Chromatic Aberration: One of the better aspects of this lens. Even uncorrected the chromatic aberration is well under control, with 40mm f/2.8 being the worst case at just over one pixel's width, and almost every other focal length and aperture being significantly under that. In camera corrections don't take care of all the CA, but they reduce it enough so that you can probably ignore it. Story time! one of the CS-35 wraps saved my camera from potential water damage when I leaned against a wall with my sling bag behind me and the lid popped off my water bottle soaking everything, it was my fault for storing my water bottle inside my bag but even today I still do it for convenience (although I've switched to a Nalgene bottle which is less likely to have the same problem). The outer layer of the wrap is nylon which isn't truly waterproof but it was repellent/resistant enough that the water didn't penetrate/soak through to the inner layer/camera... while not perfect they don't add much bulk and are roughly the minimum level of protection I'm comfortable using to stop random crap floating around my bag from rubbing/scratching my gear (and in a pinch you can use the soft microfibre or whatever inner layer as a lens cloth).

The Mad Kiwi: focal length does have at least a little to do with the f-ratio, given that the “f” in “f/4” is the focal length. The overall expression “f/4” (focal length divided by 4) gives the diameter of the entrance pupil which is ± the “hole” through which light enters from the subject. 150mm f/4 and 300mm f/8 have an identically-sized hole of 37.5mm, therefore they collect the same amount of light from any given part of the scene. It’s just that the 150mm lens then spreads that light on an area a quarter of the size, leading to a higher density – but that doesn’t make it collect more light from the subject, any more than a focal reducer on the 300mm lens would. (It’s clear that the latter can’t make more light enter the lens since it’s mounted after the point where it happens, yet it does reduce the f-ratio of the overall combination, demonstrating that the f-ratio doesn’t tell the whole story.) The lens has one L.Fn button located about where you would usually have your thumb if you’re holding your left hand under the lens. I outline the L.Fn functions in my 40-150mm review. Panasonic camera owners should be aware that the 12-40mm f/2.8 does not have image stabilization. This might be a deal breaker for some Panasonic camera users (Olympus uses sensor-based stabilization). Weather resistance aside, this lens is fantastic when it comes to build quality. It’s lightweight and feels awesome in your hand. And I can’t really complain too much about that at all. It’s a lens that you’ll want to bring with you everywhere you go. Ease of Use The 12–40mm F2.8 PRO II is an updated version of the original 2013 lens. It features improved sealing, taking it up to the IP53 standard and adds fluorine coating to keep water and dirt off the front element.

Olympus M.Zuiko ED 12-40mm f/2.8 PRO Sample Photos

The lens also shows some vignetting when wide open at f/2.8. This is easily corrected in post. I guess Olympus tried to keep this constant f/2.8 zoom as small as possible and that means the image circle only just covers the micro 4/3 sensor. Advanced IP53 dustproof and splashproof performance, and freezeproof performance to 14°F Both lenses clear the IPX3 and higher splashproof tests, far exceeding the conventional IPX1 rating, as well as dustproof tests. Both feature IP53 dustproof and splashproof performance for peace of mind in even more punishing conditions. They can also function in low-temperature environments down to 14°F, and pairing these lenses with a dustproof, splashproof, and freezeproof camera body makes it possible to continue shooting in punishing environments such as rain, snow, and even dusty environments with peace of mind. Its IP53-rated seal protects against ingress of dust and water, and the lens is freezeproof down to 14°F / -10°C. This enables you to shoot in the most inhospitable environments, whether that's dust, rain or snow. If you are trying to decide between this lens and the Panasonic 12-35mm (mark i or mark II) then it really comes down to a few factors as optically they are very similar. The Olympus is better at the wide end and offers a little more range at the long end. However the Panasonic is slightly sharper at 35m than the Olympus is at 40mm. But no M43 users is worried about "How can I use an equivalent lens to make my M43 sensor ISO as good as or superior to FF?" We know the smaller sensor will have limitations and just try to get the best ISO that will get an exposure.

Overall, combined with the OM1, it feels a bit like the Nikon z9 before firmware updates. That’s to say that it’s good; but not fantastic. It’s miles ahead of the Fujifilm X Pro 3 comparatively speaking. At the same time, the Sony a7r III — a far older camera — can outdo this lens with a third-party option on it. Richard "If I take an image on a 150mm F4 lens on micro four thirds, and one at 300mm F8 on full frame for the same exposure time, then both sensors will be exposed to the same number of photons." In terms of the optical construction, the new Olympus 12-40mm ƒ/2.8 Zuiko PRO is comprised of 14 elements in 9 groups, with two EF elements, 1 EDA lens, 2 HR lenses, 1 HD lens, 1 DSA lens and 2 aspherical lenses. It has a 7-bladed circular aperture that stops down to ƒ/22. I think the Olympus 12-40mm f/2.8 Pro is a great lens and definitively worth it's somewhat hefty price tag. Anyway, in my opinion it lives up to its 'Pro' label. While it is a larger lens for Micro 4/3 in comparison to some of the tiny primes, it is not oversized and much smaller than something like the Canon 24-70mm f/2.8. You can carry it attached to your camera all day and not notice the weight.Falloff of illumination towards the corners is fairly typical for a standard zoom lens, and shouldn't pose too many issues. At 12mm and f/2.8 the comers are 1.35 stops darker than the centre of the image and at 40mm, and falloff is reduced and the corners are only 0.76 stops darker than the image centre. Stopping down to f/5.6 results in visually uniform illumination across the frame throughout the zoom range. Further, the OM System 12-40mm f2.8 Pro II struggles more with exposure preview settings activated. If you’re using the simulated OVF function, you’ll get the best autofocus performance in terms of accuracy, speed, and all. Introducing A "New Classic" Standard Zoom Lens and the World's Most Compact, Lightweight 1 Telephoto Zoom Lens Available with both lenses Since the OM System branding is still new, it's worth pointing out that OM System lenses are fully compatible with Olympus cameras and vice versa. OM System lenses look exactly like previous Olympus lenses, save for the OM System name on the barrel and lens caps. Apochromatic lenses have special lens elements (aspheric, extra-low dispersion etc) to minimize the problem, hence they usually cost more.