Olympus M.Zuiko Digital ED 7-14 mm F2.8 PRO Lens, Wide Angle Zoom, Suitable for All MFT Cameras (Olympus OM-D & PEN Models, Panasonic G Series), Black

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It provides a wider angle while maintaining resolution and providing a slightly more realistic perspective as opposed to an ultra wide angle of view captured with a wider focal length. I didn’t find any relevant traces of chromatic aberration, apart from at the shortest focusing distances when using the fastest aperture. I've not attempted to correct any perspective distortion, though the lens corrections have been applied for the linear distortion here (and you can still see that slight barrel distortion that gets left). To see how the two ultra wides handled the same scene, I photographed the interior of Liverpool Cathedral with both lenses mounted on the same OMD EM1 body within moments of each other, and at all apertures. Often these products have a Micro Four Thirds mount but a smaller sensor that gives approximately a x3 crop factor.

You may have to work a little harder to direct your viewer’s eye through your scene to get it to where you want it to end up. Zooming in, the disparity between the centre and corners of the frame reduces considerably, and at the 14mm setting the lens gives pretty even sharpness across the frame. I am going to an old, locked-up/abandoned Silk Manufacturing Plant next month…been there once before…. That said, sometimes it’s fun to get surreal, and in cases, there are no other options to tell a story without these ultra wide angles of view, so, different tools for different applications as it were. PRO lens comes with a standard Micro Four Thirds mount that is, as you'd expect, made of metal, with a rubber seal around the mount.

It certainly appeals to a purist style of photography, but can easily automate for more contemporary applications.

Zuiko PRO lenses all feature constant a aperture, covering a complete focal range of 7mm – 300mm (or, 14mm to 600mm in terms of the Micro Four Thirds equivalent field of view). This stitched pano is a combination of 6 vertical frames captured hand held at 14mm f/4, ISO-400, 1/1600. I’ve also always been impressed with the optical quality of the Lumix lens, so while the Olympus wins on toughness and sealing, I’m looking forward to sharing my quality results in a moment.However, this is a common short-coming with wideangle zooms, and as with many other designs of this type, it’s confined to a relatively small area of the frame. Andy has been Amateur Photographer's Technical Editor since 2014, responsible for reviewing everything from cameras and lenses to accessories and software. You can change your choices at any time by visiting Cookie preferences, as described in the Cookie notice. The one thing the EM1 II and the PRO lenses have over ALL the other mirrorless cameras is superior weathersealing.

As such if you’re a Panasonic shooter and you don’t have stabilisation in your camera, this lens could be less appealing to you than Panasonic’s own. If you look close to the lights in the examples above, you’ll also notice some flare artefacts which brings me to one of the biggest issues with the earlier Lumix G 7-14mm f4 lens. If you're geeky enough to understand field curvature and what to do, or you're shooting things where the extreme corners aren't all that important, I think you're going to love this lens.

the way I'd really want it to, too, as extreme corners generally have distant areas in them that I don't mind going slightly soft (e. While it doesn’t perform the way I’d hoped in corner sharpness for work like tight interiors with images needing to be print ready at even the most extreme angles of capture, it is a good lens that will be able to ignore this shortcoming in most cases. Testing on flat charts obviously doesn't produce usable information in the corners at close distances. PRO is a premium ultra wideangle zoom giving a 35mm format equivalent of 14-28mm, so a really useful focal length range, perfect for architecture, interiors and scenics. Uncorrected files, should you ever choose to make them, show visible barrel distortion at 7mm which goes away at 14mm.

For me, a 35mm field of view (on full frame) is just about perfect for normal, everyday documentary shooting (perhaps a 24mm lens on an APS-C) but for certain work applications, I do need a wider angle to get interior shots in, and the like. However we expect to see third-party adapters for square filter systems from the likes of Lee appear sooner rather than later. To get rid of these flares, I often used my left hand by positioning it above or to the side of the lens until I saw that the flare had gone. The 103 third parties who use cookies on this service do so for their purposes of displaying and measuring personalized ads, generating audience insights, and developing and improving products. I’ve illustrated this below with photos from each lens, and while the spikes on the Olympus look a little better-defined in this example, the most important aspect to achieving the best result with an ultra wide at a tiny aperture is to keep the front element meticulously clean.So after 16 weddings, a few landscape outings and other various bits and pieces; I think I’m pretty well placed to give you my thoughts on this lens.