Sony E 3.5-5.6 / PZ 16-50 OSS Optical Steady Shot Power Zoom (Sony SELP1650) Review

According provided by Sony E 3.5-5.6 / PZ 16-50 OSS Optical Steady Shot Power Zoom lens (Sony SELP1650) many thanks to the Sony official representative in Ukraine.

Sony E 3.5-5.6 / PZ 16-50 OSS Optical Steady Shot Power Zoom (Sony SELP1650)

Sony E 3.5-5.6 / PZ 16-50 OSS Optical Steady Shot Power Zoom (Sony SELP1650). The lens is shown on a mirrorless camera. Sony a6300 (ILCE-6300).

Navigation

  1. In short
  2. History
  3. Main Specifications
  4. Assembly
  5. Stabilizer
  6. Focusing
  7. Aperture Features
  8. Image quality
  9. Sample Photos
  10. My personal experience with the lens
  11. Lens prices
  12. All Sony E / APS-C Lenses & Cameras
  13. Results
  14. User Comments
  15. Add your review or question on the lens

In this review, I will abbreviate this lens - Sony E 3.5-5.6 / PZ 16-50.

Sony E 3.5-5.6 / PZ 16-50 OSS Optical Steady Shot Power Zoom (Sony SELP1650)

Sony E 3.5-5.6 / PZ 16-50 OSS Optical Steady Shot Power Zoom (Sony SELP1650)

In short

Sony E 3.5-5.6 / PZ 16-50 is a versatile and compact zoom. The lens has lens parking systemthat when folded turns it into pancake lens. The key difference from other similar lenses is the pair electronic focus / zoom ring... In general, it is dark whale lens in a newfangled compact body. It 'pulls' well at 24 megapixels on a cropped sensor Sony a6300 (ILCE-6300)that I was provided with this lens.

The Sony E 3.5-5.6 / PZ 16-50 is the smallest interchangeable-lens zoom lens I have ever used.

Unlike the hordes of similar whale lenses with a set of focal lengths of 18-55 mm, the Sony E 3.5-5.6 / PZ 16-50 lens sacrificed 5 mm of focal length in the telerange in order to extend the wide-angle position by 2 mm. And if 5 mm in the TV range is almost not felt, then 2 mm in the wide-angle range makes a noticeable difference. In terms of EGF of this lens is 24-75mm, which is a very, very convenient set of focal lengths. This is the first time I see such a dark whale with such a 'correct'/'comfortable' set of focal lengths. Sony E 3.5-5.6/PZ 16-50 partially even overlaps a bit of the ultra-wide range Sony E 4 / 10-18 OSS Optical Steady Shot (SEL-1018).

Sony E 3.5-5.6 / PZ 16-50 OSS Optical Steady Shot Power Zoom (Sony SELP1650)

Sony E 3.5-5.6 / PZ 16-50 OSS Optical Steady Shot Power Zoom (Sony SELP1650)

History

11 May 2010 the lens was introduced Sony E 3.5-5.6 / 18-55 OSS (Optical Steady Shot, E-mount, SEL1855), which is one of the first three lenses for Sony mirrorless cropped cameras with an APS-C sensor. Initially, there was only a version Sony E 18-55 in a silver case. Version Sony E 18-55 в black case appeared only with the release of the camera NEX-7 24 August 2011 year.

12 September 2012 The lens from this review was presented - Sony E 3.5-5.6 / PZ 16-50 OSS (Optical Steady Shot, Power Zoom, E-mount, SELP1650) with electronic zoom and much more compact folded dimensions. The 16-50mm f / 3.5-5.6 PZ OSS cannot be considered a replacement for the Sony E 18-55, but rather an addition. Sony E 3.5-5.6 / PZ 16-50 OSS was introduced with the camera Sony NEX6

March 24 2014 years the lens was released Sony E 4-5.6 / 18-50 (E-mount, SEL1850) that came with the camera a3500... This lens was discontinued in 2016. Sony E 18-50 is not a logical continuation Sony E 18-55 or Sony E 16-50, since it lacks a built-in stabilizer and focus ring and uses a much simpler optical design.

There are no native alternatives to Sony E 3.5-5.6 / PZ 16-50 OSS yet. Other versatile E-mount lenses are not as compact as the Sony E 3.5-5.6 / PZ 16-50. Of these pancake lenses, I would recommend looking at Sony E 2.8 / 16 (Sony SEL-16F28) и Sony E 2.8 / 20 (SEL-20F28).

Sony E 3.5-5.6 / PZ 16-50 OSS Optical Steady Shot Power Zoom (Sony SELP1650)

Sony E 3.5-5.6 / PZ 16-50 OSS Optical Steady Shot Power Zoom (Sony SELP1650)

Main technical characteristics of Sony E 3.5-5.6 / PZ 16-50 OSS Optical Steady Shot Power Zoom (Sony SELP1650):

Review Instance Name Near the front lens 'Sony E 3.5-5.6 / PZ 16-50 OSS 0.25m / 0.82ft-0.30m / 0.98ft Ø40.5'. On '3.5-5.6 / 16-50 Optical Steady Shot E-mount Power Zoom W - T' case. The identification plate 'Interchangeable Lens MODEL / SELP1650 SONY CORP. Made in Thailand '
Basic properties
  • APS-C E-mount - The lens is designed for mirrorless cameras with APS-C sensor.
  • SEL - Sony 'E' mount mirrorless lens. This lens has a short name and identifier 'SELP1650'.
  • Internal stepping motor - internal stepping motor for focusing
  • U.S.S (Optical Steady Shot) - built-in optical image stabilization
  • PZ (POWER ZOOM) - electronic zoom control
  • W - T (Wide - Tele) - a dedicated slider to control the zoom from wide-angle (Wide) to tele (Tele) range
  • Internal focus
  • Electronic focus ring
  • One ring for zoom or focus control
  • DMF (DDirectly Mannual Focus) - direct manual focus
  • Aspherical elements in the optical circuit
  • ED - low dispersion elements in the optical circuit
  • Rounded petals aperture
  • Lens parking system
  • Compact size and light weight
Front Filter Diameter 40.5 mm, plastic thread for filters
Focal length 16-50 mm EGF for Sony cameras with an APS-C sensor is 24-75 mm.

With a camera Sony a6300 an optional 4X digital zoom is available, creating the illusion of a 16-200mm lens (EGF 24-300 mm).

Zoom ratio 3.125 X (usually just talking about XNUMXx zoom)
Designed by for Sony ILCE APS-C digital mirrorless cameras
Number of aperture blades 7 rounded petals
Tags Bayonet Mount Only
Diaphragm
  • 16 mm: F / 3.5-F / 22
  • 18 mm: F / 4-F / 22
  • 24 mm: F / 4.5-F / 25
  • 30 mm: F / 5-F / 32
  • 35 mm: F / 5.6-F / 32
  • 50 mm: F / 5.6-F / 36
MDF (minimum focusing distance) 0.25 m by 16 mm, and 0.3 m by 50 mm, the maximum magnification ratio is reached by 50 mm and is 1: 4.65
The weight 116 g
Optical design 9 elements in 8 groups. The scheme includes:

  • 1 low dispersion element (shown in green on the optical diagram). The presence of such elements in the name of the lens is not indicated.
  • 4 aspherical elements (shown in purple on the optical diagram). The type of aspherics is unknown. The presence of such elements in the name of the lens is not indicated.

Sony 16 50 optical design

The image of the optical circuit is clickable.

Lens hood There is no original lens hood for this lens.
Manufacturer country Made In Thailand (Made in Thailand)
Period Since September 12 2012 year
Price See

With its compact size, the Sony E 3.5-5.6 / PZ 16-50 resembles a fixed pancake Sony E 2.8 / 16 (Sony SEL-16F28).

Sony E 3.5-5.6 / PZ 16-50 OSS Optical Steady Shot Power Zoom (Sony SELP1650)

Sony E 3.5-5.6 / PZ 16-50 OSS Optical Steady Shot Power Zoom (Sony SELP1650)

Assembly

Sony E 3.5-5.6 / PZ 16-50 is well assembled, there are no obvious flaws. True, the retractable frame of the body (trunk) has a slight backlash. The trunk of the lens consists of one section. Despite the fact that the lens weighs just a little more than 100 grams, it still uses a metal mount. When folded, its length is only 3 cm (from the camera mount to the end of the frame).

The lens has parking system... As soon as the camera is turned off, the retractable front part of the body frame (trunk) automatically folds down to a compact size. True, a little time is wasted for the lens to activate or wake up from sleep mode when the camera is turned on. The lens takes up to two seconds to activate. Upon activation, the lens always sets to 16mm focal length. Unlike DSLR lenses with a parking system such as Nikon 18-55mm 1:3.5-5.6GII or SMC Pentax-DA L 1: 4-5.6 18-50mm, lens parking for Sony E 3.5-5.6 / PZ 16-50 is fully automatic (electromechanical).

The front lens of the lens is tiny, around it there is a brilliant rim of the body, resembling glare of glass and creating the appearance that the front lens is much larger. The size of the front lens I showed in this picture. What is inside Sony E 3.5-5.6 / PZ 16-50 is clearly visible here.

The Sony E 3.5-5.6 / PZ 16-50 is the first lens for Sony E mount cameras to use electromechanical zoom. The lens uses one ring to control zoom and / or focus (depending on the situation). Also, there is a dedicated Power Zoom WT slider that allows you to control only the zoom. During zooming, the focal length is displayed in EVI or on the display of the camera you are using.

Changing the focal length with the main ring is inconvenient. True, the ring is able to respond to the speed of rotation and tries to imitate the operation of a conventional mechanical zoom ring. Controlling zoom using the slider is smoother than using the ring. Most likely, a slider was added to the lens so that you can quickly change the focal length and perform manual focus alternately.

The electromechanical zoom performed quite well during movie shooting. Changing the focal length, and with it the viewing angle and transmitting perspectives on the video, is smooth and pleasant.

Important: during a sharp change in focal length using a paired lens ring pretty noisy. The noise is similar to the micro-motors of cheap Chinese toys; also, a noise is heard that resembles the friction of plastic on plastic. During a smooth change in focal length, for example, using a slider, or a smooth rotation of the ring, the noise from the lens becomes acceptable and one that does not interfere with comfortable operation.

The main paired focus / zoom ring is plastic, freely rotates around its axis. The slider instantly returns to its original position after sliding it to the 'W' (wide-angle) or 'T' (tele-range) position. The slider is also not rubberized.

When changing the focal length, the trunk of the lens moving in waves: its maximum length is achieved at 16 and 50 mm of focal length, the trunk is in the shortest position at 25 mm of focal length. The wave-like movement of the trunk is characteristic of a large number of similar whale lenses.

On the back of the lens is a rectangular hood that cuts off excess light and prevents exposure.

Unfortunately, a lens hood is not available for this lens (most likely, to preserve the compact size of the lens).

The diameter of the front filter is only 40.5 cm, usually similar whale lenses use filters with a diameter of 52, 55 or 58 mm.

Sony E 3.5-5.6 / PZ 16-50 OSS Optical Steady Shot Power Zoom (Sony SELP1650)

Sony E 3.5-5.6 / PZ 16-50 OSS Optical Steady Shot Power Zoom (Sony SELP1650)

Stabilizer

Sony E 3.5-5.6 / PZ 16-50 uses the built-in image stabilizer OSS (Optical Steady Shot). Stated that the stabilizer can compensate 4 stops by shutter speed (by Sony standards). In numerical terms, this means that you can shoot at shutter speeds 16 times slower than required by a lens without a stabilizer. For example, when shooting without the stabilizer of stationary objects, at a focal length of 50 mm, it is recommended to shoot at shutter speeds of 1/50 s or faster. With the gimbal on, you can theoretically shoot by 1/3 s.

In practice, I was able to make sharp shots of stationary objects with hands at 50 mm only at shutter speeds no longer than 1/5 of a second.

There is no switch on the lens responsible for stabilizer operation. The stabilization function is turned on in the camera menu.

There is no noise from the stabilizer. When using the lens, it seems that the stabilizer does not work at all. Perhaps it turns on at full power only during shutter release.

In general, the stabilizer confidently holds 2-3 stops on shutter speed.

Sony E 3.5-5.6 / PZ 16-50 OSS Optical Steady Shot Power Zoom (Sony SELP1650). The lens is shown on a Sony a6300 mirrorless camera (ILCE-6300).

Sony E 3.5-5.6 / PZ 16-50 OSS Optical Steady Shot Power Zoom (Sony SELP1650). The lens is shown on a mirrorless camera. Sony a6300 (ILCE-6300).

Focusing

The lens uses a built-in stepper focus motor Internal stepping motor.

Auto Focus Speed ​​- very high... I should note that the focusing speed of the Sony E 3.5-5.6 / PZ 16-50 is one of the highest among other similar kit lenses. Also, focusing is very quiet.

While working with the camera Sony a6300 (ILCE-6300) The accuracy and tenacity of focus was at a high level. I shot a small net in almost total darkness, while only 2-3 frames out of 400 were with focus errors. With good lighting, there are practically no problems with accuracy, tenacity, and refocusing. It often happened that the display or EVI a slight twitch in the focus was noticeable, while the subject seems to be out of the zone of sharpness, but at the moment the shutter is released, by some miracle, the lens hits exactly the target (most likely, the cunning algorithm of the focus module of this camera).

For manual focus, select the focus mode MF (Manual focus) or DMF (direct RF) in the camera menu, after which the paired ring will be responsible for focusing. With very smooth rotation, the focus ring rotates 270 degrees (from MDF to infinity). The electronic focus ring is more responsive to its rotation speed than to a specific rotation angle, which sometimes creates a tactile inconvenience.

During focusing, the front lens remains stationary, as the lens uses internal focus. Thus, it is possible to use any filters without problems, for example polarizing or gradient (it’s a pity that the diameter of the filters is very small).

The minimum focusing distance depends on the focal length. At 16 mm it is 25 cm, at 50 mm focal length - 30 cm. The maximum magnification ratio is reached at 50 mm focal length and is only 1: 4.65 (the smaller the second number in the fraction - the better the 'macro' mode).

While working with the camera Sony a6300 (ILCE-6300) with this lens is available by default additional digital zoom 4X or 2X. After reaching a focal length of 50 mm, you can get an additional digital zoom up to the equivalent of 200 mm. Zoom from 16 to 50 and from 50 to 4X (200 mm) changes smoothly, it is difficult to notice the transition from optical to digital zoom. Unenlightened users may not notice the difference between optical and digital zoom and enjoy a convenient set of focal lengths from 16 to 200 mm. Additional digital zoom can be disabled in the menu.

  • Focusing speed is almost independent of the selected focal length.
  • After the lens loses focus, refocusing is very fast.
  • The lens has no depth of field scale, focusing distance and marks for working in the infrared spectrum.
  • Focus shift (shift-focus) was not noticed during operation and testing.
  • The focusing speed depends heavily on the illumination, the selected focus mode in the camera menu and the focus logic of each individual camera.
  • There is no focus mode switch on the case.
  • The electronic focus ring in manual focus mode consumes excess power.
  • During auto focus, the focus ring remains stationary.
  • During manual focus on the camera display Sony a6300 (ILCE-6300) the focus distance bar appears.
  • When changing the focal length, focusing practically does not go astray (there may be auto-correction of the distance when changing the focal length).
  • Effect 'Focus breathing'(changes in viewing angle during focusing) for this lens is almost completely absent.
Sony E 3.5-5.6 / PZ 16-50 OSS Optical Steady Shot Power Zoom (Sony SELP1650). The lens is shown on a Sony a6300 mirrorless camera (ILCE-6300).

Sony E 3.5-5.6 / PZ 16-50 OSS Optical Steady Shot Power Zoom (Sony SELP1650). The lens is shown on a mirrorless camera. Sony a6300 (ILCE-6300).

Diaphragm

The diaphragm consists of 7 rounded petals, which should form a round hole. But still polygons on covered diaphragms are easy to trace in real shots (example on f / 11).

Due to the slightly rounded aperture blades, the effect of a 14-ray star can be obtained.

Blur discs have a pronounced bulb effect (example) Due to the low aperture, slightly rounded petals and the effect of bulbous concentric bokeh circles, the Sony E 3.5-5.6 / PZ is very meager.

Sony E 3.5-5.6 / PZ 16-50 OSS Optical Steady Shot Power Zoom (Sony SELP1650). The lens is shown on a Sony a6300 mirrorless camera (ILCE-6300).

Sony E 3.5-5.6 / PZ 16-50 OSS Optical Steady Shot Power Zoom (Sony SELP1650). The lens is shown on a mirrorless camera. Sony a6300 (ILCE-6300).

Image quality

Important: image quality very, very much depends on the functions used in the camera to improve the image. If you shoot in on-camera JPEG with the functions for image enhancement turned on, then the lens produces quite acceptable image quality. But if you dig into the original RAW files with third-party RAW converters, you can be horrified by the huge distortion and vignetting at 16 mm. By the way, 16 mm with the distortion correction function are not fair, this function cuts off parts of the frame during the distortion correction, which leads to a decrease in the viewing angle and actually makes the angle equal to 17-18 mm focal length. We treat one thing and cripple the other.

The lens creates a contrast image, in the center of the frame the lens is sharp already at open apertures, 50 mm sharpness in the center is noticeably worse than in the middle of the range. The lens tolerates lateral and backlight well, it is difficult to get glare in the backlight, but still you can not do without them (Example 1, Example 2).

Personally, I expected a much lower image quality from this lens. But the image quality pleasantly surprised me (and even on a 24 MP camera Sony a6300) and gave strength and inspiration to add this review to the end.

Sony E 3.5-5.6 / PZ 16-50 OSS Optical Steady Shot Power Zoom (Sony SELP1650). The lens is shown on a Sony a6300 mirrorless camera (ILCE-6300).

Sony E 3.5-5.6 / PZ 16-50 OSS Optical Steady Shot Power Zoom (Sony SELP1650). The lens is shown on a mirrorless camera. Sony a6300 (ILCE-6300).

Sample Photos

Pictures were taken with Sony a6300 (ILCE-6300). In the gallery, the pictures are shown without processing, on-camera JPEG.

JPEG source files can be downloaded at this link. RAW format at this link.

Sony E 3.5-5.6 / PZ 16-50 OSS Optical Steady Shot Power Zoom (Sony SELP1650). The lens is shown on a Sony a6300 mirrorless camera (ILCE-6300).

Dimensions Sony E 3.5-5.6 / PZ 16-50 OSS Optical Steady Shot Power Zoom (Sony SELP1650). The lens is shown on a mirrorless camera. Sony a6300 (ILCE-6300). Beside Canon Lens EF 50mm 1: 1.8 II, 'Canon Lens Made in Japan' version

My experience

At the same time on the review I had 10 lenses, including manual fifty dollars Super-Takumar 1: 1.8 / 55 и Super-Takumar 1: 2 / 55super weird MSO USSR SSD UPP-1 ★ KHARKIV ★ F-7 CM ★super cheap I96U-3.5 / 50medium format Vega-5U 4/105 (all of these lenses are 40 years old with a ponytail) and a pair of autofocus lenses for Canon. Of all the lenses, I wanted the least to write about Sony E 3.5-5.6 / PZ 16-50.

I am tormented by the question - what if a camera lying in a wardrobe trunk or a regular bag, or a jacket pocket accidentally turns on, will the lens break if it does not have enough space to extend its trunk?

Sony E 3.5-5.6 / PZ 16-50 is a modern lens for every day for taking photos without unnecessary troubles in the style of 'point and shoot'. Working with the Sony E 3.5-5.6 / PZ 16-50 is similar to working with lenses that are used in conventional digital cameras without interchangeable optics.

In the end, I would say that this is a good lens for amateurs who first took a mirrorless camera in their hands, and a disgusting lens for those who have ever encountered optics of a different kind.

Viewing a whale lens is always difficult. I must write that even with such a dark lens you can get a bunch of great photos.

Sony E 3.5-5.6 / PZ 16-50 OSS Optical Steady Shot Power Zoom (Sony SELP1650). The lens is shown on a Sony a6300 mirrorless camera (ILCE-6300).

Sony E 3.5-5.6 / PZ 16-50 OSS Optical Steady Shot Power Zoom (Sony SELP1650). The lens is shown on a mirrorless camera. Sony a6300 (ILCE-6300).

Cost

Prices for the Sony E 3.5-5.6 / PZ 16-50 OSS Optical Steady Shot Power Zoom (Sony SELP1650) lens in popular online stores can look at this link.
Comments on this post do not require registration. Anyone can leave a comment. A wide variety of photographic equipment can be found on AliExpress, The Amazon и B&H Photo.

Sony E 3.5-5.6 / PZ 16-50 OSS Optical Steady Shot Power Zoom (Sony SELP1650). The lens is shown on a Sony a6300 mirrorless camera (ILCE-6300).

Sony E 3.5-5.6 / PZ 16-50 OSS Optical Steady Shot Power Zoom (Sony SELP1650). The lens is shown on a mirrorless camera. Sony a6300 (ILCE-6300).


All Sony E-mount cameras with APS-C sensor


All Sony E lenses for APS-C

  1. Sony 16 mm f / 2.8 [The Amazon | BH Photo]
  2. Sony 20 mm f/2.8 [The Amazon | BH Photo]
  3. Sony 24 mm f / 1.8 ZEISS ZA [The Amazon | BH Photo]
  4. Sony 30 mm f / 3.5 Macro [The Amazon | BH Photo]
  5. Sony 35 mm f / 1.8 U.S.S [The Amazon | BH Photo]
  6. Sony 50 mm f / 1.8 U.S.S [The Amazon | BH Photo]
  7. Sony 10-18 mm f / 4 U.S.S [The Amazon | BH Photo]
  8. Sony 16-50 mm f / 3.5-5.6 PZ U.S.S [The Amazon | BH Photo]
  9. Sony 16-55 mm f / 2.8 G [The Amazon | BH Photo]
  10. Sony 16-70 mm f / 4 U.S.S ZEISS ZA [The Amazon | BH Photo]
  11. Sony 18-50 mm f / 4-5.6 [The Amazon | BH Photo]
  12. Sony 18-55 mm f / 3.5-5.6 U.S.S [The Amazon | BH Photo]
  13. Sony 18-105 mm f / 4 G PZ U.S.S [The Amazon | BH Photo]
  14. Sony 18-110 mm f / 4 G PZ U.S.S [The Amazon | BH Photo]
  15. Sony 18-135 mm f / 3.5-5.6 U.S.S [The Amazon | BH Photo]
  16. Sony 18-200 mm f / 3.5-6.3 U.S.S [The Amazon | BH Photo]
  17. Sony 18-200 mm f / 3.5-6.3 U.S.S LE [The Amazon | BH Photo]
  18. Sony 18-200 mm f / 3.5-6.3 PZ U.S.S [The Amazon | BH Photo]
  19. Sony 55-210 mm f / 4.5-6.3 U.S.S [The Amazon | BH Photo]
  20. Sony 70-350 mm f/4.5–6.3 G U.S.S [The Amazon | BH Photo]

Third-party autofocus lenses for Sony E APS-C:

Many interesting manual solutions are provided by Chinese manufacturers and brands. 7Artisans, TTartisan, Meike, Neewer, PerGear, Kamlan, Brightin star, Mitakon Zhongyi, Venus laowa other. Autofocus Speed ​​Boosters are also interesting Viltrox Canon EF -> Sony E 0.71X и Metabones Canon EF -> Sony E 0.71X... List of full-frame cameras and lenses Sony FE (Full Frame E) here


Results

If you need a super-compact all-purpose lens for everyday photography and video shooting, the Sony E 3.5-5.6 / PZ 16-50 is the perfect solution.

The Sony E 3.5-5.6 / PZ 16-50 itself is the perfect embodiment of a kit lens - it is small, light, fast focusing, with an electronic zoom and focus ring. Optically, it is not strong, but the processor of modern cameras corrects most of the shortcomings, as a result, good images are obtained from it.

Materials on the topic

  1. Full frame mirrorless systems... Discussion, choice, recommendations.
  2. Cropped mirrorless systems... Discussion, choice, recommendations.
  3. Cropped mirrorless systems that have stopped or are no longer developing
  4. Digital SLR systems that have stopped or are no longer developing
  5. JVI or EVI (an important article that answers the question 'DSLR or mirrorless')
  6. About mirrorless batteries
  7. Simple and clear medium format
  8. High-speed solutions from Chinese brands
  9. All fastest autofocus zoom lenses
  10. All fastest AF prime lenses
  11. Mirrored full frame on mirrorless medium format
  12. Autofocus Speed ​​Boosters
  13. One lens to rule the world
  14. The impact of smartphones on the photography market
  15. What's next (smartphone supremacy)?
  16. All announcements and novelties of lenses and cameras

Material prepared Arkady Shapoval... Look for me on Youtube | Facebook | Instagram | Twitter.

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Comments: 114, on the topic: Review of Sony E 3.5-5.6 / PZ 16-50 OSS Optical Steady Shot Power Zoom (Sony SELP1650)

  • Victor

    Greetings, tell me, in what temperature range can this product work? He loses contact with the camera after about 3-5 minutes. They say that the plume is damaged, it was operated at low temperatures.

  • Jury

    This lens is probably the best of the kit lenses that I have had to deal with (Kenon and Nikon 18-55, as well as 14-42 from Olympus), slightly worse in sharpness compared to the kit of the previous version of Sony 18-55, but but it is very compact, in terms of sharpness not much inferior to the Sony 16 / 2,8 lens (only in the center, its sharpness is even better at the edges), so the sarcasm of Arkady Shapoval about the fact that he did not really want to finish writing a review of this is not clear the kit lens, on the contrary, the review turned out good, thank you very much for it, I just want to add that at the moment of autofocusing with this lens, you can fine-tune the sharpness manually, while the selected part of the frame will be enlarged, this is very cool, this is not on Kenon cameras and Nikon. And here, for an example, a photo that I took on a Sony A5000 with this lens (ISO 100, exposure compensation -0,7 EV, HDR mode, with a tripod).

  • R'RёS,R ° F "RёR№

    Quote "I am tormented by the question - what if the camera lying in a wardrobe trunk or a regular bag, or a jacket pocket accidentally turns on, will the lens break if there is not enough room for it to extend its trunk?"
    I don’t know how on the Sony A6300, on the Sony A5100 the camera is turned on with the rotary lever near the shutter button, and you cannot accidentally turn it.
    As for the sharpness, I would like to add that at 16mm f3,5 the sharpness is good in the center (according to the table, there are 4 cells in each direction from the center). Further to the edge, a sharp deterioration. At f5,6-8, sharpness is good almost over the entire field. Best performance (maybe this is my lens) at f 8-11.
    In winter, I used the camera down to -15, until nothing broke.
    I have long been interested in a question to which I have not yet found an answer anywhere, and have not seen those about digital zoom. Maybe someone will answer here. Does digital zoom affect depth of field? How does digital zoom affect resolution?

    • R'RёS,R ° F "RёR№

      I forgot to write that at 50mm sharpness is good almost immediately across the entire field, since it's already f5,6. But f8 is also better. I looked at this table.

      • R'RёS,R ° F "RёR№

        And the last (for now) question. Are there any plans to review the Sony E 18-105. For a long time I have been looking at it as a universal one, but the price is still too big for me. The issue with the purchase would be resolved with a confident positive response to Radozhiv. Then I would certainly have spent. I only trust this site.

    • Victor

      If you shoot not only a table, but, say, a real landscape (by 16mm), the situation may improve. If the depth of field is spherical, and this happens, naturally the table will show a sharp deterioration at the edges, but in real conditions everything will be fine. Are there real examples from it on open, 3.5?

      For example, in the review there is a frame at 16 / 5.6, where there is some blockage at the edges, of course, but nothing particularly critical.

      • R'RёS,R ° F "RёR№

        Probably it is (about the landscape). The distances are long there, therefore the depth of field is greater. A blockage of 16mm does not bother me. Here is a photo of high-rise buildings, 16mm, f3,5 1/400 s. At first I tried to fix it in lightroom, so straight buildings look less natural. Therefore, I left it as it is.

        • Victor

          Damn, what a powerful distortion, a little more fisheye))))

          The blockage did not mean perspective distortion, but the blockage in sharpness. Now I see that it is slightly present on the open, but f / 5.6 ... f / 7.1, in theory, should nullify.

          • R'RёS,R ° F "RёR№

            “Damn what a powerful distortion,” This is a 3x4 vertical frame. If you shoot 16x9, there will be even more. But the horizontal one is 16x9.

            • R'RёS,R ° F "RёR№

              But this camera is looking down a bit. If you keep it straight, the horizon will be flat

              • Victor

                Well, it goes without saying. If the fish-eye is kept exactly the eight-millimeter horizon, it will also be flat)))

                I have never seen such distortion on shtniks.

          • R'RёS,R ° F "RёR№

            And at 16mm, vignetting sometimes appears in the corners. From what, I have not figured it out yet. But after all, it does not always appear, it means that something certain influences.

            • Victor

              It usually appears when:
              - Wide angle
              - Maximum open aperture
              - Solid color, not too dark heel around the edges.

        • Novel

          What exactly did you rule? Because first you need to correct the distortion, remove the kick, and then you can correct perspective distortions, stretch the trapezoid. Because if you pull the trapezoid, the barrel will turn into a pillow, the buildings will be concave, and we are not used to such distortions at a wide angle, they will look unnatural.

          • R'RёS,R ° F "RёR№

            Tried automatic corrections. I haven't mastered it manually yet.

  • Igor

    I almost never use it for photography. But for video in full format (APS-C modus) the glass is almost ideal in quality and functionality (I use it on the A7 series).

  • פיטר ציפור

    hello, give me a lift - in full format in aps mode, autofocus and oss ​​work well? I need it for a photo. thanks.

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