These are the best Sony lenses with image stabilization when you want steadier handhelds, cleaner low-light shots, and smoother video—whether your body has IBIS or not—and here’s what to look for as you buy: prioritize Optical SteadyShot (OSS) with multiple modes (general vs panning), fast linear AF and a focus limiter on teles, weather sealing, internal zoom for balance (or stout collars on extending designs), teleconverter support where relevant, quiet IS for video, short minimum focus for “near-macro” detail, and shared filter sizes for one CPL/VND; pair OSS with IBIS for maximum steadiness on compatible bodies, and remember to disable stabilization on locked tripods if you see drift. Full-frame OSS zoom workhorses: FE 24–105mm f/4 G OSS (do-everything travel/event mid-range with excellent stabilization and close-focus), FE 24–70mm f/4 ZA OSS (compact, affordable mid-range), FE 70–200mm f/4 Macro G OSS II (internal zoom, half-macro 0.5× across the range and 1:1 with the 2× TC—brilliant for detail-rich events and product), FE 70–300mm f/4.5–5.6 G OSS (light stabilized reach for hikes), FE 100–400mm f/4.5–5.6 GM OSS (tack-sharp long zoom with TC support), and FE 200–600mm f/5.6–6.3 G OSS (wildlife/value king with internal zoom and confident AF); for doc/run-and-gun, FE PZ 28–135mm f/4 G OSS adds servo power-zoom, geared rings, and smooth OSS for one-operator video. Full-frame primes with OSS (rarer, but special): FE 90mm f/2.8 Macro G OSS (1:1 hero with beautiful micro-contrast—great for product/beauty and handheld close-ups) and FE 100mm f/2.8 STF GM OSS (apodization “bokeh master” whose OSS helps keep that creamy rendering sharp at slower shutters). APS-C stabilized picks: E 35mm f/1.8 OSS (classic 52mm-eq storyteller with steady handheld video), E 50mm f/1.8 OSS (portrait staple with gentle bokeh and OSS for indoor light), E 10–18mm f/4 OSS (tiny ultra-wide with stabilization for non-IBIS bodies), E 18–135mm f/3.5–5.6 OSS (excellent travel range in a featherweight shell), E 18–105mm f/4 G PZ OSS (internal power-zoom for video crews), and E 70–350mm f/4.5–6.3 G OSS (sharp, stabilized tele that punches above its weight). Practical buyer tips: build a two-zoom spine that fits your work—24–105/4 OSS + 70–200/4 Macro G OSS II for travel/events, 24–105/4 OSS + 100–400 GM OSS for stage/airshows, or 70–200/4 Macro G OSS II + 200–600 G OSS for wildlife; if you film, the PZ 28–135/4 OSS is a swiss-army lens with proper servo control; add the 90 Macro G OSS for rings, food, and detail inserts; standardize front diameters where possible and keep a high-quality VND; on older non-IBIS bodies (a6000/a6300 era), favor OSS lenses for handheld nights and video. Shooting tips: let OSS settle before the exposure, use Mode 2 for panning at fields and motorsport, run Manual or TAv with Auto-ISO so stabilization handles shutter while motion stays consistent, brace elbows and ride shorter bursts to avoid buffer choke, exploit close-focus at the long end for stabilized “near-macro” compression, and for video hold a 180° shutter with a good VND and mild OSS/IBIS to avoid warp; on tripods, turn stabilization off if you notice drift. Whether you’re freezing speeches at 1/60 s, tracking surfers with a steady horizon, or filming handheld interviews, the best Sony OSS lenses combine effective stabilization, quiet, reliable AF, and weather-sensible ergonomics—so your files stay sharp, your footage looks smooth, and your kit stays confidence-inspiring in any light.