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On the road in Namibia with the Olympus M.Zuiko Digital ED 150-400mm F4.5 TC1.25x IS PRO

as part of our Online Photo Days

In this article, photographer Paul Kornacker takes you to Namibia with the Olympus M.Zuiko Digital ED 150-400mm F4.5 TC1.25x IS PRO and shows you what the telephoto zoom lens can do.

The trip to Namibia had been planned for some time: I wanted to spend a few weeks driving through the national parks and protected areas in the north and photographing for a book project. As a scientist and not least in my capacity as brand ambassador for Olympus (Olympus Visionary), several expeditions and trips have already taken me to this beautiful country. The anticipation for the upcoming trip increased all the more when I received the offer from Olaf Kreuter, Senior Marketing Manager Central Europe of OM Digital Solutions GmbH, to take the new M.Zuiko Digital ED 150-400mm F4.5 TC1.25x IS PRO with me on this trip and to put it through its paces on site. Namibia with the new 150-400mm! It was the first time that a photographer from Germany had been allowed to test this lens over such a long period of time and the first time that a photographer had set foot on African soil with this lens in his luggage! I was blown away and my anticipation for the trip and the lens was huge.

Olaf Kreuter - Olympus

Long planning: Action!

The trip to Namibia had been planned for some time: I wanted to spend a few weeks traveling through the national parks and protected areas in the north and photographing for a book project. As a scientist and not least in my capacity as brand ambassador for Olympus (Olympus Visionary), several expeditions and trips have already taken me to this beautiful country. The anticipation for the upcoming trip increased all the more when I received the offer from Olaf Kreuter, Senior Marketing Manager Central Europe of OM Digital Solutions GmbH, to take the new M.Zuiko Digital ED 150-400mm F4.5 TC1.25x IS PRO with me on this trip and to put it through its paces on site. Namibia with the new 150-400mm! It was the first time that a photographer from Germany had been allowed to test this lens over such a long period of time and the first time that a photographer had set foot on African soil with this lens in his luggage! I was blown away and my anticipation for the trip and the lens was huge.

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Olympus 150-400mm telephoto lens

The first impression

At the end of 2020, the long-awaited package arrived in front of me. Apart from pictures, I had never seen the lens before, let alone held it in my hand. I was all the more surprised when I took it out of the packaging for the first time. Although I was already familiar with the dimensions and weight, it's quite something else when you actually hold it in your hands. Plagued by memories of the large, heavy "tea bags" from my full-frame days, I was surprised by the small size and low weight. At just 1875 g including tripod collar (without lens hood) and a length (or should I say shortness) of 32 cm, the lens is extremely compact and light. Attached to my OM-D E-M1X, it lies perfectly balanced in the hand, which will prove to be a great advantage in later use. The only drawback is the non-removable tripod collar. In contrast to the M.Zuiko Digital ED 300mm F4 IS PRO, the tripod collar of the 150-400 mm lens cannot be removed. Not even the tripod base can be removed. It is a bit of a shame that this was not taken into account in the design. The advantage would be the reduced weight when carrying the camera-lens combination or when traveling by plane where every last gram counts in your hand luggage. On the other hand, the camera/lens combination can be carried excellently on the tripod base, which is partly covered with artificial leather and is also ideal for holding the lens. If you don't find the latter particularly ergonomic and prefer to hold the tube in your hand when taking photos, you can quickly adjust the tripod clamp to a different locking position. The lens audibly locks into place in 90° steps, which makes handling on the tripod easier, especially when quickly switching between portrait and landscape format. The tripod base has an ArcaSwiss-compatible dovetail guide and the usual threaded holes for mounting quick-release plates.

The carbon lens hood is extremely light, 12 cm long and is attached to the lens with a locking screw. The scope of delivery also includes a protective cover for the front lens, which also fits on the lens hood, and a sturdy lens bag. There is a 95 mm filter thread in front of the front lens for screw-in filters, such as polarizing or ND filters. I try to avoid the use of filters, especially with telephoto lenses, as I don't think they bring any advantages here. Quite the opposite. They often swallow up much-needed light and reduce the image quality. Even high-quality polarizing filters have a negative effect on sharpness, but they are more at home in landscape photography than in wildlife photography. UV filters are often bought in cheap quality as protective filters for the front lens and - you guessed it - do not necessarily help to improve image quality. For me, the best protection for the front lens is and remains a correctly fitted lens hood. If you still want to protect your lens with even more glass (and here I am probably referring to all press and sports photographers whose equipment is exposed to completely different hardships), you can use a high-quality protective filter specially developed by Olympus for the 150-400 mm. Cost: approx. 300 euros.

Conclusion

When it comes to this topic, everyone has to ask themselves whether it makes sense to invest a lot of money in a high-quality lens only to reduce the image quality again by using unnecessary or cheap filters or whether they need precisely this special protection for their daily work. I noticed positively that the lens has a rubberized edge in the area of the front element. As the front lens is offset inwards, you can place the lens on a flat surface with the front lens facing downwards without having to worry about scratching the lens or the surface. Of course, it is more advisable to use the protective cover supplied.

Olympus 150-400mm telephoto lens - hippopotamus

The equipment

So what do you pack in your suitcase when you fly to Namibia? This is a frequently asked question. And the answer is: EVERYTHING! Why EVERYTHING? Namibia offers EVERYTHING. Everyone will be happy here: animal, plant, landscape, macro and astrophotographers. Full-frame professionals are probably sweating bullets at the thought of the equipment they have to take with them. Not me. Here is a list of the equipment I took with me:

I'll spare you the exact names of the individual components at this point, you can view them here. I carried my hand luggage in my Lowepro ProTactic BP 450 AW II photo backpack. I also took a TG-6 and the LS-P4 from Olympus, a recording device for original tones, polarizing and graduated filters from Haida (yes, I also had filters with me), a Systematic tripod from Gitzo with a tripod head from Manfrotto, a power bank (PowerCore 26800) from Anker and various cables, batteries, memory cards, etc⦠Unfortunately, I didn't pack my 300mm F4.0. In terms of wildlife photography, the 300mm is the lens against which the 150-400mm has to be measured!

E-M1X, 378 mm, ISO 1250, f/5.6, 1/1250 sec, freehand.

The journey begins

My trip started at the beginning of January 2021 and ended at the beginning of February. For Namibia that means: it's summer, it's hot! And rainy season. For Namibia as a whole, it's been an above-average rainy season so far. The north, where I spent most of my time, has also received a lot of the much-needed rainfall.

Das Einsatzgebiet

Most of the shots were taken from the car, with the lens often just laid down. While I always had the E-M1X equipped with the new 150-400mm lens , the E-M1 Mark III with the M.Zuiko Digital ED 40-150mm F2.8 PRO was lying next to it, ready to hand. The majority of my wildlife photos, around 98%, were of course taken with the new 150-400 mm and the E-M1X. I tried to capture as wide a range of subjects as possible with this lens. In addition to static motifs (e.g. wildebeest, kudu or giraffes feeding), I wanted to photograph animals in action. But I was also very interested in the world of small animals and the possibilities of producing artistically appealing images with this lens. While action photos were in short supply (you have to rely on the protagonists to play along), I was able to fulfill the other wishes as far as possible. Photographing wildlife means always being ready. A handy, lightweight and easily configurable camera system increases reaction times considerably. Lens and camera must be up to the task at hand. How well the camera and lens harmonize with each other depends not only on the technology, but also on the settings that the photographer makes in the camera and on the lens for the respective situation.

Silently on the move

Big eavesdropping attack! But there's nothing to hear - thanks to the silent mode of my E-M1X, the two kudu ladies are all ears and remain rooted to the spot. Although kudus react extremely shyly to noises, they provide a good example of a static motif here. The sharpness of the kudu in front is enhanced by the slight blurring of the kudu behind and the leaves on the right. The background is resolved so that no distracting elements are recognizable. The details, e.g. the hair in the ears, are razor sharp.

Eingewöhnung

There's nothing worse than being helpless in a situation because you're not familiar with your equipment. Therefore, you should ALSO familiarize yourself with a new lens before hunting for subjects, so that you can operate it as blindly as possible. You also need to think carefully about which functions you want to assign to the programmable controls. The controls of the 150-400 mm are arranged in such a way that you can easily reach them without having to take your eyes off the camera when taking pictures. However, this only applies when shooting in landscape format. In particular, the switchable 1.25x teleconverter can be easily moved downwards (teleconverter switched on) or upwards (no teleconverter switched on) with the index or middle finger of the right hand. Both positions can be locked using a switch located centrally between the upper and lower positions. This means that the current position cannot be accidentally adjusted.

Structure of the lens

Directly above this is the SET button, which can be used to save a current focus position so that it can be recalled later using the function button. A special feature are the four L-Fn buttons, the so-called function buttons, which are located around the lens between the zoom ring and focus ring. These buttons are equally easy to reach in portrait and landscape format. As with all Pro lenses, the L-Fn buttons can be freely assigned to a specific function. This can then be activated via the L-Fn buttons. For the tasks in front of me, I assigned these buttons to the Bird Tracking AF mode and added a few additional parameters. In this way, I was able to switch from "normal" shooting mode to bird detection mode in a flash and track birds in flight. It could hardly be quicker! There are five switches on the left-hand side of the lens. The top switch has three click-stop positions and serves as a focus limiter. This can be used to limit the required focus range if required.

This way you get the best out of the lens:

The AF can find its target more quickly and does not start "pumping" back and forth for a long time. The other switches are grouped into a block of four and are used to switch between AF and MF, to switch the image stabilizer on or off, to switch between L-Fn and Preset and to switch the beep for AF detection on or off. While most of these switches are also familiar from other camera manufacturers and are actually self-explanatory, the L-Fn / Preset switch has a special function. It is used to switch the function for the four function buttons (L-Fn). If the switch is in the "L-Fn" detent position, the four function buttons are assigned my previously defined settings. (In my case, the bird-tracking AF mode described above.) If the switch is in the "Preset" position, the four function buttons (L-Fn) are used to move to the last focus position saved using the SET button.

And action!

All theory is gray. From now on, the photographer, camera and lens have had time to show what they can do! You can't avoid making mistakes along the way. This is part of the learning process and ensures that the photographer gets to know his equipment better, can better adapt it to the respective situation and ultimately achieves better results. But what can be said about the handling and the technical and optical properties of the lens after continuous use "in the field"?

Handling and ergonomics in use

The E-M1X weighs approx. 3 kg with the 150-400 mm attached. A dream when you're out and about for hours (at 30 °C or more). On the occasions when I have carried the combination for several hours, e.g. during a hike of several hours on Mount Etjo, I was amazed to find that my arms were no longer at the end of the day than they were at the beginning. When shooting, the weight distribution between camera and lens is very good and the system is very balanced in the hand, just like the combination of E-M1X + 300mm F 4.0. As the lens is internally focusing, this balance is not disturbed by zooming in or out. This is particularly noticeable when using a gimbal. Once the balance between the gimbal and camera system has been precisely adjusted, there is no need to worry that zooming the lens in or out will unbalance the combination. This does not change when the feather-light lens hood is attached.

It's often the easily overlooked little things that are worth mentioning based on past experience with other lenses and camera systems and are a source of pleasure. These include the wide and heavily ribbed zoom ring. This allows the focal length to be changed quickly and smoothly via a short rotation (approx. half a turn). All you need is the thumb of your left hand. (And I certainly don't have big hands!) The strong ribbing prevented slipping off the zoom ring when using the camera with sweaty hands or in the rain. This should certainly also have a very positive effect on handling in the cold and with gloves. Incidentally, the 150-400 mm is the first MFT lens from Olympus with a light-colored coating. And there is a reason for this. The temperature inside a lens has an influence on the image quality. This lens has therefore been given a special coating that reflects infrared light. This helps to keep the temperature inside the lens as low as possible and thus promotes consistently high image quality. With Namibian summer temperatures sometimes exceeding 40 °C and intense sunlight, this lens definitely has an advantage over black lenses. During the development of this lens, particular emphasis was placed on functionality in hands-free operation. This can be seen not only in its compactness, but also - or perhaps especially - in its speed of operation.

E-M1X, 400 mm, ISO 640, f/5.6, 1/3200 sec, freehand.

To zoom or not to zoom - is that still a question today?

Not in my opinion. A few years ago, things were different. Fixed focal lengths were sometimes far superior to zoom lenses in optical terms. This has changed dramatically in recent years. The 150-400 mm is no exception. The image quality is at the highest level across the entire focal length range! If you look around the photographic market, you will not find any manufacturer offering a lens with this focal length range in this compactness and with this aperture. a focal length of 150-400 mm in the Micro Four Thirds system (MFT) corresponds to an equivalent focal length range of 300-800 mm, calculated on the 35 mm format and with a maximum aperture of 1:4.5! By switching on the integrated TC 1.25x teleconverter, the focal length can be extended to 187.5-500 mm, so that - calculated on the 35 mm format - an actual focal length of 375-1000 mm is obtained, with a constant aperture of f/5.6 over the entire focal length range. These are already really good values and little is left to be desired. If this is still not enough for you, you can add one of the two teleconverters M.Zuiko Digital 1.4x MC-14 or M.Zuiko Digital 2x MC-20 in addition to the integrated teleconverter.

The following table shows the possibilities, focal lengths and resulting apertures:

MitTelekonverter

Max. Brennweite mm

Offenblende

150-400 mm without converter

400

4,5

TC 1.25x

500

5,6

MC-14

560

6,3

TC 1.25x + MC-14

700

8,0

MC-20

800

9,0

TC 1.25x + MC-20

1000

11,0

To convert to full-frame format, simply multiply the focal lengths by a factor of 2x.
When photographing in Namibia, there were two outstanding advantages for me that spoke in favor of a zoom lens: Firstly, the extreme focal length range gave me the opportunity to photograph both large and small targets at close and long distances without having to make a time-consuming lens change. Secondly, you can really zoom in on your target. In other words, you can bring your target into the viewfinder at a focal length of 150 mm and zoom in as close as you want without losing sight of the target. No long search for the target object in the landscape. Anyone who likes to work with telephoto lenses knows what I'm talking about - it takes practice, especially with fast-moving objects!

Naheinstellgrenze

And on top of that, there is a unique selling point with a WOW effect: the close focusing distance of the lens is a continuous 1.3 m over the entire focal length range, regardless of whether the integrated teleconverter is switched on or not! This results in an image scale of 1:3.4. If the integrated 1.25x teleconverter is switched on, the image scale improves to 1:2.8! Doubling the focal length with the 2x teleconverter (MC-20) even results in a reproduction scale of 1:1.4, allowing the lens to penetrate areas that are actually reserved for classic macro lenses. Format-filling photos of butterflies, dragonflies and similar creatures are simply no problem for this lens, as the following image of the dragonfly clearly shows.

Der Bildstabilisator

Extreme focal lengths need to be kept jitter-free. The 150-400 mm is the third Olympus lens to have a built-in image stabilizer that works together with the camera's internal stabilizer. This function, known as "Sync. IS" function enables compensation of up to eight f-stops! In practical terms, this means that hand-held shots of up to one second (perhaps even longer) can be taken, depending on the focal length.

E-M1X, 500 mm, ISO 640, f/5.6, 1/80 sec, TC-1.25, freehand.

Speed is everything

Anyone who does wildlife photography knows that a fast autofocus is essential. Even more so when it comes to action. In Namibia, I was able to see for myself that the autofocus not only works quietly and quickly, but also "sticks" precisely to the subject. My favorite setting was the C-AF mode and for fast-moving subjects the C-AF+TR setting (this is also the setting for bird tracking). At the long end, i.e. at a focal length of 400 or 500 mm, I was surprised at how fast and accurate the AF works. The results in poorer lighting conditions were also convincing, with no trace of "pumping".

Competition invigorates

Now we come to what are probably the most important attributes of a lens, image quality and sharpness. The M.Zuiko Digital ED 300mm F4 IS PRO lens can certainly be regarded as a reference lens. Even though I didn't have the 300 with me in Namibia and therefore lacked a direct comparison, I was able to convince myself later on my computer at home that the impression I already had in Namibia was not misleading. With the M.Zuiko Digital ED 150-400mm F4.5 TC1.25x IS PRO , the 300mm now has a serious competitor. Image quality is made up of subjective perceptions and clearly defined parameters that take effect during the shooting process. These include the cropping of a subject, the bokeh, the influence of ISO values or the contrast behavior. The image quality can be further improved later using suitable software, even to the point of altering an image.

I don't go into these possibilities any further. I look for the optimum image solution for me during the shooting process. If possible, this also includes the image section. I then reduce the subsequent image processing to the bare essentials. Thanks to the special coating of the lenses and their arrangement in the tube, the lens ensures high contrast and razor-sharp images. Image errors such as chromatic aberration or distortion, as well as vignetting, are therefore reduced to an absolute minimum. I was unable to detect any lens faults when I took almost 15,000 pictures with this lens. To be fair, however, I have to add that I did not take any shots that were smaller than aperture 13. The cropping of a subject is a frequently used stylistic device and is often used in nature photography for creative, artistic representation.

E-M1X, 320 mm, ISO 640, f/7.1, 1/1600 sec, TC-1.25, mounted.

This adolescent lion looked up curiously from his resting place as I approached him. In order not to disturb this moment of mutual observation with too much surrounding sharpness, I photographed with an open aperture and also deliberately took a position that only shows one eye of the lion. The lens not only produces a sharp image, but also allows details such as the fine eyebrows or the hairs of the fur to appear very clearly. On closer inspection, you can also see a fly in the eye.

The 150-400 mm now offers even more possibilities to suit my style of photography. Thanks to the large zoom range on the one hand and the enormous final focal length on the other, subjects can be perfectly positioned in the picture and the area of sharpness and blur can be balanced. This is not always possible with a fixed focal length. It is now also even easier to bring out details. The bright viewfinder image is also a great help when composing an image thanks to the large aperture. It allows possible disturbing elements to be recognized at an early stage and therefore the image can be better assessed. The bokeh, i.e. the area of blurriness, takes on different characteristics depending on the lens and is ultimately, in my opinion, purely a matter of taste. Many people focus on maximum sharpness when evaluating lenses. Nowadays, however, bokeh, i.e. the area outside the sharpness zone, plays an almost equally important role.

This lappet-faced chameleon was just about to cross the path when I arrived by car. I placed the camera on the ground and set up the image using the flip-up display. I had to take several shots until I had captured the movement with these leg positions as I had imagined it. It was the first series of pictures I took with this lens at close range. Due to the close focusing distance, shots in this range are a must. Combined with an extension ring, special shots can certainly be achieved in the macro range.

I have already commented on the sharpness in various places. It is remarkable what excellent imaging performance this lens delivers even at open aperture. Slightly stopped down to 5.6 or 6.3, I had the impression that the images were even sharper, but the difference is hardly noticeable. It is all the more remarkable that the sharpness performance does not suffer any loss when the TC-1.25 converter is switched on. The engineers at Olympus have done a really good job here. Stopped down to aperture 8, the images appear slightly softer to me than at aperture 5.6, but we are really talking about minimal differences here and about my subjective perception. When using the MC-14 teleconverter, I can also attribute a very high quality to the lens. I also achieved good results with the MC-20 at a fabulous 2000 mm focal length. Although the images appear softer and small details are lost somewhat, they are still sufficiently sharp in the 100% view. However, I recommend using a tripod at these focal lengths.

E-M1X, 400 mm, ISO 640, f/4.5, 1/3200 sec, freehand.

An example of a harmoniously coordinated background. Nothing distracts and the viewer's focus is immediately drawn to the bee-eater. This kind of action can usually only be captured if the frame rate is set to a high sequence. I prefer the silent setting "L" with up to 18 frames per second. In this picture, the subject tracking C-AF+TR was switched off. Anyone who has ever photographed bee-eaters knows how restless and sometimes hectic these animals can be. This is where the great mobility of the system came in handy. A fast, accurate autofocus is a prerequisite for sharp images.

E-M1X, 288 mm, ISO 200, f/5.6, 1/320 sec, freehand.

Toko with caterpillar

I liked the position of the bird and the background in this motif. Dimmed down, this would have been very distracting, but with the aperture open, beautiful color gradients result. Subject tracking C-AF+TR was switched on because the bird kept turning its head in a different direction. This allowed me to keep the head, or rather the eye, in focus at all times with the help of tracking. The next picture shows the extreme opposite, overexposure. The ostriches were at a great distance on a bright background, which was perfect for a shot like this. The animals were constantly moving and at least one head was always pointing downwards to feed. I waited until all the animals were exposed. And turned the heads upwards. I wanted to maintain sharpness by slightly dragging them along, which probably didn't matter at this distance. The distance to the subject was certainly more than 150 meters.

The bird AF detection

With the introduction of the new lens at the end of 2020, the E-M1X also received a new firmware update. A new function has been added: bird tracking, the automatic tracking of birds in flight. This is made possible by the automatic detection of a bird's eye. I also tested this function in Namibia, but not as a priority. My results and statements are therefore not very meaningful. Nevertheless, I would like to add that, according to my review of my images so far, around 70% of the images of flying birds are in focus. To achieve a higher hit rate, you should set various parameters in the camera. I had only done this to a certain extent.

What else there is to say

Of course, all the camera functions of the E-M1X can be used with the 150-400 mm, including, for example, Pro shots (ProCap L or H), the two HighRes functions, focus stacking or the ND filters that I particularly like. Apart from the HighRes function in handheld mode, I didn't have the opportunity to use the other modes.

To convert to full-frame format, simply multiply the focal lengths by a factor of 2x. When photographing in Namibia, there were two outstanding advantages for me that spoke in favor of a zoom lens: Firstly, the extreme focal length range gave me the opportunity to photograph both large and small targets at close and long distances without having to make a time-consuming lens change. Secondly, you can really zoom in on your target. In other words, you can bring your target into the viewfinder at a focal length of 150 mm and zoom in as close as you want without losing sight of the target. No long search for the target object in the landscape. Anyone who likes to work with telephoto lenses knows what I'm talking about - it takes practice, especially with fast-moving objects!

E-M1X, 500 mm, ISO 200, f/5.6, 1/320 sec, TC-1.25, mounted.

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