The Nikon 80-400mm G VR on a Z6 II
The £600 Steal
My journey with this lens started with a stroke of luck. I snagged it for a mere £600 on Amazon, used but in mint condition. Seriously, who would've thought? My biggest fear was getting an older, lesser version, but to my relief, it was the exact AF-S G VR model I was hoping for.
This lens was meant to replace my beloved FUJINON XF100-400mmF4.5-5.6 R LM OIS WR. The Fuji was a fantastic performer – optical quality, incredible range, sharp focus. On APS-C, that 100-400mm became a "stupidly long" 150-600mm equivalent, which was amazing for reach. But my right shoulder has the battle scars to prove its weight. The Fuji system, camera and lens combined, often felt like a workout.
Switching to the Nikon 80-400mm G VR, I anticipated a lighter load. While the numbers show the Nikon lens itself is a tad heavier, the feel and balance with the Z6 II and FTZ II adapter just… works better for me. Perhaps it's the full-frame ergonomics, but my shoulder is certainly thanking me now.
FTZ II: The Adapter That Could
One of my biggest anxieties was mounting this relatively heavy FX telephoto onto a mirrorless body via the FTZ II. Would it hold? Would it snap off? After weeks of it hanging on my shoulder, enduring bumps and rapid movements, I can tell you – it’s rock solid.
For anyone out there hesitating about using an F-mount telephoto with your Z series camera: don't. The FTZ II is robust. My critical tip for heavy lenses, however, is to always mount your strap to the lens's tripod collar, not the camera body. This takes the strain off the camera's lens mount and ensures stability. It's truly a testament to Nikon's build quality that this adapter seamlessly handles such a beast.
In the Trenches: Performance and Quirks
Using the NIKKOR AF-S 80-400mm G VR
Using the NIKKOR AF-S 80-400mm G VR has been a joy on the Z6 II. The autofocus is snappy enough for most situations, and the Vibration Reduction (VR) is incredibly effective, allowing me to handhold shots at surprisingly slow shutter speeds, even at the long end. This was crucial for dimly lit conference halls and the chaotic energy of gigs. The optical quality, even from a lens introduced over a decade ago, truly holds its own against modern glass. It's testament to how good high-performance FX lenses really are.
Ergonomic Quirks
However, it's not without its quirks. With my slightly larger hands, I often find myself accidentally knocking the switches on the side of the barrel. It's a minor ergonomic niggle, and I do miss the Fuji's clever zoom lock, which would disengage automatically with a firm twist. But I've adapted, habitually locking and unlocking the zoom to keep the lens compact when I'm moving around.
Autofocus Noise
Its main weakness, as an older lens, is its sound. While it's still fast, especially in decent light, it can be quite loud in AF-C (Continuous Autofocus) mode. You'll hear that autofocus motor working hard, a distinct chatter that's a world away from the silent Z-mount motors. Yet, even with this audible characteristic, it keeps up, allowing me to capture critical moments across diverse assignments.
The Verdict: A Keeper
If you're contemplating an F-mount telephoto zoom for your Z series body, particularly the NIKKOR AF-S 80-400mm G VR, I truly believe you're making an excellent choice. Don't let worries about the FTZ II adapter hold you back. This lens proves that older, high-quality glass can still deliver exceptional results on modern mirrorless systems.
Sure, I'd love to see a native Z-mount version of this lens – perhaps a Z 80-400mm S-line, building on the brilliance of the Z 100-400mm VR S. But for now, my £600 "weapon" continues to deliver, proving that sometimes, the best gear is the gear that just works, loud autofocus and all.