These are the best Olympus lenses for astrophotography when you want wide, fast glass with clean corners, minimal coma, and durable builds that thrive under cold, dew-prone skies. For sweeping Milky Way vistas, the M.Zuiko Digital ED 7–14mm f/2.8 PRO (14–28mm equiv.) is the ultra-wide cornerstone—its constant f/2.8, robust sealing, and excellent sagittal control deliver pinpoint stars to the edges, and the short native focal lengths on Micro Four Thirds help you keep shutter speeds in the 10–20s range with less trailing. If you prefer primes for maximum light and character, the M.Zuiko Digital ED 8mm f/1.8 Fisheye PRO (16mm equiv.) is a night-sky favorite: shoot it wide open for ultra-bright, all-sky compositions, then “de-fish” in post for a rectilinear look with surprisingly clean corners; its sealed build and fast aperture also shine for aurora and meteor showers. For classic astro-landscape framing, the M.Zuiko 12mm f/2 (24mm equiv.) remains a compact, budget-friendly workhorse with pleasing rendering and quick controls, while the M.Zuiko Digital ED 20mm f/1.4 PRO (40mm equiv.) gives you a slightly tighter, story-driven field of view with better micro-contrast and well-controlled sagittal coma—great for placing the galactic core over a foreground subject. Low-light specialists will love the f/1.2 trio: the M.Zuiko Digital ED 17mm f/1.2 PRO (34mm equiv.) for sweeping but cinematic scenes, the 25mm f/1.2 PRO (50mm equiv.) for astro environmental portraits and nightscapes with scale, and the 45mm f/1.2 PRO (90mm equiv.) for isolating constellations above monuments or compressing star fields across distant peaks; all three share Olympus’s “feathered bokeh” and tight aberration control that keeps star shapes natural off-axis. Telephoto options expand your astro toolset: the M.Zuiko Digital ED 300mm f/4 IS PRO (600mm equiv.) is exceptional for lunar detail and tele Milky Way panels where you want dense star fields with minimal CA, and the M.Zuiko Digital ED 100–400mm f/5.0–6.3 IS (200–800mm equiv.) provides flexible reach for the Moon, occultations, and compressed star clusters without the mass of full-frame rigs—pair either with a sturdy tripod, disable IBIS/OIS for long exposures, and use electronic shutter to reduce micro-vibrations. Practical gains go beyond aperture alone: Olympus ZERO coatings keep contrast high around bright stars and city glow, close-focus behavior lets you anchor dramatic foregrounds (wildflowers, rocks, silhouettes) just inches from the lens while keeping the sky crisp, and weather-sealed barrels shrug off dew and coastal mist on all-night shoots. On the body side, OM-1/OM-5 features make the system uniquely astro-friendly: Starry Sky AF locks focus on dim points without hunting, Live Composite builds star trails in-camera without blowing out foregrounds, and Live Bulb/Live Time preview exposure as it grows—hugely helpful for nailing glow intensity and avoiding overcooked skies. For Milky Way arcs and tight spaces, favor the 7–14mm f/2.8 PRO or 8mm f/1.8 Fisheye PRO; for balanced nightscapes with strong subjects, reach for the 12mm f/2, 17mm f/1.2 PRO, or 20mm f/1.4 PRO; for narrative portraits under the stars or compressed ridge lines, the 25mm and 45mm f/1.2 PRO shine; and for the Moon and tele-sky detail, the 300mm f/4 IS PRO and 100–400mm IS deliver crisp results that withstand heavy cropping. To maximize star quality, shoot wide open or stopped down a third to a half stop if corner aberrations show, expose between ISO 1600–6400 with 10–20s shutters (use a “300-rule” style limit for Micro Four Thirds to control trailing), enable High Res Shot only for static scenes, and always verify infinity focus with magnified live view or Starry Sky AF. Whether you’re capturing arching galactic cores over tidepools, stacking meteors above desert hoodoos, or pulling crater shadows off a waxing gibbous Moon, the best Olympus lenses for astrophotography combine fast apertures, clean off-axis performance, and weather-ready builds—turning a lightweight kit into a night-sky powerhouse that travels anywhere and keeps shooting long after heavier systems head back to the car.