Review: Olympus 12-40mm f/2.8 PRO

In late 2013, Olympus released the M.Zuiko 12-40mm f/2.8 PRO lens.  It was their first foray into the ‘PRO’ line, which has now been joined by the 40-150mm f/2.8 PRO and will soon add a 7-14mm and a 300mm f/4.  I didn’t get a chance to review the 12-40mm back when it was released, but seized the opportunity when I had the new OM-D E-M5 Mark II in for review.  The 12-40mm f/2.8 has been highly touted by many in the industry, and I was eager to get my hands on the lens and see if it lived up to the strong reputation.

Olympus OM-D E-M5 Mark II with Olympus 12-40mm f/2.8
Olympus OM-D E-M5 Mark II with Olympus 12-40mm f/2.8

If you’re not familiar with my reviews, I review from a real world shooting perspective. You won’t find lens charts or resolution numbers here. There are plenty of other sites that cover those. I review products on how they act for me as a photographic tool.

Construction and Handling

The 12-40mm f/2.8 is a solidly constructed high-end optic featuring weather sealing against dust and moisture. The lens is bigger than any of the slower standard zooms for Micro 4/3, but quite compact for a wide to telephoto standard zoom with a constant aperture of f/2.8. The lens has a focal range that gives a field of view similar to a 24-80mm lens on a full frame camera, encompassing a versatile range from super-wide angle to short telephoto.

The Olympus 12-40mm f/2.8 PRO with hood
The Olympus 12-40mm f/2.8 PRO with hood

For the most part, the lens lives up to what you’d expect in this department, with a tightly assembled body with high-quality plastics and a metal shell over most of the lens body. However, I felt that it fell a bit short of what I would generally consider a ‘Pro’ build. The inner lens tube rubbed slightly when turning the zoom ring, and the extending tube has a small amount of play. Overall, it’s a well-built lens, but the sister to this lens, the 40-150mm f/2.8, has a more solid construction in my opinion.

The lens extends during zooming towards the long end of the range, and very slightly at the widest focal lengths, with the lens at its shortest length at 16mm. The zoom ring moves smoothly, though damping is less than on many other lenses. The focus ring is very smooth and precise, and features a manual focus clutch mechanism, allowing for quick switching to manual focus, complete with focusing scale. It’s worth noting that the focus ring still turns when the ring is pushed forward for AF operations, which allows for full-time manual focusing, or manual focus when manual focus is engaged via the camera.

The 12-40mm f/2.8 PRO comes with a reversible lens hood that locks into place and requires pinching two side buttons to release the hood. Frankly, I though the locking mechanism was a bit clunky and unnecessary, and slowed down storing the lens. The 12-40mm also has an Olympus L-Fn button on the side, which adds an additional programmable button for use with any Olympus camera. As not all of my Micro 4/3 lenses have the L-Fn button, I typically don’t use it, as I operate on muscle memory while shooting most of the time, and having a button that’s only there on certain lenses tends to slow me down a bit.

The lens at its shortest length (left) and longest (right).  The manual focus clutch is also pulled back to reveal the focus scale in the right hand image.
The lens at its shortest length (left) and longest (right). The manual focus clutch is also pulled back to reveal the focus scale in the right hand image.

Autofocus Performance

The 12-40mm f/2.8 features a very fast and very quiet focus motor. I tested the lens on the OM-D E-M5 Mark II, and in most situations, the lens was extremely fast to focus and very accurate. I had a few situations in dim light where the camera thought the lens was in focus when it was clearly well out of focus, and I had trouble getting it to sweep through the full range to lock on, but this only happened a few times during my testing. In all other cases, even in lower light, it locked swiftly and surely on my subject.

As I noted in my review of the E-M5 Mark II, the 12-40mm f/2.8 was excellent for continuous autofocus as well, and had a good hit rate while tracking moving subjects.

Unfortunately, the lens, like all Olympus lenses, doesn’t have an optical stabilizer. This is fine if you’re shooting with an Olympus body, as the outstanding in-body image stabilization of any recent Olympus camera negates any need for an optical stabilizer. However, if you own a Panasonic camera other than the GX7, you’ll want to consider the lack of lens-based stabilization in the 12-40mm.

Continue: Image Quality

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Comments

23 responses to “Review: Olympus 12-40mm f/2.8 PRO”

  1. Geir Avatar

    Seems like a must have lens. But is it a necessary lens if you already have the Zuiko 12-60 with adapter, imagewise. Of course I know about the ƒ4 at long end and the size, but in any other way?

    1. Jordan Steele Avatar

      I haven’t shot with the 4/3 12-60 f/2.8-4, so I really can’t comment intelligently about their relative merits optically. I would imagine, at the very least, that the 12-40 would focus a fair bit faster, as it’s my understanding that the 4/3 lenses with adapter aren’t exactly blazing fast when it comes to autofocus speed.

      1. kckelleher Avatar
        kckelleher

        I have used the 4/3 12-60mm with adapter and 12-40mm on the Olympus EM1. Focussing is faster with 12-40mm, and sharpness is better. Also camera is more compact to carry around.

  2. JEP Avatar
    JEP

    Jordan,

    Well written and balanced review 🙂

    How do you compare and contrast the Olympus 12-40 f2.8 against the Fuji 16-55 f2.8?

    Thanks,
    Jim

    1. Jordan Steele Avatar

      Thanks. They’re fairly close optically. The 12-40 is considerably smaller, so it’s better for portability. The 16-55 will, of course, allow for more background blur if that’s your thing. They are both incredibly sharp lenses. The 12-40 is probably a little better across the frame at the wide end, but they’re pretty close at the middle and long ends. Both have nice bokeh, both have some CA. The 16-55 does a better job with optical distortion correction, and doesn’t rely on software correction like the 12-40 does, though in final images it’s essentially a wash. The 16-55 is a bit more solidly built, but the size comes back.

      Neither is a reason to choose one system over the other, though: whichever system you shoot, you’ll be rewarded with an outstanding standard zoom lens.

  3. eques Avatar
    eques

    Thank you, Jordan, for this review!
    I always find it very helpful that you evaluate lenses not only at chart shooting distance, but also near infinity.
    Do you recommend this lens over the Panasonic 12-35 F2,8 for landscape photography on a GX7?
    Thanks, Peter.

  4. OrdinarilyInordinate Avatar
    OrdinarilyInordinate

    Thank you very much for your review. I have been waiting for it to appear, since I’ve read your Panasonic 12-35mm review and wanted a comparison with this lens. I’m surprised you’re saying this lens is better optically and that it has rich color and contrast: to me the Panasonic lens has much better contrast and “pop”. The Olympus has great resolution and microcontrast but a somewhat paler flatter rendition. Are you able to post comparative photos from both lenses of the same subject, if you still have both on hand?

    Something you said about the 12-35mm: “One note about out of focus rendering: For some reason this lens appears to have slightly more background blur than similar lenses at the same aperture. Not quite sure why, but it was something I tended to notice during shooting.” That is not the case with this 12-40mm lens, right?

    Thank you very much, once again!

    1. Jordan Steele Avatar

      I did not compare them directly against each other. I never owned the 12-35mm, it was a review sample just like the 12-40, so it’s been 2.5 years since I shot with the Panasonic. Looking through images I took with each lens, the Olympus is sharper across the frame, especially at further focus distances where it’s quite significant. Otherwise, the two are somewhat close, though I think the Oly controls flare a little better too. I didn’t really compare contrast between the two lenses directly, and it would be hard to do without a head to head. It’s hard to talk about the relative ‘blur’ of the two lenses when so much time separates them, as I can’t really remember how far I was from each subject when I was shooting with the 12-35.

      1. OrdinarilyInordinate Avatar
        OrdinarilyInordinate

        Thank you for your hard work writing these reviews!

  5. Matt Avatar
    Matt

    “Color and contrast are excellent, bokeh is very pleasing and the prime-like sharpness makes this a phenomenal lens for landscape use and everyday utility.”

    Based on various lab tests, including Lenstip, this zoom is as sharp or sharper than the primes from Olympus and Panasonic. Your statement would to most people sound like this zoom is similar or nearly as sharp. I think it would be more accurate and informative to say that this zoom is
    sharper than most of those primes, 12mm, the 14mm, 15mm, both the 17mm, the 20mm, and I believe also the Olympus 25mm, leaving the only doubt the Panasonic 25mm. Have you found the zoom any less sharp than all those lenses in your experience?

    1. Jordan Steele Avatar

      As I say up front, “I review from a real world shooting perspective. You won’t find lens charts or resolution numbers here.”

      There comes a point where the difference of a few lp/mm is irrelevant in field usage, and this is just such a case. The best primes, like this zoom, are capable of producing tack sharp images. As to which are measurably sharper? It doesn’t really matter to me…I just want an image that will show detail where I want it, and this lens does that. Once you reach a certain threshold, seeing any demonstrable difference between extremely high performing lenses with regards to sharpness becomes essentially impossible. Test rigs may pick it up, but it doesn’t matter with regards to the final image.

      I will say that it’s notably sharper than the Panasonic 14/2.5, and probably the 12/2…the 25s and longer would be splitting hairs. The 42.5 Nocticron I would say is a smidge sharper, but it won’t matter for 99% of usage in the final print.

      1. jeffharris Avatar

        Thanks for an excellent review and your incredibly refreshing real-world approach!

        I get so sick of reading reviews and opinions from all the nitpicking, chart waving, sharpness-above-all photo gear dweebs out there. Do they ever shoot actual photos? Oh, but that might require a few electrons worth of creativity… skip that thought. ????

        So, I’ve been considering getting a 12-40mm to use with my GX7 and simplify my travel kit… the Voigtländer Nokton 17.5mm and 42.5mm, which I love dearly, but I’ve been on a few trips where there were situations where swapping lenses was difficult at best. The extra range and close-focus ability put the 12-40mm ahead of the 12-35mm. Your review seems to be the kicker!

      2. jeffharris Avatar

        Thanks for an excellent review and your incredibly refreshing real-world approach!

        I get so sick of reading reviews and opinions from all the nitpicking, chart waving, sharpness-above-all photo gear dweebs out there. Do they ever shoot actual photos? Oh, but that might require a few electrons worth of creativity… skip that thought.

        So, I’ve been considering getting a 12-40mm to use with my GX7 and simplify my travel kit… the Voigtländer Nokton 17.5mm and 42.5mm, which I love dearly, but I’ve been on a few trips where there were situations where swapping lenses was difficult at best. The extra range and close-focus ability put the 12-40mm ahead of the 12-35mm. Your review seems to be the kicker!

  6. Chris Avatar
    Chris

    The review covers exactly my experiences with this great lens. However, it is erroneous to assume that the hires mode requires an extremly high resolving lens. Keep in mind, the camera is still taking 16 MP frames! If a lens performs well with the “normal” 16 MP it will certainly perfome as good in hires mode.

    1. rrr_hhh Avatar
      rrr_hhh

      @Chris

      I’m not sure that you are right ? What would be the use to shift the sensor for the amount of a half pixel, if the lens doesn’t offer a resolving power higher than one pixel ? The shift would remain more or less unnoticed.
      Tests I have seen show that when using so-so kit zoom the HighRes mode doesn’t add anything.

      1. Chris Avatar
        Chris

        I agree to the point that a so-so kit zoom will not add anything to the hires mode. But i suppose this is due to the fact that these lenses not even deliver enough resolution for the 16 MP-sensor. Imho there is no lens on the market which would be able to resolve 40 MP with such a small pixel pitch.
        At this point I refer to the author’s punch line: I don’t shoot test charts, I shoot impressions 😉 Have a nice day.

        1. Jordan Steele Avatar

          The sharpness of a lens beyond 16MP definitely matters in the High Res mode. You aren’t resolving a 16MP image…the lens isn’t shifting, only the sensor behind it, such that, with a static scene, it is exactly the same as having a true 64MP sensor behind the lens, with full RGB at each location. Well, probably closer to the 40MP that the JPEG uses because some of the pixels in the ‘offset’ sensor shift will overlap a bit with the standard grid since the pixels are the size of a 16MP sensor pixels, rather than the smaller pixel pitch of what a full 64MP sensor would be designed with. This will help with noise and a bit with diffraction, as well. It’s true that few lenses can resolve the detail needed to get pin-sharp images at 64MP, but most good lenses will see a notable benefit in final resolution.

          1. Chris Avatar
            Chris

            Hi Jordan,
            thank you very much for the calirficication. I overlooked the point that with the shift the drawbacks of the interpolation of a Bayer-Sensor are basically chanceled out by recording true color information for each channel on each pixel position.

  7. Barry Manclark Avatar
    Barry Manclark

    Hello Jordan.

    Thank you for a very refreshing and sound review.

    I have been shooting with 5″X4″ Linholf KardenMaster, 500ELM 6c6cm and mainly Nikon for many years.

    Now comes the apology: I remember laughing at the thought of anyone taking 4/3 seriously at it’s launch and to consider using it professionaly, ….. out of the question!

    I am on my third Olympus the latest being the E-M5MkII. I also operate the GH4 for the Video.
    These are superb instruments of trade, no question.

    I also use my Nikon primes and in particular the 60mm f2.8 Macro via the german Novoflex adapter. You have to love m43.

    Yes, I am using the Olympus 12 – 40mm f2.8 I concur with your findings.

    Kind Regards, Barry M. Australia

    If someone had wandered into my studio 20 years ago and handed me these cameras; I would have firstly wondered if something other than honey had been put in the bed-time milk?

    It’s only on reflection that I know how lucky we are; … now to have access to these brilliant systems.

  8. Dirk Avatar
    Dirk

    Nice review!

    I’ve got some questions about the lens:
    How does it handle with the Lumix GX1? (or a similary sized body)
    Would that be uncomfortable to hold/use/carry?
    Does the lens get in the way when you try to attach a quick-release-plate?
    I really hope you’ve still got your GX1 sitting around somewhere. 😉

    Oh…and does the focus clutch mechanism work with Panasonic bodies?
    Thank you!

  9. Lyn Avatar
    Lyn

    I just bought this lens along with Mark II 2 days ago. I have tried it indoor and Im happy with its result. I only have one question. I notice there is a sound I can hear whenever you will turn it upside down (when detached from the camera). Is it normal?

  10. […] Admiring Light?????????????M.ZUIKO DIGITAL ED 12-40mm F2.8 PRO???????????????????????????????????????????????????????????????????????? […]

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