These are the best Olympus lenses for image stabilization when you want rock-steady handheld shots, smooth video, and sharp telephoto or macro work without a gimbal. Olympus/OM SYSTEM leads the class with body IBIS, and certain M.Zuiko lenses add in-lens stabilization to form Sync IS—a coordinated system where lens OIS and body IBIS work together for more stops of compensation, steadier viewfinders, and cleaner footage. The cornerstone is the M.Zuiko Digital ED 12–100mm f/4 IS PRO (24–200mm equiv.), a true travel and documentary workhorse with optical stabilization that, combined with modern OM bodies, allows handheld seconds-long exposures, fluid walk-and-talk video, and tack-sharp environmental portraits at the long end; its parfocal-like behavior and minimal focus breathing make it a sleeper favorite for run-and-gun creators. For wildlife and field sports, the M.Zuiko Digital ED 300mm f/4 IS PRO (600mm equiv.) brings Sync IS into super-tele territory, delivering a steadier view for precise framing and letting you shoot at slower shutter speeds without losing feather detail; add a teleconverter and you still keep a surprisingly handholdable rig. When only the best will do, the M.Zuiko Digital ED 150–400mm f/4.5 TC1.25x IS PRO (300–1000mm equiv.) sets the stabilization benchmark with built-in OIS, a fixed f/4.5 aperture, and an integrated teleconverter—perfect for birds in flight, distant motorsports, or shy wildlife where steady panning, subject tracking, and crisp 4K footage matter. If you want reach in a lighter package, the M.Zuiko Digital ED 100–400mm f/5.0–6.3 IS (200–800mm equiv.) adds optical stabilization that pairs well with IBIS for practical, everyday stability at long focal lengths, ideal for hikers and travel shooters who can’t carry a cinema setup. Macro creators should look to the M.Zuiko Digital ED 90mm f/3.5 Macro IS PRO (180mm equiv.), which brings close-up stabilization to 1:1 and beyond; Sync IS tames tiny hand tremors that are exaggerated at macro distances, enabling natural-light focus stacking, handheld product shots, and smooth focus pulls without rails. Even if a lens lacks OIS, Olympus primes and zooms benefit massively from class-leading IBIS: pair the 12–40mm f/2.8 PRO II (24–80mm equiv.) or 12–45mm f/4 PRO (24–90mm equiv.) with OM-1/OM-5 bodies for remarkably stable handheld video and low-light stills; wide angles like the 7–14mm f/2.8 PRO (14–28mm equiv.) feel “locked-off” for interior walkthroughs; telephoto zooms such as the 40–150mm f/2.8 PRO (80–300mm equiv.) deliver compression-rich separation with stabilized framing. Across stabilized and IBIS-only options, Olympus ZERO coatings maintain contrast under streetlights or sunstars, close-focus capabilities let you create foreground-to-background depth while the frame stays steady, and silent MSC motors keep audio clean for video. Practical gains go far beyond static sharpness: Sync IS helps with slow, controlled push-ins, smoother pans at telephoto, steadier horizon lines for vloggers, and less warp in rolling-shutter scenes. It also unlocks computational tools—Live ND for silky water sans filters, Handheld High Res Shot for billboard-level detail, Starry Sky AF for pinpoint astro—where stability is the secret sauce. To maximize results, favor lenses with optical IS when you operate at long focal lengths (100–400mm, 300mm, 150–400mm) or at macro distances (90mm Macro IS PRO); use IBIS-only PRO zooms and primes when you need speed, weather sealing, and lighter builds; and lean on OM bodies’ customizable IBIS settings (IS1/IS2/IS3) to match your movement—general stabilization, horizontal pans, or vertical pans. Whether you’re filming handheld documentaries, tracking hawks at 800mm equivalent, stacking macro frames without a tripod, or walking through tight interiors, the best Olympus lenses for image stabilization—especially Sync IS options—transform small-sensor portability into big-system steadiness, letting you shoot slower, smoother, and sharper in more places with less gear.