The preferred “workhorse” among many professional photographers since 2003, Nikon’s AF-S 70-200mm f/2.8G ED VR model was also my favorite lens in the Nikkor series. It was just about perfect in all aspects, except for some slight corner softness at wide apertures with a full-frame digital SLR. Some reviews also mentioned less than ideal flare control, but frankly, that was nit-picking. In any event, Nikon has replaced that earlier model with a new VR II-designated version boasting a superior optical design, more effective VR stabilizer plus some other benefits.

Nikon’s latest 70-200mm f/2.8 lens is pricey, but it’s a professional-caliber product in all aspects, including the latest optical design, an incredibly effective autofocus system, and unusually rugged build quality. (Nikon D300s; ISO 400; f/7.1; at the Great Northern Concrete Toboggan Race, Milton, ON). © 2010 Peter K. Burian

An f/2.8 lens is desirable for several reasons. The very wide maximum aperture allows for faster shutter speeds than the more typical f/4.5-5.6 zooms. That’s valuable in low light or action photography, allowing us to use lower ISO levels for superior image quality. A maximum aperture of f/2.8 also allows more light to reach the AF sensor for faster autofocus. And AF is maintained even when a 1.4x or 2x teleconverter is used. Granted, this 70-200mm f/2.8 lens is very large and heavy, but it’s built to tolerate pro-level abuse and it’s also dust- and moisture-resistant.

Modifications at a Glance

The AF-S 70-200mm f/2.8G AF-S ED VR II model retains most of the best features of its predecessor including the Silent Wave (AF-S) focus motor and the tripod mounting collar. Other aspects were modified however as per the following list (below image).

As this illustration indicates, the lens employs a full seven elements of extra low dispersion glass, including three of large diameter at the front for maximum aberration control. This optical formula provides superior image quality that will be obvious particularly at the edges of images made with a full-frame DSLR.

As this illustration indicates, the lens employs a full seven elements of extra low dispersion glass, including three of large diameter at the front for maximum aberration control. This optical formula provides superior image quality that will be obvious particularly at the edges of images made with a full-frame DSLR.

* Superior aberration correction and higher edge sharpness/brightness; the latter makes the new lens a better choice for a full-frame DSLR

* Some new elements feature Nano Crystal Coat deposits for additional flare control

* The newer VR II stabilizer provides more effective camera shake compensation

* Barrel length has been reduced by 0.374 inches but the weight has increased by 2.47 ounces

* The new hood is more compact so the lens is more likely to fit into a camera bag’s lens slot

* Instead of a focus range limiter option of “infinity to 2.5 meters” the switch now provides “infinity to 5 meters”; this minimizes searching in the near-focus range

* The AF Lock buttons of the older model have been omitted; apparently most photographers want this feature only on longer telephoto lenses

* Minimum focusing has been reduced to 4.6 feet vs. 5 feet, but maximum magnification is lower at 0.12x vs. 0.16x

* In close focusing, the effective focal length is now shorter  (discussed later)

When viewed at 100% magnification on a monitor, these photos – made at f/2.8 and at f/9 – appear nearly identical, except for depth of field and an extremely slight difference in sharpness in the corners. That’s certainly an indication of an excellent optical formula and confirms that the new lens can deliver pro grade image quality at the widest aperture. (D700; ISO 1600; at the Supershow 2010, Toronto.) © 2010 Peter K. Burian

Design and Construction

Even at first glance, this is an impressive, beautifully-finished lens with tank-like construction. The zoom and manual focus collars are very wide, and rubberized for good grip. The action of both controls is extremely smooth and well “damped”: with adequate friction to satisfy even those switching from manual focus lenses. Several switches adorn the barrel including the focus-range limiter, VR (stabilizer) On/Off, and a switch for the VR Mode. Normal VR is useful for most purposes, including panning with a moving subject; Active VR (with 4-axis stabilization) is recommended for use when shooting from a very unstable platform such as an aircraft.





A distance scale, in feet and meters, is provided under glass. The lens employs internal focusing; that requires shifting only a few elements. Because very little mass must be moved, focus response with the Silent Wave motor is extremely fast. During focusing and zooming, the lens barrel does not extend and the filter mount does not rotate. (However, I found it difficult to remove my thin-ring polarizer. Wrapping a wide rubber band around the filter ring helped make the process easier.) The diaphragm includes nine blades for a circular aperture at many f/stops, for a very pleasing bokeh: the rendition of defocused areas in the background.

While some shooters will prefer a tele-zoom lens with extremely close focusing (“macro”) ability, a “fast” 70-200mm lens is more likely to be used for photos of more distant subjects. (D300s; ISO 400; f/5.6; 1/800 sec.) © 2010 Peter K. Burian

As mentioned earlier, the new lens’ effective focal length becomes shorter when focusing at distances less than infinity. Consequently, the maximum available magnification is lower than it was with its predecessor. Frankly, even that lens did not provide high magnification. Note too, that many other zoom lenses’ effective focal lengths also  reduce in close focusing; this is definitely not unique to the Nikkor 70-200mm f/2.8 VR II lens. Anyone who insists on a zoom with closer focusing or higher (0.256x) magnification might prefer Nikon’s AF-S 70-300mm f/4.5-5.6G ED IF AF-S VR model. Of course, that would mean giving up the benefits provided by the pro-grade f/2.8 lens.

Optical Performance

Although this is a multi-platform lens suitable for all types of SLR cameras, it is optimized for high sharpness/brightness at the edges of an oversized sensor (or  a 35mm film frame).   The superior coatings minimize the risk of internal flare and “ghosting” (reflections in the shape of the lens diaphragm) caused by highly reflective digital sensors. They also provide greater resistance to flare from external light sources, making for images with higher contrast and hence, with greater apparent sharpness.

This Nikon lens is the “sharpest” telephoto zoom that I have tested to date. In this image for example, even the finest lettering on the ski pass tag is razor sharp and very crisply defined. (D300s; ISO 400; f/6.2; 1/1250 sec.; at an Ontario Ski Telemark race, Caledon, ON.) © 2010 Peter K. Burian

Thanks to the seven Extra Low Dispersion glass elements this lens produced incredibly high sharpness across the entire frame at all apertures and focal lengths. Note too, that three of the ED elements are large, and located in the front group, for maximum effectiveness. The result is improved image quality, particularly noticeable at wide apertures, with very high sharpness and freedom from color fringing around subject edges.

Images made at f/2.8 are well within professional standards. Even corner sharpness is high, particularly in the 70mm to 150mm range. In the 151mm to 200mm range, there’s a slight softening at the edges but that’s noticeable only under very high magnification. Chromatic aberration is virtually non-existent, distortion is minimal and flare correction is incredibly effective.

Image quality at f/2.8 is excellent at most focal lengths. The unusually wide maximum aperture transmits more light to the camera minimizing the need for very high ISO levels and ensuring fast autofocus in dark locations. (D700; 190mm at f/2.8; 1/500 sec.; ISO 800; at the Hamilton, ON, Spring Wedding Show). © 2010 Peter K. Burian

This lens provides excellent edge-to-edge sharpness by f/4 at all focal lengths. My best images made with a full-frame D700 are suitable for beautiful 16×24″ prints  after some resing-up in Photoshop. The same level of quality is available at other f/stops down to f/8. As with any lens, there’s a slight loss of sharpness (because of diffraction) by f/11, but 13×19″ prints made from f/16 images look great after some sharpening in Photoshop. On the other hand a telephoto lens is not often used at such small apertures.

This image confirms the exceptional optical potential of the latest Nikon 70-200mm lens. When viewed at high magnification on a professional LCD monitor, it’s perfect in all technical aspects and suitable for a huge print or a double-page spread in a magazine. (D700; 200mm; f/6.3; at the Supershow 2010, Toronto.) © 2010 Peter K. Burian

In photos of a snow-covered hill with the full-frame Nikon D700, there is some shading – darkening of the corners – especially at f/2.8 at long focal lengths. It’s very slight, impossible to see in most other types of photos. Some Nikon DSLRs can automatically eliminate corner shading and it is also easy to correct with software. (My evaluation was based on RAW captures, with the vignetting-correction feature turned off in the Capture NX2 software.) Because the lens was optimized for use with a large (FX format) sensor DSLR, it produces even better edge sharpness/brightness at f/2.8 with a camera using the smaller (DX format) sensor. With the D300s, this was a 105-300mm equivalent lens that was useful for ski and snowboarding races without a teleconverter.

Autofocus and Stabilizer

When used with a recent Nikon DSLR, this Silent Wave lens provides fast/reliable autofocus. And as mentioned earlier, defocused highlights in the background are rendered as circular (not octagonal) at many apertures. (D300s; ISO 400; multi-point AF; f/5.6; 160mm; at an Ontario Snowboarders (RBC Riders) race, Caledon, ON.) © 2010 Peter K. Burian

As with any wide aperture  Silent Wave (ultrasonic) lens, autofocus performance was absolutely first class. During races on snow-covered slopes, focus acquisition was lightning fast with the D300s and with the D700. The camera/lens combination also aggressively tracked the fastest moving competitors. The AF Tracking system was not quite as effective with the fast/erratic action of wakeboarders on an indoor “lake”. That’s understandable considering the low light conditions in the arena.

As this series indicates, the Silent Wave focus motor, was often successful in tracking fast moving subjects. The primary problem in this type of photography is predicting where the subject will appear over a jump and keeping it properly framed for a long series of shots. (D300s; ISO 400; multi-point AF; f/5.6; 200mm; at an Ontario Snowboarders (RBC Riders) race, Caledon, ON) © 2010 Peter K. Burian

With static subjects, the ability to quickly fine-tune focus manually at any time was a real plus. This feature allowed me to optimize focus for the eyes – instead of the tip of the nose – when making portrait photos at a fashion show using autofocus.

Nikon indicates that the new VR II stabilizer offers a four shutter-speed-step advantage, as compared to three with the older VR technology. In other words, images made in hand-held shooting should be sharp even in exposures that are four times as long as those made without Vibration Reduction. That’s an average and some photographers are steadier than others. When shooting displays at an indoor motorcycle show with the D700 at 200mm, I was consistently able to get sharp photos at a 1/15 sec. shutter speed. Some photographers report similar results at 1/8 sec.

Nikon’s latest vibration reduction technology is very effective. As with any stabilizer, the exact results do vary depending on the person using the lens and the focal length in use. In any event, a VR system is certainly valuable in low light when a tripod cannot be used. (D700; 200mm; 1/30 sec.; at the Supershow 2010, Toronto.) © 2010 Peter K. Burian

The Bottom Line

The AF-S 70-200mm f/2.8G AF-S ED VR II lens was designed to satisfy professional photographers working for demanding clients. Naturally, it will also appeal to serious photo enthusiasts who demand the absolutely best equipment. Anyone who still doubts that a zoom can match an excellent single-focal length lens should become a convert after trying this one. In terms of sharpness, resolution of intricate details, snappy contrast, freedom from flare and from color fringing, it is definitely an outstanding performer.

While the more compact/affordable Nikon AF-S VR 70-300mm f/4.5-5.6G IF-ED zoom is impressive in many aspects, photographers who appreciate the benefits of a pro-grade f/2.8 lens will want the new 70-200mm model. (D300s; ISO 1600; f/2.8 at 1/400 sec. at the Toronto International Boat Show). © 2010 Peter K. Burian

If you’re considering this new lens, check it out in person at a photo retailer to determine whether you’ll be comfortable in carrying and handling its 3.4 lb. of mass. (Removing the tripod foot subtracts a few ounces.) Frankly, some potential buyers will prefer something smaller, lighter and more affordable, such as Nikon’s highly-rated AF-S VR 70-300mm f/4.5-5.6G IF-ED lens. That’s understandable. But if you’re a discriminating photographer you’ll want to save up for the 70-200mm f/2.8 VR II model. Considering its level of performance, this zoom will pay dividends for many years in terms of professional-caliber images.

For additional test photos see  http://picasaweb.google.com/pkburian/Nikon70200mmF28BurianSNOWBOARDERSRACE#

For more information, and for specifics about Nikon teleconverters,  check out this lens at  Amazon (about $2300) Nikon 70-200mm f/2.8G ED VR II AF-S NIKKOR Lens For Nikon Digital SLR Cameras; or at B&H Photo (about $2330) AF-S Zoom-Nikkor 70-200mm f/2.8G ED VR II Lens  

AF-S Nikkor 70-200mm f/2.8G ED VR II Specifications

Construction: 21 elements including 7 of ED glass
Angle of View: 34 °20′ – 12 °20′ with full-frame FX sensor; 22 °50′ – 8 ° with DX format sensor
Vibration Reduction: New VR II optical stabilizer
Focus System: Silent Wave with manual override on demand; manual focus; internal focusing mechanism
Minimum Focus Distance: 4.6 feet (1.4m)
Maximum Magnification: 0.12x
Filter Size: 77mm
Size/Weight: 3.4×8.1in; 3.4 lb. (87×205.5mm; 1540g)
Accessories: Lens hood and soft case included; fully compatible with Nikon TC-E II teleconverters
Average Retail Price: Under $2350

Peter Burian tests Nikon’s latest multipurpose lens with some valuable benefits over the previous model

One of the best selling Nikon lenses, the original 18-200mm VR model was a very competent performer but it has been replaced with a newer zoom that offers several benefits. The latest incarnation includes the best of its predecessor but gains improved Super Integrated Coating for better flare control, and features to prevent zoom creep. As a bonus, the diaphragm is equipped with more blades allowing for a circular aperture at many f/stops. This aspect allows the lens to render out-of-focus highlights as circular for a more pleasing “bokeh”.

The latest Nikkor 18-200mm lens is a fine performer capable of producing excellent image quality. Thanks to its new features, this model is even more desirable than its highly-rated predecessor. (D300; f/22; 20mm; Hoya Pro 1 Digital polarizer; Webster's Falls, Hamilton, ON) ©2010 Peter K. Burian

While this “all-purpose” zoom may be ideal for families who simply want nice pics, it’s suitable for more serious photographers as well. As the price (about $750 in the US) should suggest, this is a premium-grade 27-300mm equivalent lens. The most expensive in its category, the Nikon model is also one of the largest/heaviest. That’s understandable because of the solid construction, two Extra Low Dispersion (ED) plus three aspherical elements for superior image quality, a remarkably effective image stabilizer plus very fast ultrasonic Silent Wave focus motor.

An 18-200mm lens provides numerous focal lengths from wide angle to telephoto. While serious photographers also need other lenses, this 27-300mm equivalent zoom is an ideal choice for outings when portability is important. (D200; f/8; Hoya Pro 1 D polarizer. Linear distortion was caused by tilting the lens and not by an optical flaw) ©2010 Peter K. Burian

Design and Construction

Identical in size/weight to the older AF-S DX VR 18-200mm f/3.5-5.6G IF-ED lens, the new VR II model provides greater friction in the zoom mechanism. This modification ensures that the focal length that you set will not change when the lens is pointed upward or downward. A new switch allows for the zoom mechanism to be locked at the 18mm focal length. This keeps the lens as compact as possible because the barrel cannot protrude when the camera is being carried.

This all-purpose lens, with VR II stabilizer, Silent Wave AF and a zoom lock switch is well equipped with features; in this aspect, it's similar to some of the more expensive Nikkor AF-S lenses.

The barrel is made of an industrial-grade plastic and feels very rugged. The mount is made of metal and surrounded by a rubber gasket for some protection from dust and moisture. However, this lens is definitely not weatherproof like Nikon’s pro series. It features a 3/8″ wide focus ring and a 3/4″ wide zoom ring. Both are rubberized and ribbed for a good grip and they provide smooth operation. The filter thread is 72mm and even a thick polarizer does not seem to produce any vignetting (darkening at the corners).

In this location, there was strong side lighting and back lighting due to extremely bright sunlight entering through stained glass windows. In spite of this potential problem, my images are all technically very good, with minimal degradation caused by flare. (D200; 18mm; f/8 at 1/4 sec. with VR On; Church of Our Lady, Guelph, ON) ©2010 Peter K. Burian

There’s a distance scale under glass, marked in both feet and meters. Thanks to the internal focusing mechanism, the focus ring never rotates in AF operation and the front element remains fixed. Hence, the effect of a polarizing filter – useful for enriching blue skies or removing glare from reflective surfaces – never changes. Extensively-optimized for digital capture, the new lens benefits from multi-layer coatings on numerous internal elements to minimize flare for more snappy contrast. Nikon also provides a lens hood at no extra charge.

As this technical illustration indicates, the 18-200mm VR II lens incorporates five high-tech elements to minimize optical aberrations as well as linear distortion. One of the Extra Low Dispersion elements is very large and that does increase the manufacturing cost.

When zoomed to 200mm, the (lightweight) internal barrel extends by 2.7″; that’s typical of 18-200mm lenses. The Nikon lens is not macro designated like some competitors; the minimum focus distance is 20″ adequate for frame filling photos of a large blossom. Maximum magnification is 0.22x at the 200mm focal length. As with many internally focusing lenses, the actual focal length differs in extremely close focusing versus infinity focusing. Focus on a subject very close to the lens, and the focal length is wider at the short end and shorter at the long end than the markings indicate.

While this 18-200mm lens cannot focus extremely close, it's fine for tightly framed shots of some nature subjects, particularly at the 200mm focal length. Especially at f/11 and at f/16 - apertures often used for adequate depth of field - image quality can be impressive. My technically best close-focus photos (made with a D200) allowed me to make gorgeous 13x19" prints. (D200; Manfrotto tripod; f/16 at 1/60 sec.; ISO 200) ©2010 Peter K. Burian

Like all AF-S/Silent Wave lenses, this one provides very fast autofocus. It also includes an M/M-A switch for selecting manual focus or autofocus with manual focus override after AF has been confirmed. There’s also a Vibration Reduction mode switch. In Normal VR, image stabilization is provided on the 2-axis horizontal plane; this is the standard mode and it’s also ideal when panning with a moving subject. Switch to Active VR and 4-axis (in all directions) stabilization is provided. This second mode is particularly useful when shooting from an unstable platform such as a boat bobbing on the waves.

Vibration Reduction Evaluation

Although the original AF-S Nikkor 18-200mm VR lens was not labeled with the VR II designation, it also employed the same image stabilizer technology. Nikon’s specs indicate that this system – in either of the 18-200mm models – allows for hand holding the lens at a shutter speed of up to four steps longer than with a non-VR lens. The shake compensating effect is visible in a DSLR’s viewfinder – or the LCD display in Live View – as a visual indication of its effectiveness.

Thanks to the Vibration Reduction system, I was able to use relatively low ISO levels while shooting indoors without flash. In this case, ISO 400 provided an adequately fast shutter speed (1/10 sec.) to prevent blurring from camera shake. Without the lens' stabilizer, an ISO of 1600 or 3200 would have been required; at such high levels, image quality is degraded due to digital noise. (D200; 42mm focal length) ©2010 Peter K. Burian

The VR II stabilizer is a valuable amenity since it allows for shooting at longer shutter speeds, reducing the need for a tripod or for a high ISO level. (Every digital SLR provides superior image quality at lower ISOs.) A stabilizer is certainly useful in low light, but it’s also great when shooting a moving subject – such as waterfalls – at a long shutter speed, for intentional motion blur. The VR II system helps to ensure that the static surroundings are sharply rendered.

The VR II stabilizer is very useful when a tripod cannot be used. As these examples indicate, it was impossible to get a sharp photo at 1/15 sec. with the lens hand-held at 200mm, but the stabilizer instantly solved that problem. (D200; ISO 400; Church of our Lady, Guelph, ON) ©2010 Peter K. Burian

During testing, I was usually able to get sharp photos at 200mm (a 300mm equivalent) at 1/25 sec. in a dark cathedral while hand-holding the camera. By comparison, with the VR set to Off, I needed to use a 1/200 sec. shutter speed for a high success ratio. Even at a 1/15 sec. shutter speed, roughly half of my images were adequately sharp for nice 8×12″ glossies. When bracing the camera on a solid object, I got some sharp images (at 200mm) even at a surprisingly long 1/6 sec. shutter speed.

Optical Evaluation

Although the new lens uses the same types of optical elements as its predecessor, it provided slightly higher sharpness in my tests. At every focal length from 18mm to 125mm, it produced high image quality at the maximum apertures; sharpness in the central 70% of the frame was high. Stopping down to f/8 provided an obvious improvement in edge sharpness. As with all lenses of this type, performance at longer focal length was less impressive at f/5.6 but definitely improved by f/8, particularly in the 140mm to 200mm range.

Particularly in the mid-range of focal lengths at f/8, image quality is excellent. This D200 photo is suitable for a 13x19" print with high resolution of intricate detail. (70mm; f/8; Hoya Pro 1 D polarizer) ©2010 Peter K. Burian

In tests made with a Nikon D200, chromatic aberration was visible in images made at very short and very long focal lengths. That was easy to correct by shooting in RAW capture mode and taking advantage of the aberration correction available with some of the converter programs. Note too, that newer Nikon cameras (like the D300 that I also used)  provide automatic chromatic aberration reduction processing to minimize “purple fringing”.

Particularly at 18mm to 70mm there was some distortion of straight lines near the edges of the frame. And at very short and very long focal lengths, some darkening at the corners was obvious. Both aspects are common with multipurpose zooms. Switching to f/8 provided brighter corners. Linear distortion cannot be reduced by stopping down. On the other hand, it’s really problematic only in formal architectural photography; that’s not a typical use for an 18-200mm lens. Note too, that linear distortion can be corrected with certain software programs.

While some barrel or pincushion distortion is visible in photos of a test pattern or a brick wall, it’s rarely noticeable in most other types of images. More importantly, the lens provides good to very good image quality even at f/4-5.6. While the same photo made at f/8 does provide better resolution, this RAW capture allowed me to make an excellent letter size print. (A: the full photo; B: a small portion of the photo; D200; 82mm; f/5 at 1/320 sec.; ISO 100). ©2010 Peter K. Burian

Note: The term “linear distortion” refers to the bending of lines near the edges of an image. There is another type of distortion that becomes obvious when a lens is tilted upward, to include an entire building, for example. Called “perspective” distortion, it can make the structure appear to lean backward. This happens because the base of the building is closer to the lens than its top. Whenever we fail to keep the camera back parallel to a subject, the perspective does appear to be skewed. (See the wide angle Oracle photo, for example.) This effect is caused by the shooting technique and not by any optical flaw.

Flare was very well-controlled. Even in bright side lighting the lens hood – plus the multiple internal coatings – worked well to minimize flare, ensuring snappy contrast. I was pleasantly surprised at the image quality in extremely close focusing while taking photos of Gerbera daisies. While the images were soft at wide apertures, stopping down to f/11 – and especially to f/16 – provided high edge-to-edge sharpness. I recommend f/16 for close focus work since this aperture also provides the depth of field necessary for sharp focus in all parts of the subject.

The Bottom Line

A lens with an 11.1x zoom range is certain convenient since it packs the most commonly used focal lengths into a single barrel. Whenever space and convenience are most important, this Nikon multipurpose zoom would be a fine choice especially on a compact DSLR like the D3000. Tucked into a hip pack or slung over a shoulder, the weight/size should not become a burden. And as a bonus, you’ll get less gunk on your camera’s sensor because you won’t be changing lenses.

The Nikkor 18-200mm VR II lens is great for taking  snapshots during family events but it’s also fine for travel photography thanks to its portability and focal length versatility. (D200) ©2010 Peter K. Burian

In addition to its wide range of focal lengths, the Nikkor AF-S 18-200mm VR II model provides very fast autofocus, a superior optical formula and a very effective image stabilizer. Serious shooters usually own high-grade, wide aperture lenses with a less ambitious set of focal lengths, such as a 70-200mm f/2.8 and a 17-55mm f/2.8 zoom. On the other hand, an 18-200mm lens is preferable  for use when  hiking, touring a city or on a family vacation.

Because this location was on top of a steep, icy slope, it was a pleasure to be carrying a camera with only a single lens. More importantly, I was very impressed with the quality of the images produced by the Nikkor 18-200mm VR II lens. For example, this RAW capture allowed me to make a 13x19" print that would be suitable for framing. (D300; 22mm f/11; ISO 200; Hoya Pro 1 D polarizer; Webster's Falls, Hamilton, ON) ©2010 Peter K. Burian

When shooting stock images, I often drag a 20 lb. camera bag around but that can be a real pain in the “¦ shoulder. And even when hiking with a single pro lens, the equipment can become an albatross around my neck. That’s why it was such a pleasure to work with this multi-purpose alternative. In the past five years, I have tested many “all-in-one” lenses and the AF-S DX Nikkor 18-200mm f/3.5-5.6G ED VR II model been the best of the group. It’s certainly not inexpensive but this one deserves my Best Value award in the 18-200mm category.

For more information and user reviews check out: Amazon   Nikon 18-200mm f/3.5-5.6G AF-S ED VR II Telephoto Zoom Lens for Nikon DX-Format Digital SLR Cameras, or B&H Photo   Nikon AF-S DX NIKKOR 18-200mm f/3.5-5.6G ED VR II Zoom Lens

Nikon AF-S DX NIKKOR 18-200MM F/3.5-5.6G ED VR II Specifications

Peter Burian tests five lenses with great light gathering ability: the Canon EF 70-200mm f/4L IS USM, Tamron AF 70-200mm f/2.8 Di LD (IF) Macro, Tokina AF 50-135mm f/2.8 AT-X Pro DX, Nikon 17-55mm f/2.8G ED-IF AF-S DX and the Sigma AF 30mm f/1.4 EX HSM DC

Because most digital SLR camera owners demand compact, lightweight lenses, the vast majority of zooms feature a small maximum aperture. A typical kit lens is designated as f/3.5-5.6 indicating that the maximum aperture is quite small at the short end and becomes very small at longer focal lengths. In practical terms, that translates to moderate light gathering ability. The larger the numeral the smaller the opening in the lens and the less light that will reach the camera’s digital sensor.

A wide aperture lens is ideal for fast shutter speeds in low light conditions when you cannot use flash or a tripod. Shooting at f/2.8 allowed me to get many sharp photos at 1/125 sec. during a stage performance, using ISO 1000. With a more typical (smaller) aperture, much higher ISO levels would have been required for the same shutter speed and the images would have been seriously degraded by digital noise. (Nikon 17-55mm at f/2.8.) (c) 2009 Peter K. Burian

On the other hand, some lenses feature a much wider maximum aperture such as f/2.8, an even wider f/1.8 or an incredibly wide f/1.4. These can transmit a great deal more light providing a variety of benefits discussed in a moment. For this Review, I decided to test four very popular models of this type (including a fixed focal length lens) and a one with a maximum aperture of f/4. While f/4 is not a particularly large aperture, it is constant with the Canon EF 70-200m f/4L IS USM lens and does not diminish in size as you zoom.

Wide Aperture Benefits

Most professional photographers and serious photo enthusiasts prefer wide aperture lenses for their greater light-transmitting ability. The amount of light reaching the film or digital sensor is not usually an issue on bright, sunny days. But in low light situations, the wider aperture allows for shooting at a faster shutter speed –such as 1/60 sec. versus 1/8 sec.– without the need to set a very high ISO level. That’s why lenses of this type are called “fast”. They can be valuable in producing sharper photos with less blurring from camera shake and/or subject motion.

While it’s possible to shoot at fast shutter speeds with any lens at a high ISO level, it’s great to do so at a lower ISO level where image quality is not degraded by digital noise. Check out the illustration below, for example, and you’ll appreciate the value of a faster lens at ISO 100. Granted, an image stabilizer can also provide sharper photos at fairly long shutter speeds, but when the subject is moving, a wide aperture lens is still very useful for preventing motion blur.

As these examples--made at apertures from very wide to moderately wide--confirm, the shutter speed is substantially faster at f/1.4 than at the more common apertures at any ISO, minimizing the risk of blurring caused by camera shake. (Sigma 30mm f/1.4; ISO 100.) (c) 2009 Peter K. Burian.

In addition to that aspect, there are three other benefits that are available with many “fast” lenses:

• Superior Quality: Because most wide aperture lenses are prosumer grade products, they usually feature very rugged construction, superior mechanisms and high-grade optical elements. Often, image quality is excellent at the commonly used f/stops, from about f/4 to f/11.

• More Effective Focusing: A wide aperture transmits a great deal of light, making manual focusing easier in dark locations, such as a theatre, a cathedral or a castle. Autofocusing is also quicker and more reliable in low light because a “fast” lens transmits more light to the camera’s AF sensor. This can make autofocus possible in situations where the camera would balk if you were using a more typical f/4-5.6 zoom.

• Shallow Depth of Field: Because very wide apertures (small f/numbers) provide less depth-of-field only the focused area will appear sharp in a photo. Especially at focal lengths of 135mm or longer–particularly in close focusing–it’s possible to render a cluttered background as a soft blur of color. A subject that’s sharply framed against a soft backdrop will immediately attract and hold the viewer’s attention. Be sure to focus very carefully however–on the most important subject element, such as an eye in a portrait–to ensure that it will be sharply rendered.

The Five Contenders

Moving on to specific products, let’s take a look at the four lenses with very wide maximum apertures and the fifth, an f/4 zoom with a built-in image stabilizer. That system can compensate for camera shake to prevent blurring caused by hand and body tremors; hence, there’s less need for an ultra wide aperture for faster shutter speeds.

Not all of the five lenses were available at the same time, but I tested each extensively both indoors and out. In order to take full advantage of their wide maximum apertures, I sought out events taking place in low light as well as others that allowed for shooting at mid-size apertures for optimal image quality. Some of these products are designated as multi-platform: suitable for 35mm film cameras and DSLRs regardless of the sensor size. The others were designed for use with the “smaller” sensors that are used in the vast majority of DSLR cameras.

Canon EF 70-200mm f/4L IS USM

Intended for those who find Canon’s f/2.8 model too large, heavy and expensive, the 70-200mm f/4L IS USM zoom Canon EF 70-200mm f/4 L IS USM Lens for Canon Digital SLR Cameras is more compact and hence more affordable (under $1200). The maximum aperture is a bit smaller however so you won’t get all of the advantages of a very “fast” zoom discussed in the introduction. Still, f/4 is wider than average in the telephoto zoom category and this lens is equipped with an image stabilizer (IS). By compensating for camera shake, that mechanism minimizes the need to use fast shutter speeds–and hence, high ISO levels–for blur-free photos.

A maximum aperture of f/4 is not very wide, at least when compared to f/2.8, but it does allow for a much smaller/lighter zoom lens. Also, the Image Stabilizer does reduce the need for a fast shutter speed re: blur from camera shake but provides no value in terms of "freezing" motion. (At f/4, 1/200 sec., ISO 1600, 70mm.) (c) 2009 Peter K. Burian

This multi-platform Canon lens is quite portable although the over-sized hood does make it seem large. The off-white metal barrel is very rugged, beautifully finished and water/dust resistant. The barrel never rotates or protrudes so constant balance is maintained. Rotate the wide rubberized zoom and focus rings and you’ll find very smooth operation with a lot of friction: not a loose, sloppy feel. Thanks to internal focusing and zooming the barrel never protrudes or rotates.

The USM designation indicates an Ultrasonic Motor for super fast, silent autofocus. The designers specified high grade optical components including a piece of (very expensive) fluorite glass and another Ultra Low Dispersion (UD) element. The combination is remarkably effective in correcting chromatic aberration. In practical terms, they force all wavelengths of light to focus on the film or digital sensor, ensuring optimal sharpness–and minimizing “purple fringing” around subject edges–even at f/4. (Full Specifications are available at Canon USA.)

Evaluation: Although Sigma, Tamron and Nikon also make some lenses with stabilizer systems, this was the only one of the five to include a camera shake compensating device. The Canon 70-200mm f/4 zoom provides two stabilizer modes: one is for use with static subjects and another for panning with a subject moving across your line of vision. Even at 200mm–a 320mm equivalent with most EOS cameras–I was able to get many sharp photos at 1/50 sec. No stabilizer can freeze motion however, so a higher ISO level is still required for fast shutter speeds with an f/4 lens versus an f/2.8 lens.

At the commonly used apertures, the Canon lens produced exceptional image quality. As a bonus, its Ultrasonic AF system provided a high success ratio of sharply focused shots in action photography; roughly 90% of my images from this event are sharply focused. (At f/7.1, 1/1000 sec., ISO 400, 121mm; Hoya digitally-optimized Circular Polarizer.) (c) 2009 Peter K. Burian

Autofocus was equally impressive: lightning fast, nearly silent and very reliable in tracking erratic motion during a triathlon. At every zoom setting and focused distance, my images are sharp across the entire frame. As you might expect from the L designation (for “luxury”) this zoom produced very high resolution of intricate detail even at f/4; the images look great as 12×18″ prints. There’s no obvious softness–or any darkening–even in the corners. Images made at f/5.6 to f/11 are even better, suitable for gallery-quality 15×22″ prints.

This was my favourite of the five tested because it’s a fine all-around performer in terms of autofocus, optical quality and the effectiveness of its stabilizer. If the price exceeds your budget, check out the Canon EF 70-200mm f/4L USM model Canon EF 70-200mm f/4L USM Telephoto Zoom Lens for Canon SLR Cameras without the IS designation. That older zoom does is not equipped with a stabilizer and it’s not as weather-resistant but provides almost the same level of performance for about $400 less. Those appreciate the significant benefit provided by a stabilizer system will want to save up in order to buy the newer IS-designated version.

Pro’s and Con’s: Several factors make this a very desirable lens: the stabilizer, ultrasonic AF, the pro caliber optical formula and the tough, weather-resistant construction. On the other hand, the Canon zoom is expensive for an f/4 model and the tripod mounting collar is an extra cost option. Opteka makes an affordable tripod mount, but I cannot vouch for the quality of that accessory.

The Canon version (A II W) is excellent of course, but it adds $150 to the price of the lens.

Tamron SP AF 70-200mm f/2.8 Di LD (IF) Macro

Replacing a larger, heavier 70-210mm f/2.8 Tamron model, this multi-platform Tamron Di zoom (Tamron AF 70-200mm f/2.8 Di LD IF Macro Lens for Canon Digital SLR Cameras) benefits from much closer focusing ability and a “clutch” that allows for quickly switching from AF to manual focus. Extensive use of multiple layers of chemical coatings plus an over-sized lens hood minimize flare from a highly reflective digital sensor and also from external light sources. Three large low dispersion (LD) elements correct optical aberrations which would otherwise degrade image quality especially at f/2.8 and at f/4.

The wide f/2.8 aperture was very useful for fast shutter speeds--such as 1/160 sec. to freeze motion--during a stage performance where flash and tripods were prohibited. For this shot I used ISO 800. With a "slower" lens, a much higher ISO level would have been required: ISO 1600 at f/4 or ISO 3200 at f/5.6. (At 70mm, f/2.8.) (c) 2009 Peter K. Burian

A high-grade product, this zoom features a very rugged barrel finished in matte black and a (removable) metal tripod mounting collar. It’s compatible with Tamron’s 1.4x and 2x teleconverter, accessories that can extend the focal length into super telephoto category. The extra wide rubberized focusing and zoom rings provide a solid, familiar feel, with plenty of friction. Because the lens barrel does not protrude during zooming or focusing, weight distribution always remains constant. That’s particularly important when this hefty lens is used on a tripod.

Evaluation: The advanced optical formula provided images with snappy contrast as well as remarkably high sharpness across the entire frame. Optimal performance was provided in the 70mm to 140mm range at f/8 but I never hesitated to shoot at f/2.8 at any focal length for fast shutter speeds. By f/4, edge sharpness–and edge brightness–were excellent; the photos are suitable for making 14×21″ prints of stunning quality. Even images made at f/2.8 allowed me to make very good 12×18″ prints. That’s a fine achievement for a relatively affordable ($800) lens, qualifying this Tamron model as a “best value” in its category.

The Tamron zoom produced very high image quality at f/8 at all apertures and focal lengths. Autofocus (with an EOS 40D) was quite fast and reliable with action subjects; roughly 70% of my photos from this event were sharply focused. (At 200mm, f/8, ISO 400; Hoya digitally-optimized Circular Polarizer.) (c) 2009 Peter K. Burian

This lens can provide an impressive 0.32x magnification in close focusing at 200mm. In images of colorful blossoms, sharpness was excellent, particularly in the f/5.6 to f/16 range. While an ultrasonic motor might make autofocus even faster, I was able to get many sharp photos during a marathon and a horse jumping event. Autofocus failed occasionally but the overall performance was fine. In low light, AF remained reliable because the wide aperture transmitted a lot of light to the autofocus sensor.

The close focusing ability of the Tamron zoom was useful for frame filling images of moderately large nature subjects. Image quality was very good at f/11 and f/16, apertures that I often used for adequate depth of field. (At 200mm, f/11, ISO 400.) (c) 2009 Peter K. Burian

The f/2.8 aperture and solid construction do make this lens somewhat large and heavy at 41 oz. (Full specifications are provided at Tamron; the model for Nikon includes a built-in focus motor.)

Many families would prefer the more portable 19.5 oz. Tamron 18-270mm f/3.5-6.3 Di II VC LD Aspherical IF Macro model (about $630) Tamron AF 18-270mm f/3.5-6.3 Di II VC LD Aspherical IF Macro Zoom Lens for Canon DSLR Cameras–with built-in image stabilizer–in spite of its much smaller maximum apertures. Although not intended for everyone, Tamron’s 70-200mm f/2.8 zoom will certainly satisfy demanding photographers. Considering its level of performance–and the surprisingly affordable price–it offers excellent value. Used with serious shooting techniques, the lens will pay dividends in terms of professional caliber images.

Pro’s and Con’s: This rugged Tamron lens offers excellent value for an f/2.8 tele zoom and it provides higher magnification than average in close focusing. On the other hand, it’s larger/heavier than the EF 70-200mm f/4 zoom, but that’s relevant only to owners of Canon SLR’s. (Only one other current telezoom of a major brand features a constant maximum aperture of f/4, the huge Sigma APO 100-300mm f/4 EX DG HSM lens Sigma 100-300mm f/4 EX DG IF HSM APO Fast Aperture Telephoto Zoom Lens for Canon SLR Cameras.) While autofocus would be faster if the Tamron lens included an ultrasonic motor, AF performance is fine as is, except for serious sports photographers.

Tokina AF 50-135mm f/2.8 AT-X Pro DX

Designed strictly for DSLR cameras with the typical “small” sensors, this 50-135mm zoom ($530) does not provide as much “reach” as the 70-200mm models but it does include some shorter focal lengths. It’s quite compact and not very heavy but still meets pro standards in terms of all-metal construction and the quality of the focus/zooming mechanisms. A “clutch” allows for quickly shifting between AF and manual focus by moving the focus ring about one centimeter. The metal tripod mounting collar is not removable so its weight is reflected in the specifications for the lens.

While a longer 70-200mm zoom is more useful for some purposes, the 50-135mm Tokina lens provided an 80-216mm equivalent on an EOS digital SLR; that's plenty for many types of subjects. The wide f/2.8 aperture allowed me to shoot at ISO 1000 even when I needed to use a shutter speed of 1/250 sec. in low light; my letter size prints are excellent. (At 62mm, f/2.8.) (c) 2009 Peter K. Burian

This f/2.8 Tokina zoom is equipped with three Super Low Dispersion (SD) glass elements to correct for chromatic aberrations and to focus all colors of light accurately at the sensor plane. Note too, that Tokina employs a new type of coating on the front element; this makes it very easy to remove fingerprints and water droplets. Extensive use of multi-layer chemical coatings plus an over-sized lens hood combine to minimize flare for snappy contrast even in strong side-lighting. (Check the full Specs at THK Photo Products, Inc.. This lens is available in EOS and Nikon mount.)

This is another lens with internal focusing and zooming; the front element does not rotate and the barrel never protrudes. This design–and the very wide maximum aperture–helps to accelerate autofocus. While it’s not equipped with an ultrasonic AF motor, I found that autofocus was quite quick and reliable. This 80-216mm equivalent zoom is too short for most action photography but it is compatible with the Kenko Pro 1.4x and 2x teleconverter; those accessories would make it more versatile.

Evaluation: The mechanical and optical materials are really first-rate so there’s no need to use specific apertures or focal lengths for optimal image quality. This level of consistency is a sign of a very well designed lens. While there is a bit of shading (darkening at the corners), that’s noticeable only at f/2.8 and f/3.5. Clarity, sharpness and resolution of fine detail are all very good, particularly from f/4 to f/11. My best images made for richly-detailed 12×18″ prints that look great even under close scrutiny.

The Tokina zoom produced very fine image quality at f/4 to f/11 at any focal length, so the resulting images made for excellent prints in sizes up to 12x18". While this lens is not equipped with a focus motor, that's a problem only for owners of certain Nikon DSLRs. (At 62mm, f/10, 1/200 sec., ISO 400; flash.) (c) 2009 Peter K. Burian

The manufacturer of Tokina lenses (the Tokina, Hoya, Kenko consortium) is not as prolific as Sigma and Tamron in introducing many new products each year. The 50-135mm f/2.8 zoom, for instance, was released in November 2006 and the model for Nikon does not include the motor required for autofocus with the D40, D40x, D60, D5000 and future affordable Nikon DSLRs. (Some of the newer Tokina lenses are equipped with the focus motor so they provide AF with any DSLR.) In all other aspects the Tokina brand definitely deserves your consideration. Like every AT-X zoom I have tested since 1999 the 50-135mm lens should certainly satisfy many serious shooters.

Pro’s and Con’s: This lens’ strong points include an all metal barrel, three high-grade SD elements and a high degree of consistency at all apertures/focal lengths. Drawbacks include the lack of ultrasonic AF and the AF motor necessary with some Nikon cameras; note too, that the tripod mounting collar is not removable as it is with the longer zooms, so it always adds slightly to the weight of the lens. Still, the Tokina 50-135mm f/2.8 zoom is relatively compact/lightweight, especially when compared to a 70-200mm lens.

Nikon 17-55mm f/2.8G ED-IF AF-S DX

A “standard” zoom with a wide maximum aperture, this lens Nikon 17-55mm f/2.8G ED-IF AF-S DX Nikkor Zoom Lens was designed to attract professional photographers who often shoot in low light. Built to withstand extensive use under difficult conditions, the rugged all-metal barrel includes three Extra-low Dispersion (ED) glass elements plus three aspherical to correct all types of optical aberrations and distortion. An over-sized lens hood plus extensive multilayer coating provide very effective protection against flare.

Fit and finish are first-class in all respects. The wide, rubberized focus and zoom rings provide buttery-smooth operation with lots of friction. The internal barrel does protrude slightly at the 17mm zoom setting but does not rotate during focusing. Rubber seals provide protection against moisture, extreme humidity and dust. Internal focusing plus an ultrasonic Silent Wave Motor (SWM) enable unusually fast autofocus; manual override is possible in AF mode. Particularly when used with a high-end DSLR (with a superior AF system), this wide aperture lens provides instant focusing even in low light.

Even at the maximum aperture required for fast shutter speeds in low light, the Nikon zoom provides unusually high sharpness/resolution in the central 2/3 of the image area. In fact, at wide apertures, this is one of the best "standard" zoom lenses that I have ever tested. (At 26mm, f/2.8, 1/180 sec., ISO 1600.) (c) 2009 Peter K. Burian

Evaluation: As you might expect from a lens used by numerous photojournalists and other professionals, this one can provide superlative image quality. Particularly in the 28-55mm range, sharpness is very high in the central two-thirds of the image area even at f/2.8. In the f/4 to f/11 range, edge sharpness and brightness are excellent as well; the images would be perfect for making 16×24″ outputs for publication or for wall decor. Even at the shorter focal lengths, the Nikon lens provides fine performance; images made at 17mm to 27mm at f/4 to f/11 produced very good 13×19″ inkjet prints.

Stopping down to the f/4 to f/11 range allowed the Nikon lens to provide impressive quality across the entire frame at short focal lengths, and even better in the 28-55mm range. (At 17mm, f/f/10, 1/20 sec. Hoya digitally-optimized Circular Polarizer.) (c) 2009 Peter K. Burian

This Nikon zoom is large/heavy but well-balanced when used with a hefty camera like the D300. Unless you need a pro-calibre f/2.8 zoom, you might be just as happy with Nikon’s AF-S DX 16-85mm f/3.5-5.6 ED VR II. That lens costs about half as much and is smaller/lighter, more versatile and includes an image stabilizer; it’s also capable of providing very fine image quality. On the other hand, an aperture of f/2.8 is valuable in low light, for faster shutter speeds that will more effectively “freeze” a moving subject without the need for a higher ISO level.

Pros and Cons: Aside from the size/weight this Nikon zoom is just about perfect in terms of construction, optical technology and autofocus. Considering the upscale price (about $1400) however, I would also have appreciated a Vibration Reduction stabilizer. Optical performance could be even better at short focal lengths, I suppose, but that’s probably nitpicking.

Sigma AF 30mm f/1.4 EX HSM DC

One of the relatively few f/1.4 lenses designed exclusively for DSLRs with “small” sensors, this 30mm model Sigma 30mm f/1.4 EX DC HSM Lens for Canon Digital SLR Cameras features a huge maximum aperture; it’s two stops wider than f/2.8. That’s interesting but consider the practical value: when using the same ISO level, this lens allows for shooting at a shutter speed that’s four times faster. Compare this Sigma lens to one with a maximum aperture of f/5.6 and the f/1.4 lens allows you to shoot at a shutter speed that’s sixteen times faster. That’s great for low light photography when a tripod or flash is prohibited or impractical.

As with any f/1.4 lens, depth of field is extremely shallow at f/1.4 in close focusing so only the focused plane is really sharp. That's due to an optical characteristic and is not a performance issue. Granted, the Sigma lens does provide better results at smaller apertures, but f/1.4 can be very useful in low light photography. (At f/1.4.) (c) 2009 Peter K. Burian

Photographers who use film camera often own a wide aperture 50mm lens and this 30mm lens is roughly equivalent to that because of the smaller DSLR sensors. Optical aberrations can seriously degrade image quality at f/1.4 to f/2 so this lens includes two pieces of Special Low Dispersion glass plus two Aspherical elements. In order to maximize autofocus speed, Sigma installed their Hyper Sonic Motor for very fast, silent autofocus with Canon, Nikon or Sigma DSLRs. Because the huge aperture transmits a great deal of light to the camera, autofocus is reliable even in dark locations.

Note: A nearly identical model is available in Sony/Maxxum and Pentax mounts but does not include the Hypersonic AF motor so autofocus is not as fast or as quiet. (The full Specs are available at Sigma)

Although this lens with metal barrel is larger/heavier than you would expect, it’s still very portable when compared to most zooms. The wide, rubberized focus ring has a smooth action and the front element does not rotate. Manual focus override is possible in AF mode, convenient for quickly making minor changes when necessary. Because of the unusually wide lens aperture, the viewfinder provides a particularly bright view of a subject even in low light and autofocus remains quite fast.

Evaluation: In order to maximize the lens’ primary feature, I often worked at f/1.4 to f/2 while taking photos at various indoor events. At these f/stops, image quality is highly acceptable but not perfect. Sharpness in the central 60% of the frame is very good but there’s some obvious softness at the edges. Darkening at the corners is noticeable in photos of light-toned subjects but it’s not really visible with more typical scenes. After some work in Photoshop, my best shots made for very nice 8×10″ glossies.

At the most commonly used apertures, the Sigma lens produced excellent image quality; in fact, it's better than many zoom lenses in this respect. (At f/9, 1/50 sec., ISO 100; Hoya digitally optimized Circular Polarizer.) (c) 2009 Peter K. Burian

Switching to f/4 provides more even brightness and sharpness across the frame. Optimum quality is available at f/8, suitable for making very good 13×19″ glossies. While some of the Sigma EX-series zooms provide even better results — and greater versatility in focal lengths — none feature an aperture wider than f/2.8. And that’s what makes an f/1.4 lens preferable as a problem solving tool. If you often shoot in dark locations where flash and a tripod are not practical, this compact Sigma lens deserves a spot in your camera bag.

Pro’s and Con’s: This is a fine lens particularly at the most commonly-used apertures and autofocus is very fast in the models equipped with the HSM motor. While edge sharpness/brightness could be better at very wide apertures, the Sigma f/1.4 model offers good value for the price (under $450), considering it’s high-grade construction and optical elements.

The Bottom Line

Not everyone needs a large, heavy and pricey “fast” lens because many zooms–and some DLSR bodies–incorporate an image stabilizer. That system reduces the need for fast shutter speeds to prevent blurring from camera shake. Granted, the faster shutter speed provided by a wide aperture is valuable in a lens that will be used for action photography. In any event, I’ll summarize my findings briefly, as follows.

The Tokina 50-135mm f/2.8 zoom is too short for that purpose unless used with teleconverters and those are not inexpensive. Still, this would be a fine choice for anyone who appreciates the focal length range available with this rugged, reasonably affordable and compact f/2.8 lens.

The Tamron and Canon 70-200mm models are fine performers with the latter holding an edge in terms of portability, AF speed/reliability, some aspects of image quality and its built-in stabilizer. But the Tamron zoom’s f/2.8 aperture is more attractive for low light photography and for those who often use a teleconverter.

The Nikon 17-55mm zoom and the Sigma 30mm lens are not directly comparable to any of the others and they’re not “mass market” products. But if you often shoot indoors without flash or a tripod, the Sigma model might be worth considering. While image quality is best at smaller apertures, the ability to shoot at f/1.4 can be a valuable problem-solver in some situations. As suggested earlier, a more affordable Nikon zoom with Vibration Reduction stabilizer might be more appealing to many shooters than the expensive f/2.8 model that I tested. The pro grade zoom certainly has merits of course and it would be a fine choice for those who need tank-like construction and often photograph moving subjects in low light.

Nikon AF-S DX Zoom-Nikkor 10-24mm f/3.5~4.5G ED. Effectively a 15-36mm zoom (with 1.5X sensor factor), this lens is relatively compact and lightweight. It offers a choice between fully manual and AF with manual override via an onboard switch. And unlike a fisheye or even the 14-24, the front element is not bulbous enough to prevent use of a filter--77mm. Copyright ©2009 Jack Neubart. All rights reserved.

Over the years, I’ve become enamored of wide zooms–the wider the better. One of my faves is a Tokina fisheye zoom that I practically take everywhere. But there’s only so much barrel distortion one person can take, and only so far that distortion correction can take an image–when you want to employ it, that is. Sometimes you just want to start out with straight lines wherever you can get them. So, when I heard that Nikon had a new 10-24mm lens, I was on it like an egret on a fish (hey, it’s the first metaphor that popped into my head).

I’d worked with Canon’s EF-S 10-22 mm lens–and simply loved it. At the time, I still had an APS-C Canon, but I was fast moving toward full-frame and knew the lens would not be long for this world if I bought it. So I tested it, and sadly said goodbye. Now that I’m back in the APS-C camp with the Nikon D300–and loving it!–it was time to examine yet another zoom in the ultra-wide dimension (super-wide? potato, potato–you get what I mean).

Making Choices

Okay, I know, this looks an awful lot like another lens from Nikon. But there is a difference. Considering that only a few dollars separates them, it really is a tough call choosing between the AF-S DX Zoom-Nikkor 10-24mm f/3.5~4.5G ED and AF-S DX Zoom-Nikkor 12-24mm f/4G IF-ED.

Both lenses are designed for Nikon’s DX-format cameras. Weight and size are roughly the same. Where they obviously differ is in the maximum aperture: variable on the one we’re currently reviewing, fixed on the other. A fixed aperture does have its advantages, especially in low light photography at the longer end of the zoom range–but I’m not sure that’s enough of an argument here. The red band does denote a more professional series–if that matters (on some lenses, it means they’re weatherproof).

However, don’t forget that APS-C sensor factor of 1.5X. At the 24mm end, both lenses give us 36mm–an excellent choice for group shots. At the short end, the 12-24 comes up short–or should I say, long?–at 18mm. Wide, yes, but not quite as wide as 15mm that we effectively get on the 10-24.

Now, before you ask, no, this is not the same as a fisheye of this focal length. My fisheye zoom is a 10-17–but it’s designed to produce fisheye perspective, replete with a whole barrel of monkeys’ worth of distortion. Just the way I like it, when I want that much distortion. And the fisheye takes in a field of view equal to 180 degrees. The 10-24 only goes as wide as 109 degrees, which falls far short of fisheye. But there’s a very positive side to that, as we shall see.

Unfortunately, I haven’t worked with the 12-24, so I can’t say for certain which is the better lens. And admittedly, even if I had, different samples off the shelf may lead to completely different conclusions. Which is why I’m not too keen on bench tests. I prefer real-world testing.

But, if you really want to take your photography to the next level, then you should be considering the AF-S NIKKOR 14-24mm f/2.8G ED, which costs–and weighs–twice as much (and is designed for FX and DX cameras). That f/2.8 maximum aperture sure is sweet. All three lenses feature Nikon’s Silent Wave Motor for faster and more efficient AF operation, and mandated on certain lower-end Nikon DSLRs.

The Glass Is the Thing

Enough meandering. Let’s get back on point. As with many of the better lenses we surround ourselves with, the 10-24 is not wanting for exotic glass. The lens boasts ED (extra-low-dispersion) lens elements, aspherical elements, and Nikon’s own Super Integrated Coating. Regrettably, the lens lacks Vibration Reduction–something I could have used when shooting under low light levels.

And while the lens does physically change in length while zooming, internal focusing guarantees that you can refocus to your heart’s content and not worry about throwing a circular polarizer out of alignment With a 77mm filter size, that means a pricey polarizer, but hopefully you’ve got one sitting around. Closest focus is 0.8 ft (0.24 m) for a maximum reproduction ratio of 0.2X.

From ultra to moderately wide. At the 10mm focal length setting, this lens delivers sweeping vistas, albeit less dramatic when zoomed to 24mm. I added a 77mm circular polarizer to give the sky added depth. Copyright ©2009 Jack Neubart. All rights reserved.

But don’t let those numbers deceive you. This lens lets you get some nice close-ups–don’t you fret. The lens also features a rounded diaphragm for more pleasing out-of-focus highlights and backgrounds at or near maximum aperture.

If, like me, you were curious as to what the “G” stands for, Nikon explains: “G-type Nikkor lenses have no aperture control ring and are intended for use on Nikon DSLRs that allow the lens aperture to be adjusted via the camera’s command dial. In addition, like D-type Nikkors, G-type optics relay subject-to-camera distance information to Nikon digital SLRs. The information is used to help determine ambient and flash exposure.”

In the Field

I happened to be working with this lens when I first came upon a beautiful caterpillar, which I’d also photographed with the Nikon 60 Micro and Canon G10. Granted, none of these shots compares with what that macro lens delivered, but you take what you can get and live with some limitations.

Irises and lilies were in bloom at various times during my testing period. These were blossoms large enough to fill the frame even with a lens such as this, at 24mm, of course. With flower close-ups the trick always is deciding what to focus on: the colorful petals or the stamens and pistils (the reproductive organs). If you’re lucky, you’ll also get some pollen grains in focus. And if you’re really lucky, some bug will accommodate you and give you something else entirely to focus on.

It's all in the details. The cropped version of each image will give you an idea of the detail captured by this lens. Copyright ©2009 Jack Neubart. All rights reserved.

When I’m shooting with flash, I can stop down and almost be assured of getting practically everything I want in focus–at this focal length (macro is another story). When shooting by available light, ya may has to make yer choices. Let’s just say I was bloomin’ ecstatic with the results. Better than expected, really. To me that’s a good measure of a lens, when you can bring it in to the near limits of close focusing and still get results that bring a smile to your face. By the way, depending on your shooting angle, expect some exaggerated perspective thrown in for good measure with the lens this close to the subject.

Using the built-in flash. Look carefully and you'll see where the lens, at 24mm, blocked the built-in flash on my Nikon D300 (hint: bottom middle of frame). It gets much worse at 10mm, and would have been worse still had I left the lens shade attached. Copyright ©2009 Jack Neubart. All rights reserved.

In your face! Or not. Shooting angle may determine how much perspective distortion you get when shooting wide. Again, we have to keep in mind that this is effectively 36mm at the long end--so really, not that wide. Still, get close along the horizontal axis and the forward petals of this lily seem to reach out for you (let's disregard the shadow, shall we?). Shooting from what appears to be an overhead angle--or straight into the flower in the second lily, I was able to focus attention on the interplay of light and shadow for this available light shot. I normally set focusing to manual when getting this intimate with my subjects. Copyright ©2009 Jack Neubart. All rights reserved.

Playing with perspective. Shooting wide open at 10mm at the near-focus limit (vertical shot) doesn't give you much in terms of depth of field: The background is still a blur. Contrast that with the horizontal shot where I focused in to the scene--same f/3.5 exposure, except that now we bring more into focus (not crystal clarity, mind you--just a more recognizable backdrop). By the way, I intentionally tilted this shot so that it almost makes you feel as if you're on a boat rocking with the waves (liability waiver: view at own risk--not responsible for resulting seasickness). Copyright ©2009 Jack Neubart. All rights reserved.

Finally, we have to look at edge-to-edge sharpness, vignetting, distortion, and lateral chromatic aberration (color fringing). At first, color fringing was not apparent–until I took a closer look. Yup, it was there near the edges and at the corners–to a mild degree. But here’s the kicker: I was looking at the image in Photoshop CS3, processed by Adobe ACR. Out of the box, you get color fringing. Process that same image in Nikon’s own Capture NX2–again without invoking any corrections while processing–and color fringing goes away–as if by magic.

Color fringing. It may not be a perfect picture, but then again, it depends what you're using to process the RAW files. The image on the left was processed in Adobe ACR (Photoshop CS3), whereas the one on the right benefited from processing in Nikon Capture NX2, which removed any and all color fringing (no additional processing, aside from cropping). Copyright ©2009 Jack Neubart. All rights reserved.

Vignetting was very well-controlled. If you shot a blue sky, you’d see a trickle of vignetting at or near maximum aperture. But not at disturbing levels. With most subjects, I challenge you to detect it. As for barrel distortion, the lens is said to be rectilinear, which means it renders straight lines straight. Well, that it ain’t.

Barrel distortion is apparent at the 10mm setting, but again not to the point of being overly distracting. Distortion is negligible at the 24mm end. As for edge-to-edge sharpness, as expected, sharpness falls off toward the edges, notably at larger apertures. Still, since most of my shots were stopped down enough to correct the problem, it wasn’t bothersome.

Architecture. This is a good lens for architectural studies. Processing in Nikon Capture NX2 automatically corrected some barrel distortion that was evident (though barely so) at the 10mm setting. Thankfully, it had rained and the puddle and reflection, along with overhanging branches, helped fill in the foreground and give us more perspective on this scene. Copyright ©2009 Jack Neubart. All rights reserved.

All in all, I got pictures I’m happy with. Would I buy this 10-24mm lens over a competitive design? I’m always more comfy with something I’ve tried, so the answer would be yes. Having said that, the thought of Nikon’s two other wide zooms lingers in my mind. But if I did buy this one, would I regret my choice? No, definitely not.

King and scepter. I don't see dead people, but I do see people--or more often faces in trees and plants. Who can look at a pansy and not see a face in the pattern of petals! And this budding iris reminded me of a king and his scepter. You can easily see the crown and nose, as well as scepter. If you look closely you'll see eye and mouth. If I'd had my macro lens, I might have been better able to blur out the background--but I doubt my eye would have led me toward this image as you see it. Copyright ©2009 Jack Neubart. All rights reserved.

Verdict: Buy it. This is a versatile lens that truly delivers and will not disappoint.

For more information, visit: Nikon USA
Tech specs: at Nikon USA
Get more information and user reviews for this lens from Amazon: Nikon 10-24mm f/3.5-4.5G ED AF-S DX Nikkor Lens for Nikon Digital SLR Cameras

I wasn’t about to be swayed easily. Until now I was not a Nikon enthusiast–my camera allegiances lay elsewhere. So, if I was going to start using Nikon gear seriously, that gear had better prove itself. Accordingly, when I tested out the D300, I chose the one lens that I’d anticipated would either demonstrate the merits of this system or let it fall flat on its face. I wanted a lens wide enough for scenics and groups and long enough to capture people and wildlife unobtrusively. In an all-purpose lens, I also wanted image stabilization, or, as Nikon calls it, Vibration Reduction (VR)–or specifically second-gen Enhanced VR II Vibration Reduction–a nice adjunct when shooting by available light or stretching the limits of a low light-sensitivity rating (ISO).

What I really wanted was one lens that would do it all. I didn’t want to schlep around three or four lenses as I did with my other DSLR system. I wanted a compact solution, but one that would not involve compromise–at least, none that I would notice in everyday shooting.

And that search led me to Nikon’s 18-200 VR. Aside from a fisheye that I carry for an entirely different perspective on the world, this lens is all I’ve carried on recent trips to Germany, Miami, and Las Vegas. It has so much going for it that–well, maybe we should start at the beginning…

THE LENS. The AF-S DX VR Zoom-NIKKOR 18-200mm f/3.5-5.6G IF-ED is fairly lightweight, and relatively compact when not zoomed out. Note the three switches: one governs focusing (auto with manual override or full manual), VR on/off, and VR mode ("normal" for camera shake and smooth panning or "active" for shooting from a moving vehicle). Frankly, I rarely used this last feature, and when I did, I didn't notice a measurable difference. When fully extended, this lens becomes obvious for what it is: a zoom with telephoto reach. The petal-shaped lens shade may not seem deep enough, but it does the job well. Photo Copyright ©2009 Jack Neubart. All rights reserved.

THE LENS. The AF-S DX VR Zoom-NIKKOR 18-200mm f/3.5-5.6G IF-ED

What It Offers

This lens gives you an expansive 11X zoom range. But keep in mind that this 18-200 is a DX-format lens. Given the APS-C-size sensor on the D300 (and other Nikons of this ilk), we have to multiply that focal length range by 1.5, the sensor factor. That means that we effectively now have a very respectable, if more modest in wide-angle terms, 27mm at the wide end, but an awesome 300mm at the long end. And that, my friends, is a range I can easily sink my teeth into, especially considering that this lens lets me get quite close without deluding me into thinking I’m shooting macro with false “macro-focusing” claims.

ZOOM RANGE. The zoom range on this lens is certainly impressive. Numbers don't tell the whole story. You really have to see it. I aimed the camera across a recently renovated soccer field toward a dilapidated city swimming pool, setting focal length at the short and long end. (Zoom range for this shot: 18mm) Photo Copyright ©2009 Jack Neubart. All rights reserved.

Zoom Range: 200mm. Photo Copyright ©2009 Jack Neubart. All rights reserved.

What this lens does claim is an amalgam of optical technologies designed to ensure that it delivers premium performance. Toward that end, this 18-200 uses two Extra-low Dispersion (ED) glass and three aspherical lens elements. As Nikon explains it, they “minimize chromatic aberration, astigmatism and other forms of distortion, while ensuring high resolution and contrast.” But when you get past all that technobabble, what counts are results.

TESTING VIBRATION REDUCTION. A key feature of this lens is its ability to aid in preventing or minimizing camera shake with the aid of the VR function. To test vibration reduction, I shot the same scene at 1/80 second down to 1/5 second, at the 50mm (effectively 75mm) setting. Keeping in mind the 1.5X APS-C factor, I used the reciprocal of effective lens focal length as the optimum speed--and starting point--to prevent camera shake when shooting handheld (all exposures at ISO 200). For the 1/5-second exposure, I used additional unsharp masking in Photoshop to create a crisper image (despite that, note the distinct softness in the wood grain in the church doors). However, after careful scrutiny, I'm led to believe that what is happening here at f/29 and in the 1/10 second exposure at f/22 is not camera shake but diffraction rearing its ugly head and reducing the lens's ability to render a clearly sharp image. Diffraction is common with any lens stopped down to the smallest apertures, notably past what professional photographers call the "sweet point" of optimal lens performance. Photo Copyright ©2009 Jack Neubart. All rights reserved.

TESTING VIBRATION REDUCTION. Photo Copyright ©2009 Jack Neubart. All rights reserved.

TESTING VIBRATION REDUCTION. Photo Copyright ©2009 Jack Neubart. All rights reserved.

TESTING VIBRATION REDUCTION. Photo Copyright ©2009 Jack Neubart. All rights reserved.

TESTING VIBRATION REDUCTION. Photo Copyright ©2009 Jack Neubart. All rights reserved.

TESTING VIBRATION REDUCTION. Photo Copyright ©2009 Jack Neubart. All rights reserved.

TESTING VIBRATION REDUCTION. Photo Copyright ©2009 Jack Neubart. All rights reserved.

VIBRATION REDUCTION IN PRACTICE. In South Beach, FL, I set the lens at 18mm (= 27mm) for a 1/13 second exposure to capture this street at "Magic Hour" (ISO 800). A few minutes before that, with a little more light in the sky, I took a telephoto shot at 200mm (= 300mm) of a structure adorned with neon (ISO 400), surprising myself that this 1/15 second exposure came out reasonably sharp. Even with VR engaged, it's beneficial to observe proper camera handling technique to ensure sharp results: camera grasped firmly, eye to optical (not LCD) viewfinder, left hand supporting the lens and both feet planted squarely on the ground, a comfortable distance apart. Photo Copyright ©2009 Jack Neubart. All rights reserved.

VIBRATION REDUCTION IN PRACTICE. Photo Copyright ©2009 Jack Neubart. All rights reserved.

SELF-PORTRAIT. While in the passenger seat on a drive through Valley of Fire, I took this opportunity to focus the lens on my reflection in the mirror, with a wide enough focal length setting (34mm/51mm equivalent) to capture the surrounding desert scenery. Vibration Reduction was apparently at work to prevent camera shake. Photo Copyright ©2009 Jack Neubart. All rights reserved.

This lens also makes use of Nikon Super Integrated Coating (SIC). As we all know, lens coatings reduce, if not entirely eliminate, ghosting and flare. Sometimes flare ghosts add an interesting compositional element to a picture, so I wouldn’t complain if they were present. Conventional flare, defined as non-image-forming light, is something I can do without, since it veils details and thins out colors.

FLARE & GHOSTING. Shot in Bonn, Germany, this was a rare occurrence of ghosting. Whether you find the flare spot disturbing or a compositional enhancement is open to interpretation. And yes, the lens shade was in place. Photo Copyright ©2009 Jack Neubart. All rights reserved.

Another feature that we’re increasingly seeing is the softly gradating out-of-focus background effect at relatively large apertures. We have that here, owing to the use of a 7-blade (“rounded”) diaphragm aperture.

OUT-OF-FOCUS BACKGROUNDS. The rounded diaphragm comes to the fore when shooting at wider apertures. It has the benefit of creating naturally blurred backdrops, as is true of the garden scene behind the iris bud (shot by available light), and circular out-of-focus specular highlights, as seen behind the cockatoo (flash exposure). Photo Copyright ©2009 Jack Neubart. All rights reserved.

OUT-OF-FOCUS BACKGROUNDS. Photo Copyright ©2009 Jack Neubart. All rights reserved.

Focusing in Auto and Manual

The lens also comes with Nikon’s Silent Wave Motor (SWM). This technology is said to offer faster, quieter, more accurate autofocusing (AF). This zoom certainly seems quiet enough–no annoying whirring sounds, but really hard to say if it’s truly faster–too many variables are involved to say for sure. What I do appreciate is internal focusing, or IF. No if’s when it comes to the benefits of IF. Try using a circular polarizer and you’ll appreciate this feature: Focusing internally means no barrel rotation, which means the polarizer stays put.

However, just because this is an AF lens does not mean you always have to use it in autofocus mode. No autofocusing lens will deliver sharply focused results all the time and at the speed you need it–the technology is simply not there yet, despite Nikon’s SWM. As is true of many lenses today, this lens lets you conveniently override AF as soon as you manually activate the focusing ring. This may let you more easily follow focus with action shots. Or you can switch entirely to manual focus–without resorting to the on-camera focus settings (unless you need to set continuous AF). Switching to full-time manual focus is a step I often take with close-ups, whether I’m using a macro or zoom lens.

SPORTS. When shooting amateur soccer, I set shutter speed to the fastest possible setting without cranking ISO off the scale, but usually no faster than 1/1000 second to freeze the action. Because there are so many zigs and zags, it's hard to rely on single-shot AF alone, and continuous AF hasn't proved adequate to the task. So after engaging single-shot AF, I manually refocused to target the action.Photo Copyright ©2009 Jack Neubart. All rights reserved.

SPORTS. For this second shot, I cropped in a little to focus on the ball and players. Focal length remained constant, at 200mm (= 300mm). I should note that, even though the manual-focusing ring feels a bit gritty (typical of many AF lenses), I found I could easily focus using one or two fingers to rotate the ring while the same hand was supporting the lens. Photo Copyright ©2009 Jack Neubart. All rights reserved.

Zooming and the Pinocchio Syndrome

It took me a while to realize the one thing that bothered me about this lens. My other zooms feature internal zooming. The glass elements go through some dance that is entirely transparent to the end user and magically realign themselves, changing focal length in the process. Lens balance remains constant, as is true for internal focusing.

With this lens, as you zoom out, you suddenly find the lens morphs, as if it were Pinocchio telling a fib: its schnoz grows and grows and grows, till it’s seemingly twice as long as when you started. What began as an unimposing lens suddenly gets noticed, which means that it may be harder to remain inconspicuous. That was true when I was taking pictures of a group lounging outside Cologne Cathedral (Germany). Standing well away, with the lens zoomed out, and trying to remain unnoticed in the crowd, I suddenly found myself gaining unwanted attention from one member of the group, who flashed an obscene gesture.

However, I was happy to see that there was no evidence of barrel “creep” (unintended movement) when the lens was tilted up or down–a further sign of quality. On the other hand, with any popularly priced zoom lens, we can expect it to have some, if subtle, optical failings. With that said, I found barrel and pincushion distortion to be minimal and well within acceptable parameters.

The VR 18-200 Experience

This lens has virtually no bounds. In Germany, I used it to photograph medieval architecture, modern interiors, and carnival performers with equal facility.

INTERIORS. I shot this interior of Aachen Cathedral (Aachen, Germany) with the lens at 18mm, wide open at 1/50 second (ISO 3200), and the camera of course handheld. By the way, they charge a nominal fee and issue a tag permitting you to take pictures inside this amazing medieval structure that dates back to the reign of Charlemagne. Look carefully and you'll detect a modicum of barrel distortion at the bottom edge of the frame. Photo Copyright ©2009 Jack Neubart. All rights reserved.

PEOPLE. I came upon this fire-eater at a festival in Aachen, Germany, quite by accident. Grabbing a spot in the crowd, I barely had time to zoom in (112mm/168mm equivalent) and frame the shot before this plume of flame erupted--and you could feel the searing heat from where I was standing.Photo Copyright ©2009 Jack Neubart. All rights reserved.

PEOPLE. Elsewhere on the festival grounds, the crowd was awaiting the start of a charity foot race. But while everyone was focused on the runners, I directed my attention to the incongruity of that towering figure--and the fact that I seemed to be the only one to notice it. A 49mm focal length setting was just enough to focus attention where needed and largely eliminate the gray skies. Photo Copyright ©2009 Jack Neubart. All rights reserved.

In Miami, I took pictures with equanimity of everything from birds to beachgoers and views at that time of day architectural photographers call the Magic Hour, the blue shrouded scene after sunset.

WILDLIFE. Standing on a nearby pylon, but still far enough away so as not to be in jeopardy, this white ibis posed a bit of a challenge. Knowing it would not wait around for long, I quickly moved from one wharf to another (after taking a few initial shots) to get a better angle, twisting around so that I could frame the head as much as possible against a patch of sky. This f/8 exposure let me blur the palm fronds just enough to convey a sense of this Florida location. Photo Copyright ©2009 Jack Neubart. All rights reserved.

WILDLIFE. The tiny lizard was even more of a challenge. Difficult to see against this desert backdrop (Valley of Fire), it stopped long enough to put up with me for a few exposures, daring me to get closer and closer, till it practically filled the frame--and then scurried off. Both images were taken with the lens at the longest focal length, proving how adept this piece of glass is at handling a diversity of wildlife situations. Photo Copyright ©2009 Jack Neubart. All rights reserved.

EXPLORING A THEME: PALM TREES. I didn't realize how much I enjoyed photographing palm trees till I hit South Beach. In one instance, I was focused on the shadows of the fronds in the grass, when I'd noticed other shadows imposing themselves. Recognizing the moment before the people themselves managed to enter the frame, I grabbed the shot as a veritable study in light and shadow. Photo Copyright ©2009 Jack Neubart. All rights reserved.

EXPLORING A THEME: PALM TREES. Moving from the surreal to the real, I turned my attention to a line of palm trees, focusing on the rhythmic progression of trees (lines and shapes) into the distance, while using a couple of palms to frame two approaching beachgoers, rendering them indistinct enough so they added a compositional element without intruding on the picture. Photo Copyright ©2009 Jack Neubart. All rights reserved.

In and around Las Vegas, I photographed a street scene from the Stratosphere Hotel tower and countless bleak, desert landscapes.

LANDSCAPE. I photographed the shrub at Valley of Fire State Park (outside Las Vegas). I used a circular polarizer, and planted myself on the ground for this viewpoint. Since the lens barrel does not rotate, I could refocus and recompose the shot at will without fear of throwing the filter out of alignment for maximum polarization. Photo Copyright ©2009 Jack Neubart. All rights reserved.

LANDSCAPE. For this street scene with the menacing tower shadow (shot from the Stratosphere tower, Las Vegas), I positioned the lens as squarely as possible against the glass, which was angled downward. Photo Copyright ©2009 Jack Neubart. All rights reserved.

Back home I shot flowers and a honeybee busily at work collecting nectar, then moved on to capture the fast action of a soccer match. And all with this one lens. At a street price of $699, I couldn’t ask for a more utilitarian adjunct to my photography.

CLOSE-UP. If you thought that photographing a tiny lizard scampering about was a challenge, try photographing a bee collecting pollen (note the swollen pollen sacs). As I normally do when shooting at a lens's closest focusing setting, I preset focus and physically move with the camera to bring the subject into crystal clarity. In this instance, because the bee and flowers were several feet away and just out of reach at times (depending which blooms the insects were attending to), I found myself reaching out with the camera in one hand a few inches away from my eye, just far enough that I could still get a clear picture of the bee in focus--and snap. I used the SB-900 shoe-mounted on camera, head tilted downward. Photo Copyright ©2009 Jack Neubart. All rights reserved.

CLOSE-UP. I similarly used the flash for the shot of this tulip with petals outstretched, as if reaching out to the world with its dying breath. In each instance, I stopped down (f/11) to ensure adequate depth of field without bringing conflicting elements into focus while at the same time limiting the throw of flash light. And I used Nikon Capture NX2 to tone down background elements, considerably more so in the shot of the tulip. Note: if you want to get a sense of how close you can focus, set the lens to the limit of close focusing and focus on your fist, with the lens at 200mm. Photo Copyright ©2009 Jack Neubart. All rights reserved.

Lightning. Seeing flashes of lightning outside as I was working at the computer, I grabbed my Nikon D300 and mounted the 18-200mm VR lens onto it. Then I attached the camera to a table-pod that I'd bought at Spiratone ages ago and stuck it out the window, leaning the pod on the window sill while holding the camera, finger poised on the shutter button. But considering that this arrangement was still not the steadiest, I invoked Vibration Reduction on the lens, after setting the shutter speed to 1/4 second and focal length to 18mm. (I cropped out a piece of wall and billboard that intruded on the shot all the way to the left.) Copyright ©2009 Jack Neubart. All rights reserved.

To say that I’ve enjoyed working with this lens is an understatement. The AF-S DX VR Zoom-NIKKOR 18-200mm f/3.5-5.6G IF-ED (a name long enough to match its zoom range) has proved itself time and again.

Granted, I would have liked this lens to be faster, notably at the telephoto end, and better yet to have a fixed maximum aperture, but all in all, I won’t complain. Flare was never a problem under ordinary circumstances–I only observed one instance of ghosting that I can recall. And I found the lens did a really nice job with out-of-focus backgrounds at wider apertures, rendering garden shots of flowers with an almost painterly-like quality.

And, while I don’t often rely on it, Vibration Reduction (VR) came through when it mattered, letting me shoot handheld at relatively long exposures. I found I could use the D300′s built-in flash for all but the nearest subjects, without the lens shade, and, with lens shade attached and augmented by a shoe-mounted SB-900 with head tilted downward, this lens gains greater utility.

One chief benefit of this lens is that it lets me travel light, which translates into a smaller, more airline-friendly camera bag (usually a photo backpack). But more importantly, I can keep my D300 with this lens attached around my neck and in my hands without undue fatigue for hours of shooting. Less heft means less physical strain, and that leads to better pictures overall.

Technical Specifications: AF-S DX VR Zoom-NIKKOR 18-200mm f/3.5-5.6G IF-ED

Focal Length Range: 18-200mm

Zoom Ratio: 11.1x

Maximum Aperture: 3.5-5.6

Minimum Aperture: 22-36

Autofocus: Yes

AF-S (Silent Wave Motor): Yes

Compatible Formats: DX; FX in DX Crop Mode

Vibration Reduction: Yes

Distance Information: Yes

Super Integrated Coating: Yes

Internal Focusing: Yes

Manual/Auto Focus Mode: Yes

Minimum Focus Distance: 1.6 ft. (0.5m)

Angle of View: 76 ° Maximum; 8 ° Minimum

Lens: 16 elements; 1 ED element; 12 Groups

Maximum Reproduction Ratio: 1:4.5

Dimensions: 3.0×3.8in. (Diameter x Length); 77×96.5mm (Diameter x Length)

Weight: 19.8oz. (560g)

Mount Type: Nikon F-Bayonet

Accepts Filter Type: Screw-on
Filter Size/Lens Attachment Size: 72mm

Supplied: LC-72 72mm snap-on front lens cap; LF-1 rear lens cap; HB-35 bayonet hood; CL-1018 flexible lens pouch
Street Price: $699

If you own or have used this lens, let us know what you think! Leave your comments and thoughts below. Get information and user reviews for this lens at Amazon: Nikon 17-55mm f/2.8G ED-IF AF-S DX Nikkor Zoom Lens

PhotoZone

The Nikkor AF-S 17-55mm f/2.8G IF-ED DX is a professional grade lens and it certainly shows up regarding its exceptionally high build quality as well as very fast AF speed. Optically it is, without doubt, a very good lens but it has a few issues. The center performance is nothing short of stellar but the borders are a little worse than desirable at 24mm @ f/2.8 and at 55mm (for such a lens). The level of CAs, distortions as well as vignetting is quite typical for a lens in this class but then thing aren’t substantially better either. So all-in-all there may be a few question marks regarding the price/performance ratio of this lens. It simply lacks the greatness suggested by its price tag. READ FULL REVIEW

Other Nikon 17-55mm f/2.8G ED-IF AF-S DX Nikkor Review

SLR Gear

Though similar in range to Nikon’s two other medium zoom lenses, this lens is unique because it maintains constant aperture across the zoom range. This uniqueness comes at a price, paid in both extra weight and a high price tag. If you’re looking for the highest quality lens to mount on that new camera, this is it. Bottom line, this is a very sharp lens with excellent characteristics wide open, although chromatic aberration, vignetting, and distortion are all a little high at 17mm. (DxO Optics Pro supports this lens on all current (10/18/2005) Nikon bodies except the D50, so the vignetting, CA, and distortion are easily dealt with.) READ FULL REVIEW

Photo Review

This professional quality, mid-range zoom lens has been designed specifically for the “˜APS-C’ sized sensors used in all of Nikon’s DSLR cameras and is quite a different beast from the 18-55mm lens supplied with the D50 camera reviewed in this issue. Covering a picture angle equivalent to 25.5~82.5mm on a 35mm camera, it maintains its fast f2.8 maximum aperture throughout its zoom range, giving it a big advantage over the cheaper optic for photographers who shoot in dim lighting and those who require a high level of depth-of-field control with differential focusing. READ FULL REVIEW

Thom Hogan

Seems Nikon likes getting US$1400-1900 for a lens. Once again we have an optic that hits in that range. It’s bigger and heavier than you’ll expect. If you thought a lens designed to cover a smaller sensor size would be smaller, you’ll be surprised. With this lens and a 70-200mm in your kit you’re covered, except for that 55-70mm gap. For some folk, that could be a critical missing range. Excellent optics. For a lens that’s likely to be sitting on your camera most of the time, you want performance, and the 17-55mm appears to deliver it in almost every respect. What small weaknesses it has generally don’t show up in prints. The 28-80mm for the digital world. Yes, the mid-range zoom is back in full force. If that’s what you wanted, this is the lens to get. Works on 35mm. Yep, you can use it as an 26-55mm zoom on your full frame or 35mm bodies, though almost any filter will still vignette at 28mm. READ FULL REVIEW

PopPhoto

The most optically capable and physically rugged “normal” range zoom you can buy for a Nikon DLSR, this gun is large, heavy, and unquestionably expensive. If there’s a chance you’ll trade up to a full-frame DSLR or migrate to film, pass on it. For other Nikon DSLR shooters with adequately deep pockets, this sharp, fast, (almost) distortion-free all-purpose lens, with its nigh-perfect zoom spread for people pictures and outdoor photography, will be hard to resist. READ FULL REVIEW

Ken Rockwell

If you want a solid professional metal mid range zoom this is your one choice. You know who you are; have fun! READ FULL REVIEW

If you own or have used this lens, let us know what you think! Leave your comments and thoughts below. Get information and user reviews for this lens at Amazon: Nikon 12-24mm f/4G ED IF Autofocus DX Nikkor Zoom Lens

PhotoZone

The Nikkor AF-S 12-24mm f/4G IF-ED DX proved to be a very good performer. Its center resolution figures are exceptionally high and apart from 12mm @ f/4 the border quality is also impressive though a little less field curvature may be desirable at 12mm. CAs as well as the distortion characteristic are very good for an ultra-wide zoom lens wMOREas vignetting is about average due to the reduced APS-C image circle. The build quality is, in principal, very fine but you would usually expect a little more from a lens in this price class. The primary competitor is probably the Tokina AF 12-24mm f/4 AT-X Pro – a lens which is just as sharp but with a higher degree of CAs and worse flare in contra light – all at less than half the costs and combined with a better build quality. Costs aside it’s a close race between the two with a slight edge for the Nikkor regarding optical quality. When taking the very different price tags in account the decision may be a little more complicated. READ FULL REVIEW

Other Nikon 12-24mm f/4G ED-IF AF-S DX Nikkor Reviews

SLRGear

A slightly more practical approach to wide angle photography is to choose a zoom. More distortion is introduced with a zoom, but this lens has won awards for managing to avoid most of those problems to some degree. At over a grand, you’d expect some good quality. This belongs in the Intermediate to Advanced photographer’s bag. All in all, the 12-24mm DX is an excellent lens, a very worthy option for Nikon shooters looking for a true wide angle zoom for their DSLRs. READ FULL REVIEW

Thom Hogan

Not a professional grade build, and an f/4 aperture, so why the over US$1000 cost? It’s bigger and heavier than you’ll expect. If you thought a lens designed to cover a smaller sensor size would be smaller, you’ll be surprised. This thing takes 77mm filters! 12mm performance could be better. While good, the performance at 12mm isn’t up to the levels produced at 24mm. Cut yourself sharp. At 24mm, this is the only lens you’d ever need (as long as the f/4 maximum aperture didn’t get in your way). Even at its weakest focal length, 12mm, it produces contrasty and sharp results, albeit with a touch of chromatic aberration. Works on 35mm. Yep, you can use it as an 18-24mm zoom on your full frame or 35mm bodies, though almost any filter will vignette at 18mm. READ FULL REVIEW

PopPhoto

Convenient to use with outstanding optical performance throughout except noticeable barrel distortion at 12mm, which may be expected from such a focal length. READ FULL REVIEW

Shutterbug

Out in the field I was duly impressed with this new offering. The results were crisp and free from flare, thanks to Nikon’s Super Integrated Coating, and very sharp corner to corner. Later, in other informal sessions, the lens was quick on the uptake thanks to Silent Wave technology. Any photographer who has this 12-24mm DX in his camera bag is certainly on his or her way to getting the most out of a digital camera. READ FULL REVIEW

Photo.net

This is a highest quality wide-angle zoom lens for Nikon’s small sensor digital SLR cameras, wonderful to use for landscape, travel and photojournalism. READ FULL REVIEW

Ken Rockwell

Performance is excellent everywhere. It happily looks like the same plasticy construction but feels much, much sturdier than my dinky AF-S 24-85mm. The zoom is quite linear and feels very solid. I like this! AF is as fast as the AF-S 24-85mm. AF speed is rarely an issue in wide lenses. I love this lens. It’s a must-have for every Nikon digital SLR. It cheerfully replaces my boat-anchor 17-35 AFS which will go live with my F100. READ FULL REVIEW

If you own or have used this lens, let us know what you think! Leave your comments and thoughts below. Get more information and user reviews for this lens from Amazon: Nikon 18-200mm f/3.5-5.6 G ED-IF AF-S VR DX Zoom-Nikkor Lens

Photo Zone

Regarding some glowing reviews available on the web the expectation were rather high. Unfortunately the (tested sample of the) Nikkor AF-S 18-200mm f/3.5-5.6 G IF-ED VR II DX wasn’t able to convince completely. Weak points are rather hefty distortions and high vignetting (@ f/3.5) at 18mm. Apart from a few weak spots the resolution figures are quite good though and it is possible to get very decent images from this lens under field conditions. The VR can surely help to save the day in situations where similar zooms must fail utterly The build quality is a little soso for a lens in this price class and probably the biggest disappointment. All in all the Nikkor is a highly interesting lens but not without flaws (hardly surprising for a 11x zoom). … READ FULL REVIEW

Other Nikon 18-200mm f/3.5-5.6G IF-ED AF-S DX VR Reviews

SLR Gear

The Nikon 18-200 has somewhat soft corners at maximum aperture and medium focal lengths and somewhat high geometric distortion across a range of focal lengths. The good news is that the center of the frame is generally pretty sharp, the corner softness improves rapidly as you move away from the corners, and stopping down by one or two f-stops significantly improves corner sharpness. Center sharpness when stopped down to f/8 is excellent at shorter focal lengths, but the image as a whole softens slightly at focal lengths of 100mm and above. At the end of the day, the third-party competitors to the Nikon 18-200mm f/3.5-5.6 VR are a fair bit less expensive, but lack Nikon’s excellent vibration reduction technology. This is an important feature, particularly with lenses having smaller maximum apertures that will more often force you to use slower shutter speeds. … READ FULL REVIEW

Photo Review

The new AF-S DX VR Zoom-Nikkor 18-200mm f/3.5-5.6G IF-ED lens is the largest, heaviest and costliest of the three 18-200mm DSLR zooms we’ve reviewed in issues 25, 26 and 27. Although it can only be used on Nikon DSLR cameras – where it provides an 11.1x zoom ratio and covers a focal length range equivalent to 27-300mm in 35mm format – it has some distinguishing features that justify its relatively high price tag. … READ FULL REVIEW

Camera Labs

The Nikkor DX 18-200mm VR is one of the most popular lenses on the market today … It delivers a highly flexible 27-300mm equivalent range (on DX-format DSLRs), Thereby covering wide angle to respectable telephoto without having to carry two lenses … The DX 18-200mm VR is however relatively expensive compared to simply complementing an existing general-purpose lens with a telephoto zoom – it comes in around 50% more than the 70-300mm VR and costs almost three times the price of the DX 55-200mm VR. If you can afford it and are happy with a maximum focal length of 200mm though, the DX 18-200mm VR is one of the best all-round lenses you’ll ever use – and a great reason for choosing the Nikon system in the first place. But if you’re just after something which complements rather than replaces an existing lens, go for a telephoto zoom instead. … READ FULL REVIEW

Digital Photography Review

Just occasionally, the old cliches are still the best, and with the 18-200mm VR the phrase ‘jack of all trades, master of none’ springs immediately to mind. It’s a lens which delivers somewhat flawed results over its entire zoom range; where it’s sharp, it has heavy distortion, and when that distortion comes under control at the long end, it loses sharpness. … But to dismiss the 18-200mm VR based purely on its optical quality is to miss the point … The whole idea of such a lens is to allow the photographer to travel light and never miss a shot while changing lenses … So what you do get for your money is a hugely flexible zoom range which can handle the vast majority of photographic opportunities, coupled with excellent autofocus and vibration reduction systems. And all of this is wrapped up in a relatively compact package, with build quality which feels solid without being excessively heavy. … READ FULL REVIEW

Thom.com

The big issue is that at 200mm this is an f/5.6 lens, which means that autofocus in low light can be compromised slightly. Still, not a big issue, though a negative one. At the wide end, a bit of wave distortion is added to barrel; at most of the focal range, there’s enough pincushion distortion to just be visible. Build quality doesn’t exceed the price point. I always worry about that slightly wobbly extension at 200mm–I’m not sure the lens would survive even a mild drop fully extended. And the zoom ring is rough on my sample (but apparently loose on some others). Super optics. Really, no significant flaws worth mentioning. Considering the price and the long focal range, superb performance. … Considering the close focus ability, this lens really is going to suffice for 80%+ of the shots most folk take, at least if you don’t need an f/2.8 or faster aperture. … READ FULL REVIEW

Pop Photo

Optically, this lens is the best superzoom we’ve seen, though it’s not compatible with Nikon teleconverters, extension rings, or coupled macro bellows. It also costs about $300 more than third-party digital-only glass. But are extremely rugged construction, unusually well-controlled distortion, and four extra handholdable speeds worth the extra bucks? That, and more. … READ FULL REVIEW

Ken Rockwell

It’s a miracle! I bought mine in November 2005 and love it. It’s replaced an entire bag of lenses. All I bring anywhere is my 18-200mm, and maybe my 12-24mm for 99% of everything I shoot. It’s small, fun, flexible, sharp and fast. VR, instant auto/manual focus override and macro and zooming all work perfectly. This lens is too much fun! It has an almost all-encompassing zoom range and the images on my are wonderful. “¦ READ FULL REVIEW

CNET

Though you pay for the convenience, the Nikon AF-S DX VR 18-200mm f3.5-5.6 G IF ED covers a range that would normally take two lenses, yet remains compact with a solid build. “¦ READ FULL REVIEW

If you own or have used this lens, let us know what you think! Leave your comments and thoughts below. Get more information and user reviews for this lens from Amazon: Nikon 105mm f/2.8D AF Micro-Nikkor Lens for Nikon Digital SLR Cameras

Photo Zone

The Micro-Nikkor AF 105mm f/2.8 D may be a relatively old lens but it is still capable to deliver excellent results. Optically it is a near-flawless lens with high resolution figures, low vignetting, low CAs and non-existent distortions. The mechanical quality is very high but it also feels a little dated here with its independent AF-MF switch. Typical for most macro lenses it also suffers from a relatively slow AF speed. The new Micro-Nikkor AF-S 105mm f/2.8 ED VR has been improved in both respects (with VR on top) and regarding its similar price tag there’re probably few reasons left to prefer the classic lens. Nonetheless it is still a very fine lens. READ FULL REVIEW

Other Nikon 105mm f/2.8 D AF Micro Reviews

SLRGear

No two ways about it, the Micro-Nikkor 105mm f/2.8 is a fantastic lens, particularly if you’re into macro photography. While it’s in a good focal length range for use as a portrait lens, it’s probably too sharp for that usage. (But just a slight blur filter applied in Photoshop(tm) could quickly take care of that.) It’s probably not for everyone, but if you want a supremely sharp, high-quality lens in this focal length range, you can hardly do better. If you’re a macro shooter, this is a superb tool, with the added benefit of a comfortable working range, thanks to its 105mm focal length. READ FULL REVIEW

KenRockwell

This is Nikon’s original 105mm AF Micro and it’s a great lens. I bought this one used in 1999. It focuses right up to 1:1 life size with no fooling around. If focuses quickly in both AF and manual modes. And yes, of course it’s sharp all over at every distance and f/stop. READ FULL REVIEW

If you own or have used this lens, let us know what you think! Leave your comments and thoughts below.

Shutterbug

Picking up a Nikon 300mm f/2.8 for the first time was certainly a humbling experience. This lens was not only large in physical size, it was heavy! Considering the larger 500mm and 600mm super telephotos have only one more lens element in roughly half again the overall length surely indicates this 300mm f/2.8 is one optically packed powerhouse. Would I recommend this new “II” for someone looking for a 300mm f/2.8 high-performance lens? Absolutely, and without reservations. READ FULL REVIEW

Other Nikon 300mm f/2.8D ED IF II AF S Reviews