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Posts Tagged ‘300mm’

Shoot 5x macro with this DIY 3D-printed 300mm extension tube

09 Aug

Can’t quite fill the frame with your macro subjects? New Zealander Nicholas Sherlock might have the answer you were looking for as he has shared his plans for a 3D printed macro extension tube that’s helped him achieve a whopping 5x magnification.

Software developer Sherlock designed and produced his extension tube for his Canon DSLR system, and incorporated electrical contacts to allow the camera and lens to communicate across the 300mm tube, allowing him control of the aperture settings from the camera body as well as metering and focusing functions. When mounted with the Sigma 180mm f/3.5 APO Macro DG HSM he is able to fill the frame with subject matter measuring only 7.2×4.8mm/0.28×0.19in with a working distance of 170mm.

The front and back ends of the tube are fitted with a lens mount and camera mount borrowed from a Kenko 12mm extension tube, and in between Sherlock has printed two lengths of tube measuring 150mm each. He also used gold contacts on either end with connecting cable so information can be passed between camera and lens.

Below are a few sample images captured with the extension tube:

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On his Thingiverse profile Sherlock shares detailed information on how he went about making the extension tubes with step-by-step instructions for others to follow. He also lists known issues, advice on what to avoid and warnings about what could go wrong as well as recommended sources of the materials needed. Below is a comparison slipover showing 1x magnification without a tube and 5x magnification with his 300mm extension tube:

1x magnification 5x magnification

For more information see Nicholas Sherlock’s 300mm macro extension tube thingiverse page, and his personal website.

Articles: Digital Photography Review (dpreview.com)

 
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Olympus announces 2X teleconverter for 40-150mm F2.8 and 300mm F4 Pro lenses

19 Jun

Olympus has announced a 2X teleconverter, the MC-20, which is compatible with the company’s 40-150 F2.8 and 300mm F4 IS Pro lenses, along with the 150-400mm F4.5 TC1.25x IS Pro currently under development. On the 300mm F4 in particular, the MC-20 brings the maximum magnification up to 0.96x.

The teleconverter is weather-sealed and has nine elements, one of which is ‘HR’ to suppress aberrations. The ‘ZERO’ coating reduces ghosting and flare. Olympus says that there’s ‘virtually no loss’ in AF performance when using the MC-20.

The MC-20 is now available for $ 429.

Official sample photos

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Press Release

OLYMPUS M.ZUIKO® DIGITAL 2x TELECONVERTER MC-20

Expand the Field of Photography with Portability and Superb Image Quality of the Master Lens

CENTER VALLEY, Pa., June 19, 2019 – Olympus is pleased to announce the M.Zuiko Digital 2x Teleconverter MC-20. This teleconverter doubles the focal length of the master lens, and features dustproof, splashproof and freezeproof (-10°C) professional weatherproof construction for outstanding optical performance ideal for even the most severe environmental conditions. By doubling the maximum shooting magnification of the master lens, this teleconverter further expands the field of photography in super telephoto macro shooting. This product is compatible with the M.Zuiko Digital ED 40-150mm F2.8 PRO and M.Zuiko Digital ED 300mm F4.0 IS PRO, as well as the M.Zuiko Digital ED 150-400mm F4.5 TC1.25x IS PRO, which is currently under development.

Super Telephoto and Super Telephoto Macro Shooting

Just like the M.Zuiko Digital 1.4x Teleconverter MC-14, the M.Zuiko Digital 2x Teleconverter MC-20 maintains the excellent imaging performance of the master lens while doubling the focal length, making it possible to capture intense shots of subjects that are usually difficult to approach, including small birds and animals. When attached to the M.Zuiko Digital ED 300mm F4.0 IS PRO, handheld super telephoto shooting at 1200mm equivalent (35mm equivalent) is possible.

When attached to the M.Zuiko Digital ED 300mm F4.0 IS PRO, the MC-20 allows the user to shoot near actual size at 0.96x (35mm equivalent) from the maximum shooting magnification of 0.48x. With performance like this, the photographer can capture close-up photos from far away without disturbing subjects that are sensitive to people, such as insects. Utilizing Focus Stacking results in photos that are in focus across the entire image, even on super telephoto lenses, which tend to have a shallow depth of field.

Outstanding Optical Performance

A 9-element, 4-group lens construction with an HR lens helps suppress various types of aberrations including chromatic aberration while maintaining the excellent optical performance of the master lens to double the focal length. The design also helps prevent ghosts and flares for superb image performance, thanks to ZERO coating.

Reliability to Capture the Moment

The master lens is designed to deliver excellent performance and dependable reliability, even when an Olympus teleconverter is attached. Virtually no loss in autofocus speed makes it possible to capture split-second photo opportunities using FAST AF performance. The dustproof, splashproof, and freezeproof professional weatherproof construction, coupled with powerful 5-axis image stabilization and FAST AF ensures that the user captures their shot even in the most severe environments.

Compatible Lenses

  • Zuiko Digital ED 40-150mm F2.8 PRO
  • Zuiko Digital ED 300mm F4.0 IS PRO
  • Zuiko Digital ED 150-400mm F4.5 TC1.25x IS PRO (under development-planned for launch in 2020)

Pricing and Availability

The Olympus M.Zuiko Digital 2x Teleconverter MC-20 ships with the body cap BC-3, lens cap LR-2 and lens case LSC-0603 and is available now with suggested retail prices of $ 429.99 USD and $ 559.99 CAD.

Articles: Digital Photography Review (dpreview.com)

 
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Review of the Olympus 300mm F4 PRO Lens

29 Aug

Review of the Olympus 300mm F4 PRO Lens

About six months ago, I made a heart-wrenching, painful, and difficult decision: I switched from Canon to Olympus.

Now, I’m not some crazy, brand-loyal photographer. I think the Canon versus Nikon argument is ridiculous. But I had invested thousands of dollars, tens of thousands really, in my Canon gear.

However, my photographic priorities have been changing. I’ve established something of a niche in Alaska wilderness photography and the size and weight of my Canon kit was becoming a hindrance.

bird in a tree - Review of the Olympus 300mm F4 PRO Lens

I’ve been extremely impressed by the sharpness and clean bokeh of this lens. Swainson’s Thrush, Alaska. Lumix G9 with Olympus 300mm F4 PRO.

Size and weight were a factor

Access to many of the places I work on assignment or lead photo workshops and tours is via small plane or on foot. In other words, the weight of my gear is a major consideration.

More and more often, I was forced to pass over my beloved Canon 500mm f4L, because it was just too darn heavy and bulky. Rather, I’d pack something more compact, even if it wasn’t as good. Leaving that big lens behind was painful, but necessary, and I constantly wished for something comparable that wasn’t so darn big.

As a result of leaving the big glass behind, my wildlife work suffered. So I started experimenting with a variety of alternative lenses for the Canon system: Tamron’s and Sigma’s 150-600mm lenses, and Canon’s 100-400mm and the 70-200mm f/2.8 with a 2x teleconverter.

All were decent, but none matched the quality and dreamy bokeh of the 500mm f4.

Review of the Olympus 300mm F4 PRO Lens - spruce grouse

Spruce Grouse, Denali National Park, Alaska. Lumix GX85 and Olympus 300mm F4 PRO.

Some smaller options

Unrelated to this search, I purchased a little Lumix GX85 as a backup camera for wilderness trips. Surprised by the quality of the micro 4/3rds system, I rented a couple of long lenses for it. First the Lumix/Leica 100-400, (which I’ve previously reviewed here on DPS), and then the Olympus 300mm f4 PRO.

While the Lumix/Leica 100-400mm combo gave me a staggering reach (200-800mm equivalent on the 4/3rds system), the sharpness at the long end was imperfect, and the bokeh was lacking. It’s a great lens, but just doesn’t quite compare to the 500mm f/4.

The Olympus 300mm F4 on the other hand… that one took me completely by surprise.

Review of the Olympus 300mm F4 PRO Lens

A tough, all-metal housing and full weather sealing mean the durability of the Olympus 300mm F4 PRO easily compares to the best lenses by Canon and Nikon.

Six months after first renting the Olympus, I sold all of my Canon gear and purchased a Lumix G9 body, a variety of Lumix/Leica lenses and the Olympus 300mm f4 PRO lens.

Here is what I think of it.

Price – Olympus 300mm F4 PRO

Review of the Olympus 300mm F4 PRO Lens - moose in a field

Bull moose. Denali National Park, Alaska. Made with the Olympus 300mm F4 PRO on a Lumix GX85 body.

A new Canon 600mm F4L currently sells for $ 11,500. The Olympus 300mm F4 PRO is about $ 2,500.

Yeah, no contest there. You could buy the Olympus and still have enough left over for a trip to Alaska to photograph brown bears AND a trip to Africa to see lions and elephants (travel is always money well spent).

Size and Weight

Review of the Olympus 300mm F4 PRO Lens

At 9 inches long (with the hood retracted) and 3.25lbs, the Olympus 300mm F4 PRO is a third the weight and half the length of the Canon 600mm F4L.

Thanks to the smaller sensor of the 4/3rds system, you can fit equivalent or greater magnification into a lens while retaining the same maximum aperture in a MUCH smaller package. Canon’s 600mm F4 lens weighs in at a whopping 8.6lbs (3.9kg) while the Olympus with the same equivalent magnification and maximum aperture is a comparably dainty 3.25 (1.47kg).

Physically, it is also much more compact. At about 9 inches (22.9 cm) long it is roughly half the length of the Canon lens. When it comes to size, the Olympus is a clear winner for a wilderness photographer like myself.

But how is the quality?

Sharpness

Review of the Olympus 300mm F4 PRO Lens - bird in the grass

I made this image of a Smith’s Longspur in Alaska’s Arctic National Wildlife Refuge with a Canon 5D Mark III and 500mm F4L. It’s sharp and crisp, as you would expect.

When I first considered replacing my Canon gear with Olympus I took both systems out in the field for a week-long photo workshop I was leading. On the trip, I was able to shoot both under similar conditions. Later, when I examined the images at 100%, I felt the sharpness was more or less equivalent even when they were shot wide open at F4.

Review of the Olympus 300mm F4 PRO Lens - fox in the grass

Just as sharp as the Canon 500mm. Fox. Umnak Island, Aleutian Islands, Alaska. Lumix G9 and Olympus 300mm F4 PRO.

With a sigh of relief, I moved on to . . .

Bokeh

Review of the Olympus 300mm F4 PRO Lens - brown wren

Few lenses can compare to the dreamy bokeh of the Canon 500mm F4 L. (Canyon Wren, Joshua Tree National Park, CA.)

The bokeh of a lens is one of the most important aspects of image quality. In wildlife photography, the ability to separate your subject from the background is a huge asset, meaning you need a shallow depth of field. The big Canon can achieve this with aplomb. Its bokeh is smooth and creamy and creates a perfect background for your subject. This, I knew, would be the greatest challenge for the Olympus 300mm F4 PRO.

And it is the one place the Olympus fell short… but only just (and I mean by the narrowest of margins). Since a 4/3rds sensor crops rather than physically magnifies an image, the depth of field is the same as you would achieve with 300mm f4 on the full-frame Canon camera if you cropped the image by 50%.

Which is to say, it still has a great, shallow depth of field, but the bokeh retains more form than it does with the 500mm or 600mm.

Review of the Olympus 300mm F4 PRO Lens - black raven close up

Though not quite the amazing bokeh of the Canon 500mm, the Olympus 300mm f4 PRO attains something VERY close and just look at that sharpness! (Common Raven. Juneau, Alaska. Lumix G9 and Olympus 300mm F4 PRO.)

When it comes to bokeh, the Canon had the edge, but not by much.

Performance

Autofocus

The Canon 500mm F4 has lightning-fast autofocus. That is not up for debate and is one of the reasons that so many pro wildlife and sports photographers select that lens.

So how does the Olympus compare?

Review of the Olympus 300mm F4 PRO Lens - crane in flight

This image made with the Canon 500mm F4L was easy to grab with the lightning fast autofocus system.

This was a harder comparison to make because autofocus ability is a combination of camera body and lens and how the two communicate. When I use the Olympus, my choice of a camera body is the Lumix G9. At first, I expected that this mixing of manufacturers would hinder the performance, but I’ve been relieved to find that is not the case. Lumix bodies are fully compatible with all features of Olympus lenses with no apparent loss in performance.

I’ve found the autofocus of the Lumix/Olympus combination to be precise and extremely fast, attaining focus as quickly as the Canon.

Review of the Olympus 300mm F4 PRO Lens - birds in flight and snowy mountain

Birds in flight, particularly against a background like this are hard for any autofocus system to handle. But the Olympus 300mm F4 PRO was able to make it happen and fast.

Another nifty feature of the Olympus 300mm F4 PRO is you can switch between auto and manual focus simply by giving a little tug on the focus ring. It snaps down, and suddenly you are in manual focus, click it back, and autofocus returns. There is no fumbling around for switches.

Stabilization and Handhold-ability

Review of the Olympus 300mm F4 PRO Lens - waterfall in Alaska

Waterfall, Umnak Island, Alaska. Made at 1/15th of second handheld (!!!) with the Olympus 300mm F4 PRO on a Lumix G9 body.

Canon’s image stabilization is extremely good, but they’ve stubbornly refused to integrate stabilization into their camera bodies. Lumix, however, has stabilization built into the body which communicates with simultaneous stabilization in the lens!

Here, the Lumix/Olympus combo is a clear winner. I’ve found I can hand hold the Olympus 300mm f4 PRO on the Lumix G9 as low as 1/15th of a second and still get acceptably sharp images. The small, easily handled size certainly helps with this, but I would NEVER be able to hand hold the Canon 500mm at 1/15th.

The overall performance winner? The Olympus 300mm f4 PRO.

Conclusion

Review of the Olympus 300mm F4 PRO Lens - bald eagle

Bald Eagle, Unalaska Island, Alaska. Lumix G9 body with the Olympus 300mm F4 PRO.

I’ll be honest here, from time to time I miss the big Canon 500mm f4L. But not for reasons of image quality or field performance. Rather, I miss the snob appeal of that big glass. It’s the stupidest of stupid reasons, but it’s a real one.

As a pro photographer, the big lens was a badge of honor. Fortunately, I’ve (mostly) outgrown the need to be seen as a pro when I’m in the field shooting. Now, I try to concentrate on making images good enough that they speak for themselves, and leave the lens size contests to others.

Review of the Olympus 300mm F4 PRO Lens - caribou

Caribou in Alaska’s Northwest Arctic. Lumix G9, Olympus 300mm F4 PRO.

When I put aside the size and snob appeal, I’m not at all sorry to have moved away from Canon. Now, my big lens is small enough that I carry it everywhere (even on my evening dog-walks). It’s light and unobtrusive and I can even carry it backpacking. The quality is so close to that of the bigger glass, that the differences are almost unimportant.

So yeah, I like the Olympus 300mm f4 PRO. A lot.

The post Review of the Olympus 300mm F4 PRO Lens appeared first on Digital Photography School.


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Video: Sony a9 falls short with Canon 300mm and 400mm lenses attached

24 Jun
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Sports shooters considering Sony’s speedy a9 have one major hurdle to overcome: glass. There’s a dearth of long, fast primes available to Sony FE shooters, and it seems like using off-brand glass while you wait for Sony to catch up just isn’t a great option.

In this video, photographer Dan Watson of Learning Cameras tried both the Sigma MC-11 and Metabones Mark IV lens adapters to test how well the a9 worked when attached to the Canon EF 300mm F2.8L IS II USM and Canon EF 400mm F2.8L IS II USM.

Watson mainly wanted to test the focusing capabilities, and unfortunately, the results were somewhat disappointing.

Before you dive into the video, it’s worth pointing a few things out. Our own Rishi Sanyal has tested the focus capability of the a9 with adapted lens, and points out a couple of caveats to Watson’s otherwise solid points:

First, the performance of far off-center AF points depends on the lens. While Watson is correct in pointing out that they don’t perform well with long lenses (despite working astonishingly fast with Sony’s own 100-400 F4.5-5.6), they do work well with shorter focal lengths (we’ve had success with a Sigma 85/1.4, Canon 35/1.4, 24-70/2.8, etc.). With these wider lenses, ‘Wide’ area mode will continue tracking subjects to the extremes of the frame.

Second, Sony A-mount lenses adapted with the LA-EA3 adapter do shoot at an impressive 10 fps with autofocus, something we confirmed with the 50/1.4 (as long as you’ve updated the firmware of the adapter).* With the Metabones and Sigma adapters though, as with all Sony FE bodies, only the L drive mode offers continuous focus. And it’s actually only 2.5 fps, not the 5 fps Watson mentions (technically L is 3 fps, but it slows to 2-3 fps with continuous focus).

With that out of the way, Watson’s video is a great resource for seeing how well (or not) the a9 performs when attached to the long, fast Canon primes sports shooters love. And while single-shot focus with central points is speedy and almost 100% accurate with long adapted lenses, the lack of true subject tracking (Lock-on AF modes) or continuous focus at speeds higher than ~2.5 fps (or in video) will probably be a deal breaker for many fast-action photographers.

Once you’ve lost the impressive high speed shooting advantages Sony baked into the a9, you might as well be shooting with any other camera. Moral of the story: stick to Sony glass and hope they keep churning out new lenses at break-neck pace.

You can watch the full demo for yourself up top. And if you’re considering jumping ship from Canon to Sony, keep this information in mind – like all previous Sony bodies, you’ll only have access to the a9’s slowest continuous drive mode when you’re adapting your own glass.

* We’ve not yet confirmed the performance of off-center points with long A-mount glass.

Articles: Digital Photography Review (dpreview.com)

 
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Gallery update: Nikon 300mm F4E PF ED VR

03 Aug

The Nikon 300mm F4E PF ED VR is one heck of a compact telephoto lens. Since we posted our first samples from the lens last May, we’ve shot quite a lot with it including concerts, motocross, sprint boat racing, rugby and tennis (some of the images previously appeared in our Nikon D5 review). The more we use it, the more we like it, so this seemed like a great time to update our original sample gallery with with some fresh shots.

Nikon 300mm F4E PF ED VR Samples Gallery

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Olympus launches M.Zuiko Digital ED 300mm F4 IS Pro as sharpest-ever lens

06 Jan

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Olympus has launched the M.Zuiko Digital ED 300mm F4 IS Pro, which it claims it the sharpest lens in its lineup. The 600mm equivalent prime lens features built-in IS that also works in conjunction with the OM-D E-M1 and E-M5 II bodies to offer 6 stops of stabilization, measured to CIPA standards – the best we’ve yet encountered. Olympus says it expects the lens to be used for bird photography, landscape and sports. The lens is now available for around $ 2500.

The 300mm F4 IS Pro includes the pull-back manual focus clutch system used on recent high-end Olympus lenses to give a traditional manual focusing experience. It also includes a retractable hood like the one found on the M.Zuiko Digital 50-150 F2.8 IS Pro. There’s also a rotating tripod collar but, since Olympus believes the stabilization and relative light weight of the lens allows it, it also comes bundled with a cosmetic ring that replaces the tripod mount for handheld use.

Jump to:

  • Press Release
  • Specifications

Press Release:

A NEW WORLD OF HANDHELD NATURE PHOTOGRAPHY: THE OLYMPUS M.ZUIKO® DIGITAL™ ED 300MM F4.0 IS PRO ARRIVES

Super Telephoto Lens with Powerful 5-Axis Sync Image Stabilization and Olympus’s Highest Resolution Ever in a Compact, Dustproof and Splashproof Body

CENTER VALLEY, Pa., January 5, 2016 —Olympus is pleased to announce the Olympus M.ZUIKO Digital ED 300mm f4.0 IS PRO, a compact supertelephoto lens that expands the capability of the M.ZUIKO PRO series of professional, splashproof and dustproof lenses that deliver outstanding image quality under any circumstance. The M.ZUIKODigital ED 300mm f4.0 IS PRO is the first Olympus interchangeable lens with a built-in image stabilization mechanism, and when paired with the Olympus OM-D E-M1 (firmware version 4.0) or E-M5 Mark II (firmware version 2.0), in-body and in-lens image stabilization work in perfect harmony, resulting in the new 5-Axis Sync IS technology to produce the world’s most powerful image stabilization performance of up to six shutter speed steps of compensation*. The lens can also be used effectively with other camera bodies, as the in-lens stabilization mechanism alone provides four shutter speed steps of compensation.

With a length of 8.9 inches (227mm) and weight of a mere 2.8 pounds (1,270g), at one third of the size and weight of most DSLR 600mm equivalents, the M.ZUIKO Digital ED 300mm f4.0 IS PRO is designed to slip into an airplane carry-on bag or backpack and go anywhere to help users easily capture handheld images in once-challenging photo destinations. Despite its compact size, the lens is hermetically sealed in 17 places and features freezeproof performance down to 14?F (-10°C). Together with the same splashproof, dustproof and freezeproof performance as the OM-D E-M1 and E-M5 Mark II, this ensures you can capture high-quality images in the harshest environments.

The M.ZUIKO Digital ED 300mm f4.0 IS PRO debuts Olympus’s highest-ever resolution by combining three Super ED lenses, one Extra-High Refractive index lens and three High Refractive index lenses to reduce the color bleeding and chromatic aberrations that tend to occur on typical super telephoto lenses. In addition to Olympus’s renowned ZERO Coating (ZUIKO Extra-low Reflective Optical Coating), a brand-new lens coating technology called ZERO Coating Nano suppresses reflected light to minimize ghosts and flares for extremely sharp details of images, including car headlights. A layer of nanosized particles and a layer of air from the center to the surface of the lens achieves a refractive index similar to air and significantly reduces surface reflection.

The M.ZUIKO Digital ED 300mm f4.0 IS PRO also gets up close to explore the beautiful, minute world of telemacro photography with maximum image magnification of 0.48x (35mm equivalent), with a minimum focusing distance of 46 inches (1.15m) from the end of the lens. When combined with the M.ZUIKO Digital 1.4x Teleconverter MC-14, the user can capture all of nature’s beauty in high resolution at 840mm (35mm equivalent) and an increased image magnification of 0.67x (35mm equivalent) in a handheld compact body while maintaining the same minimum focus distance.

The OM-D’s silent mode combines with the lens’ Movie & Still Compatible mechanism for silent AF and shooting, giving the user the ability to blend into the background of any situation, whether that be the refinement of a symphony performance or the dusty plains of a lion’s hunting grounds.

The lens also features a Manual Focus Clutch mechanism that makes switching to manual focus possible by pulling the focusing ring toward you. The side of the lens barrelfeatures a Focus Limit switch (4m to infinity, all range, 1.4 to 4m), an IS switch (On/Off), and an L-Fn button, which can all be operated without ever taking your eye off the viewfinder. The built-in sliding lens hood can be locked into place when extended, and the tripod base plate with a quick shoecompatible rail is removable.

U.S. Pricing and Availability
The M.ZUIKO Digital ED 300mm f4.0 IS PRO lens is available now for an estimated street price of $ 2,499.99 (U.S.) and $ 3,199.99 (Canada).

To find out more about the Olympus M.ZUIKO Digital ED 300mm f4.0 IS and for a complete list of specifications, visit the Olympus website at http://www.getolympus.com/us/en/lenses/pen-omd/fixed-focal-lengths/m-zuiko-ed-300mm-f4-0-is-pro.html.

*As of December 2015. CIPA guideline compliant, when correction is carried out on two axes (yaw and pitch) and when halfway release image stabilization is off.

Olympus M.Zuiko Digital ED 300mm F4 IS PRO specifications

Principal specifications
Lens type Prime lens
Max Format size FourThirds
Focal length 300 mm
Image stabilisation Yes (4 stops (6 stops with E-M1 and E-M5 II))
Lens mount Micro Four Thirds
Aperture
Maximum aperture F4.0
Minimum aperture F22.0
Aperture ring No
Number of diaphragm blades 9
Optics
Elements 17
Groups 10
Special elements / coatings Three super ED, one extra-high refractive, three high refractive elements + ZERO nano coating
Focus
Minimum focus 1.40 m (55.12″)
Maximum magnification 0.24×
Autofocus Yes
Motor type Micro-type ultrasonic
Full time manual Yes
Focus method Internal
Distance scale No
DoF scale No
Focus distance limiter Yes
Physical
Weight 1270 g (2.80 lb)
Diameter 93 mm (3.64″)
Length 227 mm (8.94″)
Sealing Yes
Colour Black
Zoom method Rotary (extending)
Power zoom No
Filter thread 77.0 mm
Hood supplied Yes
Tripod collar Yes

Articles: Digital Photography Review (dpreview.com)

 
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Olympus M.Zuiko Digital ED 300mm F4 IS Pro: a closer look

06 Jan

Olympus M.Zuiko Digital ED 300mm F4 IS Pro

The weather-sealed M.Zuiko Digital ED 300mm F4 IS Pro is the latest in the company’s range of high-end ‘Pro’ lenses for the Micro Four Thirds system and the fifth such lens to date.

Like the other Pro lenses, the 300mm F4 IS Pro features the company’s snap-back manual focus clutch system that reveals a distance scale when you pull on the focus ring; engaging manual focus and proving a linear focus response with end-stops to the ring’s travel, to give a traditional manual focus experience.

Size

The lens is relatively compact, given its long reach. Although its F4 maximum aperture is equivalent to F8 on full frame in terms of depth-of-field and light gathering (in total image terms), its still impressively small and light for 600mm equivalent lens. The lens itself is 227mm (8.9”) long, and relatively easy to add to a mid-sized camera bag.

The 300mm weighs 1.27kg (2.8lbs) meaning that it’s relatively easy to handle and carry. As Olympus points out, this is around one third of the weight of equivalent full-frame 600mm lenses. However, this lightness doesn’t come at the expense of solid-feeling build, with extensive use of metal giving the F4 Pro a reassuring sense of robustness.

Image Stabilization

The lens IS offers correction of pitch and yaw movement (tipping up / down or panning left / right), and this combines with the in-camera systems on the E-M1 and E-M5 II to offer six stops of stabilization, according to CIPA standard testing. The company explains that the gyroscopic sensors in the lens and those camera bodies calibrate one when the lens in connected to the camera, to ensure they work in sync with each other.

Sadly this full capability is not realized when the lens is mounted on the E-M10 II or older Olympus cameras, nor is it compatible with Panasonic’s Dual IS system on the GX8 that works in a similar manner.

Magnification

The closest focus distance on the 300mm is a pretty impressive 1.4m (4.6′) from the focal plane (1.15m front of the lens), giving a maximum magnification of 0.24x. This doesn’t exactly make it ideal for macro work (Olympus would probably point out that it’s akin to 0.48x magnification on a full frame camera, in terms of how much of the frame an object fills), but it does allow its use fairly close to the subject, increasing the lens’s utility beyond safari and birds-in-flight (etc.).

The lens features a focus limit switch to prevent it hunting across its full focus range, when being used for more distant subjects, so this close-quarters capability shouldn’t affect long-range performance. Olympus suggests wildlife, sports and stage performances as sensible use-cases, in addition to telephoto macro photography. The company’s internal analysis of images uploaded to Flickr apparently shows that 54% of images shot around 600mm equivalent are of birds.

Tripod ring

The 300mm F4 IS Pro has a built-in, rotatable tripod collar, as you’d expect on a long telephoto lens. However, Olympus is confident enough about the effectiveness of the stabilization that it allows you to remove the ring that the tripod foot is mounted on and replace it with a smooth ring to cover the mounting studs. This cosmetic ring is included in the box, meaning you don’t have to try to rotate the tripod foot out of the way or keep catching your hands on the mounting studs if you shoot handheld.

The foot on the tripod collar features Arca-Swiss compatible grooves cut into it, allowing a sturdy connection to a tripod without the need for an additional plate.

Elements/coatings

The lens is a relatively complex design, made up of 17 elements arranged in 10 groups. These elements include three extra low dispersion (ED) lenses, three high refractive index (HR) lenses and one extra-high refractive index (E-HR) lenses.

Olympus also touts a ‘nano’ coating that eases light across glass/air boundaries to reduce internal reflections and minimize ghosting and flare. Also helping to minimize flare is the retractable lens hood. It attaches using a normal lens bayonet but the outer sleeve of the hood can then be pulled back over the lens barrel when not in use and pulled forwards only when needed.

Overall

Although a 600mm equivalent prime isn’t usually considered a must-have part of every shooter’s camera bag, it’s likely to do a pretty good job of acting as a ‘halo’ product – underlining the company’s commitment to the system and its use in a wide range of circumstances, as well as showing-off what it is capable of. It feels significant that Olympus would explicitly highlight that the 300mm F4 is sharper than the older 300mm F2.8 for the Four Thirds SLR system – another niche but impressive optic that when it was released sat at the apex of that system’s lineup.

Articles: Digital Photography Review (dpreview.com)

 
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Olympus M.Zuiko Digital ED 300mm F4 IS Pro real-world sample gallery

06 Jan
Olympus M.ZUIKO DIGITAL ED 300mm F4 IS Pro on the Olympus OM?D E?M1. You will love it, but birds will be less than pleased. Photo by Jordan Stead.

Olympus just squeezed a 600mm equivalent field of view into a 2.8-pound lens, complete with image stabilization, weatherproofing and an impressive close focusing distance. Meet the Olympus M.Zuiko Digital ED 300mm F4 IS PRO.

This compact, 2.8 pound supertelephoto is splashproof, freezeproof and dustproof, and is the first Olympus interchangeable lens with a built-in image stabilization mechanism. When paired with the Olympus OM-D E-M1 (firmware version 4.0) or E-M5 Mark II (firmware version 2.0), the 300mm’s in-body and in-lens image stabilization work together to produce image stabilization performance that Olympus claims is equivalent to up to six stops of compensation. 

We got the chance to shoot with it recently, and we’ve prepared a gallery of sample images. 

Olympus M.Zuiko Digital ED 300mm F4 IS Pro real-world sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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Nikon 300mm F4E PF ED VR real world samples gallery posted

13 May

The Nikon 300mm F4E PF ED VR is an extremely light-weight, compact telephoto lens well-suited for use on both FX and DX Nikon bodies. It is 30% shorter and 1.5 lbs / 0.68kg lighter than its predecessor, thanks to the use of a Phase Fresnel design. We paired it with a variety of FX and DX cameras and put together a selection of real world sample images. See gallery

Articles: Digital Photography Review (dpreview.com)

 
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[UPDATED] Nikon announces new firmware for 300mm F4 VR to fix blur at certain shutter speeds

17 Apr

Nikon has announced a firmware update for its new AF-S NIKKOR 300mm f/4E PF ED VR, to fix an issue where at certain shutter speeds on D800-series cameras, images can exhibit ‘noticeable blur’. According to Nikon, the problem can occur at around 1/125sec with the lens’s VR function enabled in either ‘Normal’ or ‘Sport’ modes. Users of affected units are encouraged to return their lenses to Nikon where the update will be applied free of charge. Click through for more details

Articles: Digital Photography Review (dpreview.com)

 
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