The Nikon 70–200mm f/2.8G VR II Zoom Lens: Professional Excellence for FX Photographers

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Professional photographers and serious amateurs, who shoot with full-frame, FX-format cameras, had to wait 6 years for Nikon to upgrade the venerable 70–200mm f/2.8G ED VR I zoom lens, but a close examination of the newer 70–200mm f/2.8G ED VR II proves it was worth every moment of patience.

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Announced during July 2009, the VR II model is, by all indications, a clear improvement of the VR 1 lens. Many full-frame shooters hail the VR II as the fastest, sharpest, least distorting and most accurately focusing zoom lens in this category. They rely on it for low-light sports, fashion, portrait and many other types of photography. This PhotographyTalk article dissects the 70–200mm f/2.8G ED VR II to reveal why it attracts so many professionals who need it to excel at their craft and art.

Nikon didn’t earn its Big-Three status in the photography world by making unnecessary changes to a second-generation lens like the 70–200mm f/2.8G ED VR II. Its body design provides professionals with a rugged, durable instrument that is more than a match for long, complicated shoots as well as the adverse effects of climate, terrain or shooting environment. Nikon utilized magnesium alloy and high quality plastic components to construct a lens that satisfies, and even exceeds, the exacting standards of professional use.

Because of its excellent construction, the Nikon 70–200mm f/2.8G ED VR II is no lightweight. It’s just shy of 3.4 lbs. (1,540g) and dimensions of 3.4 x 8.1 inches (87 x 206mm). These specifications certainly indicate that Nikon created it for larger FX bodies, such as the D700 and above, including the soon-to-be-released D800, and possibly the rumored D400 DX-format camera. It’s all a matter of balance, however, so photographers considering the purchase of this lens should certainly “test” how it feels on their body of choice before plunking down their hard-earned money. Using this lens with any of the larger DX bodies will generally require attaching the vertical grip, especially in the portrait orientation. Even the most serious amateurs (or any hobbyists who have deep pockets and must have this lens) should be aware that the 70–200mm VR II is not meant to be a “carry-around” lens, attached to a camera body.

A detailed inspection of the barrel’s exterior reveals Nikon’s careful attention to detail to position points of control with the professional in mind.

• The camera mount is Nikon’s familiar F type. Contact pins are the communication bridge between the lens and body and a mechanical metal lever directs the aperture.

• The lens mount is sealed with a rubber gasket that retards the introduction of dust and water into the camera.

• Filter size is the standard 77mm and does not rotate during autofocus.

• The front of the lens is protected with a hard rubber ring.

• Nikon gave the Nikon 70–200mm f/2.8G ED VR II the petal-type HB-48 lens hood, which attaches with a bayonet mount. The inside has a matte black coating to suppress light reflections. There’s even a locking mechanism that is released with a separate button. A note of caution: The hood was not designed to support the lens, vertically, to change lenses.

• The zoom ring turns 80 degrees throughout the entire focal length range. The focus ring provides plenty of space for your fingers at just a bit more than an inch (26mm) wide. It turns 130 degrees throughout the distance range and doesn’t rotate during autofocus. The operation of both rings is smooth, accurate and easy, without feeling loose.

• Professional standards require a lens with internal zoom and focus operation.

• The distance scale is located between the zoom and focus rings. Five distances and infinity are indicated in both feet and meter.

• Four switches are positioned together on one side of the barrel. The AF mode switch includes M, M/A and A/M modes. A/M works differently than M/A. Autofocus is not superseded when the MF ring is moved during the use of autofocus. The AF range switch limits closest focus to approximately 16.33 feet (5m). The fourth pair of switches relates to the use of image stabilization, or Vibration Reduction, as Nikon calls it. The top switch is on/off and the lower selects either normal or active modes.

• The tripod mount is an interesting component of this lens, as only the foot is removed, which also becomes a quick-release plate when connected to a tripod or monopod. The rotating ring can be left permanently threaded to the lens. With two screw sockets on the foot and another on the lens, anti-twist plates can be utilized.

The optical configuration of the Nikon 70–200mm f/2.8G ED VR II is certainly one of its outstanding features. There are 21 glass elements in 16 groups, with 7 of them as Extra-low Dispersion (ED) elements. Image characteristics reliably support the conclusion among many photographers that this lens delivers the sharpness and distortion control that are essential to professional work. More importantly, it appears Nikon addressed some of the image quality issues that occurred when the older VR I version is used with a FX-format camera.

• No one will take issue with the sharpness of the VR II model, as it is very crisp in the center of the frame at its widest aperture, f/2.8. The frame edges are sharpest at 200mm. Move the aperture toward the center of the range (f/4 to f/11, with f/5.6 as optimum), however, and the corners show equal crispness at any focal length.

• Some chromatic aberration is detectable (if you actually look for it), but will have virtually no effect on a professional’s “real world” output. What can be seen is barely visible red/cyan fringing at 70mm and blue/yellow at 200mm.

• Falloff is only a stop and a third at all focal lengths, which is unnoticeable as soon as a mid-range focal length is selected. Approximately a stop of falloff (or vignetting) is perceptible at 200mm and f/8 to f/11.

• Except for extreme uses of this lens, distortion is so low as to be negligible and virtually neutral at 70mm. Pincushioning does occur at longer focal lengths, with a maximum value of -1.5% at 200mm.

Some third-party testing has revealed some image quality concerns. In general, flare is rather well controlled since Nikon added its Nano-Crystal Coating to the VR II model. Even though contrast remains highly acceptable with the sun in the frame, contrast becomes anything but acceptable when the sun is outside the frame, but its rays are entering the lens. This flaring issue can also be attributed, in part, to the “short” lens hood. In some rare instances (200mm at a specific distance from a subject), the considerably wider angle of view during close focus can be a challenge. In the great majority of shooting situations, however, this can be overcome by zooming closer or physically moving closer.

When shooting with the 70–200mm VR II on a DX-format camera, image characteristics are very similar to an FX camera setup. Some differences include added image softness at f/22 because of diffraction, which means it’s better not to use f/22 on DX; falloff is essentially no issue at all focal lengths and apertures when using this full-frame lens on a DX body; and pincushioning is approximately half of what is detected on a FX camera, being only -0.7% at 200mm on DX.

Vibration reduction technology is another capability that pros insist must be included in a lens at this price point. Nikon has responded to their expectations with its latest advancement in vibration reduction, or VR II. The NIKKOR 70–200mm f/2.8 is a low-light magician. Shoot as many as four shutter speeds slower than without the VR II technology. Select the VR II’s normal mode for standard photography or the active mode that dampens vibrations even more when you are in motion, such as in a car or aircraft. You’ll see a more stable image through the viewfinder, which results in easier and more precise framing and focus-point execution.

The Nikon 70–200mm f/2.8 VR II wouldn’t be a pro’s zoom lens unless it could be focused relatively close. At 4.6 feet (1.4 meters), it outperforms its predecessor, which can’t focus any nearer than 5 feet (1.5 meters). This extra half-foot can make all the difference between an otherwise loosely framed image and one that brings the object/subject into stunning clarity and richness. Six inches is also often the difference between the amateur and the pro. He or she knows that a closer focus is critical to taking outstanding digital photos of products, food, models and other subject matter.

Auto-focus is also a major function that pros consider when purchasing a lens. They want silence and an AF system that is precise and focuses at the speed of a pro’s shooting process. The 70–200mm f/2.8G VR II delivers in all categories, with virtually silent operation, supremely fast focusing and as accurately as any professional photographer would demand.

The Nikon 70–200mm f/2.8G VR II zoom lens is not flawless; no lens manufacturer can make such a claim. The market niche for a lens of this type is quite competitive, with a comparable lens from Canon for the pros and Tamron and Sigma lens at more affordable price points for hobbyists and amateurs who don’t have the bucks for the Nikon.

Order the Nikon 70–200mm f/2.8G VR II from Amazon HERE

Order the Nikon 70–200mm f/2.8G VR II from Adorama HERE

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