Sony DA 16-105mm 1:3.5-5.6 Specification Review

The Sony DT 16-105mm 1:3.5-5.6 was declared in Sept 2007, as a quality kit lens to go along with the Leader 700 DSLR. Sony models has fortunately (and uncharacteristically) handled to prevent the over-proliferation of characters which affect lens titles from other producers, with just the ‘DT’ logo (for Electronic Technology) showing that the design is optimized for digital cameras with APS-C imagers. Sony’s information also shows that the lens functions one ED (Extra-low Dispersion) cup factor and two cup aspherical components, appealing reduced color aberration and outstanding comparison across the zoom capability variety, plus a round aperture for attractive qualifications cloud.

Sony DA 16-105mm
Sony DA 16-105mm

However the 16-105mm is more than just an upmarket kit lens, and provides probably the most fascinating central duration variety of any DSLR lens currently available, which range from a 24mm-equivalent wideangle to a 160mm-equivalent telephoto; indeed for many photography lovers the wider-than-average position of perspective will be more useful than the prolonged telephoto varies found on the present plants of superzooms. This follows in something of a custom for this lens’s Minolta forerunners, which involved a 24-105mm conventional zoom capability for Negatives SLRs when other manufacturers only provided 28-105mm contacts. Increasing the fascination is the fact that this is obtained within a lightweight, light and portable program, perfect for journey or just common objective ‘walkaround’ use. So does this new kid on the prevent have the material to spearhead Sony’s designed generate towards DSLR world domination? Let’s find out.

Key Features

  • 24-157.5mm comparative central duration range
  • F3.5-5.6 highest possible aperture
  • Alpha install for Sony models and Konica Minolta APS-C DSLR

Sony DA 16-105mm Body And Design

The 16-105mm functions an magnificently simple design which is lacking of any aesthetic fripperies. It seems well designed, with a metallic lens install and gun barrel designed from quality plastics; an effect no question strengthened by the fact that it is something of a high quality for such a small program. It may not be as well made as the professional-grade 24-70mm F2.8 zoom capability, but it seems like it should get up to pretty intense use.

Sony DA 16-105mm Body And Design
Sony DA 16-105mm Body And Design

However the effective strategy is not without its problems. The zoom capability and concentrate jewelry use the same superficial ribbed hold rubberized and are of identical size and size, so are difficult to differentiate by contact alone. And disappointingly for a top quality lens, the concentrate band is extremely firm and has a very short journey, which makes guide concentrating something of an effort. The zoom capability action is also a little bit irregular in feel.

Sony DA 16-105mm Images Quality


A amazing efficiency at wideangle configurations, where the lens is remarkably distinct across most of the structure at both the 16mm and 24mm configurations, although with rather smooth sides start up. However sharpness drops off towards the telephoto end, especially at broader apertures, where we see quite precipitous drops in the charts towards the sides of the structure.

Chromatic Aberration

As regular, chromatic aberration is most apparent at wideangle, with powerful red/cyan fringing noticeable at 16-24mm. At advanced central measures CA is usually well managed, before sneaking returning at the telephoto end; there’s a little red/cyan fringing at 70mm, and it becomes clearly noticeable again at 105mm. The edge sizes also seem to enhance clearly on avoiding down.


We consider falloff to be a prospective issue when the area lighting is an end or more reduced than the center. As frequently occurs for wideangle zooms, falloff is noticeable at the largest configurations, with an optimum of 1.7 prevents start up at 16mm; avoiding down to F6.3 or more compact will basically remove issue. At 24mm and beyond falloff is not an issue. Not a bad efficiency at all.


Distortion is (as always) most noticeable at wideangle, with 1.7% gun barrel at 16mm. This is also a complicated ‘wave’ kind distortions, with re-correction towards the sides, which creates application modification relatively challenging. The other variety reveals pincushion distortions, with an optimum of 1.7% at 35mm; which might be just about on the edge of creatively distressing for some moments. Overall a great displaying here.


Autofocus is motivated by a screw-drive system from you body system, so AF rate, disturbance and precision is essentially depending on you used. On our Leader 700 test body system, we found concentrating to be generally fast and precise under most circumstances, although with a unique propensity to search for concentrate in low light at the telephoto end (which is not amazing given its F5.6 highest possible aperture).


One place where the Sony models 16-105mm performs exceptionally well is in its managing of surface. Even with the sun placed in the region of the structure at 16mm, it gives little in the way of surface styles, which is uncommon for a style with so many components. It offers well with powerful side- or back-light too, with little reduction in comparison even when the sun is straight impinging on the top part factor but out of structure.

Sony DA 16-105mm Images Quality F-stop f/2.2 Exposure time 1/200 sec. ISO-200
Sony DA 16-105mm Images Quality F-stop f/2.2 Exposure time 1/200 sec. ISO-200 Photo By Azis Photography

Bokeh Quality

One truly suitable, but difficult to evaluate component of a lens’s efficiency is the ability to provide efficiently blurry out-of-focus areas when trying to separate a topic from the, generally when using a long central duration and large aperture. Sony models make a promoting feature of this lens’s round aperture, which ought to ensure sleek background cloud.

Sony DA 16-105mm Bokeh quality Photo By Azis Photography
Sony DA 16-105mm Bokeh quality Photo By Azis Photography

In exercise the lens can certainly generate some enjoyable changes between areas of the picture which are in and out-of-focus, but bokeh is not particularly sleek, with considerably delineated sides to specular features. It’s not at all bad, but not that special either.

Chromatic Aberration

We anticipate to see chromatic aberration at the wideangle end of a lens of this kind, but what is less frequent is the extreme red/cyan fringing this lens also shows at telephoto. Luckily, due to the near-linear form of the CA shapes (as calculated in our studio room tests), the fringing is easy to remove if you are likely to capture RAW and procedure using a ripper with CA modification capabilities; for example using our conventional, Adobe Digicam Raw, a establishing of + 40 red in the lens modification tab proved helpful.

Area softness

This lens has a unique tendency to show smooth sides start up, as exposed by our studio room assessments, so the query is whether this is a sensible problem in real-life capturing. It’s value featuring the visible distinction between the results at wideangle, where sharpness drops suddenly in the excessive sides, and in the mid-range of the zoom capability, where there’s a more constant leave in efficiency across the structure from center to corner.

The 100% plants below is taken from decreased remaining of the picture (not quite the excessive corner) at 16mm F3.5, and reveals reasonable fall in quality even across a 240 x 180 pixel example, with personal rotor blades of lawn reasonably described in the top right, but decreased to mush in decreased remaining. In equity it must be said that this only impacts a small percentage of the structure (and where there’s unlikely to be any key picture content); it can also be resolved by simply avoiding down to F8 or so, which you’re likely to be doing with a wideangle anyway. However if you have a pathological hate of smooth sides start up, this isn’t the lens for you.

See More Another Sony Lens News Below :

Sony DA 16-105mm Specifications

Street price • US: $550
• UK: £400
Date introduced September 2007
Maximum format size APS-C
Focal length 16-105mm
35mm equivalent focal length (APS-C) 24-158mm
Diagonal Angle of view (APS-C) 83°- 15°
Maximum aperture F3.5-5.6
Minimum aperture F22-36
Lens Construction • 15 elements / 11 groups
• 1 ED glass element
• 2 aspherical elements
Number of diaphragm blades 7
Minimum focus 0.4m
Maximum magnification 0.23x at 105mm
AF motor type ‘Screw drive’ from camera body
Focus method Internal
Image stabilization No
Filter thread • 62mm
• Does not rotate on focus
Supplied accessories • Front and rear caps
• Petal-type lens hood ALC-SH105
Weight 470 g (16.6 oz)
Dimensions 72mm diameter x 83mm length
(2.8 x 3.3 in)
Lens Mount Sony Alpha/Minolta MA
Other Distance encoder for ADI flash metering