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Showing content with the highest reputation since 26/04/12 in Lens Record Comments

  1. 2 points
    I finally got my 35-100 F2.0 in. Of course, it was used, off of eBay. Had KEH had one in, I might have gone that route, but they are always above $1000 USD when they have this lens in stock. The good: VERY, very well packaged! I was nervous about this, especially since the shipper used USPS GROUND.... For those who are not in the US, this is just about the absolute cheapest rate for US mail. The bad: 1. The shipper used USPS Ground. It took 18 days to get here. It went from East Coast (Florida) by rail or truck with many transfers to the West Coast (Seattle, WA) then by barge to Anchorage, Alaska, and finally on a plane to here (500 miles west of Anchorage.) I have had other stuff shipped like this that took as much as 28 days, with 10 days or more between getting on the barge, and then clearing the Anchorage facility. Lots of handling and sorting, and beat-to-hell condition when it arrived here. eBay does not keep track of messages included with the offers, and I was fairly certain that I said I wanted to pay for more rapid shipping..... so maybe I only meant to pay for quicker shipping.... I will never know. 2. The seller said it was immaculate condition, with a filter on it since day 1..... It is a beautiful lens, with the hood. But he failed to mention that the filter cannot come off of the lens, and might as well have been glued in place. So a lens some of you say is the sharpest they have ever used, with a cheap BOWER UV filter (one of the THIN versions) wedded to the front of the lens. Of course, it was almost impossible to grip the lens with a filter wrench, as so little of the filter was above the lens. But I tried for a long time. 3. Just to make sure I was NOT doing something from some sort of false memory, I looked up multiple websites for "how to do it" stuck filter recommendations. I had already exhausted the first 3 or four, depending on web site, and I was up to the more serious options. SO.... I froze it over night while in a large ziplock sealed baggie, and left it in a deep freezer at minus 10 F. At lunch today I took it out, and tried again....NOTHING......NOTHING. I left it outside on my porch in the ziplock bag so it could warm up slowly (it was only 25F today, which is warmer than it should be this time of year. 4. I emailed the seller and explained I would NEVER have purchased this from him had he revealed the filter was stuck on the front. Amazing!!! I have still had no answer from him. I would have expected at least a minor protest, with a statement that he did not realize this problem existed. But NOTHING! 5. Before getting out the pliers, saws, files and dremel tool for the next options, I did some more careful thought, and decided I should give it a few more tries with the filter wrench and the flexible rubber pad for removing tight jar lids. Once I went to hack saw, or dremel tool, I could not return the lens (yes, he said no returns, but I figured eBay wouId have honored an appeal based on it NOT being in perfect condition since a cheap filter was stuck on it.) I have found that eBay really does follow up, and I have won four or five appeals with NO cost to me even for shipping (I have lost none at this point.) And you do not often have problems on eBay like in the 1990's. So I tried for another ten minutes with the filter wrench and the rubber pad, and SUDDENLY it turned freely. From stuck to loose in a fraction of a second. It did not slowly come loose, it QUICKLY went to zero resistance. SO, off to the Jobu Jr. Gimbal mount, and a few photos. I am not sure how to evaluate the results. Perhaps you can decide. I shot at 35mm and 100mm ONLY. I was at f10, and only wanted a quick assessment of quality. I clicked of 50 shots or so in a minute or so. What can I say? I was using Nikon View NX-i and I shot in jpeg mode, not raw. The image was difficult to assess when I went to 400% size; maybe the resolution was not good enough for this size, or maybe it was even my cheap monitor (on other posts, Dallas and a few others have told me they could see things I can't see on my own cheap 19" monitor..... Everything less than 400% was VERY SHARP. So, Sarcasm aside, it IS heavy. It is not quite as big as I thought it would be, and every bit as sharp as Dallas and Bytesmiths said. I was glad I was able to get the cheap Bower filter off of it. Unless this guy jammed this on at the last minute to confirm that he really kept a filter on it since he got it, I cannot imagine anyone using a cheap piece of crap $10 Bower filter on the front of a VERY expensive and VERY sharp lens. I don't know about the rest of you, but I have read and seen some pretty convincing arguments and images showing that there is a reason that most cheap filters are cheap. I have gravitated toward using NO filters unless there is an optical necessity (a need to polarize, or need to get rid of UV.) Now, when I do use filters the cheapest I use is a Hoya, made in Japan, and a higher grade they came out with. I have been slowly replacing all of my filters with a few B&W UV and polarizing filters. I use a lot of step up rings to reduce the number of filters I use. Yes, a long story to conclude that Dallas and Bytesmith are right. Now to see if I am really going to use it. I am anxious to try it at F2, and various zoom settings.
  2. 2 points
    I bought this lens some time ago, WITH the 1.4x TC. I did it largely based on Dallas's recommendation as well as a few other reviews. I used it sparingly, and then purchased the Panasonic/Leica 100-400. While I have NOT done an exhaustive comparison... It must be very late for me to be making this admission, but I think this lens, with the 1.4x TC, may be as sharp as the Panasonic/Leica that. I realize the 100-400 has more reach, and I do need to do a more exhaustive comparison; but this 50-200 with the 1.4x TC is a really good lens/combination.
  3. 1 point
    I don’t know this lens, but maybe open it up a bit, Walton. Shooting at such a small aperture on MFT isn’t going to help with sharpness. I’d say you will probably do better at 5.6.
  4. 1 point
    I just bought this lens (August, 2019.) I had started my MFT adventure with a Panasonic body, and had purchased a 100-300 Lumix lens that I thought was horrible. I read reviews that it was a little soft at 300mm. That was being charitable, at least with my copy of the lens. I sold it some time ago. For more than 2 years I debated buying the 75-300 Olympus version. I finally did so last week. I quickly shot short and long, near and far. I LIKE IT. Maybe my Lumix was a bad sample.... and maybe this Olympus is a particularly good copy. Whichever it might be, I am pleased with this lens. Reviews indicate it is very sharp from center to corners at wide setting. I am doing more with longer settings. I will post some photos a bit later to illustrate some of the lens characteristics. It focuses down to about 3' (90 cm.) I suspect I will be doing some "macro" shots with it.
  5. 1 point
    OK, will do. Remember, I am still mostly under two feet of snow (quite a bit less than last week.) I only shot it enough to see if it was an OK lens, since the eBay seller sort of left a few things out of his description. So far, most of my shots have been of broken down equipment filmed from my porch facing the dock that is loaded with old heavy equipment. Unfortunately, there will be NO MORE Eskimo dancing until next fall. I have to admit, I honestly do not know what my major use for this lens will be. I purchased it to see what you guys were raving about when discussing this lens. Bytesmiths: I did see your event photos. IF you have some guidance for the other uses you have, I would love to hear them. The last "event" we will have is our highschool graduation in about a month. I do not know how you got those beautiful berry photos, since it does not close focus. Was that a crop of a much larger photo? So I will be working on what to use it on. Actually, there are some shots of birds that I think I can use it for that will be fantastic. I should be able to really separate the bird from the background. In fact, now I have several ideas for getting other bird shots.
  6. 1 point
    Shoot that lens at f/2.0. You will be amazed...
  7. 1 point
    Aaaah ok then. I thought postage would be possible.
  8. 1 point
    Dallas, I have a 46 mm Hoya UV filter. It's yours if you want it.
  9. 1 point
    I'm glad you were able to get the lens sorted, Walton. It is a beast of a thing and if you can cope with the sheer size when mounted on an MFT body, you will be rewarded with some spectacular image quality. I also do not use screw in filters at all on any of my lenses, but I think i am going to have to try and find a Ø46mm one for my Sigma 60/2.8 Art. The lens cap went missing after a client shoot a couple of years ago and I cannot find a replacement in all of Africa, so that lens is basically stuck here in my office.
  10. 1 point
    I got mine from BorrowLenses.com, on sale, for just $524! I think it is useful to prowl lens rental places for used gear. They rated it 3.5 out of 5, and I was a bit worried about its condition, but when I got it, I only noticed the tripod foot scuffed on the bottom and a number scratched into the hood; otherwise, it was like new. I'll certainly buy used from BorrowLenses.com again! (They still rent the 4/3rds 90-250/2.8, which means they will probably sell it someday…)
  11. 1 point
    Concur. I had this lens in the past and it is staggeringly good, but for me it was just too big and heavy so I sold it. In hindsight I do regret it because I let it go for peanuts. I think that if one comes around again I will probably buy it again. Below is practically straight out of camera, handheld on an E-M1.
  12. 1 point
    I recently purchased a used copy of this lens. I was not expecting it to perform like it did. It is small, light, and sharp. I am not attempting a technical evaluation, just my impressions from using for a week. I am glad I bought this one.
  13. 1 point
    Get in the "pro" side with the Olympus M.Zuiko 12-40mm F2.8 Olympus M.Zuiko 12-40mm F2.8 We know already all the big advantages of using a so-called "Pro" lens. Better construction, larger controls and grip, better quality glasses, constant aperture (most of the time), all weather protection, etc. But "pro" lenses are also larger, heavier and... more expensive. Usually their variable focal length latitude is narrowed compare to the "amateur" counterparts.So it can be tricky to suggest or moreover to recommend such an exclusive product. And I am not a big fan of "bazooka" lenses that are intimidating the subject by their lack of discretion. The only add credibility you can expect from other people when using this type of lenses usually came from persons without real knowledge of photography (especially press credential personal). So you can be rightly suspicious when I decide to bring you this specific and modest personal review about the Olympus M.Zuiko 12-40mm F/2.8 lens. On the Run (Olympus OM-D E-M5 II / M. 12-40mm F2.8) The Olympus M.Zuiko 12-40mm F\2.8 is in fact a big lens. It is true to say that it is a smaller lens compare to its equivalent in larger image actor format such as APS-C or 24X36mm so-called "full" frame format. Its focal length latitude offers a practical range starting with an interesting wide angle up to a modest telephoto setting. Its constant maximum aperture of F/2.8 is the usual standard for this kind of "pro" product. Olympus OM-D E-M5 II W/Grip / M.12-40mm F2.8 The Olympus M.Zuiko 12-40mm F/2.8 is an impressive piece of glasses in particular if you apply the compactness standards of the m4/3 format. To properly use it you may need a camera model with a greater potential handle grip to be able to handle it with confidence and confort. But I must add that the lens is still usable without add-on grip. As a "Pro" design lens its primary destination is without a doubt the Olympus OM-D E-M1 (in both variations). With the OM-D E-M5 (again in both versions) the optional grip will help you in certain situations like studio or action shooting sessions. That can be said also when you are using the OM-D E-M10 (again and again ... original or Mark II models). The feeling of the 12-40mm F/2.8 lens reveals its high class all weather construction especially in comparaison with the kit zoom lenses such as the M.Zuiko 12-50mm or the diminutive 14-42mm. Control rings for zooming and focusing are fairly larger and can be easily distinctive by the touch. On the spot manual focusing operation is possible by pulling the focus ring very conviently (that specific option is also present into the 12-50mm lens). We appreciate that the lens hood is part of the included accessory packaged with the lens. One of the big advantage of the M.Zuiko 12-40mm F/2.8 is surely its focal length variation starting with a real wide setting of 12mm (84 degrees of angle of view) up to an extended normal angle of view ( 30 degrees) at 40mm. I really consider that telephoto designation should start at 60-75mm focal length in M4/3 format which represent an angle of view of 20-15 degrees to make a visual difference. At that point you get a magnification ratio of 2.5-3X compare to your naked eye. The Olympus M.Zuiko 75mm F/1.8 should be an excellent complement to the M.Zuiko 12-40mm F/2.8. Like I have said earlier the bigger dimensions of "Pro" lenses is often generating intimidating reactions from many spontaneous subjects. It is a price to pay and you may have to earn the confidence of the people you want to photograph prior to the shooting itself. Even the non-initiated person in photography will be aware of the "pro" level of your photo taking device. The performance of the Olympus M.Zuiko 12-40mm lens is on the upper lever flirting with the stellar performances seen on the prime (focal fix) lenses. It is a good substitute product to the 12mm, the 17mm, the 25mm and the 45mm prime lenses although all theses models offer a much larger maximum aperture (F1.8-2) which support a better depth of field control. The extended focal range of the M.12-40mm qualify it as a good urban traveller optic to keep at hand. more than on your chest. And yes it can be a good action lens. If you are looking for a basic "pro" setting the Olympus M.Zuiko 12-40mm F2.8 will be a strong contender to fill the task. And the image results will speak by themself. Good Bye
  14. 1 point
    "Mine is smaller than yours!" You will rarely say this as an advantage especially from the macho male photographer point of view. But in the case of the Olympus M. Zuiko 40-150mm F2.8 PRO the story can be true considering the extended versatility and the reduce size of this model compare to the DSLR counterparts. Furthermore the same statement can be proclaimed for all the M4/3 format equipment. For sure there is still a strong resistance to the introduction of the M4/3 format from the so-call professional intelligentsia (?). The picture quality argument has been served ad nauseam to reject the compact option. But time is passing by and moreover people are changing. The new state regarding photography and its popularity is intimacy related to its fast and versatile connection ability. Big DSLR dont seem to follow that path so extinction is not far away for them (Shame on me!!!). The Olympus 40-150mm F2.8 PRO stays a massive lens by M4/3 compact standards. But it replace two DSLR Pro lenses, the traditional 70-200mm and 300mm both with maximum aperture of F2.8. So the trade-off is still at the advantage of the Olympus Pro telephoto zoom lens model. It prevent also the necessity of changing lenses or to operate two different cameras. Using big telephoto zoom lenses increase the unbalance tendency between the optic and the camera. That fact can be critical if you need a correct handling especially if you are panning the action not only for the effect but simply to follow the subject. Fatigue can be a highly distractive factor that will affect your ability and motivation to produce pictures. You can enhance your handling by adding an additional grip or vertical power grip on the camera. If you adopt a more static position a fix support like a monopod or a tripod will be a great help for stabilisation and a more careful picture cropping. In fact the nature of your subject will characterize your working methodology. With such a Pro lens model with a larger maximum aperture of F2.8 the photograph will select most of the time a fairly large opening between F2.8 and 5.6. Those aperture opening will narrowed the deep-of-field and privilege the main subject. Focus can be critical at that point and autofocus or prefocus have to be set carefully. Your picture waste will also increase accordingly. That is part of the experiment. If you are a more stereotype photograph like the photojournalists you may prefer to work with DSLR equipment. I am always impressed to see those boxes full of photojournalists with identical equipment in major sports events. They only reproduce the same picture without any search of originality. This is another specie of photographs in danger of obsolescence. As a Pro lens the Olympus 40-150mm F2.8 is getting a superior quality of construction. The zoom and focusing rings are larger and will turn nicely with a simulated friction similar to old-fashioned lenses. The click-on manual option available on the focus ring is a very secure and fast way of selecting between auto or manual possibilities. By selecting the manual focusing only position you over rule the autofocus fonction and get a better focusing ring resistance similar to the previous manual focusing lenses. It replicate what is already present to the Olympus 12-40mm F2.8 Pro lens which is often the companion optic chosen by many. As for all the Olympus other M4/3lenses, no aperture ring are offer on that model assuming that it will done by one of the dials of the camera. The monumental push-pull lens hood is included with the Olympus 40-150mm F2.8 Pro. Operating the mechanism may require some study and practices from your part. I have worked freely with or without the lens hood (if it was possible to do so without compromising my picture quality). The Olympus 40-150mm F2.8 Pro is also doted of an already tripod/monopod accessory mount that can be rotate for horizontal or vertical shooting. The making of this piece appears to be very well designed and constructed. My suggestion is to kept it permanently on the lens and simply rotate it aside when you are handholding it alone. The Olympus 40-150mm F2.8 Pro lens got the weather protection which qualify the optic for an extended use in most adverse conditions. It allows you also to fully clean the lens. Contrary of the usual mystic regarding the use of those big Pro lenses these optics are not fast handling device. They will require from the photograph an effort in preparation and during their specific manipulation. Shooting at will may expose you to some disappointment in view of the final results. With try and experience you will mastermind the care and the limit of these pro telephoto lenses such as the Olympus 40-150mm F2.8 Pro. In-board camera stabilization may partially help you but the fundamentals stay the same such as selecting a higher shutter speed and panning your subject. If possible an external support such as a monopod or a tripod can help you a lot (and prevent fatigue!). The Olympus 40-150mm F2.8 Pro can be a very fine portrait lens and many beautiful examples presented over the Web illustrate that fact. It can be also an interesting "abstraction" lens that allows many defocusing experimentations. Working with relatives short distances (for this type of lenses) will narrow the deep-of-field for bokey effect. Sport and nature photography appear to be the most spontaneous themes of preference for what the Olympus 40-150mm F2.8 Pro has been first designed et manufactured. And many users have already demonstrate the rightful of this perception. As I have already said at the beginning of this post, this telephoto zoom pro lens is in fact more versatile into a smaller package. In many ways it respond to the standards imposed in almost any photojournalistic situations. But it is not part of the Canon-Nikon 24X36mm sensor format media cartel as an Olympus M4/3 product. In my sense it a shame but it proves the stalemate of evolution of many so-call themselves "professional photographers"and extinction is not far ahead. Finally here is a short note regarding the high selling prices of many of those "pro" lenses. Usually these professional intended optics are produced in smaller quantity with higher cost material and for a limited distribution. Therefore their price tags are positioned at a selling point difficult to reach for many of us (including obviously myself!). But if you consider the added durability of these models and their constant value over time, you will often discover that they simply follow the inflation rate over the years and the decades. It is up to you to invest yourself in that kind of heavy expense. The Olympus M. Zuiko 40-150mm F2.8 Pro lens is a very fine, constant, versatile, workhorse optic that is reliable into various conditions of uses. It is part of the traditional duo along with the Olympus M. Zuiko 12-40mm F2.8 Pro and also with the T(h)ree family if combined with the Olympus 7-14mm Pro. All these pro lenses will form a very competent equipment when teamed with OM-D bodies like the E-M1 and E-M5 or even the E-M10 (Original or Mark II versions of any of those models). A complete Pro system Olympus is very serious about its Pro line of lenses involvement and offer a complete line-up of fine, fast and sturdy optics with the M. Zuiko 7-14mm F2.8, 12-40mm F2.8, 12-100mm F4.0 IS, 40-150mm f2.8, Fisheye 8mm F1.8, 25mm F1.2 and 300mm F4.0 IS. Combined with the OM-D E-M1 (original or Mark II), an independent professional photographer will find a very competent and compact eco-system that will sustain most of its need.
  15. 1 point
    The Olympus M.Zuiko ED 60mm F2.8 Macro: Doing more than macro in M4/3 format. It may be the most curious looking lens of the entire Olympus optical line up for M4/3 format camera. Strange may be also another epitheth to describe it. Its physical aspect with its non-obvious function dials are giving to the Olympus M.Zuiko ED 60mm F2.8 Macro lens a more confidential reputation based for a good part to its specialized first task intended i.e. macrophotography. Close focusing photography has been always of a great interest for me as for many of us. Subjects in that field are infinite with various points of view. On a purely documentary side doing macro photography was at first on the scientific priority but very early on following the first spreading of the new medium we have seen beautiful artistic black and white and later on colourful macrophotographic pictures. We may qualify them as the prelude of abstract photography. Although many fine lenses designed for more general purpose can produce very fine close focusing pictures camera and lens manufacturers had soon beging to offer specific macro lenses calculated mostly to cope the flat field exigence of reproduction purpose. That trend has been observed throughout the technical evolution of the photographic equipment. Today macro lenses are current part of many photo arsenal of photographers around the world. Into the M4/3 format lenses you can rely on different models part of the Olympus and Panasonic line-up. All of them are exceptional contenders of their own. Normal focal ones such as the 30mm length are more suited to be versatile as macro and everyday lenses. Long focal counterparts such as 45mm and 60mm may represent a more powerful alternative for doing very small and near object or better tool for studio and reproduction works. The Olympus M.Zuiko ED 60mm F2.8 Macro represent a very interesting lens with close focusing ability at first and unprecedented characteristics such as its longer focal length and its all-weather construction. With an angle of view of 20 degrees it surpass many short telephoto for portrait work. Even with a maximum aperture of F2.8 it can be use for action photography in normal daylight condition. Of course close focusing can be its primary advantage combined by the fact that its longer focal length prevent most of its potential obstruction of light on the close subject. Maybe the most spectacular part of the Olympus 60mm Macro is its oddly aspect if you compare it with others lens designs. But in the past many macro lenses had and still have that kind of visual aspect. I have to concede that it is not the most discrete optic I have ever used. As for most telephoto macro lenses the Olympus M.Zuiko ED 60mm F2.8 Macro is a very creative tool and versatile because of its close focusing ability. If you accept the fix focal length factor you will find many ways to produce very original pictures that emphasize your main subject. As usual telephoto lenses can be also very competent for doing landscape or urbanscape photography with their dramatizing compression of many subjects in one frame. The Olympus M.Zuiko 60mm F2.8 Macro lens is a small optic which is part a the traditional M4/3 format line of prime lenses. With a focal length of 60mm it is magnification factor of 2.4X compare to a standard lens (25mm) with an angle of view of 20 degrees which is qualified the optic for portrait or for small telephoto work. At 185g it is also a very light package easy to bring with you as an extra lens but you have to pay more attention to your stability in use since it is not possible to count on its own weight inertia (like bigger telephoto counterparts), In that case the camera stabilisation option is a welcome feature. Manual focusing can be performed nicely through its large and very smooth focusing ring. Using the 60mm with the OM-D E-M5 II and its EVF (Electronic ViewFinder) is easy and the image is clear and accurate in most photographic situations. Focusing speed is surprisely responsive for this type of (macro) optic and it qualify the 60mm Macro lens for all other subjects associated with the use of a medium telephoto. And yes the use of the limiter dial can save you time (and picture opportunities!) if it is applied in the good working context. The reproduction ratio scale is an amusing gadget also. Typical third-party screw-in (46mm) metal lens hood for telephoto. (Always check for trace of vignetting) There is always that annoying discussion about the utility of using a lens hood with the 60mm since Olympus does not provide one with the lens (which is also very annoying...) My answer is simple: if you can afford to buy and bring one dont prevent yourself to do so. I have found the Olympus official lens hood to be a clever design (like the one that came right from the box for the Olympus M.Zuiko 40-150mm F.2.8 Pro model !) but you may consider some third party options less pricy and less bulky available through the Web. Essentially lens hoods are preventing some lens internal reflections (flare) especially when you are pointing in direction of punctual light sources. The Olympus M.Zuiko ED 60mm F2.8 Macro is a very fine lens as it is intended to be. We are reaching pro level image results. Picture are crisp and rightly detailed. Colours are accurate and follow the Olympus expected bias without any adaptation compare to the other lenses of the Olympus line up. Out of focus areas are pleasant even considering the moderate maximum aperture of the lens. The macro ability of this 60mm is flawless and enhanced by the longer focal length that reduce the risk of interfering with the subject light. In bref it is fair to consider the Olympus M.Zuiko ED 60mm F2.8 Macro lens as an all-around medium telephoto optic with very handy macro possibilities but also nice other abilities such as for spontaneous photography, portrait or even action subject.
  16. 1 point
    Here is the text in english version: The Panasonic Lumix G Vario 45-200mm F4.0-5.6 II OIS Power is perhaps the best alter ego in telephoto mode of the trans-standard optics Lumix G Vario 12-60mm F3.5-5.6 OIS. Versatile, compact, weather-resistant, the second version of this zoom can meet the normal requirements of discriminating photography of the subject versus his environment. Despite a very modest maximum aperture its increased magnification of 8X compared to human vision may allow a shallower depth of field which isolates the main subject. Because this Panasonic 45-200mm is often perceived as an optically poor child especially if one compares it with his big brothers of the professional series. Of course its modest maximum variable aperture is a serious handicap for the action photo and even more in low ambient light. But is this mission impossible for this diminutive Panasonic Lumix G series? The challenge is interesting but not so inaccessible as it seems if we apply to control its shooting parameters and that we apprehend its subject. With such an objective the chance to realize unprepared a perfect spontaneous picture remains often random though always possible. So there is merit to succeed in this perspective. One of the advantages of using a long focal length is its great ability to isolate the subject and crush the perspective offered in the viewfinder of the photographer. The human eye unconsciously does this exercise when it wants to focus its attention on a detail extracted from its total visual field. With a variable focal length like the 45-200mm, the more precise choice of the frame becomes an undeniable asset to be exploited once the user has found his optimal position taking into account the shooting context. It is up to the operator to make good use of the possibilities of such optics. With its built-in optical stabilization system the Lumix G Vario 45-200mm II compensates in part for its weakness of a limited maximum aperture. It is important to pay particular attention to maintaining the lens in a low light environment and using a longer exposure time. There remains the choice to voluntarily make an image that illustrates well the blur generated by the movement of the subject or the displacement in its environment by panning. In action shots, the choices are vast if one allows oneself to spin one's imagination to recreate original interpretations of a situation. The rectitude of the stereotype photo of the subject often lacks impact and becomes a generic and repetitive image. It's up to you to experiment and that is the use of the Panasonic Lumix G Vario 45-200mm F3.5-5.6 II. The grip of the Panasonic Lumix G Vario 45-200mm F3.5-5.6 II Power OIS is comfortable and the rings of selection of the focal length and the focus are easily identifiable. The stroke of the focal point adjustment ring (focus) seems to me too long and a bit off-line for action photography and one should instead rely on the various options available to the autofocus for better perform in this area. If the movement is fluid enough, most MFT devices of medium and large range will be enough to the task. Obviously the absence of a rotating collar for an optional tripod / monopod socket may disappoint action or sports photographers. In addition, the long minimum focusing distance can be troublesome in high proximity photo while remaining sufficient for the portrait however. With a telephoto zoom lens of this nature it is preferable to couple it with a digital camera with the viewfinder centered (SLR type) to ensure a better follow-up of the subject among others, but that does not exclude combining it with an off-center viewfinder model. (rangefinder type) at the choice of the user. The lens comes with its reversible dedicated sun visor for storage and can be fitted with 52mm accessory filters, an economical option. An activation switch or not the stabilizer of the lens is present and useful for use on a tripod. In the few examples accompanying this article, I wanted to show the versatility of the Panasonic Lumix G Vario 45-200mm F3.5-5.6 II Power OIS facing different shooting situations. By using a higher ISO you will be able to produce satisfactory results meeting the requirements of the virtual or electronic publication. I was even surprised to be able to push this 45-200mm in its last limits and more exactly towards the greater focal length of 200mm without experiencing a significant loss of image quality. Obviously an analysis "under the magnifying glass" could perhaps give a different impression but I prefer to judge an image on its impact, its implicit history and its durability. What to conclude by saying that the Panasonic Lumix G Vario 45-200mm F3.5-5.6 II Power OIS surprise me in spite of all the preventions which it seemed to arouse in this universe Internet by many reviewers. It is effective and finds its utility in its great focal latitude for a telephoto zoom. Its relative compactness and weight for such focal distances makes it convenient to carry with you.
  17. 1 point
    A little soft on the long end, and low-contrast throughout. But low contrast is easily fixed in post. But if you view this as a video lens, it is very good, giving the wide zoom range needed for video, at the expense of ultimate image quality.
  18. 1 point
    I debated purchasing this lens (45mm f1.8). But when I found one on sale, I bought it. I did not expect the lens to be quite as sharp as it is. I also really like this angle of view. I used it quite a bit this weekend, and am very pleased with the image quality. When you consider the sale price, it is a great lens for the price.
  19. 1 point
    This is hardly a comprehensive review. However, my first impressions are really positive. I just received my copy of this lens, purchased new from Olympus for the sale price that is about what most used copies sell for. This lens gives me the same impression that I got from testing the Olympus 75mm f1.8. It is VERY SHARP!! I have done my usual job of taking all sorts of photos both indoors and out, and have enlarged the images to examine fine print (inside) and distant landscape details (outside.) I will probably use this lens more than the 75mm lens. It is a definite candidate for leaving on at least ONE of my mft camera bodies.
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