Olympus M.Zuiko Digital ED 14-150 mm F4-5.6 II Lens, Universal Zoom, Suitable for All MFT Cameras (Olympus OM-D & PEN Models, Panasonic G-Series), Black

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Olympus M.Zuiko Digital ED 14-150 mm F4-5.6 II Lens, Universal Zoom, Suitable for All MFT Cameras (Olympus OM-D & PEN Models, Panasonic G-Series), Black

Olympus M.Zuiko Digital ED 14-150 mm F4-5.6 II Lens, Universal Zoom, Suitable for All MFT Cameras (Olympus OM-D & PEN Models, Panasonic G-Series), Black

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Description

The zoom ring of the lens is plastic with large raised ribs, about an inch wide. The ring takes about 80 degrees to move through its range of focal lengths and turning action is very smooth - firm but not too tight, requiring two fingers to move. There is significant extension with this lens - when zoomed in to 150mm, the lens grows in length by 2 1/2 inches. Given its small size, zoom creep isn't a factor. A perennial problem with superzoom lenses is zoom creep, or a tendency for the lens to extend under its own weight when carried normally. Our review sample seems almost immune to this; the trade-off is that somewhat stiff zoom action. Compared to Micro Four Thirds kit zooms

At the 14mm end of the range, the diagonal angle of view is 75 degrees, which is similar to that of a 28mm lens on a 35mm camera. How to read our charts Chromatic aberration is the lens' inability to focus on the sensor or film all colours of visible light at the same point. Severe chromatic aberration gives a noticeable fringing or a halo effect around sharp edges within the picture. It can be cured in software. The Olympus 14-150mm f4-5.6 II lens is a really good option for most photographers. It isn’t going to give you the absolute best images, but the images that it delivers are still quite good. If you need a superzoom with weather sealing and a pretty good zoom range, you can’t beat this one. Slap it into your camera and go shooting. You won’t be disappointed; and if you are, you can just fix it in post. We understand this can sometimes be difficult with work commitments, but we will do our best to accommodateyour needs.

I think the general consensus is that the Olympus is slightly better, but both are quite good. If you have the Panasonic then just enjoy it and be happy.

But I traded in the lens to get the E-M1 Mark I 3 years ago and I got the Olympus ZD 14-54mm f 2.8-3.5 Mark I and that lens felt a huge improvement in rendition and image quality. Since then (and very recently) I moved to Olympus 12-100mm f 4 Pro and I am very happy with the lens, more then I hoped I would. While there is no question that the recent announcement of the OM-D E-M5 Mark II stole the show, there was also another announcement that has grabbed the interest of beginner and amateur photographers looking for an affordable all-purpose zoom: the 14-150mm f/4-5.6mm Mark II. We recently received it for testing on our OM-D E-M1. E-M1, 1/500, f/ 9, ISO 200 E-M1, 1/200, f/ 5.6, ISO 200 E-M1, 1/200, f/ 5, ISO 200 Like other early models, the original M.Zuiko Digital ED 14-150mm with its faux-scalloped zoom ring from 1950s was deliberately retro-looking. While it suited the earlier PEN models, the aesthetic started to look a little out place on SLR-style OM-D bodies. This updated model introduced in February of 2015 is more in line with the maker’s distinctive-looking pro-oriented models featuring a finely-machined darkened chrome finish of the focus and zoom rings and a weather-proof exterior (Olympus claims that this model is hermetically sealed). I've also read people say that in a case like this, where they are both great lenses, to default to the lens manufacturer that matches the camera manufacturer. The main controls on the lens are a focusing ring and a zoom ring function. The lens becomes larger as you zoom into a subject, which means that it isn’t an internal zoom offering. But that shouldn’t be a problem considering how small the lens really is. Image QualityThe M.ZUIKO DIGITAL 14-150mm f/4.0-5.6 II features an internal focusing system utilizing an MSC mechanism making high-speed, silent autofocus possible for seamless still-image and movie capture. The manual focusing mechanism is designed to offer a responsive feel, with the perfect amount of resistance to enable smooth, precise operation. With silent autofocus operation, nature photographers can get the shot they need without disturbing wildlife, while all photographers will benefit from clear audio while capturing video. Compared to the E510's dual-zoom kit, this lens offers significantly better depth of field control (this was quite a surprise for me, as the sensor size and the f-stop specifications are pretty much the same), more precise focusing, especially at the tele end, and, also at the tele end the focus is often faster, even if the focusing system is contrast-detect and not phase-detect. Given that the 14-150mm covers such a wide focal range, it is normal that there is some vignetting at the fastest apertures and longest focal lengths. If you set the aperture to f/5.6 at 150mm, for example, vignetting can be quite noticeable in some situations. It gradually becomes less pronounced up until f/13, at which point it completely disappears. Vignetting at 150mm at f/9 – E-M1, 1/125, f/ 9, ISO 200 I tested against Panasonic 14-140 mm, which is heavier, has built in OIS, comes with Sun-Shade and has a little better sharpness und no chromatic aberrations.

All in all is an excellent kit lens, and if you can get a MFT camera kit with this lens, just go for it! Generally, sharp images with this lens are best achieved with the lens in the middle of the zoom range (~50mm). Stopping down to ƒ/8 provides optimal sharpness. For creative photos, this lens seems way ahead of that 18-180 Four Thirds DSLR lens (remember that?) - it is waterproof, it has fast AF, it is not big at all - and for those times when you only want one single lens, not limited to a 25mm prime, again this lens would work as you have shown.Falloff of illumination towards the corners of the frame is constant throughout the zoom range. Corners are one stop darker than the image centre throughout the zoom range at maximum aperture. Visually uniform illumination is achieved with the aperture stopped down by one stop from maximum throughout the zoom range. But if you’re someone that needs an all in one option, then this lens will probably become your best friend. Apochromatic lenses have special lens elements aspheric, extra-low dispersion etc. to minimize the problem, hence they usually cost more. The M Zuiko Digital 14-150mm F4-5.6 is Olympus's fourth lens for its Pen series cameras, and the first to venture into the telephoto region. Its 10.7x zoom ratio places it firmly in 'superzoom' territory, covering a very useful 28-300mm equivalent range, and making it ideal for general purpose 'walkaround' or travel use. (Indeed Olympus says that with it on your camera 'you will never miss a photo opportunity', perhaps begging the question as to why the company still makes other lenses.)

Olympus FT useres have always dreamt of such a Holiday-Lens with good performance, now its real - but not for FT - too bad! With the zoom set to 45mm, sharpness levels are still outstanding in the centre of the frame at maximum aperture and the lens performs excellently towards the edges of the frame. Peak sharpness across the frame is achieved at f/8 for this focal length and sharpness is outstanding from edge to edge. Internally, the construction remains the same, and it’s a relatively complex formula that reveals Olympus’ design savvy with 15 elements in 11 groups, complete with three aspherical elements: one double-sided aspherical (DSA) element, one aspherical ED (EDA) glass, and one conventional single-sided asphere.

Everything else looked awesome on the lens, great range, compact and pretty light weight, good build quality (but it’s not IPX rated, that’s advertised only recently for cameras like E-M1 X and Mark III and lenses like Olympus 100-400mm f 5-6.3 and 150-400mm f 4.5 Pro). At 25mm the maximum aperture drops to f/4.7. The lens manages 1,902 lines on the center-weighted test, with edges that are a bit soft at 1,371 lines. At f/5.6 it's a better performer; 2,171 lines across the frame with edges that show 1,799 lines. The best performance is achieved at f/8 (2,409 lines average, 2,201 lines at the edges).



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