Equipment Review: Nikon 70-200mm f/2.8G AF-S IF-ED VR Lens
Text and images copyright Dennis K. Olivero, all rights reserved

HISTORY
During the last several years Canon has developed a series of lenses with the Image Stabilizer (IS) function. Gyroscopic sensors mounted on the x, y, and z axes within the lens housing detect and counteract lens shake and camera vibrations by slightly moving an image stabilizing lens group along the optical axis. IS became a hit almost instantly among Canon shooters. Soon the old rule of never handholding a lens at any shutter speed below the reciprocal of the lens focal length became obsolete.

IS technology easily provides sharp images at light levels 2-3 stops less than that necessary with pre-IS equipped lenses. Most of us have seen fast acting nature photographers pick up and handhold a 500 or 600mm IS lens and still make sharp images. Even with large glass mounted on tripods, IS allows a higher percentage of sharp images in low light, at slow shutter speeds, and at extreme focal lengths. Canon now produces IS lenses at almost all focal lengths and has recently incorporated this technology in the video camera and binocular product lines. Reviews of lenses with the current Canon IS technology are almost universally positive with respect to performance and the enhanced ability to make sharp images in the field. A few photographers have voiced concerns regarding the additional cost of this technology and that IS may slow autofocus performance in the Canon system. However, overall IS has been a very successful achievement for Canon and this feature alone is responsible for numerous Nikon to Canon conversions in the nature photography community over the last several years.

Nikon coined the term Vibration Reduction (VR) for their own image stabilization technology. Most Nikon shooters welcomed the announcement of a VR lens joining the Nikon line-up in 2001. A year later when the first 80-400 VR lens finally made it to store shelves, Nikon shooters at last had the chance to apply VR technology to their image making. The first generation VR lens, however, had a number of shortcomings and mixed reviews quickly began to surface. The biggest complaint was that the new VR lens incorporated an older camera driven autofocus system rather than the faster and newer silent wave (SWM) technology. Photographers were disappointed using this lens, particularly on subjects in motion. Although my own experience proved the VR system was effective and allowed handholding at slow shutter speeds, the older autofocus technology was very frustrating when attempting to use this lens on moving targets. I tested the lens extensively at the La Jolla cliffs in California during the winter of 2002 and soon thereafter sold my lens because of its autofocus limitations. Admittedly I have been spoiled with the AF-S performance of my other lenses. Other shortcomings in the first VR lens include a weak and quirky tripod collar system and that the zoom was an external system which physically extended lens length. These features probably could be tolerated, however, had Nikon merged AF-S and VR in the 80-400mm product.

Nikon combined AF-S and VR technology in the 70-200 f/2.8 AF-S VR lens in 2003. This is a totally new product, not a makeover of previous lens designs, and this time Nikon has produced a truly superb lens. The combination of AF-S and VR with a new optical line-up in the lens allows photographers to make extremely sharp images under even very marginal light conditions. Nikon shooters in denial can stop grinding their teeth, silently thinking they do not need VR or IS to make sharp images. I can testify that it is a fact: VR (or IS) in combination with good technique will increase the percentage of sharp images in the field.

THE LENS
Nikon’s 70-200mm AF-S VR lens is a completely new product, not a revision of a previous 80-200mm lens. It is slightly longer (length 8.5 inches/215mm) and more narrow (diameter 3.4 inches/87mm) than the 80-200 AF-S. It weighs in at 3.2 lbs or 1.50 kg. The lens carries the new G designation, indicating that there is no manual aperture adjustment ring at the lens base where mounted to the camera. It had been speculated that the 80-400mm lens did not incorporate AF-S technology due to a shortage of electronic contacts and that the new G mount may free up electrical contacts for combining AF-S and VR. Others suggest that the G mount is simply a cost saving measure in the lens development. Since I nearly always adjust F stops using the command dials on the camera body I do not miss having the manual ring available. The lens contains more glass in more groups (21 elements/15 groups) compared with the previous 80-200mm model (15 elements/11 groups). There is also roughly a 50% increase in ED (low dispersion high quality) glass in the new lens.

Moving out from the camera mount, four buttons are found on the left side of the lens when held for horizontal shooting. The top button selects between M/A and M mode for focus. M mode is for complete manual focus. M/A allows for autofocus with manual touch up. The AF-S system will not override a manual adjustment unless the shutter is released and then partially depressed. The second button from the top controls the focus range of the lens. Two options are available: “Full” and “2.5m to infinity”. The minimum focusing distance (MFD) at 70mm is about 5 feet, slightly less in manual focus mode. The two lower buttons control the VR options. The third button from the top turns the VR function on or off. The lowest button allows the photographer to choose between normal and active VR modes.

The lens comes complete with a newly designed tripod collar which remains permanently mounted on the lens barrel, a huge improvement over the 80-400 VR lens. There is a mounting foot for tripod use with a new quick release system for removing the foot from the collar. I had my lens retrofitted with a quick release plate that screws directly onto the tripod collar. This circumvents any advantages of the quick release but I prefer to have the foot off to the side for handholding. This arrangement is particularly useful for mounting flash brackets.

The lens features a two-ring design with the innermost ring controlling focal length from 70 to 200 millimeters. The zoom is smooth and is internal without rotation or extension of the lens. The outermost ring controls focus. At the very end of the lens is a series of focus lock buttons, typical of the other AF-S telephoto lenses.

The lens hood is ample. It bayonet mounts forward for shooting and reverses for travel and storage. The hood should be used at all times as the additional glass in this lens will make it more prone to flare and ghosting, particularly when shooting towards a light source. Even the lens cap was reworked and features a center pinch release mechanism as compared with the older side pinch mechanism. This allows easy on/off of the lens cap while the hood is in the forward shooting position.

PERFORMANCE
I really enjoy using this lens. Since I frequently use much larger lenses on tripods, it is liberating to be able to walk around with this lens, to have the flexibility of handholding it and to still be able to make sharp images in lower light conditions. Even with VR turned off there is no question this lens is sharper then the 80-200 AF-S lens that I sold soon after acquiring the 70-200 AF-S VR. All of the f/2.8 Nikon AF-S lenses acquire autofocus at an astonishing speed and with a high degree of accuracy and this lens is no exception in that regard. Coupled with the D1X sensor, images with exacting detail are readily made.

Did I mention the lens was sharp? Previous reviews had suggested Nikon’s sharpest telephoto was also one of its most expensive, the 400mm f/2.8 AF-S lens. Recent independent tests indicate the new 70-200 AF-S VR lens surpasses the 400mm’s gold standard. The lens is compatible with the current TC1.4e (1.4x) and TC2.0e (2.0x) teleconverters. One published review used resolution studies to show that the 70-200 AF-S VR zoom lens in combination with the TC1.4e teleconverter was as sharp as the highly acclaimed prime Nikon 300mm f/4 AF-S lens. Tell your friends that a zoom lens mounted to a teleconverter will match a prime lens in sharpness and see what kind of response you get!

The VR system is very effective. Depressing the shutter button part way down will activate the VR system. It takes approximately one second for the system to turn on and settle. Using the AF button on the back of the camera body (custom setting) to start AF does not start VR, an important point to keep in mind if you frequently start AF independently of the shutter button. My evaluation, and that of others, shows that the VR does not interfere with AF-S performance. Most Canon shooters indicate that IS does slow autofocus performance and this may be one edge in the Nikon VR technology compared with Canon’s IS system. VR works with the N65, N80, F5, F100, D100, D1 and D2 series camera bodies. VR should be left on at all times except when completely locked down on a tripod, working a static subject. The VR may introduce blur in this situation by “searching” for motion not present. Use the normal mode (so VR will not fight pan motion either in horizontal or vertical compositions) except when shooting from a moving car or boat. When shooting from a moving vehicle it is best to use the active mode and VR will attempt to remove motion in every axis. The camera should be turned off before mounting or removing the lens. Expect increased battery consumption with VR active.

USING THE LENS
I acquired my lens at the end of May 2003 and took it with me to Custer State Park, South Dakota that month. The Wildlife Loop at the southern end of the park provides wonderful opportunities to photograph wildlife at close range. I have had the most productive experiences in this park during the hour just before dawn when wildlife can be easily found in wonderful wrap around predawn light. I almost always shoot from my vehicle using it as a moving blind. I had my large glass on a window mount and was able to handhold the 70-200 AF-S VR for close range work. The image of the bison calf was made using this lens at ISO 400 f/5, 1/30 while hand holding this lens.

Ever since I started using this lens, I find myself continuously looking for opportunities to use its zoom! In the summer of 2002, I traveled to Vince Schutte Black Bear Sanctuary in northern Minnesota. I made very few images on my first trip with my 80-200mm AF-S lens because of low light levels and slow shutter speeds. This year I returned to the sanctuary in June and took about half of the images during that trip hand holding the 70-200 AF-S VR lens. This allowed me to make intimate low perspective bear pictures by quickly kneeling down, making the image and then moving away. I was able to get into and out of positions rapidly, action not possible with larger lenses mounted on a tripod.

In St. Paul Alaska I fitted the lens with a Canon close-up diopter auxiliary lens and was able to walk around making close-up or macro pictures, such as this one of a beached jellyfish.

ISSUES
I have very few concerns or issues with this lens and would recommend it without reservation. It is very exciting to see Nikon producing successful combination AF-S and VR products. It seems like it has been a long time in coming, even longer when you are standing next to your friends using those white IS products. All professional camera gear is expensive and the average street price for this lens at the time of writing is US $1,700. The MFD could be better (five feet at 70mm), but this statement applies to the entire line up of Nikon telephoto lenses, particularly relevant since Nikon does not offer AF capable extension tubes. That being said, I really enjoy having this lens in my camera bag and look forward to new VR additions in the future.

Dennis Olivero's first significant nature photography experience occurred in Africa in 1978. When time allowed, he made pictures of nature and other subjects off and on for the following twenty years. The majority of his images, however, were made in the last five years, during which time he also has been actively involved in the nature photography community. To see more of his work please visit his web site at www.northernlightnaturephotography.com.