Panasonic Australia: The LUMIX G9II, “Capture the Decisive Moment” – Press Release

The LUMIX G9II
“Capture the Decisive Moment”

Powerful new Micro Four Thirds flagship delivers accurate auto-focus, high speed response and outstanding photographic performance.

Sydney, 13 September 2023: Panasonic is proud to announce the launch of the LUMIX G9II digital mirrorless camera. This powerful new Micro Four Thirds flagship is the first G Series to offer Phase Detection Auto-Focus (PDAF) technology and features a brand-new sensor and engine.

Aaron Waters, Product Marketing Manager of Imaging at Panasonic said: “This camera’s impressive enhancements will delight G Series photographers with fast and reliable image capture in the field. Improvements spanning from Auto-focus to burst-shooting and stabilisation reward the shooter by empowering them to record fleeting moments. And it’s backed by our highly mobile and extensive Micro Four Thirds lens lineup. The two LEICA telephoto lenses announced today allow users to choose from a 32-strong lineup – making it easy to select the perfect kit.”

“The G9II is also a creative workflow dynamo, with REAL TIME LUT, Full Sensor 4:3 ‘open gate’ video recording, Apple ProRes video, 300fps slow motion & more on board.”

LUMIX G9II: Key Capabilities

The camera’s new 25.2-megapixel Live MOS sensor delivers high resolution and high-speed response, supporting V-Log/V-Gamut and 13+ stops of wide dynamic range (1). The new engine achieves natural, three-dimensional textured images and ensures high-speed processing of high bitrate video.

The hybrid PDAF technology on board the LUMIX G9II enables accurate auto-focus and high-speed tracking of fast-moving subjects. New AI-powered recognition technology (developed using AI deep learning) for real-time auto-focus now recognises cars, motorcycles, and animal eyes for improved precision.

To deliver fast action photography, the LUMIX G9II offers burst shooting at 60 fps (AFC) and Super High Speed (2) pre-burst recording (3) that can commence shooting up to 1.5 seconds prior to shutter release, including support for RAW files. A blackout-free Live View Finder means the user can continuously track and keep the subject in focus.

Providing incredible stabilisation for hybrid shooters, the excellent LUMIX image stabilisation system is further enhanced. For photographers, the in-body IS offers an impressive 8-stop at 60mm (4), and when shooting with ultra-telephoto focal length, the Dual I.S 2 system offers 7.5-stop (5) at 140mm (280mm 35mm equivalent). Videographers will appreciate the Active I.S. technology which is optimised for video shooting, offering smooth gimbal-like video even when walking with the camera.

These capabilities provide even greater support for handheld shooting at ultra-telephoto focal lengths, capturing difficult, dynamic subjects such as wildlife. Using the precision gyro-sensor and in-body stabilisation unit, 100-megapixel images can be captured in camera using the High Resolution mode both with a tripod or when handheld.

There are also several modes that expand the possibilities of creativity. The 13+ stop V-Log/V-Gamut capture offers a high dynamic range, consistent colour management and streamlined post-production. With in-camera colour grading via REAL TIME LUT, creative scope is increased while workflow is reduced – excellent for repeatable setups such as content creators who work in the same studio or are looking to repeat the same style in camera instead of applying the same LUT in post. The newly-added LEICA Monochrome mode provides deep black/white contrast.

The Live View Composite Mode takes away the guess work, allowing the photographer to set the desired exposure, take the shot, then view the image on-screen as it is being exposed in real time. Once they are happy with how the shot looks, they simply hit the shutter button again to stop the exposure. This mode is also great for light painting, shooting light trails and other long exposure scenarios.

The G9II is a launching point for video creation. It includes 4:2:0 10-bit 5.8K (4:3) full sensor recording/ 5.7K (17:9), enabling flexible framing options for various social media formats, as well as 4:2:0 10-bit C4K/4K 120p/100p to enable slow motion videos. Recording and playback are supported using an external SSD via USB.

It also offers Apple ProRes (6) video, which delivers high image quality at low compression, reducing computer load during post-production and allowing non-linear editing without transcoding, streamlining workflow from start to finish.

Panasonic is pleased to introduce a new optional battery grip (DMW-BG1E) equipped with an eight-direction joystick that is compatible with the LUMIX G9II and the already available LUMIX S5II and S5IIX.

LUMIX G9II: Pricing and Availability

• DC-G9M2GN: Body only: RRP $3299
• DC-G9M2M: Kit with 12-60mm F3.5-5.6 lens: RRP $3599
• DC-G9M2LEICA: Kit with Leica DG 12-60mm F2.8-4 lens: RRP $4399
• DC-G9M2LPRO: Kit with Leica DG 12-35 F2.8 lens: RRP $4799
• DMW-BG1E: RRP $599

The camera and battery grip will be available in Australia from leading photographic specialists in late October 2023.

Footnotes

1. When shooting video at a setting of over 60 fps (including slow and quick mode), the luminance range provides 12+ stops. The dynamic range boost will not function when shooting video at a setting of over 60 fps (including slow and quick mode), when using the SH burst function for still images, and when combining slow shutter speeds of more than 1/15 seconds with ISO.
2. Available in electronic shutter only.
3.  When the ambient temperature is high or Pre-Burst recording is performed continuously, even if you press the shutter button halfway, Pre-Burst may not operate to protect the camera from overheating. Wait until the camera cools down.
4. Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=60mm (35mm film camera equivalent f=120mm), when H-ES12060 is used.
5. Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=140mm (35mm film camera equivalent f=280mm), when H-FSA14140 is used.
6. Apple and ProRes are trademarks or registered trademarks of Apple Inc. in the United States and/or other countries.- Please see the website for video performance information, details, and specifications of the LUMIX G9II.

Micro Four Thirds™ and Micro Four Thirds Logo marks are trademarks or registered trademarks of OM Digital Solutions Corporation, in Japan, the United States, the European Union and other countries.

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Images

Panasonic Lumix G9 II hybrid Micro Four Thirds camera. Image courtesy of B&H.

Panasonic Lumix G9 II hybrid Micro Four Thirds camera. Image courtesy of B&H.

Panasonic Lumix G9 II hybrid Micro Four Thirds camera. Image courtesy of B&H.

Panasonic Lumix G9 II with Lumix G Vario 12-60mm f/3.5-5.6 Aspheric Power OIS lens. Image courtesy of B&H.

Panasonic Lumix G9 II with Lumix G Vario 12-60mm f/3.5-5.6 Aspheric Power OIS lens. Image courtesy of B&H.

Panasonic Lumix G9 II with Lumix G Vario 12-60mm f/3.5-5.6 Aspheric Power OIS lens. Image courtesy of B&H.

Panasonic Lumix G9 II hybrid Micro Four Thirds camera. Image courtesy of B&H.

Panasonic Lumix G9 II with Lumix G Vario 12-60mm f/3.5-5.6 Aspheric Power OIS lens. Image courtesy of B&H.

Panasonic Lumix G9 II with Lumix G Vario 12-60mm f/3.5-5.6 Aspheric Power OIS lens. Image courtesy of B&H.

Panasonic Lumix G9 II hybrid Micro Four Thirds camera. Image courtesy of B&H.

Panasonic Lumix G9 II hybrid Micro Four Thirds camera. Image courtesy of B&H.

Panasonic Lumix G9 II hybrid Micro Four Thirds camera. Image courtesy of B&H.

Panasonic Lumix G9 II hybrid Micro Four Thirds camera. Image courtesy of B&H.

Panasonic DMW-BLK22 Lithium-Ion battery for Lumix G9 II, GH6, S5 II, S5 IIX and other cameras. Image courtesy of B&H.

Panasonic Lumix DMW-BG1E Vertical Battery Grip for Lumix G9 II, S5 II and S5 IIX cameras. Image courtesy of B&H.

Panasonic Lumix DMW-BG1E Vertical Battery Grip for Lumix G9 II, S5 II and S5 IIX cameras. Image courtesy of B&H.

Panasonic DMW-XLR1 Microphone Adapter for Panasonic Lumix G and S-Series cameras. Image courtesy of Panasonic Australia.

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Commentary

I can’t comment in depth about the long-awaited G9II as I am still digesting the product pages, reviews and videos for all the necessary fine details.

However, a couple of respectful suggestions and some questions for the creators of the press release:

• This is a key capability that cannot be assumed but needs to be stated – C4K/4K 60p 4:2:2 10-Bit Video Recording – stating just “4:2:0 10-bit C4K/4K” risks readers assuming that the camera may not offer 4:2:2.
• Thank you for the large collection of product and lifestyle photographs as always but please strive for representational equity with half featuring females and half being of males using the camera and lenses.
• May I suggest supplying some in-studio product photographs like the ones used in the Panasonic Australia press release page in the Links list below?
• There seems to be one product photograph missing, the camera-only right-side view with doors opened.
• May I also suggest dusting cameras and lenses off before photographing them, especially when on location?

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Links

• B&H Affiliate Link – Click here to research and purchase or pre-order your choice of cameras, lenses and accessories for stills photography and video production whatever your genre and subject matter.
• Panasonic Australia – The LUMIX G9II “Capture the Decisive Moment”
• Panasonic North America – The LUMIX G9II “Capture the Decisive Moment”

Armando Ferreira aka @mondobytes Demonstrates His Ultimate Cinema Camera Rig Build for Panasonic Lumix S5II & Other Mirrorless Hybrid Cameras

Since the first announcement of the current generation of Fujifilm and Panasonic hybrid mirrorless cameras in the 35mm, APS-C and M43 sensor formats we’ve been searching for the optimum combination of cages, accessories, battery power, follow focus devices, variable neutral density filters and lens adapters and have mostly come up short. 

Panasonic Lumix S5II and S5IIX. Image courtesy of Panasonic North America.

So many solutions we’ve seen get close to optimum for maximum venality and affordability but there’s always some gap or other, something where it just doesn’t quite join up perfectly and safely.

Today we may have come across the best combination of all the many and various bits so far via Armando Ferreira’s demonstration of the rig he recently used to make a short movie with the Panasonic Lumix S5II and DZOFilm Catta Ace “full frame” aka 35mm sensor Arri PL-mount variable focal length aka zoom lens.

Mr Ferreira’s ultimate cinema camera rig is based around two brands we’ve only recently come across separately – Kondor Blue and Mofage – and it’s great to see just how much thought and effort has gone into these two manufacturers’ products including one designed by Armando Ferreira himself, Mondo Ties, made by Kondor Blue.

Armando Ferreira: My LUMIX S5 II ULTIMATE Cinema Camera Build

“We just finished our short film using the Panasonic Lumix S5 II and I wanted to make a video on our camera rig.”

I love how he has accounted for all the bits needed for ambitious cinematic projects with mirrorless cameras and how best to join them together.

If this works for the Panasonic Lumix S5II 35mm-sensor hybrid camera then it will certainly work for the coming Lumix S5IIX with the current version of Mofage’s Poco Arri PL-mount adapter with drop-in filters.

Mofage, please add support for Fujifilm X-mount and Micro Four Thirds mount cameras in the next iteration of Poco.

There is no one-size-fits-all in mirrorless cameras for documentary and narrative work and Mofage’s solution should permit using a common set of Arri PL-mount cinema lenses in the most affordable brands with our current favourite for prime lenses being those made by Irix in focal lengths from 11mm through to 150mm and suitable for all sensor sizes from M43 through APS-C/Super 35 to 35mm aka “full frame”.

Armando Ferreira: Cinematic Short Film Shot on Panasonic LUMIX S5 II

“Agony our short film shot on Panasonic LUMIX S5 II big thanks to: DZO Film: https://www.dzofilm.com/ Kondor Blue: https://geni.us/kbs5IIrig…”

Armando Ferreira: MY NEW PRODUCT FOR FILMMAKERS

“Mondo Ties are a simple, yet effective way to manage the mess of cables on your camera rig. Each Mondo Tie comes pre-loaded with a mini ¼ 20 that can be attached anywhere on your rig. The wings of the Mondo Tie are uniquely designed to set the cables between and then twist the cables 90 degrees clockwise to “lock” in place. Grab a set in all three colors — Kondor Blue, Raven Black AND Cardinal Red — to manage all of your cables on every rig!”

I’ve been trying all sorts of solutions to reducing cable clutter over the years but all have been compromises that get in the way or are not quite up to par.

Armando Ferreira’s collaboration with Kondor Blue is the best solution so far and I love the choice of colours, especially the electric blue colour named Kondor Blue.

Kondor Blue is a USA brand I originally came across at B&H when I was searching for braided coiled and straight XLR and mini-XLR audio cables including a pair to connect a RØDE Stereo VideoMic X to an XLR-in audio recorder.

Mofage Poco Arri PL-mount to mirrorless mount lens adapter with drop-in filters including variable ND

“One POCO will be compatible with filters for all sizes of PL lenses. Only need to use one size of filter regardless of what lens size you may be running. It’s very convenient if you own PL lenses with different front diameters….

POCO comes with a PL lens to E\RF\Z\L mount. What is even better is the mount is user-interchangeable. This means that you only need to buy one adapter because it can be used on multiple camera platforms….

There are several ways to place a filter in front of your lens, each with its own set of drawbacks. Circular filters, for example, come in a variety of sizes and are inconvenient to screw on and off; magnetic filters are simple to install but may not be stable enough for a handheld action scene; matte boxes are the industry solution so far, but they increase both the overall size and cost of the rig….

POCO can be used with several different filter options, including VND, Black mist, White mist, and Streaks. When you don’t need to use a filter, just put in the Pure Clear and it will have no effect.”

Such a brilliant-looking and affordable solution but the next version MUST also support X and M43 cameras.

Mofage, I love the purple colour – it’s my favourite next to black – but please add black soon for stealth documentary work.

As I’m new to Kondor Blue and the Mofage brands I’ll be taking a closer look in further articles.

I note that at time of writing Kondor Blue does not provide cages for Fujifilm’s X-H2 and X-H2S mirrorless hybrid cameras but they tell me they’re working on it.

Support for Fujifilm X-Mount in Mofage Poco is coming!

I asked the Mofage team whether they’ll be supporting Fujifilm X-Mount cameras with Poco in future and this is their reply:

“We have received many requests from users for the X mount. This will be our next research and development direction.”

Links

• B&H Affiliate Link – click here to research and purchase or pre-order your choice of cameras, lenses and accessories for stills photography and video production whatever your genre and subject matter.
• B&H Affiliate Link – Digital Cinema Lenses (PL) – Chiopt Extreme – DZOFilm – Irix – Meike – Rokinon Xeen – Sigma – Sirui – SLR Magic – Tokina – Venus Optics Laowa – Viltrox
• B&H Affiliate Link – Kondor Blue
• B&H Affiliate Link – Panasonic Lumix Digital Cameras  – S Series (35mm aka “Full Frame”)– S1 – S1H – S1R – S5 – S5 II– S5 IIX – BSH1 Box Cinema Camera
• B&H Affiliate Link – Panasonic Lumix Lenses – S Series (35mm aka “Full Frame”)
• B&H Affiliate Link – RØDE
• B&H Explora – Laowa Nanomorph Lenses: Compact Anamorphics with a Big Cinema Feel
• Armando Ferreira aka @mondobytes – YouTube channel
• Breakthrough Photography – Drop-In Filters – Our favourite premium-quality screw-on filters brand but currently only PL to RF Drop-In Filter Mount with EF to RF Drop-In Filter Mount coming soon.
• Mofage – POCO Drop-In Filter Adapter: Facilitate Your Cinematography – Kickstarter campaign page – “Fit All PL Lens Filter Size | Interchangeable Mount | Quick Filter Change | Multiple Filter Options | VND Remotely Controlled”

Digital Camera Warehouse: Learn How To Tell Visual Stories Using Your Camera with Jamie Andrei, 174 Canterbury Road, Canterbury, Sydney on Thursday 16th March 2023, 6:30pm – 9:00pm AEDT

https://www.eventbrite.com.au/e/learn-how-to-tell-visual-stories-using-your-camera-with-jamie-andrei-tickets-558402094697

“Are you ready to unlock your inner storyteller and take your content creation to the next level?…

We want to invite you to join us for an exclusive in-store event with content creator Jamie Andrei!

Jamie is a renowned director, producer, and DOP who has worked with clients worldwide. He is passionate about human stories, technology, and experiences and has a wealth of knowledge to share about becoming a great storyteller.

At the event, Jamie will take you on a journey to become a storyteller, sharing his insights and techniques for creating engaging and meaningful content. He will also showcase the new Panasonic LUMIX S5II and explain why it is the right camera for the job….”

Panasonic Lumix S5II

Panasonic Lumix S5II with Panasonic Lumix S 20-60mm f/3.5-5.6 standard zoom lens. Image courtesy of Panasonic Australia.

PanasonicLumixVideo: LUMIX S5II | With These Two Hands by Jamie Andrei

“Inspired by the Joy of Doing, “These Two Hands” tells the story of Lionel who from an early age found joy in being able to create things with his hands. 45 years later, he is passionate about identifying places which would make a perfect artistic project. Shot in 4K, the LUMIX S5II the inbuilt stabilization allowed easy movement between shots, and the wide dynamic range handled mixed light with ease. The LUMIX S5II is super robust, there is really no excuse not to get out and experience the joy of doing.

Watch the behind the scenes from here: https://youtu.be/xrdApxfj8wc“

Commentary

We’ve been waiting for touch-and-try or at least see-in-real-life opportunities here in Sydney since Panasonic announced its 35mm sensor-equipped hybrid Lumix S5II camera back in early January 2023 and this event is the very first to appear on our radar.

It is good that ‘Learn How To Tell Visual Stories Using Your Camera with Jamie Andrei’ will be staged somewhere in Greater Sydney but it’s going to be problematic for some Sydneysiders given the location requires us at least to travel over four hours in total there and back and at night from here in the Upper North Shore, finally getting home around midnight or later.

We hope that there will be more such events here in the coming weeks but at locations that are more accessible and won’t take such a toll on travel and safety.

We’re glad, though, that the COVID-19 pandemic-caused drought of photography and video industry events may be coming to an end.

Links

• B&H Affiliate Link – click here to research and purchase or pre-order your choice of cameras, lenses and accessories for stills photography and video production whatever your genre and subject matter.
• B&H Affiliate Link – Panasonic Lumix Digital Cameras  – S Series (35mm aka “Full Frame”) – S1 – S1H – S1R – S5 – S5 II– S5 IIX – BSH1 Box Cinema Camera
• B&H Affiliate Link – Panasonic Lumix Lenses – S Series (35mm aka “Full Frame”) – 14-28mm – 18mm – 20-60mm –  24mm – 24-105mm – 35mm – 50mm – 70-300mm – 85mm – Lumix S Pro – 16-35mm – 24-70mm – 50mm – 70-200mm f/2.8 – 70-200mm f/4.0
• Digital Camera Warehouse – Learn How To Tell Visual Stories Using Your Camera with Jamie Andrei, 174 Canterbury Road, Canterbury on Thursday 16th March 2023, 6:30pm – 9:00pm AEDT – Eventbrite tickets

The Many Joys of Small Cameras, As Proven by a Panasonic Lumix GX8 & Panasonic Lumix G Vario 12-32mm f/3.5-5.6 Aspheric Mega OIS Zoom

There’s been quite a bit of discussion online around Panasonic’s introduction of phase detection hybrid autofocus aka PDHAF or PDAF in its two latest cameras the Lumix S5 II and S5 IIX. 

Lumix camera users have been asking Panasonic for PDAF for years now instead of the depth from defocus aka DFD autofocus system upon which Panasonic has hung its hopes despite performing below par compared to other cameramakers’ autofocusing systems. 

Panasonic introduced its video-oriented Micro Four Thirds flagship camera the GH6 in 2022 and with it still relying on DFD Lumix users are asking for an upgraded GH6 with PDHAF, perhaps a GH6 II. 

Is a GH6 Mark II already on the slate for release later in 2023 or might Panasonic first be planning a return to smaller and more stills-oriented M43 cameras, this time with improved IBIS and the PDAF we’ve been wanting for so long? 

Some Lumix small camera, small lens snapshots from earlier today

Photograph © copyright Karin Gottschalk 2023. All rights reserved.

Photograph © copyright Carmel D. Morris 2023. All rights reserved.

Photograph © copyright Carmel D. Morris 2023. All rights reserved.

The M.Zuiko Pro professional prime and zoom lenses from the Olympus Micro Four Third lens collection as of June 2021. Image courtesy of OM Digital Solutions Australia.

We bought our one small Lumix M43 camera, a GX8, not long after our first Lumix M43 camera, the GH4, for producing video for an unfunded global human rights charity where we were volunteering.

We chose the GX8 as a second camera primarily for video, for two-camera setups as well as a back-up for the GH4 if it went down on location.

We soon discovered the GX8 was an excellent stills photography camera as well as a fine video camera though without all the specifications of the GH4, and it had 3-way in-body image stabilization for stills only, Panasonic’s first venture into this essential feature for all cameras whatever their sensor size and intended use.

Then there’s the almost unique tilting electronic viewfinder aka EVF, rivalled only by Leica with its pricey Visoflex 2 detachable tiring EVF for its pricey M-System cameras.

Previously Panasonic had relied on IBIS for its zoom lenses but, with the exception of a couple of its longer prime at the time, not its single-focal length optics.

OM System M.Zuiko Digital ED 12-40mm f/2.8 II Pro zoom lens. Image courtesy of OM Digital Solutions Australia.

Although we defaulted to prime lenses for our pre-digital film work, zoom lenses have advanced in leaps and bounds since trying out and quickly returning our first one.

When we ordered our GH4 we had no hesitation adding an Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro standard zoom lens after comparing one to a Panasonic Lumix GX Vario 35-100mm f/2.8 Power OIS zoom.

The clincher for choosing the M.Zuiko Pro despite its lack of IBIS?

Its solid non-plastic body and its manual clutch focusing ring.

In our humble opinion every lens for serious documentary stills and video production should come with manual clutch focus aka MCF, no questions asked.

If Olympus could do it for its M.Zuiko and M.Zuiko Pro primes and zooms then surely all others can do it too.

We’ve been asking for MCF for Fujifilm and Panasonic lenses for years and, lo and behold, Panasonic’s brilliant available light and darkness zoom lens pair, the Leica DG Vario-Summilux 10-25mm f/1.7 Aspheric and Leica DG Vario-Summilux 25-50mm f/1.7 Aspheric came with exactly that.

Thank you, Panasonic, and now please add MCF when you revise other lenses for the extra resolution demands the GH6’s 5.7K 60p option may well demand.

Panasonic Lumix GH6 with Vario-Summilux 10-25mm & 25-50mm f/1.7 zoom lenses, a core M43 kit for 4K documentary video production

Panasonic Lumix DC-GH6 Micro Four Thirds hybrid mirrorless camera. Image courtesy of B&H.

Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 Aspheric ultra-wide to standard normal zoom lens. Image courtesy of Panasonic Australia.

Panasonic Leica DG Vario-Summilux 25-50mm f/1.7 Aspheric standard to short telephoto zoom lens. Image courtesy of Panasonic Australia.

If Panasonic comes up with a GH6 Mark II with PDHAF then we’ll add one to the top of our video production wishlist along with the two f/1.7 zooms, but they’re a little too large for daily carry.

Instead for that we want a radically upgraded version of our beloved GX8, one suitable for professional stills and video work and not aimed at “street photography” with a reduced feature set as happened with the GX9.

That request is not just ours alone: we’ve been amazed at how so many GX8 users are asking the same question as well as GX7 and GX9 users.

Panasonic GX8 with two zoom lens kit

The GX8 has a good built-in grip and no need for optional hand grips to be attached in order to securely grip and balance big, heavy lenses. Image courtesy of Panasonic Australia.

Panasonic Lumix G Vario 12-32mm f/3.5-5.6 Aspheric Mega OIS collapsible standard zoom lens. Image courtesy of B&H.

Panasonic Lumix G Vario 35-100mm f/4.0-5.6 Aspheric Mega OIS moderate telephoto zoom lens. Image courtesy of B&H.

B+W 37mm #900 Rubber Lens Hood. Image courtesy of B&H.

The GX8 comes with a good built-in rubber eyecup and an even better optional eyecup great for when shooting video is available. This optional replacement sits on my GX8 24/7. Image courtesy of B&H.

Panasonic Lumix G 25mm f/1.7 Aspheric prime lens. Image courtesy of Panasonic Australia.

Although we often carry our GX8 with Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro zoom attached as one and only camera and lens combo each day, when we want to be even more discrete we choose our Panasonic Lumix G Vario 12-32mm f/3.5-5.6 Aspheric Mega OIS collapsible zoom instead.

The 12-32mm’s optics may not be as advanced as those in the 12-40mm and the former lacks any form of manual focusing much less MCF, but its optics are good enough when the GX8’s raw files are processed in DxO PhotoLab Elite with its superb DeepPRIME XD denoising and demosaicing feature selected.

We’ve come to rely on DxO’s DeepPRIME XD function for all our M43 raw files and have seen some amazing results with it especially with images shot in available darkness with less than stellar lenses.

Video often benefits from less than razor-sharp optics based on the number of videographers adding softening filters to their lenses and there’s the benefit of the 12-32mm’s optical image stabilization aka OIS that works for video when the GX8’s IBIS does not.

If you’re considering the tiny 12-32mm zoom, only available secondhand these days or bundled with a lower-tier Lumix camera, then please also consider the Lumix G Vario 35-100mm f/4.0-5.6 Aspheric Mega OIS lens as its natural telephoto companion.

We don’t have one – we have an Olympus telephoto zoom instead – but we’d love to add one when we can as this smaller, more affordable and collapsible alternative to the Lumix GX Vario 35-100mm f/2.8 Power OIS zoom gains great reviews and was recommended by the late, great M43 reviewer and former Fleet Street press photographer David Thorpe.

Panasonic GX8 with Lumix three prime lens kit

Panasonic Lumix DMC-GX8 without lens, top view. Image courtesy of Panasonic Australia.

Panasonic Lumix G 14mm f/2.5 Aspheric medium wide-angle prime lens. Image courtesy of B&H.

Panasonic Lumix G 20mm f/1.7 Aspheric perfect normal prime lens. Image courtesy of B&H.

Panasonic Lumix G 42.5mm f/1.7 Aspheric Power OIS moderate telephoto prime lens. Image courtesy of B&H.

Rolleiflex f/2.8 Twin Lens Reflex with standard lens. Photograph courtesy Franke & Heidecke.

Our GX8 came with a prime lens bundled as part of a promotion, the often-underestimated Panasonic Lumix G 25mm f/1.7 Aspheric prime lens, and a spare battery.

Although we’ve never been dedicated standard normal lens users whatever the sensor or film format, the 25mm f/1.7 comes in handy when we want the feel of a Rolleiflex twin-lens reflex camera with 80mm standard normal prime lens by flipping the GX8’s EVF up to 90 degrees.

Until their demise in 2015 with the dissolution of the successor to original manufacturer Franke & Heidecke, the Rolleiflex TLR 120-rollfilm cameras were documentary, portrait and fashion photographer favourites and they’re still in demand on the secondhand market.

Franke & Heidecke made a number of variants beyond the 80mm standard-normal Rolleiflex including the first we had with a 75mm perfect normal lens, a wide Rolleiflex with 50mm lens and a telephoto Rolleiflex with 135mm lens.

There’s two ways of simulating these four Rolleiflex TLRs with a GX8, the first by attaching one or two zoom lenses.

The second is by having a nice little set of matched primes such as the Panasonic Lumix G 14mm f/2.5, 20mm f/1.7, 25mm f/1.7 and the OIS-equipped 42.5mm f/1.7.

I’d opt to leave out the standard normal 25mm f/1.7 for stills as the perfect normal 20mm f/1.7 is so, well, perfect but the 25mm lens is better for focus pulling given its normal length and not pancake sized barrel.

All four Lumix G primes have lightweight plastic bodies and quality optics though I can’t vouch for their performance with 5.7K video production and their glass is excellent even if it wasn’t designed and branded by Panasonic partner Leica Camera.

I’ve certainly come across documentary movies and narrative shorts being made with these Lumix primes on GHn series cameras as well as the GX8.

Contax G2 with three prime lens kit

Contax G2. Image found on ebay.

Bundled lens set for Contax G1 & G2 analog film rangefinder cameras: Biogon 28mm f/2.8, Planar 45mm f/2.0, Sonnar 90mm f/2.8. Designed & made by Zeiss & Yashica.

Contax G2 with four prime lens kit: 21mm, 28mm, 45mm and 90mm. Image found on ebay.

A little bit of a history lesson!

I’ve been a rangefinder camera user even from before our two Leica M System cameras and lenses dating back to discovering two Linhof 4″x5″ and 120-rollfilm cameras hidden in a closet at art school.

Two analog rangefinder cameras that I’ve had the pleasure of owning or using include the Contax G2 and the Minolta CLE which developed from the Leica CL.

Minolta CLE with three prime lens kit

Minolta CLE with 40mm f/2.0 perfect normal prime lens. Image courtesy of Japan Camera Hunter.

Minolta M-Rokkor 40mm f/2.0 lens for Minolta CLE 35mm, successor to the Leica CL and Leitz Minolta CL. Image courtesy of Japan Camera Hunter.

The three legendary Minolta M-Rokkor prime lenses for the Minolta CLE: Minolta M-Rokkor 28mm f/2.8, M-Rokkor 40mm f/2.0 and M-Rokkor 90mm f/4.0. Image found on ebay.

An example of the legendary Minolta CLE three lens kit featuring 28mm, 40mm and 90mm prime lenses. Image found on ebay.

In partnership with Zeiss, Contax G1 and G2 maker brand Yashica expanded the bundled 3-prime lens set comprising 28mm, 45mm and 90mm wider and longer and in-between with 16mm, 21mm, 35mm and 35-70mm lenses.

The Leica CL and Minolta CLE stuck to their core set of three prime lenses.

I’ve never had the pleasure of using a Contax G2 or a Minolta CLE but pictures of proud owners using those cameras remind me so much of the look and feel of our GX8 whether equipped with a 12-32mm zoom or a 25mm prime lens.

A radically updated successor to the GX8 can’t come soon enough.

Links

• B&H Affiliate Link – click here to research and purchase or pre-order your choice of cameras, lenses and accessories for stills photography and video production whatever your genre and subject matter.
• B&H Affiliate Link – Panasonic Lumix Digital Cameras – M43 Cameras – M43 Lenses – “Full Frame” (35mm sensor) Cameras – “Full Frame” (35mm sensor) Lenses
• DxO – website
• Ken Rockwell – Contax G2, (1996-2003) – “The Contax G2 is the world’s most advanced rangefinder camera.”
• Ken Rockwell – Minolta CLE, Compact LEICA Electronic (1980-1985) – “The CLE is all about small and good; the perfect realization of the LEICA Dream.”
• Micro Four Nerds – Dear Lumix, from the Micro Four Thirds Community… – Video by Emily Lowrey about what she wants to see coming down the turnpike from Panasonic: small M43 cameras!
• Wikipedia – Contax G
• Wikipedia – Leica CL
• Wikipedia – Minolta CLE
• Wikipedia – Rollei
• Wikipedia – Rolleiflex

Indie Filmmaker Michael Tobin Releases First Look Video Review of Irix 30mm T1.5 Cinema Prime Lens

With all the exciting new affordable hybrid cameras being released over the past year, from Panasonic’s Lumix GH6 through Fujifilm’s X-H2, X-H2S and X-T5 in 2022 to this year’s Panasonic Lumix S5 II and S5 IIX, the question is which are the most affordable yet best quality cinema lenses that can be easily adapted to cameras in either range. 

I vote for the growing range of affordable 8K-capable cinema primes made by Irix for their neutral colour rendering, non-quirky optical designs and thoughtful engineering, and specifically their Arri PL-mount versions for maximum versatility and adaptability across camera mounts and sensor sizes. 

There’s not a huge amount of first-look and longterm reviews of Irix cinema lenses out there right now so I was pleased to come across this one of the Irix 30mm T1.5 by Michael Tobin who has been using Irix’ 45mm and 21mm primes for a while. 

Michael Tobin: The BEST Budget Portrait Lens? IRIX 30mm Cine Lens Review

Irix 30mm T1.5 cinema lens

Irix Cine 30mm T1.5 cinema prime lens. Image courtesy of irix.

Irix Cine 30mm T1.5 cinema prime lens with magnetic lens hood. Image courtesy of Irix.

Irix Cine 30mm T1.5 cinema prime lens. Image courtesy of Irix.

Irix 30mm T1.5 cinema prime lens. Image courtesy of B&H.

Irix 30mm T1.5 cinema prime lens. Image courtesy of B&H.

Optical design, Irix Cine 30mm T1.5 cinema prime lens. Image courtesy of Irix.

Weather sealing, Irix Cine 30mm T1.5 cinema prime lens. Image courtesy of Irix.

For documentary cinematography in Super 35 I recommend considering the 21mm or 30mm as the first one to get then consider adding the 15mm for more width and the 45mm or the coming longer focal length lens that fits in the gap between 45mm and 150mm for more reach.

Irix may be working on adding Fujifilm X-mount versions to their already considerable list of existing mounts so that may be a good option if you are using only X-mount cameras like the X-H2 and X-H2S.

Links

• B&H Affiliate Link – click here to research and purchase or pre-order your choice of cameras, lenses and accessories for stills photography and video production whatever your genre and subject matter.
• B&H Affiliate Link – Fujifilm – X-H2 – X-H2S – X-Pro3 – X-T4 – X-T5
• B&H Affiliate Link – Fujifilm – X Series Lenses
• B&H Affiliate Link – Irix – Digital Cinema Lenses – Arri PL-Mount – 11mm – 15mm – 21mm – 30mm – 45mm – 150mm – 150mm Macro
• B&H Affiliate Link – Panasonic Lumix Digital Cameras  – G Series (M43 aka Micro Four Thirds) – GH6 – BGH1 Box Cinema Camera
• B&H Affiliate Link – Panasonic Lumix Digital Cameras  – S Series (35mm aka “Full Frame”)– S1 – S1H – S1R – S5 – S5 II– S5 IIX – BSH1 Box Cinema Camera
• Irix Global – website
• Irix USA – website
• Michael Tobin – YouTube channel
• Michael Tobin – IRIX 45mm Cine Lens Review | BEST BUDGET Cine lens?! – video
• Michael Tobin – My New Favorite Lens | IRIX 21mm Cine Review – video
• Michael Tobin – The BEST Budget Portrait Lens? IRIX 30mm Cine Lens Review – video

Panasonic, Where Is Daniel Berehulak?

One of the most important things for me at least when deciding what photography and video production hardware in which to invest the hard-earned readies, as they say, is seeing which professionals rely upon them for their daily work. 

Panasonic Lumix S5II and S5IIX. Image courtesy of Panasonic North America.

If it works for them then it surely will work for me.

That was the case with a number of celebrated male photojournalists, for example, just after I got back into documentary photography with digital cameras in the 2000s through the 2010s.

That was the era when far too few women were being signed up as brand ambassadors, when it was even worse than it is today and today things are still not great for equity in female inclusion and that of other so-called diversities.

The photojournalists in question then were the Australian Daniel Berehulak (Panasonic), David Burnett (Panasonic before he turned to Sony), and Magnum photographers Ian Berry and Thomas Dworzak (both Panasonic).

There was another Magnum photojournalist (Fujifilm) whose name shall not be uttered here as he is the centre of a sexual harassment scandal against female colleagues.

I seem to remember too that before the X-Pro2 came out, a photograph made by another Magnum photojournalist whose name I can’t recall right now was circulated.

That image was made with the disappointing Fujinon XF 18mm f/2.0 R pancake lens, often praised as “quirky” by fans.

The X-Pro2 and 18mm seemed like a sensible focal length and camera combination for documentary photography and photojournalism and it still will be if Fujifilm sees fit to redesign the 18mm f/2.0 R pancake lens into an 18mm f/2.0 R LM WR Fujicron lens and releases it with the X-Pro4, hopefully due out not too much later this year, 2023.

Back to the impressive Australian expatriate Daniel Berehulak.

As Mr Berehulak seemed to be going great with Panasonic’s first generation Lumix S 35mm sensor cameras after years of relying on their Micro Four Thirds cameras, it is surely a no-brainer that he be re-equipped with the Lumix S5 II and S5 IIX and appear in Panasonic’s marketing materials and especially its press packs.

Panasonic, where is Daniel Berehulak?

Links

• B&H Affiliate Link – click here to research and purchase or pre-order your choice of cameras, lenses and accessories for stills photography and video production whatever your genre and subject matter.
• B&H Affiliate Link – Panasonic Camera Accessories – DMW-BGS5 Battery Grip – DMW-BLK22 Lithium-Ion Battery (7.2V, 2200mAh) – DMW-BTC15 Battery Charger – DMW-EC6 Eyecup –  DMW-MS2 Stereo Shotgun Microphone – DMW-SHGR1 Tripod Grip – DMW-XLR1 XLR Microphone Adapter
• B&H Affiliate Link – Panasonic Lumix Digital Cameras  – G Series (M43 aka Micro Four Thirds) – GH6 – BGH1 Box Cinema Camera
• B&H Affiliate Link – Panasonic Lumix Digital Cameras  – S Series (35mm aka “Full Frame”) – S1 – S1H – S1R – S5 – S5 II– S5 IIX – BSH1 Box Cinema Camera
• B&H Affiliate Link – Panasonic Lumix Lenses – G Series (M43 aka Micro Four Thirds) – 10-25mm f/1.7 – 25-50mm f/1.7
• B&H Affiliate Link – Panasonic Lumix Lenses – S Series (35mm aka “Full Frame”) – 14-28mm – 18mm – 20-60mm –  24mm – 24-105mm – 35mm – 50mm – 70-300mm – 85mm – Lumix S Pro – 16-35mm – 24-70mm – 50mm – 70-200mm f/2.8 – 70-200mm f/4.0
• Panasonic Global – LUMIX Ambassadors – Daniel Berehulak – Migrations
• Panasonic Corporation of North America – LUMIX Announces Hollywood Creators Alicia Robbins, Emily Skye and Carissa Dorson as Brand Ambassadors – May 3, 2021: “Panasonic today announced partnerships with accomplished Directors of Photography (DP), Alicia Robbins, Emily Skye and Carissa Dorson.”

Panasonic North America on the Lumix S5 II for Videographers. And Cinematographers For That Matter

It’s the last day of CES 2023 and the Panasonic USA team looks a little tired hence the slide behind the presenter showing “photographers” instead of “videographers”. 

And I would have added “cinematographers” too given the Lumix S5 II has already shaped up to appeal to both aspects of moviemaking and also independent self-funded documentary moviemaking as well as narrative moviemakers. 

The presenter does a fine job of showing us the video features of the Lumix S5 II and I’m especially looking forward to learning more about the even more video-centric Lumix S5 IIX that’s coming later in this year, 2023.

LUMIX USA: LUMIX Live: The S5II from a Videographer’s Perspective

“During this special edition series of LUMIX Live at CES 2023, Sean and Matt will be diving into the various capabilities of the brand new LUMIX S5II!

In this stream (4 of 4) Matt will discuss what makes the S5II great for Photographers! [sic… Oops, they meant to write Videographers!]

We’ll talk about Open Gate, 4K60p, Video Tools, and how the new Phase Hybrid AF helps make your job easier!…

Looking for past LUMIX Live streams? Check out the entire back catalog here: https://youtube.com/playlist?list=PL1…”

Panasonic Lumix S5 II & Panasonic accessories for video

Panasonic Lumix S5II and S5IIX. Image courtesy of Panasonic North America.

Panasonic Lumix S5IIX with Panasonic Lumix S 20-60mm f/3.5-5.6 standard zoom lens. Image courtesy of Panasonic Australia.

Panasonic Lumix S5IIX with Panasonic Lumix S 20-60mm f/3.5-5.6 standard zoom lens. Image courtesy of Panasonic Australia.

Panasonic Lumix S5II with Lumix S 20-60mm f/3.5-5.6 standard zoom lens. Image courtesy of Panasonic Australia.

Panasonic DMW-XLR1 Microphone Adapter for Panasonic Lumix G and S-Series cameras. Image courtesy of Panasonic Australia.

Panasonic DMW-XLR1 Microphone Adapter for Panasonic Lumix G and S-Series cameras.

Panasonic DMW-XLR1 Microphone Adapter for Panasonic Lumix G and S-Series cameras.

Panasonic DMW-MS2 Mid-Side Mono-Stereo Shotgun Microphone, switchable from stereo to mono and back as well as mid-side coverage. Image courtesy of B&H.

Panasonic Lumix DC-S5 with Battery Grip DMW-BGS5 for Panasonic Lumix S5, S5II and S5IIX. Image courtesy of Panasonic Australia.

Panasonic Lumix Battery Grip DMW-BGS5 for Panasonic Lumix S5, S5II and S5IIX. Image courtesy of Panasonic Australia.

Panasonic Lumix DC-S5 with Panasonic Lumix S 20-60mm f/3.5-5.6 zoom lens, built-in fully articulated LCD monitor and Panasonic DMW-SHGR1 Tripod Grip. Image courtesy of Panasonic Australia.

Panasonic DMW-EC6 Eyecup for Panasonic Lumix S-Series cameras.

Links

• B&H Affiliate Link – click here to research and purchase or pre-order your choice of cameras, lenses and accessories for stills photography and video production whatever your genre and subject matter.
• B&H Affiliate Link – Leica L-Mount SL-Series lenses – Premium prime and zoom lenses that can be used on Panasonic’s Lumix S Series cameras.
• B&H Affiliate Link – Panasonic Camera Accessories – DMW-BGS5 Battery Grip – DMW-BLK22 Lithium-Ion Battery (7.2V, 2200mAh) – DMW-BTC15 Battery Charger – DMW-EC6 Eyecup –  DMW-MS2 Stereo Shotgun Microphone – DMW-SHGR1 Tripod Grip – DMW-XLR1 XLR Microphone Adapter
• B&H Affiliate Link – Panasonic Lumix Digital Cameras  – S Series (35mm aka “Full Frame”)– S1 – S1H – S1R – S5 – S5 II– S5 IIX – BSH1 Box Cinema Camera
• B&H Affiliate Link – Panasonic Lumix Lenses – S Series (35mm aka “Full Frame”) – 14-28mm – 18mm – 20-60mm –  24mm – 24-105mm – 35mm – 50mm – 70-300mm – 85mm – Lumix S Pro – 16-35mm – 24-70mm – 50mm – 70-200mm f/2.8 – 70-200mm f/4.0
• B&H Affiliate Link – Sigma L-Mount lenses – Affordable DG DN prime and zoom lenses that can be used on Panasonic’s Lumix S Series cameras.
• Leeming LUT Pro – website – “Leeming LUT Pro™ is the world’s first unified, corrective Look Up Table ( LUT ) system for supported cameras, designed to maximise dynamic range, fix skin tones, remove unwanted colour casts and provide an accurate Rec709 starting point for further creative colour grading. The Pro III LUTs are designed for perfect Rec709 colorimetry and have a linear luma curve, with an average measured dE(2000) of less than 1, meaning they are visually indistinguishable from reality to the human eye.”
• Lumix USA – LUMIX Live: The S5II from a Videographer’s Perspective – video

Panasonic North America on Autofocus: Tip of the Iceberg in Exciting New Lumix S5 II & S5IIX 35mm Sensor aka Full Frame Cameras

The arrival of Panasonic’s brand new and long-awaited radically updated autofocus functionality in its compact and affordable Lumix S5 II and S5 IIX 35mm-sensor aka “full frame” cameras is just the tip of the iceberg in what the company’s designers and engineers have achieved. 

The Phase Hybrid aka Phase Detection Hybrid Autofocus aka PDHAF appears to equal if not outdo the PDAF autofocus in other 35mm sensor camera brands as well as Fujifilm’s recently released X-H2, X-H2S and X-T5 and we hope it will be appearing soon in updates of other Lumix cameras such as the S1H. 

LUMIX USA: LUMIX Live : What does a LUMIX User need to know about the Autofocus[?]

“During this special edition series of LUMIX Live at CES 2023, Sean and Matt will be diving into the various capabilities of the brand new LUMIX S5II!

In this stream (1 of 4) we will be talking about the new Phase Hybrid AF system deployed in the S5II while providing tips on how it differs from our previous system!…

Looking for past LUMIX Live streams? Check out the entire back catalog here: https://youtube.com/playlist?list=PL1…“

Panasonic Lumix S5 II

Panasonic Lumix S5II and S5IIX. Image courtesy of Panasonic North America.

Panasonic Lumix S5IIX. Image courtesy of Panasonic North America.

Panasonic Lumix S5IIX. Image courtesy of Panasonic North America.

Panasonic Lumix S5IIX. Image courtesy of Panasonic North America.

Links

• B&H Affiliate Link – click here to research and purchase or pre-order your choice of cameras, lenses and accessories for stills photography and video production whatever your genre and subject matter.
• B&H Affiliate Link – Leica L-Mount SL-Series lenses – Premium prime and zoom lenses that can be used on Panasonic’s Lumix S Series cameras.
• B&H Affiliate Link – Panasonic Camera Accessories – DMW-BGS5 Battery Grip
• B&H Affiliate Link – Panasonic Lumix Digital Cameras  – S Series (35mm aka “Full Frame”)– S1 – S1H – S1R – S5 – S5 II– S5 IIX – BSH1 Box Cinema Camera
• B&H Affiliate Link – Panasonic Lumix Lenses – S Series (35mm aka “Full Frame”) – 14-28mm – 18mm – 20-60mm –  24mm – 24-105mm – 35mm – 50mm – 70-300mm – 85mm – Lumix S Pro – 16-35mm – 24-70mm – 50mm – 70-200mm f/2.8 – 70-200mm f/4.0
• B&H Affiliate Link – Sigma L-Mount lenses – Affordable DG DN prime and zoom lenses that can be used on Panasonic’s Lumix S Series cameras.
• Lumix USA – What does a LUMIX User need to know about the Autofocus – video

Gordon Laing Does His Usual Massively In-Depth Hands-On Review of the Panasonic Lumix S5 II 35mm aka “Full Frame” Compact Hybrid Camera

Gordon Laing’s in-depth hands-on reviews of new photography and video hardware releases are always our first port of call so we’re pleased to re-present his review of Panasonic’s Lumix S5 II here. 

Panasonic Lumix DMC-GH1 with Panasonic Lumix G Vario 14-140mm f/3.5-5.6 Aspheric Power OIS zoom lens. Image courtesy of Panasonic Global.

Panasonic has had a long history of creating solid workhorse camcorders and cinema cameras and the company’s entry into the mirrorless hybrid market with its Lumix GH1 was as revolutionary as the much more publicly lauded Canon EOS 5D Mark II if not more so.

Due to our connections with Canon R&D at the time, and the difficulty of finding the GH1 and its successors in our local camera stores, we were blindsided by the implications of Panasonic entering the consumer hybrid camera market and the camera hacks that users began creating to extend the GH2’s video capabilities.

We bought into the Panasonic plus Olympus Micro Four Thirds world when we needed a more video-capable hybrid than the 5D Mark II for documentary work and we’ve been hoping since that Panasonic would radically improve its autofocus capabilities beyond its proprietary DFD – Depth From Defocus.

Panasonic Lumix DMC-GH2 with Panasonic Lumix G Vario 14-140mm f/3.5-5.6 Aspheric Power OIS zoom lens.

DFD proved up to the job for stills photography though we’ve mostly relied on back button focus and manual focus via our Olympus M.Zuiko Pro lenses’ excellent manual clutch focus mechanisms.

Having learned photography and moviemaking in the analog era, manual focus has been in our DNA for years now, so we didn’t mind relying on manual focus for video production whatever camera system we used.

But ageing eyes and the desire to do more, faster and better with less but still affordable enough means we’ve been hoping Panasonic would finally do something about replacing DFD  with PDAF or something better again.

And so it has, and Gordon Laing shows us just how much the company has done it with this excellent video review.

Gordon Laing: Panasonic Lumix S5 II for PHOTOGRAPHY review: BEST value full-frame vs R6 II A7 IV?

“My Panasonic Lumix S5 II review! In-depth look at the photo and focusing vs R6 II and A7 IV.”

Panasonic Lumix S5 II & Panasonic accessories for video

Panasonic Lumix S5II and S5IIX. Image courtesy of Panasonic North America.

Panasonic Lumix S5IIX with Panasonic Lumix S 20-60mm f/3.5-5.6 standard zoom lens. Image courtesy of Panasonic Australia.

Panasonic Lumix S5IIX with Panasonic Lumix S 20-60mm f/3.5-5.6 standard zoom lens. Image courtesy of Panasonic Australia.

Panasonic Lumix S5II with Lumix S 20-60mm f/3.5-5.6 standard zoom lens. Image courtesy of Panasonic Australia.

Panasonic DMW-XLR1 Microphone Adapter for Panasonic Lumix G and S-Series cameras. Image courtesy of Panasonic Australia.

Panasonic DMW-XLR1 Microphone Adapter for Panasonic Lumix G and S-Series cameras.

Panasonic DMW-XLR1 Microphone Adapter for Panasonic Lumix G and S-Series cameras.

Panasonic DMW-MS2 Mid-Side Mono-Stereo Shotgun Microphone, switchable from stereo to mono and back as well as mid-side coverage. Image courtesy of B&H.

Panasonic Lumix DC-S5 with Battery Grip DMW-BGS5 for Panasonic Lumix S5, S5II and S5IIX. Image courtesy of Panasonic Australia.

Panasonic Lumix Battery Grip DMW-BGS5 for Panasonic Lumix S5, S5II and S5IIX. Image courtesy of Panasonic Australia.

Panasonic Lumix DC-S5 with Panasonic Lumix S 20-60mm f/3.5-5.6 zoom lens, built-in fully articulated LCD monitor and Panasonic DMW-SHGR1 Tripod Grip. Image courtesy of Panasonic Australia.

Panasonic DMW-EC6 Eyecup for Panasonic Lumix S-Series cameras.

The Panasonic Leica DG Summilux 12mm f/1.4 Aspheric prime lens is well-balanced on the GX8. Image courtesy of Panasonic Australia.

We’ve often recommended Panasonic Micro Four Thirds or Fujifilm APS-C/Super 35 hybrid cameras for their relative affordability compared to 35mm sensor-equipped cameras, popularly referred to as “full frame” or sometimes “full format”.

Panasonic tipped the tables, though, when it added the compact but feature-rich S5 to its much larger and heavier initial 35mm-sensor S-Series offerings comprising the S1, S1R and the Netflix-approved S1H.

We have been hoping, though, that Panasonic would extend the compact and affordable S5 concept into two different directions – more high-end video capability one way and higher megapixels for professional photography in the other.

The S5 II and the coming S5 IIX are taking care of the video end of things and we’re still hoping that a 50 megapixel or greater more stills-oriented camera will appear later in 2023.

Even better would be a 35mm rangefinder-style camera with tilting EVF in the tradition of Panasonic’s GX8, still one of our favourite Micro Four Thirds cameras despite its age.

During our analog film camera days our daily carry was two Billingham belt-pack camera bags containing a combo of one or two Leica M-System cameras and from one to five Leica M prime lenses with a Zone VI Studios modified Pentax spotmeter for deadly accurate Zone System exposure.

Cameras from a range of other brands, film formats and camera types supplemented our Leicas but we always came back to our tough and reliable M-System gear when our other hardware wasn’t up to the task or the tough environment in which we often worked.

Panasonic has had a long association with Leica at least from the start of the former’s Micro Four Thirds Leica-badged lenses and that’s continued and grown with the formation of the L-Mount Alliance.

Last year, 2022, it looked like it would become even deeper with the announcement of Panasonic’s L² Technology collaboration agreement and so it has proven with the many innovations in the S5 II and S5 IIX not least of which is their DFD-quashing hybrid PDAF aka PDHAF aka Phase Detection Hybrid Autofocus.

We’re looking forward to more such innovations from Panasonic and Leica in 2023.

Links

• B&H Affiliate Link – click here to research and purchase or pre-order your choice of cameras, lenses and accessories for stills photography and video production whatever your genre and subject matter.
• B&H Affiliate Link – Panasonic Camera Accessories – DMW-BGS5 Battery Grip – DMW-BLK22 Lithium-Ion Battery (7.2V, 2200mAh) – DMW-BTC15 Battery Charger – DMW-EC6 Eyecup –  DMW-MS2 Stereo Shotgun Microphone – DMW-SHGR1 Tripod Grip – DMW-XLR1 XLR Microphone Adapter
• B&H Affiliate Link – Panasonic Lumix Digital Cameras  – S Series (35mm aka “Full Frame”) – S1 – S1H – S1R – S5 – S5 II– S5 IIX – BSH1 Box Cinema Camera
• B&H Affiliate Link – Panasonic Lumix Lenses – S Series (35mm aka “Full Frame”) – 14-28mm – 18mm – 20-60mm –  24mm – 24-105mm – 35mm – 50mm – 70-300mm – 85mm – Lumix S Pro – 16-35mm – 24-70mm – 50mm – 70-200mm f/2.8 – 70-200mm f/4.0
• Camera Labs – Panasonic Lumix S5 II review – Gordon Laing’s text plus images plus video review.
• Gordon Laing – Panasonic Lumix S5 II for PHOTOGRAPHY review: BEST value full-frame vs R6 II A7 IV? – video
• Leica Camera USA – website
• Unititled.Net – Panasonic North America: Leica and Panasonic Sign Strategic Comprehensive Collaboration Agreement – “Both companies are committing to increase the collaboration of their core competencies and to develop new technologies and solutions under the new name of “L² Technology” (L squared Technology).”

B&H Explora: Panasonic Lumix S5II & S5IIx Full-Frame Mirrorless Photo-Video Cameras – Commentary

https://www.bhphotovideo.com/explora/videos/photography/panasonic-lumix-s5ii-s5iix-full-frame-mirrorless-photo-video-cameras/BI/20140/KBID/14125/SID/DFF

“Venture into the video and photo sides of creative storytelling with the powerful, new hybrid mirrorless camera offerings from Panasonic, the Lumix S5II and Lumix S5IIx full-frame mirrorless cameras. The new releases include the Lumix S5II and Lumix S5IIx camera bodies, kits with the S5II and S5IIx cameras and a 20-60mm zoom lens, and a new 14-28mm ultra-wide L-mount half-macro zoom lens, perfect for those in search of a camera with photo and video applications….”

Panasonic Lumix S5 II, S5 IIX, 14-28mm & 20-60mm zoom lenses

Panasonic Lumix S 20-60mm f/3.5-5.6 standard zoom lens. Image courtesy of Panasonic Australia.

Panasonic Lumix S5IIX. Image courtesy of B&H.

Panasonic Lumix S Pro and S 35mm aka “Full Frame” lens roadmap as of January 4, 2023. Image courtesy of Panasonic Global.

Panasonic Lumix S5II. Image courtesy of B&H.

Panasonic Lumix S 14-28mm f/4.0-5.6 Macro wide-angle zoom lens. Image courtesy of Panasonic Australia.

Commentary

The announcement of the S5 II, S5IIX, 14-28mm zoom and the reminder about the previously released 20-60mm zoom lens has come as welcome news indeed and we’re looking forward to watching and reading up about each of them over the coming days.

Both cameras have begun to turn our heads, as it were, when it comes to self-funded independent documentary video production given Panasonic’s excellent color science and years of producing great video and cinema cameras and lenses.

Even better, Panasonic knows the necessity of great manual focusing capability as well as excellent autofocusing and we’re hoping that both are well catered for in these two exciting new 35mm sensor-equipped hybrid mirrorless cameras.

Plenty more content on these cameras and lenses will be coming here soon.

Links

• • B&H Affiliate Link – click here to research and purchase or pre-order your choice of cameras, lenses and accessories for stills photography and video production whatever your genre and subject matter.
  • B&H Affiliate Link – Panasonic LUMIX Digital Cameras – Lumix Mirrorless Cameras – S5 II– S5 IIX
  • B&H Affiliate Link – Panasonic Lumix Mirrorless Lenses – Full Frame Lenses – Lumix S Pro – Lumix S – Panasonic Lumix 14-28mm f/4-5.6 Macro – Panasonic Lumix S 20-60mm f/3.5-5.6
  • B&H Explora – Panasonic Lumix S5II & S5IIx Full-Frame Mirrorless Photo-Video Cameras