“… The two main takeaways from this interview with Mr. Yamane are a recognition of where his company needs to improve (specifically around AF performance in mirrorless bodies) and a commitment to do so, coupled with a concurrent commitment to Micro Four Thirds. This should come as good news to virtually all Panasonic shooters, regardless of which system (or which side of the video/stills divide) they’re invested in.
Some of the most innovative and pioneering cameras in the early history of consumer digital imaging were launched under Panasonic’s Lumix brand….”
Commentary
Are new cameras and lenses on the way from Panasonic for its G-Series Micro Four Thirds and S-Series 35mm sensor-equipped mirrorless hybrid cameras?
Time will tell.
One thing is for sure: given how far ahead other mirrorless camera makers are with their phase detection autofocus compared to Panasonic’s contrast detection autofocus, Mr Yamane and his team really need to pull their collective fingers out and pronto.
Compared to cinema cameras and their more specialized user base and uses where autofocus usually plays second fiddle to manual focusing, hybrid cameras need top quality autofocusing capability to satisfy a much broader base of users.
“Newark, NJ (March 17, 2021) – Panasonic is proud to announce the release of firmware updates for the LUMIX S Series full-frame mirrorless cameras DC-S1H (Ver.2.4), DC-S1 (Ver.2.0), DC-S1R (Ver.1.8), DC-S5 (Ver.2.2) and the Micro Four Thirds box-style mirrorless camera DC-BGH1 (Ver.2.0) to further enhance their functions, performance and usability. Firmware updates are a key value-added service provided for LUMIX cameras and Panasonic will continue to improve our cameras and offer updates for our valued customers….”
Panasonic announces host of firmware updates for its LUMIX S and G Series cameras
4th November 2020 – Panasonic has today announced the release of firmware update programs for its LUMIX S and G Series cameras, which will be available free of charge. Panasonic continues to follow its philosophy and implement advanced technology developments not only to new products but also to those already released and improve existing models via firmware update.
Available to download on 24th November 2020, the latest firmware updates will be available for S1H, S1R, S1, S5 as well as G100.
Additionally, a further firmware update (v2.0) will be available for LUMIX S1 in 2021 to enhance its functions and performance.
Firmware Update Improvements for LUMIX S Series
S1, S1R and S1H will inherit the improved autofocus technology and performance of the new LUMIX S5. In addition to the eye, face and body now the head is separately recognised by real-time detection technology. The camera keeps tracking the person even if they move quickly, turn their head or back to the camera, tilt their head or move far away. Additionally, improvements to the DFD technology have enhanced the continuous autofocus (AFC), which enables users to keep tracking small or fast-moving subjects. The AF-advancements are available for both photo shooting and video recording.
In addition, the firmware updates also include:
Human/Animal recognition is available in [1-Area] and [1-Area+] AF mode
[AF+MF] mode can be used during video recording
AF-Recognition during V-Log-recording has been improved (S1H/S1/S5)
[SS/Gain Operation] function has been added to S1R, S1 and S5
A recording indication frame [Red REC Frame Indicator] has been added to S1R and S1
Vertical video playback has been added to S1H, S1R and S1
4K video files can now be transferred to a smartphone via Wi-Fi (S1H/S1R/S1)
The monitors of S1H and S5 now can display the images flipped when the free-angle LCDs are rotated and [Horizontal Image Flip(Monitor)] / [Vertical Image Flip(Monitor)] are activated.
5K video recording has been added to S1R 2
10-bit HDR video recording has been added to S1R [Like 2100/HLG]
High-Resolution audio recording and dedicated menu settings for the DMW-XLR1 microphone adaptor have been added to S1R 3
The [Luminance Level] function in S1R now supports 10-bit recording
4K 60P/50P 4:2:2 10-bit video output over HDMI has been added to S1R.
C4K (4096×2160) video has been added to S5 4
[5.9K] / [4K] / [Anamorphic (4:3) 3.5K] 12-bit RAW Video Data output over HDMI has been added to S5. Also Apple ProRes RAW can be recorded on Atomos NINJA V (S5)5
Vector Scope display has been added to S5
Master Pedestal Level has been added to S5
[L.ClassicNeo] and [L.Monochrome S] Photo Styles have been added to S5
Further Updates for LUMIX S1 in the First Half of 2021
To meet the demands of users, the LUMIX S1 will continue to evolve. With firmware 2.0, the user will be able to manually switch the Dual Native ISO settings. As well as V-Log recording, further enhancements will be available with the purchase of DMW-SFU26, including an anamorphic mode and timecode function, in addition to 5.9K/C4K and 4K60/50p 4:2:0 10bit internal video recording and 5.9K/4K/Anamorphic (4:3) 3.5K 12-bit RAW video data recording over HDMI on an Atomos Ninja V.7
Firmware Update Improvements for LUMIX G Series
LUMIX G100 now has compatibility to the LUMIX Webcam Software (Beta) with firmware version 1.1. In addition, the G100 monitor can now display the images flipped when the free-angle LCD is rotated and [Horizontal Image Flip(Monitor)] / [Vertical Image Flip(Monitor)] is activated.
1 If no model is indicated, the improvement applies to S1H, S1R, S1 and S5.
5 All functions may not be available depending on the situation. Software that supports Apple ProRes RAW is required to edit RAW video recorded with NINJA V. Apply the LUT(Look up table ) available on the following customer supports site to make the same color grading as V-Log/V-Gamut. https://panasonic.jp/support/global/cs/dsc/download/lut/s1h_raw_lut/
6 A Software Upgrade Key DMW-SFU2 (sold separately) is required to activate V-Log/MOV-function. Users who already have DMW-SFU2 installed do not need to purchase DMW-SFU2 again.
Panasonic Lumix DC-G100 mirrorless digital camera with Lumix G Vario 12-32mm f/3.5-5.6 Aspheric zoom lens and Panasonic DMW-SHGR1 Tripod Grip. Image courtesy of Panasonic Australia.
Panasonic Lumix DC-S5 with Panasonic Lumix S 20-60mm f/3.5-5.6 zoom lens and Battery Grip DMW-BGS5 for Panasonic Lumix S5, S5II and S5IIX. Image courtesy of Panasonic Australia.
Panasonic Lumix DC-S1H with Panasonic Lumix S Pro 24-70mm f/2.8 standard zoom lens. Image courtesy of Panasonic Australia.
Panasonic Lumix DC-S1R with Panasonic Lumix S 24-105mm f/4.0 zoom lens.
Panasonic Lumix DC-S1 with Panasonic DMW-BGS1 Vertical Battery Grip and Panasonic Lumix S 24-105mm f/4 Macro OIS lens.
“SmallRig Side Handle with Remote Trigger for Panasonic Mirrorless Cameras 2934 is designed to provide a comfortable grip and features a record button on top to control camera start/stop.
Key Features:
1. Ergonomic Control Handle for Selected Panasonic Cameras.
2. Start/Stop Remote Trigger Button.
3. 1/4″-20 & 3/8″-16 & Cold Shoe Accessory Mounts.
4. Features Slots for Cable Tethering.
5. Adjusts up & down with Sliding Connector.
6. Integrated Allen Wrench Stores Inside the Grip.”
SmallRig Side Handle with Remote Trigger for Panasonic Mirrorless Cameras 2934. Image courtesy of SmallRig.
Commentary
This long-awaited remote cable side handle for a range of Panasonic Lumix Micro Four Thirds and 35mm sensor aka “full frame” or “full format” hybrid stills/video cameras is in pre-order at time of writing with a 15% discount so get there soon to secure one.
This device looks well-designed and well-executed, and it is now on my production accessories wishlist.
“The CP+ 2019 trade show in Yokohama, Japan, gave us the chance to speak to most of the major camera makers. Panasonic put forward an extensive team to discuss the company’s move into the full-frame market….
… it’s clear that Panasonic wants its S1 and S1R to appeal specifically to professional stills photographers. When it comes to video, the company’s plans seem less well-developed. For now, at least, it seems that Panasonic sees the GH series as its main video/stills camera platform.”
Panasonic Lumix DC-S1 and DC-S1R 35mm sensor mirrorless hybrid cameras with Panasonic S 24-105mm f/4.0 and Panasonic S Pro 50mm f/1.4 lenses.
Panasonic Lumix S 70-200mm f/4.0 OIS telephoto zoom, Panasonic Lumix S Pro 50mm f/1.4 fast prime lens and Panasonic Lumix 24-105mm f/4.0 Macro OIS standard zoom lens. The first two lenses have manual clutch focus. Image courtesy of Panasonic Australia.
Commentary
Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 wide angle zoom lens for Micro Four Thirds cameras. This is the very first zoom lens by any maker that provides the most necessary focal lengths for documentary photography and video, and it doubtless will feel right at home on a Lumix GH5, GH5S, G9 and the coming GH6 as well as the Blackmagic Pocket Cinema Camera 4K.
If by “cameraness” Panasonic means that one can pick up a Lumix S1 or S1R, feel at ease with it and start shooting good photographs or movie footage right away, then I agree with the company’s use of that word.
Here is an event where I tried out the S1 and here is the other event where I tried out an S1R, both times shooting decent photographs almost immediately after the most cursory inspection of the cameras’ controls.
Of course, that ease of use is based partly on my years-long familiarity with Panasonic’s Micro Four Thirds Lumix cameras and partly on Panasonic’s even longer history of constantly improving its cameras and lenses all by itself and in collaboration with Leica Camera AG.
Cameras and lenses by both companies share DNA and it was inevitable, in retrospect, that their long partnership would deepen into the L-Mount Alliance, pleasantly drawing lens maker Sigma in to the equation along with its wide range of top-class prime and zoom lenses for cinematography and photography.
When Panasonic staff members asked me for my first impressions of the S1 and S1R at a couple of touch-and-try events in Sydney earlier this year, my first thought was that both would be very usable cameras if I were still working in magazine editorial portrait and documentary photography where 35mm sensors are king.
That is no mean achievement for the first version of any new product range, and I look forward to seeing how Panasonic’s current S-Series cameras and their successors develop.
If I need to get back into 35mm sensor photography and video, I know where to go.
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“The S1 and the G9 Panasonics are a truly unique digital double act. How do the Full Frame S1 and Micro Four Thirds G9 stand up against one another? Is bigger better? Or is nimbler nicer?”
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 Lumix DC-S1 with Panasonic DMW-BGS1 Vertical Battery Grip and Panasonic Lumix S 24-105mm f/4 Macro OIS lens.
Commentary
Top video reviewer David Thorpe always cuts to the heart of the matter when it comes to mirrorless digital cameras and lenses, a trait no doubt formed by decades in the trenches as a Fleet Street photographer.
In this video review comparing Panasonic’s Lumix DC-G9 Micro Four Thirds mirrorless camera with the recently-released Lumix DC-S1 35mm sensor mirrorless camera, Mr Thorpe opts to continue daily carrying his G9 but appreciates the differences and similarities in both.
David Thorpe – Panasonic’s Lumix S1 and G9 Digital Double Act – video
ePHOTOzine – Panasonic Lumix S1 Full-Frame Camera Review By David Thorpe – video with gallery of sample photographs
Help support ‘Untitled’
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Panasonic Lumix DC-G9 Mirrorless Micro Four Thirds Digital Camera – B&H
Panasonic Lumix DC-S1 Mirrorless Digital Camera – B&H
Last month at the CP+ show in Yokohama we spoke to executives from several major manufacturers, including Sigma. In our conversation with CEO Kazuto Yamaki we discussed his plans for future L-mount lenses (and cameras) and some of the challenges of supporting multiple mounts.
Sigma 105mm f/1.4 DG HSM | Art prime lens with L-mount. A brilliant portrait focal length but no equivalent lens currently exists for Micro Four Thirds or Fujifilm APS-C cameras.
Commentary
I am looking forward to seeing and trying Sigma’s Art collection L-mount prime lenses scheduled for release sometime this year and that are adapted from the company’s current DSLR Art collection offerings.
One major bugbear of new mirrorless launches such as those of Fujifilm APS-C and medium cameras, Panasonic’s Lumix S1 and S1R 35mm cameras, and Panasonic’s Micro Four Thirds cameras is the relative paucity of lenses.
Canon took 30 years to come up with its near-complete DSLR lens collection and it may well take Fujifilm, Olympus and Panasonic almost as long to flesh out the many gaps in their lens collections.
Professional photographers and cinematographers rely on the availability of large lens collections for their cameras in a way that amateurs and enthusiasts tend not to, especially when relying on prime lenses for their optimum optical and mechanical quality.
I would love to see Sigma creating lenses for Fujifilm X-mount APS-C cameras given there are so many glaring holes in Fujifilm’s lens lineup, and the same desire applies to professional-quality lenses for use on Blackmagic Design, Olympus and Panasonic M43 cameras.
Panasonic and its L-Mount Alliance partners Leica and Sigma have done well to aim at releasing enough lenses to satisfy those contemplating investing in the L-mount camera system, and it is pleasing to read that Sigma will be working on smaller and more affordable L-mount lenses in due course.
Meanwhile those of use needing focal lengths that Fujifilm does not offer for its X-mount and G-mount cameras may need to bite the bullet and rely on adapted EF-mount lenses instead of the much-preferred native X-mount and G-mount alternatives that simply do not exist yet.
I am still hoping for a professional-quality alternative to Fujifilm’s too-quirky, too-slow Fujinon XF 18mm f/2.0 R prime lens with its 35mm sensor equivalent focal length of 28mm, a staple optic for many documentary photographers and photojournalists, me included.
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“I had the honour to interview Yosuke Yamane-san during the Asia Pacific regional Lumix S series launch event in Tasmania, Australia. In this interview, we talked about the development of Panasonic Lumix S1 & S1R, the L-Mount alliance, Lumix GH6, DFD Autofocus, and a few other things….”
Panasonic Lumix DC-S1R with Panasonic Lumix S 24-105mm f/4.0 zoom lens.
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Panasonic Lumix DC-S1 and DC-S1R cameras, lenses and accessories – B&H
Release of SIGMA Interchangeable Lenses for L-Mount
SIGMA Corporation is pleased to announce the launch of the Art line prime lens lineup for full-frame cameras in L-Mount. These L-Mount series lenses have achieved high-speed AF and are fully compatible with AF-C mode, in-camera image stabilization, and in-camera aberration correction. The lineup will consist of 11 prime lenses for full-frame cameras from SIGMA’s Art line covering from 14mm to 135mm currently available in other mounts, allowing the Art line, which pursues the highest performance, to be enjoyed on L-Mount cameras.
[Features] 1. Optimized AF for L-Mount※１
With the AF drive control program and high-speed communication tuned for each lens, shooting at speed with high-precision AF control is achieved. The lenses also support the AF-C mode.
2. Compatible with in-camera image stabilization※１
Compatible with in-camera image stabilization, the camera automatically detects the focal length of each lens and optimizes image stabilization performance.
3. Data pre-loaded for compatibility with in-camera aberration correction※１
Fully compatible with in-camera aberration correction (corrections for peripheral illumination, chromatic aberrations, and distortion). By matching corrections to the optical characteristics of the lens, this function takes image quality to an even higher level.
4. Native mount for a more rigid and stable feel
Making the lens mount native provides a much more rigid and stable feel to the lens than using an adapter. Featuring a surface treatment to enhance strength, the brass bayonet mount offers a high-precision fit and exceptional durability. The mount connection area incorporates rubber sealing for dust- and splash-proof construction.
5. Available SIGMA Mount Conversion Service※２
This service converts specifications of the mount of SIGMA lenses to that of a different camera body. Users can “tailor” their favorite lenses to the camera body if they plan to get a new one in the future. This allows continued use of their favorite lenses over the long term regardless of the camera system.
※1 Compatibility with each function depends on the functions available on each camera.
※2 The SIGMA Mount Conversion Service (chargeable) is different from a normal repair service. It is not available at stores. In order to apply for the service, please contact your nearest authorized SIGMA subsidiary or distributor.
Panasonic Lumix S1R 35mm mirrorless digital camera.
Sigma L-Mount Art lenses and EF-to-L-Mount adapter to be released early 2019
Sigma Mount Convertor MC-21 EF-mount to L-mount.
Sigma 14mm f/1.8 DG HSM | Art prime lens with L-mount.
Sigma 20mm f/1.4 DG HSM | Art prime lens with L-mount.
Sigma 24mm f/1.4 DG HSM | Art prime lens with L-mount.
Sigma 28mm f/1.4 DG HSM | Art prime lens with L-mount.
Sigma 35mm f/1.4 DG HSM | Art prime lens with L-mount.
Sigma 40mm f/1.4 DG HSM | Art prime lens with L-mount.
Sigma 50mm f/1.4 DG HSM | Art prime lens with L-mount.
Sigma 70mm f/2.8 DG Macro | Art prime lens with L-mount.
Sigma 85mm f/1.4 DG HSM | Art prime lens with L-mount.
Sigma 105mm f/1.4 DG HSM | Art prime lens with L-mount. Fujifilm needs to make an APS-C equivalent to this lens for portrait photographers missing the 105mm-equivalent 70mm focal length.
Sigma 135mm f/1.8 DG HSM | Art prime lens with L-mount.
Commentary
At the time of writing this article Sigma has the launch date of its first batch of L-Mount lenses marked as TBD but I hope the company can arrange to release them and the MC-21 Mount Convertor in its EF-to-L-Mount version at the same time Panasonic releases its Lumix DC-S1 and DC-S1R 35mm sensor mirrorless cameras.
No mirrorless hybrid camera system maker has managed to release its first cameras alongside an almost full collection of prime and zoom lenses, thus enabling early adopters to buy in and get to work almost immediately without the often years-long wait for the right focal lengths to finally appear.
Sigma’s first L-Mount prime lens release comprises a very usable set of optics, from 14mm up to 135mm, and it contains several that I consider invaluable as a documentary and portrait photographer and moviemaker.
Here is my ideal set of L-Mount lenses for a range of applications and genres:
Sigma 20mm f/1.4 DG HSM | Art
Sigma 28mm f/1.4 DG HSM | Art
Sigma 35mm f/1.4 DG HSM | Art
Sigma 40mm f/1.4 DG HSM | Art
Sigma 70mm f/2.8 DG MAcro | Art
Sigma 105mm f/1.4 DG HSM | Art
Alternatively, one could purchase the MC-21 EF-to-L-Mount adapter and a set of Canon EF-Mount Sigma lenses for maximum versatility and use on a range of cameras with different-sized sensors via adapters.
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I have been asking Panasonic, either directly or through friendly staff members, to ensure that new lenses for its Micro Four Thirds system cameras have manual clutch focus built in for years now, always without positive result. Until now, sort of…
Panasonic Lumix S 70-200mm f/4.0 OIS telephoto zoom, Panasonic Lumix S Pro 50mm f/1.4 fast prime lens and Panasonic Lumix 24-105mm f/4.0 Macro OIS standard zoom lens. The first two lenses have manual clutch focus.
The very first M43 lens I bought for my first M43 camera was the Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro standard zoom lens, and besides its many excellent optical and mechanical qualities, the biggest reason I chose it over Panasonic’s own Panasonic Lumix G X Vario 12-35mm f/2.8 II Aspheric Power OIS standard zoom was its manual clutch focus mechanism.
Coming from decades of relying on non-autofocus, non-autoexposure cameras equipped with manual-only prime lenses, I was not ready to fully commit my photography and cinematography practises to focus-by-wire prime and zoom lenses without hard stops at both ends of the focussing scale.
There have been many times in recent years when the only way of achieving fast and deadly accurate focus has been manually, with my 12-40mm M.Zuiko Pro lens most often on my Panasonic Lumix DMC-GX8 rangefinder-style camera, in conditions where my focus-by-wire and autofocus-only lenses have let me down.
With the 12-40mm, all one needs do is snap the focussing ring towards myself, rotate it a little until the required part of the image pops into sharp focus, then shoot.
Manual clutch focussing mechanisms offer a surety of fast, repeatable, accurate focusing that autofocusing does not and, and when I was considering investing in Fujifilm’s X-System cameras and lenses, I was pleased to discover that it offers three manual clutch focus lenses.
I wish that every Fujifilm Fujinon XF and GF lens had manual clutch focus just as I wish the same for all of Panasonic’s Leica and Lumix M43 lenses.
That lack of manual clutch focus in the latter lens system heavily tipped the balance for me towards Olympus’ M.Zuiko Pro prime and zoom lenses and I hope to be investing in more of them soon.
I had thought that Panasonic was impervious to the idea of manual clutch focus for any of its lenses, until perusing photographs of the first three Panasonic S-Series lenses and discovered that, lo and behold, two of the three have manual clutch focussing mechanisms.
Thank you, Panasonic!
I hope that many more S-Series lenses will follow this fine example.
Panasonic Lumix S 70-200mm f/4.0 OIS and Panasonic Lumix S Pro 50mm f/1.4 lenses, both with manual clutch focus
Panasonic Lumix S 70-200 f/4.0 OIS telephoto zoom lens with manual clutch focus. Image courtesy of Panasonic Australia.
Panasonic Lumix S Pro 50mm f/1.4 fast prime lens with manual clutch focus.
Aperture ring on the Panasonic Lumix S Pro 50mm f/1.4 lens
A second welcome feature of one out of Panasonic’s three new S-Series lenses is the aperture ring on the Panasonic Lumix S Pro 50mm f/1.4 lens.
My ideal lens form factor for documentary stills and video in all sensor formats would include manual clutch focus to supplement the choice of linear or non-linear focus-by-wire, and an aperture ring with the choice of clickless or clicking stops.
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