Olympus M.Zuiko Digital ED 75mm f/1.8 full review

Back in 2012, Olympus announced a special lens in the form of this 75mm f/1.8, which offers a focal length equivalent to 150mm in full frame format. We’re used to seeing 135mm and 180mm lenses on full frame cameras. Olympus must have found the right balance. This lens also has a wide aperture, which is useful for a Micro 4/3 sensor in order to compensate for the lower ISO settings. This is the lens that made me buy a micro 4/3 to back up my old full-frame SLR. I didn’t want to use zooms and was a fan of this type of focal length. Like the Leica Summilux 15mm f/1.7 and Panasonic 42.5mm f/1.7, the Olympus 75mm f/1.8 is fully compatible with Panasonic micro 4/3 bodies and, of course, Olympus bodies.

By the way, we’ve put together all the lenses for Micro 4/3 bodies (Panasonic and Olympus) on a single page. If you want to see what else is out there, it might help.

In combination with the 20 MP of my Panasonic G90, I’ll do a practical test here, but also a few more “technical” shots to see if this Olympus 75mm f/1.8 is able to keep up with the G90’s definition. You might think that a lens from 2012, when micro 4/3 cameras were often “only” 12MP, is no longer suitable for a 20MP sensor. A 1MP increase in resolution is equivalent to a 4MP increase in full frame in micro 4/3 format. In other words, a 12 MP micro 4/3 will be just as demanding as a 48 MP full frame, while a 20 MP will be just as demanding as an 80 MP full frame! Check out our full guide to the latest Micro 4/3 cameras if you’re interested. We break down all the features and let you know what we think of the best one to buy!

The images shown were taken in RAW format and run through DxO Photoloab 5 with standard colour rendering and optical corrections enabled, except for the images used to show the results before correction and the gallery images, which will have undergone more advanced processing.

We’ve also published our full review of the Panasonic G90, which was also used in this review. You can read it here.

With a price tag of 950€, we can’t say that this is an affordable lens. Especially when you consider that it’s only a 150mm f/3.5 equivalent on a full frame sensor. In terms of exposure, however, the lens has a constant aperture of f/1.8. This is useful for limiting the increase in ISO on a Micro 4/3 sensor that doesn’t shine in this respect. Its price is also, in my opinion, a reflection of the fact that there is no competition for this type of lens in this format. In fact, even today, a 60mm macro and a discontinued 150mm f/2 are the closest fixed focal lengths to Panasonic 42.5 to 200mm and Olympus’s.

This 75mm offers a focal length that is quite unprecedented for micro 4/3, and even unprecedented in full-frame equivalent, if we leave aside the 150mm f/2.8 macro made by Sigma for SLRs, which costs as much as the Olympus, but weighs and measures much more (long focal length+full-frame+macro 1:1=unprecedented!). It’s obviously not a versatile lens, so much so that, despite all its qualities, it’s considered by many to be “underrated” because it’s not widely used. But that’s not so surprising, given the rather limited use of this type of lens. However, if Nikon’s 180mm f/2.8 does have a good reputation, it’s because there is a market for it in this area.

This is a ‘small’ telephoto lens that will require a certain amount of distance. It is therefore best suited to outdoor photography, especially portraiture/outdoor sports, thanks to its large maximum aperture and the ability to keep a certain distance from the subject, with nice image compression. If you can’t understand why this lens isn’t more widely used, you now know why: a focal length that’s a little too long for hard-hitting reportage and a little too short for wildlife isn’t necessarily suitable for many applications.

The lens is very well built, despite the fact that it is not ‘all-weather’, with a metal barrel but a relatively correct weight and relatively small dimensions. It weighs 305 g and can be used with most Olympus and Panasonic Micro4/3 bodies with no limitations, as it does not have a stabiliser or aperture ring, which may not be compatible with a Panasonic body.

Wide and smooth, the focus ring is very pleasant to use. The barrel is equally pleasing. Not only is it made of metal, but it is also remarkably well machined, with notches for easy handling. It’s a shame, though, that Olympus doesn’t include a case or hood for this price.

The lens features 3 low dispersion and 2 high refraction elements, as well as Ultra-High Reflection Zuiko technology to reduce flare, ensure high quality throughout the image and reduce chromatic aberration. The 9-blade aperture keeps bokeh smooth even when the aperture is closed.

The lens is available in 2 versions, with either a black or silver finish. The silver version tends to be more eye-catching, as most modern lenses are finished in black (with the exception of some Fujifilm APS-C lenses, which are often offered in black and silver, as are some of their bodies). Olympus has a similar “retro” philosophy. With the silver version, especially alongside a range of lenses that will all have a black finish, it will stand out more from the crowd.

Despite its relative age, the Olympus 75mm f/1.8 has a fairly powerful AF system. No doubt designed with action photography in mind, Olympus has taken great care with this, even though today’s lenses are much faster. In AF-S mode, you can rely on its speed, precision and silence.

In AF-C mode, we are once again confronted with the disadvantages of the lack of phase AF on Panasonic bodies. It locks onto the subject quickly enough, but starts pumping as soon as you try to track it, which quickly becomes uncomfortable in the viewfinder, even if the shots are accurate. If you want to use the AF in video mode, it becomes even more noticeable.

Once again, the best way to get the most out of the AF of this lens in more ‘sporty’ conditions is to combine it with an Olympus body with phase AF, such as the latest E-M1.

The Olympus 75mm is very good, even if it is starting to show its limitations when it comes to meeting the demands of the latest 20MP sensors. In the center, the image is good at full aperture, but can easily be improved by stopping down to f/2.8. The edges follow the same path, although there is still a gain to be made by stopping down to f/4. After that, the whole thing is very uniform. From f/8 onwards, diffraction becomes slightly noticeable. It becomes a real nuisance at f/11 and especially at f/16, where it reduces sharpness considerably. Therefore, between f/2.8 and f/5.6 is the optimum aperture range for a camera like the G90.

Here’s an image from the test scene I took for this article.

Here’s the evolution of sharpness in the middle between f/1.8 and f/8. To change photos and see the evolution of image quality, simply move your mouse over the aperture values below the image.