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Nikon TC-14E III

The Nikon TC-14E III teleconverter increases a lens' effective focal length by 40 percent. (Bill Ferris)

The Nikon TC-14E III teleconverter increases a lens’ effective focal length by 40 percent. (Bill Ferris)

Teleconverters have a long and complex history in photography. In 1833 – six years before Louis Daguerre invented the daguerreotype process that launched a worldwide fascination with a new artistic medium, photography – Peter Barlow invented a negative lens that, when fitted to a telescopic eyepiece, extended the effective focal length of the telescope in which Mr. Barlow’s lens was used. In so doing, the magnification of the lens and the image scale of the subject were also increased. Known simply as the Barlow lens, this optical accessory is widely used by amateur astronomers. Commonly available in 2x and 3x versions, the modern Barlow is especially popular with lunar and planetary observers.

Nearly sixty years later in 1891, Thomas Dallmeyer and Adophe Miethe simultaneously developed nearly identical optical designs for photographic telephoto lenses. Both designs featured a front achromat doublet lens system and a rear achromat triplet grouping. The rear lens grouping acted much as Barlow’s negative lens, increasing the effective focal length of the front imaging elements. Dallmeyer and Miethe had independently invented the first photographic teleconverters.

Today’s modern teleconverters are also quite popular though not without their critics. No optical lens system is perfect and the teleconverter is certainly no exception. In addition to magnifying the subject of a photograph, a teleconverter also magnifies optical aberrations, making them more readily apparent. Commonly found in 1.4x, 1.7x and 2.0x versions, teleconverters typically magnify by as little as 40% (1.4x) and as much as 200% (2x). The biggest cost of this increased magnification is a loss of image brightness. By increasing the effective focal length of the lens while keeping the lens’ physical aperture constant, the maximum focal ratio of the lens increases by an amount proportional to the increase in effective focal length. For example, a 1.4x teleconverter increases focal length and focal ratio by 40%. A 200mm f/4 lens becomes a 280mm, f/5.6 lens. The teleconverter results in a loss of one stop of light.

A teleconverter attaches to both the lens and the camera as an intermediary lens within a photographic optical system. The TC-14E III is an f-mount design that is compatible with all Nikon film cameras and DSLR cameras. Nikon teleconverters are generally compatible with longer focal length telephoto and telephoto zoom lenses. (Bill Ferris)

A teleconverter attaches to both the lens and the camera as an intermediary lens within a photographic optical system. The TC-14E III is an f-mount design that is compatible with all Nikon film cameras and DSLR cameras. Nikon teleconverters are generally compatible with longer focal length telephoto and telephoto zoom lenses. (Bill Ferris)

This increase in focal ratio has a couple of potentially significant drawbacks. Compared to an f/4 lens, an f/5.6 lens will require an exposure twice as long to render a properly exposed image. Another option would be to increase the ISO (in-camera exposure brightening) or increase the brightness of the exposure during post-processing. Either approach will introduce some additional noise into the final image.

Another potential issue that results from an increase in focal ratio, is that of compromised autofocus performance. The brighter the image falling on the sensor, the faster and more accurate the camera’s autofocus system tends to be. As the f-stop used to make an image increases and image brightness on the sensor decreases, the camera eventually will not have enough light for reliable autofocus performance.

Because the function of a teleconverter (TC) is to extend the reach of a lens, to bring a photographer nearer the subject without having to physically move closer to the subject, it is a popular accessory for wildlife and bird photographers. With my growing interest in this type of photography and the recent purchase of a Nikkor 200-500mm f/5.6E VR telephoto zoom lens, I decided to give the Nikon TC-14E III 1.4x teleconverter a try. Attached to the new lens, the TC-14E III would have the effect of extending its zoom range to 280-700mm. The TC-14E III also facilitates communicates between the lens and camera, including effective focal length, f/-stop, shutter speed, AF mode, burst mode…the full suite of functionality one would expect of a Nikkor lens mounted to a Nikon camera body,

The main price to be paid for the extended reach achieved with a TC is an increase of the lens’s maximum f-stop. In the case of the 200-500mm f/5.6E, the focal ratio increases from f/5.6 to f/8. At f/8, the zoom would be operating at the very threshold of my Nikon D610’s ability to autofocus. This raised two issues of concern: would the lens be sharp at 700mm and would the f/8 maximum focal ratio allow for adequate autofocus performance?

A juvenile bald eagle soars over Lake Mary on a mid-winter northern Arizona day. (Nikon D610 w/ Nikkor 200-500mm f/5.6E and TC-14E III at 700mm, f/11, ISO 2500, 1/2000-second)

A juvenile bald eagle soars over Lake Mary on a mid-winter northern Arizona day. (Nikon D610 w/ Nikkor 200-500mm f/5.6E and TC-14E III at 700mm, f/11, ISO 2500, 1/2000-second)

One of the biggest technical challenges of bird and wildlife photography is capturing birds in flight. It is this aspect that makes bird photography so appealing to me, the challenge of mastering my equipment and expanding my knowledge of the animals to make good photographs. Bird photography also gives me an excuse to get out in nature and to be near these magnificent creatures. When the TC-14E III arrived, I couldn’t wait to run it through its paces by photographing the eagles, hawks and other birds found during winter in northern Arizona.

The above photograph of a juvenile bald eagle in flight illustrates the challenges I’ve been working to overcome. As you can see, the photo was made on a bright, sunny day. I used a shutter speed of 1/2000-second to freeze the action. The 200-500mm is at full zoom, which produces an effective focal length of 700mm with the 1.4x teleconverter attached. The maximum f-stop is f/8 but I chose to work at f/11 to produce an image with greater sharpness. In the photo’s caption, you’ll notice an ISO of 2500 for this exposure. That’s very high for a bright, sunny day. Now, if the above were a full 6,000 by 4,000 pixel image, the level of noise at that ISO would be quite acceptable. However, even at 700mm focal length, the raptor only covers about 1/5 the surface area of the D610’s sensor. The above image represents roughly a 2500 by 1700 pixel crop, which makes the noise more noticeable. In fact, I would judge the level of noise to be at the very threshold of what I consider, acceptable.

Canada geese cruise the northern Arizona sky near Mormon Lake on a mid-winter's day. (Nikon D610 w/ Nikkor 200-500mm f/5.6E and TC-14E III at 700mm, f/9, ISO 720, 1/2000-second)

Canada geese cruise the northern Arizona sky near Mormon Lake on a mid-winter’s day. (Nikon D610 w/ Nikkor 200-500mm f/5.6E and TC-14E III at 700mm, f/9, ISO 720, 1/2000-second)

The above photo of Canada geese flying through northern Arizona’s winter sky is a roughly 1500 by 1500 square aspect crop. Notice the shutter speed is the same 1/2000-second exposure as used to make the previous image of a bird in flight. Also, please note the f-stop and ISO. The f-stop is f/9 or 2/3-stop brighter than the first image. As a result, the ISO is much lower. This was another bright, sunny day in northern Arizona so, lower the f-stop (increasing the aperture) allowed me to make an image with much less post-exposure brightening. At ISO 720, I was able to do an even more significant crop but without the noise penalty of the first image.

ISO, is the central issue when using a teleconverter with a moderately fast lens. Pro telephoto lenses offer maximum f-stops in the f/2.8 to f/4 range. The large apertures of these long lenses collect and deliver a lot of light to the sensor. As a result, even with a 1.4x TC in the mix, they still operate at f/4 or f/5.6, delivering enough light to the sensor to allow a camera’s AF system to be snappy and accurate. Using the TC-14E III with a lens such as the 200-500mm f/5.6E, a modestly slow zoom, immediately puts you right at the brink of acceptable performance.

The 200-500’s maximum f-stop (with the TC) is f/8. At f/8, the optical system captures images with noticeable softness and chromatic aberration. Closing down the aperture just by 1/3-stop to f/9 largely compensates for these aberrations and allows the lens to deliver crisp, true color images to the sensor. At f/9, the lens is operating outside Nikon’s official boundary for full AF performance. At f/9, you’ll no longer be able to work in AF-C, 3D mode. That option isn’t even available in the D610’s menu at f/9. However, I’ve been able to get good AF performance in AF-C, 9-point mode, my preferred autofocus setting for dynamic bird and wildlife situations.

A western bluebird sits perched atop a common mullein near the windswept waters of lower Lake Mary in northern Arizona. (Nikon D610 w/ Nikkor200-500mm f/5.6E at 700mm, f/8, ISO 1600, 1/2000-second)

A western bluebird sits perched atop a common mullein near the windswept waters of lower Lake Mary in northern Arizona. (Nikon D610 w/ Nikkor200-500mm f/5.6E and TC-14E III at 700mm, f/8, ISO 1600, 1/2000-second)

The above photo illustrates the price one pays when losing focus even for a moment while doing photography with an f/5.6 (or slower) telephoto and a teleconverter. Again, this photo was made on a bright and sunny afternoon. I shot with the 200-500 and 1.4x TC combo wide open at f/8. Why? It was late in the afternoon. The sun was about an hour from setting, low on the western horizon and not quite as bright as during a midday exposure. Notice the shutter speed of 1/2000-second. That’s for a photo of a perched bird. OK, the bluebirds were flitting from plant-to-plant and not spending more than a few seconds on any one perch. However, when they’re perched, the birds aren’t moving…at least, not nearly as much as when in flight. By shooting at 1/2000-second in late day light, the ISO was jacked up to 1600. I probably could have used a shutter speed of 1/800-to-1/1000-second, which would have cut the ISO to 800 or less.

What saved this exposure was the fact that I’d noticed the western bluebirds flitting about from stalk to stalk and had pre-focused on this stalk, ahead of time. It’s still a cropped final image but at approximately 3350 by 2240 pixels, there’s enough real estate on the camera sensor to mitigate the noise. If this was shot with a 500mm f/4 telephoto and the Nikon 1.4x TC, I could have shot at f/5.6 and kept every other setting the same with the camera selecting and ISO of 800 or lower. Being a professional quality optic, the 500mm f/4 would probably be very sharp even wide open with a TC. With a consumer, telephoto zoom such as the 200-500, the margin for error is much more narrow. You’ve got to pay attention to the details and look for every opportunity to balance that f-stop/shutter speed/ISO triangle in your favor.

A red-tailed hawk launches from atop a Ponderosa Pine along Lake Mary Rd near Flagstaff, Arizona. (Nikon D610 w/ Nikkor 200-500mm f/5.6E at 700mm, f/9, ISO 720, 1/1600-second)

A red-tailed hawk launches from atop a Ponderosa Pine along Lake Mary Rd near Flagstaff, Arizona. (Nikon D610 w/ Nikkor 200-500mm f/5.6E and TC-14E III at 700mm, f/9, ISO 720, 1/1600-second)

Here’s an image that’s a product of a collection of lessons learned during my first few weeks of ownership of the TC-14E III 1.4x teleconverter. It’s a photo that was made in good light on a  clear day. The red-tailed hawk was perched atop a Ponderosa pine scanning the nearby shallow water lake. Anticipating the bird would launch within a few minutes (at most) of my arrival, I had selected a shutter speed of 1/1600-second…fast enough to mostly freeze the action of wings flapping but slow enough to catch a bit of motion and convey a hint of the dynamic action. I chose an f-stop of f/9 to noticeably sharpen the resulting image while still putting a bright image on sensor. The combination of these choices resulted in an exposure where the D610 chose an ISO of 720. In my experience, keeping ISO at or below 1000 is essential to producing noise-free images in exposures that will likely be significantly cropped.

After shooting with the TC-14E III on the Nikkor 200-500mm f/5.6E VR zoom lens for several weeks, I’ve learned the following:

  • The TC-14E III is sharp. Comparing exposures made with the bare 200-500 and exposures made with the combo of the 200-500 and TC at equivalent focal lengths, any differences in image quality are subtle, at most, and only discernible at the pixel level.
  • When shooting at 700mm, I prefer to stop down the combo to f/9. Even the 1/3-stop closure is enough to noticeably improve image quality. Beyond that, IQ does improve up to about f/11. However, the gain is so marginal as to be not worth (in my opinion) the associated loss of quality that comes from using a higher ISO or (for BIF) a slower shutter speed.
  • For best image quality when photographing BIF (a scenario where significant cropping of the resulting image is likely), I target a shutter speed of 1/2000-second but will slow the shutter shutter speed to 1/1000 in low light and will slow the shutter speed to 1/500 for perched birds.
  • I need to continue experimenting with shutter speed. At 1/1000-to-1/1600, the wing motion blur helps convey the dynamic action of flight. It’s not unlike prop blur in photographs of piston engine planes in flight. The prop blur conveys the power of the plane. Wing blur with a sharply focused face communicates the dynamic nature of the bird.
A juvenile bald eagle gazes intently in search of a distant opportunity for a meal or an approaching threat. (Nikon D610 w/ Nikkor 200-500mm f/5.6E and TC-14E III at 700mm, f/11, ISO 450, 1/800-second)

A juvenile bald eagle gazes intently in search of a distant opportunity for a meal or an approaching threat. (Nikon D610 w/ Nikkor 200-500mm f/5.6E and TC-14E III at 700mm, f/11, ISO 450, 1/800-second)

I’ll leave you with one last sample image. The 200-500/teleconverter combo is great for perched birds. In good light, I can close the aperture to ensure tack sharp detail, make exposures at relatively slow shutter speeds (under 1/1000-second), and still keep ISO under 1000. These settings deliver excellent detail in a properly focused image.

With all that potential awaiting you, there’s no excuse. Get out and shoot.

Bill Ferris | March 2016

Nikon 200-500mm f/5.6E: VR Performance

Controls on the side of hte Nikon 200-500mm f/5.6E. (Bill Ferris)

Control cluster, including the VR On/Off and Mode switches, on the side of the Nikon 200-500mm f/5.6E. (Bill Ferris)

When Nikon released the AF-S Nikkor 200-500mm f/5.6E ED VR telephoto zoom lens, one of the features which gained immediate attention was vibration reduction. I know, I was immediately impressed with both the immediacy and the effectiveness of this technology.

Controls for vibration reduction (VR) are located, as shown in the above photo, on the left side of the lens. VR is activated with an on/off switch. There are two mode options, normal and sport. According to Nikon’s literature, normal mode is recommended when photographing stationary subjects and sport mode is recommended when photographing moving subjects, especially subjects moving erratically or quickly.

In either normal or sport mode, the lens compensates only for vertical shake and does not compensate for panning motion. VR can be used when shooting from a tripod or monopod, although the literature Nikon provides with the lens does caution against using VR in certain scenarios involving tripods. Interestingly, Nikon offers no real explanation of what tripod types or shooting conditions may produce better results with VR off.

In my experience shooting at 500mm (by far, my most used focal length with this lens) with vibration reduction engaged in normal mode, pushing the AE-L/AF-L button (assigned as AF-On for my Nikon D610) immediately stabilizes the image in the optical viewfinder. The same is true when the shutter release button is half-depressed. Used in sport mode, there is no loss of immediacy in the stabilization. The quality of the viewfinder image, however, is a bit more fluid. This is a reflection of the algorithms controlling VR in sport mode, which allow greater latitude in a photographer’s vertical motion.

I’ve not been able to discern a difference in image quality between normal and sport mode. Nor have I noticed any image degradation when VR is engaged a shutter speeds of 1/1000-second and faster. I’ll often leave VR on, regardless of shutter speed, just to enjoy the benefits of a more stable viewfinder image. This makes it easier to track birds, athletes and other fast, sometimes erratic moving subjects.

By far, the most discussed feature of the 200-500’s VR reduction, has been Nikon’s claim that it delivers up to 4.5 stops of stabilization. What does that mean?

There is a longstanding truism in photography that, to produce an acceptably sharp image when shooting handheld, a photographer should use a shutter speed no slower than the inverse of the focal length. For example, if shooting handheld with a 50mm normal lens, use a shutter speed no slower than 1/50-second. If shooting handheld with a 200mm telephoto, your shutter speed should be 1/200-second or faster. Doing photography with the 200-500mm f/5.6E at full extension, your shutter speed should be 1/500-second or faster.

The reasoning behind this guideline is that a fast enough shutter speed will effectively negate the inherent unsteadiness of handholding a camera. Experienced photographers who employ good technique are often able to exceed the “inverse of focal length” standard. In recent years, lens and in-body stabilization technology has evolved, considerably, making it easier for pros and novice photographers alike to make clear, detailed images at slow shutter speeds.

I should note, that vibration reduction technology compensates for the inherent shakiness of the photographer but does nothing to freeze or hold motionless the subject. If your subject is moving, that motion will be be captured when you press the shutter release. Engaging VR to steady the image with the intent of using a slower (longer) shutter speed will enhance the subject’s motion. This intentional dragging of the shutter can produce some cool images. It can also be the source of frustration, if a photographer expected the VR would freeze the action happening within the frame.

If we assume a photographer using a 500mm lens will be able to make a sharply detailed handheld photograph using an exposure of 1/500-second, a 1-stop improvement would be a halving of that shutter speed. In other words, 1-stop of VR improvement would allow a photographer to make sharp images at 1/250-second. Another halving of shutter speed (1/125-second) translates at a 2-stop VR advantage. If I’m able to make good, detailed handheld photos at 1/60-second, that would demonstrate a 3-stop VR enhancement. Shooting at 500mm, 1/30-second and getting acceptably sharp results translates to a 4-stop gain. Anything longer than 1/30-second delves into that area of approximately 4.5 stops of vibration reduction Nikon promotes for this lens.

To demonstrate the effectiveness of Nikon’s vibration reduction technology, I set up a home test using my favorite model, a hula dancer toy. The dancer was set up on a folding tray table outside on a sunny day. Using the 200-500 on my D610, I took a several series of exposures. For all exposures, the focal length was held constant at 500mm. Sensitivity varied between ISO 125 and ISO 160 for all exposures. I used aperture (f-stop) to control the image brightness on the sensor. This, in turn, required longer exposures (slower shutter speeds) to create properly exposed images as each shot sequence progressed.

I shot in two different handheld modes during this test: seated and standing. In each mode, I made exposure sets with VR turned off, turned on in sport mode and on in normal mode. Here’s the breakdown of my test:

Shooting Handheld and Seated

  • I shot first with VR on in sport mode, then with VR off and then with VR on in normal mode.
  • For each of these three sequences, I started with the lens at 500mm, f/5.6 making three exposures at 1/1000-second.
  • I then made changes to the f-stop to close the aperture in 1-stop increments, making three exposures at each setting: f/8, f/11, f/16, f/22 and f/32.
  • Shutter speeds were adjusted to compensate for the smaller apertures. At f/8, I shot at 1/500-second; 1/250-second at f/11; 1/125-second at f/16; 1/60-second at f/22 and 1/30-second at f/32.

Shooting Handheld and Standing

  • I shot first with VR off, then with VR on in sport mode, then with VR on in normal mode.
  • For each of these three sequences, I started with the lens at 500mm, f/5.6 making three exposures at 1/1000-second.
  • I then made changes to the f-stop to close the aperture in 1-stop increments, making three exposures at each setting: f/8, f/11, f/16, f/22 and f/32.
  • Shutter speeds were adjusted to compensate for the smaller apertures. At f/8, I shot at 1/500-second; 1/250-second at f/11; 1/125-second at f/16; 1/60-second at f/22 and 1/30-second at f/32.

Here, are the resulting images. I selected the best exposure from each three-exposure set for display and am presenting full frame views followed by 100% crops. I’ll begin each sequence with the 1/250-second exposure as that is where the potential benefits of vibration reduction kick in. On a philosophical note, I will refrain from coloring your evaluation with my personal conclusions. Judge for yourself how good the VR performance of the AF-S Nikkor 200-500mm f/5.6E ED VR lens is.

 

 

Handheld Seated with VR Off

Handheld Seated: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/11, ISO 125, 1/250-second with VR off

Handheld Seated: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/11, ISO 125, 1/250-second with VR off

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/11, ISO 125, 1/250-second with VR off

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/11, ISO 125, 1/250-second with VR off

Handheld Seated: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/16, ISO 125, 1/125-second with VR off

Handheld Seated: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/16, ISO 125, 1/125-second with VR off

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/16, ISO 125, 1/125-second with VR off

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/16, ISO 125, 1/125-second with VR off

Handheld Seated: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/22, ISO 125, 1/60-second with VR off

Handheld Seated: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/22, ISO 125, 1/60-second with VR off

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/22, ISO 125, 1/60-second with VR off

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/22, ISO 125, 1/60-second with VR off

Handheld Seated: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/32, ISO 125, 1/30-second with VR off

Handheld Seated: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/32, ISO 125, 1/30-second with VR off

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/32, ISO 125, 1/30-second with VR off

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/32, ISO 125, 1/30-second with VR off

 

 

Handheld Seated with VR On in Sport Mode

Handheld Seated: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/11, ISO 125, 1/250-second with VR on in Sport mode

Handheld Seated: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/11, ISO 125, 1/250-second with VR on in Sport mode

Handheld Seated: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/11, ISO 125, 1/250-second with VR off

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/11, ISO 125, 1/250-second with VR off

Handheld Seated: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/16, ISO 125, 1/125-second with VR on in Sport mode

Handheld Seated: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/16, ISO 125, 1/125-second with VR on in Sport mode

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/16, ISO 125, 1/125-second with VR on in Sport mode

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/16, ISO 125, 1/125-second with VR on in Sport mode

Handheld Seated: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/22, ISO 125, 1/60-second with VR on in Sport mode

Handheld Seated: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/22, ISO 125, 1/60-second with VR on in Sport mode

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/22, ISO 125, 1/60-second with VR on in Sport mode

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/22, ISO 125, 1/60-second with VR on in Sport mode

Handheld Seated: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/32, ISO 125, 1/30-second with VR on in Sport mode

Handheld Seated: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/32, ISO 125, 1/30-second with VR on in Sport mode

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/32, ISO 125, 1/30-second with VR on in Sport mode

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/32, ISO 125, 1/30-second with VR on in Sport mode

 

 

Handheld Seated with VR On in Normal Mode

Handheld Seated: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/11, ISO 140, 1/250-second with VR on in Normal mode

Handheld Seated: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/11, ISO 140, 1/250-second with VR on in Normal mode

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/11, ISO 140, 1/250-second with VR on in Normal mode

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/11, ISO 140, 1/250-second with VR on in Normal mode

Handheld Seated: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/16, ISO 125, 1/125-second with VR on in Normal mode

Handheld Seated: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/16, ISO 125, 1/125-second with VR on in Normal mode

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/16, ISO 125, 1/125-second with VR on in Normal mode

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/16, ISO 125, 1/125-second with VR on in Normal mode

Handheld Seated: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/22, ISO 125, 1/60-second with VR on in Normal mode

Handheld Seated: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/22, ISO 125, 1/60-second with VR on in Normal mode

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/22, ISO 125, 1/60-second with VR on in Normal mode

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/22, ISO 125, 1/60-second with VR on in Normal mode

Handheld Seated: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/32, ISO 125, 1/30-second with VR on in Normal mode

Handheld Seated: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/32, ISO 125, 1/30-second with VR on in Normal mode

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/32, ISO 125, 1/30-second with VR on in Normal mode

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/32, ISO 125, 1/30-second with VR on in Normal mode

 

 

Handheld Standing with VR Off

Handheld Standing: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/11, ISO 140, 1/250-second with VR off

Handheld Standing: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/11, ISO 140, 1/250-second with VR off

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/11, ISO 140, 1/250-second with VR off

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/11, ISO 140, 1/250-second with VR off

Handheld Standing: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/16, ISO 140, 1/125-second with VR off

Handheld Standing: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/16, ISO 140, 1/125-second with VR off

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/16, ISO 140, 1/125-second with VR off

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/16, ISO 140, 1/125-second with VR off

Handheld Standing: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/22, ISO 140, 1/60-second with VR off

Handheld Standing: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/22, ISO 140, 1/60-second with VR off

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/22, ISO 140, 1/60-second with VR off

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/22, ISO 140, 1/60-second with VR off

Handheld Standing: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/32, ISO 140, 1/30-second with VR off

Handheld Standing: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/32, ISO 140, 1/30-second with VR off

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/32, ISO 140, 1/30-second with VR off

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/32, ISO 140, 1/30-second with VR off

 

 

Handheld Standing with VR On in Sport Mode

Handheld Standing: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/11, ISO 140, 1/250-second with VR on in Sport mode

Handheld Standing: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/11, ISO 140, 1/250-second with VR on in Sport mode

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/11, ISO 140, 1/250-second with VR on in Sport mode

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/11, ISO 140, 1/250-second with VR on in Sport mode

Handheld Standing: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/16, ISO 160, 1/125-second with VR on in Sport mode

Handheld Standing: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/16, ISO 160, 1/125-second with VR on in Sport mode

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/16, ISO 160, 1/125-second with VR on in Sport mode

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/16, ISO 160, 1/125-second with VR on in Sport mode

Handheld Standing: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/22, ISO 160, 1/60-second with VR on in Sport mode

Handheld Standing: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/22, ISO 160, 1/60-second with VR on in Sport mode

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/22, ISO 160, 1/60-second with VR on in Sport mode

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/22, ISO 160, 1/60-second with VR on in Sport mode

Handheld Standing: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/32, ISO 140, 1/30-second with VR on in Sport mode

Handheld Standing: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/32, ISO 140, 1/30-second with VR on in Sport mode

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/32, ISO 140, 1/30-second with VR on in Sport mode

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/32, ISO 140, 1/30-second with VR on in Sport mode

 

 

Handheld Standing with VR On in Normal Mode

Handheld Standing: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/11, ISO 140, 1/250-second with VR on in Normal mode

Handheld Standing: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/11, ISO 140, 1/250-second with VR on in Normal mode

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/11, ISO 140, 1/250-second with VR on in Normal mode

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/11, ISO 140, 1/250-second with VR on in Normal mode

Handheld Standing: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/16, ISO 140, 1/125-second with VR on in Normal mode

Handheld Standing: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/16, ISO 140, 1/125-second with VR on in Normal mode

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/16, ISO 140, 1/125-second with VR on in Normal mode

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/16, ISO 140, 1/125-second with VR on in Normal mode

Handheld Standing: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/22, ISO 140, 1/60-second with VR on in Normal mode

Handheld Standing: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/22, ISO 140, 1/60-second with VR on in Normal mode

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/22, ISO 140, 1/60-second with VR on in Normal mode

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/22, ISO 140, 1/60-second with VR on in Normal mode

Handheld Standing: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/32, ISO 140, 1/30-second with VR on in Normal mode

Handheld Standing: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/32, ISO 140, 1/30-second with VR on in Normal mode

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/32, ISO 140, 1/30-second with VR on in Normal mode

100% Crop: Nikon D610 with Nikkor 200-500mm f/5.6E at 500mm, f/32, ISO 140, 1/30-second with VR on in Normal mode

 

 

Conclusion

Well, there you have it. What are your thoughts? As I said, I’m not going to color your perceptions by offering detailed comments. I think images and VR performance speak for themselves. What I will offer is this, I was pleasantly surprised at the image quality that can be achieved when shooting handheld without VR from a seated position. I rested my elbows on my thighs to enhance the stability of my handhold and I think it paid off. The slower exposures are good enough for certain uses, such as low resolution display on a website.

Let me know what you think. Share your comments, below. Then, get out and shoot.

Bill Ferris | January 2016

The Big Fix

Photo made with Nikon D610 and Nikkor 200-500mm f/5.6E at 500mm, f/16, ISO 100, 1/250-second

Photo made with Nikon D610 and Nikkor 200-500mm f/5.6E at 500mm, f/16, ISO 100, 1/250-second

I can clearly recall the exact moment when I realized there was a problem with my Nikon 200-500mm, f/5.6E telephoto zoom lens. It was on the afternoon of Wednesday, November 11, 2015. I had the day off from work and was setting up in the backyard to make some test photos demonstrating the effectiveness of the new lens’s vibration reduction (VR) feature. It was the above photo that caught my eye and started me down a challenging, sometimes frustrating road that would take nearly six weeks to complete. I’m some respects, I’m still on that road.

The above image caught my attention because it is so obviously overexposed. It was also totally unexpected. I had been using a hula dancer toy as a photographic subject to test the vibration VR of the 200-500mm lens. Reviewing the rest of the images in the sequence, the image shot at f/5.6 appeared to be properly exposed but the images made at f/8 and higher were overexposed. It also appeared that the degree of overexposure increased in proportion to the increase in f-stop setting used. The above image was made with a setting of f/16 and is about 2 stops overexposed.

In a nutshell, what I had discovered was that my Nikon D610 camera body was not able to control the electromagnetic diaphragm of the 200-500mm lens. The diaphragm determines the aperture of the lens, which controls the amount of light hitting the sensor. Lens aperture (f-stop) along with ISO and shutter speed form what is commonly referred to as the exposure triangle. A compatible trio of settings produces a properly-exposed image. If one of the settings is off, the resulting image will look either over- or underexposed.

That same day, I called Nikon USA’s service and support line and spoke with a call center agent. I described the problem and, ultimately, was advised to send in the lens for evaluation. Just a month earlier in October 2015, I had shipped the lens to Nikon for a firmware upgrade. The shipping and upgrade were covered under warranty for that service center visit. The UPS charge for this shipment would come out of my pocket.

The lens went out via UPS on Wednesday, November 11 and arrived at Nikon’s Los Angeles service center on Friday, November 13. (I chose not to take that as an omen.) The following Monday, November 16, I received an email from Nikon with an estimate for service to the lens. Nikon intended to address the problem with a firmware upgrade, which would be covered under warranty. After reading this, I contacted Nikon via their online service and support site, asking if this was the same firmware upgrade which had already been performed, a month earlier. The email reply to my query read, “Thank you for contacting Nikon. This is covered under warranty and this is the appropriate firmware update. If you have questions or concerns, please call or e-mail us.”

Well, OK then.

The upgrade was done and the lens shipped back at Nikon’s expense, arriving via UPS on November 23. It didn’t take more than a couple of minutes to confirm that the firmware upgrade had done nothing to correct the problem. To more fully document this issue, I made a series of exposures of my favorite test subject to demonstrate the increasing degree of overexposure at larger f-stop settings. Below, are several of the images I uploaded to the Nikon USA service center site for a technician to review.

Photo made with Nikon D610 and Nikkor 200-500mm f/5.6E at 300mm, f/5.6, ISO 100, 1/640-second

Photo made with Nikon D610 and Nikkor 200-500mm f/5.6E at 300mm, f/5.6, ISO 100, 1/640-second

Photo made with Nikon D610 and Nikkor 200-500mm f/5.6E at 300mm, f/8, ISO 100, 1/400-second

Photo made with Nikon D610 and Nikkor 200-500mm f/5.6E at 300mm, f/8, ISO 100, 1/400-second

Photo made with Nikon D610 and Nikkor 200-500mm f/5.6E at 300mm, f/11, ISO 100, 1/200-second

Photo made with Nikon D610 and Nikkor 200-500mm f/5.6E at 300mm, f/11, ISO 100, 1/200-second

Photo made with Nikon D610 and Nikkor 200-500mm f/5.6E at 300mm, f/16, ISO 100, 1/100-second

Photo made with Nikon D610 and Nikkor 200-500mm f/5.6E at 300mm, f/16, ISO 100, 1/100-second

Tuesday, November 24, I had another phone conversation with a call center agent. I again described the problem and explained that it appeared my Nikon D610 camera was unable to control the lens’s electromagnetic diaphragm. I also shared that I’d made test exposures with four other F-mount lenses: the Nikkor 16-35mm f/4, Tamron 24-70mm f/2.8 VC, Tamron 70-200mm f/2.8 VC and Nikkor 70-300mm f/4.5-5.6. There was no overexposure problem with these lenses and it appeared the problem was isolated just to the 200-500mm f/5.6E lens.

The day before Thanksgiving, November 25, I received an email from a Nikon technician who’d reviewed the above images. In his message, the technician asked that I ship both the D610 camera and the 200-500mm lens for evaluation and possible service. A UPS shipping label was attached. As reluctant as I was to be without my primary camera and the new lens, I wanted to get the problem resolved as quickly as possible. So, I boxed up the D610 and lens, drove to the nearest UPS shipping center and sent my babies off to LA for some TLC.

December was a long month. I had the privilege of serving on a jury for a criminal trial the first week of the month. Several major work projects were due for completion over the next two weeks and I would be traveling with family for the holidays, beginning December 22. Needless to say, I was anxious to have the camera and lens back, both in good working order, in time for the family trip to California. The month was further disrupted when I received news that a close high school friend had passed away. Travel to the Midwest for the funeral took out of town for several days.

I arrived home the afternoon of Sunday, December 20 to find two packages from Nikon sitting on the dining room table. One, was my D610 camera. The other, was my 200-500mm lens. After unpacking my suitcase and getting settled, I fetched a cutting tool from our kitchen utility drawer and opened the packages. A few minutes later, the 200-500 was firmly affixed to the D610 and ready to make images.

To my great relief, the camera and lens made properly-exposed images at a range of apertures. It appeared that Nikon had successfully repaired the problem. What repairs did they make? It’s not entirely clear but, according to the packing slip accompanying the lens, Nikon did the following work:

  • Repaired aperture operation
  • Replaced diaphragm and ring
  • Replaced a lens group
  • Adjusted aperture operation
  • Checked focus and VR operation.
  • Did a general exam and cleaning of the lens

My D610 camera body was also evaluated and found to be in good working order. It was checked and cleaned before return shipment.

Since receiving the repaired lens back from Nikon and during trips to California and New Mexico, I’ve made nearly 3,500 exposures at a range of apertures from f/5.6 to f/16. All appear to be correctly exposed. Below, are a few samples.

White-tailed Kite. Photo made with Nikon D610 and Nikkor 200-500mm f/5.6E at 500mm, f/8, ISO 500, 1/2000-second

White-tailed Kite. Photo made with Nikon D610 and Nikkor 200-500mm f/5.6E at 500mm, f/8, ISO 500, 1/2000-second

Alcatraz. Panoramic stitch made with Nikon D610 and Nikkor 200-500mm f/5.6E at 500mm, f/10, ISO 800, 1/2000-second

Alcatraz. Panoramic stitch made with Nikon D610 and Nikkor 200-500mm f/5.6E at 200mm, f/10, ISO 800, 1/2000-second

Javelina on parade. Photo made with Nikon D610 and Nikkor 200-500mm f/5.6E at 500mm, f/13, ISO 4500, 1/200-second

Javelina on parade. Photo made with Nikon D610 and Nikkor 200-500mm f/5.6E at 500mm, f/13, ISO 4500, 1/200-second

Eagles on ice. Photo made with Nikon D610 and Nikkor 200-500mm f/5.6E at 500mm, f/16, ISO 640, 1/250-second

Eagles on ice. Photo made with Nikon D610 and Nikkor 200-500mm f/5.6E at 500mm, f/16, ISO 640, 1/250-second

I am, of course, thrilled to have my lens back in good working order. Though some additional time is needed before I’ll have full confidence that the repair to the lens completely resolves the diaphragm-control problem, I have been extremely satisfied with the lens’s performance over the last several weeks. I also understand that equipment sometimes fails. That’s what warranties are for. I don’t fault Nikon for the mechanical failure to their product and am genuinely grateful that they addressed the problem in a forthright and timely manner.

I would like to take this opportunity to share some advice I’ve offered Nikon through email communication. In a nutshell, I’ve recommended Nikon update their service and support system to provide…

  • customers email updates about the status of their repair and estimated time of completion.
  • customers access to a Nikon technician who can explain in plain language the problem being addressed.
  • call center staff access to a customer database with detailed information about past and ongoing product service and repairs.

While I am satisfied with the outcome of this service and repair experience, there were times during those six weeks when the lack of information and the inability to communicate with a technically-proficient Nikon employee added to my level of frustration. The experience could have been made less stressful if I’d been provided regular updates on the status of my repair, had the opportunity to communicate by phone or instant messaging with a technician about the symptoms I was experiencing, and if I had not needed to explain the problem to four different call center staff members, none of whom appeared to have access to a detailed history of this particular repair.

I love using and doing photography with Nikon products and welcome the opportunity to remain a Nikon customer for many years to come. That said, their customer support could use some work. Whether you’re a Nikon employee, a fellow photographer or a friend, please take this blog entry in the spirit in which it is offered: an objective recounting of a recent customer service experience and an effort to provide constructive feedback to a company whose products I truly enjoy using.

Well, I’ve been rambling on about this far too long. It’s time for me to get out and shoot!

January 2016 | Bill Ferris

Nikon 200-500mm f/5.6E – Short Term Review

The Nikon AF-S 200-500mm f/5.6E ED VR Zoom Lens

The Nikon AF-S 200-500mm f/5.6E ED VR Zoom Lens (Bill Ferris)

In August 2015, Nikon announced three new lenses that would soon be available to the photographic community. Introduced that summer day were the AF-S 24-70mm f/2.8E ED VR, the AF-S 24mm f/1.8G ED and the AF-S 200-500mm f/5.6E ED VR.

The featured player of this trio was the eagerly anticipated refresh of Nikon’s well-regarded AF-S 24-70mm f/2.8G ED zoom lens. The 24-70 f/2.8G is a popular wide angle zoom among both professional and enthusiast photographers. It is considered by many wedding and portrait photographers to be among the Holy Trinity of fast Nikon zooms, including the 14-24mm f/2.8G ED and the 70-200mm f/2.8G ED VR II. The new lens, the AF-S 24-70mm f/2.8E ED VR features Nikon’s electronic aperture mechanism and also adds vibration reduction (VR) technology to the venerable optic.

The biggest surprise of the day – in more ways than one – was Nikon’s introduction of the AF-S 200-500mm f/5.6E ED VR telephoto zoom lens. What made this lens so surprising were its focal length range and price. Nikon and Canon are known around the world as the leading manufacturers of telephoto lenses for professionals and serious amateurs. From the 200mm f2 to the 800mm f/5.6, Nikon’s line of fast long focal length primes are coveted by sports, wildlife and action photographers. Two professional grade zooms, the AF-S 80-400mm f/4.5-5.6G ED VR and AF-S 200-400mm f/4G ED VR II, bring zoom flexibility to the system.

These are professional quality lenses and priced, accordingly. With a manufacturer’s suggested retail price of about $2,700 US, the 80-400mm f/4.5-5.6G is the least expensive of the bunch. The fast primes are priced at from $6,000 to $17,900 US. The 200-400mm f/4G weighs in at a hefty $7,000 US.

By contrast, the new 200-500mm f/5.6E is priced to be accessible to the consumer: just under $1,400 US. The zoom range and constant aperture suggest this lens was designed and released to compete directly with consumer-priced zooms manufactured by Tamron and Sigma. Tamron introduced the 150-600mm f/5-6.3 Di VC USD in November 2013. Priced at about $1,100 US, the Tamron 150-600 brought quality long telephoto zoom performance squarely within reach of the enthusiast photographer. While sports shooters balked at the relatively slow aperture range, wildlife photographers lined up to add this new lens to their arsenals.

Less than a year later in September 2014, Sigma entered the fray introducing two 150-600mm f/5-6.3 telephoto zooms. They were labeled “Contemporary” and “Sports.” The 150-600mm f/5-6.3 DG OS HSM Contemporary was introduced at about $1,100 US and had the Tamron zoom squarely in its sites. Though the highest priced of the trio at about $2,000 US, the Sigma 150-600 f/5-6.3 DG OS HSM Sports is still well under the entry level fee for a high end Nikon or Canon zoom.

I spent the better part of a year contemplating whether or not I should add one of these three lenses to my collection. My growing interest in sports and wildlife photography had created a need for more reach in my lens collection. The Tamron and Sigma zooms certainly addressed that interest. However, their relatively slow focal ratios introduced just enough hesitation that I never pulled the trigger to place an order. Then, Nikon’s August 2015 announcement happened.

Within 48-hours, I had done something that was a first for me: pre-ordered a lens. I’ve never been much of a first adopter of tech. Rather than live on the bleeding edge of consumer technologies, I generally prefer to stand back, observe and wait for good deals to emerge on established quality kit. The Nikon AF-S 200-500mm f/5.6E ED VR, however, is a different story.

The Nikon 200-500mm f/5.6E, Tamron 150-600 f/5-6.3 Di VC USD, Sigma 150-600 f/5-6.3 DG OS HSM Contemporary and Sports lenses are shown above in their comparative sizes.

The Nikon 200-500mm f/5.6E, Tamron 150-600 f/5-6.3 Di VC USD, Sigma 150-600 f/5-6.3 DG OS HSM Contemporary and Sports lenses are shown above in their comparative sizes.

I have to be honest, the Nikon name immediately intrigued me. I’m a Nikon shooter, having owned five Nikon camera bodies and numerous lenses over the last 25 years. When I placed the pre-order, I did so trusting that Nikon would deliver a quality product. Time will tell if that is the case.

Setting aside brand loyalty, there were several performance specifications that also caught my attention. The first and most immediate was the 200mm to 500mm focal length zoom range. At the short end this lens picks up where the excellent Tamron 70-200mm f/2.8 Di VC USD leaves off. At the long end of 500mm, the lens offers more than enough reach for quality sports photography and also for wildlife. The constant f/5.6 aperture through the full zoom range makes this lens a half-stop faster than the Tamron and Sigma zooms. It may not seem like much but that difference in light-gathering means my Nikon D610 camera should be able to use all 39 autofocus points at any focal length. At f/6.3, the D610 starts dropping the outermost AF points.

Another intriguing feature was the latest generation VR technology packaged with this lens. Nikon describes the 200-500 f/5.6E as being capable of delivering up to 4.5 stops of vibration reduction. The general rule of photography has, for generations, been that a photographer using good handholding technique should get sharp results using a shutter speed of 1/focal length. In the case of a 500mm lens, a 1/500-second exposure should not require VR. (This is not to say that VR would not aid a handheld exposure at that speed, merely that good handholding technique with a 500mm at 1/500-second should produce a sharp image.) A 4.5 stop improvement with VR translates to a minimum exposure time of between 1/20- and 1/30-second. That’s amazing!

An MTF chart showing the theoretical performance of the Nikon AF-S 200-500mm f/5.6E at 200mm f/5.6. (courtesy Nikon Corporation)

A Modulation Transfer Function (MTF) chart showing the theoretical performance of the Nikon AF-S 200-500mm f/5.6E at 200mm f/5.6. The industry standard practice is that MTF charts display computer-modeled performance characteristics based on lens design. (courtesy Nikon Corporation)

An MTF chart showing the theoretical performance of the Nikon AF-S 200-500mm f/5.6E at 500mm f/5.6. (courtesy Nikon Corporation)

A MTF chart showing the theoretical performance of the Nikon AF-S 200-500mm f/5.6E at 500mm f/5.6. (courtesy Nikon Corporation)

The above MTF (Modulation Transfer Function) charts illustrate the theoretical performance of the Nikon AF-S 200-500mm f/5.6E ED VR zoom lens. The top chart illustrates theoretical performance of the lens at 200mm f/5.6 while the bottom chart shows theoretical performance at 500mm f/5.6. Interpretations of MTF charts are always at least somewhat subjective. That said, I believe a reasonably objective translation would be as follows:

The red lines illustrate contrast performance while the blue lines illustrate resolution performance. The vertical scale measures performance in both areas with better performance being higher on the scale. The horizontal scale measures distance from the center of the lens. At 200mm f/5.6, the lens should deliver excellent contrast (0.9 or higher) across the entire angle of view. Resolution should also be excellent from the center to roughly two-thirds the distance to the edge of the angle of view. Very good resolution performance can be expected across much of the rest of the angle of view with good performance at the very edge. At 500mm, f/5.6, the lens continues to deliver excellent contrast performance across the full angle of view. The slight separation of the sagittal (solid) and meridional (dashed) lines suggests a subtle though largely imperceptible loss of contrast. Resolution performance continues to be excellent at 500mm, f/5.6 across half the angle of view and remains very good to the edge of the field. The separation of sagittal and meridional lines suggests a possible though subtle astigmatism. This lens should control for chromatic aberration, quite well.

The excellent theoretical performance of the lens was the deal-maker for me, giving real confidence in the decision to pre-order. Then, the waiting began.

The Nikon AF-S 200-500mm f/5.6E ED VR zoom lens fully extened to 500mm with the lens hood attached.

The Nikon AF-S 200-500mm f/5.6E ED VR zoom lens fully extended to 500mm with the lens hood attached. (Bill Ferris)

On the evening of September 23, UPS delivered my copy of the Nikon AF-S 200-500mm f/5.6E ED VR zoom lens. It was too late on that day to do much more than record an unboxing video for my YouTube channel and take a few photos of the new lens. A month has now passed during which time I have made a bit more than 2,600 exposures with the 200-500. What follows, is a Short Term Review based on the first month’s use. This isn’t a final review and, despite having formed some strong initial impressions, will not include any final conclusions. This review will include my initial observations about the performance of the lens and my own development as a photographer working at super telephoto ranges.

I’ll begin with the vital statistics:

  • Length at 200mm (no lens hood; no lens caps): 10 1/2″
  • Length at 200 mm (w/ lens hood): 14″
  • Length at 500mm (no lens hood; no lens caps: 13 1/2″
  • Length at 500mm (w/ lens hood): 17″
  • Diameter (front of lens): 4″
  • Circumference (front of lens): 13″
  • Diameter (front of lens with lens hood): 5 1/8″
  • Circumference (front of lens hood): 16 1/2″
  • Weight (w/ lens hood, lens caps, tripod collar): 5 lbs. 6.5 oz (86.5 oz.)
  • Weight (w/ lens hood, tripod collar): 5 lbs. 5.0 oz. (85.0 oz)
  • Weight (w/ tripod collar): 5 lbs. 1 oz. (81.0 oz)
  • Weight (w/ tripod collar and Oben mounting plate): 5 lbs. 2.5 oz (82.5 oz)
  • Weight of Lens only (no tripod collar, no lens hood, no lens caps): 4 lbs. 10.0 oz. (74.0 oz.)
  • Weight of tripod collar: 7.0 oz.
  • Lens Hood dimensions: 3 3/4″ length x 5 1/8″ diameter
  • Weight of lens hood: 4.0 oz.
Controls on the side of hte Nikon 200-500mm f/5.6E. (Bill Ferris)

Controls on the side of the Nikon 200-500mm f/5.6E. (Bill Ferris)

The left side of the lens is where you will find the various controls:

  • M/A – M: Autofocus switch. In M/A, lens autofocuses with instantaneous manual focus override as an available option. In M, the lens manually focuses, only.
  • FULL / ∞ to 6m: When focusing on subjects nearer than 6 meters (20 feet) distant, set to FULL. When focusing on subjects at greater than 6 meters distance, set to ∞ to 6m.
  • VR On / VR Off: Vibration Reduction (VR) On/Off switch. VR should not be turned on until camera body is on. VR should be turned off before camera body is turned off.
  • NORMAL / SPORT: With VR on, you may choose either NORMAL or SPORT mode. In SPORTS mode, Nikon VR recognizes a panning motion and compensates for camera shake while preserving intended motion blue due to panning.
  • Lock 200: This switch locks the lens at a 200mm focal length during transportation and storage. With the lock disengaged, the lens may be zoomed to any point in the focal length range.
This photo shows the Nikon F-mount flange on the 200-500 f/5.6E lens. Notice the rubber gasket which provides a seal between the lens and camera body for protection from weather and the elements. The lens also features a rubberized ring at the front of the lens, also for weather sealing. (Bill Ferris)

This photo shows the Nikon F-mount flange on the 200-500 f/5.6E lens. Notice the rubber gasket which provides a seal between the lens and camera body for protection from weather and the elements. (Bill Ferris)

The rubberized seal around the front of the Nikon 200-500mm f/5.6E ED VR provides both protection for the front lens element and a measure of weather sealing from the elements. (Bill Ferris)

The rubberized seal around the front of the Nikon 200-500mm f/5.6E ED VR provides both protection for the front lens element and a measure of weather sealing from the elements. (Bill Ferris)

After shooting with this lens for a bit longer than one month, I would describe the construction and controls as of good to very good quality. The collapsed lens feels hefty and solid in the hands. There is plenty of plastic in the external shell but the lens does not feel, cheap. There are no odd internal sounds when shaking the lens, and not clicking or grinding sounds when rotating either zoom or focus. The tripod collar is sturdy with the mounting foot serving perfectly as a handle when carrying just the lens.

The zoom ring, located near the end of the lens, is rubberized and has smooth motion with just the right degree of tension. I would describe the sound made by the rotating zoom ring as smooth zippy. The throw (angle of rotation through the complete zoom range) is fairly long at approximately 155 degrees and this makes it difficult to quickly zoom from one end of the range to the opposite. The focus ring, located near the back of the lens just in front of the control cluster has a hard plastic feel and loose rotation action. It makes a whispery sound when rotated and has a throw of about 190 degrees. I typically shoot with the lens focus control set to M/A (Auto with instantaneous manual override) and have not had any instances where I unintentionally brushed against or rotated the focus ring to lose focus.

The lens hood and soft case that ship with the Nikon 200-500mm f/5.6E are cheap, low quality items. The lens hood is functional, at best, while the soft case is of marginal value unless repurposed to something other than its intended task. (Bill Ferris)

The lens hood and soft case that ship with the Nikon 200-500mm f/5.6E are cheap, low quality items. The lens hood is functional, at best, while the soft case is of marginal value unless repurposed to something other than its intended use. (Bill Ferris)

The 200-500mm f/5.6E ships with a lens hood and soft case. These are, quite frankly, fairly cheap low quality items. The lens hood locks in place with a quarter turn. It is not a firm, confident lock. Rather, the hood issues a soft click when locked in position and can be easily rotated to unlock. There have been a couple of occasions when I’ve inadvertently bumped the lens hood enough to either rotate it or flex it just enough to loosen the connection. The soft case is just that. The only padding is a thin sheet at the bottom of the case.

Just a couple of weeks after the lens started shipping, Nikon Europe announced a firmware upgrade to address and correct a bug in the lens’ autofocus performance. In summary, when simultaneously engaging autofocus while zooming, autofocus will occasionally shift to manual mode. Autofocus can be restored by releasing the shutter, AF-ON or AE-L/AF-L button and then re-engaging so, this is not a catastrophic issue. I would describe it as an annoyance. In online discussion forums, some photographers have questioned the value of the firmware upgrade saying they never simultaneously zoom while engaging autofocus.

Others, myself among them, say the technique is one they employ on a more or less regular basis. When photographing sports or wildlife, I will often adjust zoom and focus, simultaneously, in order to maintain both good composition and focus while tracking a fast-moving subject. Rather than wait for Nikon to send me a personalized invitation, I visited the Nikon USA website and found their statement about the firmware upgrade. Nikon treats this, not as a service under warranty issue, but rather as an optional upgrade which is available to their US customers. Nikon paid for expedited 2nd day shipping to and from their Los Angeles facility. The lens was in their possession for two business days and Nikon kept me informed via email of the status of the work being done.

UPS delivered the upgraded lens on October 15. The following morning, I tested the autofocus performance by using back button focus to keep AF engaged while simultaneously panning and zooming between two trees in my backyard. Autofocus continued to work while I panned and zoomed from one tree to another more distant tree, repeating this motion twenty times.

The autofocus bug continues a trend for Nikon of shipping new products with performance issues. It is a problem that dates back at least to 2012, including the D800/D800E camera bodies (2012-left side autofocus), D600 body (2012- dust and oil on sensor), D750 body (2014-dark banding when shooting backlit subjects), D810 body (2014-bright spots in image during long exposures), 24-70mm f/2.8E ED VR zoom lens (2015-shipping date delayed) and now the 200-500mm f/5.6E. It is an annoying and disturbing development for a company that used to be known for producing and delivering high quality products. Nikon has now developed a reputation of poor quality control during product development and of using early adopting customers as beta testers. If there is a silver lining in this, it is that Nikon has been more proactive and acknowledging and responding to problems with new products over the last year or so.

With the tripod collar locking mechanism loosened, rotate the collar until the indicator with the carrot is aligned with both the F-mount indicator dot and the collar alignment indicator on the lens. In this orientation, the collar should slide easily off the back of the lens. (Bill Ferris)

With the tripod collar locking mechanism loosened, rotate the collar until the indicator with the carrot is aligned with both the F-mount indicator dot and the collar alignment indicator on the lens. In this orientation, the collar should slide easily off the back of the lens. (Bill Ferris)

If you are unfamiliar with Nikon tripod collars, figuring out how to remove the collar from the tripod can be a bit confusing. The collar is not hinged and does not open fully for removal. Rather, when the locking mechanism is loosened, the collar open just enough to slide over the back of the lens. However, the collar features an interior channel which slides over four locking screws on the lens. To align the locking screws with openings in the collar channel, rotate the loosened collar until the indicator with the carrot is aligned both with the F-mount indicator dot and with the collar alignment indicator on the camera. With the collar rotated as shown in the above photo, it should slide easily off the back of the lens.

Well, now that the housekeeping is taken care of, let’s focus on the central question: is the AF-S 200-500mm f/5.6E ED VR lens a quality optic? Does it, for want of a better metaphor, punch above its weight class to deliver performance exceeding what one typically gets when shooting with a sub-$1,500 telephoto zoom? Let’s look at some sample photos. Full-sized JPEG’s of the below images are available for viewing by right-clicking on the image.

A coot shakes off pond water at Raymond County Park in Kachina Village, Arizona. This photo was taken with the Nikon D610 and 200-500mm f/5.6E at 500mm, f/5.6, ISO 1400, 1/100-second. It has been cropped and processed in Adobe Lightroom to taste. (Bill Ferris)

A coot shakes off pond water at Raymond County Park in Kachina Village, Arizona. This photo was taken with the Nikon D610 and 200-500mm f/5.6E at 500mm, f/5.6, ISO 1400, 1/100-second. It has been cropped and processed in Adobe Lightroom to taste. (Bill Ferris)

A Eurasian Eagle Owl stands stoically on its perch during a raptors show at Flagstaff Arboretum. This photo was taken with the Nikon D610 and 200-500mm f/5.6E at 500mm, f/5.6, ISO 4000, 1/500-second. It has been processed to taste in Adobe Lightroom. (Bill Ferris)

A Eurasian Eagle Owl stands stoically on its perch during a raptors show at Flagstaff Arboretum. This photo was taken with the Nikon D610 and 200-500mm f/5.6E at 500mm, f/5.6, ISO 4000, 1/500-second. It has been processed to taste in Adobe Lightroom. (Bill Ferris)

A waning gibbous Moon hangs silently over Flagstaff on a mid-autumn night. This photo was taken with the Nikon D610 and 200-500mm f/5.6E at 500mm, f/5.6, ISO 400, 1/1250-second. It has been cropped processed to taste in Adobe Lightroom. (Bill Ferris)

A waning gibbous Moon hangs silently over Flagstaff on a mid-autumn night. This photo was taken with a Nikon D610 and 200-500mm f/5.6E at 500mm, f/5.6, ISO 400, 1/1250-second. It has been cropped processed to taste in Adobe Lightroom. (Bill Ferris)

A Weber State running back sprints to the right during a game against Northern Arizona in the J. L. Walkup Skydome. This photo was taken with the Nikon D610 and 200-500mm f/5.6E at 400mm, f/5.6, ISO 6400, 1/200-second. It has been cropped processed to taste in Adobe Lightroom. (Bill Ferris)

A Weber State running back sprints to the right during a game against Northern Arizona in the J. L. Walkup Skydome. This photo was taken with a Nikon D610 and 200-500mm f/5.6E at 400mm, f/5.6, ISO 6400, 1/200-second. It has been cropped processed to taste in Adobe Lightroom. (Bill Ferris)

A dark-eyed junco sits perched on a tree branch in Raymond County Park in Kachina Village, Arziona. This photo was taken with the Nikon D610 and 200-500mm f/5.6E at 500mm, f/5.6, ISO 2800, 1/1000-second. It has been cropped processed to taste in Adobe Lightroom. (Bill Ferris)

A dark-eyed junco sits perched on a tree branch in Raymond County Park in Kachina Village, Arziona. This photo was taken with the Nikon D610 and 200-500mm f/5.6E at 500mm, f/5.6, ISO 2800, 1/1000-second. It has been cropped processed to taste in Adobe Lightroom. (Bill Ferris)

A monarch butterfly rests momentarily atop a New Mexico thistle flower at Logan's Crossing near Flagstaff, Arizona. This photo was made with a Nikon D610 and 200-500mm f/5.6E at 500mm, f/5.6, ISO 400, 1/1000-second. It has been cropped and processed to taste in Adobe Lightroom. (Bill Ferris)

A monarch butterfly rests momentarily atop a New Mexico thistle flower at Logan’s Crossing near Flagstaff, Arizona. This photo was made with a Nikon D610 and 200-500mm f/5.6E at 500mm, f/5.6, ISO 400, 1/1000-second. It has been cropped and processed to taste in Adobe Lightroom. (Bill Ferris)

Cheerleaders celebrate a Northern Arizona touchdown during a college football game at the J. L. Walkup Skydome in Flagstaff, Arizona. This photo was made with a Nikon D610 and 200-500mm f/5.6E at 500mm, f/5.6, ISO 8063, 1/500-second. It has been cropped and processed to taste in Adobe Lightroom. (Bill Ferris)

Cheerleaders celebrate a Northern Arizona touchdown during a college football game at the J. L. Walkup Skydome in Flagstaff, Arizona. This photo was made with a Nikon D610 and 200-500mm f/5.6E at 500mm, f/5.6, ISO 8063, 1/500-second. It has been cropped and processed to taste in Adobe Lightroom. (Bill Ferris)

American Coots casually scan for snacks in a Kachina Village pond. This photo was made with a Nikon D610 and 200-500mm f/5.6E at 500mm, f/5.6, ISO 3600, 1/1000-second. It has been cropped and processed to taste in Adobe Lightroom. (Bill Ferris)

American Coots casually scan for snacks in a Kachina Village pond. This photo was made with a Nikon D610 and 200-500mm f/5.6E at 500mm, f/5.6, ISO 3600, 1/1000-second. It has been cropped and processed to taste in Adobe Lightroom. (Bill Ferris)

Weber State quarterback, Jadrian Clark, stretches toward the goal line late in the 3rd quarter of a game against Northern Arizona in the J. L. Walkup Skydome. This photo was taken with a Nikon D610 and 200-500mm f/5.6E at 480mm, f/6.3, ISO 8063, 1/500-second. It has been cropped and processed to taste in Adobe Lightroom. (Bill Ferris)

Weber State quarterback, Jadrian Clark, stretches toward the goal line late in the 3rd quarter of a game against Northern Arizona in the J. L. Walkup Skydome. This photo was taken with a Nikon D610 and 200-500mm f/5.6E at 480mm, f/6.3, ISO 8063, 1/500-second. It has been cropped and processed to taste in Adobe Lightroom. (Bill Ferris)

A third quarter Moon as seen on an October night in northern Arizona. This photo was taken with a Nikon D610 and 200-500mm f/5.6E at 500mm, f/5.6, ISO 900, 1/800-second. It has been cropped and processed to taste in Adobe Lightroom. (Bill Ferris)

A third quarter Moon as seen on an October night in northern Arizona. This photo was taken with a Nikon D610 and 200-500mm f/5.6E at 500mm, f/5.6, ISO 900, 1/800-second. It has been cropped and processed to taste in Adobe Lightroom. (Bill Ferris)

A dark-eyed junco in Raymond County Park in Kachina Village, Arizona. This photo was taken with a Nikon D610 and 200-500mm f/5.6E at 500mm, f/5.6, ISO 3600, 1/1000-second. It has been cropped and processed to taste in Adobe Lightroom. (Bill Ferris)

A dark-eyed junco in Raymond County Park in Kachina Village, Arizona. This photo was taken with a Nikon D610 and 200-500mm f/5.6E at 500mm, f/5.6, ISO 3600, 1/1000-second. It has been cropped and processed to taste in Adobe Lightroom. (Bill Ferris)

An Abert squirrel gnoshes on pine nuts in a northern Arizona Ponderosa pine tree. This photo was made with a Nikon D610 and 200-500mm f/5.6 at 480mm, f/5.6, ISO 1400, 1/125-second. It has been cropped and processed to taste in Adobe Lightroom. (Bill Ferris)

An Abert squirrel gnoshes on pine nuts in a northern Arizona Ponderosa pine tree. This photo was made with a Nikon D610 and 200-500mm f/5.6 at 480mm, f/5.6, ISO 1400, 1/125-second. It has been cropped and processed to taste in Adobe Lightroom. (Bill Ferris)

A peregrine falcon sits calmly on the arm of a volunteer during a raptor show at the Arboretum at Flagstaff. This photo was made with a Nikon D610 and 200-500mm f/5.6E at 500mm, f/5.6, ISO 3200, 1/500-second. It has been processed to taste in Adobe Lightroom. (Bill Ferris)

A peregrine falcon sits calmly on the arm of a volunteer during a raptor show at the Arboretum at Flagstaff. This photo was made with a Nikon D610 and 200-500mm f/5.6E at 500mm, f/5.6, ISO 3200, 1/500-second. It has been processed to taste in Adobe Lightroom. (Bill Ferris)

A Eurasian Eagle Owl watches visitors from its perch during a raptors show at the Arboretum at Flagstaff. This photo was taken with a Nikon D610 and 200-500mm f/5.6E at 500mm, f/5.6, ISO 2800, 1/500-second. It has been processed to taste in Adobe Lightroom. (Bill Ferris)

A Eurasian Eagle Owl watches visitors from its perch during a raptors show at the Arboretum at Flagstaff. This photo was taken with a Nikon D610 and 200-500mm f/5.6E at 500mm, f/5.6, ISO 2800, 1/500-second. It has been processed to taste in Adobe Lightroom. (Bill Ferris)

After my first month shooting with the AF-S 200-500mm f/5.6E ED VR telephoto zoom, I find the lens to be very sharp, delivering crisp detailed images of nature and wildlife.  If you open the above image of the Eurasian eagle owl (the last in the sequence) in a new tab and zoom in, you’ll see my silhouetted form clearly defined in the owl’s pupil. You’ll see similar results in the full-size JPEG images of the peregrine falcon and in the first photograph of the Eurasian eagle owl.

The detail in the lunar photos is very sharp. At 500mm, the lens easily resolves craters of approximately 10 kilometers diameter and partially resolves 1 kilometer wide craters on the Moon’s surface. Details such as bright ejecta rays and dark maria are also easily discerned. Chromatic aberration along the lunar limb is negligible and quite easily eliminated with the click of a button in Lightroom.

Check out the detail in the Abert’s squirrel photo. I shot this from a forest path with the squirrel about 30 feet up in a tree. Focus is on the squirrel’s hind leg but, at f/5.6, there is enough depth of field that the eye is acceptably sharp. The best detail in this image is in that hind leg, in the toes, claws and padding on the bottom of the foot. And check out the small bit of green – a freshly sprouted branch – on the bark below the squirrel’s bushy tail.

The photos of the dark-eyed junco show good focus on the eye, fine detail in the feathers and a very pleasing creamy bokeh. This lens handles background blur in a wonderful manner. The bokeh is smooth and soft, and more than adequate to create the desired separation between the subject and background. The junco photos were made from a distance of about 50 feet. The photos of the American coots were made at various distances, ranging from about 20 feet to a greatest distance of nearly 80 feet. The eyes and water droplets are crisp and well-defined. The feathers show good detail and texture. When you consider this high level of performance is made available in a lens priced thousands less than the Nikon telephotos that most closely compete with it in terms of sharpness, contrast and general image quality, the 200-500mm f/5.6E is truly an astounding value.

If you can’t make outstanding images with this lens, it’s not the lens’ fault.

With 12-seconds left in regulation, NAU's Dan Galindo hauls in a Jordan Perry pass to score the game-winning touchdown

With 12-seconds left in regulation, NAU’s Dan Galindo hauls in a Jordan Perry pass to score the game-winning touchdown. This photo was made with a Nikon D610 and Tamron 70-200 f/2.8 Di VC USD lens at 70mm, f/2.8, ISO 8063, 1/1000-second. It has been cropped and processed to taste in Adobe Lightroom. (Bill Ferris)

The photos from the football game illustrate the most significant limitations of the lens. Those are its limited – in comparison with high end professional telephoto primes and zooms – light gathering ability and less-than-nimble autofocus performance. Let’s talk first about the light-gathering ability of the 200-500mm f/5.6E lens.

The game was played in the J. L. Walkup Skydome on the campus of Northern Arizona University. This is not a well-lit venue. The above photo of a game-winning touchdown reception was taken during a 2014 game in the Skydome. Shooting with a Tamron 70-200mm f/2.8 Di VC USD lens at 70mm f/2.8, my Nikon D610 camera body used ISO 8063 (Hi 0.3) to make a properly exposed image at 1/1000-second. This should give you an idea of the generally dim light level  (for photography) in this venue.

The 200-500mm f/5.6E delivers a constant f/5.6 focal ratio, which is two full stops slower than an f/2.8 lens. To manage the ISO and retain a minimal degree of noise-free clarity, I chose to use exposures ranging from 1/200-second to 1/500-second. Shooting at 1/200 to 1/500-second won’t come close to freezing the action of a college football game. The ISO’s chosen by the D610 at these exposure lengths generally ranged from ISO 6400 to ISO 8063 (Hi 0.3).

Starting about midway into the 3rd quarter, I shot with the 200-500 from the north end zone and photographed the action until midway through the 4th quarter. I would describe the autofocus performance as good but not impressive. This is not a lightning fast focusing lens.

I also need to acknowledge that my long telephoto lens skills are still in development. Prior to getting the 200-500, my longest lens had been the Nikon AF-S 70-300 f/4.5-5.6 ED VR. This is a consumer quality telephoto zoom. It is not impressively sharp but does offer good reach at a reasonable price. It’s also nicely portable and lightweight. In July 2015, I used the 70-300 to photograph a battle between two bison bulls for herd dominance on the North Rim of Grand Canyon. It was an exhilarating moment and the lens performed, well. However, it was that experience that got me seriously thinking about adding a long telephoto zoom to my kit. The 300mm maximum reach just wasn’t enough for that moment.

The Nikon AF-S 200-500mm f/5.6E ED VR lens mounted to an Oben CTM-2500 monopod and VH-R2 monopod tilt head. (Bill Ferris)

The Nikon AF-S 200-500mm f/5.6E ED VR lens mounted to an Oben CTM-2500 monopod and VH-R2 monopod tilt head. (Bill Ferris)

Anticipating the size, weight and magnification of the 200-500 would exceed my capacity for handholdable comfort, I purchased an Oben model CTM-2500 carbon fiber monopod to support the lens. Pictured above, is the Nikon lens mounted to the Oben monopod and VH-R2 monopod tilt head. I’ve used this combination extensively during this first month of ownership and I have to admit the monopod was a great investment. It’s carbon fiber construction makes the monopod very light, weighing in at just 1 lb. 10 oz with the attached VH-R2 head. It is a five-section design which collapses to a respectable and compact 19 3/4″ length including the tilt head. Every photo in this article taken with the 200-500 was made with the lens mounted to the Oben monopod.

There is one major criticism I have of the Oben CTM-2500 monopod. I don’t like the mounting plate that comes with the VH-R2 tilt head. It is not a standard size plate. As a result, I can’t attach a Peak Design mounting plate to the 200-500’s tripod collar foot. Also, the Oben mounting plate has a spring-loaded second pin that doesn’t have a matching companion hole in most tripod collar feet. The bottom of the 200-500’s tripod collar foot is lined with channels that provide some degree of purchase for the Oben pin. However, after a few days, the Oben plate inevitably becomes loose enough that I have to tighten the primary 1/4×20 threaded bolt to establish a secure connection.

One significant area of personal development over the first month of ownership of this lens has very little to do with photography. It is simply the challenge of becoming comfortable handling a lens of this size and weight. It’s only been in the last week or so that I’ve started feeling at ease carrying and handling the lens. It is much larger and heavier than any other lens I’ve owned or used. During the first few weeks of ownership, I was constantly worried about banging it against a wall, into a door frame or even hitting a person.

I’m also developing the ability to get close to wildlife. The challenge is to get as close to your subject as possible without encroaching such that your presence causes unnatural behaviors in the animal. Getting close is as much an art form as a skill. It requires a knowledge and skill set that has nothing, per se, to do with photography. It has everything to do with being invisible and/or perceived as a non-threat to the animal.

Once in position, achieving good results comes down to your skill in employing basic and advanced techniques of doing photography at super telephoto ranges. While the 500mm reach of the new lens has allowed me to achieve images I could previously only have imagined, I am not yet fully comfortable working at such a long focal length. This lens challenges my ability to anticipate and follow action, maintain good composition and employ good focusing technique. The margin of error in these areas is much wider when using shorter focal lengths. When working at 300mm, 400mm or more, precision in composition, tracking and technique is essential. While my skill and comfort working with this zoom range is improving, I am not yet where I want to be.

Weber State prepares to snap the ball from the 2-yard line, late in a game against host Northern Arizona. (Bill Ferris)

Weber State prepares to snap the ball from the 1-yard line, late in a game against host Northern Arizona. This photo was made with a D610 and the 200-500mm f/5.6E at 500mm, f/6.3, ISO 8063, 1/500-second. (Bill Ferris)

One photographic skill that is critical to successful photography at super telephoto lengths, is autofocus technique. I have experimented with a variety of modes available on the D610 body. I always use AF-C mode when photographing moving subjects and have been hopping about between single-point, 9-point and 3D modes. Depending on the situation, each offers its own advantages. I’m also experimenting with AF settings defining the length of time the lens will hold focus before resetting.

This brings me to a comment about the most-cited weakness of Nikon’s newest super telephoto zoom; its “poor” autofocus performance. This is, according to experts in online fora, the biggest weakness of the lens. Many of the self-appointed experts haven’t shot with the 200-500 and are relying on the comments of their favorite expert photographer…typically, a photographer who expresses a view they’ve predetermined to be correct. As mentioned previously in this review, the 200-500 does not have lightning fast autofocus. Nonetheless for many photographers, the biggest limitation impeding the quality of results achieved with this lens will be their own lack of experience working at such long focal lengths. Before blaming the lens, be sure it isn’t your own poor technique that costs you the cover of National Geographic.

Since I’ve only been using the lens a month and am still learning to master the challenges that come with shooting at super telephoto range, I’m going to suspend my final judgement on the AF performance of the 200-500 until I’ve eliminated user error as a significant contributing factor. I know for a fact that my own poor technique has cost me potentially good shots. When those instances have been eliminated – or at least, nearly so – I’ll be in a better position to comment with some degree of expertise on the inherent AF performance of this lens.

An American coot dips its beak into the Raymond County Park pond in search of a snack. This photo was made with a Nikon D610 and 200-500mm f/5.6E at 500mm, f/5.6, ISO 1400, 1/1000-second. It has been cropped and processed to taste in Adobe Lightroom. (Bill Ferris)

An American coot dips its beak into the Raymond County Park pond in search of a snack. This photo was made with a Nikon D610 and 200-500mm f/5.6E at 500mm, f/5.6, ISO 1400, 1/1000-second. It has been cropped and processed to taste in Adobe Lightroom. (Bill Ferris)

And with that, I’ll bring this Short Term Review to a close. These are my thoughts on the Nikon AF-S 200-500mm f/5.6 E ED VR lens after one-month’s ownership and use. As my time and experience with this lens increases, I will return to this blog with additional observation and thoughts on this super telephoto zoom. For now, I would sum up my observations and impressions, as follows:

The 200-500mm f/5.6E is fantastically sharp, wide open at 500mm and delivers outstanding VR performance. Priced at just under $1,400 US, this lens does not have the equivalent build quality or autofocus performance of the top professional Nikon telephoto primes and zooms. That said, this lens is an incredible value and can be a tool helping to elevate your wildlife, nature and outdoor sports photography to new levels.

Now, get out and shoot!

Bill Ferris | November 2015