Overview of PROMASTER DIGITAL XR EDO AF Aspherical LD ​​(IF) 18-200mm 1: 3.5-6.3 Macro

According provided by PROMASTER DIGITAL XR EDO AF Aspherical LD ​​(IF) 18-200mm 1: 3.5-6.3 Macro lens (version for Nikon cameras) is huge thanks to the store www.fotika.com.uawhere you can find a huge number of different used photographic equipment, including similar lenses for Nikon cameras.

PROMASTER DIGITAL XR EDO AF Aspherical LD ​​(IF) 18-200mm 1: 3.5-6.3 Macro

PROMASTER DIGITAL XR EDO AF Aspherical LD ​​(IF) 18-200mm 1: 3.5-6.3 Macro

PROMASTER DIGITAL XR EDO AF Aspherical LD ​​(IF) 18-200mm 1: 3.5-6.3 Macro lens is an almost complete copy of the lens Tamron AF 18-200mm 1: 3.5-6.3 (IF) Aspherical LD ​​XR DiII Macro (Model A14), to be precise, this is not a copy, but directly the same product, but under a different name. There is already an overview on Radozhiv Tamron model a14 for Canon cameras, so this review will be short enough.

The main differences between ProMaster 18-200 / 3.5-6.3 and Tamron 18-200 / 3.5-6.3 A14

  1. ProMaster 18-200 / 3.5-6.3 has other identifier labels on its case. Instead of the Tamron Di marking (lens designed for use with digital SLR cameras), the PROMASTER DIGITAL markings and EDO (ENhanced Digital Opic Design).
  2. The ProMaster 18-200 / 3.5-6.3 uses its own front and back cover, as well as its own hood. On the front cover there is a characteristic inscription [pro] master.
  3. The lenses have different elastic bands for the zoom and focus rings. The ProMaster 18-200 / 3.5-6.3 does not have a gold / yellow bar on which the name of the lens is written. Tamron model a14 with a golden stripe it looks a little better.
  4. Unlike Tamron model a14 for Canon cameras with a built-in focus motor, which is described in my review, the ProMaster version 18-200 / 3.5-6.3 for Nikon cameras does not have a built-in focus motor and an AM / MF focus mode switch, and at the same time focuses very very slowly.
  5. ProMaster 18-200 / 3.5-6.3 for Nikon cameras match the directions of rotation of the focusing rings and zoom with an original similar lens Nikon 18-200VRII.
  6. ProMaster 18-200 / 3.5-6.3 and Tamron model a14 for Pentax cameras have metal mount. At the same time, ProMaster 18-200 / 3.5-6.3 and Tamron model a14 in the version for cameras Nikon / Canon / Sony have a plastic mount.
  7. Tamron model a14 is the first and last lens of such hyper-zoom for cropped cameras, which was produced under the ProMaster brand.
  8. Versions Tamron model a14 produced in Japan and China, while ProMaster 18-200 / 3.5-6.3 was produced only in Japan.


I want to note that Tamron AF 18-200mm 1: 3.5-6.3 (IF) Aspherical LD ​​XR DiII Macro for Nikon cameras (Model A14N) in March 2008 is updated to the model Tamron model A14 NIIin which the built-in focus motor appears. Externally, the lenses are almost no differentthe easiest way to identify them by the number of microprocessor contacts. Old non-motorized version Model A14N It has 5 microprocessor pins, and the new motorized spring Model A14 NII It has 8 microprocessor pins. Also, the model with the focus motor has an AF / MF focus mode switch and a metal mount. As far as I know, ProMaster 18-200 / 3.5-6.3 for Nikon has not been updated to the version with a focus motor.

Let me remind you that the 'original' lenses Sony AF DT 18-200mm F3.5-6.3 и Minolta AF DT 18-200mm F3.5-6.3D use the same optical design. Most likely the Sony / Minolta options are a copy of the same Tamron model a14... Considering that the 'serious' Sony company has taken the liberty of using Tamron's design, I would not be very skeptical about the ProMaster 18-200 / 3.5-6.3.

PROMASTER DIGITAL XR EDO AF Aspherical LD ​​(IF) 18-200mm 1: 3.5-6.3 Macro

PROMASTER DIGITAL XR EDO AF Aspherical LD ​​(IF) 18-200mm 1: 3.5-6.3 Macro


Below is a list of all hyper-zooms for SLR or mirrorless cameras with an APS-C sensor and a range of focal lengths greater than or equal to the classic 18-200 mm.

Tamron (different mounts):

  1. Model A14 Tamron 18-200/3.5-6.3 AF (IF) Aspherical LD ​​XR DiII Macro, February 2005. Country of manufacture Japan or China. The version for Pentax cameras has a metal mount, for Nikon / Canon / Sony / Minolta the mount is plastic. In March 2008, an improved Tamron Model appears for Nikon cameras. A14 NII with built-in focus motor, focus mode switch, 8 microprocessor pins and metal mount.
  2. Model B018 Tamron 18-200/3.5-6.3 AF Di II VCAugust 2015.
  3. Model B011 Tamron 18-200 mm F/3.5-6.3 Di III VC, black or silver, December 2011, for mount mirrorless cameras Sony E и Canon EOS M
  4. Model A18 Tamron 18-250/3.5-6.3 AF Di II LD Aspherical [IF] Macro, September 2006. Country of origin Japan or China. In December 2007, an improved model appears for Nikon cameras Tamron model A18 NII with built-in focus motor, focus mode switch and 8 microprocessor pins.
  5. Model B003 Tamron 18-270/3.5-6.3 AF Di II LD [IF] Aspherical VC MacroJuly 2008.
  6. Model B008 Tamron 18-270/3.5-6.3 AF Di II VC PZD, December 2010. Country of origin China or Vietnam.
  7. Model B008TS Tamron 18-270/3.5-6.3 AF Di II VC PZDSeptember 2016.
  8. Model B016 Tamron 16-300/3.5-6.3 AF Di II VC PZD Macro, February 2014.
  9. Model B028 Tamron 18-400/3.5-6.3 Di II VC HLD, June 2017.

Promaster (various mounts):

  1. PROMASTER 18-200/3.5-6.3 DIGITAL XR EDO AF Aspherical LD ​​(IF) Macrocopy Tamron model a14 under the Promaster brand. Japanese assembly

Sigma (different mounts):

  1. Sigma 18-200 mm/3.5-6.3 Zoom DC, February 2005.
  2. Sigma 18-200/3.5-6.3 Zoom DC (+ -HSM) OS (Optical Stabilizer)September 2006 velvet or smooth black body. The HSM motor is only available on Nikon camera lenses.
  3. Sigma 18-200/3.5-6.3 II Zoom DC HSM OS (Optical Stabilizer)October 2011.
  4. Sigma 18-200/3.5-6.3 DC OS HSM MACRO | C (Contemporary, Optical Stabilizer), January 2014.
  5. Sigma 18-250/3.5-6.3 Zoom DC HSM OS (Optical Stabilizer)January 2009
  6. Sigma 18-250/3.5-6.3 Zoom DC Macro HSM OS (Optical Stabilizer)June 2012.
  7. Sigma 18-300/3.5-6.3 DC OS HSM MACRO | C (Contemporary, Optical Stabilizer)September 2014.

Quantaray (different mounts):

  1. Quantaray 18-200/3.5-6.3 Dio Multi-Coated, copy of Sigma 18-200mm/3.5-6.3 Zoom DC (2005) branded as 'Quantaray'
  2. Quantaray 18-200/3.5-6.3 Dio OS (+-HSM) Multi-Coated, copy Sigma 18-200/3.5-6.3 Zoom DC (+-HSM) OS (2006) under the banner of 'Quantaray'.

Nikon (F):

  1. Nikon 18-200/3.5-5.6G DX VRNovember 2005.
  2. Nikon 18-200/3.5-5.6GII DX VRJuly 2009.
  3. Nikon 18-300/3.5-5.6G DX VR, June 2012.
  4. Nikon 18-300/3.5-6.3G DX VRApril 2014.

Sony ('A' or 'E'):

  1. Sony 18-200/ 3.5-6.3 AF DT, A mount, most likely uses an optical design Tamron model a14.
  2. minolta 18-200/3.5-6.3AF DT Dmount A is likely to use an optical circuit Tamron a14
  3. Sony 18-250/3.5-6.3 AF DT, A mount, since 2007, most likely uses Tamron Model A18 optical design.
  4. Sony 18-200/3.5-6.3 OSS, E-mount, May 2010
  5. Sony 18-200/3.5-6.3 OSS LE, E-mount, May 2012
  6. Sony 18-200/3.5-6.3 PZ OSS, E-mount, September 2012

Hasselblad (Sony E):

  1. Hasselblad E 3.5-6.3/18-200 OSS copy Sony 18-200/3.5-6.3 OSS, September 2012

Pentax (K):

  1. Pentax 18-250/3.5-6.3 AL SMC DA [IF], October 2007, most likely uses Tamron Model A18 optical design.
  2. Pentax 18-270/3.5-6.3 ED SMC DA SDM, September 2012, most likely uses an optical design Tamron model b008.
  3. Samsung 18-250/ 3.5-6.3, with a Pentax KAF2 mount, 2008, (most likely uses the Tamron Model A18 optical design.

Canon (EFS):

  1. Canon 18-200/3.5-5.6 IS Zoom Lens EF-S (Image Sbabilizer), August 2008.

Samsung (NX):

  1. Samsung 18-200/3.5-5.6 ED OIS i-Function, Samsung NX mount
PROMASTER DIGITAL XR EDO AF Aspherical LD ​​(IF) 18-200mm 1: 3.5-6.3 Macro

PROMASTER DIGITAL XR EDO AF Aspherical LD ​​(IF) 18-200mm 1: 3.5-6.3 Macro. The lens, as well as its lens hood, are made in Japan.

My experience

Once, back in 2011, I shot at an open-air festival on Nikon D90 and whale Nikon 18-105 / 3.5-5.6 VRand my colleague on Canon 450D и Tamron AF 18-200mm 1: 3.5-6.3 (IF) Aspherical LD ​​XR DiII Macro. We shot for three days. During the shooting, I was skeptical about Tamron a14, but after we compared the results, I was pleasantly surprised by its capabilities. Most of all I remembered that the 200 mm focal length made it possible to much larger and better 'snatch' people from the scene. Also, my colleague at the festival had an interesting nude shooting, after which I once and for all remembered that it is better to shoot something interesting on Tamron a14than something bland on the 'original' photographic equipment.

As for ProMaster 18-200 / 3.5-6.3, it is exactly the same as Tamron AF 18-200mm 1: 3.5-6.3 (IF) Aspherical LD ​​XR DiII Macro... Due to the fact that the PROMASTER brand is little known, the price tag for a used one. ProMaster 18-200 / 3.5-6.3 lenses lower than 'original' Model A14N. As a result, we can assume that ProMaster 18-200 / 3.5-6.3 is the cheapest super zoom for Nikon DX cameras. Who is looking for a similar original Nikon Nikkor DX lens, let him pay attention to the old man Nikon 18-135.

For travel and outdoor shooting, the convenience of the 18-200 range is hard to overestimate. Many photographers and amateur photographers look down on similar plastic hyperzones, but in this case you need to understand goals and objectives of this lenswhich are very different from the professional area.

Interestingly, at the end of 2017, Tamron does not have universal non-fast lenses for cropped cameras with a lower zoom ratio. The lineup of 'dark' wagons immediately starts with a hyperzuma 18-200 and continues in models 18 - 250/270/300/400 mm. For 10 years the company has made a good leap from the range of 18-200 mm to 18-400 and 16-300 mm.

You can ask about any differences between Tamron and ProMaster for different systems (produced under Nikon, Canon, Sony / Minolta, Pentax) in the comments.

Comments on this post do not require registration. Anyone can leave a comment. Many different photographic equipment can be found on AliExpress.

PROMASTER DIGITAL XR EDO AF Aspherical LD ​​(IF) 18-200mm 1: 3.5-6.3 Macro

Two similar lenses: Sigma Zoom DC 18-200mm 1: 3.5-6.3 II HSM OS (Optical Stabilizer) and PROMASTER DIGITAL XR EDO AF Aspherical LD ​​(IF) 18-200mm 1: 3.5-6.3 Macro

Sample Photos

Camera shots Nikon D90. The photos in the gallery below are shown without processing, converting the source RAW files with the original Nikon Capture NX-D utility without making any additional adjustments.

Original '.NEF' (RAW) or '.JPEG' photos from the camera Nikon D90 can download from this link (1200 Mb). Please note that most programs for viewing EXIF will indicate that the footage was shot with the 'Tamron AF 18-200mm f / 3.5-6.3 XR Di II LD Aspherical (IF) Macro (A14)'. Some of the photos were taken with a cartridge flash Godox s45t and / or original Nikon Speedlight SB-900 in slave mode SU-4.


Under PROMASTER DIGITAL XR EDO AF Aspherical LD ​​(IF) 18-200mm 1: 3.5-6.3 Macro hides the same Tamron AF 18-200mm 1: 3.5-6.3 (IF) Aspherical LD ​​XR DiII Macro. This is the easiest, cheapest, and easiest hyper-zoom for cropped cameras.


  1. high zoom ratio of 11.11 X
  2. low cost, one of the cheapest such lenses in the secondary market
  3. compact size, light weight, small diameter of light filters
  4. lock for fixing the lens in position 18 mm
  5. a very convenient set of focal lengths (at the same time 18 mm for a wide angle and 200 mm for a television range)
  6. zoom and focus rings are rubberized, bayonet type hood with the ability to install the reverse side
  7. small MDF with a good maximum magnification ratio of 1: 3.7
  8. focus type internal
  9. no focus shift
  10. fairly flat discs of blur due to the 7-blade aperture
  11. Sure sharpness at wide-angle covered apertures


  1. low aperture, very few Nikon DX series cameras support normal focus with F / 6.3
  2. plastic mount (in options for Nikon, Canon, Sony). The lack of a protective O-ring near the mount and the absence of any dust and moisture protection
  3. trunk extension under its own weight
  4. very slow auto focus speed
  5. inconvenient manual focusing due to the small stroke of the focus ring, the focus ring rotates approximately 60 degrees
  6. movement of the rear lens while changing the focal length, tangible effect of a vacuum cleaner / air pump
  7. focusing accuracy is lost while changing the focal length
  8. absence inboard motor focusing, which limits its use with amateur cameras of the Nikon DX series
  9. noisy auto focus due to the lack of a modern quiet focus motor
  10. lack of a switch for focus modes (the mode must be changed using the lever near the camera mount)
  11. rotation of the focus ring during autofocus and, as a result, lack of the function of constant manual focus control
  12. very strong 'Focus Breathing' effect (changing the viewing angle during focusing). During focusing towards MDF, the viewing angle increases
  13. there may be incompatibility with some cameras and / or teleconverters (no exact data)
  14. TV drop in sharpness
  15. strong distortion by 18 mm
  16. mediocre image quality, the main disadvantage is poor sharpness and very strong chromatic aberration at the corners and edges of the frame
  17. palpable spherical aberrations in the television range
  18. poor resistance to back / side light under certain conditions
  19. lack of data about the lens in modern cameras, which makes it difficult to automatically correct some types of distortion (distortion etc.)

Material prepared Arkady Shapoval. Training/Consultations | Youtube | Facebook | Instagram | Twitter | Telegram

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Comments: 37, on the topic: Overview of PROMASTER DIGITAL XR EDO AF Aspherical LD ​​(IF) 18-200mm 1: 3.5-6.3 Macro

  • Kamil

    I have a Tamron AF 18-200 mm f / 3.5-6.3 Di II XR LD Aspherical (IF) Macro A14 (mainly after the advice from this site) - my favorite travel zoom. I dropped it several times on the asphalt, even the hood did not bend. I was pleasantly surprised by the macro, which really is. 200 by 6.3 is quite working. If there is enough light, you can also portraits, but then if you didn't take anything else on the campaign. 18 has a disgusting distortion of geometry, kit 18-55 is much better, but again, versatility forever, sometimes you need it.

    • Arkady Shapoval

      Do you have a version with or without a motor?

      • Kamil

        I have no motor. $ 85 second-hand.

    • Carl Zeiss

      Camille, but there are pictures from him at 18mm. somewhere on the net? I'm very curious about what can shoot worse than a whale at this focal length.

      • Valery A.

        As much as you like. Here is the 18-55EDII at 18mm: https://ibb.co/dkXNjb

      • Valery A.

        And this is 10-20 sigma, the same camera, parameters: https://ibb.co/ieq3qG

        • Carl Zeiss

          Valery A., well shot! Kit, I must say, a successful instance. As a rule, they shoot such scenes on such parameters significantly worse. And without a tripod and exposure bracketing, in this case there is no way to get normal shots.

      • Kamil

        Well here's mine, for example: the original without removing distortion https://yadi.sk/i/Tb09CfGN3QZmsi и https://yadi.sk/i/Srcl6xfV3QZmuy with “corrected” distortion (the high-rise building on the left is especially beautiful) and really removed HA in the lightroom. I'm afraid this centering fillet is only treated with pixel-based processing in Photoshop. If, of course, someone knows an ingenious recipe for treatment, or if there is a profile of such lenses in the lightroom better than the standard one, I will be very grateful. Here is the ravka: https://yadi.sk/i/NeXE7XgL3QZn5g

        • Valentine

          For example, Camera RAW picks up lens profiles (including the specified Tamron) if a free DNG Converter is installed in the system. There you can remove the XA in a couple of clicks and correct the distortion. But not until the end! If the result is not satisfied, then individual objects are corrected by distortion tools.
          In 2 minutes, like this:

          • Kamil

            It is clear, that is, it makes sense to use an additional tool (the third after Lightroom and FS). Thanks.

            • Valentine

              Camil, I believe that Lightroom will also pick up the lens profile if Adobe DNG Converter is installed. Photoshop will be needed only if the level of correction of distortion using the profile does not suit you. Personally, I do not try to straighten out all the objects in the pictures at any cost, often this is to the detriment of the picture. Strong barrels and pillows, of course, can rarely be out of place, if, of course, this is not such an idea. But for example, to eliminate conical inclinations wherever possible, I do not see the point, they do not bother me.

            • Valentine

              My tool is actually 1 - this is a FSH, which has a Camera Raw module with support for the camera profile and this lens. Nikon's native converter, alas, does not support third-party lenses, so there is no way to fix anything with Tamron.

              • Kamil

                Clear. It just so happens that I mostly have to process other people's photos. And there a portrait with 18 mm FR on a car with a flash on the forehead is quite a common thing. And yes, on the whale it is in lightroom, it is corrected in a batch way to almost decent values ​​(the color of course still remains poo, but that's a completely different story).
                The landscapes are decent, but I would like the architecture to be relatively flat by 18 mm, after all, this is not a fisheye.

              • Valentine

                Camil, batch processing or processing by sample is supported by almost all known converters, including Camera Raw. Further, when you understand that deep editing is needed, it turns out like this: after a third-party converter, you need to save the intermediate result in a file and open it in FS, and after Camera Raw you can continue editing in FS without intermediate saving. I don't consider the presence of an intermediate file to be any problem at all. Therefore, you can choose the converter that you think is the best for yourself. Lightroom most likely supports the profiles of this lens and is able to correct a significant part of the distortion with one slider. Then it's up to you to decide whether to bring the image to FS or leave it as it is.

  • Andrey Vyunenko

    I also have a Tamron AF 18-200 mm f / 3.5-6.3 Di II XR LD Aspherical (IF) Macro A14NII, with the inscription-built in motor, as I understand it, it means with a built-in motor. The distortion at the short end automatically corrects to DxO, there is a profile for this lens. Here is a photo in conjunction with the Nikon D70.

    • Kamil

      With good lighting, very good photos are obtained, this is just another confirmation. Beach glass No. 1 :-D

  • Valentine

    Such a long list of flaws, and such beautiful photos. I know that this lens is no better than a whale lens, but looking at the photographs, I think the opposite ...

    • Arkady Shapoval

      It is 4 times longer than the whale, it is a nice bonus, at a cost of $ 70.

      • Andrey Vyunenko

        I’ve taken my tamron of 18-200, on Avito I took it for $ 50. Absolutely new, in a complete set. I don’t know why it’s so cheap, they sent me already from Novosibirsk to Izhevsk! But it seems like I won in Sportloto (-:

        • Carl Zeiss

          Andrey Vyunenko such jackpots happen periodically. When the lens initially falls into crooked hands. And a person who does not know how to shoot, gets unsuccessful shots from the lens and tries to quickly sell it. As a result, the lens changes its owner and either falls into crooked hands again and everything starts in a new way. Or falls into the right hands and begins to shoot excellent shots. As in your case, for example.

          • Andrey Vyunenko

            Thank you for the flattering assessment of my direct hands!

        • Kamil

          If there are no scratches on the front lens (the only thing that seriously knocks down the price, but does not affect the quality of the photos), then it's really sportloto.

          • Ivan

            As far as I know, condensate really knocks down the price and everything associated with it, such as a cloudy fungus, etc.))) as well as the defects of the rear lens, so to speak). Well, not considering the fur damage). Although the creation from the review in such cases is easier to throw out the window. As you can do with a completely live model - the device does not represent any value - at a price of about 10-20 there are already more interesting options. So only the bolts are rubbish!

            • Kamil

              10-20 is it in what units? 75-120 bucks, it is now depending on the condition and availability of the motor.

              • Ivan

                Dig more closely on the Internet. For 75 green - I will not argue with anyone here traditionally))) I bought myself 85 2.0 nikkor in collectible condition (these are furs), and from 18-200 cars without covers ... this is how someone comes in, believe me - 20k for this garbage red price

              • Kamil

                I will answer myself))
                “I think that the distagon should cost 20 bucks” is a strong and undeniable argument)))

              • Ivan

                Well, no, really - sometimes you get lucky. Another thing is that the know name is absolutely not liquid). No optical excellence, no resale.

    • Victor

      Valentin, your comment once again confirms the truth: IT IS NOT A PHOTO EQUIPMENT SHOOTING - A MAN SHOOTS! If the author has the skill, then the pictures will be at the same level, regardless of what he has in his hands! Good luck!

      • Igor

        Banality. Everything is important - skill, technique, plot, staging, and even the mood of the model. If “regardless of what is in the hands” then why do you go to this site at all? Then shoot on a sotik, improve your skills and enjoy. Good luck!

    • zengarden

      It is no worse than the whale, if only because of its greater universality. And what is dark at the long end is not at all scary. There is no stabilizer, but there is "almost macro."
      But, the main thing that I understood from the article is that having such a lens, you can count on "interesting nude photography", and not something insipid with a whale :)

      • anonym

        There Tamron and Canon! And not Proflamaster and Nikon

  • anonym

    Is it on your D90 that the standard Picture Control preset gives such a juicy picture?)

    • Arkady Shapoval

      Picture Control Neutral, ADL auto or enhanced.

    • Valentine

      to Anonymous,
      As far as I understand, ADL is turned on, Low mode, the profile is selected Neutral with the adjustment Sharpening (sharpness) = 9 and Saturation (saturation) = +3.
      Juiciness is just out of +3 for Saturation. But you have to be careful in such settings. Arkady once explained that he uses these settings to enhance images on the screens of cameras when showing them to customers at the time of shooting. When processing ravs, the settings change as needed. Still, shooting with such settings directly in jpg or saving during conversion is not worth it. Apples may seem very juicy and beautiful to you, but in fact, +3 in saturation leads to a glut of the red channel and to a decrease in the number of shades with which the final image is formed. With saturation = 0, the red saturation will be less, but the tonal transitions will be much smoother.
      Thanks to Arkady for the raves that photographers rarely and reluctantly share. Ravs allow you to evaluate the image without amplifiers and work with it yourself. I liked the picture from this lens even without amplification. For its low price, budget materials and assembly, sharpness under a large zoom - the picture turned out to be, unexpectedly, pleasant.

      • Arkady Shapoval

        There it is with Saturation +2, ADL, as I already answered, not only LOW, but either AUTO or over-amplified, all settings are easy to see in the RAW converter. By the way, the native converter takes into account about 200 additional parameters for color shift, which can not always be described logically or empirically.

        • Valentine

          Yes, everything is the same, and with ADL everything is ok. I mainly wanted to clarify about saturation and sharping. It's just that many people want a bright and sharp picture, setting the saturation and sharpening to the maximum, and the result is an obvious overkill and coarsening of gradients. It is not addressed to you, from the treatments it is clear that you are fluent in the best tools. And what about the native converter - I know it well enough and I like it. Until that moment, it does not need retouching, it copes with most of the tasks of color correction and image preparation. I also know native converters of other systems (canon, fuji / panasonic, olympus, sony). So Nikonovsky, in my opinion, is one of the best. It has small disadvantages, but I see more advantages over others.

  • anonym

    Very cool lens for 50 bucks. Those who scold do not understand why he is. You can walk along the forest with your Helios, and they did not stand next to the possibilities of this insole.

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