Olympus 12-200mm f3.5-6.3 MZuiko Lens

 Last Updated:- 1st August 2024

I was interested in the Olympus12-200mm f3.5-6.3 lens from the day it was launched. My wife uses the Olympus 14-150mm f3.5-5.6 II which is almost permanently on her Olympus EM10 III. I tried it and while it's a good lens, I was more interested in the small size and extra 50mm reach of the 12-200mm. What also kept me interested was when I saw the excellent images of this photographer.

The reason I prefer Standard and Premium Zuiko lenses from Olympus is their size versus IQ balance. Even though both these zoom lenses have good resale values, the general interest in the 12-200mm seems higher. I guess others like me noticed that the improved construction and specification of this lens are better than anything else in the 24-400mm zoom range. I couldn't wait to try this lens...

Here are some of my thoughts after spending a few days with this lens:-

• This lens has the potential to change my photography in terms of reach and framing
• It's a slow lens and needs a tripod for early morning, blue hour, and night photography
• The EM1 III and the 12-200mm is a small combo, it's not too big, too heavy, or obvious
• I tried ProCapture with our little dog and the AF system (AFC) was fast and accurate
• The lens is very sharp throughout its zoom range and its color, and definition are good
• This lens will definitely benefit from a fully saturated sensor, I need to work on that
• I like the close focusing distance as it's good for close-ups or distant framing options
• I like the unique 3D or life-like one can achieve with this lens. This is interesting

See this article about the Olympus Zuiko 12-200mm f3.5-6.3 lens and wildlife photography. 

I also thought the positive feedback from the German photography press was encouraging. You will find the original Olympus press release here.

You will see I have a wooden bottom plate for my EM1 III. This is the best option from my MKII and like so many other options, it's fully compatible with the MKIII. It's lightweight and extends the grip area just enough to make the camera and the 12-200mm lens a more comfortable combo.

I added a few images from my Pen F with the 12-200mm lens. I use the standard Pen-F bottom plate to support the lens. It's not as comfortable as my EM1 III setup, but the Pen F more than makes up for that with its color and image quality. You have to test this for yourself. From what I can see, the Pen F with the 12-200mm lens is one of those rare creative photography combinations.

Olympus 12-200mm f3.5-6.3 - ISO200, f7.1, 1/160, FL 200mm.

Another great combination is Workspace, the 12-200m lens, and the Enhanced Raw Format. The jpegs from the 12-200mm are sharp, the colors are strong, and the subject separation is good. I found this lens is consistently sharp across the frame at different focal lengths and situations. I trust you are familiar with the one-dimensional image look of older lenses? I used to see that from Canon E-FS lenses. The images of the 12-200mm are true to life with a strong 3-dimensional look or character.

The Enhanced Raw Format also helped me to find better camera settings for my 12-200mm. For example, it helped to experiment with other Picture Modes and that's how I learned the iEnhance Picture Mode is a good match for the Zuiko 12-200mm. I prefer the iEnhance "Low" option for most of my lenses and the Standard option for lenses like the 12-200mm. The iEnhance "Standard" option helped me to soften the backgrounds and it also helped me with smoother backgrounds and bokeh circles where possible. Let's allow Canon to explain bokeh...

Olympus 12-200mm f3.5-6.3 Lens - ISO200, f6.3, 1/160, -0.3EV, FL 200mm - Raw edited with WS - 3D look & great background.

I thought the 12-200mm lens was not a good low-light lens. It's a lens for daylight photography and I was more interested in any size benefit and the reach of the 12-200mm lens. In fact, I tried ISO200 with a fixed aperture of f7.1 for one full day and never had any issues with slower shutter speeds. 

This gave me the freedom to experiment with different focusing options and framing angles. This lens could easily be the inspiration photographers are looking for. A good example is our little dog because I no longer need to go low down, all I do is take a few steps back and zoom in.

I think the above image is interesting. The Panasonic LX1000 is a general-purpose camera. The challenge with the LX1000 is size and weight. I think the EM5 III with the 12-200mm lens is a more flexible option than most fixed lens cameras like the Panasonic LX1000.

The 12-200mm lens has the same 400mm FL as an LX1000. We also have the option to use smaller and faster lenses with a camera/lens combination. If you study APC or full-frame cameras with the same FL range, then you will see there's no equivalent for the high specification of the 12-200mm lens.

Olympus 12-200mm f3.5-6.3 Lens - ISO200, f7.1, 1/400, FL 100mm - Raw edited with Workspace.

It looks like Olympus did their homework when they planned and designed this 12-200mm Zuiko lens. The design is solid and the glass elements are some of the best. Add to that weather sealing, close focusing distances, and the more advanced autofocus mechanism and you are looking at a serious lens. Goto link1 and link2, to download two older brochures from Olympus. See how real life is different from what we see on photography forums. See what camera settings (apertures) Olympus visionaries use when they photograph with M43 MZuiko lenses...

Olympus 12-200mm f3.5-6.3 Lens - ISO200, f7.1, 1/500, FL 80mm - Raw edited with Workspace.

Olympus 12-200mm f3.5-6.3 Lens - ISO200, f7.1, 1/125, FL 200mm - Raw edited with Workspace.

Olympus 12-200mm f3.5-6.3 Lens - ISO200, f7.1, 1/400, FL 200mm - Raw edited with Workspace.

Olympus 12-200mm f3.5-6.3 Lens - ISO1600, f6.3, 1/60, FL 200mm - Raw edited with PhotoLab 5.

Olympus 12-200mm f3.5-6.3 Lens - ISO200, f6.3, 1/800, FL 200mm - Raw edited with Workspace.

Olympus 12-200mm f3.5-6.3 Lens - ISO200, f7.1, 1/200, FL 90mm - Raw edited with Workspace.

Olympus 12-200mm f3.5-6.3 Lens - ISO200, f6.3, 1/400, -0.3EV, FL 200mm - Raw edited with Workspace.

As you can see the 12-200mm lens has no problem with pointing it into the sun. I always have a lens hood on my lenses. I experimented with a few images like the above example and the extra reach of the 12-200mm made it possible to try new and different-looking images with the available light. I always find this kind of photography frustrating with lenses with shorter focal lengths.

Olympus 12-200mm lens - ISO200, f7.1, 1/320, FL 56mm - Raw edited in PhotoLab 5 and Photoshop.

I think the viewfinders of Olympus cameras are good. I tried the Panasonic G9 and thought the view was just too big for my comfort. It felt like I had to step into the viewfinder to see it all. A comparison between the EM1 III and Fuji XT4 was also interesting. The X-T4 is better on paper but with normal use, I thought both the EM1 III and the X-T4 viewfinders are adequate and their visibility good.

The reason I think one needs a more capable viewfinder for the 12-200mm, was when I pointed the lens into the sun or with longer focal lengths. I think almost any EVF is good as long as you regularly use the camera. It's mostly a process of setting up the EVF and getting used to it.

Olympus 12-200mm f3.5-6.3 Lens - ISO200, f7.1, 1/160, FL 200mm - Raw edited with PhotoLab 5.

Olympus 12-200mm f3.5-6.3 Lens - ISO250, f6.3, 1/250, -0.3EV, FL 149mm - Raw edited with Workspace.

Olympus 12-200mm f3.5-6.3 Lens - ISO200, f6.3, 1/100, FL 178mm - Raw edited with Workspace.

Olympus 12-200mm f3.5-6.3 Lens - ISO1250, f6.3, 1/1600, FL 200mm - Raw edited with PhotoLab 5.

Olympus 12-200mm f3.5-6.3 Lens - ISO1250, f7.1, 1/40, FL 149mm - Raw edited with PhotoLab 5.

Olympus 12-200mm f3.5-6.3 Lens - ISO200, f6.3, 1/125, -0.3EV, FL 200mm - Raw edited with Workspace.

Olympus 12-200mm f3.5-6.3 Lens - ISO1250, f7.1, 1/50, -0.3EV, FL 87mm - Raw edited in PhotoLab 5.

Olympus 12-200mm f3.5-6.3 Lens, ISO1250, f7.1, 1/2500, -0.3EV, FL 200mm - Edited in PhotoLab 5.

The above image will benefit a saturated image sensor. As you can see I did the opposite by decreasing the exposure by -0.3EV. In fact, the EM1 MKII auto-exposure algorithm uses a bigger safety margin than the MKIII. It's safe to set a permanent "Exposure Shift" of +0.5EV for the MKII. This improves the tonal data and shadow details of the MKII. It does take a little more effort to check the histogram while photographing or correcting your 18% grey values in Workspace.

For more on the ISO versus SNR ratio or Saturating the image sensor go to this link.

Olympus 12-200mm f3.5-6.3 Lens, ISO1250, f7.1, 1/1250, -0.3EV, FL 149mm - Jpeg out the camera.

Olympus 12-200mm lens - ISO200, f7.1, 1/400, FL 200mm - Raw edited with Workspace.

Olympus 12-200mm lens - ISO200, f7.1, 1/500, FL 12mm - Raw file edited with PhotoLab 5.

Olympus 12-200mm lens - ISO1250, f7.1, 1/125, FL 12mm - Raw edited with PhotoLab 5.

Olympus 12-200mm lens - ISO200, f6.3, 1/400, FL 200mm - Edited in PhotoLab 5 and replaced the sky with Luminar 4.

How much light is reaching the sensor at ISO6400?

Last update:- 29th April 2023

Did you know your ISO does not add more light (image data) to the sensor?

I was listening to an astrophotographer talking about his camera settings. Most astrophotographers are comfortable with the technical aspects of digital cameras. He demonstrated how he shifts the histogram to the right (ETTR) to improve his image quality and record more tonal data.

Many photographers use the ISO and Exposure Comp to apply ETTR. Those who follow this blog know the ISO amplifies the image signal from the sensor. If you like to control the light reaching the sensor, fix the ISO and use the aperture and/or shutter speed. Increasing the reflected light on the sensor means a higher SNR and a more Saturated sensor. The histogram shows the reflected light on the sensor with a fixed ISO. Consider this as "managing" the sensor's ISO to SNR ratio.

Study the illustration below and visualize the reflected light on the sensor at the different ISOs. What do we learn from this illustration? Experienced M43 photographers think of reflected light (luminance) on the sensor. The sensor might receive no reflected light at ISO12800. We always need a light source to illuminate the subject and reflected light to expose the sensor. No reflected light means no recordable image information. The next time photographers quote ISO12800 or ISO20000, ask how much luminance (reflected light) was available at the image sensor?

This illustration shows what the actual scene looks like at each ISO amplification.

The key is to study the technical basics of image sensors. For example, all image sensors have a noise floor, and we control the final visibility of this noise floor. It helps to know the different types of image sensors and the importance of pixel area. Pixels capture Photons and NOT the size of the backplate housing them. The size of the sensor only determines the Lens Image Circle that drives the OPTICAL differences between digital cameras. It's important to know that Pixel Area is one of many Quantum Efficiency variables that determine Sensor Sensitivity.

Saturating the sensor with light means a higher SNR and less image noise. A higher SNR also means we record more tonal data. Digital photographers should know these basics and how to manage them with digital cameras. For example, the technical design aspects of the image sensor are always the same. What are the main Optical and Technical differences between image sensors?

Why does the ISO shift the histogram? Because it's a variable in the exposure equation.

It should be clear why we risk having noise at ISO6400. The above "Photons to Electrons" graph shows what happens with less light on the sensor. Too little reflected light means the sensor's SNR is lower. How do we manage noise at higher ISOs? We typically increase the ISO when we need higher shutter speeds. The key is light. It's safe to use higher ISOs with enough available light. Photographing a Formula One event in daylight is a good example. It's safe to change the ISO and shutter speed with enough light. Also, keep the sun behind you and always have a flash in your camera bag.

What happens at higher ISOs and shutter speeds? We reduce the light on the sensor and increase the image signal amplification (ISO) to maintain the camera's exposure level. 

TIP:- The histogram follows the light on the sensor at a fixed ISO. It's incorrect to say the histogram shows jpeg data in Live View. Consider this typical fact statement from undisclosed promoters. When do we have a jpeg file? There's no JPEG file in Live View before you record the image...

Study this basic example of how to apply this knowledge:-

Consider Bird in Flight (BIF) photography. We can safely increase our exposure with 2 stops (ETTR) when photographing birds against a blue sky. If your final adjustment is between ISO800 and ISO1250, which will you take? ISO800 is the better option because it allows more light on the sensor. More light increases the SNR and sensor Saturation. The info in this article enables photographers. Compare that to those advising M43 photographers to "never go above ISO800"...

For more information on ISO and exposure, see this article - link.

See the 7 Points each photographer should know about digital cameras - link.

Have you asked why forum promoters use Photons to Photos graphs when they roam photography forums? Why do they never talk about the basics in this article? Pointless presentations based on calculations do NOT improve image quality. Always ask this simple question. Does the presented information enable photographers or only those manufacturers selling full-frame cameras?

For example, technical aspects like Sensor Type and Effective Pixel Area could be important when selecting the right camera for low-light conditions. Micro Four Thirds cameras use Live MOS sensors, and most APC cameras use Standard CMOS sensors. The Live MOS sensor has up to 75% less control wiring at each pixel. This means M43 cameras typically have a smaller noise floor. Live MOS sensors also have a larger Effective Pixel Area. This explains the Live MOS sensor's relatively good noise and low-light capabilities. Another interesting technical variable is Sensor Readout Speed.

The size of the sensor drives the optical differences between cameras. The technical aspects of the camera are the same for ALL sensor sizes. Why would some say, "Ignore the technical aspects discussed in this article?" Are they simply dumbed-down fanboys or undisclosed promoters?

Best and God's Bless

Siegfried