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As part of the Olympus Pro series, the 7-14mm is weather sealed and made with a metal body, and its optical construction gets quite complex: 10 of the 14 elements are aspherical or low dispersion glass. The range matches the coverage of the Lumix G 7-14mm, but it's a stop brighter and boasts weather-sealing too. Both the zoom and focus rings turn smoothly and precisely, with all the precision we’d expect from a ‘pro’ lens. This is not a macro lens, although its close-up performance is not too bad for a wide-angle optic, offering a minimum focusing distance of 20cm and a maximum magnification of 0. 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.
The close near object in the central part of the frame will be spectacularly sharp, but middle field edges become the only problem I found I had to watch for (edges at the far zone aren't, because being slightly soft at distance is a depth cue, and I generally pull focus in front of the hyperfocal distance to emphasize that). Before we get into the touchy feely bits, I want to share what I see as the pitfalls of this ultra wide lens (and to be fair all ultra wides). Quite simply: the Olympus PRO range of lenses are Olympus’ answer to Canon’s L series lenses if you will.The result is edge-to-edge sharpness – outperforming the competition with better optical performance. The shape of the front element being what it is will always contribute to less predictive behavior when it comes to the way that the light ‘bounces around’ inside the lens between the elements. Olympus provides a slip-on lens cap that locks to the hood, which is better than the slip-on only style a lot of competitors use (e.
If you want what the eye is really picking up, pop a 25mm prime on that M4/3 body and hit the street, my son. I do feel that those still interested have circled the wagons to an extent and there are certainly some groups that are picking up momentum. Its large capacity allows storage of multiple cameras and interchangeable lenses, while its overall compact size allows you to carry it on board when flying. But boy, did I feel smug as I shot next to countless other tourists desperately trying to operate their cameras with plastic wrapped around them to protect against the elements.An old super-wide enthusiast trick: if you see flare, but the light source is not in the field of view, move a hat (or perhaps only a hand) in front until the flare suddenly goes away. depending on the shutter speed you need, balanced with the overall sharpness you desire, and I’d certainly keep an eye on composition and corner subjects either framing to crop, or living with some corner softness which to be fair, isn’t an unreasonable ask for any ultra wide angle lens. Linear Distortion: As is becoming common in m4/3, there's a huge difference between whether you look at this lens with the Olympus supplied corrections (in-camera JPEGs and many raw converters), or you look at the bare raw data.
Zooming and focusing are both internal, so the lens’s length and balance on the camera never changes.
It can be of great use for architectural shots depending on how well the perspective distortion is contained. I didn’t find any relevant traces of chromatic aberration, apart from at the shortest focusing distances when using the fastest aperture. With an angle of view equivalent to 14-28mm on full frame, the 7-14mm is the joint-widest rectilinear lens for Micro Four Thirds. That, coupled with the very short flange distance (the distance between the very rear element of the lens to the sensor) will contribute to some Chromatic Aberration (CA). The funny thing is that the clutch requires some real effort to move and makes a snap noise when you do, yet somehow I often found the clutch in the wrong position without me noticing how it got there.
PRO is supplied with lens caps and a non-removeable flower-shaped lens hood - there's no bag included. Personally I’d be entirely happy with these results – with a wideangle lens, while it’s good to have excellent corner performance wide open, it’s often easy enough to stop down to f/5. A weather-resistant design benefits handling in trying conditions while an L-Fn button offers lens-based control over various settings. But wideangle lenses are infamously more difficult to design, and this shows up when we examine images from the 7-14mm.If the sun was not in the viewfinder, your hand will not be in the final image, which will now be flare-free. Vignetting: At 7mm, corrected data is about two-thirds of stops vignetting wide open, while uncorrected is slightly over a stop. With the type of near-middle-far landscape I work, I'm pretty sure I can make this lens perform at f/2. Excerpts and links may be used, provided that full and clear credit is given to Heather Broster/Mathieu Gasquet and Mirrorless Comparison with appropriate and specific direction to the original content.
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