Sony's ultra-wide zoom lens, the Sony E10-18mm F4 OSS (899.99), is its only one for its APS/C mirrorless system. This compact lens is lightweight and easy to use with Sony mirrorless cameras. Although the optics are solid, we would have preferred a better build quality given the price. There aren’t many compelling options, except for manual focus or adapted lenses.
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Both small and light
Sony's APS-C mirrorless cameras system works well with the E10-18mm. Sony cameras tend to be smaller than SLRs in size, and this zoom is no exception. The lens measures 2.5 by 2 inches (HD), and is 7.9 ounces in weight. It is available in black.
However, there is no splash or dust protection. Although this feature has been available in selected a6000 series cameras since a while, Sony only recently began to offer dedicated APSC lenses as part of the G series. It will be interesting to see if the G edition updates the 10-18mm or adds on. If you need weather protection, then you will have to consider the full frame FE 12-24mm F4G.
Ultra-wide zooms, including the FE 12--24mm, are limited in their use. These lenses have bulbous front elements, which prohibit the installation of screws-in filters. Although the E 10-18mm is a little more curved, the glass can be used with a 62mm filter.
Two control rings are available, one with a knurled surface and the other with a matte finish. The zoom ring is closer to the body of your camera and has a marked area at 10, 12, 14, 16 and 18mm. The zoom has the same view angle as the 15-27mm lens in full frame terms.
Just behind the front element is the focus ring. It can be turned in any direction. This lens, like most mirrorless lenses, has an electronic manual focus control. There are no hard stops. The Venus Laowa 10--18mm F/4.5-5.6FE FE is a good choice if you want a more manual feel. Although it doesn't have autofocus, you can get full frame coverage for approximately the same price.
The optical stabilizer is available on the E 10-18mm, which was absent in both Laowa 10-18mm and FE 12-24mm. It's a useful feature for still photographers—you can get away with a longer handheld shutter speed, which can save packing a tripod—but is more important for handheld video. The lens can prevent handheld footage from jittering if your camera does not have in-body stabilizer.
Focus can be used up to 9.8 inches. Although it is not a macro lens you will be able get within easy reach of subjects.
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Take a look at Landscapes
I used the Imatest and 24MP a6400 software to test the E10-18mm. It is 10mm wide at f/4. However, the average score across the frame (2.2993 lines) shows it to be very impressive. But, resolution drops sharply towards the edges of the frame. This results in a blurry 761 line.
The edges of scenic landscape photos are not as sharp as the centers. For clearer images, you'll need to reduce the f stop. These results improve slightly at f/5.6 but they will still be excellent if you use f/8 and f/11. The lens produces outstanding results across most of the frame, although edges are less sharp but no less impressive.
A slight drop in resolution was observed at f/16 to 2,344 lines. At f/22 we saw an even more dramatic decrease to 1,585 lines. Diffraction is an optical effect which scatters light waves when they pass through small eyes.
It's not something unique to the 10-18mm—all lenses show it to some effect. Sunstar effects are often achieved by photographers using f/16 and f/22, although the 10--18mm lens will also show this effect at higher settings. The effect can be seen in this 8 second exposure at f/10 of the Manhattan skyline.
At 14mm, things improve slightly. At f/4 we see a 2,575 line average, with only marginally behind (2,244lines) edges. The resolution jumps up to an outstanding range of 3,155 lines, and stays steady at f/11. At f/16 (2.382 lines), and f/22 (1.589 lines), Diffraction restricts what the lens can do.
The image quality is still very good, with a small drop in resolution at 18mm. The resolution is excellent at f/4 (2100 lines), but it drops at f/4.5 (2871 lines). The resolution is outstanding at f/8, f/11 and then drops to f/16 (2.426 and 1,611 lines, respectively).
Some distortion is present. You can see the barrel distortion and pincushion effect at the narrow end. This distortion is not severe and can be easily corrected with Raw processing software. JPG images are automatically corrected for distortion. The same goes for the modest vignette cast at f/4—it's easily removed using the Lightroom lens profile.
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An Excellent Ultra-Wide Zoom
Sony E10-18mm F4 OS is an excellent option for those who are looking for an ultra-wide zoom that also has autofocus. It's the only choice, aside from full-frame lenses. The optics of the lens are excellent and provide exceptional edge-to-edge performance at smaller f-stops. You also get optical stabilization, and front filter support—all in a very light, compact package.
It's expensive, however. It's a premium lens at $900. However, it doesn't feel luxurious. It's light weight makes it convenient to use, but it also has a cheap feeling. There is no dust protection or splash protection. Sony should offer this lens as a G series lens. It would be a perfect complement to the E 16-55mm G or E 70-350mm G.
Sony system owners will have to be content with the FE12-24mm G, a more expensive, but still better-made, super-wide zoom. However, if your Sony system ever upgrades, you can take it to a full frame camera.