dcraton

And where does one purchase a NEW 80-200mm AF S lens?

I have used Nikon TC's and dislike them and have migrated to the Kenko Teleplus 300 Pro. It works on every applicable lens to include metering and AF. It works so well (2X), I use it on the job and it stays in my bag.

 

As to the AFS vs. the AFD, the AFD will focus a bit slower, but nothing to get in a snit about. The AFD is a proven lens and a tank. Very sharp and works well with the aforementioned TC.

 

I have one and simply love it. Joe A is right about the lenses, that is why I went with Kenko and I publishable results. And yes, I even shoot fast paced sports with it. Just have to anticipate a bit. Sometimes I think I get spoiled by all the speed I have and forget where I came from in the 70's.

NAS is fun and cool. Forget the negative naysayers. I had thought this thing we do called photography was

supposed to be an adventure.

 

Here is a basic rule of thumb: lens first, body second as to priority. With that said, I would recommend the

lens since I have a D200 and the very same 80-200mm lens. It will also give you some reach and a constant f2.8

lens. It is tack sharp and optically a steal at that price. For NR, there are a variety of nice plugins or

stand alone software pieces that when used correctly will really help a D200 in low light. So much so, we shoot

at ISO 800 often. I would recommend Noise Ninja first and DFIne as well. Others may have input and I am using

them both as plugins to Bibble Pro and PhotoShop.

 

Right now, because of NAS, I am down to only 8 lenses, three cam bods, two battery grips, two flash units, one

TC, a bevy of software, etc. NAS rocks. However, they are all paid for and none on credit cards. I just get em

as I can afford them. I use it all and enjoy it all.

 

"To be blunt," NAS is a good thing when combined with common sense.

On the job in NW Florida at a beach club. Late evening, No lights. D200; Sigma 10-20mm doing some promo shots for a club artist who does a solo act. Had to up the ISO to 800, but with a little NN the shot came out fine. Just came back from this shoot and somebody has to do it. . .<div></div>

On the job at sunset in North Carolina at a Blues/Jazz fest. 17-55mm.<div></div>

John: I shoot concerts, club bands, festivals, etc. with and without press/stage passes. Most of the time with.

The key is expression obviously so you need to be able to get tight at times for facial and body language. I

don't use a flash, but do pack a similar load of lenses: Sigma 10-20mm, Nikon 17-55mm, 50/1.4, and 80-200mm/2.8.

 

The other two things for me that are indispensable are my Lowepro Slingshot cam bag and a very light Manfrotto

monopod. This allows me speed to change lenses if if I doing a one cam bod shoot and the monopod steadies my

shot. I do not use the mono on all lenses, but you might want to on your 70-200mm. This will allow you to get

back a bit if you are on stage to grab some great angles and tight shots.

 

Since you do not know the lighting situation, you are kinda in the dark right now. Yeah, that was stupid.

However, if the band you are shooting does have full or even a less expensive theatrical lighting system, most of

the time, you will have plenty of light, but it will change, hence the auto ISO is a great suggestions as is

shooting in shutter priority if you like. I shoot manual, but I am fast at it and love the allowances of light

variances.

 

This shot was with the 80-200mm at ISO 800 on a monopod far stage left with a mediocre lighting system. Was nice

to be out of the way and have a clean shot to get various band members.

 

Yeah, and get there early. Early enough to get candid shot of the band getting the sound set, prepping, general

band goofing off before a show and same afterward.

 

Have fun.<div></div>

Ivan: without knowing your application, it is difficult to point you to a 300mm/4 lens or get the 180mm with a TC. Having both I can tell you, either is a great choice. I do use the 180mm for sports and portraits often and keep a Kenko Teleplus Pro 300 2x in my pocket when shooting sports--mostly college women's softball as the focal length is nice on a cam 2.

 

You will have full function with the Kenko TC with your lens--both AF and metering. At least I do.

 

However, most of the time I gravitate toward the 300mm/4.

 

Either way you win. Just depends upon what you are using it for.

 

Applications defines lens purchases.

Richard. . .thanks and yes I did mention it will not work on the FM2. I had forgotten. He asked about the SB-400, so I answered. It is what it is and that is why I have an SB-800 as well. As Shun stated as well, it will only work on a DSLR or an F6 which an FM2 is not. But, that's me. There are always options.

 

Thanks.

Except the F6. . .in a hurry. Again, apologies.

My mistake. The SB-400 will not work on any of Nikon's film cameras. My apologies.

I have both the SB-400 and SB-800 and feel I can give a perspective, but not the perspective as there are many. I use them both. You really did not mention your use of the camera as to subject matter so this will be a shot in the dark.

 

I generally will use the 400 as it is an upgrade from my on camera flash. I used a FM2 for years as well and had several flash units for it. The 400 will work well per described with limitations by Matt, but it's very inexpensive and does great for walkabout and snapshot work. You can get a Stofen diffuser for it and angle the flash 90 degrees, so there is some flexibility with it and it fills very nicely. If you are looking for something light and easy, it's a good choice.

 

The SB-600 would be a nice upgrade if you are shooting at a more serious level or on the job for the reasons already stated.

 

However, rarely when out with a D200 just having fun off the job, I will throw the 400 in my day bag with diffuser and get excellent results. What can you expect for a hundred dollars?

 

Good luck.

On a small sensor cam, 50mm equivocates to approximately 75mm and great for portraits, if you don't mind the

absence of AF on a D40. I have both the 50/1.4 and 85/1.8 for portrait work.

 

Sorry to be a snit, but most have found the 24-120mm (myself included) to be lackluster and outa here from my bag.

 

28 is not wide on a DX format.

 

I disagree with the portion of the book mentioned in that, unless you are tied to a studio with small space, many

of us who grew up in

this business learned to do one thing for portrait photography: move--unless you need a sterile, static shot.

It allows for options with angle, lighting, etc. and actually is a selling point to your customer that you are

working for a living. Many of my portrait buds shoot in studio without a pod at times or work in concert with an

assistant who does.

 

We just got back from a large family shoot out of town (had to fly) and shot the entire portraits session

outside, in their backyard with a 50mm/1.4, no tripod, an SB-800 for fill flash. My assistant was using a

17-55mm catching candids. No pods except our feet. But, that's our style and what we have to offer. Just

giving a live example.

 

The OP's shots are all taken out of the studio. Currently, I am aware that only Sigma makes a 30mm/1.4 and a

50mm/1.4 that will AF on a D40 for primes.

 

Other than that, it becomes a spending war to get a decent portrait zoom without variable aperture.

 

Just some things to think about and again, this is how quick and deep spending other people's money can be. Like

I said, your photos are very nice. Practice and learn. I still do and need to weekly.

 

Spread the love. . .

I kept my Sigma and I am a Nikon pro purist. But I have found with most wides it does require proper shooting perspective as Elliot mentioned and post work seemingly no matter what lens I use.

 

However, I do like extremes at time using all the "wrong" things for the right reason. I do love the Sigma as one of only 2 third party lenses on my shelf. I may have an exceptional copy as I bought Elliot's. He ripped me off on price. . .NOT, 'twas a very good deal for a very good lens.

 

Here: http://www.davidcraton.com/portfolio/new/pages/sky_snow.htm and here http://www.davidcraton.com/portfolio/new/pages/calm2.htm were both published regionally using a D200 and Sigma 10-20mm. Nothing to write home about, but I will keep the lens as ultra wide only comprises about 15% of my job and spending more than 500.00 with great post software is really not an option for me. Others maybe.

 

Good luck to you from one who will not let go of the Sigma.

I would recommend ever so kindly to appreciate the gear you have to include the two current lenses and the flash. Learn to shoot with them before you purchase more as your style and subject matter will often determine our gear purchases. The 55-200mm is a great little lens as is the kit lens. If your shoots coming up are paid gigs so soon, I might spend time shooting and learning how to shoot what you are shooting via tutorials online or posting up here for advice.

 

What are your shoots?

 

Learning a craft is taken in steps. Since you are admittedly new to photography, learn, learn, learn. I might suggest that you subject your work to good and constructive criticism by those better and more experienced than you.

 

Finally, my wife shoots at my assistant often for event photography with a D40, flash, and a 18-135mm. She does a great job because she is a great photographer first. She shoots with the D40 because she is a technophobe.

 

Your shots are very nice. Grow with your gear and good luck.

The 80-200 AF-D works fine for sports if you understand the event you are shooting and timing. Rarely do we miss a shot. It's a tank and I don't mind getting in the mud, wind whipped sand, etc. For us, all major US sports up to and including the D1 level. And yes, we even shoot ballet with an 80-200mm. Again, timing. It's a workhorse of a lens and affordable as an option to the wonderful 70-200mm/2.8 per the OP's question.

 

True on the pricing. But, on the other hand, what do I have to shell out for a Canon body that is environmentally sealed and will function at 5+ fps? A must for me.

 

Both are great companies each with strengths and weakness.

Harvey and the rest: To clarify the format the card note, What Joseph Smith said. Much better put than my quick info. And, having shot Europe many times, he is absolutely right about lighting being mixed. It is extremely variable. Good point.

 

Mostly again, have a blast and shoot all you can.

Shoot RAW for all the reasons given above and other advice from the "ole man."

 

A couple of things. If you do have a laptop, you probably should bring it to offload your RAW shot as they eat cards. It is also great to backup your shots in case of card failure.

 

I hope you have light camera bag that is functional such as a toploader bag for your camera and lenses at http://www.lowepro.com/. Nothing worse than fighting a bag on a long day out.

 

Format your empty cards in your D80 every time before you shoot. Don't format cards with images on them, you will lose them.

 

www.bibblelabs.com has software you can afford for post. It's RAW converter rivals Nikon's (in some ways I like it better) and the software has great tools allowing you for post as well as batching out photos. I use the pro version, and per PhotoShop, it integrates well when you are ready to buy PS, which I would.

 

However, my lovely wife of 29 years shoots a D40 with an 18-135mm on "Green" -- automatic mode (jpg) and produces stunning results. She is a great photographer, but a bit of a techno-phobe. Yes, I do at times have to clean up her work in post, but, many times we miss shots fooling around trying to figure out how our gear works.

 

Which leaves me this last point, practice all you can before you go taking notes.

 

Mainly, have a seriously fun time.

Most grey market lenses or other Nikon lenses purchased outside the USA will be a 1 year warranty.

 

It happens. I am sorry you are experiencing difficultly with the lens.

 

I am assuming that you are referring to the Auto Focus?

 

Good luck.

Another vote for the Nikon 80-200mm f/2.8 over the Sigma 50-150mm. Use them both and the 80-200mm, at least my copies of the Sigma have been a bit soft and lackluster. And, I have no use for VR. Our company does a lot of event photography as well as sports and 90% of the time, it's a 80-200mm on one cam and a 17-55 on the other.

 

It has been said many times here, most don't miss the 55-80 (or 70) range.

 

I do have an older Sigma 24-60mm/2.8 I keep in my bag for back up. Pretty close to the 17-55mm. I found one at Cameta for 199.00. Killer lens. Here is a review if you are interested: http://www.dphotojournal.com/sigma-24-60mm-f28-ex-dg-if-asp-lens-review/. Maybe I got lucky and got a good copy.

 

I wouldn't be afraid of third party lenses. Reviews are OK, but trying one out for a day or in store would be much better shooting the same object side by side. I am fortunate that the local pro shop I frequent here sells Nikon, Tamron, and Sigma as well as Canon. I bring a card, try the lenses I am looking at side by side in a variety of shots and pixel peep at home.

 

Just advice from the old school infected by tech.

 

Good luck.

The answer is simple. Yes.

 

However, if you want third party reviews, you might take a look at http://www.photozone.de/Reviews/Nikkor%20/%20Nikon%20Lens%20Tests or http://www.bythom.com/nikon.htm or http://www.dpreview.com/lensreviews/. There are more as I am sure will be posted. Both the Canon lenses you mentioned and the Nikon counterparts are excellent choices. . .that being dependent upon your application with regards to the prime mentioned.

 

Good luck to you.

If you want a quick fix, download http://www.nikonusa.com/Find-Your-Nikon/Product/Imaging-Software/NVNX/ViewNX.html.

 

I use it as a viewer. However, Nolan's post is another viable option if you have PS.

 

Good luck.

Thanks! Fore! or five of you have confirmed my thoughts. Just needed a refresher.

 

I had already done a bit of prep and homework. Just wanted some good feedback.

 

Will be flying out in the morn. Practice shoot tomorrow (Sunday) and tournament on Monday. The shoot will be at 9:00am on a very nice day. I should get an adequate number of shots.

 

Many thanks again!

First the gear (partial list): 1. Two Nikon D200s (with battery grips) 2. Prime

lenses: 35mm; 50mm; 85mm; 300mm 3. Zoom lenses: 10-20mm; 17-55mm; 80-200mm 4.

1.4x and 2x TC?s I am a pro full time photographer: assignment to shoot a blue

chip High School golfer for several D1 universities. We have provided services

for corp and private functions since the 70?s, but, we don?t shoot golf that

often, so some quick advice is needed. We do shoot a ton of sports otherwise. I

have press passes for my assistant and me and a cart rented as well as carte

blanche for the state tournament to provide the schools and student athlete with

photos. My primary concerns: 1. Lens choices 2. Shot choices 3. Angle/distance

from golfer 4. Any other professional advice I am a golfer as well, so I

understand etiquette. However, at 50, this old dog is open to good and positive

suggestions. The shoot is Monday. Thanks in advance.

I fly out Sunday afternoon, so thanks!

First the gear (partial list):

1. Two Nikon D200s (with battery grips)

2. Prime lenses: 35mm; 50mm; 85mm; 300mm

3. Zoom lenses: 10-20mm; 17-55mm; 80-200mm

4. 1.4x and 2x TC?s

 

I am a pro full time photographer: assignment to shoot a blue chip High School

golfer for several D1 universities.

 

We have provided services for corp and private functions since the 70?s, but, we

don?t shoot golf that often, so some quick advice is needed. We do shoot a ton

of sports otherwise.

 

I have press passes for my assistant and me and a cart rented as well as carte

blanche for the state tournament to provide the schools and student athlete with

photos.

 

My primary concerns:

1. Lens choices

2. Shot choices

3. Angle/distance from golfer

4. Any other professional advice

 

I am a golfer as well, so I understand etiquette.

 

However, at 50, this old dog is open to good and positive suggestions. The

shoot is Monday.

 

Thanks in advance.