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Sony E 10-20mm F/4 G PZ [SELP1020G]

Wide-angle zoom lens • Digital era

Sony E 10-20mm F/4 G PZ [SELP1020G]

Abbreviations

E The lens is designed for Sony APS-C digital mirrorless cameras only.
G Professional lens with high quality optics and robust build. Meets the highest standards and provides excellent performance and flawless image quality unachievable with traditional optical technologies.
PZ The lens features electronically driven zoom mechanism.

Production details

Announced:June 2022
Production status: In production
Production type:Mass production
Original name:SONY E 4/PZ 10-20 G
System: Sony E APS-C (2010)

Features highlight

APS-C
Extreme AoV @ 10-15mm
Constant F/4
4 ASPH
3 ED
IF
Dual LM
Compact
Lightweight
DP/WR
IZ
PZ

Specification

Optical design
Focal length range:10mm - 20mm [2X zoom ratio]
Speed range:F/4 across the focal length range
Maximum format:APS-C
Mount and Flange focal distance:Sony E [18mm]
Diagonal angle of view:109.4° @ 10mm - 70.5° @ 20mm (Sony E APS-C)
Lens construction:11 elements - 8 groups
4 ASPH, 3 ED
Diaphragm mechanism
Number of blades:7
Zooming
Zoom type:Rotary
Zooming method:Internal zooming
Additional features:Power Zoom
Focusing
Closest focusing distance:0.2m [AF]
Maximum magnification ratio:1:7.14 @ 20mm at the closest focusing distance
Focusing method:Internal focusing (IF)
Focusing modes:Autofocus, manual focus
Manual focus control:Focusing ring
Autofocus motor:Dual Linear motor
Focus mode selector:AF - MF
Direct Manual Focus (DMF):Determined by the camera
Optical SteadyShot (OSS)
Built-in OSS:-
Physical characteristics
Weight:178g
Maximum diameter x Length:⌀69.8×55mm
Weather sealing:Dust-proof and water-resistant barrel
Fluorine coating:-
Accessories
Filters:Screw-type 62mm
Lens hood:Bayonet-type ALC-SH169 (petal-shaped)
Teleconverters:Not compatible

*) Source of data: Manufacturer's technical data.

Manufacturer description #1

SAN DIEGO, June 1, 2022 /PRNewswire/ -- Sony Electronics Inc. today has expanded its E-mount lens lineup with the introduction of the power zoom G lens E PZ 10-20mm F4 G (model SELP1020G), versatile G lens E 15mm F1.4 G (model SEL15F14G), and the ultra-wide prime E 11mm F1.8 (model SEL11F18). The three newest additions bring Sony's E-mount lens family to a total of 70 different models, offering more options than ever for still, video and hybrid content creators.

The first new lens, the E PZ 10-20mm F4 G is the world's smallest and lightest, ultra-wide angle, constant F4 APS-C power zoom lens. This compact zoom lens brings together outstanding G Lens imagery, impeccable autofocus (AF) performance, and versatile power zoom. The end result is a lens that remains a constant length throughout the zoom range and offers refined visual expression and operability that only a power zoom lens can provide.

The second new lens, the E 15mm F1.4 G, offers beautiful shallow depth of field plus superb G lens resolution in a versatile APS-C lens design, empowering users with vast creative potential. This compact and lightweight prime lens delivers dynamic imagery, and includes excellent AF (autofocus) capabilities, along with high operability and control. The E 15mm F1.4 G is great for both still and cinematic imagery.

The E 11mm F1.8 is a compact large aperture, ultra-wide APS-C prime lens designed for vloggers and shooting video on the go. With a 35mm full-frame equivalent of 16.5mm, this lens delivers outstanding corner-to-corner resolution, gorgeous bokeh and fast, reliable AF for dramatic expression and stunning selfie-style content.

"Amidst the ever-changing camera market, Sony's commitment to creating industry-leading tech for all its customers is unwavering," said Yang Cheng, Vice President, Imaging Solutions, Sony Electronics Inc. "In recent years we've seen a growing customer demand for video-and-vlogging-first products that are lightweight and include creator-driven features. We see the APS-C platform as the perfect option for these video-first and hybrid creators, and we're dedicated to creating new products that will allow them to capture and create in ways they never could before."

E PZ 10-20mm F4 G

Outstanding Image Quality and Dynamic Perspectives

The E PZ 10-20mm F4 G provides an extremely wide angle of view with a 10-20mm zoom range and a clean and clear image from corner to corner at all zoom settings. Three aspherical elements are ideally positioned to suppress field curvature and astigmatism, both of which are common problems in ultra-wide-angle lenses. The optical path also includes two ED (Extra-low Dispersion) glass elements that effectively subdue chromatic aberration. An ED aspherical element further contributes to high resolution to the image edges.

A circular aperture and carefully designed control of spherical aberration work together to deliver naturally rendered G Lens bokeh that can contribute to impressive imagery.

The minimum autofocus distance is 8 inches (0.2 meters) with a maximum magnification of 0.14x, while minimum manual focus distance is 5 to 6.7 inches (0.13 to 0.17-meters) with a maximum magnification of 0.18x.

Advanced AF Performance for Both Stills and Video

With astonishing AF performance that gives still and video shooters unprecedented freedom, it uses two linear motors for focus drive, delivering fast, quiet AF.

Fast, reliable AF can smoothly track subjects when shooting high frame rate video, and reliably follow fast-moving subjects when shooting stills continuously at high speed. The new lens also reduces focus breathing so that angle-of-view variations are minimized for smooth, stable video.

Refined Expression and Control for Video

The E PZ 10-20mm F4 G features a new electronic power zoom system that ensures direct, responsive control and adjustable zoom speed. Even the subtlest zoom ring rotation is precisely detected and immediately converted to actual zoom operation. Users have extensive control of zoom speed and operation from the lens, the camera and even compatible remote controls to support creative opportunities not possible with other zoom lenses. Power zoom minimizes camera shake so that solo shooters can produce smooth, stable imagery. Moreover, the lens uses internal zoom and focus mechanisms, to maintain a constant length when zooming or focusing. Shifts in the lens' center of gravity are minimal, making it a great choice for stable vlogging and gimbal-mounted video shooting.

A constant F4 at all focal settings makes it possible for the lens to maintain stable image quality when recording. In addition, buttons can be assigned on compatible bodies for convenient custom zoom control.

Unequalled Mobility and Handling

The E PZ 10-20mm F4 G is 20% lighter than its predecessor (SEL1018), making it the smallest and lightest lens in its class with a total weight of just 6.3 ounces (178 grams). The compact power zoom lens E PZ 10-20mm F4 G is designed to maximize control and versatility for video as well as stills with a focus ring, zoom ring and zoom lever. A customizable focus hold button and focus mode switch have been thoughtfully incorporated to easily adapt in changing shooting conditions. Users can attach 62mm screw-on filters, such as variable ND filters, for more creative control. The lens has also been designed to be dust and moisture resistant to provide extra reliability.

Manufacturer description #2

The world’s smallest and lightest constant F4 ultra-wide-angle APS-C power zoom lens offers outstanding mobility and superb image quality for both stills and movies. Smooth, versatile power zoom provides speed and framing control that brings extra expression to dynamic ultra-wide visual perspectives.

Just 2-1/4 in. (55 mm) long and weighing a mere 6.3 oz. (178 g), this is the world’s smallest, lightest F4 ultra-wide-angle power zoom lens. Thanks to internal zoom and focus, the lens does not change in length when zooming or focusing, providing a stable center of gravity that is ideal for vlogging and gimbal-mounted shooting. Outstanding mobility makes it a great choice for a wide range of situations.

A 10 mm (35mm full-frame equivalent: 15 mm) focal length at the wide end of the zoom range provides extremely wide angles of view that can easily cover sweeping scenes or reveal more in small spaces. This versatile lens can also deliver dynamic images utilizing unique perspectives, effectively separating the subject from the background, and emphasizing distance or speed in movies.

Three aspherical elements suppress field curvature and astigmatism while an ED (Extra-low Dispersion) aspherical element subdues chromatic aberration for high image-wide resolution throughout the 10 to 20 mm zoom range (35mm full-frame equivalent: 15 to 30 mm). Naturally rendered G Lens bokeh can deliver striking expression with this lens’s 7.9" (0.2m) minimum AF distance and 5.1 - 6.7" (0.13 - 0.17 m) minimum MF distance.

Advanced lens technology reduces focus breathing as well as focus and axial shift when zooming to ensure that smooth, high-quality movie footage is always captured. Unwanted, distracting changes in angle of view and framing are minimized so the viewer can become fully immersed in the imagery.

A new electronic power zoom system instantly converts zoom ring rotation to actual zoom operation so that the creator’s intent is faithfully captured. There’s also a zoom lever that makes it easy to execute super-slow constant-speed zooms that are difficult with manual zoom. Zoom can also be controlled remotely from the optional GP-VPT2BT grip, RMT-P1BT remote commander, or the Imaging Edge Mobile application.

Two linear motors ensure fast, quiet, low vibration autofocus that can smoothly track subjects when shooting high frame rate movies and reliably follow fast-moving subjects when shooting stills continuously at high speed. Focus is especially critical when shooting 4K or 8K movies, particularly while zooming. This lens easily acquires focus and tracks challenging subjects smoothly and silently.

From the editor

In manual focus mode, the closest focusing distance is 0.13m at focal length of 10mm and 0.17m at focal length of 20mm, while the maximum magnification ratio at focal length of 20mm is 1:5.56.

Typical application

landscapes, interiors, buildings, cityscapes, travel

Alternative in the Sony E APS-C system

4.0 Sony E 10-18mm F/4 OSS [SEL1018] ⌀62APS-CPro 2012 Compare03

Lenses with similar focal length range

2.8 Tamron 11-20mm F/2.8 Di III-A RXD B060 ⌀67APS-CPro 2021 Compare34

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35mm full frame

43.27 24 36
  • Dimensions: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm

Travellers' choice

Note

Among autofocus lenses designed for 35mm full-frame mirrorless cameras only. Speed of standard and telephoto lenses is taken into account.

Professional lens (Top class)

One of the best slow wide-angle zooms

According to lens-db.com; among lenses designed for the same maximum format and mount.

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Image stabilizer

A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.

The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

Linear motor

AF - MF

AFAutofocus mode.
MFManual focus mode.

Aspherical elements

Aspherical elements (ASPH, XA, XGM) are used in wide-angle lenses for correction of distortion and in large-aperture lenses for correction of spherical aberration, astigmatism and coma, thus ensuring excellent sharpness and contrast even at fully open aperture. The effect of the aspherical element is determined by its position within the optical formula: the more the aspherical element moves away from the aperture stop, the more it influences distortion; close to the aperture stop it can be particularly used to correct spherical aberration. Aspherical element can substitute one or several regular spherical elements to achieve similar or better optical results, which allows to develop more compact and lightweight lenses.

Use of aspherical elements has its downsides: it leads to non-uniform rendering of out-of-focus highlights. This effect usually appears as "onion-like" texture of concentric rings or "wooly-like" texture and is caused by very slight defects in the surface of aspherical element. It is difficult to predict such effect, but usually it occurs when the highlights are small enough and far enough out of focus.

Low dispersion elements

Low dispersion elements (ED, LD, SD, UD etc) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. This type of glass exhibits low refractive index, low dispersion, and exceptional partial dispersion characteristics compared to standard optical glass. Two lenses made of low dispersion glass offer almost the same performance as one fluorite lens.

Low dispersion elements

Low dispersion elements (ED, LD, SD, UD etc) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. This type of glass exhibits low refractive index, low dispersion, and exceptional partial dispersion characteristics compared to standard optical glass. Two lenses made of low dispersion glass offer almost the same performance as one fluorite lens.

Canon's Super UD, Nikon's Super ED, Pentax' Super ED, Sigma's FLD ("F" Low Dispersion), Sony' Super ED and Tamron's XLD glasses are the highest level low dispersion glasses available with extremely high light transmission. These optical glasses have a performance equal to fluorite glass.

High-refraction low-dispersion elements

High-refraction low-dispersion elements (HLD) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

High Index, High Dispersion elements

High Index, High Dispersion elements (HID) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

Anomalous partial dispersion elements

Anomalous partial dispersion elements (AD) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

Fluorite elements

Synthetic fluorite elements (FL) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. Compared with optical glass, fluorite lenses have a considerably lower refraction index, low dispersion and extraordinary partial dispersion, and high transmission of infrared and ultraviolet light. They are also significantly lighter than optical glass.

According to Nikon, fluorite easily cracks and is sensitive to temperature changes that can adversely affect focusing by altering the lens' refractive index. To avoid this, Canon, as the manufacturer most widely using fluorite in its telephoto lenses, never uses fluorite in the front and rear lens elements, and the white coating is applied to the lens barrels to reflect light and prevent the lens from overheating.

Short-wavelength refractive elements

High and specialized-dispersion elements (SR) refract light with wavelengths shorter than that of blue to achieve highly precise chromatic aberration compensation. This technology also results in smaller and lighter lenses.

Blue Spectrum Refractive Optics

Organic Blue Spectrum Refractive Optics material (BR Optics) placed between convex and concave elements made from conventional optical glass provides more efficient correction of longitudinal chromatic aberrations in comparison with conventional technology.

Diffraction elements

Diffraction elements (DO, PF) cancel chromatic aberrations at various wavelengths. This technology results in smaller and lighter lenses in comparison with traditional designs with no compromise in image quality.

High refractive index elements

High refractive index elements (HR, HRI, XR etc) minimize field curvature and spherical aberration. High refractive index element can substitute one or several regular elements to achieve similar or better optical results, which allows to develop more compact and lightweight lenses.

Apodization element

Apodization element (APD) is in fact a radial gradient filter. It practically does not change the characteristics of light beam passing through its central part but absorbs the light at the periphery. It sort of softens the edges of the aperture making the transition from foreground to background zone very smooth and results in very attractive, natural looking and silky smooth bokeh.

Original name

Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.

Format

Format refers to the shape and size of film or image sensor.

35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

Angle of view

Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),

where:

CF – crop-factor of a sensor,
FL – focal length of a lens.

Mount

A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance can also be different.

The flange focal distance (FFD) is the distance from the mechanical rear end surface of the lens mount to the focal plane.

Lens construction

Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.

Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.

Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.

Focal length

The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.

Speed

The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.

In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

Determines how large the subject will appear in the final image. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Electronic manual focus override is performed in the following way: half-press the shutter button, wait until the camera has finished the autofocusing and then focus manually without releasing the shutter button using the focusing ring.

Electromagnetic diaphragm control system

Provides highly accurate diaphragm control and stable auto exposure performance during continuous shooting.

Fixed focus

There is no helicoid in this lens and everything is in focus from the closest focusing distance to infinity.

Overall linear extension

The entire lens optical system moves straight backward and forward when focusing is carried out. This is the simplest type of focusing used mainly in wide-angle and standard prime lenses. It has the advantage of introducing relatively little change in aberrations with respect to change in focusing distance. With telephoto and super telephoto lenses this method becomes less beneficial in terms of operability because of the increased size and weight of the lens system.

Front group linear extension

The rear group remains fixed and only the front group moves straight backward and forward during focusing. This method is primarily used in zoom lenses and allows to design comparatively simple lens construction, but also places restrictions on zoom magnification and size reduction.

Front group rotational extension

The lens barrel section holding the front lens group rotates to move the front group backward and forward during focusing. This method of focusing is also used only in zoom lenses.

Internal focusing (IF)

Focusing is performed by moving one or more lens groups positioned between the front lens group and the diaphragm.

Methods of internal and rear focusing have the following advantages:

Rear focusing (RF)

Focusing is performed by moving one or more lens groups positioned behind the diaphragm.

Methods of internal and rear focusing have the following advantages:

Number of blades

As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.

Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.

At maximum aperture, the opening will be circular regardless of the number of blades.

Weight

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.

Filters

Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.

Teleconverters

Teleconverters increase the effective focal length of lenses. They also usually maintain the closest focusing distance of lenses, thus increasing the magnification significantly. A lens combined with a teleconverter is normally smaller, lighter and cheaper than a "direct" telephoto lens of the same focal length and speed.

Teleconverters are a convenient way of enhancing telephoto capability, but it comes at a cost − reduced maximum aperture. Also, since teleconverters magnify every detail in the image, they logically also magnify residual aberrations of the lens.

Lens caps

Scratched lens surfaces can spoil the definition and contrast of even the finest lenses. Lens covers are the best and most inexpensive protection available against dust, moisture and abrasion. Safeguard lens elements - both front and rear - whenever the lens is not in use.

Rotary zoom

The change of focal length is achieved by turning the zoom ring and the manual focusing - by turning the separate focusing ring.

Push/pull zooming allows for faster change of focal length, however conventional method based on the rotation of the zoom ring provides more accurate and smooth zooming.

Push/pull zoom

The change of focal length and the manual focusing is achieved by one and the same ring. The change of focal length happens when the photographer moves the ring towards the mount or backwards and the rotation of the ring leads to change of focus.

Push/pull zooming allows for faster change of focal length, however conventional method based on the rotation of the zoom ring provides more accurate and smooth zooming.

Zoom lock

The lens features a zoom lock to keep the zoom ring fixed. This function is convenient for carrying a camera with the lens on a strap because it prevents the lens from extending.

Power Zoom

The lens features electronically driven zoom mechanism. It provides smoother, more natural zoom movements than you could accomplish by hand.

The Holy Trinity of lenses

The Holy Trinity of lenses refers to a three-lens set that covers a focal length range from the ultra-wide focal length of 14-16mm all the way long to the telephoto focal length of 200mm. The set typically consists of a 16-35mm ultra-wide angle zoom lens, a 24-70mm standard zoom lens and a 70-200mm telephoto zoom lens and usually represents the best constant-aperture zoom lenses in a manufacturer's lineup. The set is designed to cover almost every genre of photography, be it landscapes, architecture, portraits, weddings, sports, travel or even wildlife (with teleconverter). However, it is also expensive, large and heavy.