Micro Four Nerds published the long term review of the now two year old Lumix G9II. Her conclusion is that the Lumix G9II proves itself as one of Panasonic’s best Micro Four Thirds hybrids — with excellent autofocus, great stabilization, strong burst modes, and impressive low-light performance. It’s not the smallest body, but for photographers and videographers who want a rugged, versatile, and reliable tool, the G9II still stands out as a flagship that deserves more recognition.
Photographyblog tested the new 50-200mm PRO lens and concluded:
The main downside is the price – the full RRP of £2999.99 in the UK and $3699 in the USA certainly makes the made-to-order 50-200mm F2.8 IS PRO a considered purchase, especially as the older but still very popular 40-150mm f/2.8 Pro is less than half the cost.
If you can stretch to this 2025 lens, though, and you don’t mind pairing it with a teleconverter, it could effectively replace both the 40-150mm and 100-400mm zooms in your kit bag, making it much more financially viable.
Overall, the new OM System M.Zuiko Digital ED 50-200mm F2.8 IS PRO is a somewhat surprising but very desirable lens that every Micro Four Thirds wildlife and sports photographer should consider.
George Holden believes the Olympus PEN-F is the only digital camera that truly shoots like film. Released in 2016, it was inspired by the classic half-frame PEN film cameras and designed with a strong focus on creating film-like results straight out of camera.
The PEN-F stood out thanks to its unique “Creative Dial,” which allowed photographers to instantly apply monochrome and color profile controls, mimicking the look of traditional film stocks. Features like the dedicated exposure compensation dial, intuitive controls, and strong in-body image stabilization gave it a tactile, analog-like shooting experience that most digital cameras lack.
Holden points out that what makes the PEN-F special is not just its design but its ability to deliver images that feel authentic, organic, and filmic—without heavy editing. Even today, it remains a rare gem in Olympus’ lineup, cherished by street and travel photographers who want both digital convenience and the timeless feel of film.
The OM System 100–400mm II is an impressively versatile super telephoto zoom lens that delivers professional results in a compact Micro Four Thirds package. Ideal for wildlife, sports, and macro, it combines excellent optical quality, stabilization, and autofocus in a weather-sealed body.
Pros:
✔️ Sharp across the zoom range
✔️ Excellent image stabilization (up to 7EV with Sync IS)
✔️ Great autofocus performance, up to 25fps
✔️ Compact and weather-sealed design
✔️ Macro-capable and teleconverter-compatible
Cons:
❌ Zoom is not fully parfocal (when zoomed quickly)
❌ Minor vignetting at 400mm
❌ Slight aspherical bokeh artifacts in lab tests
After days of testing across Alaska — from the Arctic Circle to ice caves and salmon runs — Jake Sloan concludes that the OM System 50–200mm f/2.8 is an incredibly versatile lens. Its constant f/2.8 aperture, compact size, internal zoom, and excellent stabilization make it stand out from typical 100–400mm equivalents that usually compromise with variable apertures.
He highlights how sharp and fast the autofocus is, how smooth the focus fall-off looks, and how well the lens compresses subjects against dramatic backgrounds. For wildlife, landscapes, and even detailed shots of vast environments, this lens proves itself as a do-it-all companion that fits easily into a travel bag.
Jake’s bottom line: the OM 50–200mm f/2.8 is a rare combination of portability, speed, and image quality. Whether you’re chasing wildlife or capturing sweeping landscapes, it’s a lens designed to deliver stunning results in nearly any situation.
