Name: Sony E 18-200mm f/3.5-6.3 OSS LE
Brand: Sony
SKU: 63277b38206d897392f87e72
Rating: 4.0 (46 reviews)

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PRODUCT DESCRIPTION 
 E-mount 18-200mm F3.5-6.3 OSS LE From sweeping landscapes through portraits to sports and wildlife, this lens will cover it all. In 35mm full-frame format terms the 11x zoom range of this lens goes from 27mm wide to 300mm telephoto, with superb image quality all the way thanks to an advanced optical design and Optical SteadyShot image stabilization. That’s heavyweight performance in the lightest and most compact 18-200 mm zoom in the E-mount lineup. The perfect travel lens. When changing your aperture to defocus the background, the light sources appear blurred. This ‘bokeh’ effect of the blurred background can be enhanced with circular aperture blades used in this lens. Conventional aperture blades have flat sides creating unappealing polygonal shaped defocussed points of light. α lenses overcome this problem through a unique design that keeps the aperture almost perfectly circular from its wide-open setting to when it is closed by 2 stops. Smoother, more natural defocusing can be obtained as a result. As focal lengths get longer, lenses built with conventional optical glass have difficulties with chromatic aberration, and as a result images suffer from lower contrast, lower color quality, and lower resolution. ED glass dramatically reduces chromatic aberration at telephoto ranges, and provides superior contrast across the entire image, even at large aperture settings. Super ED glass provides enhanced compensation for chromatic aberration. Aspherical lens design dramatically reduces spherical aberration while also reducing lens size and weight. Spherical aberration is a slight misalignment of the light rays projected on the image plane. This is caused by differences in refraction at different points on conventional spherical lenses which degrade image quality in large-aperture lenses. Specially shaped “aspherical” elements near the diaphragm restore alignment of light rays at the image plane, maintaining high sharpness and contrast even at maximum aperture and can also be used at other points in the optical path to reduce distortion. Well-designed aspherical elements can reduce the total number of elements required in the lens, thus reducing overall size and weight. Advanced Aspherical (AA) elements are an evolved variant, featuring an extremely high thickness ratio between the center and periphery. AA elements are exceedingly difficult to produce, relying on the most advanced molding technology to consistently and precisely achieve the required shape and surface accuracy, resulting in significantly improved image accuracy and quality. Gyro sensors built into the lens detect even the slightest movement, and the stabilization lens is precisely shifted to counteract any image blur that might occur. The use of precision, quiet linear motors and technology inherited from high-end Sony professional camcorders results in exceptionally quiet, effective image stabilization that contributes to high-quality movies as well as stills. Only the middle groups of the optical system move to achieve focus, so the overall length of the lens does not change. Other important benefits include fast autofocusing and a short minimum focusing distance. Also, the filter thread at the front of the lens does not rotate, which is convenient if you’re using a polarizing filter. 2012 Sony Electronics, All rights reserved. Sony, the Sony logo, Alpha, “α” and Super SteadyShot are trademarks of Sony. All other trademarks are trademarks of their respective owners. 

 FROM THE MANUFACTURER 
 


E 18-200MM F3.5-6.3 ZOOM LENS
From sweeping landscapes through portraits to sports and wildlife, this lens will cover it all. In 35mm full-frame format terms the 11x zoom range of this lens goes from 27mm wide to 300mm telephoto, with superb image quality all the way thanks to an advanced optical design and Optical SteadyShot image stabilization. That’s heavyweight performance in the lightest and most compact 18-200 mm zoom in the E-mount lineup. The perfect travel lens.

TECHNOLOGY
CIRCULAR APERTURE
When changing your aperture to defocus the background, the light sources appear blurred. This ‘bokeh’ effect of the blurred background can be enhanced with circular aperture blades used in this lens. Conventional aperture blades have flat sides creating unappealing polygonal shaped defocussed points of light. α lenses overcome this problem through a unique design that keeps the aperture almost perfectly circular from its wide-open setting to when it is closed by 2 stops. Smoother, more natural defocusing can be obtained as a result.

ED (EXTRA-LOW DISPERSION) GLASS
As focal lengths get longer, lenses built with conventional optical glass have difficulties with chromatic aberration, and as a result images suffer from lower contrast, lower color quality, and lower resolution. ED glass dramatically reduces chromatic aberration at telephoto ranges, and provides superior contrast across the entire image, even at large aperture settings. Super ED glass provides enhanced compensation for chromatic aberration.

ASPHERICAL LENS ELEMENTS
Aspherical lens design dramatically reduces spherical aberration while also reducing lens size and weight. Spherical aberration is a slight misalignment of the light rays projected on the image plane. This is caused by differences in refraction at different points on conventional spherical lenses which degrade image quality in large-aperture lenses. Specially shaped “aspherical” elements near the diaphragm restore alignment of light rays at the image plane, maintaining high sharpness and contrast even at maximum aperture and can also be used at other points in the optical path to reduce distortion. Well-designed aspherical elements can reduce the total number of elements required in the lens, thus reducing overall size and weight. Advanced Aspherical (AA) elements are an evolved variant, featuring an extremely high thickness ratio between the center and periphery. AA elements are exceedingly difficult to produce, relying on the most advanced molding technology to consistently and precisely achieve the required shape and surface accuracy, resulting in significantly improved image accuracy and quality.

LENS-BASED OPTICAL IMAGE STABILIZATION
Gyro sensors built into the lens detect even the slightest movement, and the stabilization lens is precisely shifted to counteract any image blur that might occur. The use of precision, quiet linear motors and technology inherited from high-end Sony professional camcorders results in exceptionally quiet, effective image stabilization that contributes to high-quality movies as well as stills.

ADDITIONAL FEATURES
INTERNAL FOCUSING
Only the middle groups of the optical system move to achieve focus, so the overall length of the lens does not change. Other important benefits include fast autofocusing and a short minimum focusing distance. Also, the filter thread at the front of the lens does not rotate, which is convenient if you’re using a polarizing filter.


2012 Sony Electronics, Inc. All rights reserved. Sony, the Sony logo, Alpha, “α” and Super SteadyShot are trademarks of Sony. All other trademarks are trademarks of their respective owners.

Wirecutter

Our most expensive pick combines above-average image quality with an extended zoom range to provide a single-lens option for your vacation travels.

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3 OSS LE is an update to the industrial design, not the optics, for the earlier E 18-200mm that remains in market. It does make one sacrifice for a smaller, lighter build, dropping the Active Shot video stabilization feature. If you're primarily a videographer, you'll want to think about the standard version or the Power Zoom variation, but photographers will be happy with the stabilization provided by the OSS LE.

 If you're primarily a videographer, you'll want to think about the standard version or the Power Zoom variation, but photographers will be happy with the stabilization provided by the OSS LE.

99), offers the same optics as its pricier siblings in a slightly slimmer housing. The stabilization system isn't quite as good as the the non-LE version of the lens for video, but photographers won't be able to tell the difference. It's an attractive option for anyone who wants a single zoom lens solution for a Sony camera, but you'll enjoy better overall image quality, and spend less, if you go with our Editors' Choice E 18-135mm F3.5-5

This is one for photographers who really want that all-in-one reach, though. Our favorite starter zoom for the Sony system, the E 18-135mm F3.5-5.6 OSS, is $200 less, smaller and lighter, and offers a bit better clarity throughout the range

Sony E 18-200mm F3.5-6.3 OSS LE Review

 The focal range of this lens is exactly what I wanted.  The lens itself is beautiful and built well. Some complain about stiff zoom but I liked it. The lens looks great on my Nex-7 and the size/weight are reasonable considering the zoom range

 Sadly I was not impressed. Detail was missing and contrast was low especially above 100mm, 200mm was sad to look at. Stoping down to f7 or f8 did not help.  I was worried that maybe my expectations were too high for a zoom lens so as a comparison I got the selp18105g

 It looks a little soft at f4 but sharpens up at f5. The selp18105g confirmed my feeling that the sel18200 is a below average lens with an above average zoom range.. I won't be taking the sel18200 to Africa

Beautiful Hardware but average photos

.  I brought this lens to Griffith Observatory to take some night shots - despite a clear and windless night (and being mounted on a $500 tripod), the shot taken from this lens were almost unusable. I feel that this is probably a good walk-about lens.

 I feel that this is probably a good walk-about lens... but it doesn't hold up when placed in more challenging situations with low light

It's a good lens but...

It's ok, if you absolutely need this much range in an all-in-one lens, but I ended up returning it because the 16-50 kit lens on my a6300 was SO MUCH SHARPER, and obviously so much lighter. I'm usually not a pixel peeper, but the difference was pretty drastic. I use the 55-210 when I need more reach, and the 50mm 1.8 prime for low light and getting really shallow DOF

really soft (and heavy) compared to 16-50 kit lens

8 and you'll see how a more sane focus throw is supposed to behave. The auto-focus on this lens hunts and pecks around and there is plenty of breathing while you wait for things to get sharp..

5 is pretty good and I was able to get some impressive sunset shots with light reflecting across a lake, etc. But at anything higher on the zoom range, things got progressively worse and anything above 100mm I was completely unable to get a focused image. Anything 100mm to 200mm produced painfully blurry video EVERY TIME. Unusable, out of focus

 Yes, it's a lot more expensive, but at least then I'll be getting a lens that can do a decent range, great image quality, and it can do double-duty on my still image camera AND the FS100 using the Metabones EF adapter.

.. sometimes they never get sharp and you're just stuck and have to take manual control with the insanely sensitive focus wheel. Again, if you compare this auto-focus to that of the Zeiss 24mm 1

Maybe I got a bad copy but this one is unusable for video

 No frivolous comment, I bought a NEX for its light weight. It gets a bit soft at 200mm but, it is only a walk around $800 lens! Mind you, it is not terribly soft either. It has a great balance in my NEX 7. Color matches the camera and NO, it does not look cheap at all

I would not use this lens in low light unless I have a tripod. On a steady surface, night shots are not bad at all. It is really nice. For starts, it is small and light

 This is an all walk around tool which should be there for you for landscape as well as street photography. The former takes a tripod and you have time to manual focus but the latter relies on your speed to capture the moment. I have taken a star from my previous evaluation of this lens.

Slow/erratic AF at times

 I deducted one star for the manual focus design issue, but overall I am delighted with the quality pictures I get from this lens.

 It needs more dampening and a slower response to turning the ring. So I stick with the autofocus, which works well so long as the camera's focus assist is turned OFF, at least for outdoor shots. I deducted one star for the manual focus design issue, but overall I am delighted with the quality pictures I get from this lens.

Very pleased

 - The positioning of the zoom ring is too far from the camera body ... also here the positioning is reversed when compared to professional lenses from other camera makers (e

g. and clockwise for the Sony lens. - The turning itself is rather heavy but this may improve over time (I hope at least). - The extension of the barrel at full 200 mm tele is rather long ( 8 1/2 inches!)

. also here the positioning is reversed when compared to professional lenses from other camera makers (e.g. Canon)

First impression is good

 For one, it's large and heavy. In fact, it is as heavy if not slightly heavier than the camera body itself, meaning you will double the weight of the camera overall when using this lens. This is to be expected from a zoom lens with this focal length, but it's still something to mention.  The other thing is that this lens definitely hunts for focus often

 This is to be expected from a zoom lens with this focal length, but it's still something to mention.  The other thing is that this lens definitely hunts for focus often. It's not debilitating, but you will definitely have to keep an eye on it for low light and critical shots.

Its biggest benefit is its focal range.

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