XF16-80mm f/4 is going to be an all in one beautiful lens, great for stills and video
coming later this year [September]…
Billy loves images with blown out background, and subjects to stand out, hence he brings prime lenses. Prime lenses also are sharper
Often Billy does not bring a zoom lens
Slowing down with primes, gets him more keepers
with zoom lenses he tends to get too lazy, just stand, zoom, and snap images
He would sacrifice primes to get 1 zoom for long hikes or so
He looks forward to XF16-80. Sharp lens, great all-rounder…
Zoom lenses can make things “easy”, but if you stick to constantly choose the frame, to work on the picture, you can get great images with zooms
If you struggle to find your frame, set your zoom to one focal length, and shoot only with that, so you start to take pictures more consciously…
Although I am primarily a prime lens user in whichever camera system and sensor size, zoom lenses containing just the right focal lengths are invaluable when the two-camera, two-primes solution or swapping prime lenses from camera to bag and back again is out of the question when shooting documentary video and stills in fast-moving and intensive, highly immersive situations.
The Fujinon XF 16-80mm f/4.0 R OIS WR for Fujifilm’s APS-C/Super 35 cameras and the Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 Aspheric for M43/Super 16 cameras including those made by Blackmagic Design, Olympus and Panasonic are two such zoom lenses and both have been highly anticipated since their in-development announcements a while ago.
Fuji Guy Billy is a respected in-house commentator on Fujifilm’s hardware and firmware, and it is reassuring to read his own assessment of the Fujinon XF 16-80mm f/4.0 R OIS W, supported by videos featuring photographers working in different genres while using the lens.
I look forward to the Fujinon XF 16-80mm f/4.0 R OIS W’s arrival in-store and into the hands of well-qualified independent reviewers soon.
Fujifilm Fujinon XF 16-80mm f/4.0 R OIS WR
Fujifilm X-T3 with Fujinon XF 16-80mm f/4.0 R OIS WR zoom lens.
Fujifilm Fujinon XF 16-80mm f/4.0 R OIS WR zoom lens with up to six stops of stabilization, equivalent in 35mm sensor format terms to 24mm through to 120mm focal lengths.
Fujifilm Fujinon XF 16-80mm f/4.0 R OIS WR zoom lens.
Fujifilm Fujinon XF 16-80mm f/4.0 R OIS WR zoom lens.
Fujifilm Fujinon XF 16-80mm f/4.0 R OIS WR zoom lens.
jonasrask|photography – Fujinon XF 16-80mm f/4 R OIS WR first look preview – “The optical image stabiliser is the real show stopper with this lens. Fujifilm is promising a 6 stop OIS. But not only that, the OIS actually detect[s] when you put the camera on a tripod, and adjusts accordingly. Very nice feature to have.”
“Brought to you live from Hamburg: The newest Olympus camera in professional photography! Watch here the playlist of the full show of the OM-D E-M1X release event. This clip summarizes the official Press Release Conference on January 23rd, 2019, with guests from Olympus Tokyo….”
For me, the Micro Four Thirds sensor format occupies the place that 35mm inhabited during the analog era and so it is well-suited to the photographic genres that were dominated by 35mm cameras such as sports, wildlife, photojournalism, some subgenres of documentary and specific approaches to fashion photography.
Other sensor formats occupy places once owned by larger analog formats, for example Fujifilm’s X-Trans APS-C has taken the place of some 120 roll film formats while Fujifilm’s G-Series Bayer sensor-equipped medium format cameras have taken the place of 4″x5″ sheet film and the company’s coming GFX 100 will likely match if not surpass the image quality of 8″x10″ sheet film cameras.
Similar analogies apply to other sensor formats such as 35mm where 20+ megapixels sensors amply match if not surpass the quality once obtained by medium format roll film and circa 50 megapixels sensors are inching on the door of sheet film’s house.
Complaints that MFT camera sensors may not be as sensitive as those of larger formats are silly given the mobility, weather resistance and smaller lenses with stellar performance the smaller format affords.
If you need larger sensor cameras, invest in them and let MFT be what it excels at just as one should allow cameras of other sensor formats and body types to be what they were designed to be.
Pretending otherwise is silly.
I am rather fond of the Micro Four Thirds format as it gave me access to the pro-quality video capabilities I could not afford at the time and its cameras proved to be rather good for documentary stills photography and photojournalism too.
If I were working for newspapers and magazines as I used to, MFT cameras and lenses would constitute my core daily working kit, supplemented by equipment in other sensor formats as projects demanded.
The Olympus OM-D E-M1X would be in contention as would the excellent Olympus M.Zuiko Pro lenses.
The Micro Four Thirds sensor format is perfectly adequate for those genres and applications.
Olympus OM-D E-M1X with lenses and accessories
Olympus OM-D E-M1X with Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro zoom lens.
Olympus OM-D E-M1X Micro Four Thirds mirrorless digital camera with Olympus M.Zuiko Digital ED 40-150mm f/2.8 Pro zoom lens, equivalent in the 35mm sensor format to 80mm to 30mm.
The Olympus Lens Roadmap, February 2019
Olympus has been doing a great job of fleshing out its professional-quality M.Zuiko Pro lens collection but gaps remain in its prime and zoom lens offerings and rumours of new lenses, particularly new fast prime lenses, have appeared over the last couple of years without results.
I am rather fond of the M.Zuiko Pro lens series, with my most-used being the Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro standard zoom, and I have been hoping that Olympus will add more prime lenses.
I chose the 12-40mm f/2.8 over what might have been the more logical choice given I use Panasonic cameras, Panasonic’s Lumix G X Vario 12-35mm f/2.8 II Aspheric Power OIS zoom lens, for several reasons:
Manual clutch focus – essential in my opinion for achieving fast, accurate, repeatable focus especially when shooting documentary video.
Longer focal length range – 24mm to 80mm in 35mm sensor equivalents, extending the long end into the realm of ideal focal lengths for portraiture.
Excellent optical performance – all throughout the lens’ focal length range.
Excellent mechanical and optical design and manufacturing.
Olympus’ release of its first three fast M.Zuiko Pro prime lenses was very pleasing, but I have long been hoping for the addition of 10.5mm and 14mm prime lenses, equivalent in 35mm terms to 21mm and 28mm, both of which are essentials for documentary photography and video.
While 10.5mm is available wit in the M.Zuiko Pro 7-14mm f/2.8 zoom, that lens requires the use of large, unwieldy and costly adapters for attaching neutral density filters when shooting video.
A 10.5mm M.Zuiko Pro prime lens is a much better choice and it does not need to be as fast as its M.Zuiko Pro siblings with their f/1.2 maximum aperture.
The same applies to an M.Zuiko Pro 14mm prime lens.
Both lenses would be perfectly fine with maximum apertures of from, say, f/1.8 through to f/2.8, though faster is always appreciated in available darkness.
One of Olympus’ new items in its February 2019 lens roadmap, “Bright Prime Lenses”, is encouraging and it appears to be placed somewhere between 10mm and 60mm.
I would love to see wide aperture prime lenses added in popular focal lengths such as the following, in their M43 and 35mm sensor equivalents:
10.5mm – 21mm
14mm – 28mm
37.5mm – 75mm
52.5mm – 105mm
Two other new items in the lens roadmap have me intrigued, “Wide Zoom Lens” and “Standard Zoom Lens”.
I would like to see Olympus take on Panasonic over the latter’s Leica DG Vario-Summilux 10-25mm f/1.7 fast zoom lens that was announced with scant details back in late 2018.
This lens may well be the one I had been looking for when I first bought into Micro Four Thirds, containing most of the focal lengths I need on a daily basis for documentary stills and video, and something similar coming from Olympus for its M.Zuiko Pro lens collection can only be a good thing.
During the run up to photokina 2018 after the first rumors about Panasonic working on a 35mm sensor hybrid camera system, dismay at the possibility that Panasonic may be planning to abandon the Micro Four Thirds sensor format flowed thick and fast.
M43 aficionados who love the format for its affordability, its small and light cameras and lenses and their ability to make photographs or videos in public without drawing undue attention are well used to copping criticism from 35mm fanboys for not using real cameras and lenses, for their lack of devotion to “full frame” or “full format”, both highly inaccurate terms for 35mm that have, alas, become deeply embedded in the popular imagination.
Was Panasonic about to jump the fence and side with M43’s detractors, demanding that its current customer base fork over the high prices customarily demanded for 35mm hardware and start carrying bulky, heavy 35mm cameras and lenses wherever they go?
“Oh my aching back and aching wallet,” was the cry.
And then at Panasonic’s photokina 2018 press conference, we discovered the fear of Panasonic abandoning M43 was unfounded.
The Leica DG Vario-Summilux 10-25mm f/1.7 zoom lens appears…
… followed by Pulitzer Prize winning Australian photojournalist Daniel Berehulak…
… and Panasonic shares its Lumix brand growth strategy…
The announcement of a brand new lens for Panasonic’s Lumix G M43 cameras was wholly unexpected, and was the best sort of confirmation that Panasonic will be continuing with its Micro Four Thirds lines for the foreseeable future.
Personally I cannot see myself buying and carrying a full two-camera, multiple-lens 35mm sensor format camera kit to create the sorts of agile, immersive documentary photographs I want to and so will be using Panasonic’s G System cameras for some time to come, provided at least one of them will be a professional rangefinder-style camera with tilting electronic viewfinder like my Lumix DMC-GX8.
Details about the Leica DG Vario-Summilux 10-25mm f/1.7 are scant and are limited to the press release lower down this page due to it being in-development and not ready to release just yet.
While watching Panasonic’s press conference livestream I was struck by how the lens was spoken of as being, in essence, five lenses in one – 20mm, 24mm, 28mm, 35mm and 50mm in 35mm sensor equivalent – or 10mm, 12mm, 17.5mm and 25mm in M43.
I would add 21mm and 40mm to that list because for me, Leica got it so right years ago with their classic rangefinder camera M-System lens line-up illustrated above.
Thus if this lens works well at 21mm, 28mm, 35mm and 40mm and, to some degree, 50mm, then I will be well pleased as they are the focal lengths I most use for the work I do.
I would add a 75mm equivalent prime lens for documentary work and an 85mm or 90mm prime lens for portraiture and that would be a complete two-prime, one-zoom documentary photography or photojournalism lens kit for those of us who relish getting up close and personal.
Some commentators are wondering whether Panasonic came out with this lens in response to the common practice amongst indie moviemakers of defaulting to Sigma 18-35mm f/1.8 Art zooms and other such lenses adapted to M43 with Metabones EF-to-M43 Speed Boosters on their Panasonic Lumix DMC-GH4, DC-GH5 or DC-GH5S cameras.
Sigma’s Art wide aperture zoom lenses, popular for adapting to Panasonic Lumix M43 cameras with Metabones Speed Boosters
Sigma 18-35mm F1.8 DC HSM | Art APS-C zoom lens.
Sigma 24-35mm F2 DG HSM | A 35mm sensor format zoom lens.
Sigma 50-100mm F1.8 DC HSM | Art APS-C zoom lens.
I like to think that the even closer ties between Leica, Panasonic and Sigma established via the L-Mount Alliance have led to cross-fertilization between old and new, zooms and primes, and that Leica’s amazing Tri-Elmar lenses past and preset have influenced Panasonic’s decision to collaborate on a zoom lens that may well share some Tri-Elmar traits.
Leica’s legendary MATE and WATE Tri-Elmar-M prime-quality stepped zoom lenses
Leica Tri-Elmar-M 28-35-50mm f/4.0 Aspheric three-in-one medium prime lens, often referred to as the MATE aka “Medium Angle Tri-Elmar”.
Leica Tri-Elmar-M 16-18-21mm f/4.0 Aspheric three-in-one wide angle prime lens, often referred to as the WATE aka “Wide Angle Tri-Elmar”.
Leica’s MATE and WATE lenses appear to have been merged into what I might start referring to as Panasonic’s WAMAVS lens, standing for Wide and Medium Angle Vario-Summilux.
I hope we will hear more about the Leica DG Vario-Summilux 10-25mm f/1.7 as time goes by.
Will it have optical image stabilization aka OIS and Dual IS in conjunction with cameras like the GH5, the GX8 and the G9?
Will its focusing ring have a manual clutch focus mechanism like the excellent Olympus M.Zuiko Pro prime and zoom lens collection?
Will Panasonic add the choice of linear or non-linear focussing to its focus-by-wire control ring via firmware?
Is this lens the first of a series that may come closer to the sorts of lenses I have been wanting for my M43 cameras all this while?
Professional LEICA DG 10-25mm zoom lens (35mm camera equivalent: 20-50mm)
The world’s first full-range F1.7 wide zoom lens (as of 25 September 2018)
The ultimate photo/video-hybrid digital interchangeable lens
Constant aperture ensures harmonic depth of field while zooming
25th September 2018 – Panasonic is pleased to announce the development of the LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 wide zoom digital interchangeable lens (35mm camera equivalent: 20-50mm). It is the world’s first* F1.7 wide-angle zoom lens for the Micro Four Thirds (MFT) system.
Taking full advantage of the MFT system standard, the new LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 lens is both bright and compact. It is the first interchangeable lens to be introduced to the market featuring a full-range F1.7 high-speed aperture.
Integrating a click-less aperture ring that provides seamless aperture control, the new LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 lens aims to be the ultimate photo/video-hybrid digital interchangeable lens.
The zoom range of the VARIO-SUMMILUX covers 10-25mm: starting from a wide angle and reaching to the natural perspective of human vision. It is designed and developed to fully support photography as well as video recording on a professional level.
LEICA DG lenses are designed to exceed the stringent LEICA quality standards and boast excellent optical performance. The new LEICA DG VARIO-SUMMILUX 10-25mm / F1.7 is no exception, achieving exceptional imaging performance over the entire zoom range, empowering users to capture precise details and expressions.
Panasonic is committed to further expand the camera and lens line-up for the MFT system to meet customer demands and needs.
* As of September 25, 2018
• Details of the product specifications, the date of release and the price are yet to be advised.
• Leica is a registered trademark of Leica Microsystems IR GmbH.
• SUMMILUX is a registered trademarks of Leica Camera.
“Which lens is better for b roll? Which is better for the buck? Today we’ll look at 2 highly acclaimed lenses from the M43 system in this Panasonic shootout for B ROLL!…”
Panasonic Lumix G 25mm f/1.7 Aspheric prime lens.
Panasonic Lumix G 42.5mm f1/7 Aspheric Power OIS prime lens.
One of the many joys of Micro Four Thirds hybrid mirrorless cameras is their range of price points from affordable through to high-end and the same is true of lenses, making the M43 sensor format attractive to those of us just breaking into stills and video as well as more experienced practitioners.
While I often write about flagship M43 cameras and lenses here, I also use and value lower priced M43 gear for its affordability, smaller size and weight and its usefulness for discrete photography and b-roll video especially in multi-camera set-ups.
New vlogger Kim Cruz has recently produced some short, sharp videos about some of these affordable choices.
Lest one succumb to the commonly held belief that M43 sensor photographs cannot look as good as those from larger sensor cameras, I recommend trying out DxO PhotoLab and its companion applications for processing your M43 raw files.
I received a Panasonic Lumix G 25mm f/1.7 Aspheric prime lens with my Panasonic Lumix DMC-GX8 camera as part of a promotion at the time and often use it for available darkness stills and video as well as in conjunction with the GX8’s wonderful tilting electronic viewfinder aka EVF when emulating the look of my former Rolleiflex Twin Lens Reflex cameras.
Other small Micro Four Thirds prime lenses for stills and video
Panasonic Lumix G 20mm f/1.7 II Aspheric pancake prime lens.
Panasonic Leica DG Summilux 25mm f/1.4 Aspheric prime lens.
Panasonic Leica DG Nocticron 42.5mm f/1.2 Power OIS prime lens. Considered a benchmark lens in its focal length but it is priced accordingly.
DxO – DxO PhotoLab – Its industry-leading Prime noise reduction algorithm helps M43 raw files look as good as or almost as good as those from larger sensor cameras. I also recommend companion DxO applications such as DxO FilmPack and DxO ViewPoint as well as Nik Collection, currently a set of plug-ins for Photoshop and Lightroom that I hope will also become a plug-in for DxO PhotoLab in due course.
Clicking on these affiliate links and purchasing through them helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.
Aurora-Aperture 37mm PowerXND 2000 Variable Neutral Density 1.2 to 3.3 Filter (4 to 11 Stops) – B&H – Top quality variable neutral density aka VND filters are a great choice for fast-moving documentary cinematography as opposed to a set of fixed density neutral density filters. Small, narrow filter diameter lenses like the ones discussed by Kim Cruz in these videos can benefit from having their own native-sized VND filters attached when shooting video due to the size and weight of stacking up step-up rings to attach 77mm or 82mm ND or VND filters.
Aurora-Aperture 46mm PowerXND 2000 Variable Neutral Density 1.2 to 3.3 Filter (4 to 11 Stops) – B&H
Chiaro brass UV protection filters – B&H – I recommend brass filters for lens protection as they are not susceptible to binding like many aluminium-framed filters. Chiaro makes an excellent collection of brass-framed UV filters in filter diameter sizes from 37mm through to 122mm.
Heliopan 37-46mm Step-Up Ring (#745) – B&H – I use a variety of brass step-up rings made by Breakthrough Photography, Heliopan and Sensei Pro. Brass step-up rings are best to avoid binding but they cost and weigh a little more than aluminium step-up rings. I like Breakthrough Photography’s step-rings the best due to their unique heavily-knurled traction frame but the company does not make all the sizes you may need such as 37mm, 40.5mm and 43mm.
Panasonic Lumix G 20mm f/1.7 II ASPH. Lens (Black) – B&H – Equivalent in 35mm sensor terms to the 40mm “perfect normal” focal length, this pancake lens is better suited to stills photography than video but is a much-loved focal length for many movie directors and stills photographers. Filter diameter = 46mm.
“I have my preconceived notions, just like anyone else. A long while back the video techs told me we were stocking Veydra Primes in multiple focal lengths for m4/3 mounts. I just rolled my eyes and passed on by. Another boutique lens that would have poor resolution, ridiculous copy-to-copy variation, and a shelf-life-until-broken measured in weeks. Not interested.
But I noticed we were stocking more and more of them because they rented well; and added them in E-mount, too. I also saw they rarely came to repair. Then I did a little checking and found that our techs, who can check out any gear they want for their weekend shoots (it is an excellent perk, isn’t it?) were taking Veydras home pretty often. So I figured it was time to test them….”
“… So it’s that time of the year, when the whole industry looks at Vegas, eagerly awaiting the new game-changer collection. And this time, Blackmagic pretty much mopped the floor, with all the other new cameras that came out this year, by taking the GH5s (IMX294 or variant) sensor, building a better camera with it, and selling it for have [sic] of the price, while throwing in a full blown, Hollywood grade postproduction package on top of it….
… It’s not as small and stealthy as the original Pocket, but it’s a pretty amazing camera, that still lets you steal shots, while looking like a tourist with a DSLR, if you have to (come on – we all did that at least a few times).
It’s a good size and weight to put it on a one hand gimbal and run all day with it. And if you don’t have the budget for an Ursa, it’s a great camera that you can rig up cine style with all the bells and whistles, and shoot commercials or even narrative….”
Blackmagic Production Camera 4K aka BMPC 4K in EF and PL mounts
Now that Blackmagic Design has removed the pages for its Blackmagic Cinema and Production cameras with Canon EF, Micro Four Thirds and PL lens mounts from its website, good quality product shots are harder to find and so worth preserving here for future reference and comparison with new products like the Blackmagic Pocket Cinema Camera 4K.
The images in this gallery are of the last models in Blackmagic Design’s now-defunct camera series, the Blackmagic Production Camera 4K with EF or PL lens mounts, and apparently were intended for use in the production of serial television series rather than cinema productions.
I have not had the pleasure of using any of Blackmagic Design’s cinema or production cameras, but the proprietor of a production equipment rental service once told me that local well-funded documentary producers were particularly fond of using his Blackmagic rental cameras with Canon EF L-series lenses and adapted Nikon stills photography lenses.
Australian-based Director of Photography John Brawley has often had early access to Blackmagic Design cameras and has shared early footage from them, so it is worth checking his blog every so often.
Mr Brawley is an enthusiast for Micro Four Thirds system lens and Olympus M43 cameras, and it will be interesting to see what he makes of the BMPCC 4K in conjunction with his ever-growing collection of Olympus and SLR Magic lenses, illustrated above.
“Based out of Mexico City, but working wherever there is a story to be told, Daniel Berehulak (www.Danielberehulak.com) is an award winning photo journalist. His images have covered the Trial of Saddam Hussein, The Iraq War, the aftermath of the Tsunami in Japan and more recently the drug wars in The Philippines. He very kindly stopped by the Photo Gear News stand to talk to us about shooting with Panasonic Lumix cameras, notably the recent G9. Daniel also offered some words of advice to those wanting to get started in photo journalism.”
Panasonic Lumix DC-G9 with Panasonic DMW-BGG9 Battery Grip and Panasonic Leica DG Vario-Elmarit 12-60mm f/2.8-4.0 Aspheric Power OIS zoom lens.
Panasonic’s expansion of its Leica optics-equipped Leica DG lens range with the Panasonic Leica DG Vario-Elmarit 50-200mm f/2.8-4.0 Aspheric Power OIS zoom lens is a welcome signal that the company is taking seriously M43’s viability as a professional-quality format for stills photography and moviemaking.
Australian photojournalist Daniel Berehulak, like so many of my former colleagues with whom I worked for newspaper and magazine publishers here, finally upped and left for foreign clients and countries where photojournalists are still able to eke out a living covering events and people crucial to understanding and sometimes even influencing how the world is developing.
It was terrific to come across this video of Mr Berehulak stopping in for a quick chat with the Photo Gear News team at last month’s The Photography Show 2018 in Birmingham, one of the many photography trade shows that occur in the northern hemisphere.
I hope that some day soon, despite there no longer being any photography trade shows back here in Australia, Mr Berehulak will make some presentations on his work and career while on one of his not infrequent trips home to see family and friends.
Although Mr Berehulak has also been known to use Nikon DSLRs, this Panasonic Lumix Luminary brand ambassador has apparently long relied on Panasonic Lumix cameras and lenses and especially on Panasonic’s Leica prime and zoom lenses.
This may be a controversial view in some quarters but in my humble opinion digital gives us more than analog ever did with greater image quality in smaller, more affordable cameras and lenses to the point where Micro Four Thirds Bayer sensors outdo 35mm film, Fujifilm’s X-Trans APS-C sensors outdo 120 roll film and Fujifilm’s medium format Bayer sensors outdo 4″x5″ sheet film.
If I were fortunate enough to still be shooting for analog magazines and newspapers including those published by Fairfax as Daniel Berehulak did, I would mostly be relying on Lumix cameras due to their size, weight and silent mode, though I remain partial to Olympus’ M.Zuiko Pro prime and zoom lenses for their manual clutch focus and other professional-quality traits.
The small Micro Four Thirds sensor format and its little, quiet, discrete cameras are modern-day answers to the original aims of the inventor of the Leica analog camera, Oskar Barnack, to produce an easily portable camera for landscape photography but that was first put to serious documentary use reporting on the floods that swept through Leica’s home base of Wetzlar, Germany, in 1920.
Little wonder that Panasonic has collaborated with Leica Camera AG on producing Leica and Panasonic Leica-branded lenses for its stills and hybrid cameras and camcorders since 1995, lenses favoured by Daniel Berehulak for his documentary photography and photojournalism work.
“This exciting prime provides ultra wide-angle coverage up to 113° angle of view which is the widest in its class. The tiny size & light weight match perfectly with mirrorless cameras and are suitable to use with gimbals. 2 aspherical elements plus 3 extra-low dispersion elements successfully correct the chromatic aberration, realize a close-to-zero distortion & deliver a corner to corner sharpness….”
“The most compact and versatile high magnification macro lens.
This lens is optimized for macro shooting between 2.5X – 5X life size. The lens is specially designed with an extended working distance (45mm at 2.5x & 40mm at 2x)and smaller lens barrel. This allow a sufficient lighting on the object for easier shooting in the field. The lens is much more compact and lighter than other comparative products. This lens also provides a relatively greater depth of field compared to other extreme macro lens in the market. The Laowa 25mm f/2.8 2.5-5X is developed for both professional and leisure macro photography, to be used on the field or in indoor set-up…..”