Canon announcement of EOS 50D replacing its predecessor 40D – which has only introduce less than a year ago – instead of the three-years-in-existence Canon EOS 5D has invited both disappointments and hopes. Disappointments were obvious. Hopes came from beliefs that by introduction of 50D, the long awaited 5D Mark II will carry an even newer technology than what 40D has. On September 17th 2008 Canon pays off loyal user who have been patience enough to wait. Canon EOS 5D Mark II which brings along the most advance technolgy was officially anounced.

Looking into specification I belief it exceeds every expectation people have ever had – at least among many of them I read in online forums, blogs, and articles. 21.1 mega pixel CMOS sensor, Digic 4, ISO 50-25,600 are among the most significant leap over the three years old 5D. Attached to this posting is Canon’s official press release.

Contrary to beyond expectation specifications, price tag was by far below expectation. Whilst most columns predicted it to come in similar price of 5D in its annoucement, which was $3,300, Canon puts estimated retail price of $2,699 for body only and $3,499 as a kit with Canon EF 24-105mm f/4L IS. First delivery was scheduled as close as end of November 2008.

“Will I get one?” Definitive question is NO, at least not in the near future, even if I have $1,300 to be invested in photography gears. There are still lightings and glasses at my higher priority than replacing my 5D with a new one.

Attached is full release.

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CANON U.S.A. INTRODUCES THE HIGHLY ANTICIPATED EOS 5D MARK II
DSLR CAMERA FEATURING FULL-FRAME HD VIDEO CAPTURE

The Canon EOS 5D Mark II Escalates Full-Frame Digital SLR Photography to the Next Level with HD Movie Recording Capabilities, DIGIC 4 Imaging Processor, and 21.1 Megapixel Resolution

LAKE SUCCESS, N.Y., September 17, 2008 – Canon U.S.A., Inc., a leader in digital imaging, today introduced the EOS 5D Mark II Digital SLR camera, the long-awaited successor to Canon’s highly popular EOS 5D, introduced in 2005. Building upon the qualities that made the EOS 5D camera so successful, Canon has coupled the creative power of a full-frame CMOS sensor in a relatively compact and affordable camera body, together with groundbreaking HD video capture that opens the door to a much wider range of imaging possibilities for photographers. Along with the ability to capture full HD video clips at 1920 x 1080 resolution, Canon’s EOS 5D Mark II Digital SLR camera features a 21.1-megapixel full frame 24 x 36mm CMOS sensor, DIGIC 4 imaging processor and significantly lower noise, with an expanded sensitivity range from ISO 50 to ISO 25,600.

“The anticipation surrounding the launch of this camera model has exceeded our greatest expectations, and we believe our loyal customers will be awed by the level of innovation and features built into the new EOS 5D Mark II Digital SLR. Once they have the chance to experience the camera, we believe they will agree that it was worth the wait,” stated Yuichi Ishizuka, senior vice president and general manager, Consumer Imaging Group, Canon U.S.A.

Among the many advancements in Canon’s new EOS 5D Mark II camera is the Company’s proprietary DIGIC 4 Imaging Processor that powers the camera’s fast 14-bit analog-to-digital conversion for smooth color tones and exceptional gradation. The Canon EOS 5D Mark II Digital SLR offers a full-frame 24 x 36mm, 21.1 megapixel CMOS sensor and continuous shooting at 3.9 frames per second (fps) for an unlimited number of full-resolution JPEGs to the capacity of the memory card or up to 14 RAW images in a single burst when using a UDMA CF card. The camera includes a 15-point Autofocus (AF) sensor with nine selectable AF points plus six additional Assist AF points (three center AF points sensitive to f/2.8 lenses) with enhanced light source detection and AF microadjustment for greater autofocus performance. The EOS 5D Mark II camera also features a large, clear 3.0-inch Clear View LCD screen with 920,000 dot/VGA resolution, four times the pixel count of the EOS 5D camera’s 2.5-inch screen, for enhanced clarity and color when viewing images. The new camera is equipped with a high-performance, high-magnification optical viewfinder providing 98 percent coverage, giving a new dimension to the saying, “what you see is what you get.” Professional photographers will also appreciate the enhanced 150,000-cycle shutter durability of the EOS 5D Mark II camera.

Canon, the first company to introduce a full-frame digital camera, has improved the EOS 5D Mark II Digital SLR camera’s newly developed full-frame CMOS image sensor. Utilizing proprietary Canon technology, the Company has reduced noise and expanded the sensitivity of the CMOS sensor up to ISO 25600, which is three full stops higher than the ISO 3200 limit of the original EOS 5D camera. Although the individual pixel dimensions of the EOS 5D Mark II camera are the same as the 21.1-megapixel CMOS sensor used in the EOS-1Ds Mark III digital SLR, the new sensor incorporates an improved output amplifier and a more advanced color filter that improves light transmission while retaining excellent color reproduction. By applying the same kind of advancements in sensor design and image processing technology as the recently introduced EOS 50D camera, but at higher resolution and with larger pixels, the EOS 5D Mark II achieves the highest level of image quality of any EOS Digital SLR released to date.

With the combination of its improved CMOS image sensor and the powerful new DIGIC 4 image processor, the Canon EOS 5D Mark II camera provides ISO speeds from ISO 100 up to ISO 6400 in 1/3-stop increments, along with two high-speed settings – H1 and H2 – of ISO 12800 and ISO 25600, respectively, as well as a low-speed setting of ISO 50. The full-frame sensor maximizes the performance of Canon EF lenses, the world’s largest selection of autofocus lenses.

HD and SD Video Capture

Canon has taken its expertise in imaging, photography and video capture technology to a new level with the EOS 5D Mark II Digital SLR. Answering the question of where SLR technology is going next, the EOS 5D Mark II features 16:9 Full HD video capture at 1920 x 1080 pixels and 30 fps as well as 4:3 standard TV quality (SD) video capture at 640 x 480 pixels and 30 fps, both capabilities appearing for the first time in a Canon SLR camera. Video capture is part of the camera’s Live View function, using the Picture Style that has been set for Live View still image shooting. This allows skilled photographers and cinematographers to adjust image sharpness, contrast, color saturation and white balance, and have those settings apply to the movie image. When recording video, the camera’s rear LCD screen can be letter-boxed by a semi-transparent border to match the aspect ratio of the movie recording size. Moreover, the EOS 5D Mark II camera’s HD video capability enables new levels of creative expression through its unfettered access to the complete line of more than 60 Canon EF lenses, which provide an incredible variety of visual effects including everything from ultra-wide-angle and fish-eye to macro and super-telephoto, including many large-aperture L-series professional lenses that can keep the main subject in razor-sharp focus while blurring the background beyond recognition.

The EOS 5D Mark II will record video up to 4GB per clip or a maximum continuous movie capture time of 29 minutes and 59 seconds, whichever comes first. Depending on the level of detail in the scene, a 4GB memory card can record approximately 12 minutes of video at full HD resolution or approximately 24 minutes in standard definition.i Video clips are recorded in .MOV format using an MPEG-4 video compression and sound is recorded using linear PCMii without compression. The new camera features an input terminal for external stereo microphones as well as a built-in monaural microphone for convenience. To help show off those fantastic movies as well as still photos, the EOS 5D Mark II camera includes an HDMI (High-Definition Multimedia Interface) output to display crisp, clear images on a High-Definition TV.

Live View Shooting

For both still images and video, the Canon EOS 5D Mark II camera features Live View, one of the most sought after features in digital SLRs today. The 5D Mark II features three Live View AF modes – Quick, Live and Face Detection Live mode – for capturing either still photos or video, each with its own attributes. Quick mode automatically sets One-Shot AF using the camera’s phase detection AF system. It also allows users to select the AF point, even while the Live View image is displayed. Although the camera’s reflex mirror must be lowered briefly to take an AF measurement in Quick mode, it is the fastest way to set focus automatically when the 5D Mark II camera is set for Live View.

Live mode uses contrast-detection AF with the image sensor and here, as with Quick mode, users can change the AF point using the Multi-controller. Face Detection Live mode uses contrast AF to recognize human faces. When multiple faces are detected, the largest face closest to the center of the frame is targeted as the AF point. While Live View is engaged users can still change settings including the AF mode (Quick, Live, Face Detection Live mode), drive mode, ISO speed, Picture style, White Balance, and more.

Peripheral Illumination Correction

The Canon EOS 5D Mark II Digital SLR camera automatically conducts peripheral illumination correction when shooting JPEG images, a function that previously could only be accomplished through post-image processing using software such as Canon’s Digital Photo Professional, which Canon supplies at no extra charge. Peripheral illumination correction evens brightness across the image field, making an image of a blue sky even toned throughout and reducing light fall-off at image edges. This new feature essentially eliminates one of the limitations of previous full-frame digital SLRs.

Auto Lighting Optimizer

Canon’s enhanced Auto Lighting Optimizer technology helps ensure each picture’s subject is clearly visible by analyzing image brightness and automatically adjusting dark areas in images so that they appear brighter. This function is ideal in high-contrast situations such as urban landscapes captured on sunny days, where the tops of buildings are brightly lit while street level details are obscured by heavy shadows. In this type of scene, the 5D Mark II camera’s Auto Lighting Optimizer technology preserves accurate exposure of the highlights while opening up the shadow areas for a more pleasing tonal rendition.

Canon’s New Creative Auto Mode

Recently introduced with the new EOS 50D, Canon’s “CA” Creative Full Auto setting can also be found on the EOS 5D Mark II Digital SLR camera’s mode dial. This setting allows users to make image adjustments such as aperture or shutter speed through an easy-to-understand navigation screen on the camera’s LCD menu, allowing them to “blur the background” or “lighten or darken the image.” These easy-to-understand image options allow photographers to experiment with image options while still shooting in an automatic mode.

Two Small RAW Formats

For photographers seeking the flexibility and creative possibilities of shooting RAW format images, without the large file size, the Canon EOS 5D Mark II Digital SLR camera offers two more manageable file size options with sRAW1 and sRAW2 recording formats. At the sRAW1 setting, resolution is 10.0-megapixels with a file size that is approximately 25 percent smaller than a standard 21.1-megapixel RAW image. With the sRAW2 setting, resolution is 5.2 megapixels at less than half the file size of a standard RAW image, retaining all of the flexibility and creative possibilities associated with full-size, conventional RAW images. Wedding and portrait photographers, in particular, will appreciate the options of variable resolution and file size which allow them to fine-tune the 5D Mark II’s operation for their specific needs.

Silent Shooting in Live View

Canon has equipped the EOS 5D Mark II with two Silent Shooting modes in Live View which will prove particularly helpful to law enforcement officials, and for behind-the-scenes shooting on movie sets. In Mode 1, the camera will shoot with the mechanical shutter open at the beginning of the exposure, using the electronic 1st-curtain function of the CMOS sensor and a reduced shutter-cocking noise, allowing multiple shots to be taken with minimal noise. In Mode 2, to minimize shutter noise during single frame photography, shutter cocking does not occur until the shutter button returns to the half-way position after shooting.

EOS Integrated Cleaning System

With the introduction of the EOS 5D Mark II camera, the entire Canon EOS system is now equipped with the highly acclaimed EOS Integrated Cleaning System. The Self-Cleaning Sensor Unit for the Canon EOS 5D Mark II has been upgraded with a fluorine coating on the low-pass filter for better dust resistance.

Pricing and Availability

The Canon EOS 5D Mark II Digital SLR camera is compatible with Canon EF lenses and is scheduled for delivery by the end of November. The EOS 5D Mark II will be sold in a body-only configuration at an estimated retail price of $2,699iii. It will additionally be offered in a kit version with Canon’s EF 24-105mm f/4L IS USM zoom lens at an estimated retail price of $3,499iv.

New EF 24mm f/1.4L II USM Lens

The new EF 24mm f/1.4L II USM lens is the successor to Canon’s EF 24mm f/1.4L USM professional wide-angle lens released in 1997. Targeting professional photographers, the new EF 24mm f/1.4L II USM lens has been introduced to address the advancements high-resolution digital SLR cameras with re-designed optics and use of a new anti-reflection lens coating called SWC (Sub-Wavelength Structure Coating) to minimize ghosting and flare. Features such as dustproof and waterproof construction that have been adopted make this a high-performance lens with specifications that respond to the demands of professional users. A welcome complement to the EOS 5D Mark II Digital SLR camera, the EF 24mm f/1.4L II USM lens is scheduled to be in stores this December at an estimated retail price of $1,699v.

About Canon U.S.A., Inc.
Canon U.S.A., Inc. delivers consumer, business-to-business, and industrial imaging solutions. Its parent company, Canon Inc. (NYSE:CAJ), a top patent holder of technology, ranked third overall in the U.S. in 2007†, with global revenues of $39.3 billion, is listed as one of Fortune’s Most Admired Companies in America and is on the 2007 BusinessWeek list of “Top 100 Brands.” To keep apprised of the latest news from Canon U.S.A., sign up for the Company’s RSS news feed by visiting www.usa.canon.com/pressroom.

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† IFI Patent Intelligence Press Release, January 2008

All referenced product names, and other marks, are trademarks of their respective owners.
Specifications and availability are subject to change without notice.

i According to Canon’s standard test methods.
ii A method of converting audio and other analog signals into digital data. It is recorded without any compression.
iii Pricing subject to change at any time. Actual prices are determined by individual dealers and may vary.
iv Pricing subject to change at any time. Actual prices are determined by individual dealers and may vary.
v Pricing subject to change at any time. Actual prices are determined by individual dealers and may vary.

To cut the production cost and make consumer DSLR more affordable, manufacturers produce smaller image sensor, which then getting popular as DSLR with crop factor. Practically it is just as simple as cropping a small fraction in the middle of standard-sized sensor. Standard sensor size is 35mm, the normal standard of film size.

Following is sensor dimension of Canon and Nikon cameras:
Nikon DX (crop factor 1.5) 23.6 x 15.8mm
Nikon FX (full frame) 36 x 23.9mm
Canon (crop factor 1.6) 22.2 x 14.8mm
Canon (full frame) 35.8 x 23.9mm

Considering that cropped sensor is only using a small fraction of the image, manufacturers are cutting the price even more, making consumer DSLR price even more attractive, by producing smaller lens. These lenses do not work on full frame as they can only yield as small image as the cropped sensor can collect.

With the spirit of cost saving, it is very much understandable that both optical and construction quality are adjusted accordingly. It forces keen enthusiasts using cropped DSLR to use professional full frame lenses to benefit from their professional optical excellence, by technically wasting a significant part of its result cropped out. It is actually a waste of energy and money as professional full frame lenses are significantly heavier and a lot more expensive.

An additional waste comes on ultra wide photography. Cropping our collected image, ultra wide lenses result in similar images as longer ones. 14mm lens on Nikon’s 1.5 cropped DSLR results in similar image as 21mm on full frame lens. Price of 14mm (F2.8) lens is roughly $1,200 whilst 20mm lens (the same maximum aperture) costs only $500.

Ignoring all other full frame benefits, using full frame saves $700 for similar (even slightly wide) images, or you may still spend it for extremely wider results.

I have been a Nikon fanatic since I the first time I grabbed a camera back in 1983. Currently using a D200, I definitely looking at the first Nikon 35mm DSLR, the new D3. However, I do realize that its price tag is by far beyond my reach. So I am seriously considering Canon 5d, which used ones are sold at about the same price of brand new Nikon D300, about one third of a Nikon D3.

Here comes the issue. Beyond technical consideration, my reluctant came mostly from the fact that the only full frame DSLR I can afford was made by Canon. So it is all about changing religion. I can of course do the same as very few photographer do, own and use both. But I am not that rich, I have to sell my Nikon and all of it lenses to be able to buy the Canon.

Why would I want a full frame? Here is the main reason. I linked to the image from Ken Rockwell’s website as I do not have a 35mm camera myself.

Sharpness

Sharpness is actually one of the two keywords initiating my will to go full-frame. Especially in in large blast, comparing sharpness of D200 to 5D is nothing but shameful. Sharpness is how sharply all details, regardless of their fineness, are rendered. Sharpness is a much more complex issue than a simple resolution number. It’s a lot more than the 14% difference in linear pixel count between these two cameras.

The simple explanation is that we don’t have to enlarge larger formats as much, which makes lens performance much less important. Even at much less than the limits of resolution, practical lens performance is much better with larger formats because the lens doesn’t need to resolve as much as sharply to give the same great, or better, image.

Good Results even by Cheap Lens

Crappy lens on full frame camera body results better than superior expensive lens on camera with crop-factor. Ken Rockwell has a comparative image, showing that a photograph taken by Canon 70-210mm F4 on Canon 5D body is by far better than the Nikon’s legend 85mm lens on D200 body. Imagine if we use excellent but less sharp Nikon 80-200mm F2.8, or even more less sharp 18-200mm VR on D200. In contrast, imagine if we use top end of Canon L series like 85mm F1.2 L in a 5D.

Having bigger pixels on a larger format means you can use cheaper lenses and usually get better results than the best lenses on a smaller format.

Less Noise

Bigger pixel means larger surface to collect light, which immediately translate into clearer image. Smaller pixel with narrower surface collect less light, translated into flatter dynamic range and thus results in less details and more noise.

Capability of catching more lights minimize needs of amplification at the same ISO number. It immediately means that even if wind up at the same exposure, noise is not amplified so much, allowing us to get cleaner picture without noise reduction.

But there is something a lot more important than noise. Discussion about noise can be rather misleading. All cameras smooth over the noise in flat areas to varying amounts where it’s most visible, so simple noise measurements alone tell us nothing because they don’t look at how much the important details in the image have been smoothed over along with the noise.

In simple way. the noise tends to look about the same, but the full-frame image is much sharper, cleaner and alive than the cropped-sensor image. The full-frame advantage is in the details.

In his comparison between Nikon D200 and Canon 5D Ken Rockwell found that the DX D200 has to smooth over fine details (noise reduction) to bring the noise down as far as the 5D does. The D200 image also has a hot pixel, while the 5D doesn’t. The D200 image looks like smooth mud while the 5D is quite usable. The 5D leaves in far more detail at ISO 3200.

Color Differentiation

Larger formats see more and smoother colors than smaller formats. It is more visible if you have a chance to compare between larger and smaller film on a light table. I digital, even though the colors and histograms match, the larger format camera sees the subtle difference between colors. Why? The reason is actually identical with noise: bigger pixels catch more light. Its affect on color is that the lower noise of larger format cameras simply the colors more room to unwind.

Usage of noise reduction gives a real very visible image improvement. However it smudges over important subtleties. It is always better to have a clean image and not use noise reduction than it is to take a noisier image and clean it with noise reduction. noise reduction loses important subtle details, even if it leaves edges sharp.

Ultra Wide Lenses

Considered as ultra wide lenses are those ranging between 16mm and 21mm on full frame. Some ridiculously referred to those shorter than 16mm as ultra-ultra wide. Whatever they are called, these vocal lengths result in weird (lovely) effect.

There are no ultra-ultra wide lenses for DSLR with cropped sensor. The widest you can get is 10mm by Canon EF-S translating into 16mm on its 1.6 cropped DSLRs and 12mm translating into 18mm in its 1.5 cropped DSLRs. Sigma offers 10mm allowing Nikon cropped DSLRs to shoot as close as 15mm, but it is actually at least 1mm more than their claim, so we are talking about 16mm here.

For full frame, both Canon and Nikon have as short as 14mm linear (non-fish eye) lenses, which translated into 21mm in cropped DSLR do not do anything.

The newcomers will be put on track on August 2008 and expectedly to hit the market on December 2008. Just like any other new Nikons, this one willbe smokin’ hot. To get it at its first scheduled shipment you will have to make a pre-order online the first day pre-order becomes available. As always, it most likely to be started from North America, so Indonesian enthusiast should allow a few more month to be able to get it from the black-market, and even more before official release from the local distributor.

What is hot is really its FX sensor as D3 instead of DX as D300. In short, it will be like a D300 with full-frame sensor. The only reason to get FX of D3 over the DX sensor of D300 is for by far cleaner image at high ISO and distortion-free ultra-wide shot. Estimate street price is $3,299.00. Are you chocked? Well, you don’t think that Nikon will give the full-frame sensor for free at the price of D300, do you? Plus, to take the advantage of full-frame sensor on ultra-wide shoots you will also have to get a 12-24mm F2.8 AF-S, 14mm F2.8 AF-D, or 15mm F3.5, none of which are sold far beyond $1,000 each.

Remain excited?
Here is the full spec:

Sensor:

• 36 x 23.9 mm CMOS sensor
• FX format
• RGB Color Filter Array
• Built-in fixed low-pass filter
• 12.9 million total pixels
• 12.1 million effective pixels
• 3:2 aspect ratio

Image processor:

• Nikon EXPEED

A/D conversion:

• 14 bit

Image sizes:

(FX format)

• 4256 x 2832 [L; 12.1 MP]
• 3184 x 2120 [M; 6.8 MP]
• 2128 x 1416 [S; 3.0 MP]

(DX format)

• 2784 x 1848 [L; 5.1 MP]
• 2080 x 1384 [M; 2.9 MP]
• 1392 x 920 [S; 1.3 MP]]

File formats:

• NEF (12-bit or 14-bit, compressed or lossless compressed RAW)
• NEF + JPEG
• TIFF
• JPEG (EXIF 2.21)

Lens mount:

• Nikon F mount with AF coupling and AF contacts
• No field of view crop (full-frame)
• When using DX lenses / DX mode 1.5x FOV crop

Usable lenses:

• Type G or D AF NIKKOR: All functions supported
• DX AF NIKKOR: All functions supported except FX-format (36×24)/5:4 (30×24) image size
• AF NIKKOR other than type G or D: All functions supported except 3D Color Matrix Metering II
• AI-P NIKKOR: All functions supported except autofocus and 3D Color Matrix Metering II
• Non-CPU AI NIKKOR: Can be used in exposure modes A and M; electronic rangefinder can be used if maximum aperture is f/5.6 or faster; Color Matrix Metering and aperture value display supported if user provides lens data

Auto Focus:

• 51 focus points (15 cross-type sensors)
• Multi-CAM 3500FX
• AF working range: -1 to +19 EV
• Contrast Detect in Live View (Tripod) mode

Exposure modes:

• Program Auto [P] with flexible program
• Shutter-Priority Auto [S]
• Aperture-Priority Auto [A]

Metering:

• 3D Color Matrix Metering II (type G and D lenses); color matrix metering II (other CPU lenses); color matrix metering (non-CPU lenses if user provides lens data; metering performed)
• Center-weighted: Weight of 75% given to 8, 15, or 20 mm dia. circle in center of frame or weighting based on average of entire frame
• Spot: Meters approx. 4 mm dia. circle (about 1.5% of frame) centered on selected focus point (on center focus point when non-CPU lens is used)

White balance:

• Auto (1005-pixel CCD, image sensor)
• Presets (seven) with fine tuning
• Manual presets (four)
• Color temperature in Kelvin (2500 – 10000 K, 31 steps)
• White balance bracketing (2 to 9 frames, 10,20,30 MIRED steps)

Sensitivity:

• Auto (200 – 6400)
• Up to ISO 25600(expanded range)

Flash Sync Mode:

• Front-curtain Sync (normal)
• Red-Eye Reduction
• Red-Eye Reduction with Slow Sync
• Slow Sync
• Rear-curtain Sync

Storage:

• Compact Flash Type I or II
• UDMA, Microdrive and FAT32 supported

Power:

• Lithium-Ion EN-EL3e (7.4 V, 1500 mAh)
• Included battery charger MH-18a
• Optional AC adapter EH-5a
• Optional MB-D10 battery pack / vertical grip

Vertical grip:

• Optional MB-D10 battery pack / vertical grip
• One Rechargeable Li-ion Battery EN-EL4a, EN-EL4 or EN-EL3e or eight R6/AA-size alkaline (LR6), Ni-MH (HR6), lithium (FR6) batteries, or nickel-manganese ZR6 batteries

1. Nikon. I preferred Nikon sub-class than pro-class of other brands like Sigma. I own an ultra-wide from Sigma, 10-20mm f/4.0-5.6 EX DC HSM, which whilst without thinking of throwing it away, I preferred not to get another Sigma in my bag, especially at the long range. Inferior optical performance and slow focusing were among the reasons.

2. Focal length. The focal length was perfect for close-up portraiture, with dead locking focus and pleasant bokeh. The theory was that you need lens below the eye’s focal length, which is 50mm, to get perfect shape. 80mm up was rather just perfect. Whilst I understood that 85mm, either at with f/1.4 or f/1.8 were better at its focal length, being able to zoom up gave better flexibility whilst allowing better bokeh, from increasing focal length instead of wider aperture.

3. Bokeh - combination between wide aperture and long focal length resulted in more pleasant rendering of out of focus area, popular as bokeh.

4. Aperture - wide aperture allowed to take picture in lower light. In low-light, one or two steps larger definitely worths. In theory, people could get perfect shot hand-held at the speed of 1/focal length, which means you need to shoot at a minimum speed of 1/200 second when using 200mm lens. If the light requires exactly 1/200 second in f/2.8, how much opportunities you would loose by using a lens with max. f/5.6, considering that to get the same light you have to drag down the speed by to stops, which was 1/50 sec.

5. Aperture (again) – f/2.8 allowed the lens to be used with tele-converter. At this aperture, usage of tele-converter was still allowing AF to perfectly work. Combined with 2x tele-converter the lens gave a doubled focal length of 160-400mm. TC dragged 2 stops of the maximum aperture, so here we were talking about f/5.6. 400mm f/5.6 was not bad at all. Compare to those with f/5.6 as the maximum aperture at 200mm, where usage of tele-converter disables AF and aperture 2 stops drags the maximum aperture down to f/11.

As most of Nikonians, I dream of the new Nikon AF-S VR 70-200 f/2.8G IF-ED, but priced at about 19 millions Rp. , it was definitely not at the same league as my pocket. So I had to look around, with similar optical performance – minus VR – and the fact that it was by far lighter, I decided to get Nikon AF 80-200mm f/2.8 D ED N, which was sold brand new at slightly less that a half of the new AF-S version. To save even more, I got mine used.

A few photographers tried to compensate wide aperture with VR, which allowed users to shoot at about 2-3 stops below normal shutter speed requirement by eliminating hand-shake. I personally did not but this theory as VR was all about eliminating hand-shake, (1.) you would not get the same bokeh rendering of f/2.8 by using lens with narrower aperture, (2.) combination with tele-converter would not allow you to get AF work. It also would not give you sufficient aperture when used in combination with tele-converter, (3) so good of VR lens with narrower aperture, imagine if you are getting wide f/2.8 plus VR.