Reddit member Mike shared some very beautiful images shot with the $8999 (!!!) OM 150-400mm PRO lens. The images and his report got a ton if likes and comments so I think it’s worth to jump over to Reddit to see his images and also to read his findings I reposted here:

So, I’ve been slowly selling my equipment to save up for the 300 f/4. However, while stumbling around in Japan, I came across one of those rare “buy it now or you may regret it forever” situations…long story short, I passed on the prime and came back with Big White. Since my wallet wasn’t expecting this, I’ll be exclusively eating tomato soup in the foreseeable future. But whatever. I like tomato soup. 

Some things I’ve learned in recent weeks:

– Obviously the lens is fantastic, but I’m a little surprised why. The specialness comes from the versatility. The quality at every focal length + the 4.5 constant aperture + the TC + the lovely balance = a Swiss Army knife in the field. The image quality is just one bit of the equation.

– With that said, I’ll now say something that no Youtuber will ever say in a video lest they wreck their affiliate link potential: For most people, this lens is an absolute waste of money. There, I said it. This is a very niche product for a very niche user—I would wager that most people will find the 300 f/4 or the new 50-200mm to be a better buy. BUT if you tend to plan your trips around wildlife photography, or you often find yourself crawling through muck in freezing rain to inch closer to a bird’s stupid beak, I can’t think of anything more flexible. I’m very happy with my choice. 

– The OM-1 ii’s AF just works better with this specific lens (and the AF-All target mode is ridiculously good paired with it). It might be due to the motors or the extra light it’s gathering. Or maybe all my used equipment was just busted and I never knew better.

– After years of no photographer wanting to talk to me in the field, everyone and their grandma wanted to talk to me when I had Big White out. (I legit think they thought it was a new Canon lens.)To their credit, they were all very respectful when I went into my tedious monologue about the pros and cons of M43. And just to confirm the suspicion of OM Marketing, most of these guys and gals had no clue what Micro Four Thirds is.

(Side tangent: Photographers who own a Sony or Canon full frame 600mm f/4 will let you know very quickly, and it will always come up in an awkward way. Funny enough, none of them had the lens with them while they were out. They were just really proud to tell me it’s in their house.)

– I was afraid that a white lens would make animals more skittish, but there was no discernible difference. In fact, some even came up to me to talk about their FF 600mm f/4.

– This lens will NOT magically make you a better photographer or allow you to break physics: bad composition, atmospheric haze, and poor fieldcraft will still result in the same ol’ trash images…just slightly sharper. Drat.

I’m still learning the lens, but ask if you have any questions. Note, most of these photos were taken in not-great light. I’m pleased with the results, but I can’t wait for the sun to return to the PNW…

Jerred Z posted this interesting video that debunks one of the never ending myths, the belief that OM Systems’ 20-megapixel sensors are inadequate.

Despite widespread skepticism, 20 megapixels can indeed deliver impressive prints. Jerred shares personal experiences successfully printing images as massive as 5 feet(!!!) wide without sacrificing quality. This challenges the traditional notion of needing higher megapixels for large prints.

Five Guiding Concepts for Large Prints

• Good Technique and Lenses: Mastery of camera settings in manual mode combined with high-quality lenses can make a significant difference. The OM Systems lenses, such as the 12-100mm F4 and 50-200mm 2.8, are highlighted for their sharpness and reliability.
• Utilizing High Resolution Modes: Techniques like handheld high-resolution modes can yield up to 50 megapixels, or even 80 in tripod mode, benefiting dynamic range and reducing noise. Using these modes creatively can enhance output.
• Editing Matters: The editing process is crucial, like utilizing tools like Lightroom to improve image quality before printing.
• Overcoming Challenges: By embracing editing methods such as denoising and sharpening, photographers can prepare their images for printing effectively, ensuring quality is maintained.
• Collaboration with Printers: Establishing a relationship with a skilled printer is emphasized. Understanding how different paper types affect print results can lead to successful outcomes, even with lower resolutions.

Conclusion: Focus on Creativity

The discussion reiterates that final prints should delight viewers rather than satisfy pixel peepers. Photographers should focus on their craft and the emotions they want to convey through their work, rather than solely concentrating on technical specifications.