Nikon 80-200mm f/4.5-5.6D Lens Review

Image Copyright Midwest Photo Exchange (www.mpex.com)

Background

Another lens in the rounding out of the Nikon kit.  This one fits in the everyday carry line of lenses.  Previously, I wanted something wide, so got the Tamron 20-40mm/2.7-3.5  (review on that lens coming soon)

This one covers the long telephoto end.  I heard about this lens from some online blogs.  Specifically that this lens was used by Galen Rowell when he wanted something longer but weight was a factor.  They state that it is a very specific use type of lens and that it performs well when used to its strengths.  Fair enough.

This find was even cheaper than the Tamron 20-40mm.   At $44, I can't think of a losing scenario other than the optics were damaged or the focus was so off as to not be able to be corrected.   Into the review we go!

Handling/Weight/Size

This is a very light lens.  The mount is plastic as is the lens body.  The zoom ring is very easy to turn and does so smoothly.  The focus ring is very small and quite fiddly to try and use.  The lens is not really that big either for an FX coverage lens.  This is great as it is almost an afterthought to throw into my every day carry bag.  When carrying the Nikon Df, I usually have the Nikon 35-70mm f/2.8 attached and the 80-200/4.5-5.6 in the bag.

Image Quality

Lots of reports stated that the lens wide open was on the verge of unusable.   While not as sharp as f/8 or f/11, they are definitely usable.  The strength of the lens is definitely in it being stopped down.  In one article I read by Galen Rowell, he stated that the lens provides "publishable" image quality.    For $44, the images I am getting out of this lens are good enough.

This is definitely a lens you want to use in decent light given your aperture range.  However, I found that at 86mm and f/4.8 - the image quality is definitely more than usable.  Check out the leaf image below.

Nikon Df, 1/500, f/4.8, ISO 400 @ 86mm

Nikon Df, 1/500, f/11, ISO 720 @ 200mm

Auto Focus

This is not a fast focusing lens.   Again, we are in the adequate range of speeds here, but for shooting street, landscapes and the like it will do just fine in most situations.

Bottom Line:
This is a decent find and I can see why Galen Rowell appreciated the qualities that this lens provided.  It is a good companion lens to an everyday carry kit where small and light are a priority.

Nikon D500 Review - First Look

Image © NikonUSA

Background

It was a hard decision.

My D300 has served me well over the years.  Time and technology have shown it's age though in the IQ department though.  It still performs well in the AF department, being used by me for all my high speed action photography.

There have been other APS-C sensor Nikons that have come through the years, but none that matched the D300 for me.  The D7000 series was close, but did not feel right in my hand.  Then there were rumors of an impending D400....but nothing ever appeared.

Then, seemingly out of nowhere Nikon gave us the D500 along side of the D5 release.

As many who read this blog regularly, I also shoot with a Micro Four Thirds kit as well.  Olympus recently announced the EM1 Mk II.  They promise a lot from it.

The decision came down to a few things.

• As of this writing, the Nikon D500 is $300 cheaper than the EM1 Mk II price
• Olympus in the pre-release reviews have not really shown the EM 1.2 AF performance which they claim is rivaling that of other companies flagship DSLRs.
• Nikon's D500 AF performance and IQ have been front and center - it is a known and quantifiable entity that I can compare and contrast with my current gear.

Image © NikonUSA

Handling/Weight/Size

For a DSLR, the D500 is on the smaller side.  It is not a Canon SL1 size, but I placed it right next to the Nikon Df and it is roughly the same size.  The D500 is just every so slightly bigger and 100 grams.

The grip is deep and allows for a confident grip, even holding on to it one handed with a 70-200/3.8 lens attached.

I'm still not a big fan of the was you switch about AF modes, having to press in the side button and then turn the dials.   I'd rather have the old 3 position switch, but I'm sure I can make myself get used to it.

All the buttons feel quality.  The addition of the thumb stick on the back for adjusting the AF point is a great addition and it is sitting in just the right position for me.

The rear LCD is great for reviewing images as it is a touch screen and functions similar to how our phones work.  It is also articulating so it can be tilted at an up and down angle.  Nikon also included touch to focus and touch to actuate the shutter features to the rear LCD as well.   This is a welcome feature as I have grown used to it with the Olympus cameras I use.  The AF is still a slower contrast detect only method, but seems much snappier than the past iterations.  The Olympus implementation is still quicker, but good to see Nikon moving in this direction.

The shutter mechanism also sounds different than the older Nikon DLSRs I have.  It sounds and feels more dampened.

Image Quality

There is a big upgrade here when looking at the D500 against the D300.  My ceiling for the D300 has been ISO 1600.  Even that, the output can be mushy and low in detail.  The micro 4/3 cameras of today, in comparison, are usable up through ISO 6400.

The D500 changes all that.  Base ISO is down to 100 now and the high ISO usability is now way higher.  I was getting some great images at ISO 12,800 and 25,600.  ISO 6400 is very clean.  I should not have been surprised because I've always thought Nikon did a great job in processing high ISO images.

Dynamic range is also excellent and the files are rich in data so doing post processing has a lot of latitude, even in JPG files.

Tamron 70-200/2.8 VC
ISO 100, 1/1250, f/4 @ 200mm

Tamron 70-200/2.8
ISO 100, 1/1250, f/4 @ 200mm

Tamron 70-200/2.8
ISO 200, 1/2000, f/4 @ 200mm (heavily cropped)

Auto Focus

This is where I was completely blown away.

Not only do you have a ton of options, but the speed at which the D500 locks on is right there with the AF speed of the micro four thirds cameras.  That is really no shocker, though...what will get you amazed is the AF-C performance.

I went out and took pictures of 2 smaller dogs playing, and by playing I mean they were wrestling around.   The only images that were out of focus were the ones that I just could not physically keep up!

These dogs were rolling and heads flashing about...and the D500 was able to give me an unbelievable keeper rate.

My issue now is trying to learn all the AF modes and when best to use them.  All that I had heard in the reviews I have found to be very true!

Auto Focus set to AF-C d25 mode, continuous high release, release priority.  Did my best to keep the center point on the dogs.  The D500 and Tamron 70-200/2.8 VC did the rest!!

Tamron 70-200/2.8 VC
ISO 200, 1/3200, f/2.8 @ 82mm

Tamron 70-200/2.8 VC
ISO 200, 1/2500, f/2.8 @ 70mm

Tamron 70-200/2.8 VC
ISO 800, 1/2500, f/4 @ 70mm

Tamron 70-200/2.8 VC
ISO 800, 1/3200, f/4 @ 100mm

Video

4k video capable here.  I'm new to video, so I will not get too much into this and this is my first Nikon with video recording capabilities.  There are mic in and audio out for monitoring available, which is great.  According to the manual, the bitrate is 144Mbps for 4k.

Battery Life

Powered by the EN-EN15 battery, it is rated at around 1400 shots per charge.  Plenty enough for all day shooting if needed with normal use.  I'm sure it is less with a lot of chimping or using the Live View or recording video.

Other Misc. Items of Note

Bottom Line:  The Nikon D500 is probably the most responsive camera I have ever used as of the date of this writing.  It just does what it does and with seeming ease.

I use a Black Rapid strap and I did notice that the tripod socket does not seem to be as deep as the older Nikon cameras.  When attaching the Black Rapid connector to the tripod socket, the rubber piece that sits between the camera and the adapter never really cinches down.  It appears to work OK, but I think I might get some thicker rubber washers to use for that added security.

Here is a link to the Nikon USA D500 webpage for all the specs and what not.

Going to continue shooting with the D500, throw on a prime - maybe the nifty fifty or perhaps see how it deals with the Nikon 24-70/2.8.  Look for a follow up review in the weeks to come!  

Cheap Street Shoot

OK, no...cheap doesn't mean that it is tawdry...cheap as in not expensive gear!  Well, lenses anyway.  The camera body is not inexpensive.  lol

Seriously though, we had a chance to visit Indianapolis and some other towns on the way back.  Light set of gear:

Olympus PEN-F (the not inexpensive part)
Olympus 40-150/4-5.6R lens (purchased used for $100)
Panasonic 14mm f/2.5 (purchased used for $139)

What is the point of the post?  To drill home the fact that it is not about having the best gear, the most expensive or newest.  It's about knowing the limitations of the gear and using to to its strengths.

I'm not the kind of person that likes to intentionally make shooting more difficult by using gear that is not optimum for the job at hand.  This just goes to show that street shooting with inexpensive gear is not only a possibility, but can be favorable/preferable.

Why?  Smaller camera, less intimidating to the subjects, less noticeable to the subjects.  Less weight than a pro grade/ f/2.8 lens set.  That kind of thing.  Anyway, here are the results from the weekend, using on the gear you see listed above.

Enjoy!

Shooter's Block or Getting Out of the Rut

Writer's Block, Creative Block, losing interest, lost the spark...whatever you call it or however it happens to you, it is a frustrating thing.  Some people never get through it and just plain give up.  Some forever, others for a few years, some for a few weeks or days.

First remember, we ALL go through something like this at some point in time.  There is no shame in it.  Just recognize it and find a way to push through it and get that spark back.

Second, you are NOT ALONE.  At least, you don't have to be.  There are many photographers and creative types out there that can help you find the right thing for you that will re-spark your interest.

What I've done in the past to help me is:

• Find a personal project.  I did Sceene In Windows, and am working on 8 Corners and delving into video production.  You can even become a photojournalist, like I have with my Visual Ohio project.  Visual Ohio has actually gotten me visibility, work, and licensing of some images.  I just had a call the other day for use of an image I took at an event last year for that organizations media packet.
  I then shoot street photography for fun/practice.
• Sometimes you just have to step back from it.  By doing this, you'll find out what it is that really draws you to photography.  You'll start to get the desire to shoot again and when you do, what subject and how you shoot it can point you into a direction that will rekindle your interest.  Follow that path.
• On the business side - find something that no one else offers - master it and sell like crazy.  Around here there are lots of people doing themed shoots.  Normally they are cosplay or steam punk themed shoots.  If you have a few good locations in mind-  these kinds of clients tend to have their own costumes and want nothing more than someone to accept and respect them.   I'm working on offering a new product, which is something similar to a living storyboard.  We get a client(s) who has a story they want to tell and we go through a whole series of images that resemble a movie storyboard.  Can be real or imaginary...but the point is, no one in my area is offering it.  Once I get that flow down and better video chops, I plan on offering that same storyboard concept, except in video format - like a 5-10 minute short.
• You may need to find a new client base - corporate gigs are nice if you can get them, but I find that working with the same client for a long time, doing the same kinds of things can be very stifling on the creative side.  Forget outside the box, they generally don't want you even getting close to the sides of the box!!  As an artist - and yes, I definitely consider every one of us photographers as one - that kind of necessary but sometimes uninteresting work can lead to stagnation.  For those reasons, I do my personal projects, where the only limiter is either self imposed rules or none at all.  That is probably why I love street shooting so much.  All that "unknown" in front of you, not knowing what might happen that day.  Sometimes something special, other times - nothing at all.  What you can do though, is that the experimentation and creativity bleed into the other client jobs.

Again, trust that you'll get out of the rut, even the deepest one eventually.  You've got friends everywhere, lean on us and we'll help you get through it.