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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

Top Ten Photos of 2014

White House ruin in Canyon de Chelly National Monument (Chinle, Arizona) (Bill Ferris)

White House ruin in Canyon de Chelly National Monument (Chinle, Arizona) (Bill Ferris)

It’s a chill January afternoon in northern Arizona, just perfect for reflecting on the previous year and sharing my favorite photos from 2014 with you. The photos, while representative of my best work, have meaning to me, which is why they made the cut.

WHITE HOUSE – I made this photo during a February 17 trip to Canyon de Chelly National Monument. More than a millennium ago, Ancestral Puebloans lived in this canyon complex in eastern Arizona. Among the structures that remain, is one known simply as, “White House.” It was built in a natural, water-carved opening in the Navajo sandstone cliff face. I include this photo i tribute to Ansel Adams, who made a famous black and white portrait of this ruin. I also like the organic blending of the ancient human structure within the softly curving stone wall of the canyon, the vertical streaks painted by rain and snow melt, and the balance of the ruin site in the lower left corner with the deep Arizona blue sky in the upper right.

It is these qualities that make this one of my favorite photographs of 2014.

Cool winter light paints the softly curving stone surface of inner Antelope Canyon (Bill Ferris)

Cool winter light paints the softly curving stone surface of inner Antelope Canyon (Bill Ferris)

BLUE CURVE – In March of last year, I made a week-long driving tour to do photography in the Four Corners region. I visited sites in Arizona, Utah, Colorado and New Mexico during a whirlwind tour. On the second day, I drove from the South Rim of Grand Canyon to Page Arizona and took the photographers tour of Upper Antelope Canyon. There are thousands – if not millions – of photographs of this iconic slot canyon so, I don’t pretend that the above image is anything unique. It is, however, meaningful to me.

If you’ve taken a tour of Antelope Canyon, then you know you are jostling for position with at least a hundred other tourists within the close quarters of this narrow slot canyon. Every image I made on that afternoon was shot handheld. I wanted good depth of field but I also didn’t want to shoot with too high an ISO. This image was shot with the excellent Tamron 24-70mm, f/2.8 Di VC USD zoom at 55mm, f/4.5, ISO 1600, 1/100-second.

I like the subtle raspberry blue hue of the light painting the gently curving stone wall, the warm caramel hues of the midsection and the chocolate tones of the stone in the upper-right. The f/4.5 aperture delivers just enough depth of field to capture the tight grooves of the lines in the stone. The contrast of those sharp grooves with the swooping curves is another quality that appeals, making this a top-ten photo from 2014.

High passing clouds catch the warm glow of a setting sun and wash the inner gorge of Grand Canyon in an earthy hue. A watchful eye may catch Desert View Watchtower as a subtle projection from the edge of the South Rim just right of center in this photograph (Bill Ferris)

High passing clouds catch the warm glow of a setting sun and wash the inner gorge of Grand Canyon in an earthy hue. A watchful eye may catch Desert View Watchtower as a subtle projection from the edge of the South Rim just right of center in this photograph (Bill Ferris)

SEVENTYFIVE MILE SUNSET – The Sunday of Memorial Day weekend, I made an impromptu trip to the South Rim of Grand Canyon National Park. It’s a 70-minute drive and I love the views from every rim overlook. I also enjoy the challenge of finding original and fresh perspectives to photograph in capturing the mood of the canyon from these popular tourist spots. On this trip, I decided to take a different approach.

Rather than photographing sunset from an established overlook, I decided to do a short day hike, blazing a trail through the Ponderosa Pine forest to the rim at Papago Point. There are no roads, no trails to this spot on the rim. As a result, I’m sure very few photographs of Grand Canyon have been taken from this vantage point. Papago Point offers a clear view up Seventyfive Mile Canyon to the South Rim. Off in the distance, you can see the winding Colorado River and the spectacular Palisades of the Desert.

What I really like about this image is the tiniest of elements – Desert View Watchtower. It is visible as a small projection reaching skyward from the South Rim a bit right of center. The tower is three stories tall and is simply dwarfed by the surrounding landscape. It is this element of scale that conveys the sheer vastness of Grand Canyon and earns this photograph a place among my ten favorite images from last year.

A soft summer glow bathes Mt. Hayden in eastern Grand Canyon in a pastel light. (Bill Ferris)

A soft summer glow bathes Mt. Hayden in eastern Grand Canyon in a pastel light. (Bill Ferris)

MOUNT HAYDEN PASTEL – The first week of July is historically when the summer monsoon kicks off in the Desert Southwest, bringing ten weeks of rain and thunderstorms to the region. The clouds, lightning and rain can add a dramatic element to landscape photos so, I drove up to the North Rim of Grand Canyon for the July 4th holiday weekend hoping to capture the drama with my Nikon D600. Well, I got more than I bargained for.

A typical monsoon day dawns clear and bright, clouds build during the morning, afternoon thunderstorms wash the landscape with rain, rumbles and lightning. By late afternoon, the clouds start breaking up, ushering in a spectacular sunset and clear night skies. On this trip, the clouds and rain were persistent. There was one morning, however, when conditions delivered fine conditions.

I had driven to Point Imperial for a sunrise photo shoot. With rain rhythmically tapping the windshield, I stayed in the comfort of the car longer than usual. Eventually, the rain eased enough to entice me from the vehicle and I walked down to my favorite perch just below the overlook. About an hour after sunrise, the clouds broke enough to allow a clean early morning light to spill into the canyon. This image is a portrait of Mt. Hayden bathed by that wondrous pastel light and is among my ten favorite photos of 2014.

Warm early morning light casts a golden glow on the canyon floor visible through Mesa Arch in Canyonlands National Park. (Bill Ferris)

Warm early morning light casts a golden glow on the canyon floor visible through Mesa Arch in Canyonlands National Park. (Bill Ferris)

MESA ARCH GLOW – In late July 2014, my wife, son and I connected in Denver, Colorado to spend a week exploring Rocky Mountain National Park. Alice and Matthew flew in from Niagara Falls, where they’d been enjoying some quality mother-son time. I had driven north from Flagstaff to Denver to check in at the hotel and pick them up at the airport. Since I would be travelling solo, I decided to extend the road trip over four days, to stop at some favorite landscape sites along the way and do some landscape photography.

On the morning of the fourth day, I had planned to shoot sunrise at Mesa Arch in Canyonlands National Park. The intense monsoonal weather followed me from northern Arizona into southern Utah. A sunset photo shoot in Arches National Park the day before had not gone as planned. The hoped for golden late day light never materialized on iconic Delicate Arch. While driving out of the park toward the highway, I started having second thoughts about heading north to Canyonlands. The weather to the north looked seriously threatening and, after three days of early mornings and late nights, the idea of a soft bed at a Moab hotel was quite appealing.

However, I resisted temptation and stayed on course. Arriving at the campground just outside Canyonlands, I set up the tent and climbed into my sleeping bag just as rain started to fall. I never did settle into sleep as sporadic showers, thunder and lightning flashes filled the night. The watch alarm went off at 3:30 AM with a light rain pattering  the nylon fabric of the tent. It was all I could do to extrude myself from the sleeping bag. Driving through the darkness into Canyonlands, the clouds seemed to be breaking up a bit. I was actually feeling a bit optimistic as I pulled into Mesa Arch parking area.

With my headlamp illuminating the trail, I made the half-mile trek to Mesa Arch and, as expected, was the first person to arrive. On a normal summer morning, as many as two dozen photographers are jostling for position to capture sunrise at Mesa Arch. On this morning, there were maybe five of us who’d braved the weather. We were rewarded for our tenacity. As the sun rose, the clouds parted just enough to allow some of that magical dawn light to paint the underside of the arch. Even better, mists and high humidity filled the inner canyon and the morning light cut through it like a lighthouse beacon.

While I really like the quality of the captured scene, I chose this image as a tribute to the rewards of dedication. The art and craft of landscape photography demand persistence. You can’t make the picture, if you’re not there when the light emerges to paint the scene.

From left to right: Nik, Nicole, Lucas and Kaidon (Bill Ferris)

Family Portrait (Bill Ferris)

FAMILY PORTRAIT – One of my goals for 2014, was to get out of my photographic comfort zone. I wanted to shoot more sports, and to do more client work. This photograph is included as an example of the rewards that come from taking risks and pushing your skill set to new levels.

A good friend at work had approached me about doing a family portrait shoot with her, her husband and their boys. I eagerly agreed. It was as much a favor to me as to her. She wanted to do the shoot outdoors and to feature fall color as a strong element. That’s what I had in mind, as well. On October 11, we met at the agreed time and location, and then spent the next hour taking group and individual portraits in and amongst aspens.

I thoroughly enjoyed myself and am very pleased with the outcome. This photography captures the true personality of this family, their enjoyment of each other and the outdoors. Of greatest satisfaction to me, is the obvious smile on the young boy’s face. He had fun during the shoot. On what could have been a frustrating day for a little boy who would rather be at home playing with his friends, we all had a great time making this family portrait.

Just looking at it brings back those memories and makes this one of my favorite photographs taken in 2014.

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. (Bill Ferris)

TOUCHDOWN! – This photograph was made on October 25, 2014. I have been a football fan since I played in a Pop Warner league as a young boy. Shooting a football game has been a goal of mine for a couple of years. However, at Northern Arizona University where I work, I am part of the television production team on football game days. Well, another production company was going to be in town to televise NAU’s Homecoming game so, I had the day off. What did I do with that free time? I grabbed my camera and went to the game to try my hand at photographing football.

My knowledge of the game paid huge dividends on this shoot. A strong sense of what was going to happen, next, allowed me to pick and choose locations that were perfectly positioned to capture the action. It was early in the fourth quarter when I identified this spot as where I wanted to be if NAU would have the ball at the end of the game with a chance to win on a last-second score. As good fortune would have it that is exactly how the game played out.

With less than one minute remaining, Northern Arizona took possession deep in their own end of the field. I went immediately to this spot and waited for the magic to happen. Three plays later, I captured this photograph of the game-winning touchdown catch. The Lumberjacks had just defeated the second-ranked team in the country. As excited as I was for the team and fans, I was even more excited for myself. I can’t recall having that much fun working on a personal project. For that reason and the significance of the moment, I’ve included this image among my top ten from 2014.

This Discovery Channel Telescope stands bathed in late day glow and waiting for darkness.

This Discovery Channel Telescope stands bathed in late day glow and waiting for darkness. (Bill Ferris)

DISCOVERY – Four days after shooting the NAU Homecoming football game, I made this portrait of the Lowell Discovery Channel Telescope. I have been a fan of Lowell Observatory since my youth. After all, Pluto was discovered at Lowell. The observatory is also what brought me and my wife from Madison, Wisconsin to Flagstaff in the mid 1990’s. The move happened when she took a position as the fundraising director for Lowell.

On October 29 of last year, I drove out to the Discovery Channel Telescope (DCT) site to shoot a time lapse night sky video sequence for a work project. Shortly after arriving, I made some test exposures in the dome. After the sun had set, I went to work outside and promptly forgot about the early test shots.

In December, the longtime trustee of Lowell Observatory, William Lowell Putnam III, passed away. Mr. Putnam’s death was hard on the staff. Going through my photo archive in search of an appropriate image, I found this photograph from that October 29 shoot. With the dome shutter doors open, a pure white light fills the space and illuminates the massive telescope from behind. This cold piece of technology is brought to life by an angelic glow. It gives a real personality to DCT. I shared the photograph with the observatory and include it, here, in tribute to Mr. Putnam.

A lone juniper tree clings to life on a stony outcrop overlooking Grand Canyon. (Lipan Point, South Rim) (Bill Ferris)

A lone juniper tree clings to life on a stony outcrop overlooking Grand Canyon. (Lipan Point, South Rim) (Bill Ferris)

JUNIPER – On December 7, I made another of my impromptu drives from Flagstaff to the South Rim of Grand Canyon. I wanted to capture the sunset and chose Lipan Point as the location. Lipan Point is one of my favorite overlooks at Grand Canyon. It offers a clear view of the Colorado River. To the east, Desert View and the Watchtower can be seen. Directly across is the North Rim. To the west is Vishnu Temple, Angels Gate and the farther reaches of the canyon.

I was paying close attention to the quality of light while setting up my gear and could tell the sunset light would not be special. Certainly, there are many worse places to enjoy sunset on a December day than Grand Canyon when the light is dishwater grey. The view would still be gorgeous and the environment inspiring. However, there would be no golden light on this evening.

Still, I was there with my camera and determined to come away with something. Looking about, I took notice of this small Juniper tree. It was barely three-feet tall and growing in a shallow depression in the Kaibab limestone. Normally, I use a small aperture for landscape photography to ensure great depth of field where every detail is in focus. This subject seemed better suited to portraiture. So, I set the aperture to f/2.8 to ensure a shallow depth of field. I am very pleased with the result.

The Juniper is in good crisp focus on the left side of the frame. To the right and in the distance, the Colorado River and natural monuments of the inner canyon fill the frame. This scene provides a context clearly identifying where the photograph was made. The slightly opaque late afternoon light spilling into and filling the canyon adds just the right touch to make this one of my ten favorite photographs from last year.

An African Spoonbill preens on a rainy mid-winter day at Disney World Animal Kingdom theme park. (Bill Ferris)

An African Spoonbill preens on a rainy mid-winter day at Disney World Animal Kingdom theme park. (Bill Ferris)

AFRICAN SPOONBILL – This last photograph was made during another family vacation. Over the Christmas holiday, we went to Orlando to visit Disney World. While researching the trip, I planned to take advantage of the opportunity to do some bird photography. On our last day, we visited Animal Kingdom for the morning and early part of the afternoon. It was a grey day with a constant drizzle wetting the northcentral Florida landscape. As we were leaving the park, I stopped at a small enclosed pond where ibis and spoonbills were gathered. Most were just standing, backs to the rain. Others were bathing and a few were preening like this African spoonbill.

I like this photograph for the buttery smooth texture of the bird’s feathers. The bird looks so creamy that you just want to reach out and touch it. It is also in an interesting posture and entirely focused on the task at hand. For these reasons, I included among my top ten photographs of 2014.

For me, 2014 was a year of being open to stepping outside my photographic comfort zone and trying new things. These ten photographs are a product of that effort. So, before 2015 is too far gone, I would encourage you to take stock. Review your photographs from last year and select your favorites. While you’re doing that, think about the photography you want to do, this year. Make an intentional effort to try something new, to step outside your comfort zone. I think you’ll find that effort will be well rewarded.

Now, get out and shoot.

Bill Ferris | January 2015

Anticipation

NAU quarterback Chase Cartwright releases a pass toward receiver Ify Umodu

NAU quarterback Chase Cartwright releases a pass toward receiver Ify Umodu. Photograph made with Nikon D610, Tamron 70-200mm f/2.8 VC at 200mm f/2.8, ISO 4500, 1/1000-second. (Bill Ferris)

Sports photography is one of those disciplines where there is just no getting around the fact that the gear you need to consistently make great photos is expensive. Scan the sidelines at an NFL game and you’ll find twenty or more photographers. Each brings at least two camera bodies and numerous lenses to the game. Many will be shooting either the Canon 1DX or a Nikon D4s. The two most common lenses are long, fast telephotos: 300mm f/2.8 and 400mm f/2.8. If some conniving super thief were to devise a scheme to steal all that gear, they’d easily walk away with over $1 million in kit.

Why is sports photography so expensive? It all boils down to one thing: speed. The sports photographer needs a fast camera and fast lenses. The top Canon and Nikon professional camera bodies have burst rates in excess of 10 frames per second. In a profession where the job is to capture the defining moment and where the players have world-class size, strength and speed, the difference a tenth of a second can make is astounding. In that brief instant, a player can go from diving for the goal line to fumbling the football. The sports photographer needs a camera capable of capturing that moment.

Because of the speed at which the game is played, a sports photographer needs to use very short exposures to freeze the action. Yes, there are situations where a slow shutter speed can allow you to make an image that perfectly captures the astounding pace of the action. But in most circumstances, the objective is to freeze action. Exposures of 1/1000-second or faster are commonplace. To shoot at 1/1000-second, you need lenses that collect available light in big, slurping gulps.

A 400mm f/2.8 lens drinks light with gusto. It focuses in a blink and follows focus even as the player with the ball is doing everything possible to elude both you and the other team. It also delivers images having a very shallow depth of field. The subject is sharply focused but the background has a pleasing, soft creaminess. This creates separation between the subject and background, making for a better photo.

To shoot at 1/1000-second in an indoor stadium or at night, you need a camera body that makes great images with a minimum of light. To accomplish this demanding task, your camera sensor needs to make clean images at ISO’s of 4000 or higher. While the lighting at professional venues is typically pretty good, the light level at a collegiate venue is often much lower. The light levels at high school football stadiums makes you wonder how the players can find the end zone without using a flashlight. There is no escape from this. If you use longer exposures to allow the sensor time to collect more light at a lower ISO, the athletes will be blurred and the detail lost. Even indoors or at night, the sports photographer needs speed.

This level of performance is unavoidable and it’s not cheap. Are you familiar with the old phrase, “Cheap, fast and good; pick any two.” In sports photography, there is no such thing as cheap…not if you want to make great images.

Having the right equipment is only the start. The most critical tool available to the sports photographer is something that cannot be bought. That critical tool is knowledge and there is no substitute. If you know the game, you have the ability to anticipate where the next play is going. If you can anticipate where the next play is going, you have the opportunity to position yourself, to focus on the right athlete or place on the field and to be there ahead of all the other photographers to capture the decisive moment in the contest.

NAU running back Casey Jahn looks to turn a run north-south

NAU running back Casey Jahn looks to turn a run north-south. Photograph made with Nikon D610, Tamron 70-200mm f/2.8 VC at 200mm, f/2.8, ISO 3600, 1/1000-second. (Bill Ferris)

I recently had the opportunity to photograph my first NCAA football game. I’ve been a sports fan – particularly football – most of my life and have been working professionally in televised sports coverage for 25 years. In other words, I know the sport and I know what makes for a great sports image.

My photographic equipment can be accurately described as pro-sumer. I shoot with a Nikon D610 digital SLR camera body. Nikon classifies this as an Enthusiast level camera. The 24 megapixel full-frame sensor is among the best available in any digital camera. I’ve shot with it at ISO 6400 and been very pleased with the quality of the images. The 39-point auto focus system is good – not great, just good – and the burst rate is a respectable 6 frames per second. The buffer allows me to shoot at continuous high burst for 2-3 seconds before the camera will start choking on new image files.

Like most of you, I’m on a budget. So, when I made the move to full-frame, I went with third party lenses to maximize both performance and value. The Tamron line of f/2.8 Di VC USD lenses deliver both. I am primarily a landscape photographer who does occasional portraiture. The Tamron glass gives me a range of focal lengths and apertures that meet the needs of both disciplines. Best of all, they deliver excellent image quality at a fraction of the cost of the equivalent Nikon lenses.

I used the Tamron 70-200 f/2.8 Di VC USD zoom with my Nikon D610 body to shoot the football game. The D610 was set to aperture priority and I shot at f/2.8 throughout the game. I also used the D610’s auto-ISO feature to configure the camera to use a 1/1000-second  shutter speed and choose the ISO that would allow for the proper exposure. Auto focus was set to AF-C (continuous servo), with 9 central auto focus points selected. I did experiment a bit with offsetting the auto focus points to the left or right (top or bottom when shooting in portrait aspect) but invariably came back to the central auto focus point. I also experimented with the D610’s continuous focus lock setting, ultimately choosing a setting that is slightly more responsive to motion than the default configuration.

The first decision I had to make was where to position myself for the opening kickoff and first offensive series of the game. Now, I am an NAU employee and support my Lumberjack sports teams. That said, Eastern Washington entered the game as the 2nd-ranked team in FCS football. They were 7-1 on the season with their only loss being a 52-59 decision against the Washington Huskies. To be perfectly candid, I expected the Eagles to put up a lot of points against NAU so, I set up at the end of the field where they would be scoring. This decision paid off as Eastern Washington’s first touchdown of the game was scored at that end. Unfortunately, while reviewing the shots I’d made of the play, I realized a corridor labelled, RESTROOMS, was the prominent background element in the images. Note to self: always be aware of your background.

As the 1st quarter progressed, it was clear that NAU had come to play. They weren’t intimidated by Eastern Washington and were gradually building momentum. So when the end of the quarter arrived, I decided to stay at the south end of the field to be in position to capture a Lumberjack touchdown. That proved to be the right decision as, early in the 2nd quarter, NAU quarterback Chase Cartwright hit receiver Beau Gardner in the end zone for the Jacks’ first touchdown of the day. For that score, I was positioned to photograph the celebration with NAU cheerleaders and fans in the background.

Eastern Washington's Cooper Kupp skies over NAU defender Marcus Alford to score a touchdown

Eastern Washington’s Cooper Kupp skies over NAU defender Marcus Alford to score a touchdown. Photograph made with Nikon D610, Tamron 70-200mm f/2.8 VC at 90mm, f/2.8, ISO 4500, 1/1000-second. (Bill Ferris)

The Eagles blocked the extra point attempt and the two teams battled to a standstill for the next 8:00 as Eastern Washington held a narrow, 7-6, lead. Sensing that the Eagles were slowly reclaiming the momentum, I hustled to the north end zone to position myself for a possible Eastern Washington score. My instincts paid off as Cooper Kupp found the land of milk and honey on a 14-yard pass from Jordan West. I was positioned at the back corner of the end zone and had a great view of Kupp leaping over the pylon for the score. NAU battled back, scoring two field goals in the final 5:00 of the 2nd quarter to cut the EWU lead to, 14-12. Recognizing the shift in momentum, I moved to the south end of the field and made some nice photographs of Northern Arizona’s final drive of the half.

During halftime, I weighed the question of which team would come out of the locker room having made the correct adjustments. I gambled on NAU and set up at the north end zone. Almost immediately, I was questioning the decision as Eastern Washington marched right down the field. But the Jacks held them to a field goal and, on their next possession, Northern Arizona quarterback Chase Cartwright led the team on a drive that culminated on a 1st & goal from the 3-yard line. Seeing receiver Ify Umodu breaking out to my side of the field, I rolled the dice again, isolating on Umodu on the next play.

As a result, I completely missed a touchdown pass to NAU’s Alex Holmes. In hindsight, I should have continued employing the technique that had been working throughout the day of focusing on the quarterback, reading his body language after the snap and breaking for the receiver on the throw. I also decided I had been over thinking the game since the start of the half. So, I returned to a mode of trusting my gut instinct on where to go for the next series and then being smart about following the development of the play.

NAU's Eddie Horn grabs a handful of facemask to prevent Eastern Washington's Quincy Forte from reaching the end zone

NAU’s Eddie Horn grabs a handful of facemask to prevent Eastern Washington’s Quincy Forte from reaching the end zone. Photograph made with Nikon D610, Tamron 70-200mm f/2.8 VC at 112mm, f/2.8, ISO 5600, 1/1000-second. (Bill Ferris)

This strategy paid off on EWU’s next possession. I had gone back to the other end of the field, setting up on the Eastern Washington side. Running back Quincy Forte powered his way to the 1-yard line before being tackled by the face mask. I had a perfect angle on and view of the face mask tackle. On the very next play, Forte forced his way into the end zone right in front of me.

Eastern Washington had a 24-19 lead and the teams battled back-and-forth, trading field goals over the next 15-minutes. It was during the 2nd half that I identified the spot where I wanted to be when the game ended. The location offered two great options for backgrounds. One, was the NAU bench on the opposite side of the field. The other option was the NAU cheerleading squad along the back of the south end zone. Either would make a perfect background, if the Jacks were able to score a late touchdown to win the game.

When the Eagles took possession of the ball with 4:37 on the clock, I sensed a game-clinching score coming and worked my way through the EWU bench to the north end of the field. Facing a 4th & 4 at the Northern Arizona 23 yard line, Eastern Washington burned two timeouts in succession before going for it.  A conversion would have allowed the Eagles to run out the clock but Jordan West’s pass to Cooper Kupp fell incomplete.

The final seconds were setting up exactly as I’d hoped: Northern Arizona had the ball on their own 23 with no timeouts and :47 left on the clock. They needed a touchdown and would have to be aggressive in their play-calling. So, I hustled back to my spot at the south end zone and waited for the magic to happen.

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. Photograph made with Nikon D610, Tamron 70-200mm f/2.8 VC at 70mm, f/2.8, ISO 8063 (Hi 0.3), 1/1000-second. (Bill Ferris)

On NAU’s second play, backup quarterback Jordan Perry completed a toss to Alex Holmes who sprinted 54 yards before going out of bounds at the Eastern Washington 20 yard line. On the next play, Perry took the snap and immediately looked to his left and my side of the end zone. As he cocked his arm and released the ball, I instinctively panned to pick up true freshman Dan Galindo breaking open across the goal line. Galindo was right in front of me as he cradled the ball, rolled across the turf and sprang up in celebration. With :12 left in the game, Galindo had just scored the go-ahead touchdown.

A huge celebration ensued as Galindo was surrounded by teammates. Team mascot, Louie the Lumberjack, even joined in. Cheerleaders and fans were frantic with joy. The Skydome was filled with the roar of fans who knew they were witness to something very special. Northern Arizona was about to defeat the number two team in the country. But there was more work to be done. NAU went for a 2-point conversion and failed. They squib kicked on the kickoff and Eastern Washington’s offense took the field with just :07 remaining. Their final desperation play ended when NAU defensive back Darius Lewis intercepted a backwards lateral and ran with the ball until time expired.

I immediately ran onto the field to capture the bedlam and ecstasy of the win. After making a few exposures with the 70-200, I ran over to my camera bag to exchange the telephoto zoom for the Nikon 16-35mm f/4 VR. I used this wide angle zoom to document the post-game celebration.

Jerome Souers, acknowledges the crowd after the comeback win versus Eastern Washington

Jerome Souers, acknowledges the crowd after the comeback win versus Eastern Washington. Photograph made with Nikon D610, Nikon 16-35mm f/4 VR at 30mm, f/4, ISO 5000, 1/1000-second. (Bill Ferris)

In hindsight, there are two lessons I took from this experience. The first is the importance of knowing the sport you’re shooting. Understanding the game and having the ability to anticipate what will happen next are critical to getting great photos. This is particularly true if you are limited to shooting with a relatively short focal length. (200mm is pretty short for football and other outdoor sports.) The second lesson is the value of choosing a location that allows you the opportunity to make a great photograph. Envision the scenario you would like to capture, go to the best spot for capturing that moment and allow the game to come to you. Of course, there is no guarantee things will play out as you want. That’s where your talent as a photographer comes into play. You’re there to document the event as it happens so, do your best with the cards you’re dealt.

Whatever your sport, whatever your photographic passion, today is a new day. It’s time to get out and shoot.

Bill Ferris | October 2014