I have been using this lens as my most-used lens for about a year now, and it is simpy the most astounding piece of glass (for 35mm cameras) which I have ever used, it continues to delight. I know they are quite rare, and bargains are not easily to be had, but this is a lens which could happily live on your camera forever - it sits on my OM-1n 90% of the time. It's a little bit larger than typical OM fixed-focal length lenses, but still quite small compared to, say, a Canon 100mm f/2.8 Macro (which only lets in half the light). The Zuiko (this 90mm, and many others I have used) is built superior to every other modern Japanese 35mm lens I've ever seen, with paint-filled engraved (stamped?) markings for every last piece of information on the lens (nothing will ever "wear off"), an absolutely smooth and solid mechanical action, a tough but beautiful surface finish, and a wide rubber focusing ring. It's a thing to behold. I only use this lens for close-up photography about 20% of the time (where it achieves 1:2 magnification on its own, more if you put it on extension tubes or the 65-116 auto tube) but the resolution and clarity is just phenomenal. This was a simpel hand-held test image (of, you guessed it - a wristwatch, favourite test subject of so many Macro lens testers). Taken on FP4+ film, together with the T8 Ring Flash 2, I wet-printed this image on 5x7in RC paper (through a Rodenstock Rodagon 80mm f/4) and scanned the print on an Epson V700 scanner to show here. The full image (f/11, 1/60s): A crop to show the details present in the dial area: Remember, this is a scan from a pretty small optical print. While this lens is not at the same performance at 1:2 as the 80mm f/4 bellows lens (since it has been optimised for 1:10 magnification) the floating system indeed corrects it almost to perfection, the prints I get from this lens make we want to sell all my Mamiya RB gear (see my post on the Mamiya 140mm Macro), I don't really need medium format for typical print sizes. What is wonderful about the 90/2.0 is it's versatility, and the results it yiels for egenral photography also. I was a long-time user of a Cano 100/2.8 Macro USM, and though an optically perfect lens, it was "harsh" or "clinical" - it didn't have that special something, that smoothness in drawing, that solidity it imparts an image. Here are some examples, various films from Pan F to TMZ P3200 (all scanned wet prints, one of them toned in Thiocarbamide): I consider myself quite lucky to have purchased my 90/2.0 for an affordable price on eBay, due to it having a small chip in one of the glass elements. Such a mark will, of course, never visibly affect the image, so I am happy, and got it for at least $500 cheaper than the going rate for mint copies. In anyway, after using this lens for a year without posting about it, I am now more than ever convinced that it's a truly special lens, one which can form the basis of a very capable two-kit lens if you want to travel light (the other being a 35/2.0 or 24/2.0, depending on your fancy, or even a fast 50). The reason for the high second-hand price is more than just collectability, it's because this lens is unlike any other Macro out there. Sure, there are technically better ones (though I doubt in the 1:10 magnification range) available, but they all strive for optical perfection at the expense of image character. The Zuiko 90/2.0 has to be the most well-balanced lens I've used.