Are you a photography enthusiast looking to elevate your skills with the perfect lens for your camera? If so, you’ve come to the right place!
In this article, we will dive deep into the world of two highly-regarded lenses: the versatile Nikon DX 18-105mm f/3.5-5.6 and the long-reaching Nikon DX 55-200mm f/4-5.6.
These lenses cater to different photography needs, from capturing stunning landscapes and intimate portraits to freezing fast-paced action or snapping breathtaking wildlife shots. By comparing their features and performance across various photography genres, we aim to guide you in making an informed decision that best suits your creative vision.
By examining focal lengths, build quality, weather sealing, focusing performance, optical stabilization, aberration control, sharpness, bokeh quality, flare/ghosting resistance, vignetting control, and distortion performance, we’ll arm you with the knowledge to confidently choose the lens that aligns with your goals.
So, buckle up, and let’s embark on this photographic journey together. With a clearer understanding of these two lenses, you’ll soon be capturing images that not only meet but exceed your expectations!
Overview
| Nikon AF-S DX NIKKOR 18-105mm F3.5-5.6G ED VR | Nikon AF-S DX NIKKOR 55-200mm F4-5.6G ED VR II | |
|---|---|---|
| Max Aperture | F3.5-5.6 | F4.0-5.6 |
| Aperture Type | Variable | Variable |
| Focal Range (mm) | 18-105 | 55-200 |
| Max Format | APS-C / DX | APS-C / DX |
| Zoom Ratio (X) | 5.8 | 3.6 |
The Nikon DX 18-105mm f/3.5-5.6 has a maximum aperture of f/3.5-5.6, a variable aperture type, and a focal range of 18-105mm. This lens offers a 5.8x zoom ratio and is designed for APS-C / DX format cameras. The Nikon DX 55-200mm f/4-5.6 has a maximum aperture of f/4.0-5.6, also a variable aperture type, and a focal range of 55-200mm. This lens has a 3.6x zoom ratio and is also designed for APS-C / DX format cameras.
In terms of low light performance, the 18-105mm lens has a slightly larger maximum aperture at the wide end, allowing for more light to enter the camera. However, both lenses have similar maximum apertures at the telephoto end. For depth of field, both lenses can create pleasing background blur, although the 55-200mm lens has a longer focal length, which can enhance the shallow depth of field effect.
Regarding image quality, both lenses may exhibit some compromises due to their variable apertures, such as reduced sharpness or increased chromatic aberration. However, the exact performance will depend on the lens design and build quality.
The 18-105mm lens is more versatile, covering a wide range of focal lengths, making it suitable for various photography genres, such as landscape photography and travel photography. In contrast, the 55-200mm lens is better suited for subjects that require a longer focal length, such as sports or wildlife photography.
Considering the factors mentioned above, the 18-105mm lens is a more versatile option, making it an excellent choice for photographers who require a wide range of focal lengths in various shooting situations. The 55-200mm lens is superior for isolating subjects and capturing images at longer distances, making it ideal for photographers specializing in sports, wildlife, or other genres that require longer focal lengths.
Design and Ease of Use
| Nikon AF-S DX NIKKOR 18-105mm F3.5-5.6G ED VR | Nikon AF-S DX NIKKOR 55-200mm F4-5.6G ED VR II | |
|---|---|---|
| Diameter x Length (mm) | ⌀76×89mm | ⌀70.5×83mm |
| Weight (gr) | 420 | 300 |
| Filter Thread (mm) | 67 | 52 |
| Weather Sealing | No | No |
| Zoom Method | Rotary (extending) | Rotary (extending) |
| Distance Scale | No | No |
| DoF Scale | No | No |
| Hood Supplied | Yes | Yes |
| Hood Code | HB-32 | HB-34 |
The Nikon DX 18-105mm f/3.5-5.6 has a larger diameter and length (⌀76x89mm) compared to the Nikon DX 55-200mm f/4-5.6 (⌀70.5x83mm), making it slightly bulkier. It also weighs more, at 420 grams, compared to the 300-gram weight of the 55-200mm lens. Both lenses use a rotary (extending) zoom method.
A more compact and lightweight lens, such as the 55-200mm, offers advantages in terms of portability, balance, discreetness, storage, and ease of lens swapping. However, the 18-105mm lens covers a wider focal range, making it more versatile for various shooting scenarios.
In terms of zoom method, both lenses utilize an extending rotary zoom, which is generally simpler and lighter than an internal rotary zoom. However, extending rotary zoom lenses can be more challenging to weather-seal and may affect the camera’s balance when zooming.
Overall, the choice between these two lenses depends on your specific needs and preferences. If portability and weight are your top priorities, the 55-200mm lens is the superior choice. However, if you require a more versatile focal range to cover various shooting situations, the 18-105mm lens may be the better option.
Lens Mount and Barrel
The lens mount of Nikon DX 18-105mm f/3.5-5.6 is made of hard plastic without a rubber gasket, indicating a lack of weather sealing. The lens barrel consists primarily of industrial polycarbonate plastic with a textured finish, matching Nikon camera bodies. The lens extends almost 2 inches at the 105mm end due to its non-internal zoom action.
In contrast, the lens mount of Nikon DX 55-200mm f/4-5.6 is entirely made of plastic, but features a rubber seal for basic dust protection. However, it’s not claimed to be weatherproof. The lens barrel is mostly made of inexpensive plastic, with a high-quality finish typical of Nikon’s entry-level products. This lens changes its physical size when zooming, extending considerably from the lock position through 55mm to 200mm.
Plastic lens barrels are lighter and more budget-friendly but less durable than metal ones. Lens mounts can be made from various materials, including metal alloys, plastics, composites, and magnesium alloy, with each material offering a balance between cost, durability, and weight.
Between these two lenses, the 18-105mm lens has a better build quality with a higher grade of plastic used for its lens barrel. However, neither lens mount offers complete weather sealing. If you prioritize build quality, the 18-105mm lens is the superior choice. However, if you are on a budget, the 55-200mm lens may be suitable for your needs.
Weather Sealing
The Nikon DX 18-105mm f/3.5-5.6 lacks weather sealing, meaning it does not have any internal seals at the rings, switches, and front of the barrel, and there is no gasket at the lens mount. Additionally, it does not have a fluorine coating on the front element.
On the other hand, the Nikon DX 55-200mm f/4-5.6 also does not have complete weather sealing; however, it features a rubber seal around the lens mount, providing basic dust protection. Like the 18-105mm lens, the 55-200mm lens also lacks internal seals at the rings, switches, and front of the barrel and has no fluorine coating on the front element.
Lenses that are equipped with weather sealing provide safeguard against dust, moisture, and slight water splashes, guaranteeing longevity and optimal functioning in diverse weather circumstances. Although weather sealing can increase the cost, fully weather-sealed lenses offer superior protection, endurance, and performance in unfavorable conditions as compared to lenses without any sealing.
Between the two lenses, neither offers complete weather sealing; however, the 55-200mm lens provides slightly better protection due to the rubber seal around the lens mount. If you frequently shoot in outdoor or unpredictable conditions, the 55-200mm lens may be a more suitable choice. However, if you primarily shoot portraits indoors or in controlled settings, weather sealing may not be a top priority, and either lens could serve your needs.
Rings
Towards the front of the barrel, the Nikon DX 18-105mm f/3.5-5.6 lens boasts a wide, ribbed rubber-textured zoom ring, along with a thinner focus ring that has a ridged rubber coating positioned behind it. The zoom ring has a smooth travel of approximately 80 degrees with pleasant resistance, while the focus ring offers around 100 degrees of travel, which may not be ideal for manual focus control.
The rings are easy to grip and provide a decent tactile experience, although there are no ergonomic bevels or a windowed distance scale or depth-of-field indicator. There is no zoom lock, but the overall handling of the rings is satisfactory.
On the other hand, the Nikon DX 55-200mm f/4-5.6 also has 2 rings: a wide, ridged zoom ring and a skimpy plastic focus ring located at the front of the outer barrel. The focus ring has a short focus path, making accurate manual focus challenging.
There is no windowed distance scale or depth-of-field indicator, but the lens has a zoom lock to prevent zoom creep. The zooming action can be a bit rough, and the tactile experience of the rings is somewhat gritty.
When comparing the rings of the two lenses, the 18-105mm lens offers a better ergonomic and tactile experience, with a smoother zoom ring and a more comfortable grip. The 55-200mm lens, however, has a zoom lock feature, which can be helpful for some photographers.
Switches/Buttons
Located on the left side of the lens, there are two control switches for essential functions included with the Nikon DX 18-105mm f/3.5-5.6. One of these switches is designed for toggling between autofocus and manual focus (A or M), while the other switch enables or disables vibration reduction (ON or OFF). No other switches or buttons are provided on the lens, keeping the design simple and straightforward.
In comparison, the Nikon DX 55-200mm f/4-5.6 features 2 switches for essential functions as well. It has a focus mode switch on the side, allowing users to toggle between autofocus (A) and manual focus (M). Additionally, there is a VR on/off switch for enabling or disabling the Vibration Reduction system. However, it lacks a focus limiter and does not offer additional Active or Sport modes for the VR system. These switches are conveniently located on the side of the lens for easy access and use.
Both lenses provide essential switches for autofocus and vibration reduction but do not offer any additional controls.
Filter Thread
The Nikon DX 18-105mm f/3.5-5.6 boasts a 67mm filter thread made of plastic, which is a lightweight and cost-effective option. This filter thread size does not rotate during focus or zooming, ensuring ease of use with polarizers and ND graduated filters.
On the other hand, the Nikon DX 55-200mm f/4-5.6 features a 52mm filter thread, which has been the standard thread size for Nikon’s manual focus lenses since 1959. Like the 18-105mm lens, the filter thread of the 55-200mm lens does not rotate on focus, making it convenient for use with graduated filters and polarizers.
Both lenses offer filter threads that do not rotate during focus, which is a desirable feature for photographers using filters. However, the 18-105mm lens has a larger filter thread size, allowing for potentially more filter options, but it may be more expensive. The 55-200mm lens has a smaller filter thread size, which may be more affordable and easier to find due to its long-standing use in Nikon lenses.
In conclusion, the choice between the 18-105mm and 55-200mm lenses’ filter threads comes down to personal preferences and existing gear. If you’re looking for a larger filter thread size and are willing to invest in potentially pricier filters, the 18-105mm lens may be the superior option. Conversely, if you prefer a smaller filter thread size with more affordable filter options and compatibility with Nikon’s manual focus lenses, the 55-200mm lens may be the better choice.
Lens Hood
The Nikon DX 18-105mm f/3.5-5.6 comes with a petal-shaped plastic lens hood that attaches via a bayonet mount. This hood adds an additional 1.25 inches to the overall length of the lens. Although not flocked on the inside, it effectively shields the front element from sun coming in at oblique angles. The lens hood can also be reversed for storage, making it convenient.
On the other hand, the Nikon DX 55-200mm f/4-5.6 includes a petal-shaped HB-34 plastic lens hood in the package. This hood features a smooth and consistent resistance throughout the zoom range, which ensures ergonomic handling. The hood can be rotated smoothly, and it effectively reduces lens flare and glare, making it a valuable addition to the lens.
In conclusion, both the 18-105mm and 55-200mm lenses come with petal-shaped plastic lens hoods that provide protection against lens flare and glare. The 55-200mm lens hood, however, offers more consistent resistance throughout the zoom range, making it the superior choice in terms of performance.
Focusing and Optical Stabilization
| Nikon AF-S DX NIKKOR 18-105mm F3.5-5.6G ED VR | Nikon AF-S DX NIKKOR 55-200mm F4-5.6G ED VR II | |
|---|---|---|
| Autofocus | Yes | Yes |
| AF Motor | Silent Wave Motor | Silent Wave Motor |
| Rotating Front Element | Does not rotate on focusing | Does not rotate on focusing |
| Min Focus Distance | 0.45m | 1.1m |
| Max Magnification (X) | 0.2 | 0.23 |
| Full-Time Manual Focus | Yes | Yes |
| Focus Method | Internal | Internal |
Focusing Performance
The Nikon DX 18-105mm f/3.5-5.6 features a Silent Wave Motor drive, ensuring quick and virtually silent autofocus operation. Though not as fast as some higher-grade AF-S lenses, it provides accurate and reasonably quick focusing. The lens allows autofocus override by simply turning the focus ring, and the manual focus action is easy to operate.
This lens also boasts an internally focusing design, ensuring a constant lens length regardless of focus and zoom settings. Autofocus performance is suitable for most purposes but may slow down in low-light situations, especially at the longer end of the zoom range.
In contrast, the Nikon DX 55-200mm f/4-5.6 utilizes an autofocus system powered by a silent wave motor, offering relatively quiet operation and fairly quick focusing speed. While decent for a lens at this level, the focusing speed might be considered slow for action photography. Initial autofocus acquisition speed is respectable, and the lens can focus accurately in most situations. However, performance may be slower in low-light conditions.
This lens lacks a manual focus override, and the flush manual focus ring makes adjustments trickier. The focusing ring isn’t damped, and the lens doesn’t feature an internally focusing design, resulting in length changes depending on focus and zoom settings.
In conclusion, the 18-105mm lens offers superior focusing performance, thanks to its quick and virtually silent autofocus, easy-to-operate manual focus action, and internally focusing design. While the 55-200mm lens performs decently in most situations, its slower focusing speed and trickier manual focus adjustments make the 18-105mm lens the better choice for focusing performance.
Optical Stabilization
The Nikon DX 18-105mm f/3.5-5.6 comes with Nikon’s Vibration Reduction (VR) image stabilization system, providing up to 3 stops of stabilization for sharp shots even at slower shutter speeds. The lens features only one stabilization mode, lacking a VR Active mode found in higher-grade lenses.
Nonetheless, the VR system is effective, quiet, and can be toggled via a switch on the lens barrel. At 50mm, the lens allows handheld shots at shutter speeds as slow as 1/8 second, and at 70mm, it achieves sharp images at 1/13 second.
On the other hand, the Nikon DX 55-200mm f/4-5.6 features a Vibration Reduction (VR) system with 4-stop effectiveness, making it particularly useful considering Nikon DSLRs lack in-body stabilization. The VR system is silent, with an on/off switch, but it doesn’t include additional Active or Sport modes.
This lens enables hand-held shots at slower shutter speeds, such as around 1/40 sec at 200mm, which is approximately 3 stops slower than the conventional rule of thumb advises.
In conclusion, the 55-200mm lens offers superior optical stabilization with its 4-stop effectiveness compared to the 3-stop stabilization of the 18-105mm lens. While both lenses provide valuable stabilization, the 55-200mm lens edges out as the winner for superior optical stabilization.
Image Quality
| Nikon AF-S DX NIKKOR 18-105mm F3.5-5.6G ED VR | Nikon AF-S DX NIKKOR 55-200mm F4-5.6G ED VR II | |
|---|---|---|
| Special Elements | ED glass element and aspherical lens element | 1 ED glass element |
| Diaphragm Blades | 7 | 7 |
| Circular Aperture | Yes | Yes |
Aberration
The Nikon DX 18-105mm f/3.5-5.6 exhibits some chromatic aberration, particularly at its widest focal length of 18mm. However, this level of aberration is generally acceptable unless producing very large prints. Chromatic aberration is well-controlled across all focal lengths, with aperture choice having minimal influence. The borders may experience minor chromatic aberration and light fall-off when used wide open but are quite sharp within the f/5.6-f/11 range.
In contrast, the Nikon DX 55-200mm f/4-5.6 demonstrates low levels of chromatic aberration throughout its zoom range, with levels barely exceeding a quarter of a pixel width at any point. Chromatic aberration is detectable in shots taken at or near the longer end of the zoom range, but it’s not overly prominent. Moreover, the lens does not exhibit significant coma or spherical aberration.
In conclusion, the 55-200mm lens outperforms the 18-105mm lens in terms of aberration control, with lower levels of chromatic aberration and no significant coma or spherical aberration.
Sharpness
The Nikon DX 18-105mm f/3.5-5.6 delivers consistent sharpness throughout its zoom range, boasting excellent performance at all focal lengths. Wide open apertures may result in some chromatic aberration and light fall-off, but sharpness improves quickly upon stopping down, peaking at f/11.
Edges remain sharp up to f/16, and even f/22 is sharper than wide open apertures. Corner softness is observable in certain cases but can be improved by stopping down. The sharpness level should be largely acceptable for prints, except when the lens is stopped down beyond f/16 at 105mm.
On the other hand, the Nikon DX 55-200mm f/4-5.6 exhibits good sharpness throughout most of its focal range, with outstanding center sharpness at 55mm and excellent edge performance. When zoomed to 105mm, center sharpness remains strong, but edge sharpness declines to fair levels, improving upon stopping down to f/8.
At 200mm, sharpness drops further, with good center clarity and fair edge performance. Stopping down to between f/8 and f/16 results in very good center sharpness and good edge clarity. The sharpest aperture is generally in the f/8 to f/11 range for most focal lengths, and the lens performs well when stopped down. However, sharpness is less impressive when shooting wide open, particularly at longer focal lengths like 200mm.
In conclusion, the 18-105mm lens offers superior overall sharpness compared to the 55-200mm lens, as it maintains consistency across its zoom range and delivers excellent performance at all focal lengths. While the 55-200mm lens performs well in certain focal lengths and apertures, it struggles to maintain sharpness at longer focal lengths, making the 18-105mm lens the better choice for sharpness.
Bokeh Quality
The Nikon DX 18-105mm f/3.5-5.6 boasts a pleasing bokeh quality, thanks to its iris diaphragm with 7 rounded blades. This design results in soft and attractive out-of-focus areas. In the center, the bokeh changes shape due to light waste, creating a beautiful effect, while in the corners, it takes the form of a cat’s eye. Overall, the efforts to render pleasant out-of-focus areas have been largely successful.
On the other hand, the Nikon DX 55-200mm f/4-5.6 also produces a pleasing bokeh, owing to its seven rounded iris diaphragm blades. The bokeh is often described as smooth, creamy, and attractive, which is quite impressive considering the lens’s budget price point.
In conclusion, both lenses offer pleasing bokeh quality, with each providing soft and attractive out-of-focus areas. However, the 18-105mm lens exhibits a more unique bokeh effect in the center and corners, which may be more visually appealing to some photographers.
Flare/Ghosting
The Nikon DX 18-105mm f/3.5-5.6 demonstrates a good resistance to flare and ghosting, even when light sources are within the frame. However, it’s important to note that this lens is quite sensitive to backlight, which can result in ghosting and flare in specific situations. To combat this issue, the lens comes with a petal-shaped lens hood that effectively shields the front element from unwanted light outside the image frame.
In contrast, the Nikon DX 55-200mm f/4-5.6 effectively minimizes flare and ghosting due to the Super Spectra Coating applied to its elements. This coating reduces the impact of stray light entering the lens, ensuring better contrast and color fidelity in the captured images. While flare and ghosting might still occur under certain challenging lighting conditions, the Super Spectra Coating does an admirable job in mitigating these issues, resulting in improved image quality.
In conclusion, both lenses offer decent resistance to flare and ghosting. However, the 55-200mm lens has an advantage with its Super Spectra Coating, which provides a more consistent reduction of flare and ghosting across various lighting conditions.
Vignetting
The Nikon DX 18-105mm f/3.5-5.6 exhibits some vignetting, particularly at wider apertures and focal lengths. For example, at 18mm and f/3.5, the corners are about 1.85 stops darker than the image center, and at 105mm and f/5.6, they are about 2.47 stops darker.
However, stopping down to f/11 results in visually uniform illumination across the image. While some users may not consider vignetting a serious issue, especially when using a camera with built-in vignetting control, it is worth noting for those who prefer minimal corner shading.
On the other hand, the Nikon DX 55-200mm f/4-5.6 displays noticeable vignetting, particularly at 175mm focal length, with a 2 F-stop difference from the center to the edges of the photograph. This can pose challenges when merging multiple images or creating panorama-style photographs using software like Photoshop.
However, the vignetting effect decreases as you stop down the aperture, and at f/8, it is generally not greater than 1/4 EV. By adjusting your aperture settings, you may be able to mitigate the vignetting issue depending on your intended use and shooting conditions.
In conclusion, both lenses exhibit vignetting, but the 18-105mm lens offers more control over the issue by stopping down the aperture for more even illumination across the image.
Distortion
The Nikon DX 18-105mm f/3.5-5.6 exhibits distortion at almost all focal lengths. At its widest point of 18mm, there is noticeable barrel distortion, which can be corrected in post-processing software. From 24mm onwards, a complex distortion profile is observed, where the edges display pincushion-style distortion while the center exhibits barrel distortion, creating a “moustache” effect.
At 35-50mm focal lengths, the distortion is less pronounced but still present. The non-linear and complex nature of the distortion in the 18-105mm lens makes it challenging to correct in-camera or in post-processing.
In contrast, the Nikon DX 55-200mm f/4-5.6 demonstrates moderate pincushion distortion across much of its focal length range, with 0.47% barrel distortion at 55mm and 1.16% pincushion distortion at 200mm.
However, the distortion pattern is uniform across the frame, making corrections in image editing software relatively straightforward. At 85mm, 105mm, and 135mm focal lengths, pincushion distortion is also present but can be corrected with software. Overall, distortion is well controlled for a lens of this type.
In conclusion, the 55-200mm lens has superior distortion performance compared to the 18-105mm lens. The uniform distortion pattern across the frame and the relatively straightforward correction process in post-processing software make the 55-200mm lens a more desirable choice when considering distortion.
Final Verdict
The Nikon DX 18-105mm f/3.5-5.6 is a more versatile option with its wider focal length range, making it an excellent choice for photographers who require flexibility in various shooting situations. It offers better build quality, superior focusing performance, overall sharpness, unique bokeh quality, and better control over vignetting.
On the other hand, the Nikon DX 55-200mm f/4-5.6 is superior for isolating subjects and capturing images at longer distances, making it ideal for photographers specializing in sports, wildlife, or other genres that require longer focal lengths. It has slightly better weather sealing, superior optical stabilization, better aberration control, and superior distortion performance.
The biggest difference between the two lenses is the focal length range, with the 18-105mm lens offering a more versatile range for different photography scenarios, while the 55-200mm lens caters to photographers who need longer focal lengths.
Ultimately, if you require a more versatile focal range to cover various shooting situations, the 18-105mm lens may be the better option. However, if you need a lens for capturing images at longer distances or require better optical stabilization and aberration control, the 55-200mm lens would be the superior choice.
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