The Nikkor 500 mm f/4G ED VR N mounted on D3s, Gitzo Series 3 tripod, Photoseiki head.
A playful picture of the 500 AFS VR compared to the smallest (in size) lens proposed by Nikon, the 45 f/2.8 AIS-P.
I used for some
years the Nikkor 300 mm f 2.8 first AF-version, but I need more
reach, so I changed it with the fantastic Nikkor 500 mm f/4 AIS-P
version equipped with a CPU and after two years I considered to
switch to the modern AFS VR. My choice was attended by several
factors, such as the presence of a fast and accurate autofocus system
and a second-generation VR , its lightness, the robustness which
makes it able to withstand heavy use in the field.
The 500 mm is the
choice of many naturalist photographers, first of all for the weight
and size that are not excessive when compared to a 600 mm; his
Freehand handling represents another good card to play.
This is not a lens
designed to photograph animals from long distances (as it is not any
tele), and after about three years I used it mostly between 5 and
20-30 meters maximum. Beyond these distances I generally not shot, or
if I do it is only for documentation. It is good, however, that this
big lens is optimized to get a good results over long distances
(Seeing and allowing air humidity). This feature is useful for
photographic activities involving for example the observation of
nests from a long distance, or monitoring animals within protected
areas (Gran Paradiso Park Rangers perform observations of nests using
long telephotolenses like the 800 mm multiplied with 2 x).
Dimensions:
length without hood
40.5 cm.
Lens with mounted hood: 55.5 cm long.
With the hood retracted:
length 41 cm.
With neoprene cap
(optional, about twenty euros) and with the Nikon protection Cap,
note that the neoprene hood is much less bulky and it protects well the front lens.
Weight: 3880 g.
With a D3-like body attached we handle a weight of 5.32 kg.
The detail of the
switches control panel, from left to right:
-Autofocus
Selector-Manual Focus (I use this in the position A/M)
-Distance range
autofocus Selector, often I use infinite-position 8 m., species with
small birds, note that in this case the AF speed increases.
-Vibration Reductor, Normal selector
(which I normally used), and Tripod.
-Recall Memory
Selector, to call the fire point, useful but still don't
use it much, I will return to this topic.
-Acoustic beep
Selector, always disabled as far as I'm concerned.
I think if the
commands were slightly larger the ease of handling with the gloves
would have benefited, some selectors are really too small in my
opinion.
Tripod socket:
The tripod mount provided with the lens is very large and too high. To avoid undesirable vibrations I disassembled it and I substituted that for Monopod mount (supplied), on which I then fixed a plate with Arca Swiss attack (the alternative was ordering the expensive Really Right Stuff plate;)
Transportation in
the field:
I usuallly shot on tripod from a fixed location, (I currently use with
satisfaction a GITZO GT LS 3541 although I'd try an upgrade to 5
series).
About backpacks, I
use two different types, a Lowepro Lens Trekker 600 AW II which allows the transport
of telephoto lens with a lens retracted, neoprene hood and machine
body with dimensions type D3-body already engaged. In the front pocket is
possible to put the multiplier or a second camera body, or water and
food; Is not suitable for long walks since it is not designed for
such use, even if it is rather comfortable.
I also use a smaller Lowepro Photo Trekker Classic for longer trips, it contains the 500 mm , with the camera in another compartment. I didn't ever had problems in airport with the dimension of the baggage with this
solution.
The behavior at
various apertures:
I use mainly
at f/4 and f/5.6, but already at f/4 the sharpness is very good, that
becomes excellent at f/5.6 up to f8. I don't see big differences, to my
eye at least, beyond f/8 and f/11 and I rarely have
to use closed beyond this limit.
Below some shots.
At f/4:
My dog Chicca, D3s,
ISO 2000 1/500 sec., handheld.
Great tit under a
snowfall, D3x, 1/500 sec. ISO 500, bean bag.
Bullfinch, D800E, 1/250
sec. ISO 800, tripod.
European Greenfinch, D800E, 1/500
sec. ISO 1600, tripod.
Brown Bear, Finland, 1/250 sec. ISO 1600
At f/5.6:
Black-winged
stilt,
D3x, 1/640 sec. ISO 320, bean bag.
Mandarin duck, D3s,
1/1000 sec. ISO 400, tripod.
Little
bittern, D3s, 1/1250 sec. ISO 2000, bean bag.
Red squirrel, D800E, 1/640 sec. ISO 360, tripod.
Monza F1 Championship, D3, f10, 1/640 sec, ISO 200, tripod, behind the steel fence.
Vignetting:
definitely visible at f/4, it disappears by closing one stop, one
click as a TA. Vignetting to me is a non-problem I usually do not insert the control over my camera bodies, nor the correction
in post-production. I think it's a creative feature. Matter of taste.
Cormorant, D3s, f/4,
1/1000 sec. ISO 400, tripod.
This is a borderline
situation, which I specifically sought, if you look at the other shots at f/4 is present but not
too annoying.
Multiplied with the
TC 14 EII, better close one more stop to approach the sharpness you can reach to f5.6 whitout multiplier. The loss of sharpness is really
minimal.
Some examples:
Black-winged stilt
,D3x, f/5.6, 1/2000 sec. ISO 1000, tripod.
Dunnock, D3x, f/6.3,
1/800 sec. ISO 320, handheld.
Young Great crested
grebe D90, f/7.1, 1/2000 sec. ISO 800, tripod.
Northern lapwings, D800E, 1/1600sec., f/6,3, ISO 400.
Duplicated: the TC 20 EIII is an emergency solution, many photographers consider the images obtained with this combination not acceptable, substantially blurred. I agree with them to all that lies beyond a certain distance, but if the subject is very close (and I mean a lot) you can use while maintaining a good quality in some cases; In any case, better to close at f/10-f/11.
A couple of examples:
Little Grebe, D800E, 1000 mm, 1/100 sec, f/10, ISO 1600, tripod.
Dragonfly in flight, D800E, 1000 mm, 1/500 sec, f/10, ISO 1250, handheld.
I open a small digression, to express my thought about the quality image that we can reach with the latest lenses, combined with new teleconverters (the new TC14E III and TC20 EIII have an aspherical lens), but especially with the new sensors that have significantly raised the bar for quality.
The adjective
"unwatchable" may refers to the old TC with sensors of a
generation ago, today it is not so, we moved in many cases from
unwatchable to acceptable. By me, it depends on how the subject is
close. It is a personal opinion and take it as such. End of the
digression.
In summary, the 500 mm is born to
be used without multipliers as many times as you can (obviously), I
must also say that it supports the TC14EII, and in many situations I use
this set-up with considerable satisfaction.
The TC20 EIII, which
is the latest version, remains an emergency solution.
The VR: VR mechanism
is driven by a ring that is activated quite easily with your thumb
and index finger of the left hand, since they falls exactly at the right height.
But I remember the infamous rings for the autofocus so often
failed (and break) on various AFD 200 MICRO, 80-200 f2,8, 28 AFD F1,4 and so on.
For this reason I preferred a normal switch.
I don't use VR very often,
since I use the lens fixed on a tripod in the 95% of my shots, but allows shots to the edge.
Jay f/5.6 ISO 800 1/60 sec., VR ON, handheld.
I never used so far
on VR tripod mode, I therefore propose examples but I plan to conduct
some tests in the future.
Finally, the bokeh:
very pleasant, and
even if it doesn't reach the heights of the blur of a mediotele
portrait is truly remarkable.
Kingfisher, D3s,
f/4, 1/3200 sec. ISO 400, bean bag.
Flowers, D3x, f/5.6,
1/400 sec. ISO 500, tripods.
Grass after rain,
D3s, f/5,6,1/1250 sec. ISO 5000, handheld.
Warning; all photos
of this item are no crop, except for those depicting the lens. NEF
files were opened with LR and converted to JPEG without further
modification.
There are many
images taken from my archives, but some photos were taken
specifically for this review (the flying Cormorant for vignetting,
Kingfisher on blue blackground).
Thanks to those who
have had the patience to read me.
Bruno Mora
