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Sony SELP1650 16-50mm Power Zoom Lens
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- POWER ZOOM for smooth zooming with superb operability and quietness
- ED glass and Aspherical lens elements for excellent performance with reduced aberrations
- Built-in image stabilization
- This lens is designed for Sony α camera system E-mount cameras. You cannot use it on A-mount cameras
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|Aperture Control Design||Aperture controlled by camera|
|Compatible Mountings||Sony E (NEX)|
|Item Dimensions||2.56 x 2.56 x 1.18 inches|
|Item Weight||0.26 pounds|
|Lens Type||Zoom lens|
|Macro Focus Range||0.25 m|
|Manufacturer Warranty Description||1 Year Parts & Labor|
|Maximum Aperture Range||F3.5 - F5.6|
|Maximum Focal Length||50 mm|
|Maximum Format Size||APS-C / DX|
|Minimum Focal Length||16 mm|
|Minimum Focal Range||16 mm|
|Number of Diaphragm Blades||7|
|Number of Elements||9|
|Number of Groups||8|
|Photo Filter Thread Size||41 mm|
|Shipping Weight||0.3 pounds|
|Style Name||Retail Packaging|
|Zoom Type||Motorized Zoom|
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This item Sony SELP1650 16-50mm Power Zoom Lens
|Shipping||FREE Shipping||FREE Shipping||FREE Shipping||FREE Shipping||FREE Shipping||FREE Shipping|
|Sold By||Amazon.com||Wolfe's Camera Shop||Amazon.com||Amazon.com||Amazon.com||Amazon.com|
|Compatible Camera Mount||Sony E (NEX)||Sony E (NEX)||Sony E (NEX)||Sony E (NEX)||Sony E (NEX)||Sony E (NEX)|
|Focus Type||Micromotor||Stepper motor||Stepper motor||Stepper motor||Stepper motor||Micromotor|
|Item Dimensions||2.56 x 1.18 x 2.56 in||2.52 x 4.25 x 2.52 in||2.48 x 1.77 x 2.48 in||2.48 x 0.79 x 2.48 in||2.76 x 2.52 x 2.76 in||2.44 x 0.91 x 2.44 in|
|Item Weight||4.09 ounces||0.76 lb||5.47 ounces||2.43 ounces||7.94 ounces||2.61 ounces|
|Lens Type||Zoom lens||Zoom lens||Prime lens||Prime lens||Zoom lens||Prime lens|
|Maximum Focal Length||50 millimeters||210 millimeters||35 millimeters||20 millimeters||18 millimeters||16 millimeters|
|Minimum Focal Length||16 millimeters||55 millimeters||35 millimeters||20 millimeters||10 millimeters||16 millimeters|
|Photo Filter Thread Size||41 millimeters||49 millimeters||49 millimeters||49 millimeters||62 millimeters||49 millimeters|
Compact and lightweight design for excellent portability thanks to retract-ability down to a mere 29.9 mm
From the Manufacturer
E PZ 16-50mm F3.5-5.6 OSS Power Zoom Lens
This 16-50mm retractable zoom lens is super compact and easy to carry and the ideal lens for traveling and other scenarios that require a lightweight, compact camera and lens combo.
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.
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.
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Top customer reviews
I'm a simple guy who's sort of new to this game - I've been shooting professionally for only 53 years, since I got a driver's license - from 4x5 Speed Graphics through Leica M4P and Hasselblad, up through a pair of D7000s today. My video work has appeared on CBS Sunday Morning, local TV and many medical web sites; my stills have been on the business and feature pages of magazines and newspapers worldwide. I bought my NEX-6 to use my languishing Leica M mount lenses, and they are spectacular on the NEX-6. I bought the 16-50 with my NEX-6 because it was cheap when the combination was selling at $200 less than it is today.
Now, for this lens. Let's be aware of what this lens is: A small, very light and very inexpensive lens spanning a wide range at a cost that has no parallels in size/weight/cost/quality. It's not a Zeiss or Leitz. It's a lens designed to produce good images in an essentially pocketable camera-lens combination, at a sub-$1000 price (NEX-6).
And it does precisely that. It's a relatively slow (aperture-wise) compromise, and yes, it does require in-camera jpeg or post-processing (RAW images) to correct distortion at its widest setting.
But it's really sharp. Can you hand-hold a 50mm lens at 1/15th, and get reliably sharp images? Well, thanks to the optical stabilization in this lens, you can. I uploaded a sample image of mountaineer-photographer Ed Webster at a book signing (you can buy it on Amazon), and as you will see, the image is SO SHARP you can read the manufacturer's branding on the inside right (your left!) earpiece of his reading glasses. I also submitted a shot of the Manhattan skyline from Hoboken - produced from a RAW image with no post-processing - and you can see every window detail on all the buildings, even across town to the Empire State building - across the frame.
I can beat it with my Leica M lenses, which are faster by far. I can beat it with my 24mm f2 Canon FD. But not by much, and not that you would notice in a print 16x24 inches or smaller at normal viewing distance.
If you buy a NEX camera of any type, I would strongly suggest you consider buying this lens with your selected body.
When you are out to shoot a cover for National Geographic or Sports Illustrated, take it off and use a $1000-3000 prime lens.
For everything else, like family and travel, it's more than competent for the task. I give it 4 stars only because, like all kit zooms, it's a compromise - but a VERY competent one that's likely to please you, and all who see its images.
This is not the original kit zoom for the NEX-7. This lens came out later and was much better reviewed. As a compact option it suited me well because it had full functionality with this camera, even down to some optical corrections offered by Sony.
The lens was described as "dented" on its front ring but it turned out to be quite beautiful, with only a tiny depression across the front metal plate and it works perfectly. Gotta love the heavily-discounted gear everyone else is afraid to buy!
It retracts when the camera is powered-off and extends when turned on (even when the NEX-7 is sitting on a table with the HDMI cord connected to the TV; it can be a little startling to have the lens extend and knock stuff off your table if you're not thinking when you throw the switch). Maximum lens length is at the low AND high ends of the zoom range and minimum extension is at about 28mm of zoom. The ring around the barrel is pretty cool and allows both manual zoom and manual focus which turns out to be more intuitive than you might expect.
THERE IS NO SONY LENS HOOD FOR THIS LENS. That doesn't mean some makers don't sell them. It is almost impossible to effectively shade a zoom lens this stubby and with this wide a range without vignetting the corners. The lens hardly needs shading, anyway, unless you're pointed just to one side of the sun or something. BUT you might want to put something on the front of this lens as a protective bumper because the front glass element is rather exposed and far forward. You never need a UV filter on a digital camera because UV light only messes with actual film, not a digital sensor. Besides, a useless filter would mean you'd just be adding another layer of optical degradation. But mounting a hood as a sort of a bumper can keep the front element a little more protected if the camera is swinging on a shoulder strap. The front thread here is a strange 40.5 mm but I happened to have an old rubber-cone hood on a metal ring to fit it. In the end, I opted to pull that rubber cone off its mounting ring and leave just the mounting ring on the lens. The original Sony lens cap just clicks into the mounting ring and so I have a slightly-protruding, protective, metal ring around my front element with no vignette. When my 40.5-to-58mm step-up-ring arrives, I'll be able to use a bigger lens cap on that, as well as having a base on which to mount my filters, which are 72mm, with a second step-up. I will want to use my two polarisers as a variable neutral density for video. The 58mm lens cap will be just slightly smaller than the barrel diametre of the front of the lens.
I'll skip over the (entirely satisfactory) optical quality as I'm not an optics lab and test results are widely available elsewhere on-line.
In short: Not nearly as awesome as my L-Series Canon glass but I like it a lot.
Most recent customer reviews
I suggest to let pictures do the talking.
1. Check out this flickr accounts (e.g.Read more