Sony's mirrorless full-frame camera system receives a lot attention. However, its APS-C series, which use the same mount lens, continues to be very popular. There are a few different standard zooms, including two that are currently sold as kit options—the compact E PZ 16-50mm f/3.5-5.6 OSS and the longer-zooming E 18-135mm f/3.5-5.6 OSS ($599.99). Although the 18-135mm zoom is slightly larger and more expensive, it is one of our top-performing standard zooms and has been awarded Editors Choice.
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The right size
Sometimes mirrorless lenses can be criticized for being too large to work with the cameras that they are meant. But this is not true. The E18-135mm is 3.5x2.6 inches (HD), 11.5 oz., and can support 55mm front filters. The E 18-135mm pairs well with my a6400.
While the a6400, a6500 and E18-135mm offer splash and dust protection, they don't. Sony's APSC cameras can only be protected against weather if they are paired with a full frame (FE) lens. Fujifilm is the better choice if you are interested in all-weather photography.
This lens doesn't offer the most extensive standard zoom for the Sony mirrorless camera. The lens' focal length of 18-135mm is roughly the same as that which covers a full frame system at 28-200mm. A compact 16-50mm power zoom gives you a slightly wider angle. There is also an optional premium 16-70mm F/4, which costs around $1,000. The 16-70mm is not included in the kit and you will have to purchase it at full price. However, the kit usually includes the 18-135mm which can be purchased for around $400.
Only a matte-black finish is available for the lens. Although the barrel is made of strong polycarbonate it doesn't have the premium finish and fit that rubberized control rings offer. The zoom and focus controls have ridges that make it easier to grip them and turn them. However, they are made of bare plastic. Included are front and rear caps as well as the hood.
You will find the focus ring just below the front element. The zoom ring lies roughly in the middle. The marks are at the 18-24, 35, 50 and 70 positions. As you zoom in, the inner barrel houses the optics. The lens has a single control switch, an AF/MF toggle that controls the focus mode. You can disable optical stabilization by going to the camera menu.
The focus is available up to 17.7 inches (45cm), giving you an impressive 1:3.4 macro magnification if zoomed in all the way and focused as closely as possible. While it won't be able to replace an expensive macro lens, the lens can add some versatility to one that is meant to be used every day.
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Sharp Optics and Narrow Aperture
The variable aperture of the 18-135mm is the same as other similar lenses. It starts at f/3.5 at widest angles and decreases with zooming in, falling to f/5.6 when you get all the way in. This means that you'll be using your flash or pushing the camera ISO high when shooting in typical indoor lighting—its optical stabilization helps get better low-light shots, but is only effective with stationary subjects.
I also tested the 18-135mm with the 24MP a6400 (Amazon: $898.00) and Imatest(Opens a new tab) software. These programs evaluate sharpness by using an SFRPlus chart and a center weighted measurement. It manages 18,mm f/3.5 lines in the center-weighted assessment, which is excellent. Although edges are a little behind, they still manage 2,270 lines.
The average score is unchanged at f/4. However, lowering the aperture to f/5.6 increases the average score by 2,949 lines. This remarkable result, which was achieved with a 24-MP sensor of 24MP, has better resolution around the edges (2,574 lines), than when used at larger settings. The resolution peaks at the f/8 (3.014 lines) but drops off at f/16 (2.404 lines) or f/22 (1.555 lines).
The maximum aperture at 50mm is f/5. On average 2,917 lines are visible. Edges show a slight lag of 2793 lines. The edges become sharper at f/5.6, just short of the average score of 3,094 lines. At f/8, the lens is at its sharpest (3,142 lines). It drops a bit at 2,962 lines at f/11, but more at 2,582 lines and 2,22 (1,692 line).
Results are close enough at 100mm that they don't bear repeating—just be aware that f/5.6 is the brightest the lens gets at the 100mm setting. The resolution drops slightly to f/5.6 at 135mm, which is 2,535 lines. Edges show approximately 2,200 lines. It climbs to 2,732 lines at f/8—edges pull a little closer, showing about 2,450 lines. Details are about the same at f/11 but drop to 2,378 lines with f/16, and 1,560 lines with f/22.
Distortion is very well controlled—we see just about 1 percent at the 18mm setting, and the effect goes away quickly as the lens is zoomed in. There's a little bit of a vignette—the corners lag behind the center by about a stop at the maximum aperture. This is a minor effect that can be reduced to an academic level by widening the aperture one stop.
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Take a Cut Above
Sony E18-135mm F/3.5-5.6 OS is an upgrade to the 16-50mm basic kit zoom. Although it has a wider zoom range than the basic 16-50mm kit zoom, it is not as compact and therefore costs more. Although the 16-50mm lens is $300, it is usually sold with a camera for a $100 extra than the body-only model. If you buy a complete kit, the 18-135mm lens, which costs $600, will get the same price discount.
Although it is more expensive than the basic Sony starter lens, this option delivers exceptional resolution across its entire zoom range. It can't sidestep the big drawback of lenses of this type—a relatively narrow maximum f-stop, which limits low-light possibilities.
The $1,000 16-70mm F/4 OSS zoom is a compromise. You'll lose some range and spend more, but you will get about half the light at the end. This is the most comparable standard zoom to the pro-grade system. To get an f/2.8 zoom, the full-frame FE16-35mm F2.8 GM is the best option. It covers the entire standard range of an APS-C camera.
For photographers who are just starting out with the Sony system or looking to upgrade an older model and add a lens, the E18-135mm f/3.5-55.6 OSS is our Editors Choice.