail can be revealed about the bird. In addition, making the bird take a larger portion of the image can also enhance the image by reducing the amount of clutter surrounding the bird, allowing for a better overall composition. When conditions allow, it is possible to achieve tighter framing by simply walking closer to the subject or zooming in with a zoom lens. However, what if getting closer is not an option and one is already at the longest focal length of their lens? In such situations, a teleconverter can come into rescue. Teleconverters allow increasing the focal length of lenses by coupling with them and thus essentially magnifying the image, allowing for tighter framing of subjects. While teleconverters can be incredibly useful, they also have a few rather serious disadvantages that can lead to increased blur and loss of sharpness. Let’s take a look at what a teleconverter is and go over its advantages and disadvantages in more detail.
For many years, Nikon has been limiting affordable super telephoto zoom lenses above 300mm to the 80-400mm VR lens, while keeping its high-end super telephoto line of zoom and prime lenses available only for those with deep pockets. With Tamron and Sigma pushing great budget-friendly 150-600mm options, Nikon finally decided to release its first constant-aperture super telephoto zoom competitor in August of 2015. Specifically designed for beginner and enthusiast wildlife / sports photographers, the new Nikkor 200-500mm f/5.6E ED VR became the first hand-holdable Nikon lens to reach 500mm at a relatively low price point of $1,399. This offering, coupled with the upcoming Nikon D500 DSLR (see our D500 announcement post) makes a killer combination for action photography. With an equivalent field of view of 300-750mm and the capability to shoot fast action at up to 10 frames per second on the D500, the Nikon 200-500mm f/5.6E VR is definitely going to become one of the most popular lenses in Nikon’s lens line-up, thanks to its versatility and reach. Although our team at Photography Life has not had a chance to test this particular combination due to unavailability of the D500 in the US, we have been actively using the lens on camera bodies like the Nikon D7200, D750, D810 and D4S for this particular review. We are planning to write a follow-up article covering the use of the lens on the Nikon D500, once we get our hands on the camera. Meanwhile, please enjoy the review of the Nikon 200-500mm VR lens, along with comparisons to Tamron 150-600mm VC, Sigma 150-600mm C / Sport and Nikon 80-400mm VR lenses.
At long last they’re all out, in stock and making every aspiring wildlife photographer on a budget scratch their head and wonder which one they should own? Of course I’m talking about the Tamron 150-600mm f/5-6.3 VC, the Sigma 150-600mm f/5-6.3 DG Contemporary and the Nikkor 200-500mm f/5.6E VR. These three budget super telephoto zoom lenses compete with each other directly at their price points, reach and heft; but the big question remains – how do they stack up optically? This was my quest when looking at the three lenses: I wanted to find out which of the three deserves the crown as the best budget-friendly super telephoto zoom. Let’s take a look at the lenses in more detail.
I never intended for it to be this long between the two articles, but life got in the way. I have been busy with trying to sell our photography at various fairs and craft shows, when you have a day job as well it ends up taking up all your spare time. I don’t like disclaimers or fine print, but here is mine: “What I do, works for me, the information here is designed to be honest from my perspective and maybe useful to some readers. Take from it what you can and find your own path along the way…”
Although Tamron pioneered the release of the first 150-600mm lens, Sigma followed suit by releasing two versions of lenses with exactly the same focal length and aperture ranges. The smaller and lighter version, the Sigma 150-600mm f/5-6.3 DG OS HSM Contemporary (the one we are reviewing today), targets the same market as the Tamron 150-600mm f/5-6.3 Di VC USD, while the much larger and heavier “Sport” version is something unique to Sigma, with no other equivalent competing offers from any other manufacturer. Being able to reach 600mm without spending a lot of money has been a big dream of many wildlife photographers on a budget, because anything close to the 600mm range typically translates to a very large expense – as much as $12K for the latest generation 600mm f/4 lenses. While the current 150-600mm lenses cannot offer the maximum aperture of f/4, they give a huge focal range to work with, which can be particularly useful when photographing subjects at varying distances. As many 600mm prime lens owners know, shooting with long glass is not an easy task due to both weight and atmospheric haze concerns. Such lenses can be quite limiting when the action is close, such as when photographing bears in Alaska, or taking pictures on an African safari. For such occasions, many pros love the 200-400mm f/4 lenses, because they give that flexibility to shoot action at both close and long distances. However, the high cost and the weight concerns are still there, making such lenses prohibitive for budget-conscious enthusiasts and pros who prefer shooting hand-held. And that’s when the 150-600mm lenses come to the rescue, offering great performance in a lightweight and relatively low-budget package. At just over $1K and a total weight of 1930 grams (4.25 pounds), the Sigma 150-600mm f/5-6.3 DG OS HSM Contemporary is a very attractive lens for sports and wildlife photographers. In this review, we will be taking a closer look at this lens and compare it to the Tamron 150-600mm lens that we previously reviewed and loved.
This is an in-depth review of the new Nikkor 500mm f/4E FL ED VR lens that Nikon introduced on July 1, 2015. I wrote the initial preview of the lens in a post titled “Is Nikon’s new 500mm FL too sharp?“, where some of our readers got engaged in interesting discussions and even talked about anti-aliasing filters and Nyquist frequency. Stuff that can melt your brain for sure! Today, we will be taking a closer look at the Nikon 500mm f/4E VR and see what this beast is all about.
One of the perks of being on the Photography Life team is all the new gear we get to test. One of the downsides is when a piece of new gear comes along and you fall in love with it and don’t want to give the review copy back. This can get expensive fast. The new Nikkor 500mm f/4E FL VR is that kind of product. My old 500mm, Edie, caught me and Flo in the act and you know how that goes – time for us to part ways.
Edie is one incredibly luscious hunk of well-cared for glass. How well cared for?