Sony E-Mount PZ 18-110mm f/4 G OSS Lens
With a wide focal-length range and a constant f/4 aperture in a compact form factor, the Sony E PZ 18-110mm f/4 G OSS Lens offers videographers and cinematographers a versatile lens choice for lightweight operations. While the lens may seem small, it has professional features to back it up. The 18-110m focal-length range covers moderately wide to narrow angles-of-view. Sony's built-in Smooth Motion Optics leverage the internal mechanics of the lens to minimize focus breathing, focus shifting, and other anomalies that would otherwise be noticeable when adjusting the lens during recording. The body of the lens sports separate focus, zoom, and iris rings for complete manual control. Just pull the focus ring back and full-time manual focus is engaged. The focus ring itself has built-in cinema-standard gearing for follow-focus compatibility. Zoom functionality can be operated both manually and electronically. The zoom ring is connected to the lens mechanically, so crash-zooms can be achieved without lag. Iris operation can be done automatically, or by rotating the iris ring. By disengaging the iris click switch, manual iris adjustments can be made smoothly. For smaller, less robust cameras, a quick-release tripod foot is included. The foot secures towards the rear of the lens for tripod use. Alternatively, a conventional lens support can be attached near front of the lens for compatibility with rod-based lens supports. The filter thread will accept 95mm-diameter round filters and the included lens cap. A lens hood is also included for minimizing flare. The hood's shuttered design can be closed when the camera is not in use.
With a wide focal-length range and a constant f/4 aperture in a compact form factor, the Sony E PZ 18-110mm f/4 G OSS Lens offers videographers and cinematographers a versatile lens choice for lightweight operations. While the lens may seem small, it has professional features to back it up. The 18-110m focal-length range covers moderately wide to narrow angles-of-view. Sony's built-in Smooth Motion Optics leverage the internal mechanics of the lens to minimize focus breathing, focus shifting, and other anomalies that would otherwise be noticeable when adjusting the lens during recording. The body of the lens sports separate focus, zoom, and iris rings for complete manual control. Just pull the focus ring back and full-time manual focus is engaged. The focus ring itself has built-in cinema-standard gearing for follow-focus compatibility. Zoom functionality can be operated both manually and electronically. The zoom ring is connected to the lens mechanically, so crash-zooms can be achieved without lag. Iris operation can be done automatically, or by rotating the iris ring. By disengaging the iris click switch, manual iris adjustments can be made smoothly. For smaller, less robust cameras, a quick-release tripod foot is included. The foot secures towards the rear of the lens for tripod use. Alternatively, a conventional lens support can be attached near front of the lens for compatibility with rod-based lens supports. The filter thread will accept 95mm-diameter round filters and the included lens cap. A lens hood is also included for minimizing flare. The hood's shuttered design can be closed when the camera is not in use.
With a wide focal-length range and a constant f/4 aperture in a compact form factor, the Sony E PZ 18-110mm f/4 G OSS Lens offers videographers and cinematographers a versatile lens choice for lightweight operations. While the lens may seem small, it has professional features to back it up. The 18-110m focal-length range covers moderately wide to narrow angles-of-view. Sony's built-in Smooth Motion Optics leverage the internal mechanics of the lens to minimize focus breathing, focus shifting, and other anomalies that would otherwise be noticeable when adjusting the lens during recording. The body of the lens sports separate focus, zoom, and iris rings for complete manual control. Just pull the focus ring back and full-time manual focus is engaged. The focus ring itself has built-in cinema-standard gearing for follow-focus compatibility. Zoom functionality can be operated both manually and electronically. The zoom ring is connected to the lens mechanically, so crash-zooms can be achieved without lag. Iris operation can be done automatically, or by rotating the iris ring. By disengaging the iris click switch, manual iris adjustments can be made smoothly. For smaller, less robust cameras, a quick-release tripod foot is included. The foot secures towards the rear of the lens for tripod use. Alternatively, a conventional lens support can be attached near front of the lens for compatibility with rod-based lens supports. The filter thread will accept 95mm-diameter round filters and the included lens cap. A lens hood is also included for minimizing flare. The hood's shuttered design can be closed when the camera is not in use.
With a wide focal-length range and a constant f/4 aperture in a compact form factor, the Sony E PZ 18-110mm f/4 G OSS Lens offers videographers and cinematographers a versatile lens choice for lightweight operations. While the lens may seem small, it has professional features to back it up. The 18-110m focal-length range covers moderately wide to narrow angles-of-view. Sony's built-in Smooth Motion Optics leverage the internal mechanics of the lens to minimize focus breathing, focus shifting, and other anomalies that would otherwise be noticeable when adjusting the lens during recording. The body of the lens sports separate focus, zoom, and iris rings for complete manual control. Just pull the focus ring back and full-time manual focus is engaged. The focus ring itself has built-in cinema-standard gearing for follow-focus compatibility. Zoom functionality can be operated both manually and electronically. The zoom ring is connected to the lens mechanically, so crash-zooms can be achieved without lag. Iris operation can be done automatically, or by rotating the iris ring. By disengaging the iris click switch, manual iris adjustments can be made smoothly. For smaller, less robust cameras, a quick-release tripod foot is included. The foot secures towards the rear of the lens for tripod use. Alternatively, a conventional lens support can be attached near front of the lens for compatibility with rod-based lens supports. The filter thread will accept 95mm-diameter round filters and the included lens cap. A lens hood is also included for minimizing flare. The hood's shuttered design can be closed when the camera is not in use.
in 34 offers
The lowest price for Sony E-Mount PZ 18-110mm f/4 G OSS Lens right now is $2,125.82 at Unique Photo, compared across 29 retailers.
The all-time low was $1,932.43 on 8 Mar 2026 — today's price is 10% above the lowest ever. That's a little above the best price we've seen.
Prices last updated 8 June 2026.
Last updated at 08/06/2026 16:53:12
Used Sony 18-110mm f/4 G OSS APS C Super35 E-Mount Power Zoom Lens - Excell
Delivery $42.52
Used Sony 18-110mm f/4 G OSS APS C Super35 E-Mount Power Zoom Lens - Good
Delivery $42.52
Sony 18-110mm f/4 G OSS APS C / Super35 E-Mount Power Zoom Lens
Delivery $42.52
Sony E PZ 18-110mm F4 G OSS (white box) Lens
Free delivery
Near Mint Sony Aps-c E Pz 18-110mm F4 Oss
Free delivery
Affiliate Disclosure: We may receive a small commission for purchases made through this link at no extra cost to you. This helps support our site. Thank you!
Sony 18-110mm F/4 Pz Oss E-mount Lens
Free delivery
Affiliate Disclosure: We may receive a small commission for purchases made through this link at no extra cost to you. This helps support our site. Thank you!
Sony E PZ 18-110mm F4 G OSS Lens
Free delivery
Affiliate Disclosure: We may receive a small commission for purchases made through this link at no extra cost to you. This helps support our site. Thank you!
Sony E PZ 18-110mm f/4 G OSS Lens — Excellent Condition
Free delivery
Sony E PZ 18-110mm f/4 G OSS SEL18110G (White box) at Etoren
Delivery $55
Sony PZ 18-110mm f/4 G OSS Lens
Delivery between 11–16 June $12.90
originally posted on bhphotovideo.com
Every lens has its advantages and disadvantages. The Zeiss 21-100mm is beautiful and perfect in almost every way, except it's a T2.9-3.9 and is enormous. The Fujinon MK lenses are well-sized, decently fast at T2.9, but are low contrast and have limited range.Which brings me to the Sony E PZ 18-110mm f/4 OSS lens, which is in a comparable price and quality range to these other budget cine-style zoom lenses.It offers the native e-mount, which, as a sony user, I appreicate. The image stabilization works well, as does the autofocus— though the lens occassionally loses focuses and goes between the background and subject. Sony has never been known for its autofocus. It's not spectacular, but it is more functional than usual.The image is exceptionally sharp, offers ... MoreEvery lens has its advantages and disadvantages. The Zeiss 21-100mm is beautiful and perfect in almost every way, except it's a T2.9-3.9 and is enormous. The Fujinon MK lenses are well-sized, decently fast at T2.9, but are low contrast and have limited range.Which brings me to the Sony E PZ 18-110mm f/4 OSS lens, which is in a comparable price and quality range to these other budget cine-style zoom lenses.It offers the native e-mount, which, as a sony user, I appreicate. The image stabilization works well, as does the autofocus— though the lens occassionally loses focuses and goes between the background and subject. Sony has never been known for its autofocus. It's not spectacular, but it is more functional than usual.The image is exceptionally sharp, offers nice micro-contrast, and has nice bokeh if you know what you're doing. It won't give you the out of the box bokeh of a T1.4, but then again, if you're filming documentaries on your own, chances are you can't pull focus at T1.4 anyways. I'm impressed with the sharpness throghout the aperture range, even at T4. Plus, Sony's cameras are notoriously good in low-light anyway, so for me, the aperture wasn't an issue.The lens is heavy, but so efficient with the zoom range that it's difficult to knock. The range itself is pretty great, and offers a lot of flexibility. It's parfocoal, which is great, and maintains sharpness throughout the zoom range.There's very little focus breathing, and filmmakers will appreciate the declicked aperture for fine tune adjustments to exposure.A few complaints:- There's no way to lock the aperture, and it's very sensitive to touch, so I found that it's very easy to move accidentally while filming, unless you tape it in a specific position.- The minimum focus distance makes it very difficult to get close to subjects, and impossible to do any kind of macrowork. Fair enough, it's not a macro lens. But compared to the Zeiss and Fujinon lenses, where you can get to within mere inches of your subject, this lens leaves a lot to be desired in that area.Overall, it's a great lens, especially at its price point. It's a great choice for a sony user doing run and gun doc work. I didn't use the electronic zoom function, but see that as a plus going forward. I don't think it offers enough flexibility or quality for high end commercial work or feature narrative films, but for what it is, it's great.
originally posted on bhphotovideo.com
This lens has proven to be a great upgrade from the Canon 24-105 w/ Metabones than I used on my FS7 for a few years.Although the 24-105 is a decent all-around lens, the Sony 18-110 has a few major advantages. Specifically, it doesnt change exposure while zooming in or out. You can ride the aperture ring when working in variable light conditions (doc work isnt always pretty!) And most importantly, the range of 18-110mm is sufficient for a vast majority of my documentary-oriented assignments. I still carry a few fast primes for interviews, but this lens stays on my FS7 90% of the time. Its also very light compared to other cinema zooms, and the image stabilization is great to have.The image quality is excellent without calling attention to itself. Its utilitarian ... MoreThis lens has proven to be a great upgrade from the Canon 24-105 w/ Metabones than I used on my FS7 for a few years.Although the 24-105 is a decent all-around lens, the Sony 18-110 has a few major advantages. Specifically, it doesnt change exposure while zooming in or out. You can ride the aperture ring when working in variable light conditions (doc work isnt always pretty!) And most importantly, the range of 18-110mm is sufficient for a vast majority of my documentary-oriented assignments. I still carry a few fast primes for interviews, but this lens stays on my FS7 90% of the time. Its also very light compared to other cinema zooms, and the image stabilization is great to have.The image quality is excellent without calling attention to itself. Its utilitarian in that sense, but again, for documentary it is often more about getting the shot than in always making the shot look pretty. Bottom line is that this lens helps me get the shots I need in a wide variety of circumstances and scenarios.Id recommend this lens for FS7 operators.
originally posted on bhphotovideo.com
I'm a Sony FS7 user since the moment the camera came available. The original 28-135 lens was always good for any shot that fit my focal length needs. That meant interviews and anything requiring longer focal lengths. But I was always sad that I could not shoot amazing wide angle views or even good ones. A building, a sunset, even a wide interview, had to settle for an adequate shot with the 28-135. I've just used my new 18-110 on a week long shoot that included vistas of ocean, skylines, and great cathedrals. I found the 18 end to be just right and nearly amazing for most all of my needs. I would not have a complaint at all about using it for 95% of my wide and telephoto shots. I film often for travel features and it's great for all shooting on the move. For those ... MoreI'm a Sony FS7 user since the moment the camera came available. The original 28-135 lens was always good for any shot that fit my focal length needs. That meant interviews and anything requiring longer focal lengths. But I was always sad that I could not shoot amazing wide angle views or even good ones. A building, a sunset, even a wide interview, had to settle for an adequate shot with the 28-135. I've just used my new 18-110 on a week long shoot that included vistas of ocean, skylines, and great cathedrals. I found the 18 end to be just right and nearly amazing for most all of my needs. I would not have a complaint at all about using it for 95% of my wide and telephoto shots. I film often for travel features and it's great for all shooting on the move. For those times when I have more time and/or more people available to help me carry gear I will occasionally choose to use my Zeiss 18mm with a Metabones (yields a wider view) . Sad that Sony would not consider a trade in program for my old 28-135 or at least a discount for customer loyalty. But the 18-110 is a lens that I can be happy with immediately and for a long time to come. Wide shots from my first shoot with it are attached...
| Lens system | |
| Closest focusing distance | 0.4 m |
| Maximum aperture number | 22 |
| Lens mount interface | Sony E |
| Number of diaphragm blades | 7 |
Used Sony 18-110mm f/4 G OSS APS C Super35 E-Mount Power Zoom Lens - Excell
Delivery $42.52
Used Sony 18-110mm f/4 G OSS APS C Super35 E-Mount Power Zoom Lens - Good
Delivery $42.52
Sony 18-110mm f/4 G OSS APS C / Super35 E-Mount Power Zoom Lens
Delivery $42.52
Sony E PZ 18-110mm F4 G OSS (white box) Lens
Free delivery
Near Mint Sony Aps-c E Pz 18-110mm F4 Oss
Free delivery
Affiliate Disclosure: We may receive a small commission for purchases made through this link at no extra cost to you. This helps support our site. Thank you!
Every lens has its advantages and disadvantages. The Zeiss 21-100mm is beautiful and perfect in almost every way, except it's a T2.9-3.9 and is enormous. The Fujinon MK lenses are well-sized, decently fast at T2.9, but are low contrast and have limited range.Which brings me to the Sony E PZ 18-110mm f/4 OSS lens, which is in a comparable price and quality range to these other budget cine-style zoom lenses.It offers the native e-mount, which, as a sony user, I appreicate. The image stabilization works well, as does the autofocus— though the lens occassionally loses focuses and goes between the background and subject. Sony has never been known for its autofocus. It's not spectacular, but it is more functional than usual.The image is exceptionally sharp, offers ... MoreEvery lens has its advantages and disadvantages. The Zeiss 21-100mm is beautiful and perfect in almost every way, except it's a T2.9-3.9 and is enormous. The Fujinon MK lenses are well-sized, decently fast at T2.9, but are low contrast and have limited range.Which brings me to the Sony E PZ 18-110mm f/4 OSS lens, which is in a comparable price and quality range to these other budget cine-style zoom lenses.It offers the native e-mount, which, as a sony user, I appreicate. The image stabilization works well, as does the autofocus— though the lens occassionally loses focuses and goes between the background and subject. Sony has never been known for its autofocus. It's not spectacular, but it is more functional than usual.The image is exceptionally sharp, offers nice micro-contrast, and has nice bokeh if you know what you're doing. It won't give you the out of the box bokeh of a T1.4, but then again, if you're filming documentaries on your own, chances are you can't pull focus at T1.4 anyways. I'm impressed with the sharpness throghout the aperture range, even at T4. Plus, Sony's cameras are notoriously good in low-light anyway, so for me, the aperture wasn't an issue.The lens is heavy, but so efficient with the zoom range that it's difficult to knock. The range itself is pretty great, and offers a lot of flexibility. It's parfocoal, which is great, and maintains sharpness throughout the zoom range.There's very little focus breathing, and filmmakers will appreciate the declicked aperture for fine tune adjustments to exposure.A few complaints:- There's no way to lock the aperture, and it's very sensitive to touch, so I found that it's very easy to move accidentally while filming, unless you tape it in a specific position.- The minimum focus distance makes it very difficult to get close to subjects, and impossible to do any kind of macrowork. Fair enough, it's not a macro lens. But compared to the Zeiss and Fujinon lenses, where you can get to within mere inches of your subject, this lens leaves a lot to be desired in that area.Overall, it's a great lens, especially at its price point. It's a great choice for a sony user doing run and gun doc work. I didn't use the electronic zoom function, but see that as a plus going forward. I don't think it offers enough flexibility or quality for high end commercial work or feature narrative films, but for what it is, it's great.
This lens has proven to be a great upgrade from the Canon 24-105 w/ Metabones than I used on my FS7 for a few years.Although the 24-105 is a decent all-around lens, the Sony 18-110 has a few major advantages. Specifically, it doesnt change exposure while zooming in or out. You can ride the aperture ring when working in variable light conditions (doc work isnt always pretty!) And most importantly, the range of 18-110mm is sufficient for a vast majority of my documentary-oriented assignments. I still carry a few fast primes for interviews, but this lens stays on my FS7 90% of the time. Its also very light compared to other cinema zooms, and the image stabilization is great to have.The image quality is excellent without calling attention to itself. Its utilitarian ... MoreThis lens has proven to be a great upgrade from the Canon 24-105 w/ Metabones than I used on my FS7 for a few years.Although the 24-105 is a decent all-around lens, the Sony 18-110 has a few major advantages. Specifically, it doesnt change exposure while zooming in or out. You can ride the aperture ring when working in variable light conditions (doc work isnt always pretty!) And most importantly, the range of 18-110mm is sufficient for a vast majority of my documentary-oriented assignments. I still carry a few fast primes for interviews, but this lens stays on my FS7 90% of the time. Its also very light compared to other cinema zooms, and the image stabilization is great to have.The image quality is excellent without calling attention to itself. Its utilitarian in that sense, but again, for documentary it is often more about getting the shot than in always making the shot look pretty. Bottom line is that this lens helps me get the shots I need in a wide variety of circumstances and scenarios.Id recommend this lens for FS7 operators.
I'm a Sony FS7 user since the moment the camera came available. The original 28-135 lens was always good for any shot that fit my focal length needs. That meant interviews and anything requiring longer focal lengths. But I was always sad that I could not shoot amazing wide angle views or even good ones. A building, a sunset, even a wide interview, had to settle for an adequate shot with the 28-135. I've just used my new 18-110 on a week long shoot that included vistas of ocean, skylines, and great cathedrals. I found the 18 end to be just right and nearly amazing for most all of my needs. I would not have a complaint at all about using it for 95% of my wide and telephoto shots. I film often for travel features and it's great for all shooting on the move. For those ... MoreI'm a Sony FS7 user since the moment the camera came available. The original 28-135 lens was always good for any shot that fit my focal length needs. That meant interviews and anything requiring longer focal lengths. But I was always sad that I could not shoot amazing wide angle views or even good ones. A building, a sunset, even a wide interview, had to settle for an adequate shot with the 28-135. I've just used my new 18-110 on a week long shoot that included vistas of ocean, skylines, and great cathedrals. I found the 18 end to be just right and nearly amazing for most all of my needs. I would not have a complaint at all about using it for 95% of my wide and telephoto shots. I film often for travel features and it's great for all shooting on the move. For those times when I have more time and/or more people available to help me carry gear I will occasionally choose to use my Zeiss 18mm with a Metabones (yields a wider view) . Sad that Sony would not consider a trade in program for my old 28-135 or at least a discount for customer loyalty. But the 18-110 is a lens that I can be happy with immediately and for a long time to come. Wide shots from my first shoot with it are attached...
This lens is expensive but has been wonderful for use with my Sony FS5m2. I worked 15 years in television news, have owned this lens nine months, and use it daily without problem. I'm prompted to write this review because I see a previous reviewer incorrectly claiming this lens is not parfocal. Absolutely untrue. I don't know if he/she bought a lemon, but this lens calibrates fine. Zoom all the way in, focus, zoom out to frame the shot, stays in focus, light level doesn't change, just a great video zoom lens. The controls are very smooth and I love having focus, iris, and zoom rings with hard stops as opposed to the infinity-spin on many camcorders. I don't use the power zoom much as I generally prefer to turn off the servo and use the manual zoom ring to quickly ... MoreThis lens is expensive but has been wonderful for use with my Sony FS5m2. I worked 15 years in television news, have owned this lens nine months, and use it daily without problem. I'm prompted to write this review because I see a previous reviewer incorrectly claiming this lens is not parfocal. Absolutely untrue. I don't know if he/she bought a lemon, but this lens calibrates fine. Zoom all the way in, focus, zoom out to frame the shot, stays in focus, light level doesn't change, just a great video zoom lens. The controls are very smooth and I love having focus, iris, and zoom rings with hard stops as opposed to the infinity-spin on many camcorders. I don't use the power zoom much as I generally prefer to turn off the servo and use the manual zoom ring to quickly calibrate and frame shots. But when I do use the power zoom, I always use the controls on the servo on the FS5m2 and cannot really speak to how well the zoom lever on the side of the lens works. This lens is 10x better than the smaller $500 lens you could get with the FS5m2, even with the same focal lengths. The one drawback to the PZ 18-110 is it's heavy. It weighs more than the body of the FS5m2. Be prepared for a camera that balances very differently both on the tripod and in-hand when you're attaching this 2.5 pound weight to the front. I'm sometimes tempted to use the smaller lens if doing strenuous shoots but always go back to this. It looks so much better and is easier to operate. I haven't needed any support rods but you may want them for peace of mind if doing a lot of shooting where you bounce around.
i shot with this lens last night on an FS7. I like the Servo zoom. And i like the range. It's not particularly fast f-stop, but i suppose it's about average for a zoom. On an APS-C sensor, it's more like 27-150mm--for the most part, that was wide enough. The real pain is that, unlike Sony's other servo lenses, this lens needs to be refocused every time you adjust the zoom. Unlike Sony's other servo lenses, this one is NOT A PARFOCAL LENS. The autofocus is NOT good. And it's a pretty soft focus--I'm not expect the tack-sharpness of a prime, but good gravy, this is embarrassingly soft. I wouldn't recommend this lens.
I got this through a bundle deal with the FS7mkii. I was quite unsure about the whole thing, I have been hands on with the 28-160mm and it was straight out useless for my needs. Just a bit too narrow at the wide end, but serious lag in the fly-by-wire manual zoom was the biggest issue. To my great relief the manual zoom on this lens actually IS manual. I'm spoiled with the Canon Cineservo 17-120mm and Fujinon 19-90mm, but I needed this kit to pack some more range than the still lenses that are very frequently used on the lighter kits like C300, FS7 and so on. Although at this lens has some limitations IE an aperture of f/4 I feel this is the most ideal docu/reality-lens in the segment below the waaaaay more expensive 19-90/17-120. I do feel that the motor zoom could ... MoreI got this through a bundle deal with the FS7mkii. I was quite unsure about the whole thing, I have been hands on with the 28-160mm and it was straight out useless for my needs. Just a bit too narrow at the wide end, but serious lag in the fly-by-wire manual zoom was the biggest issue. To my great relief the manual zoom on this lens actually IS manual. I'm spoiled with the Canon Cineservo 17-120mm and Fujinon 19-90mm, but I needed this kit to pack some more range than the still lenses that are very frequently used on the lighter kits like C300, FS7 and so on. Although at this lens has some limitations IE an aperture of f/4 I feel this is the most ideal docu/reality-lens in the segment below the waaaaay more expensive 19-90/17-120. I do feel that the motor zoom could have been a bit smoother, and faster when I need it to change composition. Basically, I won't even use it and I didn't intend to when I ordered. With DSLR optics everything is manual and by my left hand anyway, and this lens provides a manual zoom that is much smoother than the zoom on still lenses where you shift much glass around with the risk of jagged movement. The focus ring is much more like the cine lenses with a nice, smooth movement and a much longer travel distance than with the still lenses. And where I used to change DSLR lenses at 55mm focal length, this lens move on to twice that. I add a shortcut to Center scan in my User Menu, and this gives a very usable focal length where I used to swap between a 18-55mm and a 70-200mm on other kits. Someone noted that the iris has a small lag, although I haven't noticed all the time I use variable ND to expose and leaves the aperture wide open all the time anyway.
I have shot with both this 18-110 lens and the 28-135 lens extensively for the last couple of years on FS7 cameras and I don't understand why the 18-110 lens is so much more expensive for what I believe is an inferior lens.Problem number 1: the 18-110 is NOT par focal. That is a big problem when you come from the ENG world and expecting this lens to behave like an ENG lens would. Not to mention, the 28-135 lens is par focal.Problem number 2: the focus is not very sharp. If you're shooting something where focus is absolutely critical (and I know what you're thinking...when is it not?) this 18-110 lens is just not great in post, even when it appears to be in focus out in the field. To check focus with this lens, I frame the shot the way I want it, then I use the ... MoreI have shot with both this 18-110 lens and the 28-135 lens extensively for the last couple of years on FS7 cameras and I don't understand why the 18-110 lens is so much more expensive for what I believe is an inferior lens.Problem number 1: the 18-110 is NOT par focal. That is a big problem when you come from the ENG world and expecting this lens to behave like an ENG lens would. Not to mention, the 28-135 lens is par focal.Problem number 2: the focus is not very sharp. If you're shooting something where focus is absolutely critical (and I know what you're thinking...when is it not?) this 18-110 lens is just not great in post, even when it appears to be in focus out in the field. To check focus with this lens, I frame the shot the way I want it, then I use the digital zoom on the hand grip of the FS7 to punch in to check sharpness, then punch back out. I have done this with the peaking on and with it off and I still don't have 100% confidence that the shot is focused correctly.Sometimes the focus is totally fine and it's just my paranoia, but other times it hasn't been and we didn't notice until we're editing. This lens has really hosed me when I'm shooting b-roll and trying to zoom and adjust focus along the way. I've been shooting for 20 years and this 18-110 lens is a struggle to use.I hate this lens and it should be thrown into the deepest of oceans.The 28-135 Sony lens (despite how narrow it is - even on my FX9 in 6k, full-frame mode) is a much better lens, although I don't love that lens either. But the 28-135mm is a more user-friendly lens and more forgiving.Bottom line is this: Sony makes some pretty darn good cameras (I've owned an F55, two FS7's and now the FX9) but their servo zoom lenses, especially this 18-110mm one, leaves a lot to be desired.
I have the FE PZ 28-135mm F4 G OSS lens which being 35mm full frame format means it actually has a focal length of 42-202mm on my FS7 since my FS7 is Super 35 (APS-C) format and the lens gets cropped. I found this lens useful for longer lens applications but too long for probably 80% of what I generally shoot. I shoot a lot of reality TV, observational documentary, etc. The 18-110mm F/4 G Oss Lens covers the most used focal range for this kind of work with no cropping on my FS7 as it is APS-C format which is great. What I really wanted to know was how the focus would be and zoom speed. I have been spoilt by years on expensive broadcast ENG lenses which have lightening fast zoom speeds and the importance to me is how fast you can re compose a shot such as snapping in ... MoreI have the FE PZ 28-135mm F4 G OSS lens which being 35mm full frame format means it actually has a focal length of 42-202mm on my FS7 since my FS7 is Super 35 (APS-C) format and the lens gets cropped. I found this lens useful for longer lens applications but too long for probably 80% of what I generally shoot. I shoot a lot of reality TV, observational documentary, etc. The 18-110mm F/4 G Oss Lens covers the most used focal range for this kind of work with no cropping on my FS7 as it is APS-C format which is great. What I really wanted to know was how the focus would be and zoom speed. I have been spoilt by years on expensive broadcast ENG lenses which have lightening fast zoom speeds and the importance to me is how fast you can re compose a shot such as snapping in for a close up. Sure you can control zoom manually and I often do this but sometimes you want to change shot size more smoothly while rolling. The 28-135mm in servo mode was painfully slow, fine when rolling on stuff but painful for quick re frames and in manual mode was pretty bad too being fly by wire. So finally I have received my 18-110mm and its awesome! To my great relief in manual mode it has a precise crisp focus that doesn't feel like fly by wire and has end stops from 0.95 to infinity (It is the same in this regard to the 28-135 in manual focus mode). The zoom in manual mode feels totally mechanical and instant, exactly what you want and the servo zoom speed is heaps faster than the 28-135. With its smooth iris ring, precise manual focus and greatly improved zoom mechanism, steady shot and a degree of weather proofing, its going to be a great, versatile doco lens :). Its the same size but lighter than the 28-135 & the new lens hood with shutter is great too, my 28-135mm will still complement nicely as my long lens, it's still a good lens just not for run n gun.
I have been waiting for the Sony E Pz 18-110mm F/4 G Oss Lens since it was first announced at IBC. I have the FE PZ 28-135mm F4 G OSS lens which being 35mm full frame format means it actually has a focal length of 42-202mm on my FS7 since my FS7 is Super 35 (APS-C) format and the lens gets cropped. I found this lens very limited to longer lens applications but useless for probably 80% of what I generally shoot. I shoot a lot of reality TV, observational documentary, run n gun, etc. The 18-110mm F/4 G Oss Lens covers the most used focal range for this kind of work with no cropping on my FS7 as it is APS-C format. I was able to find very little review information on the lens and what I really wanted to know was how the focus would be and zoom speed. I have been spoilt ... MoreI have been waiting for the Sony E Pz 18-110mm F/4 G Oss Lens since it was first announced at IBC. I have the FE PZ 28-135mm F4 G OSS lens which being 35mm full frame format means it actually has a focal length of 42-202mm on my FS7 since my FS7 is Super 35 (APS-C) format and the lens gets cropped. I found this lens very limited to longer lens applications but useless for probably 80% of what I generally shoot. I shoot a lot of reality TV, observational documentary, run n gun, etc. The 18-110mm F/4 G Oss Lens covers the most used focal range for this kind of work with no cropping on my FS7 as it is APS-C format. I was able to find very little review information on the lens and what I really wanted to know was how the focus would be and zoom speed. I have been spoilt by years on expensive broadcast ENG lenses which have lightening fast zoom speeds and the importance to me is how fast you can re compose a shot such as snapping in for a close up. Sure you can have the lens servo turned off & control it manually and I often do this but not having to move your hand off the focus to the zoom ring & back to the focus is a luxury & faster and a second or two count to me when covering fast moving reality smoothly. The 28-135mm in servo mode was painfully slow, fine when rolling on stuff but painful for repos and in manual mode was pretty bad too being fly by wire. So finally I have received my 18-110mm and its awesome! To my great relief in manual mode it has a precise crisp focus that doesn't feel like fly by wire and has end stops from 0.95 to infinity (It is the same in this regard to the 28-135 in manual focus mode). The zoom in manual mode feels totally mechanical exactly what you want and the servo zoom speed is heaps faster than the 28-135. With its smooth iris ring, precise manual focus and greatly improved zoom mechanism, steady shot and weather proofing, its going to be a great, versatile doco lens :). Its lighter & the new lens hood with shutter is great too.
I recently purchased this lens, and overall, it's a really nice piece of equipment. Solid build. Great optics. But one of the main reasons I purchased this lens was for the auto/face-tracking focus. My eyes have trouble focusing on the image on my camera's LCD so I spent the $ to have a lens make sure my focus was tack sharp. Unfortunately, I put my blind trust in this product & didn't have time to test it before using it for a job. The auto focus is TERRIBLE. It is constantly breathing in and out of focus like a VHS camcorder from the 80's. I'm sitting here at my editing computer with my stomach in knots because I'm afraid I just lost an entire day's worth of production, and my client is not going to be happy. Don't trust the auto-focus for anything important. It's ... MoreI recently purchased this lens, and overall, it's a really nice piece of equipment. Solid build. Great optics. But one of the main reasons I purchased this lens was for the auto/face-tracking focus. My eyes have trouble focusing on the image on my camera's LCD so I spent the $ to have a lens make sure my focus was tack sharp. Unfortunately, I put my blind trust in this product & didn't have time to test it before using it for a job. The auto focus is TERRIBLE. It is constantly breathing in and out of focus like a VHS camcorder from the 80's. I'm sitting here at my editing computer with my stomach in knots because I'm afraid I just lost an entire day's worth of production, and my client is not going to be happy. Don't trust the auto-focus for anything important. It's really, really unstable.
| Lens system | |
| Closest focusing distance | 0.4 m |
| Maximum aperture number | 22 |
| Lens mount interface | Sony E |
| Number of diaphragm blades | 7 |
