…So I’ve been shooting with full-frame cameras for 17 years now and here we are in 2019, when full-frame cameras are taking over the popularity contest and Sony in particular has been killing it in well earned reviews, why would I even consider switching to micro four-thirds – a sensor size that is tiny compared to a full-frame sensor? Why would I leave the Sony a7R3 with it’s 42MP (and just announced Sony a7R4 60MP camera) and switch to the Olympus OM-D E-M1X and it’s tiny 20MP sensor?…
The Micro Four Thirds sensor system co-founded by Olympus and Panasonic over a decade ago is particularly well-suited to documentary photography and moviemaking as well as to the wildlife photography practised by Matt Seuss.
Recent M43 cameras like the Olympus OM-D E-M1X and Panasonic’s DMC-G9 with their multi-exposure high-resolution modes have become attractive to landscape photographers needing to produce big, really big, prints and I look forward to high res evolving rapidly so it is more applicable to in-studio and on-location portraiture as well.
Meanwhile I applaud Mr Seuss’ choice to invest in Olympus’ excellent M.Zuiko Pro prime and zoom lenses for M43 cameras including those made by Olympus and Panasonic as well as Blackmagic Design on its Blackmagic Pocket Cinema Camera 4K.
Olympus’ M.Zuiko Pro lenses are excellent for stills and video, especially due to their manual clutch focus mechanism with hard stops at each end, a feature I wish to see on all lenses for cameras in all sensor formats from now on.
It has been good to see Panasonic finally get the memo on manual clutch focus with their first M43 attempt at including it as a key feature on the Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 Aspheric zoom, a lens I have been hoping would eventually appear ever since I invested in the Micro Four Thirds system.
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.
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.
“At a time when Olympus and Panasonic lens prices are going through the roof, Sigma offers these three f/1.4 ‘Contemporary’ lenses at sensible prices. Do they sacrifice sharpness, focus speed or build quality to price? Having owned, used and reviewed – many Sigma lenses over the years, I didn’t anticipate any nasty surprises and I didn’t find any. There were some nice surprises, though….”
Sigma 16mm f/1.4, 30mm f/1.4 and 56mm f/1.4 DC DN Contemporary prime lenses for E-mount and M43-mount cameras
Sigma 16mm f/1.4 DC DN Contemporary prime lens for Micro Four Thirds mount and Sony E-mount cameras.
Sigma 30mm f/1.4 DC DN Contemporary prime lens for Micro Four Thirds mount and Sony E-mount cameras.
Sigma 56mm f/1.4 DC DN Contemporary prime lens for Micro Four Thirds mount and Sony E-mount cameras.
Sigma 18-35mm F1.8 DC HSM | Art APS-C zoom lens.
Former Fleet Street press photographer David Thorpe is one of the least-known yet most-respected YouTube reviewers with a speciality in Micro Four Thirds system cameras and lenses, though I suspect he will be bending that speciality soon with coming reviews of Panasonic’s Lumix S-Series S1 and S1R 35mm sensor format cameras and lenses.
I have no hands-on experience of Sigma lenses whether prime or zoom, though I was lucky enough to inspect Paul Leeming’s Sigma 18-35mm f/1.8 DC HSM Art zoom lens with Canon EF-mount that he has adapted for his Blackmagic Pocket Cinema Camera 4K and was impressed enough with its optics and construction that I am hoping to buy one of my own some time soon.
Clearly Sigma has something good going for it with its membership of the L-Mount alliance alongside Panasonic and Leica, and Mr Thorpe’s review of these three Sigma Contemporary collection prime lenses supports that impression.
With their 35mm sensor format equivalent focal lengths of 32mm, 60mm and 112mm, and fast, wide maximum apertures of f/1.4, and very reasonable pricing, these three lenses look well worth considering for use in stills photography.
I am now looking for some hard-core technical reviews of them for consideration as video lenses too.
My current impression of Sigma’s Contemporary lenses is that they are designed to work in connection with in-camera and image editing raw processing software for correction of any possible optical distortion, whereas Sigma’s Art lens collection that includes the 18-35mm f/1.8 zoom is reportedly designed to the finest of optical standards to obviate the need for correction in software.
That aside, I have been looking for a medium telephoto portrait lens for Micro Four Thirds for some time now, and Sigma’s 56mm f/1.4 DC DN C may well fill the bill.
I originally got into portrait photography with Nikon’s Micro-Nikkor 105mm f/4.0 lens and focal lengths closer to 105mm in the 35mm sensor format are my first choice for work in the genre, so the 112mm equivalent of the 56mm lens is not a bad approximation.
The Sigma 56mm offers the advantage of a wide aperture to blur distracting backgrounds if necessary.
Similarly, I discovered long ago that my preferred main focal length for immersive documentary and photojournalism work is 28mm in the 35mm sensor format, and Sigma’s 16mm f/1.4 DC DN C with its 32mm equivalent focal length is not too far from that.
I like to be able to use my lenses for cinematography and photography, and prefer lenses that perform well in both applications given raw processing can correct optical distortions in still images but non-linear editing software cannot do the same for video.
My favourite raw processing software for raw files shot on Panasonic cameras is DxO PhotoLab so I am hoping that DxO has added camera-and-lens profiles for all three of these Sigma lenses for recent and current Lumix cameras to its database.
Off to DxOMark and time to drop into some camera stores to touch, try and shoot some sample pix with these three lenses so I can crack some raw files open in DxO PhotoLab, DxO FilmPack and DxO ViewPoint.
“Moving to the smaller, lighter, less expensive Panasonic Lumix Micro Four Thirds cameras has made my photography travel life much more enjoyable. Gone are the days of carrying around 12 pound lenses. Getting the most from the smaller systems I’ve started following what I call the Micro Four Thirds Triad. This first video, of my two-part series, explains the cameras and lenses needed to follow the Micro Four Thirds Triad. Watch this video to find out how you can downsize and still get the most possible out of these smaller cameras that save you cash and physical pain. Part two will be released shortly that explains the last part of the triad which is software. Software that solves most problems we have with the smaller cameras so you can produce images that compete beautifully with the larger full frame systems….”
It is timely that wildlife photographer and Panasonic Lumix Ambassador Daniel J. Cox has released his two video about the Micro Four Thirds triad – cameras, lenses and raw image processing – when Panasonic’s Lumix S-Series 35mm sensor format cameras have been announced and are now showing up in touch-and-try events at camera stores around the world.
There is plenty of life left still in the M43 sensor format for photography and video, and many M43 users will doubtless be resisting the temptation to swap over to the larger 35mm sensor format, also misleadingly known as “full frame” and “full format”, and its consequently larger, heavier and costlier cameras and lenses.
I have yet to experience the pleasure of touching and trying Panasonic’s Lumix S1 and S1R cameras and lenses, and am looking forward to several touch-and-try events in Sydney CBD camera stores next week.
Right now I do have some years of experience using Panasonic’s excellent little M43 camera and lenses, as well as Olympus’ M.Zuiko Pro professional-quality lenses, for photography and video, and can attest to the high image quality that can obtained from the M43 sensor format.
When I first tried out M43 cameras and lenses, I was struck at how well-suited they are to documentary photography and photojournalism due to their small size and oftentimes innocuous appearance quite unlike that of the big and heavy DSLR cameras and three-zoom-lens kits of which my former magazine and newspaper colleagues still seem to be fond.
There is nothing wrong with larger cameras, as I amply proved every day during my editorial photography career when I would rely on 4″x5″ sheet film, 120 roll film and 35mm rangefinder cameras far more than I did on the regulation 35mm analog film SLRs of the day.
The Panasonic Lumix S1R with its almost-50 megapixels of resolution, for example, is an intriguing proposition for shooting portraits to be printed extra large for exhibiting in gallery shows.
But meanwhile Daniel J. Cox is sharing some good advice in these videos on how to produce image files large and detailed enough to print up to 24″ x 36″ for exhibition and sale to collectors.
I can attest to the quality and speed of using Mr Cox’s number one raw processing software choice, DxO PhotoLab, as well as the utility value of ON1, Inc.’s ON1 Resize 2018 software which is also available as a component of ON1 Photo Raw.
I note that he lists Phase One’s Capture One Pro as his second choice for raw image processing and image editing, and can attest that it makes a great choice when processing Fujifilm X-Trans image files which are, sadly, not supported by DxO PhotoLab.
I often carry a Panasonic M43 camera alongside a Fujifilm APS-C camera, most often my X-Pro2 along with my Lumix GX8, for their distinctly different ways of seeing and recording the world, and it can be difficult to tell which picture was shot with what camera when processing both in Capture One Pro, especially when applying film simulation styles from any of 1stylespro’s three collections – Portrait Styles, Film Styles or Film Styles Extended.
“…We’re in Dubai, where Fujifilm is showing off pre-production and prototype samples of three upcoming lenses – the GF 50mm F3.5 – a compact, lightweight standard lens for medium format – the XF 16mm F2.8, and the XF 16-80mm F4 – both of which [were] designed for the company’s range of APS-C format X-series cameras.
Click through for an exclusive first look at all three, including detailed specifications….”
As time is inching towards the release sometime in the first half of 2019 of Fujifilm’s Fujinon XF 16-80mm f/4.0 “travel” zoom lens it is terrific to get some idea of its size and features and other it may provide a solution for own needs as a documentary photographer and videographer.
I am self-funded, only able to carry a small amount of hardware on each project, and must work within ongoing limitations – thanks for nothing, Australian banksters, for blowing our refinancing out of the water after you were found out for your crimes by the Royal Commission into banking.
I must be able to get the most out of the hardware I carry and it must be able to help me create good enough movies and videos without the benefit of cases full of equipment, assistants and crews, and the big budgets that I never had anyway when working as a magazine editorial and corporate photographer during the analog era.
Gaps in their offerings
As two relatively new camera and lens systems, Fujifilm’s APS-C sensor format X system and medium format G system still have gaps in their offerings, especially for documentary types like me who prefer to rely on fast prime lenses with all the manual controls that can be had.
Not to say that I do not appreciate zoom lenses now that their optical, mechanical and image quality are so good nowadays.
I also use and love Panasonic’s Micro Four Thirds cameras and Olympus’ M.Zuiko Pro lenses, with my most-used lens being the Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro zoom lens and, had it been released at the time I bought my first Panasonic camera, I may well have chosen the Olympus M.Zuiko Digital ED 12-100mm f/4.0 OIS Pro zoom lens instead.
Slower zoom lenses are fine so long as you supplement them with moderately wide and moderately long fast aperture prime lenses for available darkness documentary work and portraiture, and Olympus offers three of them in its M.Zuiko Pro range at the moment, with more to come I hope.
Going fast to begin with
At the time I bought my first interchangeable lens Fujifilm camera, the company did not offer a standard zoom lens like those above made by Olympus or their Panasonic equivalents, so I invested in a Fujinon XF 23mm f/1.4 R and Fujinon XF 56mm f/1.2 R, well answering my fast aperture moderate long and wide needs.
Another longstanding need has been for a professional quality 18mm prime lens equivalent to 28mm in the 35mm sensor format and 14mm in the Macro Four Thirds sensor format.
With little sign of Fujifilm offering such a lens any time soon, I have had to consider other possibilities including adapting an EF-mount Sigma 18-35mm f/1.8 DC HSM Art zoom lens to X-mount, but this solution is best suited to DSLR-style cameras like the X-T3 rather than the rangefinder-style X-Pro2 that is much more effective for hardcore immersive documentary photography.
My interest in the coming Fujinon XF 16-80mm f/4.0 R OIS zoom was piqued when I borrowed a Fujinon XF 18-55mm f/2.8-4.0 kit zoom lens for my first tryout of the X-T3.
I loved its 18mm widest focal length, rarely used the lens at 23mm and 55mm as I was also carrying my X-Pro2 equipped with either of those two lenses, and would have loved access to longer focal lengths than 56mm for those times I could not get close enough.
DPReview’s hands-on with the Fujinon XF 16-80mm f/4.0 R OIS WR zoom provides a reasonably reliable impression of the lens in its shipping form and confirms it has a marked, clicking aperture ring and weather resistance, though no manual clutch focus or, probably, no clickless option.
The X-T3’s firmware offers the ability to switch focus-by-wire from non-linear to linear so I will be giving that feature a tryout during my current X-T3 loan period over the coming days.
Two out of three
Two out of three ain’t bad for the Fujinon XF 16-80mm f/4.0 R OIS WR zoom.
As I am not a fan of the neither fish-nor-fowl 16mm focal length, equivalent to 24mm in the 35mm sensor format, the Fujinon XF 16mm f/2.8 R WR “Fujicron” lens is not on my wishlist which is topped by the Fujinon XF 14mm f/2.8 R annual clutch focus prime lens to tackle the ultra wide end of things and has a 58mm filter diameter, meaning I can easily add a knurled brass Breakthrough Photography step-up ring for my neutral density filters when shooting video.
Although I would prefer to have a set of wide-aperture manual-clutch-focus primes for all my documentary moviemaking and photography, the Fujinon XF 16-80mm f/4.0 R OIS WR zoom would provide a range of my most-needed focal lengths – 18mm, 23mm, 27mm, 56mm and 70mm.
In 35mm sensor format terms, that is 28mm, 35mm, 40mm, 85mm and 105mm, and a limit of 120mm at the long end will account for those rare times my feet are unable to do the zooming.
Fuji Rumors has republished images and information about the northern hemisphere fall aka autumn 2019 (southern hemisphere spring 2019) release of the XF 16-80mm f/4.0 R OIS WR including these from Japanese website capa.getnavi.
Many thanks to Fuji Rumors for the slide translation:
Fujinon XF 10-24mm R OIS, Samyang 12mm f/2.0 NCS CS X-Mount, Fujinon XF 14mm R and Venus Optics Laowa 9mm f/2.8 Zero-D for architecture and documentary
Fujinon XF 10-24mm f/4.0 R OIS zoom lens.
Fujinon XF 14mm f/2.8 R prime lens with manual clutch focus.
Fujifilm VF-X21 External Optical Viewfinder for Fujifilm X70, for use with 21mm and 28mm equivalent lenses such as the Fujinon XF 14mm f/2.8 R and XF 18mm f/2.0 R.
Samyang 12mm f/2.0 NCS CS X-Mount prime lens.
Laowa 9mm f/2.8 Zero-D lens with Fujifilm X-Mount.
I have a longterm project coming up where I need to document the construction of a house from greenfield to completion, and I need to expand my stills photography kit for that and a number of other upcoming stills and video projects.
Right now I have no idea what my budget will be, given the economy-wrecking predations of the Australian banks and real estate agencies over the past couple of years, but there are at least two options.
Fujinon XF 14mm f/2.8 R with Fujifilm VF-X21 external optical viewfinder for my X-Pro2.
Fujifilm MHG-XT3 Metal Hand Grip
Fujifilm VG-XT3 Vertical Battery Grip
Fujinon XF 10-24mm f/4.0 R OIS
Fujinon XF 16-80mm f/4.0 R OIS WR
Breakthrough Photography 72-82mm knurled brass step-up ring x 2
Breakthrough Photography lens cap, 82mm x 2
Breakthrough Photography X4 UV filter x 2
Fixed or variable neutral density filters, 82mm diameter
There are other lenses available that receive good reviews and are suitable for architectural photography though they are too ultra-wide for documentary photography, the Samyang 12mm f/2.0 NCS CS X-Mount at 18mm equivalence and Venus Optics Laowa 9mm f/2.8 Zero-D at 13.5mm equivalence in the 35mm sensor format.
If only one lens it is to be, then the minimalist option makes sense as I rather like the Fujinon XF 14mm f/2.8 R’s 21mm equivalence for figures in landscapes, emotive close-up documentary shots, and architectural and cityscape work.
This lens will need Fujifilm’s VF-X21 viewfinder sitting on top of my X-Pro2 as a 14mm field of view falls outside the X-Pro2’s 18-56mm optical viewfinder bright frames and the X-Pro2’s EVF is not what I would like it to be.
Will the X-Pro3 improve upon that and other weak points?
If there is budget enough, then of course I would prefer the maximalist option camera and lens plus upgrading my ageing post-production facility.
The X-T3 plus grips and two zoom lenses, with the addition of my three current 23mm, 27mm and 56mm Fujinon prime lenses, makes a good Super 35mm video set-up combined with Fujifilm’s X-Trans 120-rollfilm quality stills.
The Fujinon XF 10-24mm f/4.0 R OIS is an ageing lens design, however, and lacks weather resistance and appears to be at its best optically speaking from f/8.0 rather than closer to f/4.0.
I want to see Fujifilm bring it up to current standards with a Fujinon XF 10-24mm f/4.0 R OIS WR zoom that will make a great match with the coming Fujinon XF 16-80mm f/4.0 R OIS WR zoom lens, giving the equivalent of 15mm through to 120mm in the 35mm sensor format.
“Jack Lam is a cinematographer based in Beijing and Hong Kong. His body of work includes TV commercials, seasonal TV drama series and theatrical feature films. His commercial clients include Cathay Pacific, Lenovo, Airbnb, Alibaba, and Mandarin Oriental Hotel Group. He also works with DJI as a design consultant for their cinema products….
… As a working cinematographer, I am super excited by Panasonic’s announcement of the Lumix S mirrorless camera system. The Panasonic GH5 is so well-designed, it has become a reliable workhorse for many video shooters. I have no doubt a full-frame version of it will be amazing, and everything I read about the S1/S1R confirms that.
However, Lumix S has the potential to become much greater that what we see in this product launch. With this brand new camera system, Panasonic has a unique opportunity to create the perfect small camera system for professional cinematographers. But doing so requires Panasonic to address a long-standing problem that is overlooked by all other camera makers, as well as some rethinking of conventional ideas on camera design.
This missing feature – one that can become a potential killer feature for Panasonic – is good manual focus control for video….
… I want MF control that is simple, accurate, reliable, repeatable, predictable, measurable and ergonomically sound. It should also be wireless-capable and highly integrated as part of the camera (so that we can keep the camera small and don’t need to add six other accessories just to pull focus). Do you know of any small (DSLR/mirrorless) camera in the market that fulfills all of the above requirements? I have found none.”
Please note that Jack Lam’s open letter was written late 2018 before the official launch of the Panasonic S1 and S1R cameras and lenses, before detailed specifications were released.
The elephant in the room of mirrorless and DSLR hybrid cameras is manual focusing, and it is pleasing that Mr Lam has addressed it in depth.
The autofocus capabilities of modern mirrorless cameras have been steadily improving for use in stills photography, but I often find myself flipping over into manual focus whenever starting off with autofocus when shooting video, no matter how much innovation has gone into each camera’s video autofocus functions.
The problem of manual focusing limitations in cameras is further compounded by the manual focusing and focus pulling limitations of the lenses that are made for them, with their reliance on non-linear focusing control rings or lack of focusing rings altogether.
Whenever possible I invest in lenses that have manual clutch focus mechanisms and hard stops at each end of the focussing scale, but these lenses can be far and few between in any camera system.
Lenses manually focused via control rings are more common, whether the option of switching from non-linear to linear operation is offered in cameras’ firmware or not.
Given a choice, I will always select a manual clutch focus lens over autofocus-only or control ring-only lenses, but then there is another factor, the all-too-common lack of an aperture ring.
The ideal lens for me has both, with a switch for clickless and clicked operation of the aperture ring being the best option for riding exposure in variable light.
I write about this stuff as often as I can but I am nobody and no camera manufacturer pays attention to what I have to say.
It may be a different matter for Jack Lam.
I hope that Panasonic is not the only camera and lens maker that may read Mr Lam’s open letter.
I want Blackmagic Design, Fujifilm and Olympus to read it and act positively upon it too.
Manual focus and focus-pulling for video with mirrorless hybrid camera should not have to suck.
I am beyond tired of it sucking on the cameras that I try out and consider for purchase.
I am tired of having to mention it all the time in my articles in the hopes of things changing for the better.
I am sure that my contacts at the camera and lens companies are tired of me and reportedly many others asking them to lift their game.
Mr Lam makes a number of other excellent suggestions on page two of his article as published by DPReview, or you may wish to read it at source, at Mr Lam’s The Right Lens web log below.
For good measure, here is his list of other necessary features, all of which I agree with:
Other Good-to-have Features
While we are at it, here are some good-to-have features that I’d like to see in the Lumix-S system. But they are not nearly as important as a good focus control system.
– GH5-style Flip-out Screen. It is already so good. Don’t change it.
– High-bright Screen. Make it viewable under sunlight. I know it eats battery and heats up quick. But it really is super useful outdoor.
– Internal ND
– 4K 10-bit Log 60fps
– Build-in Video Transmitter or make it an add-on module that is highly integrated with the camera. Monitoring thru WiFi isn’t reliable enough. (I know I am getting greedy…)
– Sturdy, Positive-locking Lens Mount. For the time when we do use a cinema lens. (Just like the mount upgrade option on the Canon C300 MK2)
– Ergonomics. For the video-centric pro model, please, don’t make it too large, otherwise the whole talk about small cameras getting good focus control becomes moot. At least give us one video-centric model with DSLR-like form factor. And please, for god’s sake, don’t make it shaped like the Canon C100 / C300. They have the worst ergonomics.
“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 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.
“Equivalence. It’s the bugbear of anyone who reviews Micro Four Thirds lenses. You are being conned says the incoming mail. Your f/1.4 lens is really an f/2.8. And your so called shallow depth of field is commensurate with f/2.8, too, not f/1.4. It’s an argument I’ve heard so many times and while factually true, is pointless and irrelevant. The only rational response is -so what?…
Put simply, a native Micro Four Thirds lens is just that. A native Micro Four Thirds lens. It isn’t a Full Frame lens. It won’t fit a DSLR and if it did it wouldn’t cover the whole frame. I’ve tried more and more to describe lenses according to their angle of view since that is universal. If you know what angle of view you want, you can choose a lens to get it. Thus, I know that I like as a standard prime a lens with a moderate wide angle, around 54° horizontal. A quick calculation at Points In Focus Photography tells me that for a Micro Four Thirds sensor it would be 17mm, for FF 35mm and for Medium Format 55mm. Easy.”
Former Fleet Street newspaper photographer David Thorpe is in my humble opinion one of the best and most useful writers and reviewers on Micro Four Thirdscameras and lenses though it is a pity that camera and lens makers don’t give him the credit and access to review gear that he deserves.
Mr Thorpe comes from a 35mm and 120 roll-film single lens reflex (SLR) background during the analog era whereas I have always relied on rangefinder and view cameras and prefer digital cameras that give me some semblance of those unique ways of seeing and photographing.
The other big difference between Mr Thorpe and I is that I rely on all my cameras, to varying degrees, when making photographs as well as videos and video is better served by fully manual lenses or at least manual clutch focus lenses such as those made by Fujifilm in APS-C X-Mount format and Olympus in M43.
As a result there are M43 lenses, especially small, light and relatively affordable prime and zoom lenses, that I quite like for stills photography but that are ruled out for serious video production, and more specialized M43 lenses such as those made by Veydra in their Mini Prime range, and those made by Olympus under their M.Zuiko Pro brand.
“… I can understand and agree with every reason put forward for those big, expensive optically superb f/1.2. And yet, in my heart, ever since I bought into Micro Four Thirds I’ve retained my original reasoning. Put an Olympus 17mm f/1.8 on a Panasonic GX9 body and go out street shooting in Soho. Now go out with a 17mm f/1.2 on the front. What can I say? Little and good, big and bad….”
Not quite, insofar as hybrid street shooting goes.
Although I have been tempted by the idea of the Olympus M.Zuiko Digital 17mm f/1.8 given its focal length is my own perfect all-in-one go-to, in reality this lens is apparently a little too compromised for documentary video production, according to a number of pro video reviewers.
I have yet to lay my hands on one for serious try out and review, but the first thing to consider is the practicality of attaching fixed or variable neutral density filters to its 46mm filter diameter via a step-up ring.
I have standardized on 77mm and 82mm diameter variable and fixed NDs in order to keep down costs, but need to maintain a selection of step-up rings to fit those NDs on a range of lenses.
Experience has taught me to stick to brass step-up rings to avoid binding, preferring brands that knurl the outside of their rings for best grip in challenging conditions but then that narrows brand choice down to Breakthrough Photography, Heliopan, PolarPro and Sensei Pro.
Of those only Heliopan makes rings for smaller filter diameters like 46mm but they don’t step-up to 82mm; for that you will need to attach a 77mm to 82mm step-up ring for which I would automatically choose the one made by Breakthrough Photography.
The same goes for other small M43 lenses some of which may be more suitable for video production such as Panasonic’s Lumix G 42.5mm f/1.7 Aspheric Power OIS with its 37mm filter diameter, the Lumix G Vario 14-42mm f/3.5-5.6 II Aspheric Mega OIS with its 46mm filter diameter, the Olympus M.Zuiko Digital ED 12mm f/2.0 with its 46mm filter diameter and manual clutch focus, the Olympus M.Zuiko Digital 25mm f/1.8 with 46mm filter diameter but no manual clutch focus and the Olympus M.Zuiko Digital 45mm f/1.8, again with no manual clutch focus but with a 46mm filter diameter.
Some made by Olympus, some by Panasonic. some with manual clutch focus, some without, none with wide filter diameters and all needing one or two step-up rings to get them to the magic 77mm or 82mm filter diameter, the latter of which I have chosen as my new default given better ND filter choice in that size now.
Digital Trends – Olympus M. Zuiko F1.2 Pro lenses prove there’s life left in Micro Four Thirds – “Naturally, these lenses are fantastic for portraiture. The sense of depth they give at f/1.2 is like nothing else we’ve ever seen on the format. In fact, the remark that kept coming to mind was, “This looks like film.” It is probably the first time we’ve ever felt that way about Micro Four Thirds…. Olympus’ goal with the F1.2 Pro series was to craft a specific quality of blur, which the company calls “feathered bokeh.”
Digital Trends – Olympus M.Zuiko 17mm F1.2 Pro review – “… until now, there hasn’t been a fast, wide-angle prime that really targeted high-end and professional users. The Olympus M.Zuiko 17mm F1.2 Pro changes that, combining the largest aperture of any wide-angle lens available for the format with exceptional build quality.”
Digital Trends – Olympus M.Zuiko 25mm F1.2 Pro review – “… [the] Olympus M.Zuiko 25mm F1.2 Pro, however, is a technically excellent lens that may also just be special enough to inspire you emotionally. It highlights the impressive move that the Micro Four Thirds system has made into the world of professional photography.”
Digital Trends – Olympus M.Zuiko 45mm F1.2 Pro review – “… the 45mm is perhaps the most exciting entry in the series — everything about it is finely tuned for portrait photography… In fact, it is our favorite portrait-length lens for the MFT system.”
“Sigma just patented two new Micro Four Thirds lenses: 14mm f/1.2 and 35mm f/1.2. Now you will wonder…what has this to do with Panasonic? Because Sigma is known to sell those lens designs to Panasonic. The Leica 12mm f/1.4 for example is designed by Sigma…
That’s why there is a high chance the 14mm and 35mm f/1.2 prime lenses will be released by Panasonic (maybe using Leica brand)….”
Or maybe there is an even higher chance that Sigma is planning on selling these two new f/1.2 prime lens designs to Olympus for its top-tier M.Zuiko Pro lens collection to go with its current 17mm, 25mm and 45mm f/1.2 primes?
Sigma Corporation, like Cosina and several other mostly Japanese companies, is an OEM manufacturer of lenses for other brands and apparently has already sold lens designs to Olympus, such as the 150mm-equivalent M.Zuiko Digital ED 75mm f/1.8, considered to be one of the optically finest Micro Four Thirds lenses available.
Sigma apparently was known for some years as a budget lens maker but its Art range of premium lenses proved that it belongs in the ranks of professional-quality lens makers now.
Sigma’s recently released Ciné prime and zoom lens collection cements the company’s reputation firmly in place as does, on the adapted lens front, the company’s much-lauded Sigma 18-35mm f/1.8 DC HSM Art, often first choice in combo with Metabones Speed Boosters for M43 video camera users working in available darkness.
Two documentary movie and photography favourites, 28mm and 75mm
My two preferred documentary prime lens focal lengths are 28mm and 75mm in 35mm sensor equivalence and they are my first choice when buying into a new camera system.
That choice is often thwarted, though, by their equivalents’ unavailability as native lenses in some mirrorless camera systems or, in the case of Fujifilm’s Fujinon XF 18mm f/2.0 R, an ageing lens’ quirky mechanical qualities making it next to useless for a high speed approach necessitated by the nature of my subjects and their circumstances.
28mm equivalent prime lenses by Fujifilm, Leica and Panasonic
Panasonic Lumix G 14mm f/2.5 II Aspheric pancake prime lens, which appears to be missing in action from most if not all retailers now.
Fujinon XF 18mm f/2.0 R prime lens.
Leica Summilux-M 28mm f/1.4 Aspheric prime lens for Leica M-Mount.
Panasonic’s pancake prime, the Lumix G 14mm f/2.5 II, had vanished from most retailers after I tried a review loaner out and although I made some great photographs with it, its performance was suboptimal for everything I wanted to do with it, not least due to its lack of a focussing ring.
I and many other Fujifilm camera users are still waiting for the company to issue its long-rumoured 18mm update perhaps in the form of a Fujinon XF 18mm f/2.0 R WR “Fujicron”, especially suitable for documentary photography with the X-Pro2 rangefinder camera, the X-E3 rangefinder-style camera and Fujifilm’s smaller DSLR-style cameras.
75mm equivalent prime lenses by Fujifilm, Leica and Veydra
Fujinon XF 50mm f/2.0 WR R “Fujicron” prime lens, equivalent to 75mm in the 35mm sensor format.
Leica Apo-Summicron-M 75mm f/2.0 Aspheric prime lens.
Veydra 35mm T2.2 Mini Prime, equivalent to 70mm when used on a Micro Four Thirds camera.
Veydra 50mm T2.2 Mini Prime, equivalent to 75mm when used on a Fujifilm or Sony APS-C camera.
Prime lenses in the 35mm sensor equivalent 75mm focal length are as hard to find in the Micro Four Thirds world as their 28mm equivalent siblings, and that relative rarity is not assisted by Sigma’s patent for a 35mm and not 37.5mm focal length lens.
Even so there are times I miss the 90mm focal length equivalent so have Olympus’ M.Zuiko Digital ED 45mm f/1.2 Pro high on my M43 lens wishlist, also due to the manual clutch focus featured in all M.Zuiko Pro prime and zoom lenses making them invaluable for professional moviemaking and photography work.
Given a choice between a manual focus or manual clutch focus lens and a fly-by-wire autofocus or autofocus/manual lens, I will choose the manual or manual clutch focus lens same as I will choose a pair of fast primes over a zoom lens that includes both focal lengths.
There is no denying, though, that some projects demanding stealth, speed and small camera bag transportation can benefit from carrying just one top-quality zoom lens like the Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro or the Olympus M.Zuiko Digital ED 12-100mm f/4 IS Pro.
Designed by Sigma for Olympus or Panasonic?
It is too early to tell whether the 43 Rumors folks are correct about Sigma’s 14mm and 35mm f/1.2 lens design patents being intended for Panasonic.
I am hoping upon hope that the eventual destination will be Olympus and its M.Zuiko Pro lens collection.
Panasonic seems disinclined to replace its lenses’ linear and non-linear fly-by-wire mechanisms with the far more capable manual clutch focus mechanism used in Olympus’ M.Zuiko primes and zooms, and Fujifilm’s 14mm, 16mm and 23mm wider aperture trio for that matter.
Panasonic insiders have told me they constantly receive requests from professional users for manual clutch focus lenses but the company seems set on its current path if its apparently Sigma-designed 12mm, 15mm, 25mm and 42.5mm wide aperture Leica-branded lenses are any indication.
I wish to see Olympus adding to its M.Zuiko Pro collection with 14mm and 37.5mm focal length lenses as well as 10.5mm and 12mm focal length prime lenses.
Sigma’s 70mm-equivalent 35mm f/1.2 lens is not quite my preferred focal length but at least it fills the gap between the current 25mm and 45mm M.Zuiko Pro lenses.
Now let’s see Olympus fill the other gaps in its M.Zuiko Pro collection.