Olympus MZuiko ED 300mm f4 Review

Olympus M.Zuiko ED 300mm f4: As good as it gets

News image

From Photography Blog UK:

“The Olympus M.ZUIKO Digital ED 300mm f/4 IS Pro is the perfect telephoto partner to the flagship OM-D E-M1 camera, forming a fast, well-built, relatively light-weight and fully-weather-proof system that delivers excellent image quality without breaking your back.

Both centre and edge sharpness are very high throughout most of the aperture range, although the performance wide-open at f/4 is good rather than excellent and it drops off a little at f/16 due to diffraction. Chromatic aberrations are almost completely absent, vignetting is not a real issue, and pincushion distortion is very well auto-corrected through software algorithms. The superlative image stabilisation system even makes it possible to hand-hold this lens in less than stellar lighting conditions, especially when paired with the the OM-D E-M1 or OM-D E-M5 Mark II cameras. The built-in image stabilisation also makes the lens perfectly practical for both Panasonic camera owners and owners of Olympus cameras which don’t have the 5-Axis IS system.

If you can justify the rather eye-watering price-tag, the Olympus M.ZUIKO Digital ED 300mm f/4 IS Pro is a fantastic lens for for wildlife, sports and action photographers. Highly Recommended!”

September 2016

Fujinon XF 100-400mm f4.5-5.6 R review

Fujinon XF 100-400mm f/4.5-5.6 R LM OIS WR

From Photozone:

“The Fujinon XF 100-400mm f/4.5-5.6 R LM OIS WR impressed me quite a bit – not only in the lab but also in the real life. Honestly I was almost about to purchase the lens from the rental company (but I kept my sanity). The center sharpness is very high throughout the zoom range. The borders/corners are also very sharp between 100 and 300mm. Expect slightly softer corners at 400mm though (but then who cares here). Lateral CAs are not a real issue. Most users will keep image auto-correction activated thus neither distortions nor vignetting are issue in this case. The native characteristic isn’t quite as good here though. The quality of the bokeh is very decent for such a lens – at least technically – but don’t expect wonders regarding the depth-of-field at conventional focus distances.

Fujifilm is targeting the semi-pro and professional market with this lens so the build quality is on very high level (although it doesn’t touch the Canon EF 100-400mm USM L IS II or Sigma 150-600mm Sports here). Most body parts are made of metal and the broad, rubberized control rings are fun to use. The AF is both fast and silent (for a mirrorless camera setup). Needless to say but the image stabilizer is an essential ingredient on such a lens and Fujifilm’s version offers an effective gain around the 3-4 f-stop mark … depending on your coffee level”.

August 2016

Sony Carl Zeiss Sonnar FE 35mm f2.8 ZA

Sony Carl Zeiss Sonnar T* FE 35 mm f/2.8 ZA

Sony Carl Zeiss Sonnar T* FE 35 mm f/2.8 ZA - Introduction

From Lenstip:


  • compact and solid casing of high quality,
  • good image quality in the frame centre already from the maximum relative aperture,
  • slight longitudinal chromatic aberration,
  • very low lateral chromatic aberration,
  • lack of serious spherical aberration issues,
  • accurate, fast and noiseless autofocus.


  • unsatisfactory image quality on the edge of full frame,
  • huge vignetting visible even on the smaller APS-C sensor,
  • a bit too high level of coma.

“Small, handy, solid, with good build quality and outstanding sharpness in the frame centre – for many people these features would be a recommendation good enough to purchase the lens. Providing that its price is right”.

August 2016

Sony Carl Zeiss Sonnar FE 55mm f1.8 ZA

Sony Carl Zeiss Sonnar T* FE 55 mm f/1.8 ZA - Introduction

Sony Carl Zeiss Sonnar T* FE 55 mm f/1.8 ZA

From Lenstip:


  • compact and solidly sealed casing of high quality,,
  • very good image quality in the frame centre already from the maximum relative aperture,,
  • sensible image quality on the edge of the APS-C sensor,
  • imperceptible lateral chromatic aberration,
  • moderate distortion,
  • lack of serious problems connected to spherical aberration,
  • slight astigmatism,
  • blurry areas pleasing to the eye,
  • accurate, fast and silent autofocus.


  • distinct longitudinal chromatic aberration,
  • huge vignetting on full frame,
  • too high coma,
  • steep price.

“Compared to all full frame standard f/1.7-1.8 lenses, tested by us so far, the Sonnar 1.8/55 FE has one undeniable advantage: sharp images in the frame centre already from the maximum relative aperture. Only the Tamron 1.8/45 VC can compete with the Zeiss and it is an instrument much bigger and much more optically complex”.

August 2016

Zeiss Batis 18mm 18mm f2.8

Zeiss Batis 18mm f/2.8 Review Image

Zeiss Batis 18mm f2.8 Wide Prime: More Zeiss Perfection

The Zeiss Batis 18mm f2.8 wide prime is designed to be used on Sony’s E-mount full frame cameras, so bodies like the Sony A7II & A7RII. A review by Photography Blog UK shows this Batis optic like the others in the range (ie 25mm f2 & 85mm f1.8) is a superb optic and another winner from Zeiss, all be it an expensive one.

From Photography Blog UK:

“The Zeiss Batis 18mm f/2.8 is simply a superb ultra-wide prime lens. It’s not the smallest optic, but you soon get used to its size, and it’s light enough not to be a burden.

Aside from some minor distortion and more noticeable falloff, image quality as a whole is very good, with sharpness being particularly impressive. Build quality is a match for the lens’ performance, and we welcome the inclusion of full weather sealing, though the intriguing electronic focus distance scale is unlikely to be an essential feature for most shooters.

Competition in this sector is slim though, with the Sony/Zeiss Vario-Tessar T* FE 16-35mm F4 ZA OSS being the only other full-frame E-mount that’ll go as wide as the Batis 18mm, and it’ll put a similarly large dent in your bank balance. But until a more accessibly-priced ultra-wide FE-mount lens becomes available, you’d better start saving for a Zeiss Batis 18mm f/2.8 if you favour outright sharpness over the Sony FE 16-35mm’s focal length flexibility”.

August 2016