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lens overview & technique Sren hese
nikkor 70-200/2.8 af-s vr
shooting long on the high seas
Nikons 70-200/2.8G AF-S ED IF VR Nikkor is the latest version of their professional mid-range tele zooms. As the successor to the famed 80-200 AF-S, this Japanese-built gem in the Nikkor lineup reflects Nikons modern design, it lacks an aperture ring and is therefore not fully compatible with Nikon FM-series or older Nikon cameras. Handling and Build Quality Weighing in at just over three pounds, the 70-200 VR brings with it an impression of unbelievable quality. The focus ring flares into two different diameters and feels very well dampened. The zoom ring is closest to the camera and is equally smooth and easy to rotate. The three focus lock buttons are located just aft of the lens hood mount and fall under your fingertips naturally. Slide switches control Manual or Manual/Auto AF, Full/2.5m>Infinity,VR On/Off, and Normal/Active VR mode selections.
g VR Elements g ED Glass Elements
SPECIFICATIONS Construction: 21 elements in 15 groups w/5 ED elements Focus: AF-S (internal Silent Wave Motor) 4.6 (1.4m) manual, 4.9 (1.5m) autofocus Length/Weight: 215mm, 49.2 ounces (1395g) Focus Locks & AF Range Limiter Focus Filter size: 77mm
Build quality is at Nikons highest level with an all-metal lens that is a pure joy to use. The 70-200 VR tripod collar and removable foot is a welcome revision - sturdy and well designed. The lengthy tulip-shaped lens hood locks into position Emotion People coping with stress or experiencing sucand adds 10cm to the overall cess are what makes a sports photograph so impressive. On a 35mm or FX body, Isolating these moments is done in a matter of seconds. length. Moisture seals and a something comes back that rubber dust ring surrounding is nearly nonexistent with APS DSLR sensors: light falloff! the mounting flange add protection to the 70-200 VR during At wide open with the Nikon F5, the lens shows pronounced outdoor shooting. light fall off. Its nearly gone by f5.6 but, especially at dawn and when shooting birds, light fall off wide open can be Optical Performance problematic. Post processing can help here with many imAt 180mm and f2.8, the 70-200 VR is not as sharp as aging applications that can correct JPGs or TIFFs as well as Nikons much older 180/2.8 AI-S ED lens, but the 70-200 scanned slides. Using the latest DSLRs, the issue is easily VR is much better corrected for chromatic aberrations. You corrected with RAW processor software. will hardly find any color fringing in its images. Unsharp areas are rendered with creamy softness and without hard Autofocus Performance edges. The bokeh of the lens is just wonderful, especially at In fast-paced sport photography, its AF-S performance be200mm, and it can only be compared to the Nikkor AF 85 comes obvious. These examples of shooting sailing events are f1.4D. With Nikons TC14E II 1.4X teleconverter, the lens from a dinghy with the 70-200 VR and 300/4 AF-S mounted can be converted to a 147-420/4 DX optic. (The TC17E teleon Nikons F5 and D2x pro bodies. converter noticeably deteriorates image quality.
INTERNATIONAL PHOTOGRAPHER
At 200mm and f2.8, most people find the 70-200 VR a tad too soft. I am very happy with the centre resolution at 200mm, but for resolution critical applications I usually go to f4. The details of subjects is there but the pixellevel sharpness could be better. The lens is extremely well corrected for chromatic aberrations, however, and that makes up for some slight soft veil that can be seen at f2.8.
On setting. The Focusing perforoptions are Long, mance of this lens Normal, Short and cannot be covered Off. This can be without a focus very interesting for mode discussion. your action shootThe performance of ing style with the the lens autofocus 70-200 VR or with is directly tied to other telephoto the AF Area Mode lenses. Basically, that is selected. you can control Nikon D200, D300. how quickly the AF D700 and D3 DSLchanges to a new Rs offer a choice subject that enters between Single your focus area. Area AF, Dynamic With sailing phoAF with Focus tography I usually Tracking and Lockset this to short. If On, and Closest you are on a dinghy Compression Compressing the distance between boats is an effective telephoto Subject Priority with lots of movetechnique with regatta sailing events. The reduced gap between the sailors creates Dynamic AF. The ments under your a more dramatic impression of competition. choice you make feet you will discan be combined with Lens Servo modes. The Servo Mode cover that the basic problem is to keep a focus area stable options are: Single Servo AF and Continuous Servo AF. For on a specific subject. If you failed to keep the focus area on sport with the 70-200 VR you will very likely want to use the your subject your focus point will quickly shift away and you Continuous Servo Mode because most of the time your subwill have to try to regain a focus-lock situation. The key to ject is moving continuously. success with the 70-200 VR and fast moving boats or sailors is to keep your focus area positioned. In these situations I With the AF Area Modes the story gets more complex. In find the focus lock buttons of the lens of no use at all as this fact I find myself often switching between Group Dynamic functionality is for static subjects. and Dynamic AF with Focus Tracking. This is purely subjective and specific for what I do when photographing sailing Vibration Reduction sports and obviously your mileage may vary here - even if Vibration Reduction (VR) works beautifully on this lens. Sharp you also shoot sailing. something that I dont find too useshots are possible even at 1/8th second exposures, but more ful is the Closest Subject Priority Dynamic AF. Thats mainly than one try is usually needed to be on the safe side. The techbecause with the 70-200 the focus will very quickly change nique to handhold the lens is very important with VR and low towards a subjects shutter speeds. The Composition Crossing rig structures (in close hauled situations) create very where you dont stabilization is very dynamic image compositions. The right moment is key to a good overlap of the necessarily want visible when looking boats. Start a quick burst of shots when the boats start their overlap. the focus to be at through the viewthis moment. The finder. The image control over your appears to freeze AF Focus Area sometimes when should be as high VR has really locked as possible with in the scene. this lens, even in an action loaded However, there situation. seems to be a warmup that is One of the custom needed for VR to settings that is ofreally eliminate the ten underrated on effects of camera these DSLRs is movement. If VR A4: Lock-On. The is active, a clicking key idea of the A4 sound followed by setting is to maa sliding sound can nipulate the Lockbe heard.

Normal VR is most effective for single axis motion cancellation in handheld situations where the usual amount of handheld movement is expected. Active VR is useful for x-y movements, like shooting from a boat or automobile where the camera/lens movement is much more erratic. In fact, one worst case situation is shooting from a boat that is bumping through the waves. Here the Active VR setting keeps the picture in your viewfinder much more controlled. There is a certain lag that makes looking through the viewfinder somehow feel sticky in these situations. This can help, but well composed sharp pictures are difficult to create under these circumstances. With the VR advantage, it is much easier to use the lens at its sharpest aperture - around f5.6 - and vary shutter speeds or ISO settings for flexible handheld shooting. Bokeh This lens shows wonderfully smooth and creamy backgrounds, with out-of-focus (OOF) circles of confusion that are just short of the Nikkor AF D 85/1.4 standard of quality. Slightly stopped down, the lens shows nearly perfect round OOF confusion circles with a slight ring type of edge effect when the lens is stopped down (not visible wide open. You will rarely be disappointed in practical shooting situations but if the OOF circles are part of your creative concept then this might be an issue.OOF circles also very much depend on the type of light point source you are using. There is a minimal appearance of polygon shapes in some of the circles. Mechanical Performance Focusing as close as 4.9 (1.5m) with AF-S, this lens is Nikons state-of-the-art pro glass at its lowest cost. The 70-200 VR is one of three pro zooms in the under-$2000 range, making these optics a performance bargain. No problems with seagulls and running kids. Racing events, rodeo, and the local soccer team are all fair game for this premium zoom. Even very close range moving objects can be tracked in a continuous fashion that is exciting. You can easily hear the AF-S system functioning while its high frequency updates focus with a very silent rattling sound. This works especially well when a linear movement is tracked. All these bells come at a price, though. This lens needs power! When using an older DSLR body, youll very quicklyrun out of juice with this lens. I recommend spares or a battery grip for day-long operation in the field. Technique: Its All About Distance and Position As for all kind of sports, you should get as close as possible

to the action. For sailing this obviously includes being on a boat that can move as quickly as the crowd of sailing boats. Usually regatta sailing takes place with three buoys that are place in a shape of a triangle with one side of the triangle exactly against the wind and two others that are sailed with the wind from the side or from behind (obviously). The shape of the race course has some implications on where to position yourself when the race starts. Usually you start the photo session positioning yourself left or right of the starting line and about 10 meters in front of this line. When the race starts, most of the boats will sail on their portside. Here, the 70-200 VR is the best choice. You can zoom out to 70mm to capture the whole starting line and then zoom in to 200mm for detailed shots of individual sailors before they tack to starboard. When the boats have passed you will want to position yourself at Buoy No. 1, which is directly windward. So you move at full throttle towards the first position where you can photograph the sailors sailing close to the wind. These are shots where you might need more than 200mm. Using a 300mm or longer focal length for even more reach gives the best subject density effect and can freeze the action effectively by blurring the background. Using an additional camera body is advised because one hardly has time to swap lenses. These are the shots that should show the action isolated in front of a perfect blurred background. IP Shooting Strategy
Technique and camera setup are keys to a successful shoot of all moving subjects. Heres our checklist: Camera - 1/1000th or higher Settings - Auto ISO set ON - f2.8 - f4 apertures - VR Normal or Active
Position Part of the race where the main spinnaker is pulled back into the boat. These are the most colourful shots that can be done. Best strategy here: wait until the spinnaker creates wild movements or is afoul.
Strategy A shot from the wind ward buoys with a top speed situation (Korsar class). If planned precisely and if there is some wind one gets very dramatic shots here.
Autofocus AF-C with Lock-On for effective tracking VR Normal or Active depending on wind and waves Close-Hauled Shots Tight composition / focus on faces Image Bursts 3-6 image sequences at peak of action Composition Let the boat enter your frame - start shooting when the composition is close to being at its best. Good compositions contain some space in front of the sailing boat (the movement direction should not be stopped by an end of frame effect). Pre-visualize Determine where action will take place and capture the moment of maximum stress, frustration, concentration, or tension. Concentrate on a specific moment and on a specific detail.

Timing Capsizing boats are not unusual in these situations. So here most of the action can be captured. As things go fast in these situations a good composition is difficult here. Usually one concentrates on the right moment and focus is kept on the sailors body or face.
Sren Hese was born in Berlin,Germany and has been a photographer since 1989. His concentration is on nature and water sports photography and he specialises in regatta sailing events. As an active regatta sailor with racing experience on various dinghy classes, he understands the perspective of the helmsman. Professionally, he works in the field of global remote sensing and satellite image processing at Friedrich-Schiller-University Jenas Department for Earth Observation.
Sren Hese Berlin, Germany info@soerenhese.de www.soerenhese.de
Details A shot from a TRIAS regatta event. With tele shooting looking for details is always important. Tele lenses can isolate compositionally interesting structures and objects.
Starting Line Shooting at 70mm will capture this action. If one gets very close, a wide angle lens on a second body can capture an interesting perspective for this part of the race.
(left) Frontals This classic frontal shot isnt a perfect composition as we need more space on the left side of the image. So, the right moment is important - youll want some flying water with focus on the sailors faces (Korsar regatta event).
(below) Windward! A shot from the windward buoys at top speed (Korsar class, between Buoys No. 1 and 2). If planned precisely and there is some wind, very dramatic shots with potentially capsizing boats towards the lee side are possible. Stay alert!
(above) Background A shooting situation from Buoy No.1 when the sailer approach the first race mark after tacking for a while. In the next seconds the team will set their spinnacker. So after this shot being prepared for the action of the helmsmen pulling out the new sail is advised.
(right) Peak Action Shot between Buoys No. 1 and 2, another top speed sailing situation. Get the action when there is as much water in the air as possible. Fire a bursts of 4-6 shots if you can focus on the faces of the sailors. Physically and technically, this part of the race is very hard for the helmsman so concentrating on the faces of the helmsmen could be rewarding here.