Olympus EZ-M7530 M.Zuiko Digital 75-300mm 1:4.8-6.7 Lens II, suitable for all MFT cameras (Olympus OM-D & PEN models, Panasonic G series), black

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Focusing speed is considerably higher than on the Panasonic lens. The lens also supports the focus peaking/magnification feature of my Olympus bodies which comes in so handy when you have to focus on a subject partly obscured by branches. All of these are crops from a larger frame. The overall picture at 200 mm was very similar to 150 mm with both lenses, so I am omitting it. Because I bumped the tripod while changing the lenses the two sets don't point at precisely the same spot on the chimney, but it doesn't change the overall result. Olympus 75-300 creates a crisper, more pleasant (to my eye) bokeh than Panasonic 100-300 whose bokeh can be mushy and dull looking.

Often, a subject is really far away. After taking a shot, you have to crop quite heavily to fill it into the frame. It isn’t a big deal with high-quality optics and high-megapixel sensors. But with Olympus 75-300 and 16-20 mp sensor, you cannot crop heavy.(For stationary objects, the Hi-Res mode may solve the problem) has OIS, but IIRC olympus pro capture mode will only work with olympus lenses, and I could see myself want to use that for wave action or similar scenarios. Despite its all-plastic construction (except the metal lens mount), the 75-300mm doesn't look or feel like a cheap lens. It's sturdily built and feels very solid in the hands, from the firm zoom ring to the precise (albeit focus-by-wire) manual focus ring. Don't underestimate the importance of aperture at the long end. I end up with high ISO far too much with the 100-300 because it's such a slow lens.If your subject moves fast (birds and animals often do), you have to raise shutter speed. And obviously, with F/4.8-6.7, you are at risk of raising ISO. And Micro 4/3’s main disadvantage is poor high ISO performance. Of course, we all need to train ourselves out of the habit of calling them the best Olympus lenses, since the brand is now officially called OM System. The latest lenses, for example, are the OM System M.Zuiko 12-40mm f/2.8 Pro II and the OM System M.Zuiko 40-150mm f/4 Pro.

Have you shot a foggy landscape? If it is a light fog, on an image it can almost disappear. I often have to reduce contrast quite a lot to make it come up. You would have more of the fog if you shoot through a lot of air. That is when zoom comes into play. If I made this shot closer – I woudn’t have that much fog Beginner lens While the crop factor of MFT format cameras boosts the telephoto abilities of lenses, it makes the design of ultra-wide optics more of a challenge. The M.Zuiko 7-14mm f/2.8 Pro is a remarkable wide zoom lens with a minimum focal length of just 7mm, delivering an astonishing 114-degree viewing angle, similar to using a 14mm lens on full-frame cameras.Like other lenses in the Pro line-up, it’s immaculately turned out, with fabulous build quality. Contrast and sharpness are outstanding, while color fringing and distortions are negligible. As with many ultra-wide lenses, however, the hood is built-in so there’s no filter attachment thread. Olympus changed the plastic texture of the external lens barrel from the "PEN" lines to that diamond grid pattern. Optically, the only thing that changed was the "ZERO coating." And while Panasonic lenses autofocus as you would expect on OM cameras, they are tuned for Panasonic's own DFD contrast detect AF system – and some notable examples (such as the Panasonic 20mm f/1.7) focus incredibly slowly on non-Panasonic bodies. Overall, we think that OM System lenses are just that bit snappier on OM System cameras. I have completely left the bigger and heavier DSLR:s behind as the 4/3-format gives a more than sufficient good quality. It’s possible to make very good prints up to A2-size and ISO 1600. The very good IBIS makes it possible to use a comparably lower ISO. For web use the quality is even very overpower!With the lens set to its maximum aperture, you can see some light fall-off in the corners, but nothing excessive. You will likely only notice this when photographing a subject with large homogeneous surfaces. P.S. And yes I know there is a 300mm f.4 pro lens but that's just way too expensive for a non-pro like me. And I heard that the Panasonic 100-300mm f4-5.6 Mk II is not that big of a difference with the 75-300mm and is not worth the trouble switching to it. Olympus is somewhat sharper with better details. (However, when I compare the bottom edges of the two frames both are equally blurry.)

What about travel? It may take a bit of both (sport/wildlife), but I believe these aren’t the main focus of a travel photographer (unless you do wildlife safari or something, or specialize in outdoors). A professional super-telephoto lens for a full-frame is thousands of Euros in price and, on average, it is more than 2.5 kg in weight. Too heavy and too expensive for a piece of gear that is used occasionally.The Olympus 75-300mm f/4.8-6.7 lens may have a lot of plastic parts, but the lens mount is, thankfully, made of metal. Olympus does not claim any sort of weather resistance for this lens, and indeed you cannot see a rubber seal around the mount (note that no current Micro Four Thirds camera is weather sealed anyway).