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Nikon DSLR Cameras
D5200
Your Best D5200 Photos
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<blockquote data-quote="mauckcg" data-source="post: 185901" data-attributes="member: 13944"><p>Combination of hand holding and using my monopod. I use continuous focus and track the cars through the turn or breaking/acceleration zone I stake out. Then snap away as you follow it.</p><p></p><p>I was getting very inconsistent results with the 18-55 kit lens. The 35mm was highly recommended by virtually everyone who has used it so i bought one thinking maybe a prime would help me learn. First time out got some great results and my images were much more consistent, which from a learning point makes it that much easier to see what your doing right and wrong. I think maybe I may have gotten a soft 18-55.</p><p></p><p>The 70-200 2.8 VRII is an amazing lens. My second race with it was the Grand Am race the pictures in this thread are from. The quality this thing can produce speaks for itself. And it is just as sharp at 70mm f2.8 as it is at 200mm f2.8 which will be nice when i go to the 24 Hours of Daytona next year.</p><p></p><p>I found with the 70-200 i really don't go beyond f5.6 or 6.3 unless it's hideously bright out and i need to drop my shutterspeed. Sigma just came out with the new 17-70 2.8-4 Contemporary. Up to this point, everything I had read about the new Art, Sport, and Contemporary series of lenses has been exremely positive. The old 17-70 OS was regarded as a pretty good lens. </p><p></p><p>I bought the new model over the Nikon 16-85 for the extra light and the fact it is $100 on average cheaper. The first two images I posted in this thread are with this lens, 50 and 70mm respectively, both at f4. Fantastic lens, and one I can't recommend enough if a DX user wants something better than their kit lens without spending a small fortune to large fortune on a 2.8 lens. The only downside I have found, it will color fringe purple just a slight amount on shiny high contrast surfaces in bright sunlight. Easily correctable in Lightroom, but it's there nonetheless</p></blockquote><p></p>
[QUOTE="mauckcg, post: 185901, member: 13944"] Combination of hand holding and using my monopod. I use continuous focus and track the cars through the turn or breaking/acceleration zone I stake out. Then snap away as you follow it. I was getting very inconsistent results with the 18-55 kit lens. The 35mm was highly recommended by virtually everyone who has used it so i bought one thinking maybe a prime would help me learn. First time out got some great results and my images were much more consistent, which from a learning point makes it that much easier to see what your doing right and wrong. I think maybe I may have gotten a soft 18-55. The 70-200 2.8 VRII is an amazing lens. My second race with it was the Grand Am race the pictures in this thread are from. The quality this thing can produce speaks for itself. And it is just as sharp at 70mm f2.8 as it is at 200mm f2.8 which will be nice when i go to the 24 Hours of Daytona next year. I found with the 70-200 i really don't go beyond f5.6 or 6.3 unless it's hideously bright out and i need to drop my shutterspeed. Sigma just came out with the new 17-70 2.8-4 Contemporary. Up to this point, everything I had read about the new Art, Sport, and Contemporary series of lenses has been exremely positive. The old 17-70 OS was regarded as a pretty good lens. I bought the new model over the Nikon 16-85 for the extra light and the fact it is $100 on average cheaper. The first two images I posted in this thread are with this lens, 50 and 70mm respectively, both at f4. Fantastic lens, and one I can't recommend enough if a DX user wants something better than their kit lens without spending a small fortune to large fortune on a 2.8 lens. The only downside I have found, it will color fringe purple just a slight amount on shiny high contrast surfaces in bright sunlight. Easily correctable in Lightroom, but it's there nonetheless [/QUOTE]
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