Nikon Digital SLR Cameras and Lenses

This website goes through every section of the Nikon system and concludes with some starter system recommendations.

The Nikon system of digital (SLR) bodies and lenses is a popular choice.

Every component manufactured by Nikon is covered, plus a few exceptionally good third-party components. If you are new to photography, you might want to start with our article

Wide-angle Prime Lenses

These let you get close to your subject while still showing a lot of background information. Wide angle lenses are good for “environmental portraits” in which the subject occupies ...

What is the best macro lens? Which one should you buy?

For photographers who use Nikon SLR camera's, there is: •Nikon 105mm f/2.8G •Nikon 60mm f/2.8D AF Micro-Nikkor Lens

Travel and Landscape Lenses (26 D-SLR Camera Lenses)

Whether you want an extreme wide-angle lens for beautiful landscapes or all-in-one zoom for when you're constantly on the go, these NIKKON lenses will help you capture more of every adventure.

Friday, March 23, 2012

Nikon D7000

       The Nikon D7000 is a new prosumer DSLR camera with a 16.2-megapixel DX-format image sensor. Key highlights of the D7000 include Full 1080p HD video with full-time autofocus and manual exposure control, an ISO range of 100-25600, the widest of any Nikon DX camera, a new 2,016-pixel 3D Colour Matrix metering system, new EXPEED 2 image-processing engine, new 39-point Auto-focus system with 3D tracking, 14-bit analogue-to-digital conversion, 6fps continuous shooting, dust- and moisture-sealed magnesium alloy body, 921k dot 3-inch LCD screen, and dual memory card slots. The Nikon D7000 costs £1099.99/ $1199.95 for body only and £1299.99 / $1499.95 for the body and the AF-S DX Zoom-Nikkor 18-105mm f/3.5-5.6G ED VR kit lens

Ease of Use
       The new Nikon D7000 slots in between the existing D90 and D300s models, not only in terms of feature set and functionality, but also in terms of size and weight. It isn't as compact and lightweight as the D90 but neither is it quite as bulky and heavy as the D300s. The right-hand grip bears more resemblance to that of the D300s, with a chunkier rubberised coating than on the D90. There's also a rubberised thumb rest on the back of the body.

       The 18-105mm f/3.5-5.6G ED VR kit lens that ships with the D7000 feels well-balanced on the Nikon D7000 and despite only having a plastic mount it fits into place with a reassuring mechanical click. It also adds the very important advantage of Vibration Reduction. Nikon bodies don't offer any form of in-camera image stabilisation, unlike similar models from Sony, Pentax and Olympus, so the relatively affordable and versatile 18-105mm VR lens is a good starting point if you don't already have any Nikon lenses.
      The shutter release action on the Nikon D7000 is surprisingly quiet, with an exemplarily dampened mirror slap that makes this DSLR actually quieter than some rangefinder cameras, and it's tested for 150,000 cycles. Furthermore, there is also a Quiet mode, in which the mirror is raised fairly slowly to further reduce the sound it makes. This, however, introduces some shutter lag, which usually isn't worth the few decibels of difference versus what is already an impressively quiet shutter (Nikon actually recommends using the Quiet mode for taking pictures of sleeping babies, a situation in which a bit of shutter delay obviously isn't a problem).

       The overall control layout and 'philosophy' of the Nikon D7000 is very similar to the D90, with two control wheels and dedicated buttons for controlling ISO sensitivity, white balance, metering and AF mode. Only the combined Live View switch and Movie Mode button and lockable drive mode dial are completely new, with the former being an improvement on the D90 but the latter being somewhat awkward, requiring the use of both fore- and middle fingers. In addition the Playback button has moved to the left of the viewfinder in line with models higher up the range. This all means that upgrading from the D90 to the D7000 is a near seamless experience from a handling point of view.

Nikon D7000 Specifications:
  • Image Sensor: 16.2 million effective pixels.
  • Metering: Matrix, centre-weighted metering and spot.
  • Effective Sensor Size: 23.6×15.6mm CMOS.
  • A/D processing: 12/14-bit.
  • 35 SLR Lens Factor: 1:5x.
  • Compatible lenses: Nikon F mount (with AF contacts).
  • Exposure Modes: Auto, Program AE, shutter and aperture priority, manual.
  • Shutter Speed: Bulb, 30 to 1/8000 second, Bulb. Flash sync: 1/250-1/320 sec.
  • Memory: SD/SDHC/SDXC cards.
  • Image Sizes (pixels): 4928×3264 to 2464×1632. Movies: 1920×1080 to 640×480 at 24/25/30fps.
  • Viewfinders: Eye level pentaprism, 7.5cm LCD (921,000 pixels).
  • File Formats: NEF (RAW), NEF (RAW)+JPEG, JPEG, MPEG4.
  • Colour Space: Adobe RGB, sRGB.
  • ISO Sensitivity: Auto, 100 to 6400.
  • Interface: USB 2.0, AV, HDMI mini, DC input, external mic, remote.
  • Power: Rechargeable lithium ion battery, AC adaptor.
  • Dimensions: 132x105x77 WHDmm.
  • Weight: Approx. 690 g (with memory card and battery).
  • Price: Body with f3.5/18-105mm $2299.
  • Body with f3.5/18-55mm plus f4.5/55-300mm $2499.

Nikon D800

       As updates go, the Nikon D800 is a pretty major one. Compared to its predecessor the D700, Nikon's newest DSLR features an impressive set of key specifications, and subtly refined ergonomics, too. After more than three years we expected the D800 to outclass its predecessor, but products don't exist in a vacuum, and it wasn't long after the 12MP D700's announcement that Canon brought out the movie-shooting EOS 5D Mark II.

       Not only was the 5D II Canon's first video-equipped DSLR, but at 21MP it offered a class-leading pixel count, effectively equal in resolution to Canon's professional EOS-1 Ds Mark III. The D700 won plaudits for its versatility, low light image quality and 51-point autofocus system, but it couldn't compete with the 5D II on resolution, or of course, video. 


       The D800 changes all that. Compared to the D700, the D800 is a thoroughly modern camera, boasting a highly advanced feature set for both still and video shooting. At 36.3MP the $3000 D800 comfortably eclipses its competitors in terms of pixel count and makes the $8000 Nikon D3X look distinctly irrelevant, too.
Specification highlights
  • 36.3MP CMOS sensor (compared to 12.1MP)
  • 15.3MP DX-format capture mode (compared to 5MP)
  • 25MP 1.2x Crop mode
  • 51-point AF system with 15 cross-type sensors, rated to -2EV* (compared to -1EV)
  • ISO 100-6400 extendable to ISO 25,600 equiv (same as D700)
  • 1080p video at 30, 25 or 24 frames per second, up to 24Mbps, with uncompressed HDMI output and audio monitoring options*
  • 3.2", 921,000 dot LCD with anti-fog layer* (compared to 3in, 921k-dot)
  • Maximum 4fps continuous shooting in FX mode, 6fps in DX mode** (compared to 8fps in FX mode)
  • Advanced Scene Recognition System with 91,000 pixel metering sensor* (compared to 1005-pixel)
  • 'Expeed 3' Image Processing*
  • Dual-axis Virtual Horizon (on LCD screen/viewfinder)* (compared to single-axis)
* Same or almost identical to Nikon D4
** Maximum frame rate in DX mode is dependant on power source

       For the price, the D800 represents a good investment. You get pretty much all of the best features of the D4 in a more compact and lighter body, for just shy of half of the price. 

       It's perhaps a little bit strange to see older bodies in Nikon's range continuing, namely the D700 and the D3X, which now offers a 24 million pixel sensor at greater expense than the D800's 36MP one. 

       Nikon is also keen to tap into other areas of the market where it previously hasn't quite had the reach. With the introduction of the D800E, this means medium-format users who are looking for large sensors with tons of details, especially for those working in fashion and studio environments. 

       It seems like a smart move to introduce this camera at around the same time as the D4 as we can see lots of pros deciding to invest in both, using the D800 as a good second body. High-end enthusiasts and videographers should find lots that they like about this camera, too. 

Nikon D3X

       The Nikon D3X is a 24.5 megapixel professional-grade full frame (35mm) digital single-lens reflex camera (DSLR) announced by the Nikon Corporation on 1 December 2008.[1] The D3X is the third camera in Nikon's line to offer a full frame sensor, following the D3 and D700. As Nikon's new flagship model, it augments the Nikon D3S, Nikon's high-speed professional model, and while the D3S retains advantages in terms of high ISO performance and higher frame rate, the D3X offers a dramatic increase in resolution and image detail.

       The D3S and D3X follow the earlier Nikon D1, Nikon D2H, Nikon D2Hs, Nikon D2X, Nikon D2Xs, and Nikon D3 as the company's top-of-the-line DSLRs intended for professional photographers, which in turn share a lineage with the Nikon F through Nikon F6 series of film SLRs.
Specifications
Effective pixels 24.5 million
Image sensor CMOS sensor, 35.9 x 24.0 mm; Nikon FX format; total pixels: 25.72 million
Image size (pixels) FX format (36 x 24): 6,048 x 4,032 [L], 4,544 x 3,024 [M], 3,024 x 2,016 [S]
DX format (24 x 16): 3,968 x 2,640 [L], 2,976 x 1,976 [M], 1,984 x 1,320 [S]
5:4 (30 x 24): 5,056 x 4,032 [L], 3,792 x 3,024 [M], 2,528 x 2,016 [S]
Sensitivity ISO 100 to 1600 in steps of 1/3, 1/2, or 1 EV; can be set to approx. 0.3, 0.5, 0.7, or 1 EV (ISO 50 equivalent) below ISO 100, or to approx. 0.3, 0.5, 0.7, 1, or 2 EV (ISO 6400 equivalent) over ISO 1600
Storage media CompactFlash (Type I/II, compliant with UDMA); Microdrives
LCD Monitor 3-in., approx. 920k-dot (VGA), 170-degree wide-viewing-angle, 100% frame coverage, low-temperature polysilicon TFT LCD with brightness adjustment
Exposure metering TTL full-aperture exposure metering using 1,005-pixel RGB sensor
1) 3D Color Matrix Metering II (type G and D lenses); Color Matrix Metering II (other CPU lenses); Color Matrix Metering (non-CPU lenses if user provides lens data)
2) Center-weighted: Weight of 75% given to 8-, 15- or 20-mm circle in center of frame, or weighting based on average of entire frame
3) Spot: Meters 4-mm circle (about 1.5% of frame) centered on selected focus area (on center focus area when non-CPU lens is used)
Exposure modes 1) Programmed Auto (P) with flexible program,
2) Shutter-Priority Auto (S),
3) Aperture-Priority Auto (A),
4) Manual (M)
Interface Hi-speed USB
Power sources One Rechargeable Li-ion Battery EN-EL4a/EL4, Quick Charger MH-22/MH-21, AC Adapter EH-6 (optional)
Dimensions (W x H x D) Approx. 159.5 x 157 x 87.5 mm (6.3 x 6.2 x 3.4 in.)
Weight Approx. 1,220 g (2 lb. 11 oz.)

Nikon D4

       Like its predecessor, the Nikon D4 looks as if it’s going to be an incredibly impressive camera. Nikon has looked to its professional user-base and tried to work out what it needed to add or adjust on a camera that just a couple of years ago represented the best they were capable of. The result is a camera with few big changes but a extensive series of small improvements.

       The biggest change is, of course, the improvement in video capabilities. Given the increasing demand for video footage from professional photographers, and the incredible success of Canon’s 5D Mark II in the professional video market, it was inevitable that Nikon’s pro flagship would need to offer a more compelling feature set than the existing models.
      Beyond this, the changes to the stills-shooting specifications are relatively modest – there’s a higher-resolution, 16.2MP, full-frame CMOS sensor and the ability to shoot at 10 frames per second with autofocus, but that’s about it. The new chip's capability has prompted Nikon to offer an ISO range from 100-12,800 that can then be extended to 50 – 204,800 (Hi4). The significant changes, beyond video, are a profusion of smaller tweaks, additions and improvements to what was already a well worked-out camera. These include a carbon fiber shutter rated to 400,000 actuations that can fire at up to 1/8000th of a second.

       The biggest technical changes are the addition of a 91,000 pixel ‘metering’ sensor, replacing the 1005 pixel example used up until now. This sensor is used for much more than just metering, playing a key role in subject tracking, white balance and 'Active D-lighting' (a trick Canon seems impressed with, given the appearance of a similar system in the 1DX). The higher-resolution sensor allows the camera to offer face detection when shooting through the optical viewfinder.
Specifications
Lens Mount  Nikon F bayonet mount
Effective Pixels  16.2 million
Sensor Size  36.0mm x 23.9mm
Image Sensor Format  FX
Image Sensor Type  CMOS
Total Pixels  16.6 million
Dust-reduction system  Image sensor cleaning
Image Dust Off reference data (optional Capture NX 2 software required)
Dust-Off Reference Photo  Yes
Image Area (pixels)  FX-format
(L) 4.928 × 3,280
(M) 3,696 × 2,456
(S) 2,464 × 1,640
1:2 format (30 x 20)
(L) 4,096 × 2,720
(M) 3,072 × 2,040
(S) 2,048 × 1,360
5:4 format (30 x 24)
(L) 4,096 × 3,280
(M) 3,072 × 2,456
(S) 2,048 × 1,640
DX-format
(L) 3,200 × 2,128
(M) 2,400 × 1,592
(S) 1,600 × 1,064
File Format Still Images  JPEG: JPEG-Baseline Compliant; can be selected from Size Priority and Optimal Quality
JPEG: JPEG-Baseline Compliant with fine (approx 1:4), Normal (approx 1:8) or Basic (approx 1:16) Compression
NEF (RAW) + JPEG: Single Photograph Recorded in both NEF (RAW) and JPEG Formats
TIFF (RGB)
Picture Control  Landscape
Monochrome
Neutral
Portrait
Standard
User-customizable Settings
Vivid
Storage Media  CompactFlash© (CF) (Type I, compliant with UDMA)
XQD Type Memory
Card Slot  1 CompactFlash© (CF) card and 1 XQD memory type card
File System  Compliant with DCF (Design Rule for Camera File System) 2.0
DPOF (Digital Print Order Format)
EXIF 2.3 (Exchangeable Image File Format for Digital Still Cameras)
PictBridge
Viewfinder  Eye-level Pentaprism Single-Lens Reflex Viewfinder
Viewfinder Frame Coverage  FX (36x24): 100% Horizontal and 100% Vertical Approx.
1.2x (30x20): 97% Horizontal and 97% Vertical Approx.
DX (24x16): 97% Horizontal and 97% Vertical Approx.
5:4 (30x24): 97% horizontal and 100% vertical Approx.
Viewfinder Magnification  0.70x Approx.
Viewfinder Eyepoint  18mm (-1.0m¯¹)
Viewfinder Diopter Adjustment  Built-in diopter adjustment (-3 to +1 m¯¹)
Focusing Screen  Type B BriteView Clear Matte Mark VIII with AF Area Brackets (grid lines can be displayed)
Reflex Mirror  Quick-return type
Lens Aperture  Instant-return type
More info click here

Nikon 24-70mm f/2.8

       Nikon introduces fast, wide-angle to medium telephoto AF-S zoom lens optimized for edge-to-edge sharpness on both the Nikon FX (23.9 x 36mm) and DX-format image sensors. Enhanced optical formulas, engineered to produce exceptional sharpness, contrast and color, render outstanding image integrity. Two ED (Extra-low Dispersion) elements and PGM aspherical lenses control chromatic aberrations while enhancing sharpness and contrast, even at the widest aperture settings. Exclusive Nano Crystal Coat further reduces ghosting and flare for even greater image clarity. Nikon's Silent Wave Motor (SWM) enables ultra high-speed autofocusing with exceptional accuracy and powerful, super-quiet operation. Internal Focus (IF) provides fast and quiet auto focusing without changing the length of the lens, retaining subject-working distance through the focus range. M/A Focus Mode switch enables quick response to changing situations between Auto and Manual focus operation
Specifications
Mount Type  Nikon F-Bayonet
Focal Length Range  24-70mm
Zoom Ratio  2.9x
Maximum Aperture  f/2.8
Minimum Aperture  f/22
Format  FX/35mm
Maximum Angle of View (DX-format)  61°
Minimum Angle of View (DX-format)  22°50'
Maximum Angle of View (FX-format)  84°
Minimum Angle of View (FX-format)  34°20'
Maximum Reproduction Ratio  0.27x
Lens Elements  15
Lens Groups  11
Compatible Format(s)  FX
DX
FX in DX Crop Mode
35mm Film
Diaphragm Blades  9
Distance Information  Yes
Nano Crystal Coat  Yes
ED Glass Elements  3
Aspherical Elements  3
Super Integrated Coating  Yes
Autofocus  Yes
AF-S (Silent Wave Motor)  Yes
Internal Focusing  Yes
Minimum Focus Distance  1.2 ft. (0.38m)
Focus Mode  Auto
Manual
Auto/Manual
G-type  Yes
Filter Size  77mm
Accepts Filter Type  Screw-on
Dimensions  (Approx.) 3.3x5.2 in. (Diameter x Length)
83x133mm (Diameter x Length)
Weight  (Approx.) 31.7 oz. (900g)
Supplied Accessories  LC-77 77m snap-on front lens cap
LF-1 rear lens cap
HB-40 Bayonet Hood
CL-M3 Semi-soft Case
*Supplied accessories may differ depending on country or area.

50mm f/1.4G AF-S

             The Nikon AF-S Nikon 50mm f/1.4G Lens is a standard lens with an ultra-bright f/1.4 aperture, which allows for fast, accurate shooting with available light. It is also the excellent choice for when a shallow depth of field is desired. The equivalent focal length when used on a DX-format camera is 75mm, which makes it ideal as a short portrait lens with desirable shallow depth of field. 
       The optical design of this lens minimizes flare and chromatic aberration. The SWM (Silent Wave Motor) feature ensures fast and quiet focusing action, and the nine-blade rounded diaphragm makes out-of-focus elements blend smoothly to produce natural-looking, harmonious backgrounds. An ideal prime lens, perfect for full-length portraits, travel photography or any type of available-light shooting. 

Note: The AF-S feature is not supported by certain older camera models, in which case it would have to be focused manually. Check your manual for compatibility.
Specifications
Mount Type  Nikon F-Bayonet
Focal Length  50mm
Maximum Aperture  f/1.4
Minimum Aperture  f/16
Format  FX/35mm
Maximum Angle of View (DX-format)  31°30'
Maximum Angle of View (FX-format)  46°
Maximum Reproduction Ratio  0.15x
Lens Elements  8
Lens Groups  7
Compatible Format(s)  FX
DX
FX in DX Crop Mode
35mm Film
Diaphragm Blades  9
Distance Information  Yes
Super Integrated Coating  Yes
Autofocus  Yes
AF-S (Silent Wave Motor)  Yes
Minimum Focus Distance  1.5 ft. (0.45m)
Focus Mode  Auto
Manual
Auto/Manual
G-type  Yes
Filter Size  58mm
Accepts Filter Type  Screw-on
Dimensions  (Approx.) 2.9x2.1 in. (Diameter x Length)
73.5x54.2mm (Diameter x Length)
Weight  (Approx.) 9.9 oz. (280g)
Supplied Accessories  HB-47 Bayonet Lens Hood
LC-58 Snap-On Front Lens Cap
LF-1 Rear Lens Cap
CL-1013 Soft Case
*Supplied accessories may differ depending on country or area.
Here are the summary of pros and cons for this Nikon 50mm f/1.4G AF-S lens:
Pros:
  1. AF-S AF-S AF-S (very fast focus, internal focus, and very silent)
  2. M/A mode (manual focus override available on autofocus mode)
  3. Very fast lens (f/1.4)
  4. Very sharp pictures
  5. Great for sport/action photography
  6. Great for indoor and low light situation
  7. Great for portrait
  8. Perfect for wedding photography (or low light with no-flash event). However, also check out the following lens for wedding photography (17-35mm f/2.8, 24-70 f/2.8, 17-55mm f/2.8, 28-70mm f/2.8 or the other two 50mm nikon prime lenses)
  9. 75mm equivalent which can be considered a short tele lens (If you need more zoom, you can get the Nikon 85mm f/1.8, 85mm f/1.4 or the 70-200mm f/2.8 VR). If you have full frame DSLR(like the D3 or D700), then this #9 pros is not applicable.
  10. Did I mention very fast and very silent focus?
Cons:
  1. Being prime lens, you need to move your feet a lot to adjust/compose
  2. Being a G lens (no aperture ring available), this lens will not work on manual focus camera where you need to set the aperture from the lens)
  3. Price is a bit on the high range for a prime lens
  4. No VR. As VR will be useful for taking handheld shots on low light (especially if the object is somewhat static or if the photographer doesn't have steady hands when taking photograph)
  5. 75mm equivalent with 1.5x multiplier on non full frame DSLR (many people find this is an odd range for normal lens). If you have full frame DSLR(like the D3 or D700), then this #5 cons is not applicable.
Bottom line: This lens is so versatile that I think everyone should own this lens (or at least one of the other 50mm lenses) in addition to all the lenses that they already have. Being a very fast lens, it will allow people to take action shot in low light that otherwise wouldn't be able to be do. And now, with AF-S, there is nothing to dislike about this lens (though in my opinion, this lens might attract even more interest if it has a VR feature).

Sunday, March 11, 2012

Nikon Digital SLR timeline

This has been explained a number of times by various folks in previous posts but here you go, once again
Nikon Digital SLR timeline (comparison)
1999
2000
2001
2002
2003
2004
2
3
4
1
2
3
4
1
2
3
4
1
2
3
4
1
2
3
4
1
2
3
4
ProfessionalFlagship
Compact
ConsumerAdvanced
Mid-range
Entry-level
Early modelsNikon Still Video Camera (Prototype, 1986) 
Nikon E2/E2S (1995) • Nikon E2N/E2NS (1996) • Nikon E3/E3S (1998)

Year/Quarter
2005
2006
2007
2008
2009
2010
2011
2012
1
2
3
4
1
2
3
4
1
2
3
4
1
2
3
4
1
2
3
4
1
2
3
4
1
2
3
4
1
2
3
4
ProfessionalFlagshipD2XD2XsD3X
D2HsD3D3SD4
CompactD700D800/D800E
D100D200D300D300S
ConsumerAdvanced
D70sD80D90D7000
Mid-rangeD50D40XD60D5000D5100
Entry-levelD40D3000D3100
Early models

Year/Quarter
2010
2011
2012
1
2
3
4
1
2
3
4
1
2
3
4
ProfessionalFlagshipD3X
D3SD4
CompactD800/D800E
D300S
ConsumerAdvancedD90D7000
Mid-rangeD5000D5100
Entry-levelD3000D3100
Early models


Nikon 18-200mm f/3.5-5.6G

       The Nikon 18-200mm f/3.5-5.6G IF-ED AF-S VR DX Nikkon was introduced in November 2005, and rapidly became a much sought-after lens for the Nikon shooter's armoury. With its hugely useful 11.1x focal length range, 'silent wave' focusing, and Nikon's second generation vibration reduction system to combat camera shake, this lens aims to be the ultimate single-lens 'walkaround' solution, which photographers who wish to travel light can simply leave on the camera all the time.

       Of course the all-in-one 'superzoom' concept isn't new; the first such lens was Tokina's 35-200mm from 1982, but early designs were plagued by excessive size and weight, poor optical quality, and unacceptably long minimum focus distances. Indeed it wasn't until the mid-1990s that the likes of Sigma and Tamron introduced truly practical superzooms which substantially overcame these issues, and delivered acceptable quality across the range (for the casual vacation photographer at least). Since then, the rapid progress of computer-aided lens design has resulted in continued improvements in optical quality and extensions in zoom ranges, whilst shrinking lens sizes still further, making the superzoom concept more tempting than ever before.

       Sharpness is very good throughout most of the range, with f/11 being the point of maximum sharpness on my sample once you get to 100mm. At the wide angle end, though, there's actually little to distinguish the central area in one aperture from another--go ahead and use maximum aperture if you'd like. At all apertures at 200mm you'll see a bit of softness, with the best apertures being f/11 through f/16. (I should note that I've seen tests from others that say the opposite--that their sample was a tiny bit soft, especially in the corners at 18mm but pretty darned sharp across the board at 200mm. Sample variations do abound at the lower price points. But the conclusions are usually the same: this is a decently sharp lens across virtually all of its range.) From 18-100mm my lens was everything most people would ever want in terms of sharp on the 6mp to 12mp DX DSLRs, so the way I look at it is that you get a decent mid-range zoom that can give you a usable long telephoto in a pinch.

      Distortion performance is good. At both ends there's measurable distortion (about 1 percent complicated barrel at the wide end, slightly less than 0.5% simple pincushion at the telephoto extreme). Curiously, the best distortion performance is somewhere around 20mm (above that and we start getting pincushion, below that and you have barrel). By complicated barrel I mean that there's just a bit of mustache, or wave, distortion in the barreled lines. Simple tools won't correct it fully. This isn't an architectural lens, but it's far from a fun-house lens.

       Flare performance is quite good except for direct into the sun.

       Autofocus is fast and hunt-free.

Specifications
Street price• US: $680
Date introducedNov-05
Maximum format sizeDX
Focal length18-200mm
35mm equivalent focal length(APS-C)27-300mm
Diagonal Angle of view (APS-C)78º - 8º
Maximum apertureF3.5-5.6
Minimum apertureF22-36
Lens Construction• 16 elements/12 groups
• 2 ED glass elements, 3 aspherical elements
Number of diaphragm blades7, rounded
Minimum focus0.5m
Maximum magnificationnot specified
AF motor type• Compact silent-wave motor
• M/A mode for rapid switching between Auto and Manual focus
Focus methodInternal
Image stabilization• VR II, 4 stops
• Auto panning detection
• 'Active mode' for shooting from moving vehicles (no panning)
Filter thread• 72mm

• Does not rotate on focus
Supplied accessories• Front and rear caps
• Lens Hood HB-35• Soft Case CL-1018
Optional accessories72mm filters
Weight560 g (19.8 oz)
Dimensions77 mm diameter x 96.5 mm length (3.0 x 3.8 in)
Lens MountNikon F only
OtherDistance information output to camera body
Major features of the Nikon 18-200mm f3.5-5.6G IF-ED AF-S DX VR Zoom-Nikkor lens:
  • Offers a broad 18-200mm focal range (11.1x zoom) for use in a variety of situations (equivalent to a 27-300 mm lens in 35mm format); VR II Vibration Reduction system offers the practical equivalent of using a shutter speed 4 stops faster 
  • Two ED glass and three complex aspherical lens elements minimize chromatic aberration, astigmatism, and other forms of distortion while ensuring high resolution and contrast 
  • Incorporates a compact SWM (Silent Wave Motor) for quiet focusing. Delivers high-level optical performance that is specially designed for use with the Nikon digital SLRs 
  • Employs a seven-blade, rounded diaphragm opening that achieves a natural blur for out-of-focus elements 
  • Enables focusing from as close as 50 centimeters (20 inches) from the subject through its entire focal range 
  • M/A mode for rapid switching between autofocus and manual focus operation 
  • Internal Focusing (IF) design simplifies the use of circular polarizing filters
  • Nikon Super Integrated Coating (SIC) offers superb color reproduction while minimizing ghosting and flare 
  • Flower-shaped lens hood HB-35 (included) greatly reduces stray light, enhancing image quality