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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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

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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Description

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). Built-in petal-type lens hood helps to alleviate stray light from causing flare and also adds some protection from accidental impacts to the front element. I didn’t find any relevant traces of chromatic aberration, apart from at the shortest focusing distances when using the fastest aperture. Assign any of 27 functions to the button, which is positioned right on the lens barrel for easy access.

The built-in lens hood seems to protect the front glass better on the 7-14 than on the 8mm Fisheye, primarily because the latter lens is in a fixed position to the hood. Pro is a high-end ultra-wide angle zoom that delivers an equivalent range of 14-28mm with a constant f2. This review has absolutely made my mind up that an ultra wide lens would not be a good fit for me and I shall go down the wide angle lens route, probably a 28mm prime. And on my recent rainy trip to Iceland, I just kept a clean microfiber towel with me at all times to dab off the lens as often as I could. At the edges, the performance remains excellent – you really need to analyse the extreme edges and corners to find something worth mentioning.But my Panasonic lens was a bit out of alignment (one edge was softer than the other), so it's difficult to make any further comparisons. Both lenses employ seven rounded aperture blades, and closing either down to their minimum apertures of f22 will deliver 14 diffraction spikes. I didn’t come across any problems except for when I reached the limit of the minimum focus distance. just fell over this blog in the process of adding the micro 4/3 system as a companion to my fullframe canon gear. I measured the focusing speed as essentially the same as the Lumix G 7-14mm f4 when both were mounted in turn onto an OMD EM1 body.

Anyway…if you and Jeff want to see sharp…get your hands on one of those new SamYang/Rokinon SP 14mm f/2.There is no denying the lens’ quality and with its great handling and solid build, it deservedly sits in our selection of Best Micro Four Thirds lenses. Some visual (not necessarily optical) distortion is naturally occurring, and amplified by way of this proximity distortion, our brains are able to account for this in the real world (and in three dimensions), but it may appear more pronounced when capturing it in a two dimensional image file. Ultra wide angle shooting provides certain challenges from a photographer’s perspective, largely compounded by optical limitations.

His leading leg is probably a mere couple of feet from the camera, but even the small difference between it and his trailing leg shows how much a difference a foot or two can make (I can confirm that both of his legs are relatively equal in length). This distortion is then corrected in software throughout the process of viewing and taking a photograph, in a fashion that means few photographers will even notice that it’s going on, let alone care. Another cool feature is the Manual Focus Clutch mechanism; switch instantly between auto and manual focus by simply pulling the focus ring toward you.Okay, enough of the pre-amble, let’s get down to the lens’ performance, handling characteristics and our image gallery. I’d only suggest using f/8 for squeezing a tiny smidgen more DOF out of it, or if absolutely needing to eat another stop of light. Ordinarily I would be somewhat concerned about the warping and distortion that tends to take place in the outer edges of the frame, but what I actually found is that if I shot square on at chest height to my subjects I achieve a pretty standard feeling frame . This lens provides outstanding portability by achieving an unparalleled compact and lightweight form.

For example if you keep the sensor and the lens as parallel as possible to the vertical and horizontal lines in the scene you are are photographing, distortion is almost absent even in the case of vertical lines that are on the left or right edges of the frame. It’s an unscientific test because I don’t shoot scientific pictures and I want to see how this lens may do for something simple like interiors (which is one of the reasons I bought this lens). As many of you know, the Lumix G 7-14mm is a wonderfully sharp lens, but one which can suffer from undesirable purple flare artefacts when compositions include saturated highlights, in particular strongly backlit windows from inside or bright streetlamps on a city nightscape.

Needless to say it’s up to each photographer to decide for themselves whether this performance will meet their needs. 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. For PFRE stuff, I’d imagine it should do well as most all images will be viewed on screen, or in smaller print via flyers or the like. I have a couple that i have bought and refurbished that give great images, although tend to be a touch softer than the new lenses. Our tests show that the 7-14mm show relatively low levels of vignetting, certainly not enough to be disturbing.



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