If, as we hope, Nikon push the shutter speed and burst speed, you could find yourself with a formidable sports body. Released back in 2000 it was the first in a new range of Nikon lenses featuring Vibration Reduction (VR). This is a gold ring lens – Professional grade -and so the build quality of the lens is good. This is also an FX lens, which means that on an APS-C body, it will become a 120-350mm lens.
This 300mm lens is a cheaper alternative to the awesome 2.8 lens and is a good all-rounder that can produce clean sharp images right up to full extension ( It is an FX lens, so in this case 450mm ).
It is built like a tank – the all metal barrel will outlast you- and it has a detachable tripod collar.
This entry was posted in nikon d5200 information, Other Nikon Products, The Nikon D5200 and tagged D5200, lens, Lenses, Nikon, Nikon D5200 on July 17, 2012 by jbaystond5200.
This replacement lens was number 1 on my personal most-wanted Canon lens list - And I am in no way disappointed with it. You can see the effect in the vignetting test results and also the aperture comparison below. Thanks in part to an 8-blade circular aperture, bokeh (foreground and background blur quality) rates very highly. Basically, this lens delivers image quality at least as good as any other Canon lens I've used to date - and better than most.
A fixed-size lens is nicer to use than one that changes size - most fixed focal length lenses do not extend. Set the Focus Preset to a specific distance - when your shooting needs require that specific distance, press the Focus Preset button. Autofocus stop buttons on the black ring near the objective lens allow autofocus to be temporarily suspended. This IS implementation is rated by Canon for a state-of-the-art up-to-4-stops of improvement - and I find the improvement to be as-rated.
The press releases say 4 stops, but later material from Canon, including the owner's manual, say 5 stops. Auto tripod-sensing is featured in this IS implementation with Mode 1 and 2 (panning mode) IS switch-selectable. IS is one of my most-prized lens features, but I found it to not be helpful for most of my action sports photography. The lens is constantly trying to stabilize the image while I am constantly trying to keep an erratically moving subject in my viewfinder. However, for portraits and other still-camera shots, IS will deliver a much higher percentage of sharp shots in low light situations. The first set of images are shot in more flattering light, but the second set show the background details better.
Drag your mouse from right to left across the aperture labels and watch the background melt away. MM (Maximum Magnification) is not a strength of any current-at-this-time Canon Super Telephoto lens. But, .12x is just tight enough for full frame head shot style portraits, so few owners of this lens will find this spec to be a significant limitation. MM can also be increased by the use of extenders - 1.4x and 2x extenders increase the MM by their named amounts. All current-at-this-time Canon Super Telephoto lenses are compatible with Canon's Extenders.
Results with the 2x show some additional degradation (especially in contrast), but the combination is usable - especially when stopped down a stop or so.
Extenders reduce the AF speed somewhat but IS still functions with the extenders installed.
So, take one lens and a pair of extenders and you get three long and fast IS lenses - the equivalent of which would cost significantly more to acquire individually. It is usually best to buy the focal length you need the most and use extenders to gain less frequently-needed focal lengths.

The risk for the lens being damaging by flopping over while tripod-mounted is significantly reduced with the gimbal-type mounts. Featuring a magnesium alloy lens barrel, this lens is made to take the punishment of full-time professional use. Many backpacks are easily capable of holding this combo - and many more cases are able to hold the lens alone.
The included lens neck strap (I don't use them) can be seen coiled below the lens in the case-open view above. This cover provides an objective-lens-protecting rigid cap inside a lens-hood-covering pouch-shaped cover. It allows smooth rotation of the lens balanced on a tripod or monopod and allows various brackets (including flash brackets) to be mounted. I like that the clear filter helps prevent dust from getting into the rear lens element deep in the lens body.
The only filter I personally use in these lenses is the Canon 52mm Drop-in Circular Polarizer Filter.
I find myself paying more attention to the color and shape of the background objects than to what the objects actually are. IS allows handheld shooting in extremely low light levels - this is very frequently helpful for people shooting. If you are not used to using a lens of this size and weight, expect a short learning curve.
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The indoor sports photographer typically faces one of the biggest challenges in the photography world. The photographer is often confined to one location while the participants move around - a lot. An indoor sports lens needs to have a very wide aperture to enable a shutter speed fast enough to adequately stop the action. A fixed focal length (or prime) lens is often a good choice as these lenses get the widest apertures.
Of course, the disadvantage of the fixed focal length lens is that you can't properly frame the fast-moving athlete as they go from near to far or far to near.
The results from a prime lens in this scenario often require resolution-destructive cropping when the subject is too far away - or creative framing when the subject is too close. You need to select the lens and position that works best for the particular situation - or carry a couple of cameras with different focal length lenses mounted. Autofocus performance is a big differentiator between lenses when action sports are the subject.
The IS II is a newer lens model with better image quality and image stabilization, but the non-IS lens performs very well in an indoor venue. This APS-C format-only lens will work well for close action or to capture the venue environment.
This is not an L-lens, but the image quality it delivers is on par with those lenses bearing the red ring.
Image stabilization, though not always helpful for photographing sports, is there when you need it. If you can get close enough to the action to make 18-35mm properly frame your subject, this lens will stop low light action and create background blur like no other zoom lens can on an APS-C format camera.
Sigma delivers very impressive phyical features to accompany the excellent image quality you can expect from this lens.
The price tag of this lens will set you back, but the image quality and performance it delivers will set your performance apart. The 300L IS II is every bit as good as the 400L IS II in all regards, but in a wider focal length - one that I find myself using more frequently for indoor action. You can expect impressive images from this lens with have an equally-well-performing camera behind it - when you do your part correctly of course. As with Canon's other large, wide aperture primes, this is not an economy lens model - but it makes a great deal of economic sense for serious shooters.

If you don't need a still-wider focal length of course - though you might want to make 135mm work just to be able to use this lens.
So, you might want to rent this lens to see if it will keep up with your subjects before making a longer term investment.
The Sigma 50mm Art Lens delivers excellent image quality at an ultra-wide aperture that will allow you to stop your low light action. While I experienced some AF accuracy inconsistencies and this is not the fastest-focusing lens, this would be my 50mm lens of choice for indoor sports. The 24mm focal length is going to be used primarily for close action, but is also wide enough to take in the big picture at an indoor event.
The list above is not an exhaustive list of lenses that can be used for indoor sports photography, but they are my top choices. If I were you, I would buy a 580 EXII or the new 600EX RT and use your 1D Mk II and 70-200.
For sports I use a 1D IV and the 70-300mm L, yes the lens is f4-5.6 but this doesn't limit the shots you can take. I suppose your equipment choices will depend on what exactly you want to show: there are wonderful closeup shots in wrestling with a medium tele and equally wonderful shots taken with WA. Assuming that Nikon improve the D5100 in the same way they boosted the D3100, the Nikon D5200 will be pretty handy in any photographic discipline.
Firstly, it is at the cheaper end of the market and, whilst it is a bit slow for sport, the crop factor ( remember the D5200 is likely to be a APS-C chip, so a FX lens can be magnified by 1.5 or so) which would take this lens up to 600mm. Unlike many zooms, this has internal focussing, so the actual length doesn’t change as you use it. You get what you pay for and what you pay for here is fantastic quality images, particularly in low light. Thus, I depend solely on the commissions received from you using the links on this site to make any purchase. Specifically, should I upgrade my camera body to better use my existing lenses or should I keep that body and upgrade to a faster lens.
If the light is poor I crank up the ISO up to 3,200 and the images arn't to noisy, if possible I used a 580 ex speedlite to pump some fill in to the shots. Again the VR function is robust and allows hand held pictures and ridiculously slow shutter speeds.
The glass has Nano Crystal coatings to provide excellent corner to corner sharpness with good contrast.
I own various L zoom lenses but the 70-300mm is the lens I plump for everytime as it is remarkably sharp when used at wider f stops. Unfortunately flash is not an option at these venues and I do not have any remote equipment. Whilst hanging a new Nikon D5200 around your neck might give people the impression that you are a bling photographer, you will receive genuine respect if you then pull this lens out of your bag.
My thought was to put a long lens on the 1D Mark xx and a wide angle or standard focal length prime lens on the 5D and shoot both.
Aimed at professionals, the Nikon 300mm f2.8 G ED VR II AF-S Nikkor Lens has a weather sealed magnesium body. The 1D does not have that option I don't believe but in any case I have it set at its highest sensitivity of 1600 (without going into custom functions). With the typical high school gym lights I cannot get an exposure on the 1D with a fast enough shutter speed to stop action and there is noticeable noise especially at the longer end of the lens. As you might expect, the lens has silent wave technology, which makes AF very fast and quiet.
I should be able to freeze action with the larger aperture even at ISO 1600 on the Mark II.

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