Richard Wong: Panasonic Leica 10-25 mm f/ 1.7 In-Depth Review

“Panasonic Leica 10-25mm 1.7 is the fastest zoom lens from Panasonic/Leica. How is it’s build quality, image quality (sharpness,vignetting,CA,flare,distortion..etc)? Could this be a great lens for videographers or vloggers? How does it compare to the Leica prime lenses and what are the pros and cons of this lens? We’ll talk about all of these in this review.”

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Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 Aspheric wide to standard zoom lens.

Links

  • 4/3 RumorsPanasonic Leica 10-25mm f/1.7 In-Depth Review by Richard Wong
  • Photo by RichardPanasonic Leica 10-25mm f/1.7 Review – article – “When Panasonic told me about this lens, they told me this is a lens that can replace multiple prime lenses. I was skeptical because zoom lens rarely can match the quality of prime lens. But after testing this lens, I agree with them. If you are a pro photographer or videographer who is currently rely on multiple prime lenses within this focal length range, I think you should consider switching to this amazing lens. It would make your life a lot easier without sacrificing the image quality.”
  • Richard WongPanasonic Leica 10-25 mm f/ 1.7 In-Depth Review – video

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Panasonic UK: Panasonic LUMIX introduces the LEICA VARIO-SUMMILUX 10-25mm F1.7 ASPH, the world’s first* standard zoom lens achieving full-range F1.7 [Press Release]

https://news.panasonic.co.uk/panasonic-lumix-introduces-the-leica-vario-summilux-10-25mm-f17-asph-the-worlds-first-standard-zoom-lens-achieving-full-range-f17/

panasonic_leica_dg_vario-summilux_10-25mm_f1.7_aspheric_01_1024px
Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 Aspheric wide to standard zoom lens.

Panasonic LUMIX introduces the LEICA VARIO-SUMMILUX 10-25mm F1.7 ASPH, the world’s first* standard zoom lens achieving full-range F1.7

Panasonic LUMIX is proud to introduce a new standard zoom digital interchangeable lens, the LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH. (H-X1025), which boasts a large F1.7 aperture throughout the entire 20-50mm (35mm camera equivalent) zoom range with exceptionally high optical performance clearing the stringent LEICA standards. The LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH. is suitable not only for shooting stills but also for video to satisfy both professional photographers and videographers.

The full-range F1.7 high-speed aperture provides beautiful bokeh and outstanding image quality. Covering a focusing distance from wide angle to standard zoom range, the LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH. functions as a multiple fixed focal length lens providing the same or an even higher level of image quality than prime lenses can offer. It is suitable for a variety of daily shooting situations, from dynamic landscapes to low-light , dispelling the need to change lenses depending on the situation.

Comprising 17 elements in 12 groups, the lens system features three aspherical lenses and four ED (Extra-low Dispersion) lenses that will effectively suppress axial chromatic aberration and chromatic aberration of magnification. Spherical aberration and distortion are also corrected by the aspherical lenses for stunningly high resolution. The use of aspherical lenses and the optimum design of the lens system results in a compact size and light weight despite its outstanding optical performance.

Compatibility with a maximum 240-fps high-speed sensor drive realizes high-speed, high-precision auto focusing. Notably, the new lens excels in video recording performance. In addition to the silent operation achieved by the inner focus drive system, the step-less aperture ring and micro-step drive system in the aperture control section help the camera to smoothly catch up to brightness changes when zooming or panning. The optical design achieves exceptional barycentric stability to minimize image shifts during zooming. Adoption of a focus clutch mechanism enables instant AF/MF switching and accurate manual focusing. The LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH. also excels in performance with a mechanism that suppresses focus breathing, which was a problem of interchangeable lenses designed for still image photography.

The rugged dust/splash-resistant*1 design withstands use under harsh conditions even in 10 degrees below zero for high mobility. Nine blades give the aperture a rounded shape that produces an attractively smooth defocus effect in out-of-focus areas when shooting at larger aperture settings. Filter diameter is 77mm. Highly reliable metal mount ensures long term use.

The LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 ASPH has a recommended retail price of £1,799.99 (Ireland €2,079.99) and will be available from 15th July 2019.

Panasonic is committed to expanding the line of Micro Four Thirds line up through its LUMIX G series of cameras and lenses.

* As a digital interchangeable lens for a mirrorless camera, as of 31st May 2019
*1 Dust and Splash Resistant does not guarantee that damage will not occur if this lens is subjected to direct contact with dust and water.
Design and specifications are subject to change without notice.

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  • Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 ASPH. LensB&H

DPReview: CP+ 2019 Panasonic interview: ‘We’re proud of our cameraness’

https://www.dpreview.com/interviews/0078977575/cp-2019-panasonic-interview-we-re-proud-of-our-cameraness

“The CP+ 2019 trade show in Yokohama, Japan, gave us the chance to speak to most of the major camera makers. Panasonic put forward an extensive team to discuss the company’s move into the full-frame market….

… it’s clear that Panasonic wants its S1 and S1R to appeal specifically to professional stills photographers. When it comes to video, the company’s plans seem less well-developed. For now, at least, it seems that Panasonic sees the GH series as its main video/stills camera platform.”

Commentary

panasonic_leica_10-25mm_f1.7_zoom_00314329_1920px_80pc
Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 wide angle zoom lens for Micro Four Thirds cameras. This is the very first zoom lens by any maker that provides the most necessary focal lengths for documentary photography and video, and it doubtless will feel right at home on a Lumix GH5, GH5S, G9 and the coming GH6 as well as the Blackmagic Pocket Cinema Camera 4K.

If by “cameraness” Panasonic means that one can pick up a Lumix S1 or S1R, feel at ease with it and start shooting good photographs or movie footage right away, then I agree with the company’s use of that word.

Here is an event where I tried out the S1 and here is the other event where I tried out an S1R, both times shooting decent photographs almost immediately after the most cursory inspection of the cameras’ controls.

Of course, that ease of use is based partly on my years-long familiarity with Panasonic’s Micro Four Thirds Lumix cameras and partly on Panasonic’s even longer history of constantly improving its cameras and lenses all by itself and in collaboration with Leica Camera AG.

Cameras and lenses by both companies share DNA and it was inevitable, in retrospect, that their long partnership would deepen into the L-Mount Alliance, pleasantly drawing lens maker Sigma in to the equation along with its wide range of top-class prime and zoom lenses for cinematography and photography.

When Panasonic staff members asked me for my first impressions of the S1 and S1R at a couple of touch-and-try events in Sydney earlier this year, my first thought was that both would be very usable cameras if I were still working in magazine editorial portrait and documentary photography where 35mm sensors are king.

That is no mean achievement for the first version of any new product range, and I look forward to seeing how Panasonic’s current S-Series cameras and their successors develop.

If I need to get back into 35mm sensor photography and video, I know where to go.

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DxOMark: Panasonic Lumix DC-S1R sensor review

https://www.dxomark.com/panasonic-lumix-s1r-sensor-review/

Panasonic has chosen a new high-resolution 47.3MP CMOS sensor for the Lumix DC-S1R—one that challenges the class-leading sensors in the Sony A7R III and the Nikon Z 7. Intriguingly, it combines attributes of both of its rivals (with some nuances) and achieves near-identical performance results overall.

With its combination of high pixel count, low noise, and exceptional color sensitivity, the Lumix DC-S1R is likely to appeal to the most demanding studio photographers….

panasonic_lumix_s1r_02_1024px
Panasonic Lumix DC-S1R with Panasonic Lumix S 24-105mm f/4.0 zoom lens.

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David Thorpe: Panasonic’s Lumix S1 and G9 Digital Double Act

“The S1 and the G9 Panasonics are a truly unique digital double act. How do the Full Frame S1 and Micro Four Thirds G9 stand up against one another? Is bigger better? Or is nimbler nicer?”

Commentary

Top video reviewer David Thorpe always cuts to the heart of the matter when it comes to mirrorless digital cameras and lenses, a trait no doubt formed by decades in the trenches as a Fleet Street photographer.

In this video review comparing Panasonic’s Lumix DC-G9 Micro Four Thirds mirrorless camera with the recently-released Lumix DC-S1 35mm sensor mirrorless camera, Mr Thorpe opts to continue daily carrying his G9 but appreciates the differences and similarities in both.

Links

  • David ThorpeJohnny and Max – review
  • David Thorpe – Panasonic’s Lumix S1 and G9 Digital Double Act – video
  • ePHOTOzine – Panasonic Lumix S1 Full-Frame Camera Review By David Thorpe – video with gallery of sample photographs

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  • Panasonic Lumix DC-G9 Mirrorless Micro Four Thirds Digital Camera B&H
  • Panasonic Lumix DC-S1 Mirrorless Digital CameraB&H

Panasonic: Lumix AF Guidebook [PDF guidebooks for Lumix S1/S1R and GH5/GH5S/G9 cameras on getting the best out of autofocus]

https://www.panasonic.com/global/consumer/lumix/technologies/af.html

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Panasonic Lumix DC-S1 with Panasonic DMW-BGS1 Vertical Battery Grip and  Panasonic Lumix S 24-105mm f/4 Macro OIS lens.

LUMIX uses advanced technology to achieve high-speed, high-precision auto focusing. This guidebook allows you to utilize this auto focusing effectively at a higher level….

The LUMIX features an AF Custom Setting function that lets you finely adjust the directivity of the AF in response to the subject and situation. Here, we present the recommended settings and hints when making the setting….

External levers, buttons, and a Joystick Controller enable intuitive operation while using the finder. Users who are familiar with touch operation can seamlessly change the size of the AF area and shoot the subject by simply pressing the shutter of the touch monitor. Here we present more convenient auto focus settings designed for maximum operating ease….

Introducing original Panasonic technology for achieving high-speed, high-precision auto focusing….

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Lumix G9 Pro, Lumix GH5 and Lumix GH5S at Pa`nasonic Japan’s website. Where is the professional successor to the pro flagship rangefinder-stye GX8?

Commentary

With a number of pundits asking whether Panasonic has got it right yet with the company’s unique approach to autofocusing, it is timely to look deeper into the autofocus capabilities of Panasonic’s new S-Series 35mm sensor Lumix cameras and its established Micro Four Thirds sensor-equipped Lumix GH5, GH5S and G9 cameras.

It is reasonable to assume that Panasonic is currently working on its M43 cameras’ successors, and I would love to see the company produce a GH6 that combines the best of all three of them for stills photography and video, with the very best autofocusing that technology can offer.

Although I would love it if all manufacturers made lenses equally adept for use with manual focusing and autofocusing, equipped with the hard stops and manual clutch focus that have proven so effective on some Fujifilm X-mount and Olympus M.Zuiko Pro lenses, the fact is that autofocus will always play a part in using almost all lenses made nowadays.

Even back button focus in manual mode relies on good autofocusing capabilities on the cameras on which it features, so their autofocus needs to be the best possible.

If autofocus on Panasonic’s current camera generation remains lacking then best to study how it can be tailored to obtain result close to what you need rather than waiting for DSLR-quality autofocus in a future generation.

I was impressed by the Human Body Detection and Face/Eye Detection features of the Lumix S1 and S1R when I briefly tried them out at two public events in Sydney, so I hope that Panasonic will continue to improve the cameras’ autofocus via firmware updates, and radically improve autofocus in it coming generations to the point where it matches if not surpasses that of the best current DSLRs.

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  • Panasonic Lumix DC-S1 and DC-S1R cameras, lenses and accessoriesB&H

PhotoJoseph: LUMIX S1 & S1R Battery Grip BGS1

“The LUMIX S Series S1 and S1R have an optional battery grip, the BGS1. This is a tour and explanation of how to use it and what it can do!…”

panasonic_lumix_dc-s1_08_1024px
Panasonic Lumix DC-S1 with Panasonic DMW-BGS1 Vertical Battery Grip and Panasonic Lumix S 24-105mm f/4 Macro OIS lens.

Panasonic accessories for Panasonic Lumix S-Series cameras

Commentary

Panasonic’s accessories for its new S-Series 35mm sensor cameras received little attention during the two public launch events I attended earlier this year, yet they and especially the DMW-BGS1 Vertical Battery Grip displayed the same carefully attention to detail and keen listening to professional users’ lengthy lists of features requests as the Panasonic Lumix DC-S1 and DC-S1R cameras themselves.

Since buying into Panasonic’s Micro Four Thirds system with the Lumix with the Lumix DMC-GH4 some years ago, I have considered vertical battery grips essential items to be bought with any new camera, if the manufacturer has thought to provide one, and this applies to the DMW-BGS1 Vertical Battery Grip as well as several other S-Series accessories.

I am especially impressed by the fact that Panasonic has included the Panasonic DMW-EC6 Eyecup in the list of accessories for the S1 and S1R.

I have had to rely on third-party rubber eyecups made by JJC and Guerrilla for Fujifilm X and Panasonic G cameras, except for my Lumix GX8 where an optional long eyecup was made available by Panasonic, due to wearing eyeglasses and needing to block out laser beam sunlight or harsh indoor lighting.

Both these accessories will come in handy when using both cameras for video, portrait and documentary photography.

I had a chance to try out the vertical battery grip on a Lumix S1R with 50mm f/1.4 lens and it made the camera much easier to use when shooting vertical/portrait orientation with the camera’s very welcome 3:4 aspect ratio, perfectly matched to the average single magazine page.

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  • Panasonic Lumix DC-S1 and DC-S1R cameras, lenses and accessoriesB&H

DPReview TV: Panasonic S1 Review

“How does the new Panasonic S1 stand up to its mirrorless competition? Does ‘animal-AF’ work on dinosaurs? Will Jordan curl up on the ground in the name of art? We answer the tough questions. Shot entirely on the Panasonic S1 in the Canadian Badlands….”

panasonic_lumix_dc-s1_01_1024px
Panasonic Lumix DC-S1 35mm sensor mirrorless camera with Panasonic Lumix S 24-105mm f/4 Macro OIS standard zoom lens.

Commentary

DPReview’s Calgary-based DPReview TV team has created one of its signature video reviews of Panasonic’s Lumix DC-S1 35mm sensor mirrorless camera equipped with the Panasonic Lumix S 24-105mm f/4 Macro OIS standard zoom lens, and I am hoping they will soon be following up with a similar review of the Lumix DC-S1R.

My own first impressions of both cameras and two of their native Lumix lenses garnered during a couple of public launch events in Sydney are that both are serious competitors to recent 35mm mirrorless releases and appear designed and manufactured well enough to make a dent in the field where I most relied upon 35mm format cameras in the past – magazine editorial photography and newspaper photojournalism.

Provided, that is, Panasonic does something to improve both cameras’ autofocus capabilities and replaces their Fujifilm-style three-way tilting LCD monitors with the fully-articulated monitors that work so well on Panasonic’s professional-quality GH5, GH5S, G9 and GX8 Micro Four Thirds mirrorless cameras.

I suspect that we may only see that occurring on next generation Panasonic Lumix S Series cameras given both problems are hardware-based, but we can hold out hope that a possible future S1 and S1R firmware update will see radical autofocus improvements.

Meanwhile I hope to dig deeper soon into both cameras’ feature sets and suitability for stills photography and video, with a special personal interest in the S1R for large-enlargement exhibition prints and emotionally-intense portrait photography.

Two big points in the S1 and S1R’s favour for both applications – Panasonic’s vertical battery grip and optional video-style rubber eyecup, both accessories having proven themselves necessities on other camera systems, with vertical battery grips being essential for best grip when shooting portraits in vertical aka portrait orientation.

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DPReview: CP+ 2019: Sigma interview – ‘Optical design is always a battle with the design constraints’

https://www.dpreview.com/interviews/7487852065/cp-2019-sigma-interview-optical-design-is-always-a-battle-with-the-design-constraints

Last month at the CP+ show in Yokohama we spoke to executives from several major manufacturers, including Sigma. In our conversation with CEO Kazuto Yamaki we discussed his plans for future L-mount lenses (and cameras) and some of the challenges of supporting multiple mounts.

sigma_105mm_f1.4_dg_hsm_art_l-mount_35mm_1024px
Sigma 105mm f/1.4 DG HSM | Art prime lens with L-mount. A brilliant portrait focal length but no equivalent lens currently exists for Micro Four Thirds or Fujifilm APS-C cameras.

Commentary

I am looking forward to seeing and trying Sigma’s Art collection L-mount prime lenses scheduled for release sometime this year and that are adapted from the company’s current DSLR Art collection offerings.

One major bugbear of new mirrorless launches such as those of Fujifilm APS-C and medium cameras, Panasonic’s Lumix S1 and S1R 35mm cameras, and Panasonic’s Micro Four Thirds cameras is the relative paucity of lenses.

Canon took 30 years to come up with its near-complete DSLR lens collection and it may well take Fujifilm, Olympus and Panasonic almost as long to flesh out the many gaps in their lens collections.

Professional photographers and cinematographers rely on the availability of large lens collections for their cameras in a way that amateurs and enthusiasts tend not to, especially when relying on prime lenses for their optimum optical and mechanical quality.

I would love to see Sigma creating lenses for Fujifilm X-mount APS-C cameras given there are so many glaring holes in Fujifilm’s lens lineup, and the same desire applies to professional-quality lenses for use on Blackmagic Design, Olympus and Panasonic M43 cameras.

Panasonic and its L-Mount Alliance partners Leica and Sigma have done well to aim at releasing enough lenses to satisfy those contemplating investing in the L-mount camera system, and it is pleasing to read that Sigma will be working on smaller and more affordable L-mount lenses in due course.

Meanwhile those of use needing focal lengths that Fujifilm does not offer for its X-mount and G-mount cameras may need to bite the bullet and rely on adapted EF-mount lenses instead of the much-preferred native X-mount and G-mount alternatives that simply do not exist yet.

I am still hoping for a professional-quality alternative to Fujifilm’s too-quirky, too-slow Fujinon XF 18mm f/2.0 R prime lens with its 35mm sensor equivalent focal length of 28mm, a staple optic for many documentary photographers and photojournalists, me included.

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  • Sigma LensesB&H