Nikon 28300mm F3556 G Vr Afs Review Ed Zoomnikkor Lens
Nikon AF-S 28-300mm f/3.v-5.6G ED VR
Paradox
Estimated reading fourth dimension: ten minutes.
January/2016 - The Nikon AF-S Zoom-Nikkor VR 28-300mm f/3.v-5.6G ED is a paradox on blog do zack. An unique zoom lens made for FX cameras, it can take the identify of well-nigh all lenses on a kit, from the 28mm broad angle, good for indoor compages and landscapes, all the way to the super telephoto 300mm, dandy to play with the perspective compression of faraway subjects. On a site designed to help you decide "which lens to buy?", the 28-300mm could easily be the only answer you'll ever need, from beginners who withal don't have the need for a high performance, large discontinuity specialised prime; to anyone looking for a do-it-all, flexible lens, like travellers.
"Galeria True Rouge, 2006" with the Nikon D750 + AF-South 28-300mm f/iii.five-v.6G ED; a sequence of focal lengths from wide to telephoto.
A part of the AF-S G family, it'southward reasonably well built and packed with Nikon's applied science. A SWM built-in focusing motor makes it uniform with every digital SLR ever fabricated. The VRII optical stabilisation promises upward to 3.5 stops of correction, mandatory for telephoto distances. And three aspherical and 2 ED spectacles keeps the prototype quality acceptable for such an extreme 10.7x zoom ratio, with a sub-U.s.$m cost tag. But tin can it live past its promises equally the perfect all-arounder? Or is it besides much to ask from a single zoom lens? Let's find out! Nice reading.
BUILD QUALITY
At xi.6 10 8.3cm airtight, and 24.9 x11cm open with the lens hood attached; all at 800g, the AF-S VR 28-300mm f/iii.five-5.6G ED is a heavy behemothic in trend with other "specialty" zooms. Information technology'southward big without existence exaggerated, much closer to "consumer" lenses like the AF-Due south VR 24-120mm f/4G ED (ten.four x 8.4cm at 710g) than professional tools like the 70-200mm f/ii.8. It easily fits in numberless designed to acquit a single lens and photographic camera, and tin be a overnice walk-around lens to spend the weekend, without the hustle of various equipment. With a mix of plastics and metal, the first on the outer butt and the second on the mount and internal barrel, it's well put together for a big zoom.
In your hands it fits comfortably effectually all fingers, with a frontal zoom band and rear focus band, side buttons for AF/VR/LOCK operations, the standard layout for well-nigh telephoto Zoom-Nikkors. From 28mm to 300mm information technology smoothly extends without rotating the barrels, much smoothly than the half-priced AF-S seventy-300mm nosotros've tested recently. That all plastic lens was hard to the touch on, but this 28-300mm isn't; proof the inner threads and bearings are indeed metal, as you lot can feel on the colder frontal cam at your finger tips. Information technology does have a minimal play when shaken, merely not by much as it could be damaged. It's decent for US$949 lens, and tin can definitely last a lifetime if well kept.
Inside the SWM AF-S motor is silent and smooth, with an operation closer to higher terminate pieces. It's much quieter than entry-level, large discontinuity primes like the AF-S DX 35mm f/1.8G or 50mm f/1.8G; and makes a loftier pitch, almost "sonic" like sound similar to the Micro-Nikkor 105mm f/2.8G. Merely it'south not the fastest and tin be a lilliputian cumbersome for action shooting, particularly if the focusing position is also far off where it's supposed to be. Information technology tin take a whole second from infinity to 0.5m, and it gets slower if the camera has to chase for focus. At least it's accurate and I have no out of focus shots, except when I did something wrong like shooting shut subjects, broad open, at the telephoto stop, without belongings my breath, slightly moving the very sparse depth of field.
The VRII is well implemented and once again much quieter than lesser lenses. My AF-S 70-300mm copy makes a loud click when the module activates, and requires careful timing earlier half-pressing the shutter button. This AF-Due south 28-300mm keeps the "must be pointed at the subject earlier activating" performance, simply gets rid of the dissonance. The declared 3.5 stops compensation indeed works, but requires you to aim at your field of study before engaging the VR mechanism; lagging a bit or not working at all if done otherwise. I didn't specifically used it for reducing shutter speeds as I was using AUTO-ISO and kept information technology at one/100, just the VR was smashing to frame the shot at the telephoto finish.
"Heliconia" with the Nikon D750 + AF-Due south 28-300mm f/iii.5-5.6G ED at f/5.half-dozen 1/25 ISO 400 @ 300mm.
100% ingather, the VRII module made a great task at stabilising the frame for a one/25 shutter speed at the telephoto end.
At the front the non-rotating ø77mm filter thread is plastic and big, compatible with other telephoto lenses. The included lens hood attaches to its own thread, and the petal shape seems designed to work better at the wider end. At the summit the altitude window is pocket-size but clear, and the manual focusing band shows some play between the band movement and the inner grouping engaging. It sports total time manual functioning but information technology's never really necessary, as the AF-Southward does a keen job at auto focusing. And at the rear the metal mount surrounds a tiny rear chemical element, non uniform with extenders. At that place's a safe gasket confronting the elements, just nothing is alleged nearly real weather resistance. I did see major grit speckles inside my copy, so beware.
Overall the AF-S 28-300mm is well put together and handles much better than some intermediary zooms, peculiarly the AF-S 70-300mm. The 28-300mm zoom ring is much smoother, although it suffers from some zoom creep when carried on your shoulders; that's why the LOCK switch is there. Its SWM won't win whatever awards for speed but information technology'south authentic fifty-fifty under low light, at least with the D750. And the VRII lags if you're not perfectly aiming your subject earlier activating it, likewise the great 3.five stops compensation. It's a very squeamish lens to take and works like a proper U.s.$1000 equipment. Just only the images will bear witness if it'southward expert enough to substitute a whole set of primes.
Paradigm QUALITY
"Galeria Miguel Rio Branco, 2010" at f/5.vi ane/200 ISO3200 @ 32mm.
With a circuitous xix elements in xiv groups formula, three aspherical and 2 ED spectacles, plus Nikon'due south Super Integrated Coating, the AF-Southward 28-300mm f/three.5-v.6G pushes the boundary of what Nikkor can deliver on the FX format, following the steps of the highly regarded AF-Due south DX xviii-200mm. It's a very difficult focal range to achieve quality, and I've got to acknowledge I wasn't really expecting miracles from a x.7x zoom. But honestly I was surprised by the results.
"Galeria Adriana Varejão, 2008" at f/5 ane/250 ISO400 @ 82mm.
Even broad open at f/3.5 28mm, f/iii.8 35mm, f/4.5 50mm, f/5 70mm, f/5.three 105 and f/5.six from 200mm to 300mm, I'grand pleased with the results from such a flexible lens. Ok, ok, it's not the sharpest at the edges and the dissimilarity benefits from some software boosting in post, but honestly, what lens doesn't? It's one of those cases of cost/benefit ratio with a flirt on nice results: you get a consummate set of focal lengths from a single lens that screams creativity, only you won't get the sharpest files for clinical results. The AF-S 28-300mm but works every bit the images are colourful, the details are well rendered, and, once more, the photos are not admittedly awful as to not recommend information technology completely.
"Heliconia Ii" at f/5.6 1/100 ISO500 @ 300mm.
100% crop, the details are acceptable at the longer end.
"Tibouchina" at f/5.6 i/250 ISO200 @ 300mm.
100% crop, at close focusing distances the image quality suffers from the magnifying outcome.
"True Rouge, 1997" at f/5.6 ane/200 ISO800 @ 28mm.
100% crop, at the wide end the details are ameliorate when stopped downwards.
Equally much every bit I've tried to make it look bad, the AF-S 28-300mm also delivered good results when stopped downward at f/viii. The corners are acceptable throughout the zoom range if yous tin continue your subject field within the limits of the depth of field, which is very thin at the telephoto end. The photos were a paradox as I went to Inhotim, one of the largest sites of contemporary fine art in the world, and saw most 4 photo exhibitions on a single twenty-four hours. And guess what: none showcased images that required corner to corner sharpness, and they're considered masterpieces. So take raw optical performance as an extra, not as a asking for good photographs, and the 28-300mm simply works.
"Brumadinho" at f/viii one/200 ISO100 @ 300mm.
100% crop, the telephoto is never actually sharp, simply take into consideration the distance and some atmospheric distortion.
"Brumadinho II" at f/8 i/160 ISO100 @ 300mm.
100% crop, but there are enough details for cropping or prints.
"Alto practise Mirante" at f/8 i/320 ISO100 @ 70mm.
100% crop, correct before the telephoto range, it'southward quite sharp for a zoom.
Those interested in aberrations will exist glad to know the AF-Due south 28-300mm show loads of them. The geometric baloney if very pronounced at 28mm, with a noticeable bulge around the edges, gone at 35mm; and back every bit pincushion from 50mm to 300mm. Near DSLRs can correct it in camera with the EXPEED processor, and you're good to become even in motility during video recordings. Chromatic aberrations are present with heavy lateral lines around contrast edges, visible in virtually every zoom lens I've e'er used (except maybe the Catechism EF 24-70mm f/2.8L II USM). And some centric abnormality can happen at close focusing distances, that looks similar a magnifying glass at the minimum focusing distance at 300mm, with a ratio of 0.32x for macro shooting.
"Invenção da cor, Penetrável Magic Square #5, De Luxe, 1977 2" at f/eight i/200 ISO100 @ 28mm; a very noticeable bulge at the wider end.
"Invenção da cor, Penetrável Magic Square #5, De Luxe, 1977 Iii" at f/8 1/160 ISO100 @ 40mm; slight pincushion at the standard length.
"Invenção da cor, Penetrável Magic Square #5, De Luxe, 1977" IV" at f/8 1/160 ISO100 @ 62mm; more pincushion at the end of the standard.
"Fotos série Maciel, 1979" at f/3.5 one/200 ISO7200 @ 28mm; it tin can exist annoying to shoot indoor architecture, only easily fixable in post.
Finally the bokeh is interesting at the longer wide open end, when the shallow depth of field isolates your subject. The ix blade aperture is not exactly round when stopped down, nor information technology generates good calorie-free stars for night exposures. Only the out of focus areas can be pronounced, blending the background for colour composition of flowers and other smaller objects, and 1 of the uses of the telephoto. The highlights are not the smoothest as you can see the light path throughout circles and other "bacteria" noise, but it'due south usable for most situations.
"Plant IV" at f/8 1/100 ISO400 @ 300mm.
100% crop, first I tin can't complain about this lens sharpness…
100% crop, and second I can't complaint about its abilities to melt the groundwork away at the telephoto end.
"Plant V" at f/5.6 1/200 ISO1100 @ 300mm.
100% crop, over again, acceptable sharpness wide open up at the frame center.
100% crop, good bokeh at further distances, weird on the close background.
"Flower" at f/v.6 1/1000 ISO400 @ 300mm; bokeh balls!
100% crop, merely not very smooth ones; simply who cares?
COMPARED TO: AF-South lxx-300MM F/4.5-five.6G
The Nikon AF-S VR Zoom-Nikkor 70-300mm f/iv.5-v.6G ED is a US$499 alternative for telephoto shooters who don't need the tight build and high functioning of amend US$1899+ zooms. A popular option amongst amateurs and low budget professionals, sometime it gets contest from the all-arounder 28-300mm that reaches the same telephoto end. However both featuring an AF-S motor and a second generation VR Ii, there's no way around the laws of physics: optically the 4.3x 70-300mm is a much better performer than the ten.7x 28-300mm. (click for larger)
"SPD" @ 70mm
Wide open the AF-South 28-300mm merely tin't compare to the 70-300mm: the details are smeared near the edges and it looks darker.
At the center the AF-Southward 70-300mm is near flawless wide open while the 28-300mm lags quite a bit behind.
Stopping down helps the 28-300mm, but the AF-S 70-300mm remais vastly superior.
"SPDII" at 300mm; discover the very nighttime corners with the AF-S 28-300mm.
At the telephoto finish the AF-South can't compete; the much simpler 70-300mm is as well the all-time.
I would call the AF-Southward 28-300mm acceptable, but the AF-S lxx-300mm is a much better tool for the task.
Nearly the edges the 70-300mm is virtually as expert as prime lens, but the 28-300mm lags backside past a mile.
At minimum focusing distances on the telephoto finish the AF-S 28-300mm is also much wider than the AF-S 70-300mm. The ultra zoom looks similar a 150mm lens at the 300mm setting and will make a departure for those shooting insects, flowers and other details. At infinity they look the same.
"Details" with the AF-Due south 28-300mm f/three.five-5.6G ED at f/5.6 1/100 ISO1000 @ 300mm.
"Details" with the AF-S lxx-300mm f/four.5-5.6G ED at f/five.half-dozen 1/100 ISO1000 @ 300mm ; a much tighter frame.
"Details" with the AF-Southward lxx-300mm f/4.5-5.6G ED at f/five.6 1/100 ISO1000 @ 170mm ; trying to render the same focal length as the AF-S 28-300mm
VERDICT
Honestly the AF-S 28-300mm f/iii.five-5.6G ED was the first ultra-zoom lens I've e'er tested on a full frame camera and I'g pleased with the results. The flexibility far surpasses its optical flaws and fifty-fifty those are pocket-size enough that some mail service processing make the files pop. The build quality is smashing for a uncomplicated, easy to use zoom-cam pattern, with minimum wobbling of the barrels and metal in the right places. Information technology's heavy and fabricated to balance with full frame cameras, merely nonetheless a pleasance to use. The truth is in information technology's images and, I'g sorry to disappoint you, it delivers. Information technology might not be a top performer in raw resolution and contrast, just that'south not the idea. To be an always-with-you-lens to deliver peachy focal range and images, it surely reaches its goals. Take fun with information technology!
Source: http://blogdozack.com.br/index.php/portfolio/nikon-af-s-nikkor-28-300mm-f3-5-5-6g-ed-vr-en/
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