In summary
The second lens in Olympus’s PRO range is every bit as good as the original M.Zuiko Digital 12-40mm f/2.8 PRO lens and complements that lens by extending the focal length range to suit sports and wildlife photographers.
Owners of OM-D cameras who want a fast medium-telephoto lens with weatherproof sealing plus superior build quality and performance will find it good value for money.
Owners of Panasonic cameras who are considering this lens should allow for its lack of stabilisation. While the 40-150mm f/2.8 PRO lens could suit the GX7, most G-series camera users will be better off with a Panasonic lens with integrated optical stabilisation.
Full review
After publishing a detailed First Look at the Olympus M.Zuiko Digital 40-150mm f/2.8 PRO lens in September 2014 we received a production unit just before Christmas and have now carried out our usual suite of technical and shooting tests. This report complements the initial review, adding comments about how the lens handles plus test results. Use the link to jump between the two reports.
Angled view of the M.Zuiko Digital 40-150mm f/2.8 PRO lens without the supplied lens hood. (Source: Olympus.)
Olympus Australia also provided us with the M.Zuiko Digital 1.4x Teleconverter MC-14, which has been designed specifically for the new lens. It’s the first rear-fitted teleconverter lens to be produced for Compact System Cameras and extends the focal length range to the equivalent of 112mm to 420mm in 35mm format with a reduction in light of one f-stop.
Interestingly, the MC-14 has no effect on the minimum focusing distance for the lens but it increases the maximum magnification to 0.3x. It can, therefore, extend the already good close-up shooting capabilities of the lens.
Optical diagrams and MTF graphs for the M.Zuiko Digital 40-150mm f/2.8 PRO lens without (top) and with the M.Zuiko Digital 1.4x Teleconverter MC-14. (Source: Olympus.)
While we didn’t assess the MC-14 with Imatest due to a lack of space in our testing set-up, the lens diagrams and MFT (modulation transfer function) graphs from the Olympus America website, reproduced above indicate it should have little impact on the optical performance of the lens (aside from the one-stop reduction in light transmission). Subjective assessment of comparison shots taken with and without the MC-14 (shown in the Performance section below) confirm this.
Build and Ergonomics
As the largest and heaviest M4/3 lens so far, the 40-150mm f/2.8 PRO lens works best with the E-M1 and E-M5 camera bodies so we carried out our tests with it on the E-M1, for which it appears to have been designed. Although some reviewers have commented on a preference for equipping the camera with the HLD-7 battery holder grip, we found, the lens felt comfortable and well balanced on the E-M1 body without it. In size and weight this lens is roughly comparable with the 70-300mm f/4-5.6 lenses from Canon and Nikon, since the f/2.8 maximum aperture provides the same depth-of-field as an aperture of f/5.2 on a full frame camera, because of the M4/3 2x crop factor.
The illustration above shows the Dual VCM (voice coil motor) focusing system. (Source: Olympus.)
The reasons it’s more expensive than the DSLR lenses relate to its constant f/2.8 maximum aperture, superior build quality (dustproof, splashproof and freeze-resistant) and its sophisticated Dual VCM (voice coil motor) focusing system, which eliminates the need for gears, thereby minimising friction. Internal focusing and zooming mean the lens doesn’t rotate when focusing and its length remains constant while zooming, enabling angle-critical attachments to be used without requiring constant readjustments.
As mentioned in our First Look, the build quality of this lens is similar to the M.Zuiko Digital 12-40mm f/2.8 PRO lens and definitely of professional quality. It also has the same Manual Focus Clutch mechanism that enables fast switching between auto and manual focusing modes.
Pulling the focus ring back towards the camera engages manual focusing and reveals distance marks in feet and metres, ranging from 0.7 metres to infinity with intermediate marks at three, five and ten feet and one and 10 metres. These marks are covered when the ring is pushed forward to engage autofocusing but you can still turn the focus ring
The supplied lens hood is removable but, unlike most lens hoods, not reversible. However, it can be left on the lens and slid back over the lens barrel by turning the ring on its outer surface a little to the left, disengaging an inner latch. Te extend the hood you simply grab the ring and slide the hood forward and it will click into position.
The programmable function button on the left side of the lens can be set to control any of the camera settings the normal Fn buttons on the camera body accesses. Its purpose is to reduce the need to shift your hand away from the lens while shooting. Autofocusing is disengaged when this button is pressed. One logical setting to select is AF Stop, which fixes focus at the point where the button was pressed. Others include engaging AF/AE lock or switching between raw and JPEG capture.
The metal tripod collar is removable, enabling users to reduce the overall weight they carry when bushwalking or going on shoots where a tripod isn’t required. The lens is supplied with a heavyweight fabric carrying pouch that is large enough to accommodate the MC-14 teleconverter and its carry-case.
The MC-14 1.4x Teleconverter
Designed to extend the focal length range by a factor of 1.4 times, the MC-14 teleconverter reduces the effective maximum aperture by one stop from f/2.8 to f/4 while extending the focal length range to 56-210mm (112-420mm equivalent in 35mm format). This light loss is normal for extender lenses but the constant maximum aperture is not affected, nor is the minimum focusing distance.
Two views of the 40-150mm f/2.8 PRO lens on an OM-D E-M1 camera body, the top without the MC-14 teleconverter and the bottom with it. (Source: Olympus.)
Measuring only 14.7 mm in length and with a diameter of 58.8 mm it weighs only 105 grams, adding little in the way of length or weight to the lens, as shown in the illustration above. The optical design comprises six elements (including one high refractive index lens) arranged in three groups. Its metal housing has the same dust-, freeze- and splash-proof characteristics as the 40-150mm f/2.8 PRO lens.
A protruding element fits snugly into the rear section of the 40-150mm f/2.8 PRO lens, which is tailored to accept it. It will also be compatible with the up-coming M.Zuiko ED 300mm f4.0 PRO lens, which is scheduled for release this year.
The MC-14 teleconverter inside the supplied carrying case. (Source: Olympus.)
It is supplied with black plastic front and end caps and comes in a fabric case with a zip closure and carabiner for attaching it to the loop on the carrying case for the 40-150mm f/2.8 PRO lens. It could also be tethered to a belt loop or strap.
Performance
Subjective assessments of test shots showed the review lens to be a superior performer, delivering excellent sharpness, image detail and accurate colour rendition. Imatest confirmed our subjective assessments for the focal lengths we were able to test (due to the limitations of our testing set-up).
Interestingly, the highest resolution recorded in our Imatest tests was with the 100mm focal length at an aperture of f/3.2. The shorter focal lengths were almost as good but showed increasing signs of edge softening at the widest aperture settings. The graph below provides the results of our tests.
Lateral chromatic aberration was mainly well within the negligible band, edging into the low band with the 40mm focal length at the smallest aperture settings. But we found no visible coloured fringing in any of our test shots so we don’t see it as a major problem. In the graph below showing the results of our tests, the red line marks the border between negligible and low CA.
Vignetting (edge and corner shading) and rectilinear distortion were also negligible for all practical purposes. At 150mm traces of corner shading could be seen at f/2.8 but they had disappeared by f/3.5 and no vignetting was evident thereafter.
Autofocusing was generally fast and accurate and almost silent, which makes this lens a good choice if you want to shoot movies. It took less than 0.7 seconds on average to rack from the closest focus to infinity.
Manual focusing was fast and easy when the clutch mechanism was used. However, this doesn’t work on Panasonic cameras so we also tested focusing on the Panasonic GH4 camera, where we had to select manual focus via the camera’s menu system. It wasn’t quite as fast but AF with MF override was supported.
The 40-150mm f/2.8 PRO lens lacks internal stabilisation, relying on the five-axis system in the camera body. The only Panasonic camera with internal stabilisation is the GX7.
Although not classified as a macro lens, the 40-150mm f/2.8 PRO lens has excellent close-focusing capabilities, being able to focus down to 70 cm from the front element of the lens at all focal length settings, which is great for close-up shots of flowers and larger animals. Adding the MC-14 teleconverter increases the magnification ratio from 0.21x to almost 0.3x.
Although the magnification provided by the MC-14 is modest, we found it’s enough to be useful, as shown in the comparison shots below, which were taken without (left side) and with the teleconverter. The same focal lengths were used; from the top: 40mm, 50mm, 70mm, 100mm and 150mm.
Test shots taken with the MC-14 were slightly softer than shots without it. But the differences are slight, as demonstrated in the crops from images enlarged to 200%, which are reproduced below.
Without MC-14, centre.
With MC-14, centre.
Without MC-14, edge.
With MC-14, edge.
One of the most desirable characteristics for fast telephoto lenses is smooth, attractive bokeh (out-of-focus blurring) and the 40-150mm f/2.8 PRO lens is a superior performer in this area as well, both without and with the MC-14 teleconverter. So smooth was the bokeh at apertures between f/2.8 and f/4 that in-focus subjects appeared to be fully separated from their backgrounds giving an almost three-dimensional effect to the shot.
Conclusion
The second lens in Olympus’s PRO range is every bit as good as the original M.Zuiko Digital 12-40mm f/2.8 PRO lens and complements that lens by extending the focal length range to suit sports and wildlife photographers. Owners of OM-D cameras who want a fast medium-telephoto lens with weatherproof sealing plus superior build quality and performance will find it good value for money.
At the current exchange rate, the Australian recommended retail price (RRP) of $1699 is almost the same as the price quoted by the leading online re-sellers in the USA (to which shipping costs must be added). If you shop around you may save up to $100 on the price of the lens alone and a bit more when the lens is bundled with the MC-14 teleconverter (which has an RRP of AU$399).
Photographers who can’t afford the PRO lens could consider the much cheaper M.Zuiko Digital 40-150mm f4.0-5.6 R lens, which is a full f-stop slower at 40mm and two stops slower at 150mm. It’s significantly smaller and lighter than the 40-150mm f/2.8 PRO lens but displays distortion, vignetting and chromatic aberration.
Although its centre-of-field is acceptably sharp, it can’t compete when it comes to edge-to-edge sharpness. And it doesn’t offer the same low light versatility and performance or provide the same degree of subject isolation and attractive background blurring as the 40-150mm f/2.8 PRO lens.
Owners of Panasonic cameras who are considering this lens should allow for its lack of stabilisation. While the 40-150mm f/2.8 PRO lens could suit the GX7, most G-series camera users will be better off with a Panasonic lens with integrated optical stabilisation.
SPECS
Picture angle: 30 degrees to 8.2 degrees
Minimum aperture: f/22
Lens construction: 16 elements in 10 groups (including 1 Super ED, 3 ED, 1 EDA, 1 HD and 2 aspherical lens elements)
Lens mounts: Micro Four Thirds
Diaphragm Blades: 9 (circular aperture)
Focus drive: Dual VCM
Stabilisation: No (Olympus cameras have built-in stabilisation)
Minimum focus: 70 cm
Maximum magnification: 0.21x
Filter size: 72 mm
Dimensions (Diameter x L): 79.4 x 160 mm
Weight: 750 grams (without tripod collar)
Standard Accessories: LC-72C and LR-2 lens caps, LH-76 lens hood, LSC-1120 lens case, instruction manual, warranty card
TESTS
Based on JPEG files shot with the OM-D E-M1 camera.
SAMPLES
Vignetting at f/2.8, 40mm focal length.
Vignetting at f/2.8, 70mm focal length.
Vignetting at f/2.8, 150mm focal length.
Rectilinear distortion at 40mm focal length.
Rectilinear distortion at 70mm focal length.
Rectilinear distortion at 150mm focal length.
Portrait; 130mm focal length, ISO 200, 1/320 second at f/3.2.
Portrait; 90mm focal length, ISO 400, 1/250 second at f/3.5.
150mm focal length, ISO 100, 1/5000 second at f/2.8.
95mm focal length, ISO 100, 1/3200 second at f/2.8.
210mm focal length, ISO 200, 1/30 second at f/4.5. With MC-14 teleconverter.
Close-up; 150mm focal length, ISO 100, 1/1250 second at f/2.8.
Close-up; 150mm focal length, ISO 100, 1/6400 second at f/2.8.
Closest focus; 150mm focal length, ISO 100, 1/640 second at f/4.5.
Close-up with MC-14 teleconverter; 210mm focal length, ISO 200, 1/800 second at f/4.5.
Closest focus with MC-14 teleconverter; 210mm focal length, ISO 200, 1/500 second at f/5.
Rating
RRP: AU$1699; US$1500
- Build: 9.0
- Handling: 9.0
- Image quality: 9.0
- Versatility: 9.0
