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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

Scammer Time

Screen capture of text message exchange with "Hiro Cane," a scam artist trying to lure me into a con.

Screen capture of text message exchange with “Hiro Cane,” a scam artist trying to lure me into a con.

“Hello, I’m Hiro Cane. How are you ? I’ll like to know your free available date in August for my family reunion (5 hours photo coverage). Also i want family portraits done for all the families coming together for the reunion. Do you accept credit card payment ?”

When the above text message dropped into my in box a couple of weeks ago, I was genuinely excited. Out of the blue, here was someone wanting to hire me to shoot a family reunion. It looked like a good opportunity to expand my client base. Rather than reply to the text, I tried to call the associated number. That’s when things started going sideways. Instead of getting the client or his voicemail greeting, I got an automated message stating that the phone number was set up to send and receive text messages, only. “Hmm, that’s odd.”

Unable to reach the client by phone, I replied to the text by thanking him for contacting me and asking for a phone number I could call to speak with him about the event. A short time later, I received a second text in which the person explained that he is hearing impaired. He asked me to send him my email address so we could move the conversation off text. Alarms were starting to go off in my head. It was suspicious that he didn’t want to talk, even through a friend or family member as an intermediary. I was also still interested in doing the shoot so, after weighing my options, I decided to send him a very simple text with just my email address.

“Thank you for giving me your email. I want you to check if you have available weekends between August 6th-28th. If you have a date open i want you to work on the estimate cost for the 5 hours photo coverage from 11am-4pm, and 6-16×20 prints family photo portraits because  we have 6 families coming together for the reunion event. The event will be held locally here in the state about an hour or two drive from your location, i will cover the travel expenses. I got your information on the internet and i hope you can handle this event. I’ll be making 60% down payment in advance with my credit card to book the date also i will forward you the event venue once the event planner book the hall. I will be looking forward to read from you with the estimate ASAP.”

Less than an hour later, I received the above email. I’ll be honest, the details he offered had dollar signs dancing in my head. The scope of the shoot, travel expenses, the potential for print orders and licensing fees added up to at least a mid-four figure quote. However, it was the lack of detail in some areas that gave me pause. It was odd that he didn’t want to meet or speak with me, directly. He wouldn’t provide a specific date or location for the event. He didn’t ask to see samples of my work nor did he reference having already seen (and liked) my work.

I replied by email, offering two weekends in August when I would be available to do the shoot. I also asked him to give me the name and location of the venue where the reunion would be held. With that information, I could contact the venue to confirm that this client had been in contact or possibly even held some dates.

“The event is going to be both indoor and outdoor. And i will need an unlimited candid shot that will be in a DVD or USB with the right to prints anytime. The 16×20 will be a group photo for individual family. So can you get back to me with the total estimation and the type of credit card you accept.”

When I received the above message, I was convinced this person was a con artist. The urgency with which he wanted to receive my quote and make a large advance deposit was simply unnatural. Let’s be honest, no legitimate client is that eager to part with their hard-earned money. That little voice in my head was warning me, “If it seems too good to be true, it probably is too good to be true.”

My next step was critical: how do I reply to make it clear that I won’ t move forward without some form of personal interaction and do so without offending a potential client? After some careful thought, I replied by email asking for his full contact information and stating that I would need to speak with him or his representative to be sure I fully understood his expectations and needs, before I could prepare a quote.

Crickets.

In the two weeks since that initial text and email exchange, there has been no further contact from this “client.” I have, however, received email and text messages from other supposed clients making the same or similar requests. There is no doubt in my mind that these are fraudulent and that I’ve been targeted for a scam. I was curious about one thing, how would the scam have played out?

Recently, I did a simple Google search for “photography scam” and the results were illuminating. The top link was to a news article on the Popular Photography website titled, Beware the Family Reunion Scam That’s Currently Targeting Photographers. Well, that sounds familiar. Another link was to a 2011 article on the PhotoShelter blog, 4 Scams That Target Photographers. The second confidence scheme described on that page is, The Fake Photo Assignment Scam. Here’s how it works.

A “client” contacts a photographer asking about availability to shoot a wedding or other family event. Over the course of several messages – all communication is by email or text – agreement is reached on the total cost of the shoot and the amount of the deposit. When the con artist is ready to pay the deposit, he asks if payment to another “vendor” for the event (e.g. the venue or caterer) can be made through the photographer. The “client” offers to add the other vendor’s fee to the advance payment and asks the photographer to forward that amount to the vendor’s account. If the photographer agrees to be the middle man for this transaction, the scam is set.

The advance payment from the “client” ultimately bounces due to insufficient funds. Unfortunately, several days will pass before the initial payment is rejected by a financial institution. In the meantime, the photographer will have used his own funds to pay the advance to the other “vendor.” In fact, the account for the second vendor belongs to the con artist, who collects the photographer’s money and disappears long before the victim is notified the con artist’s initial payment has been rejected.

Confidence schemes are a disgusting business. They play on a person’s genuine desire to be helpful and to see the best in others. While I was struggling with how to respond to the text and email messages from my scammer, I felt guilty for suspecting the person on the other end of the exchange. “What if this guy’s legit? How am I making him feel by treating him with caution? I’m providing terrible customer service.” These were my thoughts.

It’s a struggle at times to know how to respond to client requests. As service providers, we want to be known for delivering excellence. As business people, we need to employ smart practices that protect us from financial ruin. In the end, I took a stand in favor of a widely accepted best practice – to ensure that my quote would be an accurate reflection of the necessary time and services, I insisted upon having a conversation with the client or his representative. If the client decided to walk, I could live with that.

As professionals, there are certain standards we have an ethical obligation to meet. We have a responsibility to ourselves and our clients to demand a certain degree of personal interaction. This is essential on several levels. Personal interaction allows both parties to decide if they are a good fit for each other. If there’s going to be a disconnect, especially if on a personal level, it’s best to figure that out before the shoot. Whether an in-person meeting (best), a Skype session (good) or a phone conversation (acceptable), personal interaction is the best way for the photographer to fully understand the client’s needs and expectations. It is also an opportunity for the photographer to establish his expectations of the client.

At the very core of a successful provider-client relationship, is mutual respect, and an understanding and acceptance of expectations. And yes, this includes the provider’s expectations of the client. From payment methods, deliverables and deadlines to levels of participation and feedback, it is important for the client to understand and accept that the success or failure of this partnership depends, in part, on commitments they are prepared to make. A client is free to insist on minimal interaction and communication leading up to their event. As a professional, you are also free to say to that client, “Thank you for your interest but I think you would be better served by working with a different photographer.”

As for the scammers and con artists out there, especially the scum who target photographers, I know there is nothing I can say to dissuade them from continuing to target me or my hard-working and well-intentioned colleagues. By sharing the details of this recent experience, I hope to help other photographers to recognize a scam before it has progressed to the point where the photographer has been victimized. If you’ve been the target or the victim of a confidence scheme, please share the basic elements of that con with your peers. If we don’t support each other, who else will?

Now, get out there and shoot.

Bill Ferris | July 2015