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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So for me, there has been no perceptible compromise in quality – and I enjoy the many benefits of smallness. Yeah, a few more focus markings and a few additional focus related choices of what to program in the L. Its optical design makes use of a series of aspherical and low dispersion glass elements to suppress chromatic and spherical aberrations for notable sharpness and clarity, and a ZERO coating is also used to reduce flare and ghosting for high contrast, color-accurate imaging.

This may only apply to selected camera models though – it is entirely plausible that this problem won't arise when shooting with an OM-D E-M1, for instance. Results are excellent thanks to the bright constant aperture and advanced optical design with ED glass elements. We were hard pressed to find any evidence of CA in the images – these are the absolute worst examples we were able to dig up. As the aperture closes, diffraction causes these points of light to spread into starbursts, and it’s another area where one lens may deliver a better result than another. Because if they had, they would understand that the settings we use on a Micro 4/3 camera can be quite different to those we would choose on a full frame camera when photographing any given scene.As before I framed the shot with the 75mm, then repeated with the 40-150mm from the same position, adjusted to deliver the same field of view. That’s fairly close in practice and the distance remains the same regardless of the focal length – so at 150mm, it’s possible to fill the frame with fairly small subjects. And to keep your investment safe, the bundled lens pouch will help protect against dings and scratches. The crops also reveal the blobs to cleaner shapes, whereas the 40-150mm blobs show some visible onion-ringing.

This is mostly useful when shooting a movie clip with C-AF enabled, but the feature can also be used when photographing action. But in nature and sport photography sharpness is crucial – in this line of work we do need to show as much detail as possible in our subject and kit lenses won’t always cut the mustard. The lens barrel is constructed from a combination of metal and high quality plastics, with a glossy finish an When I go out shooting and take a small bag w/ two cameras, I almost always take the 50-150 on my EM1-II and a 24-105 on my Sony A9. 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 physical aperture diaphragm construction is composed of 9 blades which produce a circular shaped aperture that should result in pretty circular blob highlights for out of focus elements. for the OMD EM1 which, amongst other things, promised greater focusing accuracy with the 40-150mm lens. I will probably post some more samples of both the 40-150 +MC-20 and the 50-200 + EC-14 in the coming days. Its large capacity allows storage of multiple cameras and interchangeable lenses, while its overall compact size allows you to carry it on board when flying. The zoom and focus rings have a textured finish that provides a secure comfortable grip and the motion of the zoom ring is super-smooth with enough resistance to maintain the set focal length without creeping if the lens is pointed up or down.

There have been a number of reasons behind the switch – there is quite a lot of wear and tear on my muscles and joints and I suffer from RSI and a degree of arthritis. I will also not sugar coat it…it is a pain in the rear to carry around if you want to go anywhere light and compact. I had the 50-200 SWD and used it extensively to shoot kids soccer games, where it performed quite well. And lastly, here is a 100% crop from the RAW files of the squirrel and cat, because I know there are one or two pixel peepers out there (ahem) on forums who are currently saying (you know who you are) that these photographs are meaningless at normal web viewing size. constant maximum aperture for consistent illumination throughout the zoom range to suit working in a variety of lighting conditions.of course that may not be a bad thing – obliterating a background through a shallow depth of field can be fun, but comes at increased risk of missing the focus or only having part of your subject looking sharp. A few months ago we saw Olympus release a wide to tele professional zoom lens which has now been followed by a fast tele zoom aimed at professional sports and nature photographers (this will no doubt appeal to portrait photographers as well). I have the 40-150 Pro too and i agree that it’s a fantastic piece of kit – as indeed is the rest of the OMD system. With equivalent coverage of 80-300mm, it's ideal for portraiture and street photography, along with nearby sports and wildlife.

The lens is also dust, splash and freeze-proof like all Olympus Pro lenses, ideal for taking everywhere, particularly outdoors where weather plays a role. I’ve included this second image really just to show the shallowness of the depth of field with a reasonably close subject and the pleasant bokeh produced by the 40-150mm’s circular aperture diaphragm. All content, design, and layout are Copyright © 1998–2024 Digital Photography Review All Rights Reserved. this versatile lens is perfect for professionals looking for the absolute best performance from a telephoto lens. I almost bought an RX10 m4 as a substitute but remembered that the weathersealing on the sony RX10 series sucks.The hood can be removed, but it’s also set up so that a slight twist of the locking ring the opposite direction of unlock allows you to collapse the hood directly back onto the lens, reducing it’s carry size.

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