Micro-Nikkor AF-S 105mm f/2.8 G IF ED VR N : Review

Introduction

Today I present you with my review of the Micro-Nikkor AF-S 105mm f/2.8 G IF ED VR N macro lens, tested as always with the Nikon D700 full-frame DSLR. More than a decade has passed by since the previows D version was announced, and this G version includes lots of goodies that add more value to it, resulting in a much more versatile design for general use, not only suitable for macro but also very capable for portraits and landscapes.
This is how it looks with the D700:

Having been anounced in 2006, this lens introduces many new features and design changes compared with the previous version, such as: AF-S motor with manual override, VR II (Vibration Reduction, version II) optical stabilizer, ED (Extra-low Dispersion) glass and even one element with Nano Crystal Coat to reduce flare and improve micro contrast. The internal construction suffered many changes and now has 14 elements in 12 groups instead of 10 elements in 9 groups of the D version lens.
The lens is built with metal and high quality plastic parts, all very tightly together, and the result is a large lens weighing a hefty 790 grams. The lens has three switches, one for selecting between autofocus (with manual focus override) and manual focus only, other to activate VR, and another switch to limit minimum focus distance to half a meter. This is a G lens and therefore has lost the aperture ring, so it doesn’t work any more with the older manual SLRs.
At a price of 899€ today, this lens is not exactly cheap, but as you will see not only you get a true 1:1 macro lens but also a terrific long distance shooter with professional build quality and features. This is a true gold-ring lens and deserves that distinction.

Technical Specifications

Focal length 105mm
Maximum aperture f/2.8 (far distance) – f/4.8 (nearest)
Minimum aperture f/32 (far distance) – f/57 (nearest)
Field of view 23 degrees (on FX)
Weight 790g
Dimensions 116 x 83mm
Optical construction 14 elements in 12 groups (1 ED element, 1 Nano Crystal Coat)
Aperture blades 9, rounded
Filter diameter 62mm
Minimum focus distance 46.1cm (29.5cm from the front element, focus limiter on), 31.4cm (14.8cm from the front element, focus limiter off)
Hood HB-38, petal-shaped
Mount Nikon F

Mechanical Characteristics

Zoom ring n/a
Focus ring Plastic with rubber finish, no infinity stop
Focus throw 270 degrees (focus limiter off)
Focus motor Yes, Silent Wave Motor
Optical stabilizer Yes, Vibration Reduction II
Front element rotation while zooming n/a
Front element rotation while focusing No
Internal focusing Yes
Lens extension while focusing No
Lens extension while zooming n/a
Maximum magnification 1:1

Handling

With the D700, the Nikkor is fairly well balanced, but with a smaller camera it’s recommended to buy a battery grip since it can be very nose heavy. The lens looks and feel are great, being very solidly built like a professional lens. I have been walking around the streets with the D700 and this lens and few people look at me as the lens is not very lengthy and not intimidating. I could take candid pictures from relatively far away with ease without being suspicious. The thing changes when I use the hood; the total length increases a lot and in the streets I felt that I looked like a stalker, as this thing become huge and attracted a lot of attention.
The focus ring has a generous throw for careful framing, being very precise for far away shooting as well and not only for macro. Unfortunately, the focus ring isn’t damped although it’s fairly smooth, and this is the only practical “defect” I find compared with other professional lenses. The focus limiter sets the minimum focus distance to 0.5 meters which is very useful for shooting in the streets or events where quick focusing is a necessity. When turning the limiter on, the AF is really quick, especially for a macro lens! It’s much faster focusing than my Nikkor AF-S 50mm f/1.8 G, for instance, especially in low light situations. Turning the limiter off increases the focusing time by a lot and also increases the potential for hunting even in good light. So, basically I always shoot with the limiter on in most shooting I do, and in macro I don’t care for AF anyway and I always focus manually. And I almost forgot, the AF is really silent and in line with the other pro lenses.
The inclusion of VR is a blessing in the streets and on the occasional close-up when you don’t have a tripod nearby, as it can save the shot, particularly on that close-up shot when you have to close the aperture a lot to get all things in focus. It is always a challenge to get everything in focus with a long focal length as is 105mm, though, and that’s why VR can be so handy.
One of the greatest things I love about this lens is the fact that all focusing is internal, even towards the magnification of 1:1, since nothing moves outside. That’s another plus for macro shooting because I don’t have to worry myself about the front element touching the subject when I just want to avoid it. Also, the front element doesn’t rotate while focusing which is always nice when using polarizers.
All in all, handling this lens is a breeze in all possible situations, from macro to landscape shooting.

Resolution

For the resolution test I shot the 5 Euro bill as usual. Focus was achieved using Live View to avoid auto-focus imprecisions and to compensate for possible field curvature issues.
The first column shows a crop of the image center, the corner crop is on the second column and the third column shows a crop of the extreme corner. Each row represents an aperture setting, from maximum to f/22 in full stops. I opted to show crops only until f/22, because closing the aperture even more results in more and more diffraction. Also, the target was at a such distance from the camera that the maximum effective aperture was f/3.0 instead of f/2.8 – the camera always reports the effective aperture. Here are the results:

From this test I’ve found that the Micro-Nikkor is a perfect performer right from the maximum aperture, with only almost negligible softness in the extreme corners that disappears when stopping down. The overall contrast decreases a bit by f/16 and diffraction settles in at f/22 and gets worse afterwards.
The Nikkor is a stellar performer and I couldn’t ask more of this lens. It’s just stunning at every “normal” aperture and you have to see it to believe it, even in full-frame. This kind of performance is somewhat common with most macro lenses, but it’s likely that some people were expecting less when Nikon decided to change the internal construction and increased the number of elements. This has to be one of the sharpest lenses ever.

Distortion

I tested distortion with the usual brick wall shot:

Distortion is very low, with a only a tiny amount of barrel distortion that is counteracted by an equal bit of mustache at the corners. The result is straight vertical lines, and horizontal lines having a very residual wavy characteristic. This is negligible in the field and barely visible even in these test targets.

Vignetting

In this test, I shot a white wall at home using tungsten white balance and set exposure manually:

There’s a lot of vignetting at the widest aperture that decreases substantially by stopping down, but it’s only visible when shooting far distance subjects. This can result well in portraits and street candids, though. For small distance shooting there’s nothing to worry about because the lighting across the frame is always fairly uniform.

Chromatic aberrations

For this test I shot a car from above on a bright sunny day early in the afternoon:

This lens employs ED glass to reduce chromatic aberrations to a minimum and this test clearly shows that it works, and it works very well indeed. I’ve never found any fringing issues even when shooting close-ups of bright metal objects under intense light. In this regard, this lens is perfect.

Coma

Coma was tested using a LED source, at home in a dark room.
I put the light source at the center (first column), corner and extreme corner of the frame (second and third columns, respectively), at maximum aperture and stopped down.

Coma is hardly visible only in the extreme corners at the widest aperture but the effect disappears stopping down. It’s an excellent performer in astrophotography, and I have always confirmed it in the field. It’s not really perfect at the extreme corners wide open, but it’s almost there.

Flare

I shot a building in construction with the sun sneaking from a window, to see if I could see any flare vestiges. I started to shoot directly against the sun, then placed the sun at the corner and finally made some shots with the sun just outside the frame.

Shot directly against the sun.
Shot with the sun placed at one corner of the frame.
Shot with the sun just outside the frame.

This was truly unexpected, because everyone was talking about how great Nano coating is reducing flare, but I quickly saw myself that Nano is not the miraculous solution only by itself. Nano coating is great improving flare resistance, but the amount of flare that a lens can produce is highly dependent on the lens design. In this very lens, flare and ghosting can be really horrendous. This is the worst case I’ve dealed with so far, much worse than the Nikkor AF 28-105mm f/3.5-4.5 D that I have tested before.
Shooting against the sun gives a tremendously high amount of flare, with the brightness obscuring most of the picture. Putting the sun in one corner reveals an ugly reflection that goes diagonally across the image, ruining any shot. When the sun is just outside the frame, the issue can be easily controlled using just the lens hood.
Obviously, this lens has to be handled with great care when shooting with the sun in the frame, even when taking pictures of sunsets! I can’t imagine any worse performance than this.

Bokeh

The lens has 9 rounded aperture blades, thus it’s expected to get pretty circular out of focus highlights. I took a defocused picture at the widest aperture of the city lights and got crops of the center, corner and extreme corners. The test was repeated for the subsequent two stops. Due to the focus distance I selected for this test, the maximum effective aperture was reduced to f/3.5.

I couldn’t want much more from this lens in terms of bokeh at full aperture. The out of focus highlights are so creamy smooth, either inside and on the edges, that always results in very attractive backgrounds. There is the cats eye effect in the corners due to vignetting, but few lenses don’t have it. At f/4, a slight polygonization can be noticed and gets a little worse at f/5.6, but even then bokeh is a delight especially when considering the aperture value.
Overall, although not perfect bokeh as, for instance, the one from a Nikkor AF-S 85mm f/1.4 G lens, you can’t go wrong with this Micro-Nikkor in terms of bokeh.

Macro/Close-up

With the focus limiter activated, the Nikkor was capable to focus as close as 46.1 centimeters from the sensor plane, or 29.5 centimeters from the front element. When the focus limiter is switched off, the focus distance drops down to 31.4 centimeters from the sensor plane or 14.8 centimeters from the front element, to a maximum magnification ratio of a real 1:1.
I shot an 1 Euro coin and this is what to expect at the minimum focus distance:

Focus limiter on

Focus limiter off

Image stabilization

The Micro-Nikkor includes the second version of VR (Vibration Reduction) which makes this lens very useful in other types of photography. Nikon states that VR II is capable of giving an advantage of 4 stops. That means that at 105mm, it is possible to achieve sharp pictures at speeds as low as 1/6 seconds!
To test it, I shot the back of a street lamp from my window. The first column shows crops of the subject shot with VC off, and the second column shows them with VR on. Here are the results:

I took the pictures at ISO 100 and closed the aperture to its minimum possible, but unfortunately the lowest speed I got was 1/10 seconds, somewhere between 3 and 4 stops down from the typical lowest speed of 1/100 seconds for hand-held shooting without stabilization.
As can be seen here, VR worked flawlessly down to 1/10 seconds, and in this case the obtained softness was due to high diffraction; I shot this last picture at f/32.
Even knowing that I did not achieve 1/6 seconds of speed, I strongly believe that it is possible to get sharp pictures at that speed from people with steadier hands than mine and better hand-holding technique.

Summary

Build quality 10 A solid brick, very professional
Handling 8 Good handling in every type of shooting, fast AF and decent VR
Resolution 10 Stellar sharpness across the frame at all apertures, it’s very hard to think of a sharper lens
Distortion 10 Perfect here in all practical shooting
Vignetting 9 Strong at full aperture, but stopping down gets very well controlled
Chromatic aberrations 10 No fringing issues even when shooting foliage against the sun
Coma 10 Very hardly visible wide open in the extreme corners, perfect in the field
Flare 1 The lowest score possible, I can’t imagine a worse case
Bokeh 8 Creamy soft at all apertures, but gets polygonal early in the corners
Overall 87% Amazing optics in a solidly built, versatile package, for many types of shooting

Samples

Here are some samples of pictures I made with this lens. Settings: native JPEG, picture control set to Landscape mode, no post-processing applied except reducing to 600 pixel width.

105mm, f/2.8, 1/400s, ISO 200
105mm, f/5.6, 1/125s, ISO 400
105mm, f/4.0, 1/1250s, ISO 1600
105mm, f/11, 1/200s, ISO 1600
105mm, f/4.0, 1/1250s, ISO 800
105mm, f/16, 1/80s, ISO 800
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Tamron SP 70-300mm f/4-5.6 Di VC USD : Review

Introduction

This is a review of the Tamron SP 70-300mm f/4-5.6 Di VC USD telephoto lens for the Nikon mount. The test was once again made using a D700 full-frame DSLR. This is a well-built lens, very solid without any wobbling parts, and competes directly with the Nikkor AF-S 70-300mm f/4.5-5.6 VR lens which has been very successful among amateurs and enthusiasts. Here’s how the D700 combines with the Tamron lens:

This has been a very welcome addition to the market, because the Nikkor had been alone price-wise, and third-party options were not up to the standards. Fortunately, the Tamron is a very viable alternative and it even has some characteristics that surpass its direct rival, as we will see. The Tamron belongs to the SP (Super Performance) line, the same line that has, among others, the highly praised 17-50mm f/2.8 (DX) and 28-75mm f/2.8 (FX) lenses. This 70-300mm is the first Tamron lens having the new USD (Ultrasonic Silent Drive) auto-focus motor for fast and silent focusing, and also the first including their innovative optical stabilizer mechanism, VC (Vibration Compensation). Indeed, the lens is very silent and rather quick focusing, but may hunt at times in areas with low contrast, the same happening in low light situations, otherwise the lens focuses quickly. The lens also has special glass elements, LD (Low Dispersion) and XLD (Extra Low Dispersion), which are employed to take care of chromatic aberrations. One thing that’s always good to have is IF (Internal Focusing) and this lens got it, and because of that the front element never rotates when focusing, therefore using a polarizer is no problem.
At a retail price of €389 right now, at a first sight and looking at the specifications, the lens seems to have a great price/perfomance ratio, but that’s the thing we’ll find out later in this review. On the D300 I had before, this lens was stellar for the price, having very good sharpness corner to corner at every aperture and only with a slight drop at 300mm, being a terrific combination for quick operation speed and optical performance in all focal lengths for users who don’t normally shoot in low light situations.

Technical Specifications

Focal length 70 – 300mm
Maximum aperture f/4 – f/5.6
Minimum aperture f/32 – f/45
Field of vision 34 – 8 degrees (on FX)
Weight 765 g
Dimensions 144 x 80mm (194 x 80mm extended)
Optical construction 17 elements in 12 groups (1 LD element, 1 XLD element)
Aperture blades 9
Filter diameter 62mm
Minimal focus distance 144cm (125cm from the front element)
Hood HA005, petal-shaped
Mount Nikon F

Mechanical Characteristics

Zoom ring Plastic with rubber finish
Focus ring Plastic with rubber finish, no infinity stop
Focus throw 160 degrees
Focus motor Ultrasonic Silent Drive, allows full-time manual focus override
Optical stabilizer Vibration Compensation, up to 4 stops capability
Front element rotation while zooming No
Front element rotation while focusing No
Internal focusing Yes
Lens extension while focusing No
Lens extension while zooming Yes, up to 51mm

Handling

The Tamron is a big fat lens and even with the D700 is a little front-heavy, but not overly so. Playing with the zoom ring feels like plastic against plastic, but nevertheless it’s not only smooth enough for quick operation, but also acceptable enough for the times when you need precise framing. Some people complain that the zoom ring is a little stuck on their copy, but that might be true when the lens is brand new; I don’t remember mine having a stuck zoom ring. The focus ring feel is similar, but since it’s lighter it’s easier to turn around.
The lens allows full-time manual focusing without the need to turn the lens or camera to manual focus. Common with other built-in auto-focus motor lenses, the focus ring never stops rotating and is capable to focus past infinity. The Tamron focuses as near as 144cm from the focus plane (125cm from the front element) at 300mm, resulting in a maximum magnification ratio of 1:4, which is less magnification than the previous Tamron 70-300mm was capable of (1:2).
The lens has a long petal-shaped hood and the caps are of good quality. The front cap is similar to Nikon’s, allowing you to take it off and put it on without the need to take the hood off. The lens has a metal mount, which is a must-have for such weight, but doesn’t have a tripod collar, so be sure to have the camera well attached to the tripod socket when using the combo for long exposures.

Resolution

For the resolution test I shot the 5 Euro bill in the studio. Focus whas achieved using Live View to avoid auto-focus imprecisions and to compensate for an hypothetical field curvature.
The first column shows a crop of the image center, the corner crop is on the second column and the third column shows a crop of the extreme corner. Each row represents an aperture setting, from maximum to f/22 in full stops. Here are the results:

70mm

At 70mm the center resolution is already excellent right from f/4 and only deteriorates at f/22 due to diffraction. The corner resolution is on a very good level until f/11 and drops noticeably at f/16. The borders are on a much lower level; by f/4 the sharpness is only acceptable and improves slightly at f/5.6, but reaches a good level from f/8 to f/11 before dropping again at smaller apertures. All in all, a very good performance at this focal length (not that, from now on, if you’re considering using this lens on DX, use the first and second columns only as reference, since the second column shows crops of the same area as the extreme corners on DX).
Moving on to other focus lengths now…

100mm

At 100mm the resolution at the center and corners is excellent already wide-open and only drops by f/22. The extreme corners are good wide-open at reach very good figures by f/5.6 and the resolution drops a bit at f/16. From 100mm to 135mm seems to be the lens’ sweet spot.

200mm

At 200mm the center resolution is always on an excellent level but the corners start to show some limitations. Wide-open and until f/8 the resolution figures are only on an acceptable level and the extreme corners follow closely. At f/11 there’s a sudden increase in quality in the entire frame and that continues at f/16. By f/22 the resolution drops a little but not by much as in previous focal lengths.

300mm

At 300mm, resolution drops noticeably in the entire frame but remains good to very good at the center. On the downside, the corners are never on the same level, and for good edge-to-edge sharpness one has to stop down to f/16 or even f/22. This is not noticeable in the real world, trust me, because at 300mm you tend to put the subject at the center anyway.

Overall, the Tamron shows a strong performance, producing sharp and contrasty images at all focal lengths, and its strongest selling point is the resolution and contrast at 300mm. This is much better than the Sigma 70-300mm f/4-5.6 APO Macro I had before and better than its direct rival, the Nikkor AF-S 70-300mm f/4.5-5.6 G ED VR I had played with.

The only thing that changed my opinion about the Tamron now, compared to the performance delivered with my previous D300, is the noticeable variation in exposure. It is very visible, at all focal lengths, that the lens underexposes a lot at the maximum aperture and less so stopped down, exposes well at f/8 and overexposes at f/11, before underexposing again by f/16. The weird thing is that it wasn’t noticeable at all with the D300, when only I had some minor overexposures in bright sunny days which were corrected simply dialing to -0.3 or -0.7 EV, independently of the aperture I was using. Now I can’t say that my lens doesn’t underexpose or overexposes, but instead a combination of the two that is dependent on the aperture. I can’t really say if this is because of heavy vignetting, but if so it affects the entire pictures and not only the borders, but also there’s a bit of overexposure at f/11 that is visible in the camera histogram. This will be more visibly explained below in the vignetting test.

Distortion

For the distortion test I shot a brick wall, again:

70mm

135mm

300mm

The lens distortion is practically absent at 70mm but starts producing a certain amount of pincushion at 135mm which stays constant until 300mm. On the field this is practically invisible and can be easily corrected in post-processing if needed.

Vignetting

In this test I shot a white wall at home using tungsten white balance and setting exposure manually. The exposures were judged by the camera histogram and are considered to be spot on when it’s centered.

70mm

At 70mm, vignetting is strong wide-open and less so at f/5.6, before improving considerably at f/8. At smaller apertures it disappears completely.

135mm

At 135mm, the same behaviour happens exactly as before.

300mm

At 300mm, only the widest aperture is affected by vignetting but in a very strong way. At other apertures there isn’t any noticeable light losses towards the edges.
As said above, the lens is affected by exposure differences that affect the entire image, as opposed by vignetting which only affects the borders of an image by any degree. I also could not find an explanation for the overexposure seen at f/11 from 70mm to 135mm. This is the first time I had a problem like this one and I’m not sure if the problem is related to this particular copy or any other sample. There are many people who complained about their copy producing under- or overexposed pictures, but mine gives exposures that were unpredictable at first, but can be corrected dialing exposure compensation accordingly depending on the aperture used. This phenomenon is more visible in Matrix metering mode and less so in Center-Weighted mode. I found no differences between aperture and shutter priority, or manual exposure modes. I will try to repeat the test if I have the chance of getting another copy.

Chromatic aberrations

For this test I shot a car roof from above, on a very sunny day early in the afternoon.

70mm

300mm

The Tamron employs low dispersion glass elements to reduce chromatic aberrations and it’s clearly visible that the lens performs as advertised. Aberrations are negligible at almost every aperture, except at its maximum where minor vestiges can be found on extremely high contrast situations, but only at the widest focal length. That’s a very good performance for a lens in this price point.

Coma

Coma is an important requirement in astrophotography and usually affects the corners of most lenses. Lenses that are affected by coma produce comas (hence the name) instead of bright light points in dark backgrounds. One way to test coma is using a LED source of light at home in a dark room.
I put the light source at the center (first column), corner and extreme corner of the frame (second and third columns, respectively), at maximum aperture and stopped down.

70mm

300mm

The lens isn’t much affected by coma and the only distortions visible are in the halos around the center, where they stretch the more the points are closed to the borders, but the points themselves remain perfectly circular. This is not uncommon for lenses with such moderate maximum apertures.

Flare

I shot a building in construction in front of me, with the sun sneaking from a window, to see if I could see any flare vestiges. I started to shoot directly against the sun, then placed the sun at the corner and finally made some shots with the sun just outside the frame.

Shot directly against the sun.
Shot with the sun placed at one corner of the frame.
Shot with the sun just outside the frame.

The images are not much affected in all situations, which shows that the lens has good resistance to flare keeping contrast on a high level. The worst case is when the sun is placed at one corner, where the multiple internal reflections of light may be noticeable in the opposite corner.

Bokeh

Thanks to the 9 aperture blades, we can expect circular out of focus highlights from this lens. I took a defocused picture at the widest aperture of the city lights and got crops of the center, corner and extreme corners. The test was repeated for the subsequent two stops.

70mm

300mm

The bokeh from this lens is perfectly circular at the center and suffers from the cats eye distortion due to vignetting in the corners and more so in the extremes. The out of focus highlights are rather nervous on the inside at 70mm but get perfectly smooth at 300mm, and the edges aren’t much accentuated, resulting in smooth transitions and backgrounds that are soft and not distracting at the longest focal length. All in all, the lens has good bokeh characteristics which are amongst the best in its class, especially when we take the moderate apertures involved into account.

Macro/Close-up

The Tamron was capable to focus as close as 144 centimeters from the sensor plane, which means 125 centimeters from the front element, resulting in a maximum magnification raio of only 1:4 at 300mm. I shot an 1 Euro coin and this is what to expect at the minimum focus distance:

70mm

300mm

Image stabilization

This lens introduced Tamron’s new image stabilization technology, VC (Vibration Compensation), to compensate for unwanted small movements, and it’s advertised as giving an advantage of 4 stops. This means that at 300mm, one can shoot with speeds as slow as 1/20 seconds.
To test it, I shot the back of a street lamp from my window. The first column shows crops of the subject shot with VC off, and the second column shows them with VC on for comparison. Here are the results at 300mm:

It shows to me clearly that the VC works as advertised, resulting in sharp images at 1/20 seconds. Of course, one has to build some technique to hold the camera and lens steady, so that the benefits of this technology can be applied. The image taken at 1/20 is a little softer but due to diffraction (an aperture of f/32 was used).
Contrary to Nikon’s VR mechanism where 2 axis (up and down) are used, VC used 3 axis: up, down and yaw (up-left, down-right) to compensate for diagonal shakes. One more difference to VR is that VC appears to work with full power right from the moment you press the shutter button halfway, and stays there moments after the picture is taken. VR works with less power and only commutes to full power when you press the shutter button down to take the picture. This is the reason why the images in the viewfinder are almost static with VC, when compared to what is visible with VR. This doesn’t mean that VR is much worse, because it’s not, but I found VC to give me more keepers. And it works as advertised, which is amazing.

Summary

Build quality 7 Mostly high quality plastic but all parts are tight together
Handling 7 Nice feel overall with silent and fast AF in most situations, the zoom ring could be damped for smoother operation
Resolution 7 Very good center sharpness, good corners and acceptable extreme corners in most apertures, amongst the best in class
Distortion 9 A little pincushion distortion but not noticeable in everyday shots
Vignetting 8 Strong at biggest apertures, negligible afterwards (not considering the variations in exposure)
Chromatic aberrations 9 Rarely visible, if any only at 70mm at the widest apertures
Coma 9 Not perfect, but the lens almost doesn’t have issues here
Flare 8 May produce some flare in harsh conditions, but contrast stays always on a high level
Bokeh 7 Circular but very nervous with accentuated edges at 70mm, but gets pleasantly smooth at 300mm
Overall 79% Very good lens on DX and FX, a valuable lens if you need stabilization and can’t afford any of the 70-200mm offerings

Samples

Here are some samples of pictures I made with this lens. Settings: native JPEG, picture control set to Landscape mode, no post-processing applied except reducing to 600 pixel width.

300mm, f/5.6, 1/125s, ISO 200
300mm, f/11, 1/160s, ISO 200
70mm, f/4.0, 1/1600s, ISO 200
70mm, f/4.0, 1/2000s, ISO 200, -0.7 EV
270mm, f/5.6, 1/1250s, ISO 200
70mm, f/11, 1/320s, ISO 200
100mm, f/4.2, 1/1250s, ISO 200