Nikon AF-S NIKKOR 300mm f/4D IF-ED Lens

Product Information

So the alternatives are either going big with f2.8 fixed-focals and zooms reaching 300mm like Sigma’s AF 120-300mm 2.8 DG HSM OS which is a real hunk at 3.4 kg weight and 124 x 291 mm size plus a price of around 2,800 EUR to match. But that is really a different kind of lens. The telephoto structure was adopted for the 200mm lens introduced in Tale 48, but with a "telephoto ratio" very close to 1, the total length of the 200mm lens was not forcibly reduced. In addition, in the case of the 400mm lens with an Ernostar structure introduced in Tale 50, it was designed to extend the total length of the lens so that the aperture position could be the same as that of the 600mm lens. Therefore, if we compare the 200mm, 300mm, and 400mm lenses, we find that the great reduction in the total length of the 300mm made it the worst in terms of chromatic aberration.

Detailed graphs highlighting lens performance with all three of the current Nikon teleconverters will be provided soon. Image Stabilization Note the hourglass-shaped halos around the bright stars at the top of the frame. These are shafts of light created by the diffraction of light according to the shape of lens vignetting. The principle here is the same that causes shafts of light passing through a polygon-shaped aperture to radiate. The image prior to contrast enhancement exhibited some very light flare, but not enough to be noticeable in common night landscapes and the like. Here is how the lens compares to the new Nikon 80-400mm VR (center) and Nikon 70-200mm VR II (right) lenses:Users of cameras such as the D500, D850 and D5 will also be able to use the full array of 99 cross-sensor focus points with this lens. Adding a 1.4x Teleconverter The 300 PF uses some Fresnel elements which have concentric ridges. These ridges can be made to cause some weird flare if you point the lens at a light source.

This is by no means an over-exaggeration – this is how small the new 300mm f/4E VR really is when compared to its predecessor! Nikon's MTF curves confirm what I saw shooting this lens: it's just about optically perfect, even better than the previous 300/4 AFS which is also superb, and much better than my favorite 28-300mm VR: Designing telephoto lenses is a battle with chromatic aberration. We were at the greatest disadvantage in this battle with this 300mm lens. Chromatic aberration increases along with the focal length of the lens. This is easiest to understand if we imagine that it is proportional to the length of the lens. If the length of the lens is doubled—the focal length is doubled—the amount of chromatic aberration is doubled at the same time. Further, the amount of chromatic aberration also increases with the adoption of the common telephoto structure used for the Nikkor-P Auto 300mm f/4.5 to achieve a shorter total length. The concave lens in the rear group reduces the total length of the lens and achieves a consistently flat image plane, but it also works to increase all types of aberrations, including chromatic aberration, generated by the first group of elements.Sealing: yes! A rubber grommet at the lens-mount and a rubberized front-end that acts as a seal when the lens-cap is attached. The 300/4.0D does not offer that kind of protection. [+] This tough, mostly metal professional lens is optically fantastic, but it's heavy; it's almost twice as heavy as the 28-300 VR or 70-300mm VR. The lens is fitted with Nikon’s electromagnetic diaphragm to control the aperture blades. Earlier DSLRs are not fully compatible with this technology; they can be used but only at f/4. These are the D1, D2, D40, D50, D60, D70, D80, D90, D100, D200, D3000. Furthermore, only teleconverters from the II and III generations are compatible. Handling and Build I tried it on my Nikon FM3a, and it also works great, of course with manual focus, no VR and only at f/4.