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.
OM System has further served its mission to be a leading outdoor photography brand with its outstanding new 50-200mm F2.8 zoom. With an equivalent 100-400mm focal length and bright maximum aperture, it’s a highly versatile wildlife and sports optic, and you can further extend that reach with the 1.4x teleconverter to create a 560mm F4. Build quality is top drawer, the internal zoom is a welcome bonus, and paired with a current OM System camera you get a lightweight, IP-rated weather resistant system, complete with smart subject-detection autofocus, rapid burst shooting and incredible image stabilization. Optical quality impresses, even if bokeh can be a little fussy at times. It’s an expensive lens, and quite the leap price-wise from the 40-150mm F2.8, but if you invest in the 50-200mm F2.8 won’t be disappointed. For me, it joins my best wildlife lenses hall of fame, and impressive macro photography skills add extra shine.
Should You Buy It? Yes. With the OM System M.Zuiko 50-200mm f/2.8 IS Pro, you pay a professional price, but you get professional quality. This lens has versatility in spades to help offset its high cost.
The OM System M.Zuiko 50-200mm f/2.8 IS Pro isn’t officially a replacement for the trusty 40-150mm f/2.8, but it is absolutely the new sheriff in town. While the 40-150mm has made me a lot of money over the years, the 50-200mm outclasses it in every way, from its extended reach and improved IS to the superior sharpness. And the supercharged performance is particularly noticeable with top-tier cameras like the OM-1 Mark II, as the lens supports blazing fast 50fps continuous AF, as well as Pro Capture and focus stacking – all of which will make this an essential professional tool for my kitbag.
The OM System M.Zuiko Digital 50-200 mm F2.8 ED IS Pro is a powerhouse. It combines high light intensity and a generous zoom with a comprehensive range of features in a reasonably compact body that’s very robust thanks to its IP53 rating. From wildlife and action to sports, to landscapes and close-ups, it’s suitable for a wide variety of subjects and is easier to take far from civilization than a corresponding 35mm setup. The autofocus is fast, the bokeh and even the sun star are beautiful. The image quality from wide open is beyond reproach. Only the not-so-affordable price of just under €3,500 might be a hindrance to the purchase. But this zoom lens is by no means overpriced or unaffordable.
With this 50-200mm f/2.8 IS PRO, OM System has created a lens that ticks all the boxes: brightness, versatility, compactness, and robustness. A true “Swiss Army knife” of the Micro4/3 range, it is aimed at both demanding wildlife photographers and traveling naturalists looking to limit their equipment without sacrificing quality. It now remains to be seen whether its promises in terms of speed and image quality can be confirmed in the field. But one thing is certain: this 50-200mm could well become one of the new pillars of OM System’s M.Zuiko PRO range.
If the M.ZUIKO DIGITAL ED 150-400mm F4.5 TC1.25x IS PRO is a lens with ultimate super-telephoto performance, then the OM SYSTEM M.ZUIKO DIGITAL ED 50-200mm F2.8 IS PRO truly is the ultimate telephoto lens. The shooting style that combines the rendering quality of a 400mm F2.8 with mobility is undoubtedly unique. Personally, I was pleased with the detachable tripod mount. All of the shots in this article were taken handheld. I was also surprised that I could store it horizontally in my 30-liter backpack instead of vertically. I wanted a lens that could cover the super-telephoto range, had a fast aperture, and was lightweight. The OM SYSTEM M.ZUIKO DIGITAL ED 50-200mm F2.8 IS PRO is the lens that will fulfill that desire. I highly recommend you try it out for yourself.
Eric Jannigs says that after spending a couple of weeks with both the Nikon Zf and the OM System OM-3, the differences between these two retro-styled cameras become very clear.
The Nikon Zf impresses with its premium build touches such as brass top dials and a metal shutter button, paired with a well-thought-out mix of classic dials and modern control wheels. The fully articulating screen, excellent EVF, and robust manual focus assist (with eye tracking and magnification) make it a capable hybrid shooter. Under the hood, its 24MP full-frame sensor and strong autofocus performance shine, and it offers the flexibility to adapt F-mount lenses and use Nikon flashes. On the downside, it’s chunky and not pocketable, most Nikon Z lenses don’t match the retro styling unless you pair it with manual focus options like Voigtländer lenses, and the dual card slots (SD + microSD) are awkwardly placed in the battery compartment.
The OM System OM-3 is physically closer to a classic film camera in size and feel. It sports high-quality metal dials with satisfying tactile feedback, a more convenient side card slot, and a better battery door/tripod plate layout. A unique color/mono switch and easily customizable profiles add to the fun factor. Most importantly, the Micro Four Thirds lenses like the Olympus M.Zuiko 12mm f/2 and Olympus M.Zuiko 25mm f/1.8 are compact, premium-feeling, and visually match the OM-3 perfectly. However, the 20MP Micro Four Thirds sensor can’t match the Zf’s full-frame image quality, its EVF and manual focus aids lag behind, it only has a single card slot, and the on/off switch is less ideally placed.
In the end, the Nikon Zf delivers better image quality, EVF, and full-frame performance, while the OM System OM-3 wins in ergonomics, retro charm, compactness, and lens system cohesion. For pure shooting enjoyment, the OM-3 comes out ahead, but for maximum technical performance, the Zf remains the stronger choice.
Jake Sloan recently took the OM System OM-1 Mark II out for a serious field test in the rugged conditions of Alaska — and came away genuinely impressed. Paired with the incredible M.Zuiko Digital ED 150-400mm F4.5 TC1.25x IS PRO lens, Jake calls it possibly the best wildlife setup he’s ever used for under $10,000.
From the outset, he makes it clear: the OM-1 Mark II is a photography-first camera. While it does have solid video features, its true strength lies in stills — especially wildlife photography. Coming from no prior OM System experience, Jake was initially skeptical about Micro Four Thirds. But the test quickly changed his mind.
Micro Four Thirds offers distinct advantages over APS-C and full frame: smaller, lighter gear, lower cost, and the ability to pack industry-leading stabilization into the body. In wildlife shooting, the 2x crop factor turns the 150-400mm into a staggering 300-800mm equivalent, with a built-in 1.25x teleconverter pushing it to roughly 1000mm — all in a package far lighter and cheaper than full-frame equivalents.
Image quality is another highlight. The 20MP stills are sharp, detailed, and offer excellent color. OM’s autofocus system, combined with subject detection, proved highly effective at locking onto fast-moving wildlife. For high-resolution needs, the OM-1 Mark II includes a pixel-shift mode that produces up to 80MP images, even handheld (with slightly reduced resolution). This mode works best with static subjects, but delivers stunning detail and RAW file output.
The camera is built for the outdoors, boasting an IP57 rating for dust and splash resistance. In Jake’s rainy Alaska test, it performed flawlessly. Computational photography features like Live ND and graduated ND filters expand creative possibilities without extra gear. Other advanced tools include Pro Capture, focus stacking, HDR, and multiple exposures.
On the video side, the OM-1 Mark II offers 4K up to 60p in 10-bit 4:2:0, producing clean, detailed footage with the same excellent autofocus found in stills mode. Switching between photo and video is seamless, allowing quick transitions in the field.
For photographers wanting a lightweight, durable, and highly capable wildlife or nature setup, Jake sees the OM-1 Mark II as a top contender. Even with the flagship 150-400mm PRO lens, the total investment stays around or under $10,000 — significantly less than comparable full-frame kits.
Jake’s time with the camera left him reluctant to send it back, praising its ease of use, outstanding performance, and portability. For those looking to enter or upgrade in the wildlife photography space without the bulk and expense of full-frame, the OM-1 Mark II with lenses like the 150-400mm PRO might be the perfect solution.
