The D500 would of course add 1.5x crop to that so you’d have a 450mm and 630mm equivalence! I have the 70-200FL, 300mm f/2.8G VR and the 500mm f/4E VR FL. But if I was in your buying position or budget I would get the 70-200FL and TC-14E III or used 300mm f/2.8G VR or VR II if you can swing a bit more money wise.
Tags: Canon 70-200mm f/2.8L IS II, Nikon 70-200mm f/2.8G AF-S ED VR II, Sony FE 70-200mm f/2.8 GM OSS Well, I’ve avoided putting up the zoom lenses as long as I could, but here we are. I’m going to do things a little differently; rather than listing by brand I’m going to try listing by range and type. The optical performances of the new AF-S NIKKOR 70-200MM F/2.8E FL ED VR are very good. Nikon currently has 36-megapixel sensors in FX and 24 megapixels in DX. The pixels on the DX cameras are smaller and sit closer together than those on the FX models. DX cameras make higher demands in this respect on lenses than FX cameras do. The Nikkor AF-S 70-200mm f/2.8 VR, Nikon's first stabilized fast tele zoom, was a highly regarded lens on DX cameras, but for many was lacking border sharpness at the tele end and suffering from rather high vignetting on FX cameras. These symptoms were probably a bit exaggerated in forum communities but, nonetheless, reason enough for many FX The 70-200/2.8 VR was then canned and replaced by the 70-200/2.8 VR II in 2009. As Nikon introduced and then cancelled each of these successively larger, heavier, more expensive and more feature-laden short-timer models, this extraordinary professional 80-200mm f/2.8 lens has never faltered. kEd1Bv.