I recently (unfortunately) broke my SELP1650. To make a long story short, my A6000 stopped being able to recognize the lens. I sent it in to Sony and they said it was physical damage and therefore would not honor the warranty. It's fine, I'm over it.

Well you seem to have the 50s covered . I find the SEL 50 1.8 OSS to be a good lens for low light and portraits. I use the Sigma 60/2.8 for a lot of things. For jobs that require a macro I use the Sony FE 90/2.8 G Macro OSS, but for my personal casual closeups I'll use an achromatic closeup lens on whatever lens I happen to be using. I also make frequent use of the Sony 20/2.8 for wide angle close-ups for it's short minimum focus distance and DOF that's deeper than my macro or the closeup lens. I agree that neither lens is perfect, but if you are deciding between only those two lenses I have to say that the 18-55 has a slight edge in IQ. While the 16-50 has an advantage on the wide end, the 18-55 is a slightly better lens. You can get some pretty good shots with both lenses. There are much better lenses out there but if these are your only two options and the larger size does not really bother you, I would go for the 18-55. Does anyone know if this is compatible? It seems to be cheaper. Are there differences? Is it still compatible with my A6000? For a collapsable kit lens that finally delivers on the Nex promise of compactness, I am extremely happy with this lens. It is stellar over the focal lengths that are most important to my shooting. YMMV.

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Multi-Language Menu, Power Save Mode, Self Cleaning Sensor, Self Timer, App Functionality, Noise Reduction This appears to be a common problem with the SELP1650. Sony needs to make the internal barrel from metal, and perhaps some of the internal levers and gears. Lens design is a juggling act, and optical engineers have to decide how to trade off between sharpness, CA, shading (“vignetting”) and distortion. The ability to correct for some of these shortcomings in the camera, post-capture means that lens designers can allow some parameters to drift, and in the process achieve better results in the other areas. This is common practice for Micro Four Thirds lenses, but the Sony 16-50mm is the first example of this at work we've seen in an E-mount lens, however it probably won't be the last. The uncorrected RAW files show really dramatic amounts of geometric distortion, that's corrected-out by the NEX cameras in their in-camera JPEGs. This lens isn't a ''constant'' lens, in that as you increase the focal length, both the maximum and minimum aperture sizes decrease. The following table reflects the aperture changes as you zoom: Focal length

The sharpness is on par with the much more expensive 10-18 and focusing speed is yet to be beat among other E-mount lenses. The level mechanism is very handing for video. However, this is the second one I owned as the first one had quality issues but the one I have now is great. Maybe factory quality issues have contributed to its early cool reception. SELP1650 is one thing, I understand this is the e-mount kit lens that I need replaced. But there's another 16-50mm e-mount Sony lens floating around with the serial number B00CIT29XW. Description is "Sony 16-50mm f/3.5-5.6 OSS Alpha E-mount Retractable Zoom Lens" At all focal lengths, once you stop down to f/16 and beyond, diffraction limiting sets in, and you'll begin to see significant loss in image sharpness. The camera received high praise for its excellent features, including WiFi and NFC, for the great image quality and fast operation (6/2014). Once again, the image results paired with the Carl Zeiss Vario Tessar 4/16-70 mm OSS are praised, while the 3.5-5.6/16-50 mm kit lens shows clear weaknesses. All in all, the Sony 's good price-performance ratio met with great satisfaction. It is a fantastic entry model for anyone looking for an SLR, even years after its release. Pair it with the Sony Vario Tessar T E 16 70mm lens for even better performance. Offers User-Friendly Operation

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This lens became my most used lens on the NEX-6, replacing my 10-18 OSS and Sigma 19 f2.8 for general shooting and the 50 f1.8 OSS for daytime shooting. 16mm is wide enough for most applications, and the compactness is a joy to use. The lens is not compatible with a lens hood, but does accept 40.5mm lens filters, and ships with front and rear caps.

As I am not a "portrait" lover, I often don't take portraits and I like to walk, so I don't really need the extra 5mm that the 18-55 givesme. But it's up to you. I have an aftermarket lens hood and cap to replace the original cap that falls off easily: Fotasy Metal Screw-in Lens Hood + Lens Cap for Sony E-mount SELP1650 16-50mm f/3.5-5.6 OSS Retractable Zoom Lens. The lens can achieve a blur-free image easily at 1/10 second. Taking 1/6 second blur-free image is still possible if your hand is firm and steady enough. 1/5 and any slower shutter speed are challenging for me to take a blur-free image even though the OSS is on. More handheld night shots can be found in the bottom line section below. Bottom Line The Sony E 16-50mm f/3.5-5.6 PZ OSS is a compact and inexpensive kit zoom lens that produces decent results, although it suffers from heavy barrel distortion at wide angles and produces images that are only super-sharp at the center. That said, it does better than most kit lenses, to the point that you may not feel the need to immediately rip it off and replace it with something better. It's a very serviceable shooter. The big selling points here are its compactness as well as the powerzoom and image stabilization features, both of which come in handy for video shooting.

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Inside the barrel sit 9 lens elements in 8 groups, with one ED and four aspherical elements. The aperture mechanism has 7 blades for a fairly circular aperture. Going slightly of subject here, but I think it's worth a mention, as you are looking for an 1650 replacement. I have the 1855, always had it, never used it, for several reasons. Do you prefer size or traditional zoom ergonomics? Besides that, there is not a whole lot of difference in IQ. I've had both, prefer the 16-50 due to it's size and 16mm wide setting. If you stop this lens, and use it in good light, it does pretty good. Corners at wide angle are not great, but the 18-55 is very good as well. The 18-55 does take 49mm filters which is pretty common for Sony APS-C lenses. That being said, you can grab a 40.5-49 step up ring and an extra 49mm cap and leave that on the 16-50 when you think you are going to be using filters. AF Assist Light, Built-in Flash, Microphone, Speaker, Hot shoe, Image Stabiliser, External Flash (optional)