Nikon 18-200mm f/3.5-5.6G ED AF-S DX VR II Lens

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One of the Single Hottest Lenses of 2006

Nikon 18-200mm DX VR II Lens The Nikon AF-S 18-200mm f/3.5-5.6 G IF-ED VR II DX was one of the single hottest lenses of the 2006 season and was highly in demand. There were several very positive reviews on other websites that revved up the demand even more. Consequently prices at eBay went way above the MSRP . It is designated as a DX lens featuring a reduced image diameter so it's only compatible with APS-C DSLRs. it's effective focal length becomes an equivalent to a 28-300mm mounted on a full frame DSLR or SLR film camera. Its tremendous 11x zoom ratio says it is obviously intended as an all-around lens.

The optical build consists of 16 elements constructed of 12 different groups which include a pair of ED (Extra-low Dispersion lenses) and three aspherical lens elements. it's minimum focusing distance is down to 0.5m which results in a maximum object magnification of 1:4.5 at the maximum reach of 200mm. There's a filter thread size of 72mm, while the aperture mechanism features 7 aperture blades. Due to its somewhat slow maximum. aperture this lens is incredibly condensed (77x97mm) and light (560g) in spite of it's extreme zoom range.

If you need a low light lens, this isn't it. If your primary objective is to take pictures in low light situation such as wedding and concerts, in the 18-200mm range you need 2 lenses, get the 18-50mm f/2.8 Sigma or Tamron 17-50 VC and a 70-200mm f/2.8 lens instead.

The really big selling feature is the gen 2 VR (Vibration Reduction) system. The camera movement is revealed using a pair of gyro sensors which determine the angle speed and camera shake. Subsequently this information is employed to relocate a lens group from it's optical axis (a mandatory un-centering) to counteract this movement. The overall result is a momentous improvement of the ability to hand hold under extreme situations. Nikon boasts of a potential equivalent up to 4 stops. Also, the lens provides a pair of VR modes - a "normal" setting for a majority situations including object tracking, static scenes, along with monopod shots plus there's a 2nd "active" mode to counterweigh more stronger vibrations (such as. shooting from a vehicle while moving). While mounting the camera to a tripod, then the VR function should be turned off.

The relationship to the somewhat hefty price tag to the build quality remains disappointing featuring many rather average plastic components. It's not even remotely comparable to Nikon's pro grade lenses. The action of the zoom is not very even across the zoom range and it persists with serious zoom creep while tilted downward. Although the focus ring has an effortless feel, it isn't actually damped. It's a G- lens so there's no dedicated aperture ring. Aperture is selected by the camera. Installing the included petal-type hood just about doubles the total lens length. There's an IF (Internal focus) design allowing the front of the lens to remain stationary while a polarizer. It also includes a silent-wave AF motor which results in quick and almost silent AF operations.

My personal favorite is a zoom. I will normally grab my 18-200mm lens over any of my fixed prime lenses. If there's need for a faster speed, then I grab my 28-70mm f/2.8, my 18-50 f/28, or the 70-200 f/2.8 lens, When I need a substantially quicker shutter speed than q zoom can give me (like capturing a subject in motion in poor light) or when I need the more background blur then one of my prime fixed length lenses is put to work. Then I normally use either my f/1.8 or f/1.4 prime fixed length lens. The optical feats of most of the zoom lenses I use are superb - in most of the situations, they just get the job done without hassle for me.

The biggest advantage of a zoom lens is flexibility. Using a zoom, I can quickly and without hesitation compose and grab a fleeting moment. Zooms can also shoot any number of diverse framings of the identical scene within a few seconds. A photographer employing a fixed length lens may still be tennis shoe-zooming (which also alters perspective) to the correct distance as the subject opportunity disappears - or no longer is in that endearing position. A subject within a rapidly adjusting space also is better with a zoom.

And zoom lenses do not take as many lens changes that collect sensor-dust, and with less lenses to carry, Changing lenses is inconvenient, time consuming - and a chance for dust to find it's way to the sensor.


The term hyperzoom or superzoom is used to promote photographic zoom lenses with unconventionally large focal length factors, typically more than 4 and ranging up to 15, e.g., 35 mm to 350 mm. The largest ratio for digital SLR cameras is held by the Tamron 18270 mm, giving 15. Some Digital Cameras have even larger zoom ratios up to 35. For movie and television use, Panavision holds the record with their 300X HD Lens.

While superzoom lenses have improved greatly in recent years, they still have a number of drawbacks in comparison with shorter-range zooms and prime lenses. Most notable is the much increased likelihood of significant distortions of the image at both extreme ends of the range. Other potential problems include smaller maximum aperture and poorer autofocus performance

Following is a list of superzoom lenses, used for 135 format in SLRs or for APS format in DSLRs. The minimal factor used here is 5 or more. A 28200 mm has a 75 to 12.3 angle of view, a 28300 mm (or an 18200 mm for an APS DSLR) has an 11.1x 75 to 8.2  Mar 3, 2011  ✓

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