The following images were taken with the Sony DT 11-18mm lens using the Sony Alpha A100. Each image was recorded using the A100’s Large Fine JPEG mode, Auto White Balance, Vivid colour mode and with the D-Range Optimiser switched off, while metering was set to Multi-Segment. The individual file size, exposure mode, shutter speed, aperture, ISO and lens focal length are listed for each image.

The crops are taken from the original files, reproduced at 100% and saved in Adobe Photoshop CS2 as JPEGs with the Very High quality preset, while the resized full images were made in Photoshop CS2 and saved with the High quality preset. The three crops are typically taken from far left, central and far right portions of each image.

Landscape: 4.70MB, Aperture Priority, 1/50, f13, ISO 100, 11-18mm at 11mm (equivalent to 16.5mm)

Our first shot was taken with the DT 11-18mm zoomed-out to 11mm. Ultra wide lenses are great for compositions like these where the foreground subject is very close.

By stopping down to f13 in Aperture Priority mode the depth of field has covered the range of subject distances, but there’s softness towards the edges of the frame – this is something you’ll notice throughout this page.

Boat: 2.49MB, Aperture Priority, 1/20, f20, ISO 100, 11-18mm at 11mm (equivalent to 16.5mm)

Our second shot was again taken with the lens at 11mm and positioned close to the foreground. Here we stopped down even further to f20 to ensure a sufficient depth of field.

The crops in this example are taken from less demanding areas, further from the corners and as such the results are detailed, albeit with some softness from the small aperture.

Portrait: 2.36MB, Program, 1/80, f8, ISO 100, 11-18mm at 18mm (equivalent to 27mm)

Portraits are not the natural choice for an ultra-wide angle zoom, but with careful positioning of the subject they’re certainly possible.

This was taken with the DT 11-18mm zoomed-into 18mm, and the A100’s built-in flash was forced-on to compensate for the relatively dark foreground area.

The crops show the lens is capable of capturing a decent amount of detail under these conditions, while the A100 has done a fair job of delivering a natural-looking fill-in flash.

Landscape: 4.28MB, Shutter Priority, 1/2, f11, ISO 100, 11-18mm at 11mm (equivalent to 16.5mm)

This woodland shot was taken under very dim conditions, but the A100’s built-in anti-shake gave us an opportunity to use a long exposure and blur the waterfall. This image was actually taken at an exposure of half a second, although the lens was zoomed-out to 11mm.

As before, crops taken from the middle are sharp and detailed, but there’s softening in the extreme corners and also a little coloured fringing in the top crop.

Building: 3.19MB, Program, 1/100, f11, ISO 100, 11-18mm at 18mm (equivalent to 27mm)

This outdoor building shot was taken under very bright, direct sunlight with the lens zoomed-into 18mm, and the crops once again reveal the same story as before.

The lens is sharp in the middle, but becomes softer as you approach the corners, and stopping down doesn’t greatly improve the situation.

Indoor: 2.85MB, Aperture Priority, 1/15, f4.5, ISO 400, 11-18mm at 11mm (equivalent to 16.5mm)

Our final shot shows how useful an ultra-wide lens can be for shooting interiors. Anyone familiar with our Galleries will immediately notice the much greater field of view captured here compared to standard lenses.

The crops show a decent amount of detail, although they are taken from more forgiving areas – once again towards the corners, softening becomes apparent. Note: the A100 needed +1.3EV exposure compensation for this shot.