Lens review: The Olympus ZD 12/2

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Although this lens is not new – in fact, it was announced back in 2011 with the second-generation E-P3, E-PL3 and E-PM1 (full review here) – it still remains ostensibly the best fast wide option for Micro Four Thirds users. (It was also recently re-released as a limited edition all-black version, which now includes the lens hood as part of the kit.) In fact, there’s been remarkably little competition in this arena – just a manual focus offering or two from SLR Magic, and the upcoming (and stratospherically priced) Schneider 14/2.0. Panasonic has the 7-14/4, and the 14/2.5; the latter which is perhaps the 12/2’s closest competition.

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My initial experience with this lens and its optics on the E-P3 and E-PM1 were enough to convince me that Micro Four Thirds had come of age, and would make a worthwhile compact system without major compromises for the majority of situations in which I’d want to use a compact system camera. This impression held, wavered, and changed again – to be honest, until the last Tokyo workshop, I hadn’t had much of an opportunity to use the 12/2 on the OM-D (full review here) for a serious evaluation. The last time I used the lens on the OM-D was also the first time I’d taken out the camera for a serious bout of shooting, and definitely wasn’t a good way to benchmark performance of either camera or lens – simply too many variables and unknowns were in play here.

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Spiral. E-PM1, ZD 12/2

The lens is one of the Olympus Super High Grade line, impeccably built and finished with all-metal construction, and one unique feature (for a Micro Four Thirds Lens) – the focusing ring clutch. Sliding the focusing ring backwards a notch puts the lens in manual focus mode, and also reveals a focus distance scale: unlike every other lens in the system, the 12/2 has hard stops at each end of the range. Together with the depth of field scales, the lens should theoretically be the ideal tool for street photography – fast, wide, zone-focusable, and with more depth of field for a given aperture and field of view than its 35mm equivalent.

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In AF mode (left) and scale-focus MF mode (right)

Except, this isn’t quite the case. Sadly, the clutched focus system isn’t really mechanically linked to the position of the lens elements; it too is a fly-by-wire simulation – albeit a very good one, with the right amount of tactile feedback and everything. The problem is to do with the resolution of the distance scale/ mechanism: there aren’t enough divisions.

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Reflections, Tokyo. OM-D, ZD 12/2 from a moving train

It seems that there are perhaps five or six discrete distances to which the focusing group moves, instead of a continuum. The only thing that could cause this is if Olympus used a form of rheostat in the construction of the the focusing ring/ clutch. Although 12mm is a very wide actual focal length with plenty of depth of field for a given aperture, f2 is fast enough that more critical control over your focus point is required. Sadly, though the idea of the ring is a good one, the execution makes it of marginal utility for the photographer in the real world – unless you are willing to use a small aperture – f4-5.6 or smaller – to use depth of field to cover the lack of manual focus precision.

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Diagonals, Shibuya. OM-D, ZD 12/2

Curiously, this is most definitely not the case for either manual focus with the ring in the AF position (i.e. selecting manual focus on the camera body) or when using autofocus. Here, the lens is precise, moves in as many infinitesimally incremental steps as one could desire, and has no trouble finding critical focus. While on the subject of focusing, it’s probably a good time to talk about autofocus performance. Like all of Olympus’ other MSC designs, the 12/2 is an extremely snappy lens – even more so on any of the recent bodies. I haven’t experienced any gross focus misses, but it’s worth noting that some care is required at f2 – the plane of focus isn’t quite as deep as you’d think.

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Taxi rush, Shinjuku. OM-D, ZD 12/2

The lens is not weather sealed or gasketed, and once again, Olympus has decided not to include a hood – this is excusable for a $250 economy kit item, but not on a $800 premium lens. It just smells too much like penny pinching. Perhaps it’s just as well, because the optional hood is rather cumbersome; it increases the bulk and visual size of the lens hugely, requires a thumb screw to attach, can rotate freely and requires a different cap – why can’t they just use a bayonet hood? Zeiss lenses are a great example of how bayonet hood mounts should be constructed.

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Shadows, Otemachi. OM-D, ZD 12/2

Over a good year of use with this lens on the E-PM1 and OM-D, those are my only two complaints: the inaccuracy of the pseudo-manual focus clutch, and the continued minor farce of the lens hood. If you read this carefully, it means that I don’t have any major criticisms of the optics.

The 12/2 uses a rather exotic optical design with 11 elements in 8 groups; one of these is aspherical, one is made of ED glass, and another two of exotic Super HR and DSA glasses. It’s a non-symmetric, telecentric design whose optical formula honestly doesn’t look familiar to me – the closest thing I can think of are the Zeiss Distagons, insofar as they use several extremely dome convex front elements and a rear telephoto group. The lens also employs Olympus’ ZERO coating to minimize flare and maximize contrast and transmission.

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The overhang. OM-D, ZD 12/2

Let’s get the most popular question out of the way first: yes, it’s sharp. Bitingly so, at all apertures, across the entire frame in all but the most extreme corners. There appears to be a small amount of field curvature, but nothing overly serious; enough that for optimal sharpness you’ll want to move the focus point over your subject rather than using center-focus-and-recompose, though. The lens has a slightly odd MTF chart that is indicative of a significant dropoff in microcontrast about halfway to the edges; I don’t see this in practical use, which suggests that the field curvature is probably responsible – and more complex than a merely spherical surface. In the real world: sharpness will not be an issue.

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Fuji TV building, Odaiba. OM-D, ZD 12/2

Though some of you might think that a little nice bokeh might be obtainable from the 12/2, you’d be mistaken; you have to be very close indeed to throw anything significantly out of focus. Fortunately, the lens focuses down to 0.2m, so this is actually possible. If you have enough distance between subject and background, then bokeh is actually fairly pleasant; however, if there isn’t a lot of distance, and the subject is a bit farther away from the camera, nothing really gets out of focus enough to begin with – in fact, you have to be a bit careful of double images in the out of focus areas. There’s a bit of spherochromatism, too.

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Star. OM-D, ZD 12/2

Although the lens in general well corrected, you do get the feeling that it’s on the extreme edges of what was possible with the design constraints put upon the optical designers: there’s visible CA against high contrast subjects, especially in the corners where you can get up to 2 pixels’ worth; there’s also very noticeable distortion. Fortunately, it’s fairly simple in nature – barrel with no sombrero/ moustache – and is easily correctable in ACR. Flare exists but the ZERO coating does a good job of keeping it to a minimum – even without the hood. Stopping down to f4 on the OM-D makes everything but the distortion go away, leaving you with an excellent optic. It doesn’t quite have the transparency of the 75/1.8 or 60/2.8 Macro, but it’s fairly close if used stopped down. It is definitely the best wide option for M4/3 users at the moment. One interesting use of the lens is for handheld long exposure photography – due to the short focal length and excellent stabilizer in the OM-D, shutter speeds of anywhere down to 1/2s (consistently) or 1s (occasionally) with critically sharp results are possible, making for some interesting photographic opportunities.

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Commuters. OM-D, 12/2

As always, I suppose the litmus test for a lens is if you’d buy it a second time – I think the answer for me would be a qualified yes. I have since had the chance to shoot with the Panasonic 14/2.5; thought I prefer the 28mm field of view over 24mm, and believe that M4/3 lenses should be a compact as possible to play to the other strengths of the system, I would still pick the 12/2 as the optics are better – they simply render in a more three-dimensional way due to better microcontrast, as well as better edge sharpness. Interestingly, the Panasonic 12-35/2.8 runs it very close at f2.8; however, the T stop of that lens is about 1/3-1/2 stop slower too, for a given physical aperture. What qualifies my opinion is the upcoming Schneider 14/2; it remains to be seen if it performs as well as its price suggests it should. In the meantime, the best way to judge the 12/2 is on its pictorial results – construction, expensive accessories and the imprecise focus clutch are just distractions. And on that basis alone, I think the lens deserves a place in a serious M4/3 shooter’s bag. MT

The Olympus M.Zuiko Digital 12/2 is available here from B&H and Amazon.


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Comparative lens review: The Olympus M. Zuiko Digital 17/1.8

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Advance note: Images in this review were shot with an Olympus OM-D and the ZD 17/1.8 unless marked otherwise. Please go by the commentary rather than the reduced crops; I am looking at uncompressed RAW files on a calibrated monitor, not a websize JPEG. The review was completed with a final pre-production prototype lens. I’m told that image quality and build are representative of the finished product.

_Z260004 copy With (once again) poorly designed and optional lens hood. At this price…shame on you, Olympus.

One of the first lenses released for the fledgling Micro Four Thirds system was the 17/2.8 – equivalent to 34mm in full-frame talk, and the staple walk-around lens for most photographers. I’ve personally never been a fan of this focal length – it simply doesn’t fit with the way I see – so I tried it once on the first E-P1, and never paid it much attention since. That lens was a simple 6/4 design with a single aspherical element at the rear, and notorious for managing to pack many undesirable qualities into a single lens at once – it was slow to focus, suffered from serious lateral chromatic aberration at the edges at pretty much all apertures, and was extremely noisy while hunting to boot.

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Its sole redeeming graces were that it was sharp in the center of the frame, and very small. Most photographers ditched that lens for the Panasonic 20/1.7, which was a little longer, not much bigger, but over a stop faster and optically comparable. That lens made its way into my bag while I was shooting with the E-PM1 Pen Mini, turning the camera into a small and pocketable companion.

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Silhouette of a man

Olympus has been on a bit of a roll lately with its Micro Four Thirds lenses – first the 12/2, followed by the 45/1.8, then the 75/1.8 and 60/2.8 – the latter two of which are amongst the best lenses I’ve used for any system, period; the new M.Zuiko Digital 17mm f1.8 (hereafter known as the 17/1.8) is the latest to follow in this vein.

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What lurks beneath

The lens’ construction is closer to the 75 and 12mm lenses than the 45 and 60, which is to say it follows the High Grade requirements of being all-metal in construction (champagne-colored anodized aluminum) and having the ZERO optical coating. It has the same pleasant tactility and solidity as the 75 and 12mm lenses; there’s no plastic to be seen anywhere here. Unfortunately the lens is not weather sealed and has no visible gaskets, and once again, has an optional (and expensive) lens hood that makes it very difficult to remove the lens cap. Like the 12/2, the full-time manual focus ring override clutch activated by pulling the focusing ring backwards towards the camera. In this position, the ring exposes the distance scale which works in conjunction with the depth of field scale engraved on the static outer flange, and has fixed end stops at minimum focus distance and infinity. Unlike the 12/2, the possible distances are no longer fixed to several discrete ranges – pulling back on the ring and turning it slowly through its range of travel, you can see via the LCD image that the focus distance changes continuously. If there are discrete steps, they’re very small ones. This is great news – whilst the idea was a good one for reactive documentary photography, its implementation on the 12mm made it fairly useless in practice.

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Hop to rainbow row

Needless to say, autofocus speed is on par with all of the current generation of Olympus lenses – very, very fast indeed. It’s much faster than the 17/2.8 and Panasonic 20/1.7 – about the same as the 12/2, and slightly faster than the 45/1.8 (which is to be expected because that lens has a longer focus travel as required by its focal length). I did experience one or two issues with precision at longer distances wide open though – admittedly an unlikely usage scenario – the lens tended to lock at about 6-10m distance instead of infinity; as a consequence, images were borderline sharp but nowhere near what the lens can produce if focused properly. The 17/1.8 focuses down to a minimum of 25cm, which in practice means covering a 15x20cm object or thereabouts. It’s slightly less than the 20cm minimum of the 17/2.8, but curiously the real focal length of the 17/1.8 seems to be a bit longer, which lands up evening things out in the end. Close up performance wide open is not its strength; there’s a distinct loss of microcontrast that robs resolving power, that only starts to come back at f2.8 and smaller – this isn’t entirely surprising as the lens lacks any floating elements. In this area, I’d say it’s on par with the 20/1.7, and slightly worse than the 17/2.8.

Optical formulae. 17/1.8 at left, 17/2.8 at right.

The 17/1.8 is a much more complex lens than the 17/2.8 that preceded it. Firstly, focusing takes place entirely within the lens, in order to keep things fast and silent; the entire optical assembly no longer moves. It’s a complex 9/6 design that appears to have been done entirely by computer; I don’t recognize the optical formula at all. Olympus have spared no expense here – two aspherical elements, one HR element, and one DSA (double super aspherical) element go into the mix. Both front and back surfaces are flat, which presumably has a positive effect on flare; I certainly didn’t see any during my test images, which included several deliberately backlit shots and point sources within the frame. No doubt the ZERO coating helps, too.

MTF charts. 17/1.8 top, 17/2.8 bottom. Image from Olympus Malaysia

On the basis of the MTF charts alone, both lenses should perform similarly in the center, with excellent overall sharpness and contrast, and middling to good microcontrast. Towards the outer portions of the frame, the 17/2.8 drops in fine resolving power, and loses it in the corners. This is not because the lens isn’t sharp: huge amounts of chromatic aberration mixed in with field curvature rob resolving power. The 17/1.8, on the other hand, maintains its overall resolving power out much further towards the edges – remember this is at f1.8, against the 17/2.8 at f2.8 – with a dropoff only in the extreme corners. The complex wave form of the 60 lp/mm lines suggests that it’s probably due to some very odd field curvature, probably as a result of the complex optical design. The 17/2.8, on the other hand, has a simpler, less corrected, design, with resulting first- and second- order uncorrected field curvature. Geometric distortion is very low, however, and requires almost no correction in Photoshop.

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In a very quiet back alley somewhere, waiting for the person to complete the shot that never arrived.

In practice, what this means for sharpness is that the 17/2.8 was good in the center, but terrible in the corners and lacking punch and transparency. From what I’ve seen, the 17/1.8 markedly improves on this in practical situations; the sweet spot extends much farther out from the centre even wide open at f1.8, and by f4 performance is uniformly excellent across the entire frame – in some ways, reminiscent of the behaviour of the 12/2. Note that this is a lens which performs best if you place the focus point over the intended subject; focus-with-the-center-point-and-recompose is not going to yield optimum results due to the nature of the 17/1.8’s field curvature profile.

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Whole test scene.

3-way comparison of center resolution. 100% version here. The 20/1.7 has the highest overall scene contrast, but the 17/1.8 wins out in microcontrast and reproduction of fine detail structures – personally, I prefer this as it gives me more latitude for processing before the shadows and highlights block up. The 17/2.8 is in the middle for macro contrast and on par with the 20/1.7 for microcontrast.

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Top right. 100% version here. Note purple fringing on the 20/1.7 shots, even at 5.6. That portion of the building is not overexposed according to the histogram. The two Olympus lenses exhibit notable CA, with the 17/2.8 being the worst offender.

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Top left. 100% version here. The 20/1.7 is oddly free of both CA and purple fringing in this corner; in fact, the performance here doesn’t really match the other corners – chalk it down to sample variation. This is the 17/1.8’s worst corner.

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Bottom right. 100% version here. We’re now seeing CA from all three lenses, with the 17/2.8 once again faring the worst. The 17/1.8 is slightly better than the 20/1.7. Interestingly, not much changes even when you stop down.

What will affect resolution (and perceived acuity) far more is lateral chromatic aberration. The 17/2.8 was notorious for this, and to be honest, the 17/1.8 shows a notable improvement over its predecessor, but CA is still present to f4. Both lenses have visible longitudinal chromatic aberration and spherochromatism that show up as fringes in the bokeh; the new lens is slightly better but still not perfect. This does not affect microcontrast as much as you would expect as the longitudinal CA occurs only in out of focus areas, which are devoid of microcontrast and fine detail structures anyway. In the in-focus areas, microcontrast delivered by the 17/1.8 is already good wide open, improving slightly to peak at f4. The 17/1.8 has about the same global contrast as the 17/2.8 at comparable apertures, but slightly better microcontrast and the ability to render more subtle tonal gradations.

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Whole test scene. Yes, that’s a Lego chess set. A custom one: goons vs. the village people.

Bokeh, LoCA and spherochromatism, #1. 100% version here. I’d say the 20/1.7 looks best here, but it’s very nearly a tie with the 17/1.8.

Both lenses have surprisingly consistent color rendition despite their vastly different construction and coatings; that is to say, neutral to slightly warm, with decent (but still plausibly natural) saturation. Where they differ is in transmission: (see this article for the difference between T stops and f stops) it’s clear that the coatings used in the new lens endow it with significantly better lower internal reflection properties than the older lens. Despite having more elements and air-glass surfaces, the 17/1.8 meters with a shutter speed that’s about 1/3-1/2 stop faster than the old lens for a given fixed aperture and histogram (luminance) output. This is a useful gain in practical situations; it’s not quite see-in-the-dark territory, but good transmission characteristics combined with its relatively short focal length and the excellent stabilization system on the OM-D mean that its useability envelope is very wide indeed. Vignetting is also fairly negligible too, even wide open.

Bokeh, LoCA and shperochromatism, #2. 100% version here. No prizes for guessing the 20/1.7 has the best rendition since it also has the longest focal length; this portion is a bit of a lopsided comparison.

The 17/1.8 renders out-of-focus areas with a rounded softness and lack of hard/ bright edges or double images, even against complex background textures. Whist you’re never going to get a large amount of defocus to your backgrounds with a real focal length of 17mm (that’s a property of the focal length) unless you get very close to your subject with a simultaneously distant background, what you do get with the 17/1.8 is very pleasant. I actually think the 17/1.8 delivers close to the right amount of bokeh for most situations at relatively near distance; enough to separate the subject but not so much as to completely abstract out backgrounds.

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Fear of the supervisor

Throughout this review, I’ve talked a lot about its predecessor, the 17/2.8; the other dark horse sitting in the corner is the Panasonic Lumix 20/1.7 G. It was my mainstay lens on the E-PM1 Pen Mini, though I’ve used it less since acquiring the 12/2 and 45/1.8 lenses. Though it has a slightly longer real focal length at 40mm equivalent, in practice the difference is minimal and no more than a step or two backwards or forwards. The 20/1.7 is a popular lens amongst enthusiasts because it was both fast and compact; value for money, too, if purchased with the original GF1 kit. It still retains its popularity today, because the only other fast 35-ish equivalent so far has been the Voigtlander 17.5/0.95, which is not only hideously expensive, bulky and manual focus only – all of which somewhat defeat the point of Micro Four Thirds.

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Caged laundry

What I find curious is that the 20/1.7 images render as though they are a slightly cropped version of the 17/1.8 – this is a good thing, as the optics on the 20/1.7 are excellent. Sharpness/ resolution, microcontrast, color transmission and even quality of bokeh are very similar; however they have completely different optical design philosophies. Where the 17/1.8 makes significant gains over the 20/1.7 is in autofocus speed; it’s simply night and day; not to mention the usefulness of the manual focus clutch.

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Hipster at sunset

For the 35mm (or therabouts) EFOV enthusiast, we now have four choices in the Micro Four Thirds mount – the Olympus 17/1.8 and 2.8; the Panasonic 20/1.7, and the Voigtlander 17.5/0.95. There are also myriad other options you could adapt from other mounts, such as the excellent Zeiss ZM 18/4. I’d consider the adapted options not viable simply because none of them were designed with telecentricity in mind, yielding poor results on M4/3 cameras – severe vignetting, color shifts in the corners and purple fringing are all common problems. The Voigtlander is an intriguing lens and a surprisingly excellent performer at f1.4 (it’s decent at f0.95) that also happens to have a very short minimum focus distance of just 15mm from the sensor, but it’s very much a special-purpose lens: you don’t buy this and shoot it at f2.8. There’s simply no point. And if you need one, I think you’ll already know it.

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Waiting for the bus

That leaves us with the three native AF options. I would not buy the 17/2.8 unless size is a critical priority, or you know that you’re going to be shooting only static objects stopped down; otherwise the slow AF speed will drive you crazy. The Panasonic 20/1.7 is in a similar boat; it’s faster to focus than the 17/2.8 and optically better, but nowhere near as fast as the 17/1.8. The 20/1.7 and 17/1.8 deliver similar resolution in the center, but they render quite differently – the 20/1.7 is punchier but has slightly lower microcontrast; the 17/1.8 has lower macrocontrast but better reproduction of fine detail structures – i.e. better microcontrast. In the corners, the 20/1.7 is the highest-resolving of the three, but shows strong purple fringing on top of CA which is absent from the other lenses. Interestingly, one thing I noticed with all three lenses was that corner performance was not really consistent – i.e. there were some minor tolerance-related astigmatism effects in play. All three lenses still suffer from longitudinal CA and spherochromatism, though. Ultimately, I think your choice will boil down to three things: price (the lens is to be around US$500 when it becomes available in December), whether you prefer the 40mm FOV, or 35mm; and how critical is focusing speed? If you shoot a lot of street or documentary work, then the ability to stop down and scale focus can be an extremely valuable asset. Overall verdict: recommended. MT

Thank you to Olympus Malaysia for supplying the lens review sample.

The Olympus 17/1.8 is available here from B&H


Visit our Teaching Store to up your photographic game – including Photoshop Workflow DVDs and customized Email School of Photography; or go mobile with the Photography Compendium for iPad. You can also get your gear from B&H and Amazon. Prices are the same as normal, however a small portion of your purchase value is referred back to me. Thanks!

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Lens review: The Olympus ZD 45/1.8

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Prague sunset by the river. Olympus E-PM1 Pen Mini, ZD 45/1.8

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Last year’s lens surprise of the year was the Olympus M.Zuiko Digital ZD 45mm f1.8 MSC – it’s a lens that was announced with the E-P3, E-PL3 and E-PM1, seems fairly ordinary and innocuous on spec, but yet delivers in boatloads. It’s both cheap and expensive at the same time; let me explain why. Most conventional SLR mount 50/1.8 lenses go for $100-150 or thereabouts. This lens is closer to $300, and it’s all silver-painted plastic except for the mount – to be honest, it feels kinda cheap. That’s expensive. But, it doesn’t use a conventional double-Gauss optical design:

Image from Olympus. Purple bits are E-HR lenses, whatever that means. I suspect it’s ED glass or something similar. I certainly don’t see any purple elements inside my lens 😛

Whoa, what’s this? 9 elements in 8 groups? Not so simple. I suspect the reason Olympus chose this optical design was primarily due to the very short back flange distance of Micro Four Thirds; double Gauss designs work well if the back focus distance is close to the focal length, which it is for most SLRs. Changing the optical design to keep the lens compact introduces all sorts of other issues on its own, including corrections for the various complex optical aberrations that occur once a lens design becomes asymmetric.

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Waiting for that text. Olympus E-PM1 Pen Mini, ZD 45/1.8

Secondly, it has a very fast coreless focusing motor – Olympus brands these lenses as ‘MSC’, which means you won’t hear the focusing motor working while recording videos – a nice touch. It’s also blazingly fast, at least with the current generation of Olympus M4/3 bodies. Sadly, like all of the other M4/3 lenses (except the 12/2), there’s no full time focus override; it’s fly-by-wire only and you have to put the camera into MF mode on the body before the ring does anything. Still, it’s nicely damped if a little dead-feeling.

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Night in the Malastranska, Prague. Olympus E-PM1 Pen Mini, ZD 45/1.8

But never mind all that, how does it perform? In a word, brilliantly. It’s one of my favorite lenses for Micro Four Thirds. If I had to describe it in a word, it would be ‘transparent’. That’s probably a good thing for an optical device; however, what I mean is that the lens itself doesn’t impose any of its own optical quirks or peccadilloes on the image; it does its job moving light from the subject to the sensor, and then gets out of the way. It delivers sharpness across the entire frame wide open at f1.8; there is some slight improvement at 2.8, but it isn’t really necessary to stop down – perhaps this may be different on the higher density 16MP sensor of the OM-D, however.

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All about the hair. Olympus E-PM1 Pen Mini, ZD 45/1.8

Fringing is almost entirely absent, as is longitudinal chromatic aberration; a sign that the optical designers have done their job very well indeed, and the lens is working well with the sensor. (In case you’re wondering about in-camera CA removal, I’m not shooting JPEG and the RAW files are run through ACR like the rest of my workflow – there’s no special treatment unless Olympus is doing something with the RAW files.)

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Echoes of red. Olympus E-PM1 Pen Mini, ZD 45/1.8

The lens is contrasty, but not that contrasty; it strikes a nice balance between sufficient global contrast and maintaining the microcontrast that is so important to preserving fine detail structures. In fact, I prefer lenses with lower macro contrast for digital use as they help to maximize preservation of dynamic range; this is especially important with smaller sensors that have lower dynamic range, like those used in M4/3 cameras.

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Ninja demolition. Olympus E-PM1 Pen Mini, ZD 45/1.8

Color reproduction is on the warmish side of neutral. No yellow casts like I see with Sigma and Tamron lenses, but a pleasing warm hue shift. Bokeh is also neutral to good; there are times when separation between subject and background is a little harsh – typically when the subject is fairly close to the background – but it’s also pretty darn good under ideal conditions.

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Mirrors. Olympus E-PM1 Pen Mini, ZD 45/1.8

Although it ‘only’ focuses down to 0.5m, it’s worth remembering that on Micro Four Thirds, 45mm is really a 90mm FOV, and there no non-macro lenses for full frame cameras that focus this close – it’s 0.8m if you’re lucky, or 1m if you’re using a rangefinder. The lens can be used handheld at arms’ length – i.e. live view style – and that’s how I’ve been using it so far; however, you’ll need to keep your shutter speeds up, because frankly the in-body stabilization isn’t that effective. I suppose if you were using this on the OM-D it’d be a different story as the built in EVF would let you get a bit more stability by bracing the camera against your eye.

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Dusk and the sign. Olympus E-PM1 Pen Mini, ZD 45/1.8

The 45/1.8 makes up part of my M4/3 ‘trinity’ – the 12/2 and 20/1.7 being the other two, though I might replace both with the new Voigtlander 17.5/0.95 (35mm equivalent, fast and versatile – though I prefer 28, and sadly there are very few fast 28mms). It forms a great lightweight travel kit which is still capable of delivering outstanding optical quality. It also works very well as a secondary camera in conjunction with something else; at the end of last year, I shot in Europe with a Leica M9-P, 28 and 50mm lenses as my primary body, with the Pen Mini and 45/1.8 in a coat pocket for those times I needed a little extra reach – made a great compliment to the rangefinder.

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Graffiti. Olympus E-PM1 Pen Mini, ZD 45/1.8

Even on the slightly higher density OM-D sensor, this lens is a gem; sharpness doesn’t seem to be compromised anywhere, but there is a very slight veiling flare that goes away about half a stop in. It has a lightness and transparency (lower macro contrast, but higher micro contrast perhaps?) that I don’t see with the 12/2 or 20/1.7, and it’s something that makes the way it renders very natural and appealing.

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A classical portrait, second version. OM-D, 45/1.8. The first version is here

Are there any negatives? Well, yes. At the price, you can’t expect fantastic build quality. Frankly, it feels about on par with the kit lens; Olympus chose to put all of the production money into optics rather than cosmetics, which is a decision I can agree with. However, the leaves the lens feeling just a tiny bit fragile; the plastics don’t feel that thick or robust, and that little blanking ring on the front (ostensibly to cover the hood mount threads) doesn’t really stay in place securely, and isn’t that well made, either.

Still, all that aside, this is a highly recommended lens for Micro Four Thirds users. It isn’t good enough that I’d go out and buy a Micro Four Thirds camera just for this lens alone, but then again the thought of having a fast portrait 90mm equivalent in a pocket is quite appealing, and the cost of a Pen Mini plus this lens is much cheaper than many full frame lens options on their own. Of course, you do get the DOF profile of a 45mm lens, not an 85 or 90mm lens, so don’t expect crazy thin DOF. There’s adequate separation, but true bokeh enthusiasts will probably have to wait for the upcoming ZD 75/1.8 – a lens which I’m pretty excited about, actually. MT

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Sunset in the city. Olympus E-PM1 Pen Mini, ZD 45/1.8

Get the Olympus ZD 45/1.8 here from B&H or Amazon.


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