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Unfortunately for smaller sensors, easy-to-get lens resolution in lp/mm is largely independent of lens format. My 28-200mm (which is surprisingly sharp, although it has other optical issues) is delivering about 20MP of scene resolution on FF, which means about 8.5MP on APS-C. However, A FF sensor is nearly 4X the area of an MFT sensor, so my 28-200mm would only project about 5MP of resolution on an MFT sensor. Excellent MFT lenses tend to come in at around 6-7MP; only one that DxO tested reached 16MP (on a 20MP sensor). Distortion is well corrected in camera, but without corrections applied, Imatest detected 5.51% barrel distortion at 12mm being replaced with only 0.965% pincushion distortion at 40mm. The level of distortion at 12mm will be quite noticeable in images with lines parallel to the edge of the frame, although the distortion pattern is uniform across the frame throughout the zoom range, which should make applying corrections in image editing software afterwards, relatively straightforward. An interesting feature on this lens is the programmable L-Fn button near the lens mount along the upper left side. Presumably, standing for "Lens Function", the L-Fn button can be configured using compatible Olympus cameras to set various options -- and options not even related to the lens itself. You can program it to toggle adjustments such as white balance or RAW, but it can also be set as an AF-stop button. The placement is convenient as it's right near or under your thumb when using the proper camera holding technique to support the lens in your hand. (Note: Despite being part of the Micro Four Thirds system, the L-Fn button won't function with Panasonic cameras, although you can mount this lens to those cameras.)
I really wish OM System made an f2 or f1.7 zoom lens instead. This has the depth of field of an f5.6 lens on full-frame cameras when being used wide-open. And it leaves a lot to be desired. And whether you want to go into it or not, linear sensor response means that, so long as you're above the noise floor, it doesn't matter what digital number your exposure is recorded at.Make no mistake, this is one of the best kit lenses you’ll ever get your hands on. But if you do, you’ll desperately want to supplement it with OM System’s beautiful Pro-level prime lenses. You’ll also want to get more zoom lenses at the longer end because they’re just that great. Bokeh is a word used for the out-of-focus areas of a photograph, and is usually described in qualitative terms, such as smooth / creamy / harsh etc. In the M.ZUIKO Digital 12-40mm f/2.8 Pro, Olympus employed a seven circular-bladed diaphragm, which produces some very nice bokeh, at least in our opinion. However, recognising that bokeh evaluation is subjective, we have provided a few examples for your perusal.
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 new Olympus 12-40mm ƒ/2.8 Zuiko PRO was introduced alongside the Olympus OM-D E-M1 and is part of the company's new "Zuiko PRO" line of professional-grade Micro Four Thirds lenses. The 12-40mm focal range translates to a 24-80mm field of view in 35mm terms, and with the constant ƒ/2.8 aperture, this new Olympus lens is a very versatile lens that should work great in low-light. It's also a rugged lens with splash-, dust- and freeze-proof construction, which makes it a great match with the equally-rugged E-M1. The only other control is the L-Fn button, by default set to halt AF, but programmable via the camera menu to a wide variety of alternative functions. AF is fast, accurate and almost silent. Focusing is down to 0.2m or 0.66 feet, for a maximum magnification of 0.3x. This is usefully close, but the lens is not compatible with teleconverters, so that is as close as we get.
Specifically, I found that the latter produces a marginally narrower field of view than the latter when set to their shared widest angle of 12mm at both close and long focus distances. Once you zoom in to 40mm, the difference all but disappears. There's really not much to say about this zoomlens. It's a great performer at all apertures and at every focal length. If you pixel peep, you'll find that it's a tad softer in the corners when zoomed past 25mm, but that's about it. I can't imagine this to be a problem in real life. If it is a problem, just set the aperture to f/4 to get photos that are evenly sharp from corner to corner. CA and distortion are both very low and the bokeh is okay for this type of lens. Most of the time it's not creamy smooth, but it's not harsh either. If you are shooting on a Panasonic body then perhaps you might prefer to go with the Panasonic lens to take advantage of Panasonic’s depth from defocus system and in the case of the mark ii lens their dual sync IS. The Panasonic lenses are both lighter than the Olympus. A retracting mechanism makes this the world’s most compact, lightweight model as a fixed aperture value, 300mm equivalent (35mm equivalent) telephoto zoom lens, measuring approximately 99.4 mm long (124 mm long when in use) and weighing approximately 382 g, making it amazingly compact and lightweight. The lens was designed with a focus on ease of use when shooting and is equipped with a mechanism that makes it possible to retract and store the lens simply by turning the zoom ring. It also uses an inner zoom system that keeps the lens length the same across the entire focal length, suppressing center of gravity changes while zooming. Using compact, lightweight lenses in the front drastically reduces the feeling of heaviness, eliminating the long lens barrel and weight at the front of the lens, which is common to telephoto lenses, making shooting easier and more well-balanced. Both lenses can suit a variety of genres, but while the 12-40mm has the advantage of a faster constant f/2.8 aperture, the 12-100mm benefits from more reach on the telephoto end.
A petal-shaped hood is supplied with this lens, which does a reasonable job of shading the lens from extraneous light that may cause issues with loss of contrast or flare. Even without the hood in place, this lens is very resistant to flare and contrast levels hold up well when shooting into the light. This means that the 12-40mm is more versatile in low-light situations and can create a little more shallow depth of field past 12mm. The 12-40mm pro does suffer with some barrel distortion at the wide end if you shoot raw. The Jpegs are corrected in camera and the software does a good job in most cases. At 40mm there is a slight amount of pin cushion distortion. If you are shooting raw and have straight lines in your shots then you will need to correct in post. The other strength is its mind-blowing optical stabilisation which lets you take long exposures hand-held without the need for a tripod. It works very well on non-stabilised bodies, and bowls you over on the OM-D E-M1 II, with which perfect 5 second exposures hand-held are the norm and 10-15 second exposures are physically possible.
already own or plan on buying a second standard zoom such as the Lumix 35-100mm f/2.8 or M.Zuiko 40-150mm f/2.8 In terms of image quality sharpness is outstanding throughout the zoom range enabling you to shoot it wide open at f/2.8 without concern. It can do everything from wide-angle landscapes to portraits and it does it all well. Yes other lenses may be better at specific roles but none offer the versatility and fixed bright aperture of this lens. For the most part, the lens lives up to what you’d expect in this department, with a tightly assembled body with high-quality plastics and a metal shell over most of the lens body. However, I felt that it fell a bit short of what I would generally consider a ‘Pro’ build. The inner lens tube rubbed slightly when turning the zoom ring, and the extending tube has a small amount of play. Overall, it’s a well-built lens, but the sister to this lens, the 40-150mm f/2.8, has a more solid construction in my opinion. The Olympus M.ZUIKO Digital 12-40mm f/2.8 Pro lens attached to an Olympus OM-D E-M1, extended to 40mm Three years ago, we bought the Olympus M.Zuiko 12-40mm f/2.8 for our personal use, so the question I’ve been asking myself throughout our testing period is: would I replace the Olympus lens with the Pana-Leica 12-60mm f/2.8-4.0?
The lens barrel is constructed from high quality plastics, with a glossy finish and the bayonet is metal with a rubber gasket to prevent the ingress of dust and moisture into the camera body. Despite the robust construction the lens only weighs 382g. As far as size and handling are concerned, this lens is a perfect match for the Panasonic Lumix G6 camera body used for testing. The Olympus 12-40mm f/2.8 was the first in Olympus’ Pro series of lenses designed for Micro 4/3 cameras. It is a weatherproof (dust, splash and freeze proof) fixed aperture zoom lens offering the 35mm equivalent field of view of a 24-80mm lens. It has a fixed aperture of f/2.8 throughout the zoom range with a filter thread of 62mm. 62mm filter thread Olympus OM-1 + OM System M.Zuiko 12-40mm f/2.8 Pro II (1/640 sec, f/2.8, ISO200) (Image credit: James Artaius) OM System M.Zuiko 12-40mm f/2.8 Pro II: Key features Vignetting on the Olympus 12-40mm lens is very well controlled throughout the entire aperture range and at all focal lengths. There is some vignetting at apertures wider than ƒ/5.6, but light falloff never even reaches half a stop. In fact, most focal lengths show closer to a quarter of a stop of light falloff between ƒ/2.8 and ƒ/5.6 (12mm shows a little more between ƒ/2.8-ƒ/4). When the zoom is retracted, the two lenses appear more or less the same size. Once extended, however, the extra 20mm of the 12-60mm gives it a little extra height in comparison to the 12-40mm. The 12-40mm is the heavier of the two by about 60g but you won’t notice the difference out in the field.Manual focusing, too, is a pleasant experience, though it is unlikely you’ll feel the need to enter manual focus mode given the speed and accuracy of the autofocus mechanism.
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