也有道理啊，我会一直关注这个帖子的
我家先生看我攒钱辛苦，天天念叨说要赞助我买个镜头，哈哈~
我要自己攒，嘿嘿

没有相机的日子我就逛逛，学学，顺便做做蛋糕消遣，以后买了要给我的作品都拍的美美的

看到一篇鬼老评测小胖的文章，和大家分享下。存钱买小胖啊。

Black Magic of silence: AF－S 200 mm f/2 VR Nikkor Lens

In a truly inscrutable and Oriental way, Nikon engineers took a number of people by surprise when the AFS 200 mm VR Nikkor was launched. The old 200/2 Nikkor had been one of the least known of the long Nikkors of its time. I belonged to the surprised lot, and since 200/2 always had been one of my favourite optical weapons, I grabbed the very first of these lenses arriving to Norway.

It’s no secret I’m a big fan of the great lenses of yesterday. They were built to last with a workmanship rarely if ever seen in today's products. The new AFS 200 mm f/2 G ED-IF VR Nikkor (phew – what a convoluted mess Nikon lens nomenclature is these days) sports a passable resemblance to those earlier lenses in its design and craftmanship. True, much of the lettering and numerals are just printed and probably won’t last long, but otherwise all buttons and levers are genuinely crafted and easy to use, the manual focusing collars turns in a buttery smooth fashion, and there even is a rubber gasket to the rear to impede ingress of dirt and rain. On the downside, there is "G" technology meaning you have to set the apertures from the camera, a way of working which I still find inefficient, clumsy and frustratingly slow. I own 3 different "G" lenses by now (12-24 DX, 17-55 DX and the 200 VR Nikkors), and my critical attitude towards "G" is unabated. I cannot sway away Nikon engineers from plodding along their designated track, but at least I can voice my concern. Yes, I can and I will continue to do so.

There are enough controls and locking buttons on this lens to satisfy even a Hi-Fi freak and I had to spend quite a long time in order to try learning to operate all of these. My son, comfortable with VCR recorders, proved much needed assistance in this endeavour.

There are numerous choices for VR activity (on/off, normal or active mode), locking focus, commencing AF focusing, memory set, memory recall, sound signals on or off, focusing ranges and so on. In my narrow-minded opinion, darkened by an aversion against Oriental VCR recorders and their equally incomprehensive user manuals, the controls just detract from normal operation of the lens. Murphy’s Law assures the control switch will be in a wrong position the critical moment you need any of these features. However, I admit the designers likely considered more broad-minded users than me when they implemented the impressive array of control features found on the VR lens. Sports photographers, for example, should have tons of possibilities to set up the lens the exact way they need. Personally I found a useful setup for myself and then just glued the controls into a fixed position using epoxy glue (hey, it’s my own lens, I have purchased it and can do whatever I want with it).

The AFS 200 Nikkor comes with a big soft-pouch bag holding the lens with a reversed hood and a camera. The accompanying hood HK-31 flares out way too much for my liking, so I quickly replaced it with the more appropriate and narrower HK-19 (from AFS 300/2.8). The HK-19 won’t reverse onto the VR lens of course, but with my quick-release plate (see below) affixed to the tripod collar, neither would the original hood. The young ones in your family are ideal targets for getting rid of the superfluous pouch, by the way. It makes a really nice holiday or hiking backpack.

The tripod collars of modern long Nikkors have been a very mixed blessing. The one of the VR lens is amongst the better designed and the foot below, sitting low onto the collar, gives minor leverage to degrade stability on a tripod. However, it isn’t as sturdily built as I for one wish, there is just a single screw hole for mounting, and the two parts are bolted together with four rather small screws. So, despite its promising external appearance, the tripod mount really is inadequate and allows to let the lens vibrate freely on its own. Not the way I want a bulky lens (mis)behave on a tripod for sure. I added a massively dimensioned plate made of 15 mm aluminium, and drilled another ¼" hole to secure the entire assembly and making it impossible to twist. Still far from perfect, but improved and that’ll do for now.

Compared to its manual-focus predecessor, the new AFS lens is a few centimeters shorter, its outline a little thinner, and the weight greater by some 0.5 kg. All of this contributes to an unexpected heft when you lift the lens for the first time. The human mind simply isn’t expecting this lens to be a true boat anchor. Shooting with it hand-held for some time is a challenge and you need the occasional break to relieve your back and arms. Nice then that the lens is meant to be put down resting on its lens hood or front, both of which are equipped with thick rubber rims to prevent damage.

The AFS speed of this lens is very fast and focusing is reliable thanks to the bright view it offers through the viewfinder. Manual operation of the lens is easy thanks to the generously sized focusing collar and its smooth movement. With all its electronic gimmickery and AFS motor, it's no wonder that the VR lens will exert a considerable drain on the camera's battery. I would estimate that my D2H lost about 40% of its total power due to the use of the VR lens, so keep a spare battery at hand for any important assignment involving this gear.

Image sharpness

In optical terms this AFS lens is more complex than the predecessor, having no less than 3 ED and a "Super ED" glass within its total of 13 elements. The lens protector in front, which used to be an optical flat on earlier Nikon telephoto lenses, now actually is glass having a negative (meniscus) power, so perhaps should be included in the design as well, bringing the total to 14 elements. The lens coating is improved likewise, and lens flare is kept well under control for such a fast lens. However, signifcant ghosting can be induced when the lens is pointed towards the sun. In all fairness it should be stressed that the manual-focus 200 mm f/2 Nikkor behaved far worse in both areas than the new VR lens.

The AFS 200 mm f/2 VR delivers sharper images than can be resolved by the current line of Nikon DSLRs. Simple as that. I no longer test lenses using film so cannot say whether the same behaviour should occur there, but nothing indicates otherwise since performance of 35 mm film is long surpassed by the best digital systems.

Set wide open, the 200 VR delivers bitingly sharp images with just a minute trace of softness and veiling flare, and stopped down one or two stops more it delivers even sharper images with higher contrast as well. From near f/16 to the minimum at f/22, diffraction effects gradually soften the image and lower the contrast, but as this only can be perceived by direct comparison to the performance further up the aperture scale, the lens convinces even at these small aperture settings. All all apertures the image has a perfectly flat field across the entire frame and if there is a light fall-off towards the corners at the wide apertures, I probably would have to use sophisticated lab measuring gear to detect this.

I compared the new lens to its manual brother, the 200/2 ED-IF Nikkor (AIS), and the VR lens delivers equal or better performance at all stops. Contrast is higher, too, and colour saturation is markedly better. The vestiges of chromatic aberration, minute as they were in the MF lens, are virtually non-detectable in the VR model. Thus, you are ensured of getting crisp images coming to life with vividly saturated colours.

The optical performance of the 200 VR was very well maintained when I shot a test series using it in combination with the TC-14E MkII teleconverter. In general, my attitude towards teleconverters has been luke-warm at best. However, I'm pleased to report that image quality of the 200 pluss TC-14 combination is a close rival to that of my AFS 300 mm f/2.8 Nikkor, a very fine performance indeed. My test shots indicated the image contrast, quite unexpected, actually increased when the TC-14E/II was attached. A strange and rare form of optical synergy.

Vibration reduction (VR)

Is vibration reduction (VR) technology really the panacea to say good-bye to all unsharp images? Well, yes and no, presumably depending on your needs and ways of shooting. The technology undoubtedly may work miracles and I even managed to get a critically sharp shot at 1/10 sec hand-held, and as long as 1/5 sec with some additional support. For my notoriously shaky hands this is just phenomenal. The master VR control is located on a rotating ring to the rear of the lens. This method works much better than on other VR lenses because you can operate it by touch, there is no need to remove your eye from the viewfinder to locate the switch. I tend to select VR "Normal" mode for most of my VR-assisted shooting. The image in the viewfinder does meander a bit, but since it moves slowly, I didn't notice the feeling of seasickness I've experienced with the 70-200 VR zoom. With VR set to "Active" mode, the finder jumps more haphazardly around, but still no problem as this mode suits shootimg from boats or moving vehicles, shooting circumstances than I personally can do without and accordingly try to avoid, thus killing at least two birds with one stone.

A pertinent question always lingering on my mind is whether VR influences image quality. In order to come to grips with possible ill effects of VR, I have done extensive test shooting with the 200 VR lens mounted on a high-quality, professional calibre tripod (Sachtler ENG 2 HD with the Burzynski "Protech" tripod head). For all shots, I allowed VR to run for about 1 minute to ensure it had all the vibration data it possibly could crave for, before I tripped the shutter using a cable release.

The data indicate clearly that VR does indeed degrade image quality when the lens is tripod-mounted. If the shutted speed is fast, you won’t experience this to any large extent, however, increase the exposure duration and you might be less fortunate. And to exacerbate the situation, there is a broad range of shutter speeds in which VR negatively impacts image sharpness even to degree of making the image downright unsharp. The problem area creeps in at around 1/60 sec and is fully developed at 1/15 – 1/20 sec. At slower speeds, the issue of image deterioration gradually diminishes and is largely gone by 1 sec or so. However, you get the occasional jolted picture even at such long exposures, so the message coming through, loud and clear, is simply as follows: Don’t mix VR with quality tripods.

I arrived at these results, which admittedly weren’t exactly unexpected, by carefully comparing images taken with and with VR switched on, using my D2H camera at its ISO 200 setting. All NEF files were processed in Bibble 4.0 (courtesy Eric Hyman of http://www.bibblelabs.com). Since everything else were kept constant, except for VR activity of course, I firmly believe this mediocre performance of VR technology is for real and not exceptional for my way of shooting with the AFS 200/2 VR lens. This is not a question of camera shake or mirror slap, because I consistently get sharp images when VR is not activated, also across the entire range of shutter speeds shown to be problematic with VR.

So, what is Nikon’s take on such issues. Officially, the brochure accompanying the lens claims there is no need to switch VR off for tripod use. We know by now this simply isn’t true. However, Nikon partially admits this statement isn’t entirely correct by adding a vague phrase about "unlocked tripod heads". Having a firmly locked tripod head ensures you will get the exact framing of the image which you may need, so unlocking the head just to allow VR to function better is not the optimal solution for many shooting occasions. You’ll be better served by moving the VR slider to the OFF position. On the other hand, if you have a lesser quality tripod, shoot fast-moving subjects, plan to do panning shots at slow shutter speeds, or simply need the tripod to ease the weight of the lens off your back, then VR might continue to be a welcome functionality and the lack of a clamped-down tripod head might not be entirely critical. You do have to know that VR can be a mixed blessing to fully appreciate its bright side and to avoid the darker side of its sophisticated technology.



Bokeh

You would expect a long, fast lens to render the background pleasantly unsharp. The manual precedessor, the 200/2, did this and the AFS version does it one better. In fact, it has about the nicest bokeh of any lens I’ve ever used. So soft, veiled and delicate as baby’s skin. Designating the out-of-focus rendition of this lens as "Creamy " isn’t encompassing enough, there are much more to it than that.

I find interesting differences in the tactility of out-of-focus rendition between the MF and VR 200 Nikkors, however. The old lens by way of its lower image contrast imparts a roundness to the entire image, often very attractive, but nowhere as endearing as the better defined yet buttery soft bokeh of the VR lens.

The Summing Up

Nikon has managed to come up with a lens which surely is one of the finest ever to emerge from the Land of the Rising Sun. My criticism of the newcomer is just nitpicking and should not detract anyone willing to put down the money to get a 200 VR lens for themselves. They won't regret it. This lens is a dream to work with and the results are a match made in heaven, too. This is simply the one lens I'm not willing to let go, a sure must-have. It is so good that I for once am willing to overlook its pitiful tripod mount.

晕死，最后一张居然发错了图 >_<.
不过也是钻石拍的。

本月最后一张粮票发在这里。

尼康之钻石广角。虽然老，但我很喜欢的一个镜头。

Melbourne Central Station
好像来旅游的都会照这里。

适马10-20在D200上的表现。

目前有冲动想买适马120-300/2.8

尼康的大炮太贵了。目前没有闲钱买。

适马是我喜欢的副厂头。很多高科技。

谢谢，欢迎常来。

因为不懂后期，所以自然，哇呵呵。

很不错呀, 很自然, 喜欢, 以后会常来的

我比较懒，尽管有个反折的旅游天使脚架，也没把它背去北京；另外，早听说奥运场馆内安检严格，能进去的也只能是独脚架～～～

全部手持拍的，镜头有VR。。。

我考啊。搞错了，楼下那张是新娘新郎。

这张是父女。

庆祝自己可以管理主题了。
上照片庆祝下。上周的婚礼拍摄。

新娘和父亲跳舞。

继续顶老乡～～

去了趟北京，看了残奥闭幕式。。。

熄火的那刻北京798艺术区,想去不知道位置的，可以查相片的exif。。。里面有GPS定位的数据

商场是钻石广角拍的。记错了，不是24－70。

现在已经被整改了吧。上次回去好像发现被拆了。

昨天刚帮小竹炮买了个1.7的增距镜，从digitalRev买的，好像还没有发货。

有些东西，国内，香港，澳洲都买不到，我就从美国的BH买，速度很快的。

你在澳洲作什么的？我做会计的CPA，在城里的一家美国公司，我明年有点想回国发展了。呆太久了，舍不得国内的父母。

再来一张。

由于不能挡住摄影师的路线，我基本是偷拍。

机器我就在澳洲买的，贵就贵点，有问题方便点，反正钱是赚来的，镜头是上次回国买的。

ebay上二手找同城的见面交易，新的在digiRev，信誉好，价格公道，在香港，不过寄送很快。

就是拿在手上很重，虽然像素不高，但是经常在光线不足的情况下横踩佳能的D3。

呵呵，废话太多了。

商场是24－70，教堂是70－200竹筒子。都是原厂镜头。

全部是现场光，没有任何布光，当天的专业摄影师用的佳能，明显用闪光灯。我没有后期，就用光影魔术手稍微修了下。基本是直出。

过奖了，刚满30了。离帅哥这个称号越来越来越来越来越来越来远了。

楼主：请问你拍教堂婚礼和那张商场的照片用得是什么型号的机身和镜头？很漂亮啊，婚礼是否用了其他辅助的道具（如外置闪光灯或柔光罩）？

帅呆了！

严重欣赏！钢少兄艳福不浅！

一直在悉尼，只去过一次墨尔本，皇冠赌场比悉尼的starcity好玩，很喜欢广场的定时喷火~我还没机器呢，明年回去买，煎熬阿~

什么马子？冒看懂。

很想买小胖，就是不知道会不会出更新版。
D3好用，我拍的一般。

沙码子帮顶!

2470、XZP还一般呀，呵呵

国外的婚礼气氛真不错，钢少拍的更棒！

镜头一般，晚会是24-70/2.8。

教堂拍的时候是XZP。

就带了这两只，没什么定焦好头。都说变焦不如定焦，但是还是变焦方便。