4 Reasons Why I Use the Absurdly Expensive Nikon 400mm F2.8 Lens For My Wild Horse Photography
I am routinely asked why I use the specific gear that I do for my wild horse photography and in this article today, I share four key reasons why I use the absurdly expensive Nikon 400mm F2.8E FL ED VR lens for my wild horse photography.
I have been following and photographing wild horses since 2015 and at the time of this article, I have taken over 50,000 photos.
I have used a variety of camera bodies and lenses in the field over the last several years, so I have a good perspective on what works for me and my style of wild horse photography.
It took me a few years to really find my style. I realized over time which images that I rated as my top picks and a pattern emerged. The bulk of my favorite images have been taken with the 600mm F4 G ED VR II lens. I needed a lens that was incredibly sharp, long enough to frame the horses the way I like them, and a soft painterly bokeh. The 600mm F4 has been a consistent performer in my tool bag for several years, but a pattern emerged over time that lead me to the 400 F2.8 lens.
The bulk of my wild horse images have been taking with the infamous Nikon F6 35mm film SLR camera using HP5 film. I have tried a variety of other films, but HP5 has worked very well with the white horses in particular and I find the film very flexible allowing me to use an EI rating between 200 and 1600 on demand.
I will continue to use the F6 when I know I want to make smaller 8x10 and 11x14 silver gelatin prints from the original 35mm film negative and for my archival pigment ink prints. When I know I want to make my bigger 30x40, 40x50, and 48x60 silver gelatin enlargements, I use my Nikon D850 or D5 and then use my proprietary process for making an 8x10 HP5 or FP4 film negative. Using the D850 or D5 allows me to easily make digital negatives for contact printing processes like platinum and palladium, silver gelatin, and silver chloride.
I was consistently missing opportunities and this is the core of what lead me to start thinking about the 400mm lens.
The 600mm lens routinely forces to make creative decisions in the field that I really didn't want to make, so I tried using my 300mm F2.8 lens more.
Long story short, the 300mm F2.8 lens is an incredible tool that produces spectacular images, but I found it a little short for me a lot of the time and required cropping in post production which I try and avoid.
I make big prints and I want and need every pixel, plus, I just like getting it right in the camera as often as possible. Also, the 300mm F2.8 lens is still the older G ED VR II technology versus the newer E FL ED VR type which is sharper, lighter, and optically superior across the board.
After digging around online for months, I finally pulled the trigger and ordered the 400mm F2.8E FL ED VR lens and immediately started pacing the floors. The only way that I would know if the new 400mm lens would fill the void that I was looking for was to take it to the field and use it.
I was worried if I spent too much money on this lens and if it was really going to be the answer to my struggles and challenges.
The 400mm focal length for my style has worked out as good as I had hoped it would and it has exceeded my expectations on the quality of images that I am able to create.
It was my hope that I could use the latest generation Nikon TC's (1.4, 1.7, and 2.0) with the new 400mm lens and make this the most versatile lens in my bag (400mm @ F2.8, 560mm @ F4, 680mm @ F4.8, and 800mm @ F8).
Having the option to use four professional high quality prime lenses in my bag is the core reason I decided to dive off the cliff and buy this ridiculously expensive lens that I would buy again without hesitation.
I think a lot of other photographers struggle with similar issues and that is why I am taking the time to write this article.
I am on a mission to create compelling, emotional, and influential wild horse images that have the potential to guide and shape policy that will protect wild horses now and in the future. I believe we live in a visually-driven world and powerful images have the potential to help make a difference.
When you put a tool like the Nikon 400mm F2.8E FL ED VR lens in the hands of someone that knows how and when to use it, it becomes a differentiator in many cases.
One of the things that I strive for in a lot of my wild horse images are to isolate the horse or horses from the background because it creates a more artistic feeling and mood. I want the focus to be on the wild horse(s) and subject isolation is a good technique to help with this. Cheaper and slower lenses simply can't do what F2.8 or F4 primes can do and this is why professional photographers pay absurd prices for this gear.
To be fair, if you can get close enough to your subject and ensure there is nothing behind them in the background, you can get excellent bokeh out of a F5.6 lens too. The issue with a F5.6 lens is loss of 1 or 2 stops of light from F2.8 or F4 lens which translates into 2 to 4 less times light which directly impacts focusing abilities and noisy images. It might not sound like a big deal, but that one stop from F5.6 to F4 is a huge deal based on my personal experience and this is why professionals spend the extra money on the faster prime lenses. It can make the difference in many cases of photographing 10 or 15 minutes earlier in the morning at daybreak and another 30+ minutes in the evenings as the sun goes down.
I was fearful I would miss using my 600mm F4 lens, but the 400mm F2.8E with the 1.4TC making it a 560mm F4 lens has completely won me over at this focal length and I no longer miss or worry about this any longer.
The 400mm lens stays connected to my D850 or D5 almost 100% of the time now unless there is a unique situation where I need the 70-200mm F2.8 lens. A few times a year, I will find the wild horses deep in the woods and the 70-200mm focal length has proven to be useful for this scenario for me. I keep the 70-200mm lens in a sling bag that is always with me in the field.
In the end, I was able to sell off several other lenses that I no longer used which paid for the new 400mm lens. It was a gamble that I am very thankful that I had the courage to take. Now my field kit is down to just two lenses and I can't tell you how incredibly great that feels.
Technically, I have two lenses and three small teleconverters that simulate having 5 lenses (70-200mm @ F2.8, 400mm @ F2.8, 560mm @ F4, 680mm @ F4.8 and 800mm @ F8).
The only other lens that I would consider would be the 800mm F5.6 if I get the chance to go out west and photograph the wild mustangs. The 800mm F5.6 will obviously out perform the 400mm F2.8 with the 2.0 TC on just about every level, but that should be no surprise.
The 800mm F5.6 lens also comes with an optically matched 1.25 TC that transforms the 800mm F5.6 into a 1000mm F8 lens which is the real value in my mind over the 400mm F2.8 with the 2.0 TC.
I can see how wildlife photographers in places like Yellowstone or Alaska could seriously benefit from this lens. I frequent the Great Smoky Mountains National Park to watch and photograph black bears and my 600mm F4 is regularly not enough lens. I often don't have enough time to install the 1.4TC to make it a 840mm F5.6 lens and the moment is gone before I can even respond.
I can't imagine a scenario where I could justify purchasing the 800mm lens, so I will probably rent it as I need it for special trips.
I will follow up with another article and new images with the 400mm F2.8E FL ED VR lens and teleconverters as I use it in the field.
ANALOG PHOTOGRAPHY TRAINING LIBRARY
Read Testimonials from photographers and collectors from around the world.
Buy Your Photography, Video, & Technology Gear at No Additional Cost To You From B&H Photo
Fujichrome Provia 100F - Fujichrome Velvia 100 - Fujichrome Velvia 50 - Kodak Portra 160 - Kodak Portra 400 - Kodak Ektar 100 - Fujicolor Pro 400H - Fujicolor Crystal Archive Silver Gelatin RA4 Paper - RA-4 Color Print Processing Developer & Processing Chemicals - Color Darkroom Enlargers
ILFORD B&W FILMS & DEVELOPERS
KODAK B&W FILM DEVELOPERS
DARKROOM SUPPLIES & EQUIPMENT
Note: I participate in affiliate programs where I earn a small commission on some select products that I provide links for on my website at www.timlaytonfineart.com. When you use these links, I earn a small commission and there is no additional charge to you.
No comments posted.
Recent PostsWhy Following Your Heart as a Photographer Will Lead You To Your Ultimate Success Hodgson Mill - Dry Plate Diary June 05, 2021 New One on One Analog Photography Workshops Available With Tim Layton Silver Gelatin Dry Plate Storage Tips For Long-Term Preservation Silver Gelatin Dry Plate Developer Formulas Kodak D-49 & D-19 & Bonus Tips and Info New Handmade Silver Gelatin Emulsions Community Darkroom Diary Episode 8 - May 25, 2021 Darkroom Diary Episode 7 - May 21, 2021 Darkroom Diary Episode 6 - May 20, 2021 Darkroom Diary Episode 5 - May 19, 2021