Photography has been on the back burner for me both life and career wise, so I've been reluctant to invest much into gear. I use the 45mm 1.8 as a general lens and it is, in fact, the only one I have with the Pen E-PL7. I've had to settle for this combo for financial reasons, and it's been a good one. This site and the wonderful community here has graciously provided over 1500 likes to my tourist snaps, all taken from a single body/lens combination. You have all helped me to maintain my sanity while working on some tough business ventures and a move to a foreign country - a word of thanks for that. The longish post below is a summary of some of the challenges I've had using the 45 as a general purpose lens, and as a landscape lens, which I find it ill-suited for. When I bought the camera I knew in advance that I would be unhappy with most of the zooms, and have kept myself from picking up one of the less expensive ones out of fear of disappointment. I still have a Canon film SLR kit back in the states, but have not shipped it over ... and I may never use it again. I'm spoiled with the IQ from the 45, but there are blind spots I have largely keep to myself. I'm posting this to share what I've learned with it, and also to see if anyone has had similar conclusions. Most of the issues I've encountered are for landscape style photography. So if that isn't an area of interest to you, fear not and pick one of these up for portraits, and save a big chunk of change over the 1.2 and 1.4 lenses. For the price and when shooting portraits, the 45 1.8 cannot be beat. Nits and woes AF issues: low light AF precision with my Pen E-PL7 (same guts as E-M10) is terrible, and it's not much better in good light. I never shoot with the AF point in automatic mode under any circumstance, it's that bad. The AF-S is lighting fast, and the fastest I've ever had on a camera, but 6 out of 10 times it's just wrong. I have learned to overcome most of these AF limitations by shooting in center-weighted metering, and expanding the AF box to 5x (the maximum). Using the touch screen I center the box over an intersection of the rule-of-thirds guide lines and then AF doesn't hunt at all. Example: If you keep it stopped down to f4 or higher a lot of the AF problems go away, and a quick manual correction w/ the focus peaking makes this a non-issue most of the time, unless the subject starts moving. My Pen shoots 8 or 9 FPS in burst, and this has worked surprisingly well for getting the dog / kids in action. C-AF issues are a big complaint on m43 and I have no shortage of them, but the work-arounds are largely sufficient. Face detection in low light significantly ups the keeper rate. unfortunately, 45mm in a living room or kitchen is too narrow. A sigma 30 or a 25mm lens is a much better choice for interior candids in low light. An inexpensive 25mm and an external flash unit is the only answer for interior low light candids. I won't harp on this too much, it's just to say not to expect too much from what we have, which is already quite a lot between IBIS and 1.4~1.8 glass. For general purpose shooting, the focal length is just plain weird. It's not long enough to be a tele, and not wide enough to use without stitching. At this latter task, it excels. I'll keep the pros for last. * focus breathing, I find, is a big problem on this lens. Especially so if you've classically composed a shot with near foreground subject and hyperfocal one like a mountain range or rocks, dunes, etc. Trying to blend a series of f4-f5.6 shots (a sweet spot) in photoshop is very tedious mask work, if you can do it at all. I've thrown away a lot of work at the coast (which was difficult to arrange time to shoot for) because of this. If you can shoot downward from a cliff it's okay, but flat'ish slopes with near-to-far composition is often a disappointment. You have to get it in a single shot or not at all. * diffraction is a problem after f8. This is true for most of m43, but it annoys me to no end as I often need f11-f16, even at ISO 200. Filter holders for this lens size are non-existent, so the result when stopped way down will be a mess of what I call fractured mud - there's a lot of detail in there, but it's hideous. * hyperfocal sharpness / rendering is ugly for often than not. I can see that it's sharp, but the rendering is kind of cold and there isn't much micro-contrast. If the light is at oblique angles the sensor on my EPL7 washes out very early. When I compare to images from 12-40 pro and 12-100 pro, I just can't pull that kind of contrast, clarity, or color with the 45mm in landscape. The light has to be pretty soft for it to work. If it's shooting into the sun or shooting in hard light then there's no forgiveness, even in post. There is, ironically, virtually zero lens flare. * inconsistent corner sharpness. even at f5.6 ~ f8 and a fast shutter (> 1/125), I often see this lens exhibit softness in 1 of 4 corners. But it rotates ... If you want a square shot of a flat subject with corner-to-corner sharpness, you'll need multiple takes and a tripod. This could be specific to my copy of the lens, but it vexes me quite often. * night sky. forget about it ... I get significant coma in the corners with exposures longer than ~ 2 seconds. Any longer than this is a problem at this focal length because of the earth's rotation. My attempt to stack 20~30 night sky shots out of the 45mm was a failure. It looks like old webcam images I used to take with my meade ETX-90, but without the convenience of the micro drive. I think this is largely due to how this lens renders when focused to infinity. Pros: lens flare: virtually zero. when shooting into bright lights and/or the sun. Flare control this good is awesome at any price. barrel distortion: virtually zero, and what little there is easily fixed in post. don't fix it and try to tell the difference. most often you can't. chromatic aberration (purple fringing): virtually zero. even shooting directly into a brightly lit tree top I almost never see any CA. If you're careful with the FOV and find a subject within 20~30 meters, the surgical consistency of the lens makes for wonderful stitched images. I often shoot a 5 image grid like this: The result is ridiculously easy stitching with perfect corner-to-corner sharpness. It's a bit more work in post, but since the 45's so close to being distortion free, the stitcher algorithms work quite quickly, and are extremely tolerant of body rotation to get all of a scene. Less than 10 meters and the nodal point gets to be an issue, but that's true for any lens in the same focal length. Bottom line - getting around the weird focal length is easy. Don't have the bottom of the door? 2 snaps, one up and one down, will stitch perfectly. If the subject is moving, get a center shot of them in 1 frame, then when they move out of the frame, shoot down to the right to balance it out the composition in post. no problem. Conclusion This lens is a superior optic that is tuned for portraits, it's as simple as that. It's a hard focal length to master for general usage and the characteristics will leave you a bit disappointed if shooting it as such. When it shines for the purpose in which it was designed for - obvious subject shot with background separation between f2- f4, it is stellar. Cars, pets, horses, people, and other objects with lots of dimensional depth will absolutely sparkle at the lower apertures, and you cannot get this level of quality in another system at the same price point. Given the highs, when shooting everything else it can be deeply frustrating. I give it a solid 3.8 of 5. Again - horses for courses. A $300 f/1.8 portrait marvel is a great value by any measure.