Nikon

Reflecting on 2018

December 23, 2018 in Featured

Today is December 22, 2018*… the day following the Winter Solstice. For many reasons, phenological events associated with the ebb and flow of time hold great meaning for me. The long nights and short days inspire introspection and reflection of the year that was and the one that will soon be. This year was a year defined by political, economic, and environmental chaos that continues to be unsettling. In many ways, the chaos in Washington has sapped a bit of joy from the little things in life. Disrespect for culture, for friends, and for the environment now trumps (pun intended) the common courtesy that once was considered acceptable… if not appropriate. This shortest of days coincides with a governmental shutdown designed to acquiesce to the will of a minority voting block rather than the larger populace of our nation.

I am not sure I know what any of this has to do with photography and the twenty images displayed here, however I think that I can tie it all together. My year in photos was one that included three publications, two workshops, travels to Iceland, Canada, and transcontinental drives across the United States. I visited many new destinations, made images under extreme environmental duress, photographed a few new species, and sadly, became obsessed with the gear I used rather than the images being made. Much like a government which seems to have lost its way, I continued to push the shutter release without giving much thought to the work I was producing. My productivity without focus seems to parallel the workings of a government without a conscious… something a little less than what it could have been.

Postscript - The Images posted are what I consider to be my 20 best from 2018. What follows is a key to what is presented in chronological order. 1. Swan Rousing, Vadnais Heights, MN : 2. Bison Huddle, Yellowstone NP, MT : 3. Tree Bones, Yellowstone NP, MT : 4. Swan Landing, Hudson, WI : 5. Resting on Ice, Hudson, WI : 6. Flocked Tree, Stillwater, MN : 7. Crane Fight, Grantsburg, WI : 8. White Pelican, Stillwater, MN : 9. Chicken Fight, Bluestem Prairie, MN : 10. River Mist, Afton, MN : 11. Tree Bones, Teddy Roosevelt National Park, SD : 12. The Sentient Bear, Kootenay NP , BC Canada : 13. Lake Louise and Misty Clouds, Banff NP, Canada : 14. Rialot Sunset, Olympic NP, WA : 15. Lake Superior Sunrise, Grand Marais, MN : 16. Cow Elk, Elk County, PA : 17. Kirkjufell, Snaefellsnes Peninsula, Iceland : 18: Geothermal Pipes, Reykjanesta Peninsula, Iceland : 19, Water and Rocks, Reykjanesta Peninsula : 20. Buck and Goldenrod, Fort Snelling, MN

*Note: While Posted on December 23rd, I began writing the blog on the evening of December 22nd.

Beaver at Sunrise - Nikon D500 + Nikon 500mm f/5.6E PF ED VR, ISO 1600

Geeking Out with Optics... The 500mm PF, 200-500mm VR, & 200-400mm f/4

September 25, 2018 in Featured

While this photo blog focuses more on the process of photography and the ethics of being a nature photographer, every year or so I get the itch to write a gear head / photo geek essay. Years ago, prior to the introduction of the D500, I was inspired by the capabilities of the D7200 (see link) and that seemed to have been a useful post to those who stumbled upon my blog. Today, I’ve decided to share information about a select group of Nikon telephoto lenses with the hope that my experiences may be valuable to present and future readers.

Carpentry - Nikon D500 + Nikon 500mm f/5.6E PF ED VR, ISO 1600

For the sake of disclosure, it is important for you to know that I am not a full time professional photographer who makes a living that is exclusively tied to image production. I am a teacher. I teach high school biology, I teach photography, and I lead photo workshops and seminars in and around Minneapolis Minnesota. I have authored numerous articles, and my work has appeared in books, magazines, and throughout the web. Most significantly, I have a modest income, and my expenditures on photographic gear need to be tempered by what my budget can support. As such, I tend to be a bargain hunter. I am always looking for the best functional performance in new or used gear that can meet the demands of the weekend warrior nature photographer.

Piebald Deer - Nikon D500 + Nikon 500mm f/5.6E PF ED VR, ISO 1600

The impetus for today’s discussion correlates with the introduction of Nikon’s new AF-S 500mm f/5.6E PF ED VR lens. At just over three pounds and less than ten inches long, the thought of shooting and owning an “affordable” super telephoto prime has become something just short of an obsession. So, when my new lens arrived a little more than a week ago, you can only imagine how excited I was. While the 500mm f/5.6PF is not a cheap lens at $3600, it is about $7000 less than Nikon’s premier AF-S 500mm f/4E FL ED VR lens. While I do not own a 500mm f/4 optic, I do have and shoot two other high quality Nikon super telephoto lenses. The lenses I currently own have served my needs in wildlife photography for the past few years, and were used for the majority of wildlife images displayed throughout my galleries on this site.

Great Grey Owl - Nikon D500 + 200-400mm @ 400mm and f/5.6

In 2014 I sold my Canon system and replaced it with Nikon. At the epicenter of my wildlife kit is the AF-S 200-400mm f/4G VR. While the design of this lens dates back to around 2006, it continues to be an extremely versatile and relatively affordable professional tool. The fast f/4 aperture, professional weather sealing, and overall build makes it one of Nikon’s premier lenses. Retailing for around $6500 for the latest model, I bought my lens used for about $2400 at KEH camera. I consider this lens to be one of the greatest bargains for photographers with a modest incomes who want to add a professional lens to their bag. My second wildlife lens actually belongs to my wife and resides within her bag of tricks. The Nikon 200-500mm f/5.6E ED VR zoom is what I call the “gateway drug” into the Nikon system. We bought this lens new for $1400, and it is the bargain of new designed OEM (original manufacturer) super-telephoto zooms. Exceeding its price point by a mile, the 200-500mm f/5.6 is nearly as sharp as my more expensive 200-400mm f/4, and is more versatile, as it reaches all the way out to 500mm. While not weather-sealed to the degree of other Nikon super telephoto optics, this lens has endured days of salt spray in the Salish Sea, winter snowstorms in Yellowstone, Icelandic rains, and the tropical extremes of Costa Rica. Nikon appeared to cut costs by relying on a more modest design, however they seemed to spare little when it came to using high quality glass in an innovative optical formula.

Atlantic Puffin - Nikon D500 + 200-500mm f/5.6 @ 500mm and f/8

So, with the delivery of my new 500mm PF lens, I wanted to know how its overall optical performance compared to my tried and true lenses. With this goal in mind, I borrowed a stuffed screech owl (circa 1958) from my biology classroom and set it up on a fence that surrounds a local ball field. I then positioned a pair of tripods about 40 meters from the target. I mounted the new 500mm PF with a D500 camera to one tripod, and placed my wife’s 200-500mm f5.6 with matched D500 on an adjacent Gitzo (see set-up picture below).

D500 + 200-500VR on the left, D500 + 500mm PF on the right,… owl mount is just visible in the right corner (image taken with an iPhone 6)

Both cameras were set to AFC-S (single spot) and auto ISO. The lenses were pre-set to f/5.6 and the 200-500mm lens was extended to 500mm. I used back-button focus to aim the camera’s center spot on the face of the owl and ripped about 12 photos in intervals of three. I then chose the best frame from each camera/lens and posted them below. To assess sharpness I extracted a 100% crop of the owl’s face and posted these as well. Note, all images were shot in raw, imported into Lightroom Classic, were NOT modified, and were exported using Lightroom’s “standard sharpening for web.”

(Left -> 200-500mm f/5.6E ED VR :: Right -> 500mm f/5.6E PF ED VR… click to enlarge)

The second series of images followed the exact same protocol, but rather than being 40 meters from the target, I moved the cameras closer to the bird at a distance of 20 meters. In addition to the 500mm PF and the 200-500mm VR, I also repeated the protocol with my 200-400mm lens set at 400mm and f/5.6. The series of 6 images are labeled with each lens so you can be the judge of how they all performed.

(Left -> 200-500 f5.6E ED VR :: Middle -> 500 f5.6E PF ED VR :: Right-> 200-400 f4G ED VR… click to enlarge)

As a final point, I realize that this is not a lab test for sharpness. I also recognize that I have done little to suggest anything about the effectiveness of VR, autofocus speed, or hand-holdability. However, as a wildlife shooter who still uses a tripod for 90% of his work, I do think that this simple analysis does suggest something about the optical acuity of the three lens. I leave the final judgement about quality to you and other more tech-minded reviewer… happy shooting…

Buck - Nikon D500 + Nikon 500mm f/5.6E PF ED VR, ISO 1600

The Bear Walk

July 20, 2017 in Photo Notes

With the proliferation of photography related blogs, YouTube channels and social media boards, one more discussion about best practice is probably just an exercise in redundancy. Yet, the need to do something with my ever increasing library of images now provides the impetus for this next series of blogs. Having already penned 101 Photography Tips, I thought it might be valuable to articulate my intent behind a given image from the past, present or future. By putting words to the process, I hope to contribute a useful tidbit to the reader and provide an opportunity for some reflective practice that may help all of us grow and transition to a new cognitive and artistic place.

What and Where?

“The Bear Walk” was taken at the Vince Shute Wildlife Sanctuary near Orr, MN. The sanctuary is contiguous with Superior National and Kabetogama State Forests. Black bears visiting the sanctuary roam from Ontario, Canada into Voyageurs National Park and throughout the national forest habitat. Comprised of 360 acres, the VS Wildlife Sanctuary is an extension of the black bears’ natural range and is a great place to photograph spring cubs and late summer adults that are preparing for their long winter nap. While my June visit to the sanctuary was focused on young cubs, I also hoped to make some interesting photographs of adults moving throughout a variety of habitats. In producing this image, I used a Nikon D500 with its 1.5x crop sensor, Nikon 200-400mm f/4 VR lens, and an Induro Stealth 3-series tripod with a heavy duty Induro BH3Ls ball head. With the lens set to 300mm, the D500 produced an effective focal length of 450mm, thus suggesting a bit of intimacy between the subject and the viewer. At this magnification, I was able to maintain a safe working distance from the bear while minimizing my impact on its behavior. In addition, my choice of focal length and aperture of f/5.6 led to the compression of foreground and background foliage that appears to be smooth and tastefully out of focus.

Why the Image Works?

In photographing adult bears, I was searching for a way to convey the power and strength in the bear’s morphology without producing yet another Wikipedia-esque image. To move from documentation to something a bit more compelling, I knew that I had to include environmental elements and a bit of character in the subject. Shooting between episodes of showers, the bear’s dark and wet fur reflected the soft light that was bouncing between the grass and clouds. The moisture helped to define the otherwise amorphous black coat as well and suggest detail in the fur, face, and eyes. While the gaze of the bear might have seemed intentionally directed at me, this was not the case as the image presented was the only photo in which this bear was looking up. The mix of eye-contact and exposed paw walking towards the viewer were the elements of power and strength that I hoped to capture. Finally, the tall grasses blurred by my choice in aperture produced a natural frame for the subject.

Trumpeter Swan *(Cygnus buccinator)* - St. Croix River
Nikon D500 + Nikon 300mm f/2.8 AF-SII w/ Nikon TC14EII

Yin and Yang Revisited

January 22, 2017 in January 2017

How is it possible to reconcile the unavoidable dichotomies we encounter every day? Fundamental to the human psyche is a core need to experience and resolve opposing forces. Steeped in ancient Daoist philosophy, the existential battle between dark and light is as old as conscious thought. This idea of a yin and a yang embodies the notion that while polarities exist, each is complementary to the other.

Sandhill Crane *(Grus canadensis)* - Bosque del Apache, New Mexico
Nikon D500 + Nikon 200-500mm f/5.6 VR

Thoughts of opposite energies have never been so prevalent in my life and my mind. As we enter a new era with a president who represents everything I oppose, I have begun to search within myself to better understand the paradigm I am now forced to live. In a country where 49% defines the discourse for the majority, I can’t help but question that nature of this “democracy.” Today, male thinking overshadows female, false data supersedes science, and the needs of the many are marginalized to benefit the few.

Seljalandsfoss Detail - Iceland
Nikon D500 + Nikon 200-400mm f/4 VR1

Like the body politic that defines the course of the present, the present defines the course of my vision. With the ugliness of the 2016 election season, I sought out beauty to oppose the oppressive nature of the news. While I read and listened to daily reports, I also retreated to the simplicity of my art. My concerns of corruption, abuse and environmental decay have emboldened a desire to get involved physically, emotionally and financially. We, who are concerned about a sustainable future, are now faced with the ultimate yin and yang; do you stay at home and mourn a loss, or do you stand out and speak for those who can not?

Orchid Details - Bachmann Garden Center, MN
Nikon D810 + Tamron 180mm f/3.5 Macro

Sunrise Cranes - WI
Nikon D810 + Nikon 300mm f/2.8 AFS-II

Wildlife Landscape #2 - Taming the Rush

November 20, 2016 in November 2016

Few things are more exciting than an intimate encounter with free ranging wildlife. The adrenaline rush is like a thrill ride with a hint of fear and ecstasy that fades as fast as it appears. So intense are the feelings, wildlife photographers can become addicted to the rush, and will experience withdrawals when deprived of the opportunity to make images in the field. The obsession to be close is evident by what we deem to be a successful image. We photographers often speak about filling the frame, or that no lens is long enough; yet the products, an ultra tight portrait or bust shot that allows the viewer to count every hair, are often some of the most boring photographs. Throughout the years, I have found that many of my most compelling wildlife images are those where the environment and light are as prominent as the subject. While portraits have their place and often elicit a “wow” factor, they tend to impress other wildlife artists but do little to evoke emotions in the causal viewer. In contrast, wildlife landscapes are dynamic. The play between light, environment and subject invites the viewer to morph their own life experience with the non-human subjects captured by the artist. In fact, the wildlife landscape can become a catalyst for change and a transformative experience for the viewer. These types of photographs often promote thoughts about preservation and the compulsion to conserve. Herein lies the power of wildlife photography, and a reason for us to pursue the rush.

The Migration
Nikon D500 + Nikon 200-500mm f/5.6VR

Sunrise on the St. Croix, Minnesota
Nikon D500 + Nikon 200-500mm f/5.6G VR

Summer's End, 2016

September 05, 2016 in September 2016

Tomorrow is the first day with my latest crop of students. I began my teaching career twenty-four years ago and assumed it would be a short-term gig. I never experienced "the calling," an intrinsic desire to devote myself to serving children... to teach. Yet, here I sit with less than twenty-four hours to go, and I am excited to return to the classroom.

The Old Birch, Minnesota
Nikon D810 + Nikon 18-35mm f/3.5G

To those who ask, I claim to be a fortunate man. Married to the love of my life nearly three decades, I have been a researcher, traveler and photographer... all of which now fall under the category of avocation rather than career.

Ferns and Fog, Minnesota
Nikon D810 + Nikon 18-35mm f/3.5G

I didn't find teaching, it found me. Many years later, I now know that this thing I do is not "just a job." I have embraced the profession and the responsibility that accompanies the vocation. Undervalued by some and overvalued by others, I continue to search for ways to motivate and inspire.

Forest Fog, Minnesota
Nikon D810 + Nikon 18-35mm f/3.5G

So as I share this gallery of images made during my last week of "freedom," I both mourn and celebrate the passing of summer. The moniker of photographer/naturalist/traveler is laid to sleep for the winter and, with chalk in hand, I am ready to do that thing that I do best.

Sunrise on the St. Croix, MN
Nikon D500 + Nikon 200-500mm f/5.6G VR

Harbor Seal - Elkhorn Slough
Nikon D500 + Nikon 200-500mm f/5.6VR

Favorite Places: Estuaries

August 05, 2016 in August 2016

In 2013 NOAA (National Oceanic and Atmospheric Administration) identified several key factors that negatively impact estuaries throughout the United States. With a total of 28 National Estuarine Research Reserves, the US is well positioned to study how climate change influences places where the ocean meets the land.

Happy - Sad (Harbor Seals) - Elkhorn Slough
Nikon D500 + Nikon 200-500mm f/5.6VR

Flood control, aquatic nurseries and wildlife habitat are just three of the many ways estuaries contribute to coastal ecosystems. Located wherever rivers meet the sea, these habitats are indicators of ecological stress because their structure and productivity can be easily measured. The NOAA report identified a number of key factors that serve as underlying stressors to the stability of estuarine habitats. With 40 percent of all Americans (123 million people) living in counties along the coast, it should be no surprise that human settlement is the key source of ecological instability throughout these wetland communities. Industrial, residential and agricultural development all contribute to increased sedimentation and shoreline erosion. Often flooded by toxins that originate upriver or along the coast, estuaries are subject to spikes in chemical pollutants and human waste. Furthermore, the planet’s historically high warming trend now causes some estuaries to flood while others to suffer a loss of biodiversity due to increasing salinity from draught or the depletion of freshwater reservoirs by human activity.

Passing Ships (Sea Otters) - Elkhorn Slough
Nikon D500 + Nikon 200-500mm f/5.6VR

Nestled between Santa Cruz and Monterey California is one of my favorite locations to photograph coastal wildlife. The Elkhorn Slough is a seven mile long intertidal habitat where the Carneros Creek flows into an “elbow-like” bay that extends inland from the coast. Home to nearly 700 species that includes more than 300 resident and migrating birds, seals, sea-lions and otters, the slough is a remarkable place to view and photograph a wide diversity of unusual animal and plants.

Portrait of a Female Otter - Elkhorn Slough
Nikon D500 + Nikon 200-500mm f/5.6VR

Marbled Godwit - Elkhorn Slough
Nikon D7100 + Nikon 200-500mm f/5.6VR

Saltmarsh Cottontail - Elkhorn Slough
Nikon D7200 + Nikon 200-400mm f/4.0VR

The Elkhorn Slough is a rare gem along the Central California coast. A hot spot of estuarine biodiversity, the stretch of water and land provides amazing photographic opportunities for both the casual and serious wildlife viewer. During low tide, the state beach road north of the slough is a great place to find shorebirds feeding on crustaceans buried deep within intertidal mudflats. Continuing west towards the beach, there is a network of trails that branch throughout a unique salt marsh habitat. For those hoping to see and photograph otters and seals, I recommend a private charter or group tour with Elkhorn Slough Safari. The flat-bottomed boat is a great platform for making images, and if you warn the captain and first mate about your photographic intentions, they will try to put you in the right place to make the images you are seeking. Weekend warriors and adventure seekers may prefer kayaking the slough in place of a leisurely motorboat ride. During our most recent visit, Tamy and I rented kayaks from Kayak Connection in Moss Landing. The four hour rental made for unprecedented opportunities to view and photograph marine wildlife “eye to eye.” While making pictures from a relatively unstable kayak takes practice, the ability to control your destination and time at each location was well worth the effort.

Portrait of a Male Sea Otter - Elkhorn Slough
Nikon D500 + Nikon 200-500mm f/5.6VR

Kayaking the Slough
Nikon D500 + Nikon 200-500mm f/5.6VR

Me...
Nikon D7100 + Nikon 24-120mm f/4VR

Cormorant and Great Blue Heron - Elkhorn Slough
Nikon D7100 + Nikon 24-120mm f/4VR

Marinas, fishing, farms and a power plant fuel the economy of Moss Landing and the region that surrounds the Elkhorn Slough. Like most of the California coast, the Slough is subject to the impacts of human encroachment. Yet, this ecosystem is a model for how citizens, non-profits organizations, government and scientists can work together to meet conservation targets. If you are interested in seeing and photographing the slough, check out the Elkhorn Slough Foundation for information related to their research and public outreach programs.

Harbor Seal in the Elkhorn Slough
Nikon D500 + Nikon 200-500mm f/5.6VR

California Sea Otter (Enhydra lutris) - Moss LandingNikon D7200 + Nikon 200-400mm f4 VR1 @ ISO 400 — California Sea Otter *(Enhydra lutris)* - Moss Landing
Nikon D7200 + Nikon 200-400mm f4 VR1 @ ISO 400

Field Report and Review : Nikon D7200

August 13, 2015 in August 2015

Background

Frequent visitors to this blog know that I rarely review camera gear. In fact, most of the 500-plus posts on my site fall into one of two general categories… the process of seeing or the biology of what is seen. While I’m not known for reviews, there are times when I feel compelled to share my thoughts about a piece of photographic equipment. Prompted by the dearth of field reports on the Nikon D7200, the following might be useful to those contemplating its purchase.

California Sea Otter (Enhydra lutris)  - Eating Mussels Moss LandingNikon D7200 + Nikon 200-400mm f4 VR1 @ ISO 800 — California Sea Otter *(Enhydra lutris)* - Eating Mussels Moss Landing
Nikon D7200 + Nikon 200-400mm f4 VR1 @ ISO 800

For the sake of some background, readers need to know that I am a fairly recent convert to Nikon DSLR’s. Having been a shooter since the film era, most of my digital work has been with Canon cameras. In September 2014, I had the opportunity to acquire a Nikon 200-400mm f4.0 VR at an incredible price, and used this as justification for switching brands. Prior to moving to Nikon, my primary wildlife kit included a Canon 1D MkIII or Canon 7D paired with a Canon 300mm f2.8L IS and converters. The combination of this gear served me well throughout the United States, Canada, Central America and Africa. My decision to change systems was solely based on a desire to work without tele-converters and gain the flexibility that a high-end “super-tele zoom” could offer.

Hummingbird feeding - Rincon de La Vieja, Costa RicaNikon D7200 + Nikon 200-400mm f4 VR1 @ ISO 400 — Hummingbird feeding - Rincon de La Vieja, Costa Rica
Nikon D7200 + Nikon 200-400mm f4 VR1 @ ISO 400

The transition from Canon to Nikon for landscape work was surprisingly smooth. Trading a Canon 5D MkIII for a Nikon D800E was a win, as the Nikon has more resolution and a wider dynamic range. Having spent most of the equity in my Canon gear on lenses and the D800E, relatively little was left for the purchase of a high-end wildlife camera. For the better part of eight months, my wildlife photography was done with a pair of 12MP D300’s. Revolutionary at the time of its introduction in 2007, the D300 now seems somewhat primitive with respect to modern DSLR’s. Although the build and frame rate of the D300 and D300s make these cameras relevant in 2015, the relatively shallow dynamic range, low sensor resolution and high ISO noise are sources of angst for wildlife photographers seeking a Nikon DX (crop) camera option. In May 2015, I decided to give up the rugged build and fast frame rate of my D300’s in favor of a smaller and less robust “prosumer” camera.

Enter the Nikon D7200 - The Good

Long-billed Curlew (Numenius americanus) - Moss Landing, CANikon D7200 + Nikon 200-400mm f4 VR1 — Long-billed Curlew *(Numenius americanus)* - Moss Landing, CA
Nikon D7200 + Nikon 200-400mm f4 VR1

Rather than a review, mine is a wildlife photographer’s reflection on the D7200’s strengths and weaknesses when pursuing active subjects. If you are interested in a list of specifications, new features and the function of buttons, I suggest you follow one of these links: review by dpreview or review by Thom Hogan.

In mid May I traded two D300’s towards Nikon’s latest DX offering with an equal mix of pro and consumer features. Designed around a Sony 24mp sensor, I knew that the dynamic range and relatively low high-ISO noise of the D7200 would best my prior Nikon wildlife cameras. The need to move and bin 24mp files was a serious problem for Nikon’s prior model (D7100), which famously had a very shallow buffer. Now that I’ve use my D7200 to photograph flying birds, aquatic mammals and rainforest wildlife, I can safely say that the D7200’s buffer is capable of holding and moving files rapidly enough to photograph active subjects. In nearly three months of fairly heavy shooting, I have only hit the buffer limit on two occasions. By relying on high speed and modern SD cards, the D7200 matches the processing speed of my prior D300 bodies.

Summe Snow Monkey (Macaca fuscata) in Black and White (c) - Minnesota ZooNikon D7200 + Nikon 200-400mm f4 VR1 @ ISO 400 — Summe Snow Monkey *(Macaca fuscata)* in Black and White *(c)* - Minnesota Zoo
Nikon D7200 + Nikon 200-400mm f4 VR1 @ ISO 400

The autofocus performance and accuracy is a definite upgrade from the Nikon D300. Like the D300 and other professional Nikon bodies, there are 51 AF points that stretch across most of the viewfinder. With so many autofocus points, I have little difficulty placing an AF target on the spot that meets my compositional goals. The AF system is fast and accurate, especially when set to Autofocus Continuous Single-point mode (AFC-S). For moving subjects like flying birds or running animals, I will I set the camera to AFC-S, and use the joystick on the back of the body to follow my subject. Whenever I am faced with an erratically moving animal like the elegant tern pictured below, I’ll migrate from AFC-S to AFC-9. By doing this, the autofocus system uses nine autofocus points in a 3x3 grid to maintain critical focus. While this sounds useful in theory, I rarely shoot in expanded AF mode because the focusing speed slows and critical focus is easily lost. In expanded AFC-mode, the user selects a specific target with one AF point, and the surrounding eight points assist to maintain focus. If the chosen point drops off, one the surrounding eight points re-establishes focus on the subject. Unfortunately, those surrounding points might lock onto a wingtip, beak or whisker rather than the eye that was originally selected. It is not until you begin your edits on a computer will you realize that most of your images are not as sharp as you expected. Admittedly, the deliberate decision to rely on a single AF bracket results in some missed opportunities, however my in-focus rate increases dramatically by shooting in this more conservative and less automated manner. To summarize, when shooting in AFC-S (single point continuous autofocus) mode, the camera readily locks onto a moving target and maintains focus at the cameras maximum frame rate as long as the autofocus bracket is accurately placed on the intended target.

Elegant Tern (Thalasseus elegans) - Moss Landing, CaliforniaNikon D7200 + Nikon 200-400mm f4 VR1 @ ISO 800 — Elegant Tern *(Thalasseus elegans)* - Moss Landing, California
Nikon D7200 + Nikon 200-400mm f4 VR1 @ ISO 800

The sensor in the D7200 has exceeded my expectations for resolution, noise control and dynamic range. When compared to the D300, the seven-plus years of technological improvements are quite clear. The D7200 produces detailed pictures due of its 24 megapixels packed into a 1.5 times (DX) cropped area. The result of this high-resolution cropped sensor is many more pixels per feather than the D300. These resolution gains allow for flexible cropping and greater compositional control. Comparing this sensor to the one in the D300 seems unfair. Both the dynamic range and relatively noise-free images allow me to comfortably shoot between ISO 100 and 800 without substantially degrading the image. Usable at ISO’s of 1600 to 3200, the D7200 produces high ISO photographs that clean up nicely with just a bit of noise control. The latter is in stark contrast to the D300, where I find that any image shot beyond ISO 400 was unacceptable due to noise which causes the image to degrade substantially. When compared to the Canon 7D’s that I once used, the key difference is the absence of pattern noise. The 7D always had difficulties with blue skies, blacks and fog. When photographing animals against a reduced color palate, bands of noise and unnatural splotches were common artifacts in my files. The Nikon D7200 has far better noise control at high and low iso than did my Canon body, all of which allows for more flexible shooting, as well as processing in underexposed regions of an image. To me, the sensor improvements alone are enough to justify my purchase of this camera.

Geoffroy's Spider Monkey (Ateles geoffroyi) - Rincon de La Vieja, Costa RicaNikon D7200 + Nikon 200-400mm f4 VR1 @ ISO 800 — Geoffroy's Spider Monkey *(Ateles geoffroyi)* - Rincon de La Vieja, Costa Rica
Nikon D7200 + Nikon 200-400mm f4 VR1 @ ISO 800

The Nikon D7200 - The Bad

All is not ice-cream and candy with the D7200. In many ways, the camera is a placebo for what many Nikon wildlife photographers want… a D400. As it stands, given the opportunity, there would be a small army of us who would gladly adopt a Canon 7D MkII if it were made with a Nikon mount. Where the 7D MkII is a clear replacement for the original 7D, the same cannot be said for the Nikon D7200 when compared to the D300. Ad a wildlife photographer, there are two downgrades in the D7200 that directly impact me in the field. The D300 has a robust weather sealed body that follows the design ethos of Nikon’s professional cameras. Picking up the D300 feels good in the hands and its mass balances nicely when mounted to a high-end telephoto lenses. Changing ISO, white-balance and shooting modes on the D300 is essentially the same as on my D800E. In contrast, I often find myself fumbling or looking through menus to make these same basic changes on the D7200. Furthermore, the D7200 feels light in the hand, lacks a deep grip and does not balance well on my ball head or gimbal when mounted to the 200-400mm f4.0 VR. While I do not have the confidence that the D7200 can withstand the abuse of a D300, I do know that it performed well in the humid and often heavy rains of Costa Rica. At one point, I was stuck in a downpour and did not cover the camera or lens adequately. As the rain pounded on the body, I did what I could to shield vulnerable spots. The D7200 survived the experience and was ready to use in spite of the rain. So, while it might not be as weather tight as a D300, so far, the camera’s weather seals appear to be adequate.

Black-necked Stilt (Himantopus mexicanus) - Moss Landing, CANikon D7200 + Nikon 200-400mm f4 VR1 — Black-necked Stilt *(Himantopus mexicanus)* - Moss Landing, CA
Nikon D7200 + Nikon 200-400mm f4 VR1

My second key concern with the D7200 is related to its frame rate. The camera has the ability to shoot five 14-bit images per second (5 fps) or six 12-bit images per second (6 fps). When compared to the D300s, my current body body has a slower frame rate. Using the D300s with an MB-D12 grip and the high performance/high capacity EN-EL4(a) battery, this 6 year-old camera still manages to shoot eight 12-bit images per second (8fps). This difference in frame rate can be substantial if you are hoping to photograph the nuances of a subject. A burst of 8fps creates the opportunity to catch a bird landing on its nest with the feathers displayed just right, or a brief expression that might be otherwise lost when the frame rate is slower.

The Nikon D7200 - The Ugly

There is not much “ugliness” to the D7200, however there is a characteristic in the autofocus system that is a source of great frustration. To be clear, I am not sure that Nikon produces a camera that would resolve my issue, but after 25+ years of autofocus technology, the solution should not be unobtainable. Specifically, I find that the D7200 and other Nikon bodies have a high AF-failure rate when photographing low-contrast subjects. Because most wildlife is active at dawn and dusk, low-contrast conditions is much of what I see. When trying to lock onto a dark eye against relative dark fur, as in the beaver pictured below, the autofocus failure rate is very high. In fact, a careful look at my files will reveal that less than one-half of the images meet my sharpness criteria. The inability to lock-on or maintain critical focus of moving subjects under these conditions just drives me crazy!

Summer Beaver (Castor canadensis) - St. Croix Area, MNNikon D7200 + Nikon 200-400mm f4 VR1 @ ISO 800 — Summer Beaver *(Castor canadensis)* - St. Croix Area, MN
Nikon D7200 + Nikon 200-400mm f4 VR1 @ ISO 800

The Nikon D7200 - The Bottom Line

As I survey the landscape of Nikon cameras that could meet my needs, most fall short in one way or another. I am a “simple kit” guy with a fairly limited budget. Buying the Nikon 200-400mm f4.0 VR was a stretch for me. With a maximum aperture of f4.0 and focal length of 400mm, this lens is the most affordable long fast glass available for the Nikon system. The Nikon 500mm and 600mm lenses are out of budget, while the Tamron or Sigma 150-600mm f5-6.3 lenses are too slow for my needs when extended to 400mm and beyond. My solution to these limitations is the use of a high resolution crop sensor camera. As a result, the faster full-framed Nikon D700, D3, D3s, D4 and D750 are unsuitable bodies that would require extensive cropping to meet my compositional goals. Because of these limitations and the lack of a modern high-end crop body (like the mythical D400), the Nikon D7200 provides the image quality that I am seeking with just enough speed to meet my wildlife photograph objectives.

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