One lens against two ... it's no contest
If you are going on a trip ... and spending all that money in travel ... then for goodness sake, DO NOT rely on the 18-70mm kit lens for your vacation. And stay away from telephoto, indoors, unless you have an extenal flash.
The fact is the 18-70mm shoots darker than the 18-200mm. What that means is that the variable maximum aperture closes down much faster in 18-70mm.
Just check out this chart for comparison:
You can run this test, yourself, by:
- placing the camera in A-Mode,
- setting the zoom on the lens initially to 18mm,
- set the aperture to f/3.5 with the control dial - just in front the shutter-release,
- 1/2-press and hold the shutter-release button down
- While reading the LCD, incrementally zoom the lens.
The LCD will reflect the setting of variable maximum aperture as it goes up and down in response to your zooming.
Note: In A-mode the aperture will change its maximum aperture, once you have set it to the maximum aperture at 18mm.
Personally ... unless you like dark images, the DT 18-200 has it all over the standard kit lens. The added attraction of using one 18-200mm lens over having to sport two other lenses to do the same job around Europe can not be played up enough, either. Convenience is never going to go out of style.
One of the knocks on the 18-200mm is "speed of focus" ... on any other camera (other than the SONY A100) this may be a valid argument, but the SONY's "pre-focus" constantly refocuses as you look through the viewfinder, until you begin to press the shutter-release ... at that point, it instantly "final" focuses and waits for you to press down completely. That's a definite hedge against focus-speed.
There was a lot of work that went into designing this body, in order to optimize what used to be considered serious issues on the other manufacturer's camera bodies. The sad part is, given all this time, they still are ... but the SONY is definitely thinking ahead in these considerations and given these performance improvements, it's easy to understand how it can save you some serious money by using relatively "common glass" in uncommon ways.
You also might want to consider the brand new 18-250mm, which is an 18-200 with some added focal length ... but, that's a budget call. It definitely is more $ over the 18-200. You can probably get the 18-200mm for a fairly good price, now, that the 18-250mm improvement has been released.
If it were me ... instead of two lenses, it'd be the solo 18-200 ... just to keep it simple, when I'm on the run. That's exactly what the lens was designed to do. When you are in the studio ... I'm afraid that would be an entirely different conversation.
Have fun on your trip. :D
Sticking with the DT18-70
If you plan on sticking with the 18-70, I recommend you take a look at TAMRON's AF70-300mm f/4-5.6 Di LD Macro 1:2 <- click here for a look
While not an rocket-speed focusing lens like the Canon EF 70-300mm f/4-5.6 IS USM, once again, when placed on the A100, the pre-focus cuts down the time quite a bit during the "final focus".
The lens is street-priced at around $189.00, so you really cannot go wrong with overspending. It's also touted as one of the sharpest focusing lenses for its price, out there. I have one of these 70-300mm, but it doesn't get very much play up against the 18-250mm. I may use it just for that little extra reach and a back-up, but that's about it.
Without the 18-200, of course, I'd say it's definitely worth a look ... but remember, get the most recent release of the lens, because there are some older 35-film versions out there, and they are not designed for use on the digital bodies.
LIKE THIS ONE: