Nikon AF-S VR 70-300 f/4.5-5.6G IF-ED

Product Information

Filters last a lifetime, so you may as well get the best. The Hoya HD3 stays cleaner than the others since it repels oil and dirt. Even if it costs half as much as this lens, you'll be using this filter long after you've replaced this lens. For Sony users, a high-quality offering in the 70 to 300mm range comes in the form of the Sony FE 70-300mm f/4.5-5.6 G OSS. Two extra-low dispersion and four aspherical elements reduce lens anomalies. It also comes with a Nano AR coating, and a nine blade rounded diaphragm provides top-end bokeh quality.

The 55-250 has less play in the barrel than the 70-300, but the 70-300 is more solidly built including a metal lens mount. my personal preference in this price range is for the Canon EF 70-200mm f/4L USM Lens over the 70-300. Zooming lenses come either with a fixed focal length and zoom variations. Lenses with fixed focal lengths, for the most part, are more significant than zoom variations. Zoom lenses, however, give greater flexibility to photographers. Therefore, it is practically challenging to add a dispersion impact on this lens. However, this can likewise be a surprisingly positive development. This lens has a little vignetting in every single focal length when utilized on a DX sensor camera. This is another region the 70-300mm dominates is in picture stabilization. Appropriately named Vibration Reduction (VR), the VR automatically rectifies minor developments and vibrations, allowing you to take gem pictures without a stand. Using the VR, it’s feasible to take up to four stops slower screen speed pictures.

Dustin Abbott

This works on all Sony E-mount cameras, full-frame and APS-C crop-sensor. This includes all the variations of NEX, A9-, A7-, A6xxx and A5xxx series cameras. The focal length remains the same, paying attention to the size of the sensor; the focal length is steady. Thus, the 70-300mm is a 70-300mm on an FX camera, a DX camera, a Medium Format camera, or even a Large Format view camera. Switching to telephoto, this lens remains nice and sharp in the center at its F5.6 maximum aperture, again with only minor softness in the corners. Much as at wide-angle, stopping down a bit helps in the corners a bit more than in the center. The Fuji 70-300mm AF-S has no visible distortion, at least as shot on Fujifilm's APS-C cameras which most likely are correcting any that might be there.

Much less expensive than the 70-200/4 G, 70-200/2.8 GM or 100-400 GM that essentially do the same thing — and this lens does many things better. Apochromatic lenses have special lens elements (aspheric, extra-low dispersion etc) to minimize the problem, hence they usually cost more. The Fujifilm XF 70-300mm's autofocus drive is based around a linear autofocus motor, the same type used in the earlier 55-200mm. (The higher-end 100-400mm, meanwhile, uses dual linear autofocus motors.) Fuji lenses generally do very well at suppressing flare and this is no exception. In general use flare is just not a problem, even when efforts are made to try and induce it.See Nikon Lens Compatibility for details on your camera. Read down the "AF, AF-D (screw)"and "G" columns. The focus ring is located closer to the base of the lens and rotates to infinity in either direction with a slow smooth resistance making it very easy to control for video, but can be a bit slow when trying to focus for stills. The good news is it will allow you to really dial in your focus in complicated scenarios should the need arise. Optical Image Stabilization (OIS, IS or VR (Vibration Reduction)) works very well, with or without in-camera stabilization Canon's MTF charts indicate a performance improvement over the 75-300 IS - especially sharpness at 300mm (where the 75-300 IS was weakest).