Olympus M. Zuiko Digital ED 12-100mm F4 IS Pro Lens, suitable for all MFT cameras (Olympus OM-D & PEN models, Panasonic G-series), black

Product Information

The camera, lens, plus a tripod (for high res mode, for still life an architecture) and a modest flash setup is going to deliver impressive capability in a kit that will mostly fit in what counts as the second (small) piece of hand luggage on many airlines.

You talk ONLY about how great is to get tiny DoF and how better is quality from cheap plastic lens compared to reviewed here! Zuіkо РRО іѕ а lіghtwеіght аnd hіgh-quаlіtу соvеrѕ а fосаl lеngth rаngе thаt рrеvіоuѕlу rеquіrеd thе hеlр оf а ѕесоnd lеnѕ tо асhіеvе аt thіѕ lеvеl оf quаlіtу. This is one of the best In Studio Lenses: great range , very sharp at any focal length and very reactive to off camera lighting. This is most beneficial for my style of photography and one of the top deciding factors why to use the 12-100 lens.

Zuiko Digital ED 12-100mm f/4 IS PRO Lens from Olympus is a 24-200mm equivalent zoom designed for Micro Four Thirds mirrorless cameras. The cost of creating a lens of such a large zoom range (12-100mm) with optimum optical performance throughout is the weight and size of it. I have lots of primes, plus the 12-40, but the swell range of this is lovely for a an 86 year-old camera bravissima. Exactly my point: Why did Oly make the mistake of making such heavy lenses and camera bodies resulting in gear weight exceeding that of a much performant APSC or FF combo? Nonetheless, you are right, there should be some compromises and minor flaws there and here, considering how ambitious the lens is.

Clearly with the latter, we get the extra stop and more reach, especially with the tele extender, but how does it compare for sharpness etc. You are right about not having to switch lens, that is a huge convenience factor in some situations, and it can really make a difference!

Bolton, you're comparing an image WITHOUT SOFTWARE CORRECTION to one that is CORRECTED and saying "wow I see less distortion in the corrected image! For the most part, it’s a major struggle between what people want, what they really need, and what they can afford. Despite my considering both lenses to be absolutely excellent, the 12-100mm is more useful for my style of photography. It's one of the sharpest superzooms ever created (near record setting MTFs on Lenstip at 12mm, virtually no weaknesses, and their Editor's Choice Award). A MSC autofocus system provides quick, quiet, and precise focusing performance to benefit both still photo shooting and movie recording.

Compared to the 12-100, it is lighter, smaller, uses smaller (cheaper) filters and is one stop lighter. I don’t dwell much on the brightness of wide lenses, because I use greater depth of field and the loss of light is therefore more than sufficiently compensated by the aforementioned stabilisation. Before purchasing this lens a year, I read a number of reviews, most were positive, including the one from Optical Limits https://www. All cameras before the release of the 12-100mm F4 IS PRO require firmware update to allow the IS to work properly.

Looking into this site, you’ll see that I’ve owned, used and reviewed most of the Olympus and Panasonic PRO lenses, and quite a few of the m43 systems super zooms. The Olympus 12-100 F4 lens is ambitious in design, covering a 35mm equivalent focal range from 24mm to 200mm.