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Sony Alpha SEL18200 E-mount 18-200mm F3.5-6.3 OSS Lens (Silver)
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- Minimum Focus Distance:0.99 (Wide)-1.64 ft (Tele) (0.3 (Wide)-0.5 m (Tele))
- Direct Manual Focus with non-rotating focus ring during AF- ideal for precise, comfortable manual focus adjustments
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|Shipping||FREE Shipping||FREE Shipping||FREE Shipping||FREE Shipping||FREE Shipping||FREE Shipping|
|Sold By||Amazon.com||Amazon.com||Think BIG||Amazon.com||Amazon.com||Cameta Camera|
|Compatible Camera Mount||Sony E (NEX)||Sony E (NEX)||Sony Alpha||Sony E (NEX)||Sony Alpha, Sony||Sony Alpha|
|Focus Type||Stepper motor||Micromotor||—||Stepper motor||auto-focus||Ultrasonic|
|Item Dimensions||3.66 x 3.9 x 3.66 in||2.68 x 3.82 x 2.68 in||2.5 x 4.3 x 2.5 in||2.68 x 3.82 x 2.68 in||4.96 x 8.5 x 5.26 in||74 x 89 x 73.3 in|
|Item Weight||1.43 lbs||1.01 lbs||0.76 lb||1.01 lbs||2.22 lbs||2 lbs|
|Lens Type||Zoom lens||Zoom lens||zoom||Zoom lens||Zoom lens||Zoom lens|
|Maximum Focal Length||200 millimeters||200 millimeters||210 millimeters||200 millimeters||200 millimeters||300 millimeters|
|Minimum Focal Length||18 millimeters||18 millimeters||55 millimeters||18 millimeters||18 millimeters||18 millimeters|
|Photo Filter Thread Size||67 millimeters||62 millimeters||—||62 millimeters||67 millimeters||72 millimeters|
The Sony 18-200mm f/3.5-6.3 DT Lens for NEX Cameras is a can-do lens that can handle everything from wide landscape photos to portraits to sports, action and even wildlife photography with the telephoto up to 200mm. And the results will be brilliant, with ED (Extra-low Dispersion) glass that minimizes flare and greatly reduces chromatic aberration, fast internal focusing, 13 groups and 15 elements (including aspherical elements that correct visual aberrations across the entire zoom range), and a circular aperture for more pleasing out-of-focus areas. This lens is not recommended for use with full-frame DSLRs.
From the Manufacturer
E 18-200mm F3.5-6.3 OSS Zoom Lens
The extremely wide 27mm to 300mm equivalent range (35mm full frame format) of this versatile E-mount zoom lens covers just about any shooting situation, and a newly developed internal drive motor offers smooth, quiet autofocus and aperture operation that are a distinct advantage when shooting movies. The internal Optical SteadyShot (OSS) image stabilization system with Active Mode offers effective stabilization even at the wide end of the zoom range when shooting movies.
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.
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.
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.
Optical image stabilization with Active Mode
Moving around while shooting movies means more camera shake that can cause blur. Although conventional image stabilization systems were not effective at compensating for this type of movement, “Active Mode” employs a wider range of motion for the compensation lens, achieving improved stabilization over a greater range of camera movement. Stabilization at the wide end of the zoom range is significantly improved, facilitating handheld movie shooting with minimum image blur.
2010 Sony Electronics Inc. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Sony is not responsible for typographic and photographic errors. Features and specifications are subject to change without notice. Sony, BIONZ, BRAVIA, BRAVIA Sync, Cyber-shot, Exmor, InfoLITHIUM, Memory Stick PRO Duo, Memory Stick Duo, the Memory Stick logo, Optical SteadyShot, Remote Commander, Smile Shutter, Stamina, SteadyShot, Theatre Sync, TruBlack, and Xtra Fine LCD are trademarks of Sony. 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.
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When I purchased Sony's a6500, I decided to get the SEL18200 from Adorama via Amazon. Since the a6500 has on-sensor phase detection, I had to update all three of these lenses to firmware 0.2. I was not disappointed with the SEL18200.
I ended up giving away the first two lenses
What I like about the SEL18200:
(1) At the widest angle, this lens gave me sharper images than the old 18-55mm lens.
(2) I don't have to carry another lens with me
(3) I don't have to switch lenses back and forth!
What I don't like about it:
(1) This lens is bulky and it is heavier than the camera.
(2) I have to support the lens with my left hand. It's heavy enough that I'm afraid of just holding the camera body only because it might distort the frame. (paranoia on my part)
(3) I wish the manual focus ring was at the end instead of being closer to the camera body. When I use manual focus, I have to use my left thumb.
(4) I wish it had a tripod collar because the weight throws off the center of gravity.
Physically, it's a treat for the eye and hand. The metal outer shell is perfectly machined and the rubber zoom and focus rings are grippy. Manual operation is very smooth. The autofocus and Optical Steady Shot are silent.
The optical performance exceeds my expectation. I use it regularly as a wide-macro lens: It's perfect for my business, which often requires close-up images of circuit boards. I also enjoy nature photography, and a typical flower or leaf easily fills the frame while working at a comfortable distance. I have uploaded some photos that show the range from widest to maximum telephoto, demonstrating the excellent resolution, even when handheld.
The lens is larger than the Nex-5n body, which is a problem on a couple of my tripods. The body of the lens hits the front portion of the tripod, so I made a spacer that attaches to the camera and to the tripod. I've posted some pictures in the gallery.
Although the lens covers the full range of the 18-55mm kit lens, it's not a complete substitute. For one thing, the kit lens is much smaller and lighter, and is just as fast in its light-gathering abilities. At full wide angle, the kit lens exhibits much less barrel distortion than the 18-200mm. For architectural or geometric backgrounds or subjects, the 18-55mm is a much better choice. Once you've zoomed in a little with the 18-200, everything is nice and square.
If you use flash, the accessory HVLF-20S flash is essential. It's taller than the included Nex flash and far more powerful. There is no lens shadow, even at full zoom.
Some other reviewers have been hampered by the f/6.3 aperture when fully zoomed, but I haven't had any difficulty with that. When shooting flowers and such, I often stop down further and my shutter speed in open shade is still 1/30 or so. The Nex's quality at higher automatic ISO speeds more than offsets the limited aperture, at least in my applications.
This lens, coupled with the Nex-5n camera, makes me look like a better photographer than I am.
Update: I have had a few instances in low light where the autofocus just loses its mind and goes hunting all over the place. In some cases I've shot a dozen similar shots, but one more of the same will have a difficult time focusing. As a result, I've used manual focus a number of times, and I'm pleased to report that it works smoothly, with just one finger, while you grip the zoom ring.
By the way, if you lose the hood (I bought mine used and it came without a hood), several sources list the ALC-SH0008 as the correct replacement, but this is wrong. The correct hood is Sony ALCSH109 Alpha Lens Hood for the SAL2875 Lens.
One negative is that it is relatively heavy compared with the standard lenses
Additionally, I was considering the Tamron counterpart but Sony (based on most of the reviews I've read & picture comparisons) had the edge in both speed & sharpness (not to mention the chromatic aberration issues common with the Tamron 18-200) + build quality. Spent a good 2-3 weeks researching which drove my wife insane as a majority of my free time after work was being consumed during the comparison process. In the end, Pro's & Con's of the performance/quality & pricing wasn't worth the Tamron risk, just to save a mere $150. Ended up pairing this lens with a Sony VF67MPAM CLEAR multi-coated protective filter as well which I slapped on before I even took a single pic. Filter has a T Zeiss Coating & beats ever having to touch or damage this damn near 1k lens. Very happy with this purchase...