So...summing up my first impressions of the 70-200m f2.8S? It looks pretty impressive...and I suspect it WILL take the already stellar performance of the its F-mount predecessor to an even higher level. Based on what I have seen so far I think it will likely beat the 70-200mm f2.8E F-mount in at least a few areas, including in edge-to-edge sharpness, absolute sharpness at f2.8 (including in the central region), and VR performance. Relative AF performance will be an unknown until we see the "...next generation of Nikon's advanced mirrorless cameras."

Summaries of my 70-200mm f2.8S field test and review will begin appearing here shortly after I complete writing up my Nikkor 120-300mm f2.8E review/field test (which should happen in the next two weeks or so). In the interim I will be posting images captured with the 70-200mm f2.8S (Z-mount) in my Gallery of Latest Additions.

Cheers...

Brad

Feedback to: feedback@naturalart.ca

Link directly to this blog post: http://www.naturalart.ca/voice/blog_2020_all.html#70-200_Z-mount_FirstImpressions

28 Aug '20: My Nikkor 70-200mm f2.8S (Z-mount) Is Here!

I've been notified that my Nikkor 70-200mm f2.8S (Z-mount) zoom lens has arrived at my dealer and is already been sent by courier to me (my dealer is over 300km away from where I live - way over on the wrong side of the Rockies!). If the shipping gods are in a good mood I may see the lens later today. As soon as it arrives I will begin field-testing it. Please be aware that my field test of it won't be as extensive as my on-going (but soon-to-be-complete!) field test of the Nikkor 120-300mm f2.8E. Why? Well...some aspects of its performance can't be directly compared to the F-mount lenses that "compete" with it. Take autofocus speed (or their predictive AF capabilities, or subject tracking) for example. I can think of no objective way that I can objectively stress-test the 70-200mm f2.8S (Z-mount) against the 70-200mm f2.8E (F-mount). This is because there is only ONE camera in my collection which is compatible with both lenses - my Z7 (with the F-mount version of the lens "adapted" to function with the Z7 using the Mount Adapter FTZ). And, if I chose to test both 70-200's on the Z7 the limiting factor in AF speed (and predictive AF, and tracking, etc.) in the test would most likely be the Z7 body itself, and not either lens (unless one of the two lenses was ridiculously slow, which I'm sure is NOT the case). Conversely, if I compared AF speed - and several other AF parameters - by using the 70-200mm f2.8S on my Z7 and the 70-200mm f2.8E on my D6, the obvious and clear winner would be the 70-200mm f2.8E. However, this "victory" would be almost exclusively because of the AF performance of the D6 relative to the Z7...

Two further items merit a bit of discussion:

1. No Z Teleconverter TC-1.4x Yet. At this point my dealer did NOT receive any of the new Z Teleconverters. This isn't to say they are delayed - it could be by Monday I'll be getting the call that my Z Teleconverter TC-1.4x has shown up. When my Z Teleconverter does arrive I will begin testing its optical performance (when paired up with the 70-200mm f2.8S...the only lens it is currently compatible with) against the 70-200mm f2.8E plus the TC-14EIII).

2. My LAST Z-mount Lens Until We Have A Z9? I have to admit I struggled with the decision of whether or not I should "invest" in the 70-200mm f2.8S. As almost everyone knows, F-mount lenses can be adapted to work on a Z-series camera, but the reverse is not true (i.e., there is no way to adapt a Z-mount lens to work on a DSLR). So...in acquiring the 70-200mm f2.8S I am getting a lens that can't be used on my two primary wildlife cameras - my D6 and my D500. This thought concerned me, but only until I used Capture One Pro to filter through all the shots I have shot with the 70-200mm f2.8E and realized that over the past 4 years I have only taken a dozen or so with my D5, D6 or D500. In fact almost ALL were taken with my cameras I use(d) for landscape or animalscape shooting - which means higher resolution bodies like a D800e, D850, and now my Z7. So I'm pretty comfortable "committing" to a Z-mount lens in the 70-200mm focal length range.

However - and even if Nikon delivers some longer focal length Z-mount lenses more suitable to wildlife photography in the next year or so - I am going to hold on purchasing any more Z-mount lenses until Nikon produces a pro-level mirrorless Z-mount camera suitable for sports/action and wildlife shooting (which I am arbitrarily calling the Z9). To be clear, I DO already own 4 shorter focal length Z-mount lenses (the 14-30mm f4S, the 24-70mm f4S, the 35mm f1.8S, and the 85mm f1.8S), but these are NOT "wildlife" lenses per se (yes, I will use them for animalscape shooting, but those shots don't represent the bulk of my wildlife shooting). Bottom line is that even if Nikon comes through with some compelling longer focal length Z-mount lenses (and we know there are two longer zooms on their Z-mount lens road map) I'm not willing to fork out for them until I have a body well-matched to their use (i.e., for serious wildlife photography of all sorts).

Why am I mentioning this? I talk to a lot of wildlife photographers from around the world. The top Japanese camera companies have always been loath to reveal their long-term product plans...and over the years we have come to more-or-less accept this. However, as each of us are considering our most painless changeover path to a mirrorless world the lack of knowledge of what's coming down the road is now a real problem. And, it's my observation that a lot of Nikon shooters (and, for that matter Canon shooters) are now holding off on camera and/or lens purchases more than I have ever seen them hold back in the past. It's my view that this is largely because they don't know what - or how fast - Nikon will give us the products that will inspire enough confidence to allow us to commit to mirrorless. And, of course, this lack of knowledge of what mirrorless products are coming is probably even hurting Nikon's F-mount lens and DSLR sales. Which means Nikon's "secretive" nature is very likely hurting their overall sales right now...and in an accelerating fashion. Maybe, just maybe, Nikon should consider sticking their neck out and let us know what's coming (and approximately when) in the Z-system - including with their new bodies.

Just my 2 cents worth... ;-)

Cheers...

Brad

Feedback to: feedback@naturalart.ca

23 Aug '20: Feedback RE: My Nikon Z9 Wishlist Blog Entry

My 4 August blog entry outlining my personal "wishlist" for Nikon's anticipated flagship-level sports/action mirrorless camera generated a lot of feedback (just scroll down or follow this link to read the entry). It seems as tho' it was picked up (and debated upon) by a number of online photography forums as well.

The vast majority of the feedback I received directly was positive and largely (or in some cases, completely) in agreement with the thoughts I expressed in the wishlist. Two areas where I had more than one person expressing an alternate thought (not to be confused with an "alternate fact") were:

1. RE: "VERTICAL CONTROLS: BUILT-IN OR "TACKED ON"? My position here is that I wanted the vertical controls built-in (or fully integrated) rather than added via a removable battery grip. I wanted it built in for both ergonomic AND durability reasons. Two folks emailed me stating their preference would be to have the vertical controls added via a battery grip. In both cases the rationale was to retain the option to carry a smaller camera (than you would have if the vertical controls were integrated).

2. RE: "Make it ROBUST & NEAR BOMBPROOF!"? Within this section on placing durability near the top of design priorities I stated "...if this means the LCD must be fixed (non-tilting or rotating), or the camera has to be built with more expensive materials to keep the camera bombproof - so be it". Three different people emailed me to indicate that having an extending/tilting LCD was critical to them.

My response to both of these items is pretty much the same: If Nikon fulfills your "alternate wishes" and the Z9 comes without integrated vertical controls and/or with a tilting LCD, and if MY Z9 breaks down in the field because of durability "frailties" associated with either of these features, I will hold you personally responsible and hunt you down!! Kidding! ;-)

Thanks to all those who took the time to send me thoughtful feedback on their priorities on the Z9. Always good to hear the viewpoint of others...

Cheers...

Brad

Feedback to: feedback@naturalart.ca

23 Aug '20: Update RE: On the Cusp of an Emergency...

Just a quick update re: our local wildfire situation and my personal combustion status! Since my post last Thursday on the local wildfire situation a combination of favourable weather (which means low winds coming from the best possible direction, lower temperatures, and higher humidity) plus aggressive fire suppression efforts by the BC Wildfire Service has greatly reduced our chances of being incinerated! The mandatory evacuation order (which we are JUST outside of) is still in place but has not been extended - and I think it is highly unlikely it will be. So odds are I won't have to skedaddle. In fact, things are looking so positive that I have unpacked my critical valuables (camera equipment and a selection of my Arcteryx clothing of course!) from my truck! ;-)

Thanks to all those who emailed me expressing their concerns.

Cheers...

Brad

Feedback to: feedback@naturalart.ca

20 Aug '20: On the Cusp of an Emergency...

Just a heads-up to all-y'all to warn you that for the next week or so I may be hampered in my ability to update things on this blog and website. Why? I live in a mountainous and forested region of SE British Columbia, Canada and on Monday night we had a highly energetic thunder and lightning storm roll through. Unfortunately, on Tuesday a wildfire was found to the west of our place. By mid-day yesterday it was apparent (from the billowing orange smoke) that the fire had grown significantly, and last night an evacuation was ordered for our region. On the positive side we are JUST outside the evacuation zone and at least for NOW we don't have to leave. But that could change at any time.

Next website updates will include addition of the autofocus section to my Nikkor 120-300mm f2.8E review/field test. And within 10 days or so I should have my 70-200mm f2.8S (Z-mount) and can begin testing that against the Nikkor 70-200mm f2.8E (and a few other lenses).

Now back to pre-evacuation packing and preparation...cheers...

Brad

Feedback to: feedback@naturalart.ca

4 Aug '20: My Nikon Z9 Wishlist

6 August Update: I added a few comments to the "ERGONOMICS and CONTROLS" section below (about Z9 Customizability)

In 2019 Sony began selling its 2nd generation pro-level sports/action mirrorless camera - the A9 II. And, just last week Canon started delivery of its first flagship level mirrorless camera designed for a wide variety of professional uses (including sports/action) - the R5. While these two pro-level mirrorless cameras differ quite significantly in specifications (most notably in resolution with the A9 at 24 MP and the R5 at 45 MP), both models are clear statements that their makers KNOW that the future is mirrorless for all categories of users - from novices through to professionals.

So now it's Nikon turn to reveal what they have in mind for a flagship-level mirrorless sports/action camera, which I'll arbitrarily call the Z9 (and I have absolutely no clue if Nikon will use this name for the camera). But, to be clear, what I'm referring to is a D6-level camera designed for photographing sports/action, and wildlife.

Another point I want to be perfectly clear on - other than a small group of insiders at Nikon and possibly a few others sworn to secrecy, no one knows when the Z9 is coming. Some pundits have suggested we won't see it until 2024. I didn't agree with this timeline when I first heard it a few months back, and now that Canon has started delivering the R5 to the public I'll go even further - Nikon CAN'T wait until 2024 to release the Z9. If they do they'll be left in the dust.

Anyway...it seems to me that now is the right time to go out with my Z9 wishlist. Keep in mind this wishlist is coming from - and biased by - the head and typing fingers of a wildlife still photographer. So here's my list of the features most important for me in the coming(?) Nikon Z9:

1. Z9 Design Philosophy & Priorities

For me the most important thing in determining how the Z9 will turn out will be the head-space of those in charge of designing it. If I could control their minds I'd want them to keep a clear goal post in mind - design it to be the best possible still photography camera ever made for shooting sports, action and wildlife. Yep, video is real and hugely important to some (heck, I've been quietly immersing myself in it over the last month or so), but please keep the design priority of the Z9 on still photography. And by this I mean when it comes to thinking about general ergonomics, button placement, camera size, etc., think about what a still photographer wants FIRST! Here's a novel idea - maybe look at the D6 as a template to emulate (rather than re-inventiing the wheel)...when it comes to shooting stills of action and wildlife there's currently nothing better. Don't squander the years and years of thoughtful evolution behind the D6 by forgetting about it the first time someone from the marketing departments says "Hey...here's a thought...let's make it pocketable". ;-)

There are a LOT of ramifications of keeping this design philosophy in mind. Here's a few of them:

• Make it ROBUST & NEAR BOMBPROOF! Durability and reliability have been the hallmarks of Nikon's flagships over multiple decades. Nikon...PLEASE don't forget this when designing the Z9. Most users of it will want it as robust as the D6. So if anyone tries to convince you it has to be as light as an iPhone - ignore 'em! And if this means the LCD must be fixed (non-tilting or rotating), or the camera has to be built with more expensive materials to keep the camera bombproof - so be it.

• SIZE - NOT TOO SMALL: One of the great things about the D6 (and the cameras that led to it) is all the configurable and customizable buttons...AND how they are spaced apart so you don't mix them up when things get hot and heavy on the shooting front. Personally I'd rather have the Z9 closer to size to the D6 than to the Z6 or Z7. I don't have particularly big hands (yes, of course bigger than HIS hands) but good design includes intelligent spacing of the controls and the ability of use ALL your fingers to support the camera (and get to buttons).

• WEIGHT: Almost the same comment as above...of course nobody wants an unnecessarily heavy camera, but make it as heavy as needed to give it the robustness a pro-level camera designed for outdoor use needs. And, don't forget that a LOT of users of the Z9 will have a collection of heavy lenses to shoot with it...and making it too light means the camera/lens system won't balance effectively when hand-holding the system with super-telephoto lenses.

• ERGONOMICS and CONTROLS: Look again at the D6...both in terms of what buttons we want/need (in terms of number of Fn buttons, etc.) and how they are distributed. And, of course, keeping the ergonomics of the camera similar to that of the D6 means pro shooters will transition over to it smoothly (or shoot both without any "which camera is in my hands now?" issues). There really is no such thing as muscle-memory, but the concept is valid...don't make me THINK about control and button placement when I put down my D6 and pick up my Z9.

6 August Update: Besides providing us with the same number of customizable buttons as on the Z9, I do (of course) want the Z9 to be just as customizable as the D6. At one point I was considering adding "Please switch to User Settings from Shooting Banks" to my wish list. But after more use of my D6 I've got a different suggestion - just make a tweak to the D6's excellent "Recall Shooting Functions" button option. And the tweak I'd like to see is to allow more than one group/bank of Shooting Functions to be saved and recalled. SO...the intent would be that pressing one button on the camera (of the shooters choice) you'd call up ONE set of stored Shooting Functions - and a SECOND button could be customized to call up a SECOND set of stored shooting functions. In this way all those shooters who use Shooting Banks would have them left intact - and those liking the User Settings (of a ton of Nikon cameras, including the Z6 and Z7) would functionally have the same thing available to them with the multiple "banks" of stored shooting functions. So you'd have close to the equivalent of User Settings BUT they'd be in a more accessible (and FASTER to access) location.

• VERTICAL CONTROLS: BUILT-IN OR "TACKED ON"? After owning and shooting every flagship since the F4 (yep, that's an F, not a D) and virtually every DX or FX semi-pro camera (like the D200, D300, D500, D850, etc.) I prefer vertical controls that are built into the body rather than tacked on via a battery grip. The ergonomics of built-in vertical controls are invariably a little better - and the camera has higher structural integrity if the "battery grip" and vertical controls are built in (one less point of failure). So my wish is definitely for built-in vertical controls that completely mirror the horizontal ones, including having a second "joystick" (vertical multi selector) and vertical command and sub-command dials, plus at least one vertical Fn button. In my view it makes sense to have the vertical controls added via a battery grip on the Z6s and Z7s, but not on the Z9.

• CARD SLOTS/TYPES: This topic almost doesn't need discussion - it pretty much HAS to be CFexpress to get the burst sizes and frame rates that a sports/action camera needs. And, to avoid blowing up the heads of photography forum dwellers, it pretty much has to have two card slots. Kidding aside, while I really don't care if a camera has one or two slots, I appreciate that having two slots IS legitimately important to some other genres of photography (wedding photography, event photography, etc.) and having two slots doesn't bother me at all (and based on the comments I made above about camera size there should be no problem with having room for two of them on my dreamed-up version of the Z9). A final point on card slots: If Nikon does make the Z9 with two slots, please make them the SAME (so both being CFexpress).

• BATTERY TYPE: I'm slotting this into this section largely because battery type can impact design. And my preference is for Nikon to keep using the LARGE style EN-EL18 battery type that's found on their DSLR flagships - along with their great capacity and their GREAT cold weather performance - on the Z9. Clearly you could ONLY use these batteries if the Z9 is quite large, and it WILL add to the camera's weight. But between the excellent performance of these batteries AND the convenience of the having your D6 (or D5, or D4s) using the same batteries as your Z9 (especially important when traveling) I will be VERY happy if the Z9 takes EN-EL18's. Unfortunately I don't think Nikon will do this - I expect a NEW battery type in the Z9...

2. Z9 Performance Attributes

So what are my expectations/wishes for how the Z9 will perform? Well...pretty much like a D6 BUT with the advantages bestowed on the camera by having no mirror, an EVF, and some inherent (but yet unexploited by Nikon) AF potential.

• EVF Performance: In terms of the quality of the view though the Electronic ViewFinder (EVF) I have to admit I am happy with that of the Z7. Additionally, the exposure feedback you get through the existing Nikon Z's (in terms of EVF brightness mirroring scene brightness and helping to guide exposure decisions) is wonderful. However, Nikon has a lot of work to do on the behavior of its EVF when shooting high-speed bursts. Currently with the Z7 (or Z6) when you choose Continuous H (extended) and with the mechanical shutter enabled the view during the EVF during bursts is almost bizarre...like a jerky slow-frame rate video (and completely unacceptable for shooting fast-moving subjects, especially if you are panning with them). Go to Continuous H mode (using either the electronic or mechanical shutter) and you have significant black-out time that impacts on your ability to shoot fast-moving subjects. The duration of each "blackout" simply must be shortened. Note that I am not suggesting that Nikon must completely remove image blackout on the Z9 (when shooting with its electronic shutter) - after all, even though it is minimal, there is image black out on the D6 (and it's not even remotely problematic to shoot action with that camera). Some (including me) actually LIKE to have a feel for the "frames" being captured via the feedback associated with minor image blackout (as seen on the D6) - I find it somewhat unsettling to shoot in Continuous H (extended) mode with the electronic shutter enabled on the Z7 and have NO image blackout (I find myself wondering the whole time if ANYTHING is being captured). But, the image blackout time on the Z9 must be much better (= shorter and much less noticeable) than on the Z7 or Z6.

• EVF/LCD Display Options: In general I would be quite happy to have the same display options on the EVF as on the Z9. Two improvements that I'd like to see would be a Depth of Field (DoF) readout (either total DoF or, better yet, DoF both in front of and behind the subject) AND an indicator that a TC is in use. The D6 does have a "TC-in-use" display visible through its optical viewfinder, but it works ONLY with the built-in TC of the Nikkor 180-400mm (you see a small TC in the lower right corner of the image if the built-in TC is engaged). I'd like to see that TC display on my Z9 whenever a TC is in use.

• AUTOFOCUS Performance and Features: While there are some things the AF system of the Z6 and Z7 does better than any of Nikon's DSLR's (AF accuracy; ability to focus and focus-track virtually ANYWHERE in the viewfinder; removal of need for any AF tuning) and in general it is a very good AF system, it's lacking when it comes to shooting moderate-to-extreme action. I've already mentioned some deficiencies in the EVF behavior when shooting action, but even if you are able to keep the subject positioned where you want it with a Z6 or Z7 the camera is simply not able to keep up with a subject quickly moving directly at (or away) from you. In general, initial focusing and re-focusing speed has to be MUCH better in the Z9 than it is on the Z6 or Z7. If focus speed doesn't match that of the D6 then the camera will likely not be successful.

AF features? In the simplest terms I'd like to see the AF area modes of the Z9 match those of the D6 as closely as possible. So in AF-C mode we'd have single point area mode, several Dynamic Area modes (hopefully including one that is tightly clustered like the 9-point Dynamic Area mode of the D5 and D6), a standard Group Area mode, a host of customizable Group Area configurations (as on the D6), and a tracking mode that is as good or better than the 3D-tracking of the D6 but works over the entire viewfinder. So I'm not asking much! ;-)

Face and Eye Detection? While they are not important features for me, of course users will expect to see face and eye detection for humans and animals (and animals beyond cats and dogs please). On this note I am also asked why, as a wildlife photographer, I don't want animal eye detection. The answer is simple - when I am shooting any wildlife portraits (from bears to birds) - I almost never focus on the eye. Rather, because I want the tip of the nose to just behind the eye in focus (and because MOST wildlife have much longer "snouts" than humans), I invariably focus about 1/2 the way between the eye and the tip of the nose and rely on my experience to pick the right aperture and DoF to ensure both eye and nose are in focus. And I don't want to be fighting with an AF system that always goes to the eye.

Number, Spacing and Size of Focus Points? For me getting the number, spacing, and size of focus points right is more important than the "sexier" specs of eye and face detection. I've long said that I like focus points to be relatively small - and with small "jumps" between successive focus points. I personally find the focus points on the D500 - and the jumps between successive points - too large. The D5 - and the Z7 - have focus points that are almost identical in size (as seen through the viewfinder). And, one "toggle" of the point moves it a distance equivalent to the size of the point (so toggle it to the left and what was the left side of the point is now the right side of the adjacent point). What does this all mean? Well..for the Z9 I'd be fine with the Z7 standard in number of focus points (493) as well as the size of and spacing between focus points!

• RESOLUTION? In my D6 wish list of 30 October 2019 (see it here) I argued that I wanted the D6 to have between 24 and 30 MP. Nikon didn't deliver that - instead they came back with the SAME resolution as on the D5. Their official rational for this wasn't so they could re-use the same image sensor as the D5, but rather that it was the "optimal compromise" between camera speed (including burst depths) and image/file size (with the implication that 20 MP is enough for sports/action/wildlife shooters). You know, with the 45 MP Canon R5 delivering up to 200 shots per burst at its highest mechanical speed (12 fps) while using the same CFexpress cards as the Nikon D6 (and presumably the Z9) I simply don't buy Nikon's public rationale for sticking with 20 MP on the D6. And, I WANT the Z9 to be in the 24-30 MP range (preferably closer to 30 MP). And, based on what we have seen with the Nikon Z6, it should be able to do this with comparable ISO performance to that of the D6.

• ISO PERFORMANCE? Just match the D6 (and thus the D5) and I would be happy. Even if the Z9 jumps to 30 MP this should be possible given the technology advances since the D5 was introduced.

• IBIS (In Body Image Stabilization)? Of course. We got 5-axis and 5 stops (when using Z-mount lenses) with the Z7 and the Canon R5 just upped the ante by going to 8 stops of image stabilization. So the Z9 should be at 8 stops with Z lenses. And it would be GREAT if we had 4-5 stops of image stabilization on F-mount lenses, especially given it will be years before the professional level super-telephoto lenses will be available in the Z-mount.

• FRAME RATE and BURST DEPTH? This one is easy - 12-14 fps in mechanical shutter mode, 20 fps in electronic shutter mode. My experience is that at higher rates you can spend too many winters doing nothing but image culling! Burst Depth? Anything over 100 frames works for me (and I almost NEVER need 100 frames per burst beyond when I am testing AF systems).

• VIDEO? I'm not in any way against video, but I don't think you can design a mirrorless camera to be the BEST at shooting stills AND the BEST at shooting video. So make the Z9 the best camera ever for shooting stills of sports/action/wildlife - and make ANOTHER mirrorless camera (the 61 MP Z7s?) the BEST for shooting video. For the Z9 4K video is enough...leave 8K for the Z7s. Personally I think the video features of the Z7 are good enough to "port over" to the Z9. I have been recently spending time in a self-directed crash course on "all things video" (and I'm using my Z7 for that) and the video features of the Z7 are already pretty mind-boggling.

I know it could be argued that I am asking Nikon to produce a D6 but without a mirror and with an EVF. Yep, guilty as charged - and what's wrong with that? There are some inherent advantages of a mirrorless camera over a DSLR. The features making a mirrorless camera "better" are those associated with the real advantages of the EVF and (at least for now) the potential superiority of a mirrorless AF system. Being "smaller and lighter" isn't necessarily something that will make a sports/action/wildlife mirrorless perform better in the field, especially if ergonomics, customizability, and durability all take a hit. At this point in time - and with existing mirrorless models - Nikon has taken good advantage of what an EVF can offer a shooter, but they haven't leveraged the potential AF capabilities a mirrorless camera CAN HAVE. Yes, we can focus anywhere on the viewfinder, we have amazing focus accuracy, we have no need to focus tune lenses. But we we can't focus (or focus track) with the SPEED of a high-end DSLR. As soon as Nikon can bring DSLR focusing speed to the table - as they SHOULD on the Z9 - well I'd stand in line for that camera!

Cheers...

Brad

Feedback to: feedback@naturalart.ca

Link directly to this blog post: http://www.naturalart.ca/voice/blog_2020_all.html#Z9_WishList

29 July '20: Nikkor 120-300mm f2.8E Review: Optical Stabilization and "Hand-holdability"

I have just updated my Nikkor 120-300mm f2.8E field test and review by adding a new section on Optical Stabilization and "Hand-holdability".

Here's where to go for the review and/or to check out the new information:

• Start at the beginning of the review
• Jump directly to the Optical Stabilization and "Hand-holdability" section

Here's the EXECUTIVE SUMMARY: of the optical stabilization and "Hand-holdability" section:

The two lenses that allowed me to consistently obtain sharp hand-held shots (with ALL shots in the burst sharp) at extremely slow shutter speeds were the Nikkor 120-300mm f2.8E and the Nikkor 180-400mm f4E. With these two lenses the VR Normal mode DEFINITELY permitted the use of slower shutter speeds than the VR Sport mode. While VR Sport mode didn't allow me to use the extremely slow shutter speeds that VR Normal did, it was the best mode to use when shooting bursts that required "stability" of images shot in a high-speed burst (as viewed through the viewfinder OR in the final image).

The Sigma Sport 120-300mm f2.8 - when shot in OS1 mode - also provided very good overall performance. While the consistency of getting sharp shots in a burst at extremely slow shutter speeds didn't quite match the two Nikkor zooms, if we relaxed the standards to "at least ONE shot sharp in a burst" or "at least ONE keeper in a burst" (and not all 3 shots in the burst), then the Sigma Sport performed very well. And, in OS1 mode it also produced a high degree of stability in subject position in the viewfinder (and on the image sensor), i.e., it had a low HJ Factor in OS1 mode.

The smallest and lightest lens in the test was the Nikkor 300mm f4D - and it has NO VR/OS system at all. And, I needed to shoot hand-held shots at much higher shutter speeds with this lens (than the bigger/heavier lenses with VR/OS systems) to consistently get sharp shots. Additionally, I had to use quite high shutter speeds to get only 1 sharp shot per burst...or even to just capture keepers. The performance of this lens in this portion of my testing clearly illustrates that VR systems WORK and can MORE than offset lens weight when it comes to the "hand-holdability" of a lens.

Coming next...autofocus performance of the Nikkor 120-300mm f2.8E (compared to several rival lenses). Stay tuned...

Cheers...

Brad

Feedback to: feedback@naturalart.ca

22 July '20: A Few Thoughts on Nikon's Latest Z Series Product Introductions...

Yesterday Nikon introduced a few new key products to their growing mirrorless Z Series - a new entry level full-frame mirrorless body called the Z5, a new 24-50mm f4-6.3 kit lens, and two new Z-mount teleconverters - the Z Teleconverter TC-2.0x and the Z Teleconverter TC-1.4x. I won't regurgitate all the detailed specs of the new products (check out places like nikonrumors.com, dpreview.com, or any of Nikon's websites for those), but I will offer a few thoughts about the new camera and teleconverters (and I'll skip the new kit lens!).

1. The Nikon Z5

The Z5 features a 24.3 MP full frame sensor and at a quick glance (at the camera or at the specs) it seems very similar to the Z6. In Canada the body comes in about $700 CAD lower in price than the Z6. I suspect it will be well-received and sell quite well.

How do the Z5 and Z6 differ? Here are a few of the most significant differences:

• Frame Rate: Z6 = 12 fps, Z5 = 4.5 fps

• Card Type: Z6 = ONE CFexpress or XQD card; Z5 = two SD cards

• Image Sensors: Z6 = 24.5 MP BSI sensor; Z5 = 24.3 MP CMOS sensor

• Autofocus: Same feature set (including dog, cat, human eye-detection), but Z6 detection range from -3.5 to +19 EV vs. Z5 range of -2 to +19 EV (both ranges are WITHOUT invoking low-light AF feature)

• Video: Definitely more professional level features are available on the Z6.

From my perspective the Z6 specs out as a somewhat better wildlife camera - and this is largely owing to its higher frame rate, better low-light AF performance, and likely somewhat better low-light ISO performance (owing to its BSI sensor). Which means if one is looking for a mirrorless Nikon wildlife camera I'd recommend taking the extra $700 CAD hit and go for the Z6. For many other photography genres the Z5 would likely do a steller job.

Will I be buying and testing a Z5? No. At this point I am sticking with DSLR's in the sub-30 MP resolution range. I'm prepared to wait until Nikon has a pro-level action/wildlife mirrorless camera (with D5/D6 AF capabilities) before going mirrorless in the "moderate" (30 MP or less) resolution range. But that doesn't mean that in the high-resolution zone (i.e., 45+ MP) I won't leap on a "new and improved" Z7 (Z7s? Z8?) if/when Nikon introduces one.

2. The Z Teleconverters

Based on how well the Z-mount lenses perform, I am expecting that the Z Teleconverters will offer excellent performance. Of course, in the short-term their usefulness will be limited by the number of compatible lenses with which they can be used (and unless I am missing something, the current number of available compatible lenses is zero). According to Nikon's 21 July press release the Z Teleconverters will begin shipping in late August...so one has to assume it is LIKELY that the only Z-mount lens that is listed as compatible with these new teleconverters (i.e., the 70-200mm f2.8S) will begin shipping around the same time.

Will I be buying and testing a Z Teleconverter? Yes, I have already put my order in for a Z Teleconverter TC-1.4x and will be testing its performance on the 70-200mm f2.8S (vs. the TC-14EIII on the 70-200mm f2.8E). I think unbiased information how these two competing lens/TC's combinations perform will be of value to many users. Based on what I learn through testing the Z Teleconverter TC-1.4x I may later purchase the 2x version.

Cheers...

Brad

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22 July '20: Nikkor 120-300mm f2.8E Review: Performance with the TC-20EIII (2x) Teleconverter

I have just updated my Nikkor 120-300mm f2.8E field test and review by adding two new sections - Optical Performance with the TC-20EIII (2x) Teleconverter and a section called "Discussion: Using teleconverters with the Nikkor 120-300mm f2.8E" (this is a more general discussion of how the 120-300's TC performance increases the lenses versatility as a wildlife lens).

Here's where to go for the review and/or to check out the new bits:

• Start at the beginning of the review
• Jump directly to the Optical Performance with the TC-20EIII (2x) Teleconverter section
• Jump directly to "Discussion: Using teleconverters with the Nikkor 120-300mm f2.8E"

Here's the EXECUTIVE SUMMARY: of the optical performance of the 120-300mm plus TC-20EIII combination:

At 500mm the optical performance of the Nikkor 120-300mm f2.8E plus TC-20EIII varied with the distance to subject. At the closest distance (8.6m) the 120-300 plus 2x TC was not too sharp - in fact it placed last in sharpness of all the lenses tested. It did place first in bokeh quality. However, at 30m (the mid-distance to subject) trailed the sharpness of the Nikkor 180-400mm (with its TC-engaged) by only an extremely small amount (so small that the difference could easily be negated by sharpening during post-processing). At 30m the 120-300 plus 2x TC was sharper and had better bokeh than the Sigma Sport 150-600mm.

At 560mm the optical performance of the Nikkor 120-300mm f2.8E plus TC-20EIII was considerably stronger optically and it did NOT vary with distance to subject. The Nikkor 180-400mm was very slightly sharper (only noticeable when engaged in extreme pixel-peeping) at only f5.6 and f6.3 - at smaller apertures the two lens/TC combinations were indistinguishable in sharpness (and both were considerably sharper than the Sigma Sport 150-600mm). The 120-300mm f2.8E plus TC-20EIII had the best bokeh at 560mm.

At 600mm the Nikkor 120-300mm f2.8E plus TC-20EIII was considerably sharper and had better bokeh than the Sigma Sport 150-600mm (at all overlapping apertures). In absolute terms the test images of the Nikkor 120-300mm plus TC-20EIII shot at 600mm were extremely sharp.

And, for those debating the purchase of this high-priced, high-performance lens, here's the most critical paragraph from the discussion on using teleconverters with the Nikkor 120-300mm f2.8E:

"In my view the superlative performance of the Nikkor 120-300mm f2.8E when paired with TC's dramatically increases the value of this lens for wildlife photography. For me it has shifted the lens from a "speciality" lens for low light and/or animalscape shooting to what I currently think of as my most versatile wildlife lens (even more versatile than the excellent 180-400mm f4E)."

Coming next...optical stabilization and "hand-holdability" of the Nikkor 120-300mm f2.8E (compared to several rival lenses). Stay tuned...

Cheers...

Brad

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20 July '20: Nikkor 120-300mm f2.8E Review: Performance with the TC-14EIII (1.4x) Teleconverter

I have just updated my Nikkor 120-300mm f2.8E field test and review by adding the fourth major section on its optical performance - Optical Performance with the TC-14EIII (1.4x) Teleconverter.

Here's where to go:

• Start at the beginning of the review
• Jump directly to the Optical Performance with the TC-14EIII (1.4x) Teleconverter section

And for those seeking "just the facts"...here's the EXECUTIVE SUMMARY:

At 420mm the Nikkor 120-300mm f2.8E plus TC-14EIII combination performed superbly - over all 4 test distances and all apertures (and when factoring in central region sharpness, edge sharpness, and bokeh) it wracked up more first-place rankings than another other 420mm "solution" - and by a wide margin. As an example, at the closest test distance NO OTHER lens (or lens/TC combination) matched it in central region sharpness until all lenses were stopped down to f8. The single lens that came closest to matching it overall at 420mm was the Nikkor 300mm f2.8G VRII. Here's how the lenses stacked up in 1st place rankings (or tied for first place) in the critical f4 to f8 range:

• 40 first/tied for first rankings: Nikkor 120-300mm f2.8E plus TC-14EIII
• 6 first/tied for first rankings: Sigma Sport 120-300mm f2.8 plus Sigma TC-1401
• 31 first/tied for first rankings: Nikkor 300mm f2.8G VRII plus TC-14EIII
• 12 first/tied for first rankings: Nikkor 300mm f4D plus TC-14EII
• 16 first/tied for first rankings: Nikkor 180-400mm f4E with built-in 1.4x TC engaged
• 3 first/tied for first rankings: Sigma Sport 150-600mm f5-6.3 shot native.

At 400mm the Nikkor 120-300mm f2.8E plus TC-14EIII combination and the Nikkor 180-400mm f4E shot without its built-in TC engaged battled to what was essentially a draw. There were TWO instances (over all distances and apertures tested) where the Nikkor 180-400mm was very slightly sharper (only noticeable when engaged in extreme pixel-peeping) - and that was at the closest test distance and f4 and f4.5 only. But there a total of 10 instances where the bokeh of the 120-300mm f2.8E plus TC-14EIII was slightly (but noticeably) better than that of the 180-400mm f4E. In practical, real world terms you can shoot either of these lenses at 400mm at any aperture or distance and get results that are stellar (and virtually indistinguishable).

I can not overstate how well the Nikkor 120-300mm f2.8E performs when combined with the TC-14EIII (1.4x) TC - its ability to match Nikon's best primes extends to cases where you are using it combined with the 1.4x TC. This increases the versatility of the lens for wildlife photographers immensely.

Coming next...optical performance with the TC-20EIII (2x) teleconverters. Featuring the Nikkor 120-300mm plus the TC-20EIII (2x) teleconverter against some worthy competitors! ;-)

Cheers...

Brad

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14 July 2020: Welcoming Western Canadians: New Late Summer Marine Mammals Photo Tour!

22 JULY UPDATE: THIS SPECIAL PHOTO TOUR HAS NOW BEEN ABORTED.

EDITORIAL COMMENT: Canada - and BC in particular - has been very successful in controlling the spread of COVID-19 and "flattening" its growth curve. However, in the last week there has been a small but consistent increase in daily new case rates across Canada and in BC. This uptick in numbers is consistent with the increases expected with the relaxing of restrictions on movement and travel associated with BC's Restart Plan (and was predicted). However, I am not comfortable with encouraging intra- and inter-provincial travel at this time. Consequently - and in the big picture - I am not displeased that this photo tour in now officially aborted.

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13 July 2020: OUCH! Our 3 Summer/Autumn Great Bear Rainforest Photo Tours Quashed!

Despite our best efforts - and those of our "partners in photo tour crime" - we recently received word that several of BC's Coastal First Nations have closed their territories to commercial tourism for the remainder of 2020. We need access to these territories for all of our summer and autumn Great Bear Rainforest photo tours. Which means that our 3 Great Bear Rainforest photo tours for this coming August, September, and October are no more. Bummer. For the record, I fully understand why remote communities on BC's coast (with very limited health care resources) would want to minimize contact with "outsiders" right now.

SO...does that mean that ALL our photo tours for 2020 are now history? Not quite...we've got some more tricks up our sleeve! If you happen to reside in western Canada and are looking for a most excellent adventure - and un-matched photo ops of Humpback Whales, Killer Whales, Steller Sea Lions, Sea Otters, and more with spectacular backdrops - we MAY just have what you're looking for. Just check out our "Marine Mammals of the Central Pacific Coast Photo Op Photo Tour - the SPECIAL COVID-19 Edition!".

Cheers...

Brad

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5 July 2020: 2020 Marine Mammals Photo Tour Bites the Dust!

The global COVID-19 pandemic continues to impact on our 2020 photo tour schedule - we just officially pulled the plug on our 2020 "Marine Mammals of the Central Pacific Coast" photo tour. In this particular case the trip wasn't suspended by a public health order associated with physical distancing, but simply because ALL the guests on the trip were coming from outside of Canada to participate and, owing to strict travel restrictions preventing ANYONE from outside Canada entering the country for the purpose of tourism, none of them could get to the trip start point! Ouch.

On the positive side, the suspended photo tours and travel restrictions have forced me to hunker down in my mountain "fortress of solitude" and spend some quality time with the local wildlife residing around my house (something I have wanted to do for a few years). And I'm catching up on a LOT of gear testing, image organization and culling, and even digging into my massive backlog of images awaiting some post-processing TLC. Heck, if this keeps up I may even find the time to set-up and begin offering online post-processing tutoring that so many have been asking me to do for years! ;-)

And...I am determined to keep adding new images (and commentaries) to my Gallery of Latest Additions. On that note, the latest entry there is a great example of the type of quality you can get out of the Nikkor 120-300mm f2.8E paired up with the Nikkor TC-20EIII (2x) teleconverter...check it out if you have a minute!

Cheers...

Brad

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30 June 2020: Nikkor 120-300mm f2.8E Review Update: Optical Performance @ 120mm

I have just updated my Nikkor 120-300mm f2.8E field test and review by adding the third major section on its optical performance - Optical Performance @ 120mm. I also added a short section following the performance at 120mm entitled "DISCUSSION: OPTICAL PERFORMANCE FROM 120mm to 300mm" that sums up the results of all my optical testing from 120-300mm.

Here's where to go:

• Start at the beginning of the review
• Jump directly to the Optical Performance at 120mm section
• Jump directly to the DISCUSSION: OPTICAL PERFORMANCE FROM 120mm to 300mm section

And for those just wanting the "bare bones" info...here's the EXECUTIVE SUMMARY:

At 120mm - and when considering center sharpness, edge sharpness, and bokeh over a variety of distances and a range of apertures - TWO lenses tested out very strongly: the Nikkor 120-300mm f2.8E and the Sigma 120-300mm f2.8. Both of these lenses produced exceptionally high quality images at 120mm. The highly regarded Nikkor 70-200mm f2.8E also tested out very well in terms of image sharpness (both central and on the edges) but - and to my surprise - competed poorly against the two 120-300mm f2.8 lenses in bokeh quality.

Is there ONE lens of the group that you could select in virtually any photographic situation at 120mm - from portraits to landscapes - and know that you are making no compromises in image quality? Yes...the Nikkor 120-300mm f2.8E. The only very minor "weakness" of the Nikkor 120-300mm f2.8E that I could find at 120mm is that from f2.8 to f3.5 at mid-distances (12m and 24m) it placed JUST behind the Nikkor 70-200mm f2.8E in central region sharpness. At all other test distance and aperture combinations it placed first or tied for first in both central and edge sharpness.

Coming next...optical performance with teleconverters. Featuring the Nikkor 120-300mm plus TC-14EIII (1.4x) and the TC-20EIII (2x) teleconverters against some worthy competitors! ;-)

Cheers...

Brad

Feedback to: feedback@naturalart.ca

23 June 2020: Nikkor 120-300mm f2.8E Review Update: Optical Performance @ 200mm

I have just updated my Nikkor 120-300mm f2.8E field test and review by adding the second major section on its optical performance - Optical Performance @ 200mm. Here's where to go:

• Start at the beginning of the review
• Jump directly to the Optical Performance at 200mm section

And for those just wanting the "bare bones" facts...here's the EXECUTIVE SUMMARY:

At 200mm - and when considering center sharpness, edge sharpness, and bokeh over a variety of distances and a range of apertures - FOUR lenses tested out quite strongly: the Nikkor 120-300mm f2.8E, the Sigma 120-300mm f2.8, the Nikkor 70-200mm f2.8E, and the Nikkor 180-400mm f4E. All produced professional quality output at all test distances and without careful scrutiny it was tough to separate out the performance of these four lenses.

However, when the images from the tests were examined closely, two lenses stood out above the others in the consistency of their performance. They were close to flawless and showed only the most trivial of weaknesses - these lenses were the Nikkor 120-300mm f2.8E and the Nikkor 180-400mm f4E. Both exhibited full Aperture Independent Sharpness (maximum sharpness in the central region from wide open through to f8) at all distances. At all distances and for every aperture tested these two lenses were ranked (and were tied) for first in sharpness (but note that at a few distance/aperture combinations other lenses joined them in the tie for first in sharpness). The only "weakness" of the Nikkor 120-300mm f2.8E was in the quality of its bokeh at close distance in the f4.5 through to f8 range - here the Nikkor 180-400 f4E slightly beat it out (but note that the Nikkor 120-300mm f2.8E still beat all the other lenses in bokeh at this distance). The only "weakness" of the Nikkor 180-400mm f4E was in edge sharpness at long distance in the aperture range of f4.5 to f5.6 - here it placed second to the Nikkor 120-300mm f2.8E (but it still beat all other lenses in the test in these instances).

Is it possible to declare a "winner" at 200mm? Probably not. But my own preference is for the Nikkor 120-300mm over the 180-400mm simply because it has the larger aperture of f2.8 and at a 200mm having the f2.8 aperture is important to me. Note that of the 3 lenses in this test with an f2.8 aperture (the Nikkor 120-300, the Sigma 120-300, and the Nikkor 70-200) the Nikkor 120-300mm f2.8E consistently had the best center AND edge sharpness and the best bokeh in the f2.8 to f3.5 range.

Coming next...optical performance at 120mm. Featuring the Nikkor 120-300mm against these 3 lenses...

• Sigma Sport 120-300mm f2.8
• Nikkor 70-200mm f2.8E
• Nikkor 70-200mm f4G

Cheers...

Brad

Feedback to: feedback@naturalart.ca

22 June 2020: Nikkor 120-300mm f2.8E Review REVISION: Optical Performance @ 300mm

I have just REVISED the section of my Nikkor 120-300mm f2.8E Review that covers optical performance at 300mm. What did I change? I ADDED a section to the results where I discuss the relative performance of EACH lens tested at 300mm - this section is called "3. SOME LENS-SPECIFIC OPTICAL PERFORMANCE COMMENTS". I think it's a good addition in that it gives context and relevance to the merits of each lens tested at 300mm. I will keep this section in for the upcoming sections on optical performance at 200mm and at 120mm.

Here's the key links to get you to the review or directly to the section on optical performance (where you'll find the new section described above):

• Start at the beginning of the review
• Jump directly to the Optical Performance section

Cheers...

Brad

Feedback to: feedback@naturalart.ca

19 June 2020: Nikkor 120-300mm f2.8E Review Update: Optical Performance @ 300mm

I have just updated my Nikkor 120-300mm f2.8E field test and review by adding the first major section on its optical performance - Optical Performance @ 300mm. Here's where to go:

• Start at the beginning of the review
• Jump directly to the Optical Performance section

And for those just wanting the skinny on the optical performance of the Nikkor 120-300mm f2.8E at 300mm against 5 other very credible challengers...here's the EXECUTIVE SUMMARY:

At a 300mm focal length - and over all test distances - the Nikkor 120-300mm f2.8E showed the strongest overall optical performance of all six lenses tested. At close and mid-distances (4.25m, 12m, 24m) the Nikkor 120-300mm f2.8E consistently ranked first in sharpness. The Nikkor 300mm f2.8G did tie it in sharpness in a number of instances, but never in the f2.8 to f3.5 aperture range. The Nikkor 180-400mm f4E also tied the Nikkor 120-300mm f2.8E in sharpness at overlapping apertures, but never beat it. At long distance 3 Nikkor lenses were in a virtual dead-heat for both center and edge sharpness - those lenses were the Nikkor 120-300mm f2.8E, the Nikkor 300mm f2.8G, and the Nikkor 180-400mm f4E. At long distance the Sigma 120-300mm f2.8 did very well in central region sharpness (tying the other 3 lenses), but edges were softer than the other 3 lenses at all apertures.

In terms of the quality of the OOF zones (i.e., the bokeh) two lenses were clearly superior to all others and were tied with each other - those lenses were the Nikkor 120-300mm f2.8E and the Nikkor 300mm f2.8G. The Nikkor 180-400mm f4E exhibited the next best bokeh, followed by the Nikkor 300mm f4D. Both Sigma lenses exhibited significant focus breathing, especially at the closest test distance. This focus breathing had a very negative impact on the bokeh of the two Sigma lenses at the closest test distance (4.25m) and a significantly negative impact on the bokeh at the mid-distance tests (i.e., at 12 and 24m).

So...when all apertures were considered, the Nikkor 120-300mm f2.8E clearly ranked first in sharpness (central region), was in a dead-heat with the Nikkor 300mm f2.8G in bokeh, and tied the other two top Nikkors in edge-sharpness. Ergo...when it comes to optical performance at 300mm the Nikkor 120-300mm f2.8E wins. Period.

Coming next...optical performance at 200mm. Featuring the Nikkor 120-300mm against these 5 lenses...

• Sigma Sport 120-300mm f2.8
• Nikkor 70-200mm f2.8E
• Nikkor 70-200mm f4G
• Nikkor 180-400mm f4E
• Sigma Sport 150-600mm f5-6.3

Cheers...

Brad

Feedback to: feedback@naturalart.ca

13 June 2020: New Images...Using the 120-300mm f2.8E plus TC-20EIII (2x) Teleconverter

I have just posted my first few shots captured using the Nikkor 120-300mm f2.8E plus TC-20EIII (2x) teleconverter. When I planned and then began my testing of the Nikkor 120-300mm f2.8E I knew I would be including its performance with the 1.4x teleconverter. But I had no plans whatsover to test it paired up with the 2x teleconverter (and I didn't even own one anymore). However, based on how well the 120-300mm and the 1.4x teleconverter worked together I figured I just HAD to try the lens with the 2x TC. And I can already say it was well worth the effort (and the cost of a new 2x TC).

You can view the shots in my Gallery of Latest Additions - they're the Bighorn Sheep shots and currently they're the first two shots in that gallery. Both were captured at the lens's maximum focal length (so 600mm with the TC factored in) and both with my D6 body. Check 'em out if you have a second...

If you haven't poked around any of my image galleries before you should be aware that each image is accompanied by a slew of contextual information. To access the info, just click on the tabs (with the headings "In the Field", "Behind the Camera", etc.) that are found just below the main image window.

Cheers...

Brad

Feedback to: feedback@naturalart.ca

11 June 2020: Nikkor 120-300mm f2.8E Review: Now Open!

I have just posted the few first sections of my official Nikkor 120-300mm f2.8E Field Test & Review. I am writing the review incrementally - new sections will appear regularly over the next weeks until the review is done. I will be post alerts right here on my blog whenever new or revised content is added to the review.

At this point the review includes its Introduction and a section on Physical Characteristics.

Next up is the critical section on Optical Performance (when shot native, i.e., without teleconverters) where I compare the optical performance of the 120-300mm f2.8E to a slew of other lenses (at multiple focal lengths and distances). First up in that section will be optical performance at 300mm. At 300mm I compare the Nikkor 300mm f2.8E f2.8E against the following lenses:

• Sigma Sport 120-300mm f2.8
• Nikkor 300mm f2.8G VRII
• Nikkor 300mm f4D
• Nikkor 180-400mm f2.8E (at 300mm of course)
• Sigma Sport 150-600mm f5-6.3 (again at 300mm)

My goal is to have the Optical Performance @ 300mm section posted by this time next week (baring a pandemic or anything crazy like that).

Here's the permanent location for the review: Nikkor 120-300mm f2.8E Field Test & Review

Be Safe. Be Disciplined. Be Vigilant. Cheers...

Brad

Feedback to: feedback@naturalart.ca

8 June 2020: A Few High ISO D6 Images...

In my May 26th blog post (immediately below) I stated that there "...is no improvement in ISO performance of the D6 (based solely on the amount of visible noise present in RAW images at various ISO settings) compared to the D5". That statement was based on some controlled field tests and I am sticking by the statement. However, based on some email I have been getting it would appear that some are thinking that my comments mean that the D6 is a bit of "slouch" when it comes to high ISO shooting. Nothing could be further from the truth...the D5 was already an amazing high ISO camera and the D6 carries that performance forward.

Because several factors influence the visual impact of noise an image (including how much resolution-reduction you perform on the image, the scene type, etc.) - AND because everyone has a different standard as to the amount of noise acceptable in an image - I won't even try to answer the question of "how high of an ISO can the D6 actually be shot at and still produce acceptable images?". I WILL say that if a photographer has good post-processing skills, including knowing how to use selective noise reduction techniques, they should be able to get better results if they shoot RAW images than if they shoot JPEG's. And...RAW shooters should know that not all noise reduction software is created equal!

So here's a few images of some of my neighbours to illustrate these points (I'm under travel restrictions myself, so going with the local critters). Note that the images are FULL FRAME images but have been reduced to 2400 pixels (from the 5568 pixel native resolution on the D6) on the long axis. This reduction in resolution will have made SOME of the noise in the image less visible - if the were shown at full resolution you would see more noise...if they were reduced even more in resolution you would see less noise. And, don't worry...you will see full-resolution samples in my coming D6 review.

1. D6 @ ISO 12,800 (Dusky Grouse Hooting Before Sunrise). Note that this image was captured as a RAW file and I "played with" 3 different methodologies for noise reduction (NR) on these shots: A) Using ONLY selective NR in Capture One Pro 20.1; B) using the DEFAULT NR in Capture One Pro (applied non-selectively) PLUS Topaz DeNoise (Vers. 2.2.2); C) using no NR in Capture One Pro and relying fully on the NR in Topaz DeNoise:

• Sample 1: Selective NR using ONLY Capture One Pro - Download 2400 pixel image
• Sample 2: DEFAULT NR in Capture One Pro PLUS Topaz DeNoise - Download 2400 pixel image
• Sample 3: Processed with Capture One Pro but all NR using Topaz DeNoise - Download 2400 pixel image

2. D6 @ ISO 25,600 (Momma Griz @ Dawn). Note that this image was simultaneously captured both as a RAW file and a JPEG Fine* file. With the exception of the resolution reduction, the JPEG is exactly as it came out of the camera (with the following settings: Auto Picture Control, High ISO NR set to Low [I hate the detail-free waxy look!], and white balance set to "Natural Light Auto"). The RAW file was adjusted/processed in Capture One Pro 20.1 but ALL NR was performed using Topaz DeNoise.

• Sample 1: Processed with Capture One Pro but all NR using Topaz DeNoise - Download 2400 pixel image
• Sample 2: In-camera D6 JPEG - Download 2400 pixel image

I am already developing my own post-processing "rules of thumb" for D6 raw file processing and I am finding when it comes to noise reduction my rules are pretty much the same as they were with my D5. When it comes to noise reduction, my own preference is to use selective noise reduction (using Capture One Pro's tools) in the ISO 6400 to ABOUT ISO 10,000 range, use a combination of selective noise reduction PLUS DeNoise for images shot at or just above ISO 12,800, and Topaz DeNoise ONLY on images shot at ISO 25,600 and above (and it's not like I shoot many shots at ISO 12,800, let alone at ISO 25,600 and above). Note that these are just guidelines developed from my OWN post-processing and they may not suit the taste of others.

But there is a take-home lesson here. Even if you're quite anal about image quality and image noise, RAW shooters who are comfortable using some of the latest noise reduction software and post-processing techniques can get away with shooting at some pretty crazy ISO's with the Nikon D6 (or, for that matter, the D5) and still get some pretty great results.

Be Safe. Be Disciplined. Be Vigilant. Cheers...

Brad

Feedback to: feedback@naturalart.ca

26 May 2020: The Nikon D6: My Earliest Impressions and Observations...

Ok...as mentioned in my last blog entry I took delivery of my D6 on Saturday (the 23rd) and have been jamming in as much shooting, evaluation of images captured with it, and "playing" with it as possible since it landed in my hands. I will be thoroughly field-testing the D6 (against the D5 and a few other Nikon cameras) and be producing a detailed review on it. Today's entry represents only my very earliest impressions and some "factual" observations about the D6 that are mostly devoid of opinion or value judgments. It's based on about 3,000 images I have captured with the D6, both while just shooting with it and while comparing it head-to-head against the Nikon D5.

First...my earliest impressions and gut-feelings about the D6:

1. It's Mostly About the Autofocus!

While a LOT of things on the D6 differ from the D5, it's my view that by far the biggest story of the D6 is the new autofocus (AF) system, not its ISO performance. Most shooters who've owned one of many of Nikon's previous generations of DSLR's (e.g., the D750, any D800-series camera, the D500, the D5) will recognize the core AF features (AF-S vs. AF-C; multiple AF area modes like single point, group area, various dynamic area modes, etc.), but there are a large number of new twists or new customizations available within the AF system. Think of the D6 as building upon - and refining - the already excellent AF system of the D5 and you'd be on the right track. So besides having a higher number of selectable focus points, we now have more AF area modes, more focus points that employ cross-type sensors, better low light performance (all focus points operable to -4 EV; central focus point operable to -4.5 EV), and more usable focus points when teleconverters are in use.

2. But It's Also About Customization Improvements.

In my view the second biggest story about the D6 is the improvement in how much you can customize the camera, including offering some tweaks to customization options and some new options that we've not seen before. As one example only you can customize one of many buttons to activate "Recall Shooting Functions" when pressed, AND (most importantly), the shooting functions that can be saved and instantly recalled includes a LOT more things than on the D5, including the autofocus area mode that you want to recall. I'll say more about this new function (and explain it better!) below...but suffice to say for now that it's become a feature that's definitely worth using.

3. Sports Shooters Will Benefit the MOST from the Upgrade.

Between the improvements to the quality of the in-camera JPEG's - and the D6 JPEG's ARE really, really good, even when using the default setting - and those associated with a JPEG workflow (such as improved features associated with wireless transmission of your JPEG images) I suspect that pro sports shooters will find more to like about the D6 than will most wildlife shooters (the vast majority of which shoot RAW images only and use a RAW workflow). And, unless the wildlife photographer in question REALLY pushes the limits of the AF system of a D5 (such as shooting swallows in flight in very low light and with a teleconverter on their camera), I suspect the improvements in AF performance of the D6 will tend to be beyond what the "average" wildlife photographer (if such a thing exists!) will appreciate and/or need. That doesn't mean that some of the improvements in the D6 won't be appreciated by many wildlife photographers (the ability to focus in extremely low light at sunrise or sunset instantly come to mind) - I simply mean that sports photographers have a longer list of things to like about the D6 than wildlife photographers do.

Second...here's an unranked top 11 laundry list of observations and tidbits I have noticed - or already learned - about the D6:

1. It's Heavier than the D5.

The bare-bones D6 (no battery, no memory cards, no caps) comes in very slightly heavier than the bare-bones D5. How much? About 32 grams, which is slightly more than an ounce. On my scales the D5 comes in at 1235 gm (2 lb, 11.6 oz) and the D6 at 1267 gm (2 lb, 12.7 oz). It's not much, but I suspect most were hoping for lighter rather than heavier! ;-)

2. Maximum Frame Rate:

The maximum frame-rate of the D6 when shooting through the optical viewfinder and with full AE and AF is 14 fps, while that of the D5 is 12 fps. And it is noticeable in the field. And...there are three important and related "correlates" to his (next three points below).

3. Image Black-out Time:

The D5 had an amazingly short black-out time when shooting at high frame rates - the black-out time of the D6 is noticeably BETTER (shorter). It's great and now you see your subject even better in a high-speed burst.

4. Reduced Viewfinder Vibration/or "Jerkiness":

The D5 introduced a new mirror-driving mechanism that meant that the image in the viewfinder during burst shooting was remarkably smooth (compared to a D4s and older flagships). And, with the D6, Nikon has re-designed the mirror-driving mechanism again and the vibration of the image in the viewfinder is reduced further again, making the image even MORE stable during burst shooting than with the D5. This increase in image stability IS noticeable in the field, particularly if you are shooting with a lens with VR Sport mode. Shoot a 93-shot burst of a moose's snout and the focus point of the last shot is in the EXACT same place as the first shot! Why anyone would want to shot 93 frames of a moose's snout is a different question (are you reading this Joan?). I know this sounds like a little thing, but it's something I really liked about the D5 and I like even more about the D6.

5. Reduced Burst Depths:

Here's something that surprised to me (and I haven't sussed out why yet), but the burst depth (= number of shots that can be captured at the camera's highest frame rate BEFORE slowing down) of the D6 is somewhat lower than that of the D5 when shooting RAW images. And, this is despite me using a much faster memory card (CFexpress vs. XQD) on my D6 than on my D5. Note that this difference in burst depth exists regardless of the bit depth of your RAWs AND the frame rate you shoot at (i.e., turn the maximum frame rate of the D6 down to 12 frames per second and the burst depth improves SOME, but the D5 burst depth is still higher). Here's a few examples:

• D5 at 12 fps: 14-bit RAW files with 440 MB/s XQD card = 200 frames per burst
• D6 at 14 fps: 14-bit RAW files with 1700 MB/s CFexpress card = 126 frames per burst
• D6 at 14 fps: 14-bit RAW files with 440 MB/s XQD card = 93 frames per burst

• D6 at 12 fps: 14-bit RAW files with 1700 MB/s CFexpress card = 172 frames per burst
• D6 at 12 fps: 14-bit RAW files with 440 MB/s XQD card = 146 frames per burst

• D5 at 12 fps: 12-bit RAW files with 440 MB/s XQD card = 200 frames per burst
• D6 at 14 fps: 12-bit RAW files with 1700 MB/s CFexpress card = 154 frames per burst

Of course, the germane question here is obvious: Do you care? Like how often do you shoot a single burst of even 50 shots, let alone over 100? If you absolutely MUST shoot bursts of 200 RAW files at a frame rate of at least 12 fps then you should keep your D5. ;-)

6. ISO Performance (visible noise ONLY):

While many image parameters vary with your camera's ISO setting - such as dynamic range, colour depth, tonal range, and more - AND these variables all interact to determine the overall perception of image quality, most shooters reduce a camera's ISO performance to a single variable and question: "How much visible noise (both luminosity and color noise) does an image have at a specific ISO?" This is the FIRST thing I tested with the D6 and I am going to let the cat out of the bag right now: There is no improvement in ISO performance of the D6 (based solely on the amount of visible noise present in RAW images at various ISO settings) compared to the D5. To be clear - when it comes to the appearance of visible noise in your RAW images and when compared to the Nikon D5 - it's status quo on ISO performance.

I will have LOTS more to say about ISO performance of the D6 in my final review of the camera (including how I test and evaluate ISO performance), but I know the critical issue for most users is answered above.

7. A FEW AF Tidbits:

There are TONS of things to talk about regarding the changes and and improvements of the AF system of the D6 over the D5 and most considering purchasing a D6 probably already know the basic information included in Nikon's marketing info, including that the number of selectable focus points has gone from 55 points to 105 points and that we now have a way to customize the Group Area AF mode that gives us 17 new combinations of "geometries" of the Group Area AF mode. So here I'll discuss only a few "macro-level" observations and/or things not discussed in Nikon's marketing literature:

• The Big Picture: When shooting with a D5 and a professional-level lens most shooters noticed that they had an amazing hit rate of "in-focus" shots, including when shooting extreme action. Simply put, the D5 has an amazing AF system - definitely the best AF system of any DSLR on the market (until now). I have already found the D6 has a BETTER hit rate and it's AF system is even MORE amazing than that of the D5.

• The individual focus points of the D6 - in terms of how much of the viewfinder they occupy - are LARGER than those of the D5, by about 33% or so. But they are still smaller than those of the D500 (which I personally find to be too big for my liking). Focus point size can be important when focusing past obstructions in front of your subject (like grass strands in front of a grizzly bear's face).

• The standard Group Area area mode (the diamond shaped cluster of points) is SMALLER on the D6 than on the D5. This has pros and cons. On the positive side it can mean that you are less likely to pick up (and focus on) foreground and render your subject out-of-focus, but it can also mean that if you are using Group Area mode for a moving subject (e.g., a bird in flight) you are more likely to have the group "fall off" the subject. Note that the standard Group Area mode can NOT be customized - it is always diamond-shaped and can't be changed in size. So far I have found I really like the new smaller standard Group Area AF area mode on the D6.

• The 9-point Dynamic Area AF area mode (which is my own default focus area mode) is slightly larger on the D6 than the D5. So far I haven't found it less precise than that of the D5, but the jury is still out on this for me.

• There are TWO new Group Area modes - labelled C1 (for custom 1) and C2. Each of these two modes can be easily modified by adding more focusing points horizontally or vertically. So, for instance, if you find the standard diamond-shaped Group Area mode of the D6 too small, just go to one of the custom Group Area modes and create a 3x3 square focus point group. Or a 5x5 square focus point group. And, of course, the core functionality and critical feature of the Group Area mode - that the group always prioritizes focusing on the closest object enclosed within the focus points - remains the same regardless of the geometry of the group you create.

Of course, I'll have a ton more to say about the AF system of the D6 in my final review...but this hits a few of the highlights.

8. A FEW Customization Tidbits:

There's so many ways to customize a D6 that it's almost hard to wrap your head around all the consequences of it (in terms of the many ways YOU can choose to customize your D6 and make it work best for you). At this point a few new or evolved customization features have really stood out for me, and they add welcome new functionality to the D6. So for now I'll just point out a few things that I think are likely to please a lot of users:

• Good News for Back-button Focus Lovers: If you are a fan of using back-button focus (I'm not, but that's another long story), your thumb just got some good news. Historically back-button focus users (who most often used the AF-ON button to focus) who liked to compose their images first and then toggle the focus point to their subject required have a thumb that was good at dancing between the AF-ON button to activate focus and the sub-selector button (which is the "knurled" toggle stick) to move their focus point around. Now, you can customize the sub-selector so that if you push it in it activates focus! So, the sub-selector button can be used to move the focus point around AND activate focus. Of course, Nikon being Nikon, this works great for the sub-selector and when you're holding the camera horizontally...but you can't mirror this function for vertical shooting! For reasons beyond me, the vertical knurled focus point toggler is NOT considered a vertical sub-selector - it's considered the vertical multi-selector and, most importantly, Nikon does not allow you to customize it to work like the horizontal sub-selector - you can only customize it to work like the multi-selector. Arghh!

• An Open Note to Nikon: Back button focus users will love you if you allow the vertical multi-selector to mimic the functionality of the multi-selector (which it already can do) OR mirror the functionality of the sub-selector (so the vertical multi-selector can be used to toggle and focus just the way the sub-selector can). Trust me on this. ;-)

• "Recall Shooting Functions" Option Is VASTLY Improved: Finally, we have a way on a pro Nikon DSLR to switch an entire GROUP of shooting settings (including the AF area mode) with the push of a single button! Yippee!! Why is this important? Consider this situation that HAS happened to me about one zillion times: You are intently shooting a static subject in good light and have chosen your camera settings to maximize image quality for the conditions - so you have picked a shutter speed and aperture setting that keeps your ISO down fairly low and an AF area mode setting to precisely let you focus on your subject...so single point AF area mode or maybe 9-point Dynamic Area mode. Suddenly right behind you action breaks out (like a wolverine chasing a grizzly, or an eagle in flight). To capture the action you need to change your exposure settings (likely going to a higher shutter speed) AND change your AF area mode from single point to one of the better AF area modes for capturing action (perhaps one of the many Group Area modes). How do you do it? In the past, you couldn't. But NOW you can simply push one of the many buttons on your camera that can be programmed to "Recall Shooting Functions" and a bunch of settings change at once, including your AF Area Mode. What shooting functions does the "Recall Shooting Functions" feature allow you to store? Here's the list:

• Exposure mode (Manual vs. Aperture Priority, etc.)
• Shutter speed (if applicable depending on exposure mode selected)
• Aperture (if applicable depending on exposure mode selected)
• Exposure compensation
• ISO sensitivity (base ISO plus whether or not Auto ISO is on)
• Metering method
• White balance
• AF-area mode
• Focus-tracking with Lock-on (Quick vs. Delay and Erratic vs. Steady)
• AF-ON

You can choose to have a custom set of ANY or ALL of these variables stored by your camera for quick recall. Note that you can manually input all your desired selections for the variables above and save them (by hitting the OK button) - or you can simply adjust your camera the way you want and click on "Save current settings." There are a few idiosyncrasies that those who want to use this great new function should know about. First, even if you choose to have Auto ISO turned on the values it uses (for things like maximum permissible ISO you want or shutter speed you want the camera NOT to fall below) are inherited from the shooting bank you are in when you push the button that activates "Recall Shooting Functions". Same goes for the image quality - if you are in a shooting bank where you are shooting 14-bit lossless compressed RAW images that's what you're still shooting when you hit the "Recall Shooting Functions" button.

OK...so how do you use this function? So in my case I have decided that I want to assign the Fn1 button to activate "Recall Shooting Functions" when I push it. Further, I have decided that I want to use that Fn1 button in situations where action rapidly breaks out and I want to shoot with the goals of freezing the action AND have my chances of it being in focus as high as possible. So here's what I have chosen to save for my own "Recall Shooting Functions":

• Exposure mode = Manual
• Shutter speed = 1/2000s
• Aperture = f4
• Exposure compensation = -0.3
• ISO sensitivity = 100 ISO, Auto ISO on (and note that this turns Auto ISO on even if the shooting bank you are in when you push the button has it turned off)
• Metering method = Matrix
• White Balance = Auto0
• AF-area mode = Group Area C1 (which I have set up as a 5x5 square pattern)
• Focus-tracking with Lock-on (Quick vs. Delay = 3, Erratic)
• AF-ON toggled on (so the camera focus when I hit the Fn1 button)

So I could be crawling on the ground shooting macro (in aperture priority mode at an f11 aperture with a fixed ISO of 100 and with single point AF using spot metering) and suddenly hear a Red-tailed Hawk overhead and just rollover, push the Fn1 button, and all the exposure and AF settings listed above are instantly selected. And I end up with a great shot of the Red-tailed Hawk rather than just watching it fly by (because I know it's pointless to try to change a zillion settings in the two seconds I have to capture the image). Cool, very cool! Thanks Nikon.

9. New "TC" Viewfinder Icon/Display:

Now here's something new that's useful, interesting, and that leads me along a path of wild speculation! If you are an owner of ONE Nikon lens - the Nikkor 180-400mm f4E with built-in TC - you'll see this new icon/display, but no one else will. If you are using the 180-400 and have the built-in 1.4x teleconverter engaged you will see a TC "icon" in the lower right corner of the image (not on the black border where most other viewfinder displays are seen). Disengage the TC and the icon disappears. So all it does is tell users of the 180-400 if they have the built-in TC engaged or not. And...as one who owns the 180-400 and HAS forgotten the TC is engaged in the "heat of action" - and left it engaged when it was no longer necessary - I think this is a cool and welcomed feature. Note that if you have a standard TC mounted on your camera you do NOT see the TC icon - it appears ONLY with the 180-400mm f4E with the built-in TC.

Now the wild speculation: Does it seem odd to anyone other than me that Nikon would add a unique viewfinder display for ONE lens that is uber-expensive and is owned by (in relative terms) only a handful of folks? Is it possible that Nikon is looking ahead and adding a display that will work with NEW ( = not yet in existence) super-telephoto primes or zooms that have built-in TC's? Interesting to ponder...

10. Revamped iMenu:

Nikon re-worked the iMenu on the D6 to mimic the functionality (and appearance) of that of the Z-series cameras. Like with the Z-cameras it's fully customizable. When you push the i-button (which can't be customized or changed to any other function) the i-Menu is displayed on the rear LCD display. I am already finding the i-Menu highly useful and like it a lot.

11. A Usable Virtual Horizon (in viewfinder):

Finally! For years the Nikon flagships have had a weird virtual horizon function (when using the optical viewfinder) - turn it on and it hijacked your focus points (rather than showing up on the bottom and side of the image area in the viewfinder than as on the D850 and D500). I always took the D5's weird virtual horizon feature as proof that the product groups at Nikon did not talk to one another (and that those on the flagship team had no idea what the D500 and D850 people did with their virtual horizon feature!). But I digress...the key point is now on the D6 you can have BOTH a virtual horizon display and focus points displayed - and the viewfinder-based Virtual Horizon feature has become a lot more usable.

And that's it for now (hey...I've only had a D6 for 3 days...what do you expect?). More is coming on the D6 (including images) in the near future. You can also expect to see a lot more on the Nikkor 120-300mm f2.8E very soon (including more sample images). So stay tuned.

Be Safe. Be Disciplined. Be Vigilant. Cheers...

Brad

Feedback to: feedback@naturalart.ca

Link directly to this blog post: http://www.naturalart.ca/voice/blog_2020_all.html#D6_EarlyImpressions

21 May 2020: The D6 Has Landed...

I just got the word that the Nikon D6 I will be field testing (AKA MY D6!) arrived at my dealer today. Owing to logistics imposed by my remote location and the coronavirus, the D6 won't be in my hands until mid-day Saturday. I've recently cleared a lot of things off my plate and thus freed up time so I can immerse myself in shooting and testing the D6. Expect my first preliminary comments on it right here in the Monday-Tuesday of next week timeframe.

Anyone emailing me asking about its performance between now and end-of-day Sunday will be politely referred to this blog entry! ;-)

Expect considerably more info on the performance of the Nikkor 120-300mm f2.8E very soon (ALL my field-testing is done, as is most of the necessary pixel-peeping of the thousands of test images I captured during the testing of the lens and a host of competing lenses).

Be Safe. Be Disciplined. Be Vigilant. Cheers...

Brad

Feedback to: feedback@naturalart.ca

18 May 2020: Capture One for Nikon? Yep...

This morning Capture One came out with a strong one-two punch that is likely to pull more photographers away from using Adobe Lightroom as their primary workflow tool (and probably some Photoshop users as well).

The first punch was a "dot-release" update (from version 20.04 to 20.1) that was a more substantive than most free updates - along with some cosmetic changes (like a new desktop icon and new splash screen) they added major updates to their cloning and healing tools PLUS a very cool new "before-after" view that more easily lets you view the overall impact that your image adjustments have had on your RAW file. As a Capture One beta tester I have been using the new tools for about 3 weeks and can say that the new cloning and healing tools are MAJOR improvements once you get the "hang" of them...and they will mean that you have to go from Capture One to Photoshop to make cloning/healing touch-ups on your shots much less commonly (if ever!).

The second punch was the unveiling of Capture One for Nikon - a version of the product that is fully dedicated to Nikon shooters! In real terms this means that if you shoot Nikon cameras exclusively (and don't need the camera and RAW file support of a zillion other camera brands and models) you can opt for the lower-priced Nikon only version (the subscription cost is HALF the price of the full version of Capture One Pro, and you CAN buy a "perpetual license" - i.e., a "non-subscription" version). If you check the list of Nikon cameras supported by the Nikon-only version of Capture One you see virtually all Nikon DSLR and mirrorless cameras listed (including the D6)...so you have no reason to have the "...but will my camera be supported" worry!

For the record - and with the exception of about a 4 month stint about 5 years ago where I tried in vain to switch to Lightroom - I have been a dedicated Capture One Pro user since 2004. In the simplest terms I find Capture One lets me get more out of my images (and do get me to my final master image faster) than any other post-processing software.

For more info - or to download a trial version of Capture One Pro or Capture One for Nikon - go to Capture One.

Be Safe. Be Disciplined. Be Vigilant. Cheers...

Brad

Feedback to: feedback@naturalart.ca

8 May 2020: Hey Brad - Got Your D6 Yet?

If I had a dollar for every time this week I've been asked if I have my D6 yet (and what I think of it) I'd be a less poor man! Turns out that despite previous information I was given about the delivery date of the Nikon D6 in Canada they won't be arriving until later in May (including for NPS members). My assumption at this point - based on what appears to be happening in the US (as stated on nikonrumors.com) - is that D6's will start being "handed out" in Canada on May 21.

On the positive side, by May 21 I will have fully wrapped up all my field testing on the Nikkor 120-300mm f2.8E (at this point I'm already 95% done with just a few loose ends to tie up) so I'll be able to dig into evaluating the D6 the moment I have it.

And...as a quick update on when I'll have more info about the results of my 120-300mm f2.8E testing posted here...I hope to have the first few sections of my review posted by the end of next week (I still have a LOT of images to pixel-peep!).

Be Safe. Be Disciplined. Be Vigilant. Cheers...

Brad

Feedback to: feedback@naturalart.ca

4 May 2020: More Nikkor 120-300mm f2.8E Images...

Just a quick heads-up to let you know I have added a few more Nikkor 120-300mm f2.8E images to my Gallery of Latest Additions. As in ALL my image galleries, each image is accompanied by a lot of additional contextual information. To access it for any given photo, simply click on the links immediately below the image (they're labelled as "In the Field", "Behind the Camera", etc.). Note that there IS a larger version (2400 pixels on long axis) for each of the images - you'll find the link to those larger images in the text under the "In the Field" tab.

Be Safe. Be Disciplined. Be Vigilant. Cheers...

Brad

Feedback to: feedback@naturalart.ca

1 May 2020: Status Update: Nikkor 120-300mm f2.8E Field Testing and Review

I've had enough emails show up in my inbin asking me where I was at in my field testing and review of the Nikkor 120-300mm f2.8E lens that I thought a quick update here was merited. So here ya go...

My testing of this - and all other lenses - consists of 4 distinct phases:

1. Just Shooting: As the name would suggest, this phase consists of going out in the field and simply using the lens in a field setting. During this phase of testing I get a real good feel for things like "How easy is the lens to use?", "How well do the AF systems and VR systems seem to perform?", "What's the keeper rate like?", etc. While this stage of the testing is subjective and the results are, at best, anecdotal, it does give me a good feel for general performance and lens "usability - and it often helps me identify other areas to examine when my testing gets more formalized. I've been doing this "Just Shooting" since the day I got my 120-300mm and I've now taken around 8,000 shots with it while "Just Shooting." I'll keep this phase going until I have completed all my other more systematic (and comparative) testing of the lens. So far my "Just Shooting" phase of testing on this lens has told me that the 120-300mm lens is an absolutely top-notch lens and that I like it a LOT! I have been posting some of my results of this phase of my testing - and will be posting more of them in the coming days - in my Gallery of Latest Additions - check 'em out if you have the time...

2. Optical Performance: In this phase of my testing I get way more methodical and systematic - and it takes the most time and effort (by far). During this phase I do head-to-head controlled field tests of the lens in question against several other lenses. VERY long story short, this phase shooting a zillion comparison shots at various distances (4.25m, 12m, 24, 1500m), focal lengths (120mm, 200mm, 300mm, plus 300mm plus 1.4x TC or 420mm), and apertures (from wide open with each lens up to f16). ALL the gory details about how I went about performing the test shots will be described in my final review. Given the focal length range of the 120-300mm I ended up comparing the Nikkor 120-300mm with a LOT of different lenses. Here's the list of the lenses compared at each focal length:

A. At 120mm the lenses compared were:

• Nikkor 120-300mm f2.8E
• Sigma Sport 120-300mm f2.8
• Nikkor 70-200mm f2.8E
• Nikkor 70-200mm f4G

B. At 200mm the lenses compared were:

• Nikkor 120-300mm f2.8E
• Sigma Sport 120-300mm f2.8
• Nikkor 70-200mm f2.8E
• Nikkor 70-200mm f4G
• Nikkor 180-400mm f4E
• Sigma Sport 150-600mm f5-6.3

C. At 300mm the lenses compared were:

• Nikkor 120-300mm f2.8E
• Sigma Sport 120-300mm f2.8
• Nikkor 300mm f2.8G VR
• Nikkor 300mm f4D
• Nikkor 180-400mm f4E
• Sigma Sport 150-600mm f5-6.3

D. At 420mm the lenses compared were:

• Nikkor 120-300mm f2.8E plus TC-14EIII (1.4x) TC
• Sigma Sport 120-300mm f2.8 plus TC-1401 (1.4x) TC
• Nikkor 300mm f2.8G VR plus TC-14EIII (1.4x) TC
• Nikkor 300mm f4D plus TC-14EII (1.4x) TC
• Nikkor 180-400mm f4E plus built-in 1.4x TC
• Sigma Sport 150-600mm f5-6.3 shot native

The good news is that I have completed the field work (the capturing of images) for this phase of my testing. Now all I have to do is scrutinize and summarize ALL the results (yes, this will make me go cross-eyed!). I HOPE to have the results on this phase of my testing summarized and written up in about two weeks.

3. Autofocus Performance: During this phase of the testing I will comparing the AF performance of the Nikkor 120-300mm f2.8E against selected key lenses. These tests will be done at only two focal lengths - 300mm and 420mm (with 1.4x TC). This phase of my testing doesn't take NEARLY as long as my optical performance testing, but it is important in understanding how the optical performance tests translate into "keepers" when shooting dynamic subjects. I anticipate shooting the images for this portion of my test within the next week or so (assuming I get acceptable weather conditions.

4. "Hand-holdabilty" and VR/OS Performance: And, finally, during this phase of the testing I compare how slow of a shutter speed each lens can be hand-held at. Here I'll be testing only at one focal length - 300mm. Like with the AF testing, these "hand-holdability" tests aer important in understanding how the optical performance tests translate into "keepers" when shooting in less than optimal conditions in the field (i.e., when you are forced to hand-hold each of the lenses). This phase of the testing only takes a few hours of shooting - and if the conditions are right I'll have captured the images during the next week.

So stay tuned...I am making good headway on this lengthy examination of the performance of the Nikkor 120-300mm f2.8E!

Be Safe. Be Disciplined. Be Vigilant. Cheers...

Brad

Feedback to: feedback@naturalart.ca

24 April 2020: NikonTV: Now Available on YouTube...

If you missed today's NikonTV segment, which streamed at 1 PM Eastern time, it's now up on YouTube. Those with an interest in the new Nikkor 120-300mm f2.8E will likely find the episode particularly interesting. View it here:

• NikonTV - Choosing the Right Telephoto Lens

Be Safe. Be Disciplined. Be Vigilant. Cheers...

Brad

Feedback to: feedback@naturalart.ca

24 April 2020: NikonTV: Streaming at 1 PM Eastern Time

Just a reminder that the NikonTV segment where I'm appearing as a guest speaker will be streaming today at 1 PM Eastern time on Nikon's Facebook page. My understanding is that Chris (the host) will be asking me primarily about my experiences with the Nikkor 120-300mm f2.8E, but who knows where else we'll go! ;-)

For those unable to catch it at 1 PM (and who may be interested)...the video will be available on YouTube in the near future. As soon as it has a home there I'll provide the link to it.

Be Safe. Be Disciplined. Be Vigilant. Cheers...

Brad

Feedback to: feedback@naturalart.ca

21 April 2020: Coming This Friday on NikonTV...

So...what does your friendly neighbourhood wildlife photographer DO during the era of social distancing and travel restrictions? Well...I can't speak for any other photographers but myself, but ONE thing I'll be doing is appearing on a NikonTV segment this coming Friday. What? You didn't know there even WAS something called NikonTV? Shame on you! ;-)

During the segment I'll be discussing, among other things, my impressions of the Nikkor 120-300mm f2.8E zoom lens. The segment will air at 1 PM EDT Friday on Nikon's Facebook page and then on YouTube within another week or so. I'll provide updated coordinates (links) once I have them...

Be Safe. Be Disciplined. Be Vigilant. Cheers...

Brad

Feedback to: feedback@naturalart.ca

21 April 2020: Nikon D6 To Ship In Canada In Early May

Earlier today I received "the call" - that is, the phone call informing me that the Nikon D6 (including mine) will be shipping out in Canada in the first week of May. And that's May 2020, not 2021! ;-)

As previously reported on this blog, the D6 will be one of the four Nikon products that I will be doing a detailed field test and review of in 2020. I'm really looking forward to getting my hands on a D6 - in some ways we know very little about the actual implementation of some of the new features (e.g., compared to the D5 just how much better is the autofocus system...and how much better IS the ISO performance...and...how well are the "advanced customization" features executed and how much will they help me in the field?), but I do think - and hope - some of the many "tweaks" to the camera work well for me...

Be Safe. Be Disciplined. Be Vigilant. Cheers...

Brad

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8 April 2020: The Nikkor 120-300mm f2.8E: More Thoughts, More Images...

I've now completed just over a week of my initial testing of the Nikkor 120-300mm f2.8E zoom lens. I'm still in the phase I refer to as my "Just Shooting" phase where I simply USE the lens as I would normally use any lens. The purpose of this phase of my testing is to get an overall "gut feel" for how the lens performs and see what really stands out in terms of how it performs. Often during this "Just Shooting" phase I identify things that merit a closer look when I start my more rigorous systematic and comparative phase of testing. While all my results at this stage of my testing are both subjective and anecdotal, after many years of testing and using some of the best lenses Nikon has ever made I do learn a lot of valid things during this phase of my testing.

Over the last week I spent a lot of time shooting the 120-300mm f2.8E with all 3 of my current Nikon bodies, which includes a D5, D500, and Z7. And, I have focused (pardon the pun) on close subjects (5-10 meter camera-to-subject distance). I also shot a lot of images with the 120-300mm f2.8E paired up with the TC-14EIII (1.4x) teleconverter.

So...what I have learned (or had reinforced) over the last week of shooting?

1. That the 120-300mm f2.8E is extremely sharp when shooting close subjects (and at all focal lengths). I'll be able to better quantify HOW sharp before long (relative to other high-end lenses), but I would be extremely surprised if it is not noticeably sharper than Nikkor 300mm f2.8G VRII or the Sigma Sport 120-300mm f2.8 at virtually all focal lengths. This is NOT a criticism of either of those two lenses, but rather a statement of how sharp images shot with the Nikkor 120-300mm f2.8E are looking to me,

2. That the out-of-focus (OOF) zones of the Nikkor 120-300mm f2.8E are buttery smooth and just beautiful,

3. That the critical combination of sharpness and smooth OOF zones (which goes a long ways towards defining the signature look of a particular lens) is fantastic. The overall "look" of the images shot with the 120-300mm f2.8E reminds me of those shot with two of my favourite Nikkors - the 200mm f2G VR and the 400mm f2.8E VR - and THAT is one exclusive club,

4. That, at least with close subjects, the sharpness of the 120-300mm f2.8E plus TC-14EIII combination is amazing (at least in the 200mm to 300mm focal length range). This includes shots captured with the aperture absolutely wide open,

5. That, at least with close subjects, the OOF zones of the 120-300mm f2.8E plus TC-14EIII combination is virtually as good as when the lens is shot native (i.e., with no teleconverter attached). One of the less commonly known negative attributes of using a teleconverter is that with some lenses they impact negatively on the quality of the OOF zones...often rendering them more "jittery" (for lack of a better term)...a characteristic I often refer to as "nervous bokeh". To be clear, the 120-300mm f2.8E plus TC-14EIII combination does NOT exhibit nervous bokeh at all!

6. That despite being early in my testing, and despite the weight and size of the lens, I'm already thinking the 120-300 f2.8E may become one of my favourite and most important lenses in my wildlife photography kit.

So...what about IMAGES shot with the 120-300? Yep, have some to show you, but I have to make a few qualifying comments first...

Like most Canadians, I am currently complying with COVID-19 related restrictions that limit my freedom to travel. So that means the right now I am NOT out on the coast leading a photo tour and getting dramatic shots of Humpback Whales, Killer Whales, Sea Lions and more. However, I am fortunate in that I live on an acreage in the forest that is surrounded by public land...and even on our property we have a lot of wildlife. This includes a variety of birds (which is getting wider by the day as migrants return), the usual cast of ungulates (both White-tailed and Mule Deer and Elk), small mammals including Red Squirrels, chipmunks and ground squirrels, and a nice array of carnivores (coyotes, wolves, cougars, grizzly and black bears, badgers, and more). So, even during this "lockdown" period I have a few subjects to work with...

Today's batch of images includes MOSTLY small birds and small mammals and a LOT of them shot with the 120-300 plus TC-14EIII. Over the coming days and weeks I will be adding more images with additional subject matter.

Last but not least, those who have NOT visited my image galleries should be aware that each image is accompanied by a lot of contextual information. To access it for any given photo, simply click on the links immediately below the image (they're labelled as "In the Field", "Behind the Camera", etc.). Note that there IS a larger version (2400 pixels on long axis) for each of the images - you'll find the link to those larger images in the text under the "In the Field" tab.

OK...Where are the images? Just go to my Gallery of Latest Additions and there they are! ;-)

Be Safe. Be Disciplined. Be Vigilant. And please follow the advice of YOUR local health care officials (which may or may not be the same advice you get from your political officials, depending on your country of residence).

Brad

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Link directly to this blog post: http://www.naturalart.ca/voice/blog_2020_all.html#120-300_ThoughtsImages

1 April 2020: The Nikkor 120-300mm f2.8E: My First FEW Words!

I took delivery of my Nikkor 120-300mm f2.8E this past Saturday - and my thanks are extended to The Camera Store in Calgary for setting up a curbside delivery service that permitted this to happen.

Since picking it up - and for most of the remainder of this week - I am in what I call my "Just Shooting" phase of testing it. During this time I'm doing NO systematic testing or comparative testing (against competing lenses that overlap in focal length with it) - I am simply getting a feel for the lens and how it performs when doing what you really do with a lens - using it! So my comments today are both anecdotal and subjective. Which means I'm comfortable saying things like "...this lens is really sharp". But I won't say at this point that this lens is "...sharper at 300mm and at f2.8 than the Nikkor AF-S 300mm f2.8 G VRII is". Keep in mind when reading these comments that I have extensive experience with virtually ALL of the last several generations of Nikon's super-telephoto prime and zooms lenses (so I'm not making these comments with an experience base that includes only a single kit lens!).

OK...to date I have shot about 2,000 images with the 120-300mm f2.8E. ALL of these were shot with it paired with a D5 (but don't worry, I will be shooting it with both the Z7 and D500 during subsequent testing). And, the bulk of the shots have been biased towards using wide apertures - probably 90% have been shot at f2.8. And, I have shot it paired up with the TC-14EIII (1.4x) teleconverter (about 25% of my shots taken so far have been with the TC attached).

What are the first few things I can say about it (in my view it's even to early to call them first impressions!)? Well...it is performing and handling EXACTLY as I expected (and in the optical quality department, as I HOPED). Which means...

1. It is darned heavy...

2. It is darned big...

So...for those familiar with some of other of Nikon's "big guns" - in terms of handling it feels like a "...slightly smaller and slightly lighter 180-400". If you imagine it being "...sort of half way between the size and weight of a 300mm f2.8G VRII and the 180-400mm" you have it about right. Which means for almost all normal humans it is not in any way a "walkaround" lens - it's a destination lens (i.e., one you transport to a specific location for a specific purpose and then take it back home again). Note that I will be following up next week with a slew of comparison measured weights and sizes (comparing how the Nikkor 120-300mm compares in size and weight to a lot of other "similar" lenses).

3. Optically? It is just MAGICAL! It has that wonderful combination of biting sharpness and buttery-smooth out-of-focus zones that proud owners of lenses like the Nikkor 200mm f2 VR and the Nikkor 400mm f2.8E know so well. Add in phenomenal contrast (even with backlit subjects), stunningly good colour and lightning quick autofocus and...well...just WOW! Here's just one "snapshot" of backlit subjects (my partner Patti and our pup Poncho) that nicely illustrates the great contrast of the lens under sub-optimal conditions...and note that there was no shadow or highlight recovery (or virtually any other post-processing "magic") performed on this shot:

• Backlit in Spring Sleet Shower: Download Image (JPEG: 1.3 MB)

And, as I thought and hoped might be the case, it seems to work extremely well with the TC-14EIII (1.4x) teleconverter (a bit to early to say this with full certainty, but I suspected it would work as well with the TC-14EIII as the 180-400 works with its built-in TC - and it appears that is the case). The image immediately below - captured with my D5 and the 120-300mm f2.8E plus TC-14EIII - speaks both to the image quality and the autofocus capabilities of the 120-300mm plus TC combination:

• Poncho Going for Broke: Download Image (JPEG: 1.2 MB)

More images shot with the Nikkor 120-300mm f2.8E - and with a variety of subjects - will begin appearing in my Gallery of Latest Additions soon and certainly by week's end.

Finally, I've been contacted by a number of photographers indicating that they are waiting for my review and assessment of this lens before making their purchase decision. My recommendation is to wait a little longer until I've had the time to do both systematic and comparison testing on the lens. While I already know this is a top-notch lens, detailed testing can and will reveal a lot more additional information (both positive and negative) and give you a better feel if this lens is for you or not.

Be Safe. Be Disciplined. Be Vigilant. And please follow the advice of YOUR local health care officials (which may or may not be the same advice you get from your political officials, depending on your country of residence).

Brad

Feedback to: feedback@naturalart.ca

Link directly to this blog post: http://www.naturalart.ca/voice/blog_2020_all.html#120-300_FirstWords

27 March 2020: UPDATE: Nikkor 120-300mm f2.8E Shipping Status

I received word early this AM that the Nikkor 120-300mm f2.8E I will be testing has arrived at my dealer in Calgary. And...the dealer is still open for business (i.e., not yet shut down by COVID-19-related health orders). We have already made a plan to safely (and while respecting every public health order and social/physical distancing protocols) get it into my hands tomorrow.

SO...I should be able to spend some time doing a limited amount of shooting with the 120-300 over the weekend and throughout next week with serious testing to begin in ABOUT a week (but note that the first reports on its comparative performance won't show up for probably another week after that). I WILL begin posting some sample shots in my Gallery of Latest Additions as soon as they are available (as early as Monday or Tuesday of next week). And, of course, I will be making quite a few "preliminary" comments with those shots.

Stay tuned!

Be Safe. Be Disciplined. Be Vigilant. And please follow the advice of YOUR local health care officials (which may or may not be the same advice you get from your political officials, depending on your country of residence).

Brad

Feedback to: feedback@naturalart.ca

26 March 2020: Capture One Adds "Limited" Support for Nikon D6

A few hours ago Phase One's Capture One Pro was updated to version 20.0.4. It was a very minor update, mainly with support for the RAW files of a few key new cameras, including the Canon 1Dx MkIII and the Nikon D6. It's important to note that the support for the D6 is described as "limited" support. What's the limitation? Here's what's in the release notes:

"Uncompressed 14-bit and Lossless Compressed above ISO 409,600 (Hi 2) not supported."

Well...I guess THIS update is hardly worth downloading! ;-)

So FINALLY I can use my favourite RAW conversion tool for my D6 files! Oops...one small problem there... ;-)

Be Safe. Be Disciplined. Be Vigilant. And please follow the advice of YOUR local health care officials.

Brad

Feedback to: feedback@naturalart.ca

24 March 2020: "My" Nikkor 120-300mm f2.8E - Locked in the Supply Chain?

Yesterday morning I got word that the Nikkor 120-300mm f2.8E I will be testing had arrived in Canada with my name on it. Which tells us at least one thing - they are shipping! Don't ask me how many are shipping or if it's just to selected countries or anything about its general availability. And perhaps the one with my name on it became available only because for the foreseeable future the sports shooters have no need for one ("Well...the sports guys can't use it...might as well ship this one to this guy who lives in the woods and maybe he can put it to some use..."). I'm kidding (sort of).

But, of course, Murphy's Law is kicking in now...even though the lens has been shipped from eastern Canada to the dealer I work with in Calgary, there's a good chance that by the time it arrives the dealer may be forced to shutdown as it is not an essential business. So I may be sitting here with "found" time on my hands (where I could be testing the lens) but with the lens behind locked doors in Calgary...for up to multiple weeks! Of course...compared to all the inconveniences and true hardships being faced by countless others right now, this is a completely trivial "non-problem".

So you may - or may not - be seeing reports about the performance of (and images taken with) the new Nikkor 120-300mm f2.8E here in the near future.

But at least we know they're shipping. ;-)

Be Safe. Be Disciplined. Be Vigilant. And please follow the advice of YOUR local health care officials.

Brad

Feedback to: feedback@naturalart.ca

21 March 2020: Social Distancing Order Shuts Down Spring Photo Tours!

WOW! Who in North America would have thought two months ago that we'd be where we are now? While I watched the progression of the spread of COVID-19 with the almost "academic" interest (and slowly escalating concern) of anyone with a few advanced degrees in biology would, I did not think even a month ago that virtually everyone's life in North America would be rocked to the degree it has been. And it was JUST over a week ago that we sent out letters to everyone participating in our spring photo tours (i..e, those 5 photo tours running from early April through late May) that we were willing and able to - and had taken all the steps necessary to ensure that we could safely offer - our full slate of early season photo tours.

But in just over a week a cascading series of events conspired to shut down our ability to take keen photographers to The Pacific Rim National Park Reserve, into the southern portion of the Great Bear Rainforest, and to view and photograph the amazing Grizzlies of the Khutzeymateen. I won't get into all the barriers thrown across our pathway, but the key ones included the travel restrictions and eventual border closure of the Canadian border to all international travelers that meant our international guests had no way to GET to our photo tours and the request by public health officials that Canadians not travel that meant our Canadian guests themselves were actively discouraged from attending our tours. But the kicker came when the Public Health Officer of BC ordered that businesses could not operate if they weren't able to adhere to well-defined social distancing protocols and standards for their clients and staff (which is pretty darned impossible on the 70' sailboats we use on ALL our spring photo tours). It's also looking possible (or even likely) that all non-essential businesses in British Columbia may be shut down in the coming days (before our first photo tour was set to begin). I do want to state unequivocally that I agree with and support ALL the requests and public health orders that shut down our spring photo tour season - we are facing something far bigger right now than the inconvenience of loss of our spring photo tour season. And, from an ethical perspective, even if we were permitted to continue on with our photo tours the possibility of our groups dragging along the Coronavirus and infecting some of the remote First Nations communities we visit (which have very limited health care facilities and some pretty overcrowded housing) was simply unthinkable.

I have no intention of making this blog just one more place to hear about Coronavirus and COVID-19 (I don't want to do that and I am sure those that follow this blog definitely don't want that) - so after today's entry I will return my focus to the things this blog has always been about: Photography. Nature. Gear. Software. Conservation. Whatever (and specifically excluding COVID-19 and Coronavirus). But, before I do that, I'll say just a few random things that come to mind about our current crisis.

• To Politicians EVERYWHERE and of ALL STRIPES: OK...this is NOT the time to be playing infantile partisan games. Play games now and you WILL pay the price at the polls. Work together and get something bloody-well done. We need you to do what you're paid to do - take leadership roles and make decisions based on the best available science, not what some narcissistic imbecile saw on TV the previous night. LISTEN TO THE EXPERTS!

• As a biologist I am struck by how the current situation has illustrated how fragile of a society we have created. Even in the absolute worst case scenario we are looking at a "cull" of probably less than 0.00064% (that's 6/10,000ths of one percent) of the human population (5 million people out of a population of 7.8 billion). Yet even the possibility of that scenario has wreaked havoc on our social and economic systems and, most relevantly, may crumble the health care systems of even the most prepared countries. Hell, our wildlife managers think we can cull around 3% of natural wildlife populations of selected animals with hunting every year without an adverse effect on their sustainability, but cull and 0.00064% of the human population and it's chaos. Talk about absolute fragility. And ZERO resiliency. Every country REALLY needs to re-think their priorities and build more robust and sustainable systems, starting with how well we fund our health care systems.

• As a possible silver lining to this black, black cloud - maybe...just maybe...this catastrophe will shift our thinking about our "dominance" over nature. Dudes...mother nature just sent us to our rooms for a major time out. LISTEN TO HER...including about other coming catastrophes we already know about (but our spineless leaders refuse to take action on). Does that little climate change thing come to anyone's mind??

• As ANOTHER possible silver lining - maybe...just maybe...this catastrophe will put science and scientific evidence back into the forefront of the development of public policy. Like for how long have we known a global pandemic was an increasingly possible event?

OK...rant over. I'll be back to photography by next blog entry. And, in the interim...

Be Safe. Be Disciplined. Be Strong. We ALL need to be. And follow the advice of YOUR local health care officials.

Brad

Feedback to: feedback@naturalart.ca

09 March 2020: Just Posted: Our 2021 Photo Tour Program!

Just minutes ago I posted an updated version of our Photo Tours page that includes our 2021 Photo Tour Program. Here's a direct link to the beginning of the 2021 Photo Tours:

• 2021 Photo Tours

And, I have very good news, exciting news, and "interesting" news for those who are keen to join us on one or more of our exceptionally popular photo tours in 2021.

THE VERY GOOD NEWS: Even after registering all those folks who had asked for priority access to the 2021 photo tours (by either signing up on our Priority Booking List or signing up for our sporadic newsletter), we have still have spots available on many of our 2021 trips, including a few spots on our Grizzlies of the Khutzeymateen photo tours and a few spots on selected Great Bear Rainforest photo tours. But they likely won't last long now...so if you're interested, you better act fast!

THE EXCITING NEWS: We've added two BRAND NEW photo tours for the 2021 schedule. Here's where to check them out:

• The Khutzeymateen Explorer (mid June 2021)
• Autumn in the Queen Charlotte Strait (mid October 2021)

THE INTERESTING NEWS: Before folks book spots on our photo tours I often get asked "What's the actual photography like on your photo tours?" (which includes things like where we shoot from, the "style" and even "philosophy" of the photography on our photo tours, recommended photo gear, etc.). It's a good question. So...to help answer this very big question, we decided to take the detailed photography information we give to our clients before each photo tour and place it in a single guide - AND make that guide publicly available. So...if YOU'RE thinking you might like to do a photo tour with us, you might find this PDF document quite interesting and useful: