This is a hands-on comparison (with sample photos) of the M.Zuiko 40-150mm f2.8 Pro lens and the M.Zuiko 40-150mm f4-5.6 R lens from Olympus, both made for the Micro Four Thirds system. I also talk about the original 40-150mm f4-5.6 MFT lens, which is now discontinued, and about the Zuiko Digital 40-150mm f3.5-4.5 lens made for the Four Thirds system. This comparison was made for those of you who are thinking of getting one of them or upgrading to the Pro lens and would like to find out more details.
The E-M1X, the E-M1 Mark III and the 40-150mm f2.8 PRO lens were on loan from Olympus Romania.
This is a hands-on comparison (with sample photos) of the 25mm f1.2 Pro lens and the 25mm f1.8 lens from Olympus, both made for the Micro Four Thirds system. It was made for those of you who are thinking of getting one of them or upgrading to the Pro lens and would like to find out more details.
The E-M1 Mark III and the 25mm f1.2 lens were on loan from Olympus Romania.
We had one of the few snowfalls of this winter come down on our town (Medias, RO) today, starting at about 4 pm. By 6 pm or so, it had begun to settle on the ground, which is when I took a walk through the town’s old center to capture some photographs.
A cold front is projected to move in, so we’ll have negative (Celsius) temperatures (both highs and lows) for the next several days, which I hope means that the snow will stick around.
That incoming cold front meant that the air was quite chilly, unusually so for a snowfall, and the tips of my fingers did not thank me for not wearing gloves.
It was quite peaceful in the town, with very few people walking around. We are certainly living through strange times…
On the bright side, I am using a beast of a camera these days: it’s an Olympus E-M1X, their top of the line, their “swan song”, which they put out before selling their camera division to Japan Industrial Partners. I have it on loan for a couple of weeks, along with a remarkable lens, the M.Zuiko 25mm f1.2 Pro. That’s the combo I used for these images, and what a combo! Even wide open at f1.2 it’s incredibly sharp, and it focuses so quickly, even in very low light. It is a joy to use and it is a testament, in more ways than one, to the kind of work Olympus could put out when they were still making cameras.
I thought it’d be interesting to share with you what I’ve done since then. What camera and lenses did I buy and why? Don’t worry, I won’t keep you in suspense. My gear page is a clear list of what I’m using these days. I thought I’d also take you into my photo catalog, so you can see exactly what cameras and lenses I’ve been using.
That partial list of cameras you see above is only part of the picture. There are over 92 cameras and scanners listed in my catalog, but that screenshot is important because you can see that most of the action is happening with Olympus cameras: there’s the E-3, E-330, E-500, E-510, E-P1, E-P2, E-P3, E-P5, and the E-PL1.
When we look at lists of the cameras used in each of the years since 2018, the picture becomes even clearer.
When you look at 2020, you’ll see a new camera: an Olympus PEN-F. I bought it this year, less than a month ago, and it is now my main camera. Not that it should come as a surprise, because you can clearly see that PEN cameras have been my main cameras during these past couple of years.
My new secondary camera is the Olympus E-3, a flagship camera launched in 2007. That’s right, it’s a 13-year old camera, but it’s so good! It’s designed so well, and it feels so comfortable to hold and use. The images are wonderful as well: clear, sharp, colorful. It’s also splashproof and dustproof. I couldn’t ask for more.
I used to worry about megapixels, but not anymore. I have no complaints about the 10 megapixel images from the E-3, and the 20 megapixel images from the PEN-F are a wonderful luxury. When I need a lot of resolution, I can always stick my PEN-F on a tripod, put it in High Res mode and get 80 megapixel images!
If you’re still worrying about resolution, please realize that 10 megapixel images are more than plenty for A4 prints (that’s roughly 8×10 prints). Even 8 megapixel images print just fine on A4 sheets, which is more than the size you’d need for a book of photographs. As for online uses, even a 2 megapixel image will do great. You don’t need a lot of megapixels! The extra resolution is nice, but it complicates storage and processing needs and it’s simply too much for most uses.
Back in 2018, when I wrote my article, I may have concluded that the best full-frame camera was the Sony A7RIII, but I also concluded in the video guide, that the best camera for me is the camera that fits my needs best. And when I sat down to think about the cameras I’d enjoyed using and taking with me (that’s the important part, the willingness to carry the camera along so I can take photos with it), I had to conclude that I enjoyed using Olympus cameras, and that I really liked the PEN line of cameras.
Using the PEN E-P2 back in 2010 was a photographic revelation. It was a new way of taking photos for me. It was such a joy to hold that camera, to frame an image in the viewfinder and to press the shutter button. The images were so good for such a tiny camera. To this day I regret not switching over right there and then, but I was so invested in Canon gear at the time.
So the natural thing for me to do, once I admitted this to myself, was to begin purchasing PEN cameras and MFT lenses. I had a couple of concerns as detailed below, so I proceeded slowly:
One way I love using my cameras is to shoot wide-open, to get proper separation between my subject and the background, and this was a concern as I began purchasing Micro Four Thirds gear: would I be able to get a shallow depth of field from cameras known for their high depth of field? The answer turned out to be a resounding yes, and it was the 45mm f1.8 lens that made me go “wow”.
Here is one sample photograph.
Another way I love using my cameras is in low light, particularly at dusk. With previous Olympus cameras that I’d reviewed, I knew I couldn’t go above ISO 800. I wanted to see if things improved with the newer PEN cameras. When I reviewed the PEN E-P2 in 2010, I went to ISO 1600 and 3200 and the results were usable, but not ideal. I also knew I hadn’t really tested the E-P2 fairly, because the widest lens I’d used on it was f3.5 at its max (it was the kit 14-42mm f3.5-5.6 lens), while for my other cameras, I had f1.4 lenses which obviously helped them gather much more light and perform much better in low light. Also, what had improved a lot over the years was the ability of software like Lightroom and Olympus Workspace (formerly known as Olympus Viewer) to apply good noise reduction to high-ISO images.
Incidentally, even with the aid of f1.4 lenses, I was thoroughly disappointed with the high-ISO performance of my Canon 7D over the years, to the point where I took to reusing my old Canon 5D in low light, so I wouldn’t end up muttering curses under my breath when I developed the images.
So once I bought the E-P2 in 2018, I took photos with it in low light once again, this time with proper wide-open lenses like the 17mm f/1.8 and the 45mm f/1.8 and I was thoroughly surprised at how well the camera performed. Here are a couple of samples.
These were developed in Adobe Lightroom, but I will say this: Olympus Workspace is much, much better at reducing noise in high-ISO images from Olympus cameras than Lightroom. If you’re disappointed with how your final images look after you put them through Lightroom, put those same images through Olympus Workspace and you’ll be surprised at the results. I know I was! Granted, it is slower to work with and it doesn’t offer all of the file management, presets and collections options that make it so convenient to use Lightroom, but it has no competition when it comes to getting the best image quality from your developed photos.
Seeing how well the E-P2 performed with proper lenses, I went ahead and purchased the E-P3 and the E-P5. I was also lucky to find an E-P1 in very good condition, so I bought that as well.
As I used them, I saw that things got better with each model, from the E-P1 to the E-P2, from E-P2 to the E-P3, and from the E-P3 to the E-P5, in terms of high-ISO noise management and many other things, to the point where photos taken in dim indoor lighting turn out like this:
I have absolutely no complaints about images like these, so naturally my concerns about the performance of Olympus cameras in low light went up in smoke, so to speak.
Once these two concerns — shallow depth of field and low light performance — were nullified, I could truly begin to use my PEN cameras as my primary cameras, and I began purchasing more lenses. I now have nine MFT lenses and two converters (macro and ultra-wide), covering a focal range of 9-300mm (equivalent to 18-600mm in 35mm format), so my needs are pretty well met. More importantly, I’ve proven to myself that I can use PEN cameras professionally, and that I can use Olympus cameras full-time for my photographic needs, which is what I’ve done since 2018.
I have had a soft spot for Olympus cameras for some time. My first proper digital camera was the Olympus C3000Z, which I used from 2004-2007.
The C770UZ was next, and I used it from 2005-2010.
I then got the PEN E-PL1, which I used from 2012-2018 as my primary travel camera and as my backup camera at home. I got it from Costco as a kit with the 14-42mm and 40-150mm lenses, and loved taking it along on trips, because it was so tiny and light and with those two lenses, I was covering a focal range of 14-150mm (equivalent to 28-300mm in 35mm terms).
From 2018 onward, I’ve used my various PEN cameras as my primary cameras, with my PEN E-P5 racking up the most shots at over 65K. Now of course the PEN-F is my primary camera and I’m very happy. When I sit at my desk, I keep it there in front of me and I admire its design as I work on my various projects. I love it!
So there you have it! I hope this was helpful in some way. Thanks for reading!
I’m not sure when it clicked for you that tilt shift could be had easily and practically, in camera with some recent models, but that time was today for me.
Tilt–shift photography is the use of camera movements that change the orientation and/or position of the lens with respect to the film or image sensor on cameras.
Sometimes the term is used when the large depth of field is simulated with digital post-processing; the name may derive from a perspective control lens (or tilt–shift lens) normally required when the effect is produced optically.
“Tilt–shift” encompasses two different types of movements: rotation of the lens plane relative to the image plane, called tilt, and movement of the lens parallel to the image plane, called shift.
Tilt is used to control the orientation of the plane of focus (PoF), and hence the part of an image that appears sharp; it makes use of the Scheimpflug principle. Shift is used to adjust the position of the subject in the image area without moving the camera back; this is often helpful in avoiding the convergence of parallel lines, as when photographing tall buildings.
Tilt-shift photography, Wikipedia
The only mainstream lens manufacturer I know of that sells tilt-shift lenses is Canon. While I like Canon cameras and love the capabilities of tilt-shift lenses, I would like to see if there are other ways to handle this issue. It’s somewhat of a niche problem, but it’s one that’s worth addressing.
And then it dawned on me. Some camera models have sophisticated 5-axis image stabilization. That means they effectively tilt and shift the sensor, along with “shake it all about” and so on, in order to keep a longer exposure clear. But what if we were to modify the firmare, to introduce a special section in the camera menus, where the vertical and horizontal angles at which the sensor is kept when facing a scene could be manually adjusted through that special section? We could effectively introduce optical tilt and shift capabilities by manipulating the sensor, while still using the same lenses.
Lightroom offers some options to tilt and shift the image after it’s been taken, but any good photographer will tell you it’s better to capture the image you need directly in camera. Introducing a special menu that lets us tilt and shift the sensor, perhaps using the buttons and dials already built on the camera, would provide this valuable niche capability to those who do not own Canon tilt-shift lenses and do not shoot with Canon cameras. It’d literally be a bonus firmware upgrade that could be pushed out and the new feature should just work. There would be some limitations in the amount of movement, since the IBIS engine wasn’t originally built for this, but it would work, and in future iterations of the IBIS, I’m sure it would work even better.
If you liked this idea and you work in product design and development, you may want to have a look at my consulting website.
I’ve recently purchased two new lenses for my Olympus cameras and I like them very much. Not only are they mignon, but they’re wonderfully sharp, they focus quickly and they offer me something I didn’t think I could get from MFT (Micro Four Thirds) lenses and cameras: bokeh and handheld photography in low light.
Yes, I’ve only just gotten the memo: you can get wonderful bokeh from MFT lenses. Having worked with MFT lenses whose maximum aperture was f/3.5 in the past and present and knowing that MFT sensors had a greater depth of field than larger sensors, I’d become accustomed to not being able to get the kind of bokeh I could get from my other cameras like my Canon 5D. I also didn’t think I could push my aging PEN cameras to take bright, handheld photos in low light. But these new lenses have changed my mind completely!
I love the kind of bokeh I can get from them. Depending on the distance between my subject and the background and the kind of background used, the bokeh is either wonderfully feathered or downright creamy, as you’ll see in the photographs I’ve posted here.
There are also Pro versions of these lenses available from Olympus, for all the typical, 35mm equivalent focal lengths, and those lenses open up to f/1.2, so it stands to good reason that the bokeh they make is even better. If I were to take my lenses for example, the equivalent Pro versions for them are the M.Zuiko Digital ED 17mm f1.2 and the M.Zuiko Digital ED 45mm f1.2. Since both of my current Olympus cameras are PEN cameras and I wanted to test the waters first, I bought the f/1.8 lenses, because (1) they’re less expensive, (2) they’re lighter and (3) they’re smaller (amazingly small, actually). However, were I to have a bigger camera such as the OM-D E-M1 Mark II, I would likely get the Pro lenses. They would be a much better fit for a camera that has a native resolution of 20 megapixels and can produce 50 megapixel images in high-res shot mode.
The 17mm f/1.8 lens has a beautiful metal body and is simply lovely to look at. It also has something that Olympus calls “fast focus switch”; I also remember seeing the term “manual clutch focus” somewhere to describe it. The focus ring slides down to reveal a manual focusing scale and it also puts the lens in full manual focus mode. This is different from the manual focus mode you can set in camera, which is more of a focus-by-wire on Olympus cameras. I can explain this in more depth in another post if you’re interested, but for now, I just want to point out the neat feature of this jewel of a lens.
In typical usage, the focus is electronic and set by the camera
When you slide the focus ring down, it reveals the manual focusing scale, with markings in both meters and feet, and it puts the lens in manual mode
It’s time for me to show you some photographs, so you can see the bokeh for yourselves. First, let me show you a few images of the lenses themselves, which I took today with a two-flash setup, right on my desk.
OLYMPUS DIGITAL CAMERA
Now let me show you images taken with the 17mm f/1.8 lens. When you see my face in these photos, please don’t think I love taking selfies. It’s just that I’m a readily available subject when I need to test something out.
The antique bone china cup and saucer are a gift from Ligia
Finally, here are a selection of photographs taken with the 45mm f/1.8 lens. The bokeh is more pronounced here because of the longer focal length, and it is a truly wonderful thing!
From our wooden staircase
I am so glad I bought these lenses. They have opened up a whole new world for my Olympus cameras. Btw, I took the photographs of the lenses with my PEN E-P2 using the M.Zuiko 12-50mm EZ f/3.5-6.3 lens.
Olympus PEN E-P2 Mirrorless Camera
Olympus M.Zuiko Digital ED 12-50mm f:3.5-6.3 EZ Lens
It’s been a hum-drum winter, I’ve said it before. It barely snows, and when it does, it melts right away. The temperatures hover between 0-10° Celsius, so it’s neither warm nor cold, just kind of annoying. I don’t know where the winters of my youth went, but I hope they come back at some point. I’m talking about snow that stays on the ground for weeks and months, big, thick, frequent snow that keeps the top layers fresh… Those kinds of winters are now only found in movies and fairy tales.
Fortunately, we humans are endowed with a little something called optimism. We can always call on that spirit and make the best of what we have. So the snow melts quickly. So be it. I’ll photograph the melting snow. The falling water drops make for great macro photographs.
This nifty lens I just bought, the M.Zuiko Digital ED 12-50mm, has a Macro button on the side, which locks it in Macro mode and lets me get right up to the things I want to photograph, as you’ll see below. Not only is it a versatile 24-100mm (35mm equivalent) zoom, but it’s also a macro lens when I want it to be.
Olympus M.Zuiko Digital ED 12-50mm side view with buttons
I always shoot in RAW format, on any camera that’s capable of it, but with my E-P2, I forgot how good the JPG engine was. During my early morning outing a couple of days ago, I shot both RAW and JPG together (there’s an in-camera setting for that) and then I compared the photos in Lightroom. I was pleasantly surprised to discover that the E-P2’s color reproduction is very good and the noise reduction algorithms built into the camera are actually better than Lightroom’s. Yeah, surprise! I pixel-peeped those images side by side and the JPG files were cleaner and had the colors I wanted, straight out of the camera. Guess what I did next? I switched my camera to JPG-only mode.
The photos you’ll see here are SOOC: JPG files produced by the camera, imported into Lightroom, where I added metadata and exported with no modifications to the colors, exposure, contrast, etc. Other than the metadata, I added nothing. Full disclosure: I bumped up the exposure on three snow photos that came out a little dark, but that’s it. I think you’ll agree with me when I say this little camera is pretty good!
Raoul using the Olympus PEN E-P2. Photographer: Thomas Hawk
I was invited by the folks at Light, who are working on some pretty interesting camera technology, to write about my favorite vantage point. I explained to them, as I’m explaining to you now, that I don’t have one. I get bored with shooting the same locations and I’m always on the lookout for new things to shoot.
Then I realized that over the past few years, I’ve been working in the exact same location, putting in lots of time and effort, being happy with the challenges offered by that very same spot and enjoying the beautiful results. But you didn’t know about those photos, because I haven’t published them on my website, and it didn’t occur to me earlier that it was a vantage point. I’m talking about my studio work for my wife’s printed books, in other words, about my food photography.
That’s where I’ve been spending my time. Lots of my time. Here’s one example of my work:
This is one of my wife’s raw desserts. It’s a raw vegan whipped cream, mint and strawberry cake. You can find the recipe for it in her Raw Desserts book.
And here’s another photo from the same book. I apologize if it leaves you drooling. It’s a raw vegan brownie with a raw chocolate glaze.
Here’s how I work. I don’t have a set position for the camera or for the speedlites. I work handheld and I vary my camera position, angle and lens until I find what I think is a good frame for the photo. Then I’ll shoot a few photos to see how the lights fall on the subject and whether I need to vary their positions as well, in order to bring out the colors and sculpt the dimensionality of the photo with lights and shadows.
I use three independent speedlites triggered by the on-camera flash, which I sometimes choose to also fire or to only have it act as a remote for the other speedlites. For this photograph, I worked with my Canon gear: one of my three Canon cameras, an EOS 60D and three Canon speedlites. I love my EF-S 17-55mm f/2.8 IS USM lens and I tend to use that a lot for my studio work. I also use ambient light from within the room itself (I turn on wall and ceiling lights) and I use a mix of warm and cold lights. I know most people say you should use the same temperature lights, but I prefer to mix them in order to get a warmer ambient light. The speedlites overwhelm the subject with their cold light, but there’s a hint of warmer light all around the photo, which I like, and this comes out when I edit the photo as well. I suppose I started doing this when I began to shoot video. People leave a lot of work for post-production, but I do like it when I capture the mood light of the video live, as I shoot it, so I fiddle less with it in post.
I’d like to say I’m the set designer as well, but for my food photography, I leave that to my wife. She’s the award-winning raw chef with seven published books and I’m the photographer. Sometimes we’re inspired and we love the results, and sometimes we’re not happy with what we get. So we re-do the photo shoot at another time. There have also been instances where we’ve re-shot certain recipes for later editions of her books, because we weren’t happy with the photographs and as our skills improved, we knew we could do better.
I wish I could be more helpful than this but for me, every studio photo is a new challenge and I vary my angles and lighting in order to get what I think are the best photos of my subjects. My wife and I then cull through them and pick the ones that’ll go into her books. I then edit each one carefully, add it to the collection designated for that book in my Lightroom catalog and carry on doing this until we’re ready to turn things over to the publishing house.
The Nikon CoolPix S570 digital camera is small — just about the same size as the Canon PowerShot SD780 IS camera — so it invites a comparative look. I looked at it side-by-side with the SD780 recently, and here’s what I think.
The design is good, but not as good as that of the SD780. I like the beveled lines and the metal accents, including the protruding camera strap anchor, but I think the CoolPix logo is badly placed, and ruins the clean look of the camera. Think about it, would you want your brand logo to be smaller than the line logo? It makes no sense, yet that’s what Nikon’s done. They’ve emphasized CoolPix over the trustworthy Nikon name. Canon hasn’t made this mistake. Have a look at the SD780 IS and you’ll see they know how to do this right. Another thing that bugs me is the annoying font chosen for CoolPix. Nikon, please, if you’re going to keep using CoolPix as a line name, then please use a decent font or at least make the writing smaller.
When it comes to features, there are more of them overall than on the Canon SD780 IS, but right off the bat, one can see the S570 lacks HD video capabilities. That may or may not be an important criteria for you, depending on your needs. The S70 certainly offers other wonderful selling points, such as a 5x Zoom and a very nice maximum aperture of f/2.7, not to mention that the price is about $50-75 less than that of the Canon SD780 IS.
12.0 megapixels resolution
Ultra Thin and Compact
5x Nikkor Zoom Lens
Bright, 2.7″ LCD
Scene Auto Selector
Smart Portrait System with Advanced Face-Priority Technology, Smile Timer, Blink Proof function, Blink Warning, Active D-lighting and the new Skin Softening function
4-way Image Stabilization with Vibration Reduction, Motion Detection, High ISO (up to 3200) and Best Shot Selector
Standard Definition video recording (640 x 480 @ 30 fps)
Other differences between this camera and the Canon SD780 IS include:
The new Skin Softening functionality, which offers three levels of in-camera smoothing, allowing you to diminish age lines or imperfections from your subjects’ faces right in the camera
Lack of optical image stabilization, which is compensated by the presence of electronic Vibration Reduction and Best Shot Selector (the SD780 includes the equivalent of Motion Detection and also goes to 3200 ISO)
Wider field of view (28 mm equivalent vs. 33 mm equivalent on the SD780 IS)
The Nikon CoolPix S570 digital camera can be purchased fromAmazonorB&H Photo.
This is a short, side-by-side video comparison of the two affordable EF 50mm lenses from Canon: the 50mm f/1.4 and f/1.8 lenses. I had them both, set them on a table, and compared them to each other, looking at their weight, size, lenses, and handling. You might find this interesting if you’re into photography. My conclusion was that both are great, but if you haven’t got the money for the f/1.4 lens (and I’m not even going to mention the f/1.2 lens, because that’s out of my budget), then get the f/1.8 lens, it’s a great bargain for the price.
You can see the video on blip.tv or on YouTube. Believe it or not, I shot this review back in November of 2007 and only got around to posting it now. I’ve got quite a backlog in terms of processing and editing some of my media…
I used the 50mm f/1.4 lens extensively. I have almost 11,000 photos in my library taken with it. I used it to take landscapes while in the Austrian Alps, and even though I complained about it afterward, it’s still my go-to lens for lots of tasks such as portraits, still life, night shots and more. Here are just a few photos taken with it.
These two 50mm lenses are available for purchase from Amazon or B&H Photo: