EDUCATION: Chris graduated Magna Cum Laude from Adelphi University with a degree in Communications in Journalism in 2009. Since then, he's learned and adapted to various things in the fields of social media, SEO, app development, e-commerce development, HTML, etc. Olympus FT useres have always dreamt of such a Holiday-Lens with good performance, now its real - but not for FT - too bad! Now, if you want great IQ and state of the art stabilization, then just go straight for the Oly 12-100 Pro and all you GAS will fade away. All the hype is real and it took me two years to realize it. Ideal for a larger body like a EM1 or EM1x. The 12-100 and PL 8-18 is my two lens do everything I want set. (I also own both the Oly 40-150, Pro and slow, zooms) I went hiking and camping all last week and that was all I used, four of the nights it got down to freezing or below, plus rainy conditions, no worries with these pro lens. Yes, they are a bit on the big and heavy side. However, there is no compromise with IQ 😃 One feature missing, though, is built-in optical stabilization, simply because Olympus uses in-body stabilization for its Pen cameras. This means that Panasonic G-series owners won't get any form of stabilization at all with this lens, which is an important consideration for a relatively slow long zoom. This is the key distinction relative to the most obvious alternative, Panasonic's own Lumix G Vario HD 14-140mm F4-5.8 OIS; however the additional complexity of the stabilized lens results in a rather higher price. Let's see how the Olympus performs. Headline features

Apochromatic lenses have special lens elements aspheric, extra-low dispersion etc. to minimize the problem, hence they usually cost more. Sharpness rendition. Not sure how to explain it best or even properly but I really hated how the sharpness of the lens was rendered. The sharp areas (within DoF) was so harsh and muddied it make the picture look “dirty”. The lens was sharp in itself but not very pretty, especially at the wider angles where there’s little to no separation between the in focus and out of focus region (unless you shoot at minimum focus distance). The molded grips on the slim silver ring adjacent to the mount aid in mounting and dismounting the lens. We tested the Olympus M.Zuiko ED 14-150mm f/4-5.6 II Lens with the Olympus OMD EM5 and the OMD EM5 Mk II cameras. Ergonomics The 14-150mm is an internal-focusing superzoom, and shows a trait very characteristic of this lens type, in that its angle of view gets noticeably wider on focusing closer. This results in a visible 'twitch' of the live view image when focusing, which is most obvious on the E-P1/E-P2/E-PL1. 'Focus-by-wire' manual focusTravel photographers are the ones that will make the most of this lens’s autofocusing abilities. Ease of Use

MPB puts photo and video kit into more hands, more sustainably. Every month, visual storytellers sell more than 20,000 cameras and lenses to MPB. Choose used and get affordable access to kit that doesn’t cost the earth. Olympus lenses usually give very solid color rendition, and the this lens is no exception. However, the results are best with the JPEGs that their cameras put out. The lens delivers a fair amount of contrast, though nowhere as much as Sigma or Zeiss do. In Adobe Lightroom, we liked what we got when we applied Alien Skin’s Kodak Ektachrome color profiles to the images. The lens extends about 6cm on zooming, and not surprisingly the barrel has a slight degree of play at maximum extension. One advantage of mirrorless systems is the ability to integrate software distortion correction into the lens design. This means that images contain none of the disturbing barrel distortion at wideangle that plagues superzoom lenses for DSLRs. Unusually for Micro Four Thirds, however, there is visible pincushion distortion at focal lengths longer than about 25mm (that is, 50mm equivalent), which is most pronounced around the 50mm setting. This is disappointing for JPEG users, although it’s easily corrected when processing raw. First of all - is much more light and compact, and, better then all, is just one lens, with less need to swap lenses (btw, I still swap lenses if I want to use prime lenses or the excellent full FT-sized 14-54mm f2.8-3.5 II Zuiko lens)

Image Quality

The 14-150mm employs an internal focus system that is designed for fast, silent autofocus, and is optimised for video use. In practice it delivers well on this promise; focus is impressively fast, quiet and accurate (certainly good enough for most purposes other than all-out sports or action work). In this respect it's a massive improvement over Olympus's 14-42mm kit lens. Change in angle of view on focusing ('focus breathing') There is also the linguistic devices, tiny v large but ignoring larger still, such as MF or LF. People often cite extreme settings, for example, not being able to push 6 stops in post, or image falls apart above ISO 6400, perhaps 20 FPS v only 12 blah blah. If there was an issue with any format it likely stems from attempting to bench mark the cameras against each other. Some times the differences between cameras are so marginal that the differences really don't matter in real world shooting situations, or at least in +90% of shooting situations. However this is often what is called best and its rare that actual output is compared to try and assess whether the numbers are the whole story.