Olympus M.Zuiko Digital ED 40-150 mm F2.8 PRO Lens, Telephoto Zoom, Suitable for All MFT Cameras (Olympus OM-D & PEN Models, Panasonic G Series), Black

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Olympus M.Zuiko Digital ED 40-150 mm F2.8 PRO Lens, Telephoto Zoom, Suitable for All MFT Cameras (Olympus OM-D & PEN Models, Panasonic G Series), Black

Olympus M.Zuiko Digital ED 40-150 mm F2.8 PRO Lens, Telephoto Zoom, Suitable for All MFT Cameras (Olympus OM-D & PEN Models, Panasonic G Series), Black

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Description

Overall, I can’t find anything to really dislike about the handling of this lens. Yeah, a few more focus markings and a few additional focus related choices of what to program in the L.Fn button would be nice. Still, I can’t imagine a lens that would handle much better than this one. Stabilisation is another major selling point for Micro Four Thirds: Olympus pioneered body-based stabilisation (which shifts the sensor) and has long built it into every body. Panasonic more recently adopted sensor-shift technology and now offers it on most new Lumix G bodies apart from the cheapest ones. Both will stabilize any lens you attach, even if the lens doesn’t have optical stabilisation. Panasonic does however sell many lenses with optical stabilisation, partly to support older Lumix G cameras without built-in stabilisation, but also to work alongside newer bodies which do have built-in stabilisation to improve the result.

Function button (L-Fn) mounted on the lens. It makes it possible to adjust functions corresponding to such custom settings on the camera body as “AF stop”. The 40-150mm f/2.8 M.Zuiko Digital is one of what Olympus refers to as their “pro” m4/3 lenses. Beyond the obvious main specification—which would be 80-300mm (equivalent) with a “fast” aperture—the lens has other features that are found in Olympus’ “Pro” lineup, including a Splash Proof designation. The MC-14 extends the focal length to 210mm at the 150mm end, causing the angle of view to shrink to 5.8°, equivalent to that of a 420mm lens on a 35mm camera. Focusing

On the other hand, vignetting and linear distortion are just minimal, period. Minimal as in generally “ignorable.” I found the vignetting so low (perhaps a third of a stop at all focal lengths in the corners) that I had to retest and look at the results several times to make sure I wasn’t missing something. Vignetting is totally ignorable by f/4. Focus is very reliable and it follow-focuses fast (especially if you turn EYE focus off - more so with the mk 1) Corner-to-corner sharpness is also tremendously good, with almost no change in sharpness from center softness at every focal length. The blur characteristics are very flat. For all intents and purposes, this lens is sharp, everywhere, all the time from ƒ/2.8 to around ƒ/11-ƒ/16, where we see minor diffraction softness coming into play. The lens features Olympus' MSC ("Movie & Still Compatible") designation, for full-time AF in both stills and video that's also very quiet so as not to introduce focusing noise in video recordings. I owned Oly MZuiko 12-40 F2.8 Pro and 14-150ii(One with weatherproof). Currently, I use both lenses on the original Em1. However, I would like to upgrade the body since My Em1 is quite aging now with 32k shutter count. I will leave my country for education around 1 year. So I don't want to take the risk of purchasing a camera abroad(out-of-warranty service fee issue)

In the comparison with the Lumix lens, I did some basic test shots but I think that images taken in real situations, like the ones you’ll see below, are actually more interesting to share. E-M1, 1/200, f/ 2.8, ISO 1600 – 150mm E-M1, 1/160, f/ 2.8, ISO 1600 E-M1, 1/160, f/ 2.8, ISO 200 When you shoot with the Olympus 40-150 f/2.8 Pro Lens at f/2.8, you WILL be getting the light gathering of 2.8, but your depth of field will be f/5.6 in 35mm full-frame equivalence. The M.Zuiko 40-150mm f2.8 Pro is environmentally sealed with 11 separate seals to keep out dust and moisture making it splash-proof and dust-proof as well as freeze-proof. I used the 40-150mm on the Olympus OMD EM1 – a weather-sealed combination – during steady drizzle without complaint from either.Panasonic and Olympus have both done a great job with their kit zooms which all generally deliver very respectable quality for their prices; indeed I’d say for most Panasonic and Olympus owners, I’d recommend complementing the kit zoom rather than replacing it. At the 150mm end, the angle of view narrows to 8.2°, equivalent to that of a 300mm lens mounted to a 35mm full-frame camera. A lens like this is useful only if its autofocus is 100% reliable autofocus when paired with your camera of choice, and here again there is very little to complain about. Professional lenses are always expected to be able to survive a bit of a battering from those it’s used by, and there’s nothing to suggest the M.ZUIKO Digital ED 40-150mm f/2.8 will get damaged easily. Even a collision with a solid spectator barrier, albeit a glancing blow, failed to damage the lens in any way during our hands-on experience.

Other attributes: The Olympus cameras perform distortion and aberration corrections in JPEGs, and some raw converters do, as well, so it’s getting a little more difficult to talk about such issues for a lens than it used to. If you’re shooting JPEGs, I’d say don’t worry about either. Olympus’ correction doesn’t take out all chromatic aberration in the extreme corners, but it takes out enough that most people would just ignore what does get produced. When fitted to the OMD EM1, the camera and lens combination is beautifully balanced. It feels just right, not just when carrying it around but when you raise the camera to your eye and shift your left hand from the tripod mount to the zoom ring.The lens gives excellent results in terms of sharpness, bokeh and versatility. It is certainly the biggest lens for MFT but don’t be fooled by its appearance. It is actually not that big for what it delivers. Beyond this, prices increase significantly as you enter the realm of professional zooms with higher quality, tougher build and brighter apertures. My favourite pair are the Olympus M.Zuiko Digital 40-150mm f2.8 PRO (boasting a constant f2.8 aperture but without optical stabilisation), and the Panasonic Leica DG 50-200mm f2.8-4 (which sacrifices the constant aperture for a slightly longer range and a much smaller body for greater portability, and also includes optical stabilisation). Both lenses also make ideal pairings with the Olympus 12-40mm f2.8 and Panasonic Leica DG 12-60mm f2.8-4 respectively. This was however a brief one-day test. Since then I’ve had a chance to shoot with the 40-150mm for a solid month (this is Gordon speaking!). During this time, Olympus released firmware version 2.2 for the OMD EM1 which, amongst other things, promised greater focusing accuracy with the 40-150mm lens. While not technically a macro lens, the Olympus 40-150mm ƒ/2.8 is rather unique for its close-focusing ability. From the end of the front of the lens, photographers can focus down as close as 20 inches (though considering the length of the lens, the true minimum focus distance to the focal plane is 27.6 inches, or 0.7 meters). This provides a magnification ratio of 0.21x (1:4.8) or 0.42x (1:2.4) in 35mm eq. for some great near-macro shooting capabilities.



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