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Nikon's 600mm F6.3 VR S Is a Featherweight Lens for Wildlife

Outdoor photographers tired of schlepping heavy lenses through the backwoods will want the new 3.1-pound 600mm F6.3 VR S for their kit.

 & Jim Fisher Principal Writer, Cameras

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There's just no getting around it, if you're interested in taking photos of far-off subjects, whether they be backyard critters or linebackers scrambling to make a tackle, a long telephoto lens is a must-have. But because of the the amount of glass required to get close up, the lenses tend to be pretty big, and correspondingly heavy to carry. Nikon is addressing that problem head-on with the latest addition to its mirrorless lens catalog. Its Nikkor Z 600mm F6.3 VR S weighs just 3.1-pounds, thanks in part to its Phase Fresnel (PF) lens element.


Optics Inspired by Lighthouses

Phase Fresnel elements are a known-factor in lens design and share a lot in common with the lenses used in lighthouses. A Fresnel lighthouse lens puts prisms into the glass to concentrate light to make a brighter beacon. In camera lenses the PF element works similarly, if you examine one you'll note concentric circles that concentrate light coming into the system, the aspect that makes such a light telephoto possible.

The tech comes with some drawbacks, any good PF lens requires corresponding Extra-Low Dispersion (ED) elements to suppress false color. The 600mm F6.3 VR has these, along with Nikon's unique Short-Wavelength Refractive (SR) glass, an element that further suppresses false blue color. We've not yet tested the 600mm F6.3 VR S to see how these come together in the real world, but Nikon provided some good-looking sample photos, and the similar Nikkor 500mm F5.6E PF ED VR for SLRs is a fantastic lens.


The Lightweight 600mm

The lens is easy enough to lug around at 3.1 pounds, but it's still a 600mm telephoto, and not tiny at 11.0 by 4.2 inches. It's an easier lift than the Nikkor Z 180-600mm F5.6-6.3 VR  (12.4 by 4.3 inches, 4.3 pounds).

You'll want to use the included tripod collar if you're putting the 600mm F6.3 on a support, though attaching it bumps the carry weight up to 3.2 pounds. Nikon notes that the lens is made so its center of gravity is near the mount point, a plus for wildlife photographers who use a gimbal head to better follow raptors in flight. A hood is included, and the front element is slim enough to take 95mm filters.

Nikon Z 8, 600mm, f/6.3, 1/160-second, ISO 2500

In-lens stabilization provides up to 5.5 stops of compensation on its own, and 6.0 stops with a camera that has a stabilized sensor. Dust and drip protection are there for outdoor work, and the front element is protected with fluorine, a material that repels grease and moisture. No need to worry about getting rain drops on the glass, they'll just bead off, and if you smudge the glass with a fingerprint you can grab a microfiber cloth and wipe it clean.

Nikon opts for a stepping motor (STM) for this lens. We'll have to see how it performs in testing, as the motor type isn't as fast as the Silky Swift Voice Coil Motor (SSVCM) used by the Nikkor Z 600mm F4 TC VR S. Of course, the 600mm F4 is a lens for pros and well-heeled hobbyists with a staggering $15,499.95 asking price and a built-in teleconverter. The Nikkor Z 600mm F6.3 works with teleconverters, but doesn't have one built-in.

As for price, the 600mm F6.3 VR S is far more obtainable than the F4 edition. It's positioned at $4,799.95 and will be in stores later this month.

About Our Expert

Jim Fisher

Jim Fisher

Principal Writer, Cameras

My Experience

Images, and the devices that capture them, are my focus. I've covered cameras at PCMag for the past 14 years, which has given me a front row seat for the changeover from DSLRs to mirrorless cameras, the smartphone camera revolution, and the emergence of drones for aerial imaging. I have extensive experience with every major mirrorless and SLR system, and am also comfortable using point-and-shoot and action cameras. As a Part 107 Certified drone pilot, I’m licensed to fly unmanned aircraft systems (UAS) for commercial and editorial purposes, and am knowledgeable about federal rules and regulations regarding drones.

The Technology I Use

I use all of the major camera systems on a regular basis, swapping between Canon, Fujifilm, L-Mount, Micro Four Thirds, Nikon, and Sony systems. I still find time to use Leica M rangefinders and Pentax SLRs on occasion, too. I keep an iPhone 13 in my pocket for the rare occasions I'm not carrying a camera.

I'm not a brand-specific photographer. For product review photos, I swap between a Canon EOS R5 and a Sony a7R IV. I use Flashpoint and Godox TTL lights and Peak Design tripods, and I most often reach for a Think Tank or Peak Design backpack to carry equipment.

When it comes to computers, I'm an unapologetic Mac person and have been for the past 20 years. I write in Pages and use Numbers for spreadsheets. I currently swap between an Intel i9 MacBook Pro and an Apple Silicon Mac Studio for writing and use a calibrated BenQ 32.5-inch with the Studio for photo and video editing. I rely on a LaCie 6big RAID for media storage. I also keep a PC around for gaming, but please don't tell my Macs about it; they'll get jealous.

I split time between several different software apps depending on the type of editing I'm doing. For Raw image processing, Adobe Photoshop Lightroom Classic is my standard. I pair it with a LoupeDeck CT console to supplement my keyboard and trackpad, and I lean on RNI All Films 5 presets when I want to give an image a film look. I use Apple Final Cut Pro for video editing.

My first digital camera was the Canon PowerShot Elph S200, and my first DSLR was the Pentax *ist DL. I have a soft spot for antique film gear. I still use a 1950 vintage Rolleiflex Automat TLR and love trying mid-century Leica lenses on film and digital alike. I mainly use whatever's in front of me for review for digital snaps, but I pick up either my Leica M Typ 240 or Pentax K-3 III Monochrome when I want to step away from review work. In my downtime, I enjoy bird watching, reading, video games, and both good and bad movies, especially in the sci-fi and horror genres.

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