Imaging Resource: Olympus 17mm f/1.2 Pro Lens Review: The best wide-angle prime for Micro Four Thirds

https://www.imaging-resource.com/news/2018/05/11/olympus-17mm-f-1.2-pro-lens-review-best-wide-angle-for-micro-four-thirds

“Having earned the top spot as our Best Wide Angle Prime of 2017 in our annual Lens of the Year awards, we’ve now finalized our lab testing of the Olympus 17mm f/1.2 Pro lens. This 35mm-eq. wide-angle prime lens is undoubtedly a professional-level optic that offers excellent performance. Image quality is spectacular, even at f/1.2, with very low distortion and low chromatic aberration….”

https://creativityinnovationsuccess.files.wordpress.com/2017/10/olympus_m-zuiko_digital_ed_17mm_f1-2_front_upright_clutch_1024px_60.jpg
Olympus M.Zuiko Digital ED 17mm f/1.2 Pro professional-quality Micro Four Thirds prime lens with manual clutch focus rings drawn back for accurate, repeatable manual focussing at a quarter turn to go from infinity to closest focusing distance, excellent for stills photography and video production on hybrid cameras and cinema cameras.
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The Olympus M.Zuiko Pro lens line-up as of late October 2017.

Olympus M.Zuiko Digital ED 17mm f/1.2 Pro

Commentary

With the coming release of Blackmagic Design’s Blackmagic Pocket Cinema Camera 4K aka BMPCC 4K aka P4K later this year, along with the already-released Panasonic Lumix DC-GH5 IBIS hybrid 4K stills/video camera and the Panasonic Lumix DC-GH5S high-end compact 4K video camera, attention is on affordable yet high-end professional-quality lenses capable of delivering excellent results whether manually-focussed or used with those cameras’ autofocus functionality if they have it.

After trying out prime and zoom optics from several ranges of Micro Four Thirds lenses, I have chosen to invest in Olympus’ M.Zuiko Pro range and will be adding more as availability and finances permit.

My documentary photography and moviemaking work demands gear that can withstand years of use and potentially challenging environments without succumbing, and the weather resistance, durability, quality and relative low weight and size put the M.Zuiko Pro lens range in the frame.

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The first five lenses from the Leica M 0.8 cinema lens set by Leica Camera sister company CW Sonderoptic, in the 21mm, 24mm, 28mm, 35mm and 50mm focal lengths, all with 77mm filter diameters, a perfect set for cinematographers or stills photographers. I am hoping that Olympus will expand its M.Zuiko Pro prime lens offerings to add a wider range of focal lengths like these in their M43 equivalents.So far Olympus has issued 35mm and 50mm equivalent focal lengths.

It is hardly surprising that the folks at Imaging Resource awarded their Best Wide Angle Prime of 2017 plaudit to the Olympus M.Zuiko Digital ED 17mm f/1.2 Pro lens.

I have yet to have the pleasure of trying one out due to apparent local supply problems, but the Olympus M.Zuiko Digital ED 17mm f/1.2 Pro is at the top of my M43 lens wish list along with its 45mm and 25mm stablemates as well as the 5-stop image-stablized Olympus M.Zuiko Digital ED 12-100mm f/4 IS Pro zoom lens followed by the Olympus M.Zuiko Digital ED 7-14mm f/2.8 Pro wideangle zoom.

I will be adding Xume fast-on, fast-off filter holders, Breakthrough Photography brass knurled step-up rings and UV protection filters, and a full set of top-quality variable and fixed ND filters to my kit in the 82mm and 105mm sizes soon.

I hope that Olympus will continue to expand its M.Zuiko Pro offerings into the 10.5mm and 14mm prime lens sizes as part of the company’s stated commitment to its professional lens range.

Both focal lengths, in 35mm sensor terms equivalent to 21mm and 28mm, are crucial to my work in documentary photography and video, and are essential to any well-rounded collection of professional-quality prime lenses.

I would also like to see a 75mm equivalent lens added to the Olympus M.Zuiko Pro lens collection – 21mm, 28mm and 75mm is one of my favourite 35mm sensor focal length triplet for documentary stills and video, or in M43 sensor terms 10.5mm, 14mm and 37.5mm.

That aside, I am very pleased that Olympus has released the 17mm f/1.2 in its second tranche of M.Zuiko Pro primes as I have been badly missing this focal length in my M43 sensor format cameras.

I had considered Olympus’ other 17mm lens, the M.Zuiko Digital 17mm f/1.8, as well as Panasonic’s near-17mm, the Leica DG Summilux 15mm f/1.7 Aspheric, but my head was decisively turned towards the M.Zuiko Pro series by my very first M43 lens purchase, the Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro, one of my favourite zoom lenses to this very day.

My head was further turned towards the M.Zuiko Pro lens collection by Cosyspeed’s Thomas Ludwig’s review of the M.Zuiko Pro 25mm f/1.2 and its beautiful skin-tone rendering.

“What makes a good lens? This is in many ways a question that can only be answered individually. To me it is not important that it is super sharp wide open or does not vignette etc. – to me the most important point is the esthetics, the look and feel it delivers. When I look at the images of a certain lens and it “feels” good, well, than it is a good lens. And you know what? The OLY 25/1.2 is a lens of this category. I’m simply amazed especially when looking at the portraits I made in Hamburg. Amazed not by my images but by the clean, natural and three dimensional look.

The OLY 25/1.2 has a certain magic and I would describe it’s special character in the way it closes the gap between a pronounced three dimensional look and a portrait friendly (lower) level of micro contrast. A high level of micro contrast gives 3D pop for example to LEICA and ZEISS lenses, but it can be a bit harsh when shooting portraits. I don’t know how the OLYMPUS engineers made it, but they found a way to give it a lot of 3D pop while micro contrast is on a natural level.”

I have tried out the Panasonic Leica Summilux 15mm f/1.7, equivalent in 35mm sensor terms to 30mm, but I found the focal length an uneasy in-between, too wide for the subjects I prefer photographing with a 35mm equivalent lens and too long for those much better suited to a 28mm focal length equivalent.

When I began researching the Micro Four Thirds format for moviemaking and photography several years ago, its detractors harped on about how few M43 lenses existed back then.

The critics were factually wrong then and the number of M43 prime and zoom lenses has grown considerably since, but gaps still remain in the major lens makers’ offerings, especially at M43 system co-founders Olympus and Panasonic.

Olympus has hit the right notes with its M.Zuiko Pro collection but it needs to keep growing its prime lenses and long focal-length subsets, in the former case taking a leaf out of the book Leica Camera wrote some years ago with its Leica M-System lenses for stills photography and its recent cinema lens spin-off, Leica sister company CW Sonderoptic’s five-strong Leica M 0.8 series.

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blackmagic_pocket_cinema_camera_front_lens_01_1024px_60pc
Blackmagic Pocket Cinema Camera 4K (BMPCC 4K) with Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro zoom lens with manual clutch focus, great for manual focussing. I like the longer image-stabilized Olympus M.Zuiko Digital ED 12-100mm f/4.0 IS Pro zoom for available light daily walkabout needs for video and stills.

Clicking on these affiliate links and purchasing through them helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.

  • Blackmagic Design Pocket Cinema Camera 4KB&H
  • Breakthrough Photography X4 UV and ND filtersB&H
  • Olympus M.Zuiko Digital ED 7-14mm f/2.8 PRO LensB&H
  • Olympus M.Zuiko Digital ED 8mm f/1.8 Fisheye PRO LensB&H
  • Olympus M.Zuiko Digital ED 12-40mm f/2.8 PRO LensB&H
  • Olympus M.Zuiko Digital ED 12-100mm f/4 IS PRO LensB&H
  • Olympus M.Zuiko Digital ED 17mm f/1.2 PRO LensB&H
  • Olympus M.Zuiko Digital ED 25mm f/1.2 PRO LensB&H
  • Olympus M.Zuiko Digital ED 40-150mm f/2.8 PRO LensB&H
  • Olympus M.Zuiko Digital ED 45mm f/1.2 PRO LensB&H
  • Olympus M.Zuiko Digital ED 300mm f/4 IS PRO LensB&H
  • Olympus M.Zuiko Digital MC-14 1.4x TeleconverterB&H
  • Panasonic Lumix DMC-GH4 Mirrorless Micro Four Thirds Digital CameraB&H
  • Panasonic Lumix DMC-GX8 Mirrorless Micro Four Thirds Digital CameraB&H
  • Panasonic Lumix DC-G9 Mirrorless Micro Four Thirds Digital Camera (Body Only)B&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital CameraB&H
  • Panasonic Lumix DC-GH5S Mirrorless Micro Four Thirds Digital CameraB&H
  • XumeB&H

LensTip.com: Olympus M.Zuiko Digital ED 45 mm f/1.2 PRO

https://www.lenstip.com/524.1-Lens_review-Olympus_M.Zuiko_Digital_ED_45_mm_f_1.2_PRO_Introduction.html

“… A long list of assets with only one more serious flaw and a record-breaking resolution performance – we don’t doubt that the Olympus M. Zuiko Digital ED 45 mm f/1.2 PRO deserves our ‘Editors’ Choice’ badge. Our summary is exceptionally short but there’s really nothing to talk about. It’s another excellent Micro 4/3 lens. …”

olympus_m-zuiko_digital_ed_45mm_f1-2_white_square_upright_clutch_1024px_60.jpg
Olympus M.Zuiko Digital ED 45mm f/1.2 Pro prime lens

Commentary

As our gallery below indicates, the Micro Four Thirds format is not without some notable choices in fast zoom lenses and faster prime lenses in short to medium telephoto focal lengths suitable for the traditional approach to portrait photography and for closeup and big closeup shots in moviemaking, so the LensTip Editor’s Choice Award for the Olympus M.Zuiko Digital ED 45 mm f/1.2 Pro prime lens is noteworthy indeed.

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  • Olympus M.Zuiko Digital ED 7-14mm f/2.8 PRO LensB&H
  • Olympus M.Zuiko Digital ED 8mm f/1.8 Fisheye PRO LensB&H
  • Olympus M.Zuiko Digital ED 12-40mm f/2.8 PRO LensB&H
  • Olympus M.Zuiko Digital ED 12-100mm f/4 IS PRO LensB&H
  • Olympus M.Zuiko Digital ED 17mm f/1.2 PRO LensB&H
  • Olympus M.Zuiko Digital ED 25mm f/1.2 PRO LensB&H
  • Olympus M.Zuiko Digital ED 40-150mm f/2.8 PRO LensB&H
  • Olympus M.Zuiko Digital ED 45mm f/1.2 PRO LensB&H
  • Olympus M.Zuiko Digital ED 300mm f/4 IS PRO LensB&H
  • Olympus M.Zuiko Digital MC-14 1.4x TeleconverterB&H
  • Panasonic Leica DG Nocticron 42.5mm f/1.2 ASPH. POWER O.I.S. LensB&H
  • Panasonic Lumix G 42.5mm f/1.7 ASPH. POWER O.I.S. LensB&H
  • Panasonic Lumix G X Vario 35-100mm f/2.8 II POWER O.I.S. LensB&H
  • SLR Magic HyperPrime Cine 50mm T0.95 Lens with MFT MountB&H
  • Veydra 50mm T2.2 Mini Prime LensB&H

4/3 Rumors: Newly published Olympus patent confirms a 12mm f/1.2 PRO lens is coming

https://www.43rumors.com/newly-published-olympus-patent-confirms-a-12mm-f-1-2-pro/

“Back in 2017 we told you that Olympus is developing and will launch a new 12mm f/1.2 PRO lens. We now found a brand newly published patent describing the lens specs in three slightly different version…”

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The Olympus M.Zuiko Pro lens line-up as of late October 2017. Soon, the Olympus M.Zuiko Digital ED 12mm f/1.2 Pro?

Right now Olympus’ professional-quality M.Zuiko lineup includes three fast rectilinear prime lenses – 17mm f/1.2, 25mm f/1.2 and 45mm f/1.2 – and it is reassuring to know that the 12mm f/1.2 is on its way possibly to be released in 2018.

All good camera systems, especially if aimed at and used by professionals, need a full and well-spaced set of matched prime and zoom lenses, a fact that Canon, Leica and Nikon worked out decades ago and upon which they built their credibility and success.

Mirrorless cameras other than the Leica M-System such as Olympus and Panasonic’s Micro Four Thirds, Fujifilm’s APS-C and Sony’s APS-C and 35mm systems, need the same optical advantage in order to approach Canon, Leica and Nikon, and would do well to follow their lead.

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Leica Summilux and Summicron lenses from 21mm through to 90mm for Leica M-System rangefinder cameras.

Olympus is doing well in that regard but gaps remain in their M.Zuiko Pro prime lens line-up with the most obvious being the 10.5mm, 12mm, 14mm and 37.5mm focal lengths.

I recall that 4/3 Rumors shared news of Olympus 12mm and 14mm fast aperture lens designs back in 2017 and I look forward to the announcement and launch of the 12mm f/1.2 M.Zuiko Pro lens sometime this year.

The 12mm focal length is one of my least preferred focal lengths though, whether for stills or video, and I would much prefer 10.5mm as a super wide-angle lens for deeply immersive documentary photography and moviemaking.

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Olympus M.Zuiko Digital ED 17mm f/1.2 Pro, Olympus M.Zuiko Digital ED 25mm f/1.2 Pro and Olympus M.Zuiko Digital ED 45mm f/1.2 Pro professional prime lenses.

While I am grateful that Olympus released its 17mm f/1.2 and 45mm f/1.2 M.Zuiko primes recently, 14mm and 37.5mm (28mm and 75mm in the 35mm sensor format) is a more effective lens pair for two-camera, two-lens documentary work in stills and moving image production.

Not all Olympus M.Zuiko Pro prime lenses need to have a maximum aperture of f/1.2.

Although some super-fast prime lenses are of real benefit in any professional lens kit, many prime lens focal lengths are perfectly useful even if a little slower, such as f/2.0, so long as they share all the other positive traits of the M.Zuiko lens collection such as manual clutch focus.

Professional stills and video cameras in the M43 format are now roaring ahead with the Olympus Olympus OM-D E-M1 Mark II, Panasonic Lumix DC-GH5, DC-GH5S, DC-G9 and DMC-GX8 (soon to be upgraded to the GX9, one hopes), and they deserve a range of equally professional and well-spaced, colour-matched lenses to suit.

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leica_apo-summicron-m_75mm_f2_aspheric_01_1024px_60%
Leica Apo-Summicron-M 75mm f/2.0 Aspheric, one of my favourite lenses for two-camera, two-lens documentary photography. Fujifilm makes an APS-C F-Mount equivalent in its Fujinon XF 50mm f/2.0 WR but to date there is no equivalent in Micro Four Thirds.

Clicking on these affiliate links and purchasing through them helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.

  • Olympus M.Zuiko Digital ED 7-14mm f/2.8 PRO LensB&H
  • Olympus M.Zuiko Digital ED 8mm f/1.8 Fisheye PRO LensB&H
  • Olympus M.Zuiko Digital ED 12-40mm f/2.8 PRO LensB&H
  • Olympus M.Zuiko Digital ED 12-100mm f/4 IS PRO LensB&H
  • Olympus M.Zuiko Digital ED 17mm f/1.2 PRO LensB&H
  • Olympus M.Zuiko Digital ED 25mm f/1.2 PRO LensB&H
  • Olympus M.Zuiko Digital ED 40-150mm f/2.8 PRO LensB&H
  • Olympus M.Zuiko Digital ED 45mm f/1.2 PRO LensB&H
  • Olympus M.Zuiko Digital ED 300mm f/4 IS PRO LensB&H
  • Olympus M.Zuiko Digital MC-14 1.4x TeleconverterB&H
  • Olympus OM-D E-M1 Mark II Mirrorless Micro Four Thirds Digital Camera  – B&H
  • Panasonic Lumix DMC-GX8 Mirrorless Micro Four Thirds Digital CameraB&H
  • Panasonic Lumix DC-G9 Mirrorless Micro Four Thirds Digital Camera (Body Only)B&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital CameraB&H
  • Panasonic Lumix DC-GH5S Mirrorless Micro Four Thirds Digital CameraB&H

Ming Thein: Review: The Olympus M.Zuiko 17/1.2 PRO

https://blog.mingthein.com/2018/01/01/review-the-olympus-m-zuiko-17-1-2-pro/

“… The lens is incredibly sharp even when shooting wide open. The sharpness is uniform from edge to edge. The bokeh is beautiful and soft, resulting in pleasing and natural looking images. Technical flaws are well controlled with no noticeable distortion, minimal chromatic aberration and good flare control. AF is speedy and reliable. the lens just works and it exceeded my expectations….

… Of the three F1.2 lenses, I am surprised to conclude that this 17mm F1.2 is my personal favourite.”

The Olympus M.Zuiko Digital ED 17mm f/1.2 Pro prime lens, equivalent to 23mm in APS-C/Super 35 and 35mm in the 35mm sensor format. Note the retracted focussing ring for manual clutch focus, invaluable for shooting video.

Commentary

I have been recommending the Olympus M.Zuiko Pro collection of fast maximum aperture prime and zoom lenses for their many attributes of use to cinematographers – their affordability and low weight and small size compared to their 35mm sensor format equivalents, mechanical durability, weather resistance and high optical quality as well as their small set of filter diameters allowing for a smaller set of step-up rings and neutral density filters.

The recent addition by Panasonic of the ability to allocate lens-related, barrel-mounted L-Fn functionality to M.Zuiko Pro lenses via firmware when used on the GH5 has added yet another reason to seriously consider M.Zuiko Pro lenses for video production.

I hope that Panasonic will add that L-Fn functionality to the G9, GH4 and GX8 as well as other Lumix cameras in a new set of firmware updates.

Size, weight, price and capability are relative traits.

Ming Thein reviewer Robin Wong writes:

A genuine concern, however, is the diminishing benefit of Micro Four Thirds systems having smaller, more portable lenses. These new F1.2 PRO lenses are no smaller or lighter than their DSLR counterparts.

Maybe so, and at USD1,199.00 the three M.Zuiko Pro prime lenses are not a great deal cheaper than their f/1.2 Canon equivalents in the EF 50mm f/1.2L USM and EF 85mm f/1.2L II USM lenses, but the GH5 possesses video production traits simply not available on Canon EOS DSLRs.

I have not tried any of the Olympus M.Zuiko f/1.8 lenses to which Mr Wong compares the M.Zuiko Pro primes, but have used and owned some of Panasonic’s excellent and affordable little f/1.7 or slower Lumix G prime lenses which are well-matched to the smaller Lumix cameras for fast, discrete stills photography.

Professional video production is something else, often demanding the use of step-up rings, variable and fixed ND filters of 77m or 82mm filter diameters, follow focus devices and focus gearing slipped over manual clutch focus rings for accurate and repeatable focus.

Try doing all that with, say, Panasonic’s Lumix G 14mm f/2.5 II, Leica DG Summilux 15mm f/1.7 Aspheric, Lumix G 20mm f/1.7 II Aspheric, Lumix G 25mm f/1.7 Aspheric, Leica DG Summilux 25mm f/1.4 Aspheric or Lumix G 42.5mm f/1.7 Aspheric Power OIS lenses.

Earlier today I was travelling down suburban streets emptied by withering 40-degree-plus laser-beam sunlight, with Panasonic Lumix G 25mm f/1.7 Aspheric lens mounted on the GH5 and a couple of other small Lumix G lenses on standby should I spot a likely fellow citizen to commemorate with 10-bit 4:2:2 4K HLG HDR video footage.

The 25mm had a Heliopan 46-77mm brass step-up ring mounted on its front, attached to a Genustech 77mm Eclipse ND Fader variable neutral density filter.

Other f/1.7 lenses have even smaller filter diameters and even shorter barrels, ruling out easy manual focussing by hand or with a follow focus.

In my estimation, and my experience with the 12-40mm f/2.8 and other zoom lenses in the M.Zuiko Pro collection, their size and weight are just about right for serious video production.

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  • Canon EF 50mm f/1.2L USM LensB&H
  • Canon EF 85mm f/1.2L II USM LensB&H
  • Olympus M.Zuiko Digital ED 17mm f/1.2 PRO LensB&H
  • Olympus M.Zuiko Digital ED 25mm f/1.2 PRO LensB&H
  • Olympus M.Zuiko Digital ED 45mm f/1.2 PRO LensB&H
  • Olympus OM-D E-M1 Mark II Mirrorless Micro Four Thirds Digital Camera  – B&H
  • Panasonic Lumix DC-G9 Mirrorless Micro Four Thirds Digital Camera (Body Only)B&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital CameraB&H

Mirrorless Comparison Compares Olympus M.Zuiko Pro 17mm and 45mm f/1.2 with Olympus M.Zuiko 17mm and 45mm f/1.8 Primes

Longtime popular mirrorless camera website MirrorLesson’s Mirrorless Comparison spinoff has published early but complete comparisons of the Olympus M.Zuiko Digital ED 17mm f/1.2 Pro lens and its Olympus M.Zuiko 17mm f/1.8 predecessor, and the Olympus M.Zuiko Digital ED 45mm f/1.2 Pro lens and its Olympus M.Zuiko 45mm f/1.8 predecessor. 

The M.Zuiko Pro f/1.2 prime lens triad: Olympus M.Zuiko Digital ED 17mm f/1.2 Pro, Olympus M.Zuiko Digital ED 25mm f/1.2 Pro and Olympus M.Zuiko Digital ED 45mm f/1.2 Pro, all with their focussing rings drawn back to emphasise their manual clutch focus mechanisms.

These sorts of side-by-side tryouts are useful when assembling an optimal set of lenses for any camera system, and are something I would love to do myself with more of an in-the-field as-close-to-real-life-as-possible tryout, less of a techie pixel-peeping and specifications-comparing spiel.

Given my relative lack of access to the range of gear I would want to try out and write about, I am glad that others out there in the northern hemisphere do have access to items of interest, like MirrorLessons’ Wales-based Heather Broster and Mathieu Gasquet, and are great at more technical reviewing.

Olympus M.Zuiko Pro 17mm and 45mm f/1.2 primes and their f/1.8 counterparts

I learned to select camera systems first by the quality of their lenses, second by the functionality of their camera bodies and those principles remain in force despite the digital era’s constantly evolving hardware and software technologies.

Lens choice should be based on genre, camera shape and size, and other shooting stills, video or both.

In my case (mostly) available light documentary, small to medium size mirrorless rangefinder and rangefinder-style cameras when possible, and both video and stills, often in the same project.

I do appreciate the smaller Micro Four Thirds and APS-C lenses, especially the pancake and “Fujicron” lens designs, for allowing me to be discrete and unobtrusive when shooting in public but find manual clutch focus lenses invaluable when shooting video and for critical focus with fast apertures and longer focal lengths.

Most lenses in the Olympus M.Zuiko Pro collection feature filter diameters of 62mm or more, wide focussing rings suitable for follow-focus devices and lens bodies large enough to grip well.

Video brings other lens features into consideration, too, especially when shooting in the great outdoors under bright sunlight or with fast sensors of 400 ISO and over.

That is when you need to add neutral density filters to your kit as a top quality variable ND filter, or a set of fixed ND filters, or both, along with a set of aluminium or better yet brass step-up rings.

Most professionals standardize on 77mm or 82mm diameter filters then add step-up rings to their lenses allowing for fast and relatively easy lens and filter swapping.

Some add Xume System magnetic lens adapters and filter holders for greater safety and speed when swapping variable or fixed ND filters.

One thing to bear in mind when shooting video outdoors on sunny days is that variable NDs with maximum densities of 6 stops may be inadequate, so please consider variable NDs with higher density values such as the Aurora-Aperture or SLR Magic products in the list at the bottom of this page.

Alternatively, if choosing fixed NDs then space them well and ensure the highest density is 10 or more stops for shooting in bright sun with high ISO sensors, an even more important consideration with Panasonic rumoured soon to be announcing a new low-light version of the GH5 with higher base ISO sensor than the current GH5’s 200 ISO.

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  • Aurora-Aperture PowerXND 2000 Variable Neutral Density 1.2 to 3.3 Filter (4 to 11 Stops)B&H
  • Olympus M.Zuiko Digital ED 17mm f/1.2 PRO LensB&H
  • Olympus M.Zuiko Digital 17mm f/1.8 LensB&H
  • Olympus M.Zuiko Digital ED 25mm f/1.2 PRO LensB&H
  • Olympus M.Zuiko Digital 25mm f/1.8 LensB&H
  • Olympus M.Zuiko Digital ED 45mm f/1.2 PRO LensB&H
  • Olympus M.Zuiko Digital 45mm f/1.8 LensB&H
  • Panasonic Leica DG Summilux 25mm f/1.4 ASPH. LensB&H
  • Sensei Pro Aluminium or Brass Step-Up RingsB&H
  • SLR Magic 82mm Self-Locking Variable Neutral Density 0.4 to 1.8 Filter (1.3 to 6 Stops)B&H
  • SLR Magic 86mm Solid Neutral Density 1.2 Image Enhancer Filter (4 Stop)B&H – add this to the SLR Magic variable ND above to convert its density range to 5.3-10 stops instead of 1.3-6 stops.
  • XUME Lens Adapter and Filter Holder Pro KitB&H

4/3 Rumors: (FT5) Leaked! First image of the new Olympus 17mm f/1.2 PRO lens! – with COMMENTARY

http://www.43rumors.com/ft5-leaked-first-image-new-olympus-17mm-f1-2-pro-lens/

“I told you months ago that Olympus would release this lens. And now I have the pleasure to share the very first image of this lens! The new 17mm f/1.2 pro lens will be the second super fast lens after the Olympus 25mm f/1.2 PRO….

… A third 45mm f/1.2 PRO lens is expected to be announced some times later. Stay tuned on 43rumors for more info and leaks!…”

Commentary:

Micro Four Thirds rumour website 4/3 Rumors has confirmed its long persistent rumour that Olympus is working on a fast, professional-quality 17mm prime lens with a product shot.

Whatever sensor size and aspect ratio in which I am working, I consider a moderate wide-angle lens an essential and the very first prime lens to be purchased.

I bought into the Micro Four Thirds system knowing it lacked a pro-quality 17mm lens, equivalent to 34mm in the 35mm so-called “full frame” sensor size, but had high hopes one would appear some day and so it soon will.

MFT’s 17mm focal length is eminently suited to documentary photography and video production when using one lens only or as first amongst a set of lenses and focal lengths.

In the absence of such a lens at the time, my first professional M43 lens was a zoom, the Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro, and it has impressed me more than I had expected.

Standardizing on Olympus M.Zuiko Pro lenses for video and stills

So much so, in fact, that I have resolved to standardize on Olympus M.Zuiko Pro native M4/3 lenses rather than those made by Panasonic, despite standardizing on Panasonic Lumix cameras due to their excellent qualities as MFT/Super 16 stills and moviemaking cameras.

Olympus has aptly named its professional prime lens and zoom lens range, given its many pro-quality features:

  • Manual clutch focus for fast, repeatable focussing when focus-by-wire is too slow and inaccurate.
  • Weather resistance via hermetic sealing against dust and rain.
  • Excellent mechanical and optical design and construction for impact-resistance and ability to handle extreme temperature variations.
  • Much smaller size and weight compared to equivalents in the 35mm so-called “full frame” sensor size.
  • Consistent maximum aperture of f/2.8 on the zoom lenses, f/1.2 on the fast prime lenses, f/4.0 on the travel zoom lens and long telephoto lens.
  • Filter diameter of 62mm on most lenses.
  • Best optical correction I have seen so far on any wide zoom lens with the M.Zuiko 7-14mm f/2.8 Pro.

The one downside is the 7-14mm zoom’s convex front element that disallows screw-on filters. The solution is a push-on adapter and filter frame for square or rectangular tempered glass or plastic filters such as those made by Breakthrough Photography, Nisi and many other filter specialists.

Whether the extra cost of these solutions is outweighed by this lens’ impressive optical correction action is a matter of taste and need.

Personally I find the optical distortion of many wide-angle zoom lenses objectionable especially when videoing a protagonist walking through a cityscape of interior containing parallel horizontals and verticals.

Distortions like that can be corrected in image editing and raw processing software but not in moviemaking’s non-linear editing software.

More M.Zuiko Pro primes to come

Based on rumours, Olympus’s M.Zuiko Pro prime and zoom lens range is shaping up well with a 42mm f/1.2 probability and fast 12mm and 14mm lenses possibilities.

The range’s f/2.8 maximum aperture zooms are fast enough for most available light situations unsupplemented by strong LED lighting.

Its f/1.2 maximum aperture primes are excellent solutions for available darkness situations for which f/2.8 is too slow, and suit the needs of bokeh mavens for razor sharpness against milky blur.

Professional lens sets need to include All Common Focal Length Options

When I first began looking into Micro Four Thirds/Super 35 and APS-C/Super 16 format cameras for documentary photography and video production, prime lens choices were limited and much narrower than I had been accustomed to in the analog film formats I used professionally.

In contrast to those days, zoom lenses have radically evolved and there are a number available now that are approaching prime lens quality at all of most focal lengths, at the expense of maximum aperture or a single maximum aperture.

I am not a fan of variable maximum aperture zooms that offer, say, one stop extra at the wide end compared to to the one-stop reduced maximum aperture throughout the rest of the lens’ focal range.

leica_summicron_21mmm_to_90mm_1920px
A complete professional prime lens set from Leica. The Leica  Summicron-M f/2.0 lens line-up comprising 28mm, 35mm, 50mm, 75mm and 90mm focal lengths, with the Summilux-M 21mm lens with red asterisk at far right, equivalent to 14mm in APS-C/Super 35 and 10.5mm in Micro Four Thirds. The latter focal length is wonderful for scene-setting figure-in-landscape or figure-in-interior shots. Architectural photography, too, demands wider focal lengths.

Few if any contemporary zoom lenses are entirely without optical distortion. The Olympus M.Zuiko Digital ED 7-14mm f/2.8 Pro’s optical correction impressed during a quick and dirty tryout a while back, but the downside is the lens’ convex front element that mitigates against the same screw-on filters I use on other lenses.

Given a choice, I would prefer to rely on a good set of professional-quality prime lenses for my photography and video work, but given reality oftentimes must compromise with lens sets comprising fast zooms and faster primes.

One can get away with that for photography due to many raw processing and image editing software products having optical correction features, but correction in software is not possible for video footage and common optical distortions in zoom lenses can be distracting at the expense of the story and the audience’s immersion in it.

The current Veydra Mini Prime cinema lens lineup originally for Micro Four Thirds cameras, comprising 12mm, 16mm, 19mm, 25mm, 35mm, 50mm and 85mm. Veydra abandoned its planned sub-10.5mm lens due to size and cost problems but it would have added a much-needed 21mm or wider superwide option, a necessity in my book. In 35mm sensor terms, 24mm, 32mm, 38mm, 50mm, 70mm, 100mm and 170mm. I often find 24mm way too narrow for scene-setting shots and architectural images.

I applaud the efforts of camera and lens makers in adding extra focal lengths but a few gaps remain in the brands I use and I look forward to the day when we have choices in APS-C/Super 35 and M43/Super 16 more closely approaching those of the established 35mm DSLR camera and lens makers.

Suggested Olympus M.Zuiko Pro reduced lens sets:

  • 17mm – not too wide and not too long, for when only one lens is desired.
  • 7-14mm, 17mm, 25mm and 42mm – for video and stills across a range of situations and subjects with the emphasis on fast primes.
  • 7-14mm, 12-40mm, 40-150mm, 1.4x teleconverter, with one or more f/1.2 primes – for a wide range of documentary video situations with the emphasis on zooms.

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Which Prime Lenses Should Olympus Make Next for Its M.Zuiko Pro Professional Zoom & Prime Lens Series?

Micro Four Thirds rumours website 4/3 Rumors, sister site of Fujifilm rumours website Fuji Rumors, has uncovered an interview by Japanese digital camera site D.C Watch with the designers of the Olympus M.Zuiko Digital ED 25mm f/1.2 Pro prime lens about further such professional quality M.Zuiko Pro lenses to come. The interview is a good read even in its machine-translated English version

First f/1.2 maximum aperture prime lens in the Olympus M.Zuiko Pro professional-quality lens series, the Olympus M.Zuiko Digital ED 25mm f/1.2 Pro. Olympus has already designed the next two f/1.2 primes, with more possibly to come.

The interview’s most promising revelation is that Olympus has been actively listening to customers and so the prime lens side of the M-Zuiko Pro series will soon be gaining a second f/1.2 maximum aperture lens, the Olympus M.Zuiko Digital ED 17mm f/1.2 Pro.

The 4/3 Rumors folks previously reported that Olympus had already designed two more fast f/1.2 primes, one of them being the 17mm. I wonder what the other is?

A very quick snapshot made with the Olympus M.Zuiko Digital ED 25mm f/1.2 Pro lens wide open during an Olympus camera event in Sydney. Even a very brief hands-on with this lens and several others in the M.Zuiko Pro range confirmed their high quality, solid construction and appeal as sturdy professional-standard lenses for stills and video.

I am an unrepentant former Leica M-System rangefinder lens user from my magazine, newspaper and corporate photography days and became accustomed to the idea of mechanically superb, optically extraordinary, near-indestructible, colour-matched prime lens sets.

Although I did not manage to build a Leica lens lineup as well-populated as the one illustrated below, I came close and happily relied on them for many years. Each focal length was just right for the tasks for which I bought it and each earned its place in my lens kit again and again.

Three Well-Spaced Lens Lineups

Contemporary videography and stills photography make more demands of lenses than stills photography as I practiced it during the analog era ever did. Now that we are in the midst of the 4K era and Panasonic’s Lumix GH5 is introducing us to 6K video through its video-based 6K Photo functionality, optics must be sharper, better corrected and more highly resolved.

I am now a zoom lens convert thanks to the Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro and its f/2.8 sister zooms in the 7-14mm and 40-150mm focal lengths but they have their limitations when shooting in available darkness.

That essential three-zoom lens kit needs to be supplemented with matching high speed prime lenses when light is in limited supply and when bokeh and subject against background separation is an essential storytelling element.

The Olympus M.Zuiko Digital ED 25mm f/1.2 Pro fills the gap in the middle of the focal length range and the Olympus M.Zuiko Digital ED 17mm f/1.2 Pro, with that focal length being my most relied-on of all time, will be a welcome second.

I would love to see several other M.Zuiko Pro primes make their appearance soon and the obvious focal lengths would be 10.5mm, 14mm and 42.5mm. The latter would clearly benefit from an f/1.2 maximum aperture though it would not be absolutely crucial for the wider two.

I know that Olympus makes some excellent prime lenses in its Premium lens range, but the M.Zuiko Pro lenses are a leap above as professional instruments able to endure some of the most challenging conditions in which documentary photographs and movies are made.

I have non-M.Zuiko Pro lenses for less challenging work, but my Leica days raised the bar high and the M.Zuiko Pro zooms and prime lenses approach that high standard.

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  • Olympus M.Zuiko Digital ED 7-14mm f/2.8 PRO LensB&H
  • Olympus M.Zuiko Digital ED 8mm f/1.8 Fisheye PRO LensB&H
  • Olympus M.Zuiko Digital ED 12-40mm f/2.8 PRO LensB&H
  • Olympus M.Zuiko Digital ED 12-100mm f/4 IS PRO Lens – B&H
  • Olympus M.Zuiko Digital ED 25mm f/1.2 PRO LensB&H
  • Olympus M.Zuiko Digital ED 40-150mm f/2.8 PRO LensB&H
  • Olympus M.Zuiko Digital ED 300mm f/4 IS PRO LensB&H
  • Olympus M.Zuiko Digital MC-14 1.4x TeleconverterB&H