Nikon first announced the development of the AF-S VR Nikkor 70-200mm f/2.8G ED-IF in February 2002, with the lens becoming available to buy in April 2003. Billed by Nikon as a 'compact, lightweight' fast telephoto, the lens features a complex optical design of 21 elements in 15 groups, including no fewer than 5 Extra-low Dispersion (ED) elements for the correction of aberrations. It improves on its predecessor, the AF-S 80-200mm f/2.8G, mainly by incorporating an optical image stabilisation unit (or in Nikon speak, 'vibration reduction'), allowing hand holding at shutter speeds up to three stops lower than normal without image degradation due to camera shake.
The 70-200mm f/2.8 class of fast telephoto zoom is (along with the fast standard zoom) one of the key workhorse lenses for the working photographer, and is used for a huge range of applications. From weddings and portraits, though events and journalism, to sports and wildlife, this lens will be a mainstay of many a professional, and therefore needs to perform impeccably across almost every imaginable situation. And naturally this lens is not just the preserve of working pros; keen (and well-heeled) amateurs will also value the flexibility and sheer optical quality promised by a top notch fast telezoom.
Of course back in 2002, Nikon were riding the crest of a wave due to the success of the revolutionary D1, the first 'affordable' DSLR (at least for money-making professionals) which kick-started the seismic shift from film to digital, and introduced the world to the new 'DX' sensor size standard. The AF-S VR 70-200mm F2.8 therefore aimed to provide professional photographers with a lens whose imaging qualities were optimally matched to the new demands of digital imaging and the DX sensor, whilst adding the highly desirable features in ultrasonic focusing and image stabilization. Fast forward six years and the situation is not entirely dissimilar; Nikon are again arguably top dogs in the high end DLSR market, with their D3/D300 double act, but have now re-introduced their users to an old favourite format in FX (that's full-frame 35mm, in anyone else's language). This has refocused attention on the lens lineup, and especially those models introduced since Nikon shooters last used the 35mm format en masse with the F5 film body. So does the 70-200mm f/2.8 VR stand up to this latest examination of its abilities?
Andy Westlake
more : dpreview
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