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Sony SEL1018 10-18mm Wide-Angle Zoom Lens

4.7 out of 5 stars 50 customer reviews
| 36 answered questions

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  • 10-18 mm super wide-angle zoom lens with a maximum aperture of F4
  • Minimum focal length of 10 mm (15 mm in 35 mm-camera equivalency)
  • Minimum Focus Distance : 0.82 ft (0.25 m), Maximum Magnification ratio : 0.1x
  • Superbly detailed images
  • Built-in OSS image stabilization (Optical SteadyShot)
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Technical Details


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This item: Sony SEL1018 10-18mm Wide-Angle Zoom Lens
Customer Rating 4 out of 5 stars (50) 4 out of 5 stars (152) 4 out of 5 stars (717) 4 out of 5 stars (21)
Price $848.00 $372.60 $335.19 $699.00
Shipping FREE Shipping FREE Shipping FREE Shipping FREE Shipping
Sold By Amazon.com Amazon.com Amazon.com Adorama Camera
Compatible Mountings Sony E (NEX) Other Other Sony E
Dimensions 2.76 inches x 2.52 inches x 2.76 inches 71.12 inches x 2.3 inches x 71.12 inches 3.43 inches x 3.78 inches x 3.43 inches 7 inches x 7 inches x 7 inches
Item Weight 0.5 pounds 0.6 pounds 1.22 pounds 0.57 pounds
Lens Zoom lens Wide-angle Prime lens prime
Maximum Aperture 4 2 f 2.8 f 2.8
Max Focal Length 18 mm 12 14 12 mm
Min Aperture 22 Information not provided Information not provided 2.8 f
Min Focal Length 10 mm 12 14 12 mm
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Product Description

Product Description

Super wide-angle zoom lenses are ideal for taking photos of sweeping landscapes and producing striking images with emphasized perspective. For mid- to high-level users who seek a wider minimum focal length than offered by standard wideangle zoom lenses, the SEL-1018 is the ideal choice.

From the Manufacturer

Sony make . believe

10-18mm f/4 Wide-Angle Zoom Lens

This super wide-angle zoom lens is perfect for taking photos of sweeping landscapes and producing striking images with emphasized perspective. Features incluse a constant maximum aperture of F4 and built-in Optical SteadyShot (OSS) image stabilization.

10-18mm f/4 Wide-Angle Zoom Lens

Technology

Circular Aperture
ED (Extra-low Dispersion) glass
Aspherical lens elements

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.

Distance encoder
Lens-based optical image stabilization

Distance encoder

The distance encoder plays an integral part in ADI flash metering, which delivers high precision flash metering that is unaffected by the reflectance of subjects or backgrounds. The distance encoder is a lens component that directly detects the position of the focusing mechanism, and sends a signal to the CPU in order to measure distance to the subject. During flash photography, this data is very useful in calculating how much flash output is appropriate to the scene.

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.

Sony make . believe

2012 Sony Electronics Inc. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Sony is not responsible for typographical and photographic errors. Features and specifications are subject to change without notice.

Sony, BIONZ, BRAVIA, Exmor, InfoLITHIUM, Memory Stick, Memory Stick Duo, Memory Stick PRO Duo, Memory Stick PRO-HG Duo, PlayMemories Home, Smile Shutter, Stamina, Theatre Sync, Sweep Panorama, and the Sony make.believe logo are trademarks of Sony. AVCHD is a trademark of Panasonic Corporation and Sony Corporation. Microsoft, Windows, and Windows Vista are trademarks of Microsoft Corporation. Mac OS and iMovie are trademarks of Apple Computers, Inc. HDMI is a trademark of HDMI Licensing LLC. All other trademarks are trademarks of their respective owners.


Product Information

Product Dimensions 2.5 x 2.8 x 2.8 inches
Item Weight 8 ounces
Shipping Weight 1 pounds (View shipping rates and policies)
ASIN B0096W1ONK
Item model number SEL1018
Customer Reviews
4.7 out of 5 stars 50 customer reviews

4.7 out of 5 stars
Best Sellers Rank #296 in Camera & Photo > Lenses > Camera Lenses > Digital Camera Lenses
Date first available at Amazon.com September 11, 2012

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Customer Reviews

Top Customer Reviews

By Doctor.Generosity TOP 1000 REVIEWERVINE VOICE on December 17, 2012
Verified Purchase
Sony seems to have a well thought-out product strategy for their NEX series bodies, which are proving to be a big hit. But their lens strategy appears to be confusing. There is not a simple lens roadmap, but a mixture of lenses from different sources, some possibly designed inhouse by Sony, some with the Zeiss name (and inflated price premium for that name), and other lenses which appear to be made for Sony by specialty designers - producers. Most Sony NEX camera owners are not aware that Sony also makes a line of high end professional video cameras with the same sensor and e-mount lenses, which explains this in part. As a result Zeiss makes industrial quality cinema lenses in e-mount; $5k for the fixed focal lengths and $21K for the zooms. I bet those are cool.

But for the consumer NEX cameras, we see a scattered, overlapped offering in their list of ultra-wide e-mount lenses. The first kit lens offered by Sony was a compact 16mm f2.8. Then Sony offered an Ultrawide converter attachment for this (VDL-ECU1) which has an effective focal length about 12.5mm. These two, when attached together, are actually quite good optically, for a total price about 300 bucks if you got the 16 in a kit. In addition, there is the Fisheye Converter (ECL-ECF1) in the same series which has a 180° field (distorted) for just 129 more dollars.

Recently Sony came out with the 10-18 mm zoom, f4, with image stabilization, but quite expensive at $850; a completely different approach which almost certainly is designed and made by different people.

Having all of these at hand, I performed a direct image quality comparison. To compare the 10-18mm zoom to the 16mm, I set both to f4. When I added the Ultrawide I matched the field of view by setting the zoom to 12.5mm.
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I use this lens on a NEX-6 and it's a great compromise between size and performance. I haven't used the lens with flash, but a lot for landscape and street shots and I love the lens. It delivers great JPEGs with build in camera correction showing nice colors and saturation. RAW shooting with the lens is giving all post post processing advantages, but also shows CAs and distortion, easy correctable. Auto focus is fast and the focal length 10-18mm, which is about 15-27mm compared to FF, is my preferred landscape range. Most parts are not metal, but that reduces weight and the lens doesn't feed cheap. I have used the lens a lot for hikes and outdoor activities during the last 6 month with high humidity and high temperature and so far it worked flawless.

++ sharp center and good corners wide open, corners improve stepping down to F5.6
++ fast reliable AF
++ supports DMF (direct manual focus to change focus manually with focus ring after AF)
++ good build quality
++ has a focus and a zoom ring for manual use
++ good lens hood included
++ not heavy
- focus by wire limitations for long exposures (no end position for infinite focus, which makes it hard to focus using long exposure time)
- a little bit high prices

I compared this lens with the Tokina Pro DX 11-16 on a Sony A65 and overall I love this lens for it's compactness on the NEX-6 even if doesn't fit into a pocket, but it's a great and lightweight set for traveling and outdoor activities with a small backpack.
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This is the second best lens for Sony NEX users. The best is still the 24mm F/1.8 Zeiss by far and I'm not even including the upcoming Sony 35mm f/1.8 since I haven't tried it yet. In my book, the 10-18 F/4 takes the honors as 2nd best mostly because of its usability, the focal range it covers (I love ultra-wides), and the fixed aperture f/4 paired with optical stability, which works very well in affording you the extra stop or so for low light shooting. Optically, it's only mediocre, and not even as sharp as some other E-mount lenses like the Zeiss, the 50mm f/1.8, and the Sigma 30mm E-mount. But the value of a lens isn't always about sharpness. It's about what it does for you. The 10-18 F/4 is a nice effort by Sony because it finally gives NEX users a relatively compact, quality zoom, with respectable minimum focus distance, in a much needed focal range. It has solid construction and although it's mostly plastic on the outside, it's very high quality plastic. The zoom and focus rings are as smooth as it gets and are very well damped with Leica-like feel when you turn them. My example doesn't have zoom creep at all and there are no issues with build quality. A nice lens hood in included and can be mounted in reverse for storage. Unfortunately, no lens case or even a pouch is included (unlike the Zeiss 24) which is a disappointment considering the $850 price tag.

Regarding sharpness, I'm not saying this lens is soft but compared to Nikon's 16-35 F/4 and 14-24 F/2.8, it is. But that's very stiff competition and unfair is you look at the price delta. The SEL1018 has soft corners wide open but when stopped down a bit, it's plenty sharp enough. Only the most discerning pixel peepers will complain.
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