Of course, everyone knows the usual consensus that defines the "normal" focal length of any picture format by its diagonal of its recording plane-surface. The best known can be referred in the old 35mm film format ( 24 X 36mm) as the 50mm lens although the result of the real calculation in this particular format should have been around a focal length of 43mm.
In fact, with a field angle of about 45 degrees or a little more, these so-call "normal" lenses are often perceived as a little too discriminating and this is why another category of lenses has been developed alongside, often qualified as semi-wide-angle, with a visual arc of +/- 65 degrees. Their effect of distancing subjects from our personal vision is not very pronounced and the general rule is that the distortion produced by their image compression remain modest if not imperceptible.
During the interesting history of modern photography, several authors, reporters, or travelers have favored this other normal focal length (35mm lenses in the 24 X 36mm format), sometimes even venturing with 40mm focal lengths lenses especially present in non-interchangeable single-lens compact cameras. More recently, many 35mm film enthusiasts will remember, among other optics, the Leica Summicron 35mm F2.0 or the Nikon Nikkor AI(S) 35mm F2.8 which were very versatile basic prime lenses.
Today with the pronounced and universal development of zoom lenses, single or fixed focal length lenses have taken a bit of shade, but since a decade or two, we have witnessed their coming back in force with photo gear manufacturers and more particularly with compact mirrorless camera systems. This is how at Olympus (Now OM System) in Micro Four Third (MFT) sensor format, they have developed a whole series of lenses called Premium or Pro series which correspond well to the focal lengths prized by lovers of fixed focal lengths. Among these, there is this Olympus M.Zuiko 17mm F1.8 now accompanied by its more recent big brother called the professional 17mm F1.2.
The Olympus M.Zuiko Premium 17mm F1.8 can be the ideal companion for a compact camera such as the OM-D E-M5, E-M10 or Pen-F models. Its visual field of 65 degrees corresponds to a visual rendering comparable to the area of sharpness of the human eye (even if our total visual field is of course much larger). This 17mm F1.8 is compact and relatively light. It can be focused automatically by the camera or set manually on the fly since the focus ring has two convenient and directly accessible positions (clichy functionality). Its very metallic construction is serious but the lens is not officially qualified by the manufacturer as weatherproof.
The Olympus M.Zuiko 17mm F1.8 belongs to this category of lenses that I like to call contextual, i.e. direct proximity of the subject. We find in this family, other focal lengths such as 12mm, 15mm, 20mm, 25mm or even 42.5mm and 45mm, all adapted to the MFT format. But the 17mm has the added bonus of being a true "al purpose" lens that can pick up for many subjects spontaneously. And it's not an intimidating lens. Although it is seen primarily as a street or travel optic, it can be used as a documentary lens.
Because the Olympus M.Zuiko Premium 17mm F1.8 is not a zoom lens, it will require greater availability of movement from the choreographer-photographer-author in order to obtain the assurance of a framing or of an adequate composition and to optimize the quality of the anticipated result. Of course, this is the case with most fixed focal length lenses. However, these invariable focal length lenses are tools that provide superior image quality than zoom (vario-focal) optics as many photo gear reviewers proclaim and often demonstrate. They are less demanding (and more linear) for the corrective software embedded in current cameras. This smaller correction process induces a greater fineness of definition of the image and contributes to a much less destructive post-processing even in the situation of a pronounced reframing.
You may find that this Olympus M.Zuiko Premium 17mm F1.8 is the only lens you really need in most photographic tasks. In any case, this 17mm will be able to fulfill its mandate well and will become a much-appreciated companion, no doubt about it.
(French original version previously published in February 2018. The text has been enhanced for this more recent English version)
In fact, with a field angle of about 45 degrees or a little more, these so-call "normal" lenses are often perceived as a little too discriminating and this is why another category of lenses has been developed alongside, often qualified as semi-wide-angle, with a visual arc of +/- 65 degrees. Their effect of distancing subjects from our personal vision is not very pronounced and the general rule is that the distortion produced by their image compression remain modest if not imperceptible.
During the interesting history of modern photography, several authors, reporters, or travelers have favored this other normal focal length (35mm lenses in the 24 X 36mm format), sometimes even venturing with 40mm focal lengths lenses especially present in non-interchangeable single-lens compact cameras. More recently, many 35mm film enthusiasts will remember, among other optics, the Leica Summicron 35mm F2.0 or the Nikon Nikkor AI(S) 35mm F2.8 which were very versatile basic prime lenses.
Today with the pronounced and universal development of zoom lenses, single or fixed focal length lenses have taken a bit of shade, but since a decade or two, we have witnessed their coming back in force with photo gear manufacturers and more particularly with compact mirrorless camera systems. This is how at Olympus (Now OM System) in Micro Four Third (MFT) sensor format, they have developed a whole series of lenses called Premium or Pro series which correspond well to the focal lengths prized by lovers of fixed focal lengths. Among these, there is this Olympus M.Zuiko 17mm F1.8 now accompanied by its more recent big brother called the professional 17mm F1.2.
The Olympus M.Zuiko Premium 17mm F1.8 can be the ideal companion for a compact camera such as the OM-D E-M5, E-M10 or Pen-F models. Its visual field of 65 degrees corresponds to a visual rendering comparable to the area of sharpness of the human eye (even if our total visual field is of course much larger). This 17mm F1.8 is compact and relatively light. It can be focused automatically by the camera or set manually on the fly since the focus ring has two convenient and directly accessible positions (clichy functionality). Its very metallic construction is serious but the lens is not officially qualified by the manufacturer as weatherproof.
The Olympus M.Zuiko 17mm F1.8 belongs to this category of lenses that I like to call contextual, i.e. direct proximity of the subject. We find in this family, other focal lengths such as 12mm, 15mm, 20mm, 25mm or even 42.5mm and 45mm, all adapted to the MFT format. But the 17mm has the added bonus of being a true "al purpose" lens that can pick up for many subjects spontaneously. And it's not an intimidating lens. Although it is seen primarily as a street or travel optic, it can be used as a documentary lens.
Because the Olympus M.Zuiko Premium 17mm F1.8 is not a zoom lens, it will require greater availability of movement from the choreographer-photographer-author in order to obtain the assurance of a framing or of an adequate composition and to optimize the quality of the anticipated result. Of course, this is the case with most fixed focal length lenses. However, these invariable focal length lenses are tools that provide superior image quality than zoom (vario-focal) optics as many photo gear reviewers proclaim and often demonstrate. They are less demanding (and more linear) for the corrective software embedded in current cameras. This smaller correction process induces a greater fineness of definition of the image and contributes to a much less destructive post-processing even in the situation of a pronounced reframing.
You may find that this Olympus M.Zuiko Premium 17mm F1.8 is the only lens you really need in most photographic tasks. In any case, this 17mm will be able to fulfill its mandate well and will become a much-appreciated companion, no doubt about it.
(French original version previously published in February 2018. The text has been enhanced for this more recent English version)
© Photos Daniel M: Pen-F/17F1.8; OM-D E-M5 II/17F1.8
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