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Are you in the market for an all-in-one zoom lens that can handle various photography scenarios with ease? Look no further!
In this article, we’ll dive into an in-depth comparison of two popular contenders: the versatile Nikon DX 18-200mm f/3.5-5.6 and the far-reaching Nikon DX 18-300mm f/3.5-6.3. Designed to cater to photographers seeking flexibility and convenience without sacrificing image quality, these lenses are perfect for travel, landscape, portrait, sports, and wildlife photography.
We understand that choosing the right lens is crucial for capturing breathtaking images and elevating your photography game. That’s why we’ve meticulously analyzed factors such as low-light performance, depth of field control, focusing performance, optical stabilization, sharpness, bokeh quality, flare and ghosting, vignetting, and distortion to help you make an informed decision.
By the end of this article, you’ll not only have a clear understanding of the strengths and weaknesses of each lens but also be able to determine which one best suits your unique photography needs.
So, buckle up, and let’s embark on a journey to discover which lens will be the ideal companion for your camera and artistic endeavors!
The Nikon DX 18-200mm f/3.5-5.6 has a maximum aperture of f/3.5-5.6, which means it allows a moderate amount of light to enter the camera. This variable aperture lens covers a focal range of 18-200mm and provides an 11.1x zoom ratio. As it has a smaller maximum aperture, this lens might struggle in low-light situations, and users may need to rely on higher ISO settings or slower shutter speeds, which could lead to increased noise or motion blur.
On the other hand, the Nikon DX 18-300mm f/3.5-6.3 has a maximum aperture of f/3.5-6.3, which is slightly smaller than the 18-200mm lens, allowing less light to enter the camera. However, it has an impressive 16.7x zoom ratio, making it more versatile for various photography situations. This variable aperture lens also covers a wider focal range of 18-300mm, providing more flexibility in composition and framing.
While the 18-300mm lens offers a greater zoom range, its smaller maximum aperture may impact its low-light performance and depth of field control. Conversely, the 18-200mm lens has a slightly larger maximum aperture, which could provide better low-light performance and depth of field control, but with less versatility in terms of zoom range.
In conclusion, both lenses have their advantages and drawbacks, with the 18-200mm lens offering better low-light performance and depth of field control, while the 18-300mm lens provides a more extensive zoom range and greater versatility. Ultimately, the superior lens depends on your specific needs, preferences, and shooting scenarios. If you prioritize low-light performance and depth of field control, the 18-200mm lens might be the better choice, while the 18-300mm lens may be more suitable for photographers who need a greater zoom range and flexibility in composition.
The Nikon DX 18-200mm f/3.5-5.6 has dimensions of ⌀77×96.5mm and weighs 565 grams. This lens has a rotary (extending) zoom method, which means that the lens physically extends when zooming in or out. A more compact and lightweight lens offers benefits such as easier portability, better balance, discreetness, and easier storage.
However, the extending design might make it more difficult to achieve effective weather sealing and may cause changes in the camera’s balance while zooming, requiring more effort to maintain stability during shooting.
In comparison, the Nikon DX 18-300mm f/3.5-6.3 has slightly larger dimensions of ⌀78.5×99mm but weighs slightly less at 550 grams. Like the 18-200mm lens, this lens also has a rotary (extending) zoom method, with similar pros and cons. The larger size of this lens might make it slightly more cumbersome to handle, but its lighter weight could be beneficial in terms of balance and ease of lens swapping.
In conclusion, both lenses have their advantages and drawbacks, with the 18-200mm lens being slightly smaller but heavier, and the 18-300mm lens being slightly larger but lighter.
Lens Mount and Barrel
The Nikon DX 18-200mm f/3.5-5.6 features a metal lens mount with a rubber ring, offering some degree of environmental sealing to protect against dust and moisture. The lens barrel is also metal, providing a durable and sturdy construction with a smooth finish and ergonomic bevel.
However, this lens is prone to zoom creep between focal lengths of 28 and 135mm, which can cause the barrel to extend or retract under its own weight when pointed vertically. To counteract this issue, a newer version of the lens includes a lock switch on the barrel, preventing zoom creep during transportation.
On the other hand, the Nikon DX 18-300mm f/3.5-6.3 has a solid metal lens mount with a rubber gasket for enhanced dust and moisture protection. The lens barrel is predominantly plastic with some metal components, making it lighter and more budget-friendly but potentially less durable than its metal counterpart.
This lens features a zoom lock switch at 18mm to prevent extension under its own weight, and it does not wobble when fully extended. However, the lens may still be vulnerable to dust and moisture at longer focal lengths due to its extending design.
In conclusion, both lenses have their unique advantages and drawbacks regarding lens mount and barrel construction. The 18-200mm lens offers a more premium feel and increased durability with its metal barrel but may suffer from zoom creep issues. Meanwhile, the 18-300mm lens is lighter due to its mostly plastic construction, though it may not be as durable.
Weather Sealing
The Nikon DX 18-200mm f/3.5-5.6 features a rubber ring on its metal mount, providing a degree of environmental sealing against dust and moisture. However, this lens is not completely waterproof and lacks internal seals at the rings, switches, and front of the barrel. As a result, it offers limited protection in adverse weather conditions, and additional precautions may be necessary when using this lens outdoors.
On the other hand, the Nikon DX 18-300mm f/3.5-6.3 features a metal lens mount with a rubber seal that effectively blocks out dust and moisture, providing added protection to the camera’s internals. While it is not advertised as weatherproof, this lens offers slightly better protection than the 18-200mm lens. Like the 18-200mm lens, it also lacks internal seals at the rings and switches, and there is no fluorine coating on the front element, which means it’s not fully weather-sealed.
Rings
The Nikon DX 18-200mm f/3.5-5.6 comes with two well-placed rings: a zoom ring and a manual focus ring. The zoom ring is conveniently located for operation by the thumb and forefinger, moving smoothly through almost half a turn across its range. The manual focus ring, with a 10mm wide ridged rubber grip, rotates through roughly one third of a turn and can be easily operated by the middle finger.
Both rings feature a smooth, ergonomic design. A zoom lock switch, positioned between the rings, helps prevent zoom creep but may be inconvenient to use, as it needs unlocking before operation. This lens also includes a recessed distance scale with settings for 0.5, 1, and 3 meters, plus infinity.
On the other hand, the Nikon DX 18-300mm f/3.5-6.3 sports two rings for zoom and focus. The front-located zoom ring has a rubber covering for improved grip and a smooth, consistent action, with sufficient resistance to prevent zoom creep. A lock switch keeps the lens at its shortest 18mm setting. The focus ring, closer to the camera body, is made of rubbery plastic and allows for easy, smooth, and precise adjustments.
However, this lens lacks a windowed distance scale or depth-of-field indicator. The manual focusing distance is longer due to its geared focusing system, providing more accurate manual override of autofocus. The zoom ring takes over half a turn to transition from 18 to 300mm, ensuring quick zooming to a subject.
In conclusion, both lenses offer well-designed rings for smooth operation and control. The 18-200mm lens features a distance scale and a lock switch to prevent zoom creep, while the 18-300mm lens has a superior focusing system for accurate manual override and quicker zooming.
Switches/Buttons
The Nikon DX 18-200mm f/3.5-5.6 offers three slider switches conveniently located on the side of the lens barrel, behind the focusing ring. These switches include M/A and M focusing modes, VR on and off, and Normal and Active VR settings, allowing users to easily control focusing and image stabilization. The design of these switches is well-considered, making them user-friendly.
The Nikon DX 18-300mm f/3.5-6.3 sets itself apart by providing several switches and buttons for added convenience. These include an AF/MF switch, an IS switch, and a switch to lock the lens at 18mm, all positioned in easily accessible locations. The AF/MF switch allows for manual override of autofocus, while the IS switch lets you turn on or off the second-generation optical stabilization. The 18mm lock switch prevents the lens from creeping when transporting the camera. The AF/MF switch is positioned on the left side of the lens, while the IS and lock switches are situated on the side of the lens barrel.
In summary, both lenses provide user-friendly switches/buttons that allow for efficient control over focusing and stabilization features.
Filter Thread
The Nikon DX 18-200mm f/3.5-5.6 features a metal filter thread with a size of 72mm, ensuring durability and compatibility with a range of filters. The front element and filter thread do not rotate during focusing, making it convenient for angle-critical attachments and filters, such as polarizers and graduated filters. This design allows for easy filter use without the need for readjustment.
On the other hand, the Nikon DX 18-300mm f/3.5-6.3 comes with a 67mm plastic filter thread. While not as durable as metal, the plastic filter thread is lightweight and cost-effective. The filter thread remains stationary during focusing, facilitating the use of graduated filters and polarizers. It is advisable to utilize a UV or Protector filter to safeguard the front element from potential damage.
In conclusion, the 18-200mm lens stands out with its superior metal filter thread, offering enhanced durability and a larger size of 72mm. This allows for greater compatibility with various filters and ensures a long-lasting filter thread. Meanwhile, the 18-300mm lens offers a more lightweight and cost-effective option with its 67mm plastic filter thread.
Lens Hood
The Nikon DX 18-200mm f/3.5-5.6 comes with a lens hood included in the package, along with other useful accessories like a snap-on front lens cap, rear lens cap, bayonet hood, and a flexible lens pouch. The hood has a bayonet mount and is made of plastic with a matte finish. Its ergonomic bevel ensures smooth attachment and removal, and it can be easily rotated to adjust the hood’s angle.
On the other hand, the Nikon DX 18-300mm f/3.5-6.3 comes with a petal-shaped hood, which is sold separately as an optional extra. This hood is made of plastic and features a decent bevel for ergonomic handling. It effectively shields the front element from extraneous light, preventing flare or loss of contrast. Like the 18-200mm lens hood, the 18-300mm lens hood can be smoothly rotated.
In conclusion, the 18-200mm lens has an advantage in terms of lens hood convenience, as it includes the hood in the package, saving photographers additional expense and hassle. Both lens hoods provide adequate protection against flare and loss of contrast, but the 18-200mm lens offers a more complete package, making it the superior choice when considering lens hood features.
The Nikon DX 18-200mm f/3.5-5.6 features a nearly silent and efficient Silent Wave Motor for autofocusing. Its focusing speed is generally adequate, taking around 1.2 seconds to go from infinity to 50cm and back again. In well-lit situations, autofocus performance is reliable and accurate, while low-light performance may be slightly slower, but still satisfactory.
The lens offers full-time manual focus override, which is smooth and allows for precise adjustments. Its internally focusing design ensures that the length remains constant regardless of focus and zoom settings. The front element does not rotate during focusing, making it convenient to use with polarizing filters or other angle-critical attachments. The lens does not exhibit significant focus breathing, contributing to its overall solid autofocus performance.
On the other hand, the Nikon DX 18-300mm f/3.5-6.3 features a quiet and accurate autofocus performance at short focal lengths, thanks to the AF-S Silent Wave Motor. However, as you zoom in, autofocus accuracy becomes inconsistent, especially above 105mm, and worsens at 200mm and 300mm. The autofocus speed is relatively quick, but not as fast as pro-level lenses, and it tends to hunt and slow down in low-light situations.
There is a manual focus override via the narrow focusing ring, which is well-damped and allows for smooth fine adjustments. The lens has focus breathing, with the image getting smaller when focused more closely.
In conclusion, the 18-200mm lens offers a more consistent and reliable focusing performance compared to the 18-300mm lens. While the 18-300mm lens performs well at shorter focal lengths, its inconsistent autofocus accuracy and focus breathing at longer focal lengths make the 18-200mm lens the superior choice for overall focusing performance.
Optical Stabilization
The Nikon DX 18-200mm f/3.5-5.6 features Nikon’s second-generation VR II vibration reduction system, which claims to allow handholding at shutter speeds 3.5 stops lower than usual. The mechanism is near-silent, with just a quiet whirring noise when operational and distinct clicks when it activates and deactivates. The lens has two VR modes: Normal and Active.
At 18mm, the VR system provides an 80% chance of getting usable results at 1/6 sec, at 50mm it provides an 80% chance at 1/13 sec, and at 200mm, an 80% chance as low as 1/25 sec. Even at slower speeds, a stop slower than these, you’ll get ‘keepers’ handheld if you’re prepared to take multiple shots.
In contrast, the Nikon DX 18-300mm f/3.5-6.3 features Nikon’s Vibration Reduction (VR) system, which provides up to 4 stops of stabilization. With its silent VR mechanism, the lens is well-suited for various shooting scenarios.
The stabilization performs admirably at wide-angle settings, allowing for sharp handheld shots at shutter speeds as slow as 1/2 second. At telephoto focal lengths, however, the VR system’s effectiveness decreases, and the ideal shutter speed can vary depending on the photographer’s technique and stability.
In conclusion, while both lenses provide effective optical stabilization, the 18-200mm lens boasts a more consistent performance across its focal range. The 18-300mm lens, though offering slightly better stabilization at wide-angle settings, falls short at telephoto focal lengths. Therefore, the 18-200mm lens is the superior choice for overall optical stabilization.
2x ED glass elements and 3x aspherical lens elements
3 ASPH
Diaphragm Blades
7
7
Circular Aperture
Yes
Yes
Aberration
The Nikon DX 18-200mm f/3.5-5.6 exhibits some chromatic aberration, with red-green fringing detected at the widest focal lengths. However, it diminishes at longer focal lengths and is relatively easy to correct. Spherical aberration is evident, as demonstrated by the degree of focus shifting required when apertures are stopped down. This is likely a consequence of the extended zoom design.
Conversely, the Nikon DX 18-300mm f/3.5-6.3 exhibits differing degrees of chromatic aberration throughout its zoom range, with fringing being most prominent at 300mm and towards the edges of the frame, sometimes exceeding 2 pixel widths.
Nonetheless, automatic in-camera corrections or post-processing software like Adobe Lightroom can effectively eliminate this issue. Large apertures do not seem to cause any noticeable smearing or blobs around bright points of light in the corners of the frame in terms of coma.
In conclusion, while both lenses exhibit chromatic aberration, the 18-200mm lens offers a more controlled performance, with aberrations diminishing at longer focal lengths. The 18-300mm lens experiences more significant aberrations, particularly at 300mm. However, post-processing can effectively address these issues.
Sharpness
The Nikon DX 18-200mm f/3.5-5.6 offers impressive sharpness for an F-mount superzoom, particularly at short to mid zoom settings. Center sharpness remains excellent throughout the focal range, while corner sharpness may be slightly weaker at wider apertures but improves when stopped down.
The sharpest apertures generally range from f8 to f11. At longer focal lengths, such as 135mm and f5.6, image quality can be visibly impacted, but stopping down to f11 can yield better results. This lens delivers sharp images, although not as sharp as some prime lenses or more specialized zoom lenses, providing a versatile and convenient zoom range with a good balance of sharpness and image quality.
In contrast, the Nikon DX 18-300mm f/3.5-6.3 has sharpness that varies depending on the focal length and aperture, with the weakest performance at the largest apertures. Center sharpness is generally very good even wide open, but it drops off steadily at longer zoom settings.
The lens’s corner sharpness is underwhelming at longer focal lengths. However, stopping down results in a significant enhancement in performance across the frame. Between f/8 and f/11, sharpness is exceptional at the center and excellent towards the edges of the frame.
In conclusion, the 18-200mm lens is superior in terms of overall sharpness, especially at shorter to mid zoom settings, and maintains more consistent performance throughout its focal range. The 18-300mm lens, while offering a broader zoom range, struggles with sharpness at longer focal lengths. Both lenses can achieve excellent sharpness when stopped down, but the 18-200mm lens provides a better balance of sharpness and image quality across its entire range.
Bokeh Quality
The Nikon DX 18-200mm f/3.5-5.6 is capable of delivering smoothly blurred out-of-focus regions, particularly at 200mm F5.6, but the bokeh is not entirely smooth. Hard-edged specular highlights can give a harsh appearance to defocused areas.
With careful selection of the background and thoughtful composition, it is possible to achieve appealing results. However, some users have reported distracting and nervous bokeh that required additional post-processing to smooth out.
Conversely, the Nikon DX 18-300mm f/3.5-6.3 produces satisfactory bokeh results, particularly at larger apertures and longer focal lengths. The lens utilizes a 7 rounded blade iris diaphragm, which enhances the smoothness of the out-of-focus regions in the images.
It’s worth noting that the quality of bokeh is subjective and can differ depending on the lens’s zoom setting, aperture, and focus distance. While the lens is not specifically known for producing creamy and beautiful bokeh, other lenses may be preferred for such purposes.
In conclusion, neither lens is particularly renowned for exceptional bokeh, and the quality can vary depending on factors like zoom setting and aperture.
Flare/Ghosting
The Nikon DX 18-200mm f/3.5-5.6 exhibits minimal flare and ghosting, provided it is not pointed directly into the sun. When forced to flare, it produces starbursts, rainbow effects, and circular patterns of various colors, but contrast is not significantly affected. This lens handles flare relatively well, especially compared to some other lenses in its class, and its complex optical construction allows for intricate flare patterns at small apertures.
On the other hand, the Nikon DX 18-300mm f/3.5-6.3 handles ghosting and flare quite well, depending on the focal length and the placement of the light source. It exhibits excellent performance in this regard, with no significant ghosts or flares visible even when shooting directly into the sun.
However, as you zoom towards the telephoto range, ghosting can become an issue, especially when pointing the lens into the light with the sun outside the frame, where significant veiling and loss of contrast can occur.
In conclusion, both lenses perform relatively well in terms of flare and ghosting. The 18-200mm lens manages to maintain good contrast and produce interesting flare patterns, while the 18-300mm lens exhibits excellent performance in most situations but can struggle with ghosting when zoomed towards the telephoto range.
Vignetting
The Nikon DX 18-200mm f/3.5-5.6 shows occasional vignetting, particularly at wider focal lengths. However, it demonstrates better optical performance in terms of vignetting correction compared to its competition, providing a good starting point for post-processing. Vignetting can be effectively reduced through software or in-camera correction, but it’s always preferable for the lens to produce good results without digital manipulation.
Conversely, the Nikon DX 18-300mm f/3.5-6.3 displays visible vignetting, particularly at the extreme corners, at wider apertures. Nevertheless, it can be easily corrected in post-processing. While vignetting is more noticeable when shooting wide open, stopping down to f/8 or beyond yields even illumination across the frame for the entire zoom range. It’s worth noting that stacking filters may induce slight vignetting at the widest setting.
In conclusion, both lenses experience some degree of vignetting, but the 18-200mm lens appears to have a slight edge in terms of optical performance and vignetting correction. While both lenses can have their vignetting corrected through post-processing or in-camera techniques, the 18-200mm lens’s better starting point makes it the superior choice for managing vignetting.
Distortion
The Nikon DX 18-200mm f/3.5-5.6 exhibits noticeable distortion, especially at the wide-angle end, with prominent barrel distortion leading to a “mustache” or wavy distortion pattern that may be challenging to correct using simple software tools.
Pincushion distortion becomes more evident between 35mm and 70mm, but it is less complex and more easily corrected with software. Distortion is mostly an issue in photos with straight lines, and may not be a significant problem for subjects like landscapes, portraits, or wildlife.
In contrast, the Nikon DX 18-300mm f/3.5-6.3 displays significant distortion throughout its zoom range. Barrel distortion is most noticeable at 18mm, while pincushion distortion takes over from 28mm onwards. Distortion can be corrected post-capture using software like Adobe Lightroom or through in-camera correction for JPEG capture, although this may lead to some loss of picture information at the edges of the frame.
In conclusion, both lenses exhibit distortion; however, the 18-200mm lens has a less complex distortion pattern, making it easier to correct in post-processing.
Final Verdict
The Nikon DX 18-200mm f/3.5-5.6 offers a versatile focal range suitable for various photography genres, such as travel, portraits, and events, where low-light performance and depth of field control are important.
On the other hand, the Nikon DX 18-300mm f/3.5-6.3 provides an even broader zoom range, making it more versatile for photographers who need flexibility in composition, such as those shooting wildlife and sports.
In summary, the 18-200mm lens is the superior choice when considering factors like low-light performance, depth of field control, focusing performance, optical stabilization, sharpness, vignetting, and distortion management.
The 18-300mm lens offers the advantage of a more extensive zoom range, lighter weight, and slightly better flare performance, but it falls short in other aspects like sharpness, focusing consistency, and optical stabilization at longer focal lengths.
Wei was a cruise photographer who worked at Disney Cruise Line. He is a lucky traveler who has been to more than 20 countries with his camera while working on an around-the-world cruise. Photography has changed his view of the world forever. Now he wants more people to benefit from photography through his blog.
