Below you can see an example of the distance required to fill the screen with a butterfly about the size of a Red Admiral. With the 30mm, you might easily frighten the butterfly due to your proximity, while with the 60mm, the risk is reduced. With the 60mm, you can fill the screen with an average sized butterfly at a distance of around 25cm. With the 30mm, you have to move much closer to achieve a similar composition. Finally, near silent and smooth autofocus makes this lens perform well for video. DC-G9 + OLYMPUS M.60mm F2.8 Macro @ 60mm, ISO 500, 1/100, f/7.1 Weaknesses The minimum focus distance, magnification and focal length are the main characteristics that distinguish these two lenses from each other. Optical Quality – Through the lens E-M1, 1/5, f/8, ISO 200 – M.Zuiko 30mm E-P5, 1/60, f/7.1, ISO 400 – M.Zuiko 60mm So, to sum it up, the M.Zuiko 60mm macro is really the best macro lens for Micro Four Thirds right now. It’s the only option for an autofocusing macro lens that can achieve a 1X magnification at a reasonable working distance. Normally, having just one lens option to choose from isn’t ideal – but here, it’s not an issue because the lens performs so well anyway. DC-G9 + OLYMPUS M.60mm F2.8 Macro @ 60mm, ISO 250, 1/250, f/11.0 Conclusion

The focusing ring is about 7/8'' wide, made of plastic with thin ribs. It uses an electrical system for adjusting focus, so there are no stops of any kind to indicate that the lens has arrived at its closest point of focus or infinity focus. There is no lens extension during focus: the actual focusing action is silky smooth, and works very well. Measuring just 82mm x 56mm, the Olympus M.Zuiko Digital ED 60mm f/2.8 Macro is surprisingly small and lightweight for a telemacro lens featuring a maximum aperture of f/2.8. How does this compare to the M.Zuiko60mm f/2.8? Below is a comparison photo from f/14. To my eye, it looks worse than the f/22 image above! I find this performance very impressive by the 90mm f/3.5, especially considering that the M.Zuiko 60mm f/2.8 was, before now, my sharpest lens. OM-1 + OLYMPUS M.60mm F2.8 Macro @ 60mm, ISO 200, 1/200, f/14.0 The scale on the left side is an indication of actual image resolution. The taller the column, the better the lens performance. Simple. For larger subjects like the ones I tend to photograph, thereis enough space to work comfortably with a flash and diffuser.I almost always shoot with an external and diffused flash, so it’s important that I have a decent working distance. To that end, the longer the focal length of the macro lens (and the smaller the size of the lens), the better. The M.Zuiko 60mm f/2.8 is good in both respects. DC-G9 + OLYMPUS M.60mm F2.8 Macro @ 60mm, ISO 400, 1/80, f/10.0 SharpnessAt f/4, the 60mm becomes even sharper and does a better job of extracting the fine details in the grain of the wooden bracelet. The 30mm isn’t far behind, however. Lateral chromatic aberrations, typically seen as blue or purple fringes along contrasty edges, are essentially a non-issue with this lens. The crops below give you an idea of what you should expect in a worst-case scenario. The Olympus 60mm ƒ/2.8 Macro is a solid little lens which does not add much weight to the camera. The lens has 13 elements in 10 groups: of these, one is an ED lens, two are HR lenses and one is an E-HR lens element. The lens features a seven-bladed circular aperture which stops down to ƒ/22, and as previously mentioned, takes 46mm filters. The lens is marked as splashproof, providing some level of weather resistance.

At their respective fastest apertures – 2.8 on the 60mm and 3.5 on the 30mm – the 30mm appears a little softer than the 60mm but the difference is negligible. In terms of light fall-off in the corners, there is nothing to worry about – the lens performs impressively in this regard. Lens configuration: 13 elements / 10 groups with 2 HR elements, 1 ED lens element and 1 E-HR element How to read our charts Chromatic aberration is the lens' inability to focus on the sensor or film all colours of visible light at the same point. Severe chromatic aberration gives a noticeable fringing or a halo effect around sharp edges within the picture. It can be cured in software. Given how old my copy of this lens is, it’s likely to have taken a hit in sharpness over time. Even so, it remains one of my sharpest lenses. Here are some crops to help demonstrate how sharp the lens is for macro photography: DC-G9 + OLYMPUS M.60mm F2.8 Macro @ 60mm, ISO 160, 1/250, f/11.0

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From now on, everyone who has used, or continues to use, full-frame or larger format for capturing subjects that benefit from a deep depth of field, especially landscape and macro subjects, is an incompetent ass who’s in dire need of both re‑education and new camera gear. When you’re focused at the maximum magnification of 1:1, the in-focus subject will be about 3.1 inches or 8cm away from the front of the 60mm f/2.8 macro. This sounds small, but it’s really not bad for such extreme close-ups. Keep in mind that 1:1 magnification on M4/3 cameras fills the frame withsubjects that are just 0.7 inches or 1.7cm across. So, you will usually be able to put quite a bit more distance between the front of your lens and your subject. Ok, on to some images. Each set is the 45mm first and the 60mm next, framing as close as I could get it to the same. The Olympus ED 60mm f/2.8 Macro delivers extremely good optical performance with compact and lightwieght build quality One of the most important, stand-out features of the OM System 90mm f/3.5 Macro is the extreme 2:1 reproduction ratio. Almost all other macro lenses on the market, from OM System and otherwise, stop at 1:1 magnification at the highest. The handful of exceptions are nearly always manual focus lenses.