Olympus M.Zuiko Digital ED 60 mm F2.8 Lens, Standard Zoom, Suitable for All MFT Cameras (Olympus OM-D & PEN Models, Panasonic G-Series), Black

Product Information

From now on, everyone who has used, or continues to use, full-frame or larger format for capturing subjects that benefit from a deep depth of field, especially landscape and macro subjects, is an incompetent ass who’s in dire need of both re‑education and new camera gear. What’s more, it can even double up as a casual portrait lens thanks to its focal length, excellent sharpness and 2.8 aperture. E-M1, 1/1250, f/2.8, ISO 200 – M.Zuiko 60mm Apochromatic lenses have special lens elements aspheric, extra-low dispersion etc. to minimize the problem, hence they usually cost more. Another quirk about the focus limiting switch is that it also changes the maximum aperture. When switched to the macro position, the maximum aperture changes from f/3.5 to f/5.6. Macro lenses in general all have a narrower maximum aperture at their higher magnifications, but this is the first lens where I’ve seen it change so suddenly, rather than a gradual transition. OM-1 + OM 90mm F3.5 @ 90mm, ISO 100, 1/320, f/11.0 Sell the kit you’re not using to MPB. Trade in for the kit you need to create. Buy used, spend less and get more. Buy. Sell. Trade. Create.

I did not give ten points for the build quality of this lens, because it's not build like the 12mm f/2 or the 75mm f/1.8. If it was, the price tag would probably be double of what it costs now. The use of plastic does keep the weight down and of course that is one of the benefits of this micro 4/3 system. For the money, it's build quality is fine. The minimum focus distance, magnification and focal length are the main characteristics that distinguish these two lenses from each other. Next I tried a further shot. This was set up at a range where the 60mm macro was focused at about 0.6m. Again, the camera was moved to account for differences in focal length so that the two lenses framed the same scene identically.

Features

Even when shooting towards the light, this lens is resistant to flare and contrast remains high in all but the most challenging lighting conditions. So far, I have been shooting with third party lenses, but if you can reach magnifications of 4:1 with perfect sharpness with the Olympus 60mm F/2.8 ED Macro, I will definitely get that lens. Despite the use of plastic, I don’t doubt the lens’s durability. In particular, theweather sealing is advertised as dust-proof and splash-proof up to IP53, meaning extensive protection against dust and splashing water. It’s the same rating given to the rugged OM-1 itself. By comparison, I’ve used my M.Zuiko60mm f/2.8 for years of intense conditions. It doesn’t appear to have an official IP rating, yet has held up better than any of my other lenses. The new 90mm f/3.5 should improve on it even further. In terms of light fall-off in the corners, there is nothing to worry about – the lens performs impressively in this regard.

The Olympus 60mm ƒ/2.8 Macro is a solid little lens which does not add much weight to the camera. The lens has 13 elements in 10 groups: of these, one is an ED lens, two are HR lenses and one is an E-HR lens element. The lens features a seven-bladed circular aperture which stops down to ƒ/22, and as previously mentioned, takes 46mm filters. The lens is marked as splashproof, providing some level of weather resistance.At f/4, the 60mm becomes even sharper and does a better job of extracting the fine details in the grain of the wooden bracelet. The 30mm isn’t far behind, however.

Between the two, the 60mm is more well-suited to a variety of subjects. The minimum focus distance of 19cm, combined with the 1:1 magnification ratio and 60mm focal length (120mm in 35mm terms) make it the perfect all-purpose macro solution for both animate and inanimate subjects because you can achieve a good level of magnification without getting so close that you’d risk scaring off the subject. E-M1, 5s, f/8, ISO 200 – M.Zuiko 60mm (minimum focus distance) – BraceletStop press! A reclusive photography genius, known only as “Dmitry”, has proved to the world, by using some novel methods[1], that: smaller format cameras have a depth of field advantage over full-frame and larger format cameras. This means you can fill your composition with something that’s a mere 8.5 millimeters wide (about a third of an inch) on a Micro Four Thirds camera. By comparison, a more common 1:1 macro lens can only fill the frame with something roughly 17 mm / 0.67 inches wide on Micro Four Thirds. That’s a huge difference for photographing small, unusual subjects like hairs and pigment cells on tiny animals. OM-1 + OM 90mm F3.5 @ 90mm, ISO 100, 1/200, f/7.1 How does this compare to the M.Zuiko60mm f/2.8? Below is a comparison photo from f/14. To my eye, it looks worse than the f/22 image above! I find this performance very impressive by the 90mm f/3.5, especially considering that the M.Zuiko 60mm f/2.8 was, before now, my sharpest lens. OM-1 + OLYMPUS M.60mm F2.8 Macro @ 60mm, ISO 200, 1/200, f/14.0