If I had to choose just two lenses, my “desert island” lenses, then the 75mm f1.8 and 17mm f1.8 Olympus primes would be the two.
One is a no brainer, being likely the most technically perfect lens I have ever owned (from a cast of hundreds). The other was a reluctant purchase, made at a time when choice was not huge, so practicality ruled.
What they have in common; the same aperture range, metal build (but not weather sealed), fast AF (the 75 varies from ok to one of my best depending on camera, the 17 is always snappy), harmonious colour palette (but very different contrast and look) and nice manual focus.
Where they differ is the key. Each is a near perfect implementation of a no compromise, specialised tool.
Yin
The 17mm was purchased as my core standard/wide when options were limited and I intended to upgrade as able. On paper it is not without flaws and early reviews bare this out, but few users ever complain about it. Better lenses have been produced (20mm f1.4, 17 f1.2, Sigma 16 1.4 and Pana 15 f1.7), but I am happy to the point where I would keep it with any of those as well.
If the true measure of a lens is in good images taken, then this lens has become my bedrock.
The unique character comes out when the lens is applied to its intended environment, such as on the go street and environmental portraits, where the main subject is captured in environmental context.
Instant grabs are the name of the game.
Colour is a little old fashioned, almost film like and the lens handles hard or bright light very well. It is not perfect and when abused it will likely bite you, but use it well (as you should any lens) and you have a reliable tool that gives and gives.
Wide open in poor light and good detail.
The elongated transition Bokeh, which this lens has in spades is ideal allowing you to use near, or even not so near misses in focus and rely on zone focus shooting. I tend to set it at f2.8/5ft set with the clearly etched lens barrel markings and just shoot or in very poor light, f1.8 and let AF do its thing. Very little is unuseable, even with more extreme settings.
Manual focus is clearly emphasised with the click back ring, good throw and barrel markings.
This shot was taken wide open, pre-focussed at about 2m for the crowded corridor we were negotiating, the shot grabbed as we passed this side corridor. Even with a clear miss, the transition from in-to-out of focus is harmonious and acceptable detail is held all the way to the back of the tunnel. If my old 20mm Pana, newer 12-40 or 25mm lenses were used here, the more modern sharp/soft Bokeh would have made the file useless.
So, this lens provides good depth of field control, micro contrast, handling and responsiveness, all good traits for a wide standard.
Sometimes the sharpness can feel three dimensional.
An unlikely use, considering it is not a “perfect” lens, is for landscapes. It just does a really good job of bringing out details and tonal separation.
An added bonus is its video performance. It offers the same benefits as above with the G9’s 2.7x loss-less teleconverter making it a nice wide and portrait lens in one.
Yang
Its partner, as much for their differences as the things they share, is the 75mm f1.8.
This is a special lens in an entirely different way.
It manages to have smooth grace, brilliance and fine/hard micro contrast, which makes it a rarity in the Olympus stable. The rest of my lenses tend towards either strong micro contrast and busy Bokeh, or a smooth lushness and creamy smooth Bokeh, but rarely all of these in one lens.
It is hard to get across how sharp this image is. My A3+ printer is maxed out with tons to spare. EM5 mk1 and 75mm near wide open.
Its colour is similar to the 17’s, but the contrast more snappy and lush. I especially like the contrast and compression for cutting subjects out from the background.
A 150mm f1.8 is an odd focal length, but also a bit of a gift. I like its candid reach and feel it is the right lens to go with the 17 (35). There is enough of a point of difference in distance and feel to warrant changing.
Here is the best of it. Colour, sharpness, Bokeh and compression all with lightning fast and accurate AF.
Weaknesses?
Very slight, rare but fixable CA wide open and an image flattening, compressed look that can be over used.
As a video lens it also brings something. In 1080 with the Panasonic and the loss-less tele converter, it provides a 400 f1.8 to the kit and even in 4k you get a 200 f1.8. Seriously powerful.
I can honestly say, if I lost all of the images taken with just these two lenses, my portfolio would be halved.
Contenders?
The 25mm shares the same lush, brilliant colour and contrast as the 75, but without the benefit of the focal length or its biting but natural sharpness (it is very good, just not as good). They pair well, but share too much in common.
The 75-300 come surprisingly close at the short end, especially in colour and Bokeh, but at f4.8, it can never match the look.
The 40-150 pro is similar to the 75, but lacks the sublime Bokeh and I have found the AF on the 75 to be better in low light, which surprises me considering the 75 is the older lens. Bokeh is the big differentiator here. The 40-150 can be gorgeous or a little busy. The 75 is always sweet.
The 45 f1.8 has a similar look to the 17, making it a good partner, with much of the utility of the 75, but I can always tell the difference in the files.