PV: Many members of the ‘Personal View’ community are shooting with the Micro Four Thirds (MFT) system digital cameras including many of the Panasonic MFT system products. Therefore when during the Leica and then Panasonic press conferences prior to the opening of Photokina 2018 we have learned about new L-mount alliance, many of our community members become concern that MFT system is in danger because of these new series of L-mount cameras. Can you give us some insight on the destiny of the Panasonic MFT products?…
… PV: Will the new L-mount system affect the Panasonic development of new MFT products, for example will some of the proposed MFT lenses be delayed? Another concern is that the MFT could be refocused primarily towards the basic entry-level of cameras, eliminating the semi-professional MFT category of products. Will the MFT cameras have the same attention from the best Panasonic engineers and designers, or it will suffer from lack of resources?…
… PV: How do you see the future development of the MFT cameras? For example, one of my favorite MFT camera series is a rangefinder-style GX line, such as GX8. I have noticed that in latest GX-series release, the Lumix GX9 camera is more GX7-alike than GX8, similar to GX7 in size and less advanced in some of its features than GX8, such as weather-sealing, OLED viewfinder, fully articulated display, or availability of external microphone port. Can we expect another series of the compact rangefinder style MFT camera with more advanced features, or all future MFT cameras with advanced features will be solely designed in GH5-style of camera bodies?…”
Panasonic Lumix DC-GX9 with optional screw-attached hand grip that must be removed to access SD cards and batteries. The DC-GX9 reportedly has short battery life so you may well be unscrewing this hand grip many times throughout the day.
Optional normal-sized eye-cup for Panasonic Lumix DC-GX9 on tilting EVF is a must the shooting in daylight outdoors.
Panasonic Lumix DMC-GX8 professional rangefinder-style camera with Panasonic Lumix G X Vario 12-35mm f/2.8 Aspheric Power OIS lens.
The Panasonic Leica DG Summilux 12mm f/1.4 Aspheric prime lens is also well-balanced on the GX8.
The Panasonic Lumix DMC-GX8’s fully articulated monitor beats any tilting or fixed LCD monitor screen especially in combination with its tilting EVF.
There is much more to the conversation between Personal View’s Igor Drozdovsky and Panasonic’s Adviser for Technical PR Mr Michiharu Uematsu, the Imaging Section’s Ms Emi Fujiwara and Engineer Mr Taku Kariyazaki than the questions above of whether Panasonic will be dropping development of the professional cameras in the GX series and whether the company will also cease development of its Micro Four Thirds cameras and lenses in favour of the 35mm sensor cameras and lenses of the recently announced S Series.
I recommend reading the interview in full for those of us with the same questions as asked by Mr Drozdovsky, and I hope that answers about the future of pro-quality rangefinder-style GX cameras will soon be provided by Panasonic.
I seriously hope that Panasonic will not be trying to tell us that pro-quality DSLR-style cameras must now somehow replace pro-quality tilting EVF rangefinder-style cameras just as I hope the company will not try to convince us that 3-way tilting monitors must now always replace fully articulated monitors.
Since when is a reduction in capability somehow an advance in capability, other than in the imaginations of marketing department managers?
“With Panasonic unveiling their first ever full frame mirrorless cameras, the S1 and S1R, the question needs to be asked, will they knock Sony off the throne and take the crown to become the new king of full-frame mirrorless cameras? Now I’m strictly speaking about video functionality and not their performance as a hybrid camera….
… Panasonic has a real chance to push the envelope with the S1 and S1R and let’s hope they do. Competition is good for everyone, and hopefully, with such fierce competition in the full frame mirrorless space, it will continue to push manufacturers into giving us the features we all want….”
Panasonic’s announcement at photokina 2018 of its Lumix S1 and S1R 35mm sensor cameras, also referred to somewhat inaccurately as “full frame” or “full format”, was an in-development notification meaning that the system and its cameras and lenses are a little way off from release yet.
The term “35mm” is more than sufficient for describing digital cameras based on 24x36mm sensors and possesses an accuracy that the other two rather silly terms do not.
The idea of Panasonic adding a 35mm system to its current Micro Four Thirds system offering is an intriguing one given Fujifilm has already gone two steps further with its APS-C X-Mount system and its more recent Medium Format GF-Mount system.
Will the image quality difference between M43 and 35mm be as great as that between APS-C and MF?
Will photographers who currently rely on Panasonic’s Lumix GX8, GH5 and G9 M43 cameras consider adding Panasonic Lumix S1R cameras for their 47 megapixel sensors and consequent high image quality for large format printing?
Or, having got bitten by the big sensor bug, might they wish to go beyond 47MP in the 35mm sensor format and consider the Fujifilm GFX 50R, GFX 50S or GFX 100S?
Interesting times and, of course, the proof of the pudding will only be available when the new Fujifilm and Panasonic cameras make their appearance and the inevitable side-by-side comparisons begin turning up.
Then there is the question of Panasonic’s commitment to the Japanese Government’s decision to broadcast the 2020 Olympics in 8K and whether the Lumix L-Mount S-System is how Panasonic will bring 8K video capability to its hybrid cameras.
I am looking afraid to learning more about Panasonic’s Lumix S1 and S1R as well as what happens with the L-Mount initiative formed between Leica, Panasonic and Sigma.
Panasonic Lumix S1 and S1R at Panasonic Lumix press conference, photokina 2018
Panasonic Lumix S1 and S1R mirrorless 35mm sensor format cameras with the first three lenses to be released for the system, 24-105mm f/4.0 standard zoom lens, 70-200mm telephoto zoom lens and 50mm f/1.4 prime lens.
“Nearly 200 years after the birth of photography, the art form is experiencing a technological revolution….
… on the eve of Photokina – the industry’s giant trade fair in Cologne – Panasonic has just unveiled a body that could prove the most disruptive of all….
… Panasonic, however, is teasing a model that promises to combine several cutting-edge features….
“Panasonic’s move into the full-frame mirrorless segment is particularly interesting because of its collaboration with Leica and Sigma – both companies with a strong photographic heritage,” Futursource analyst Arun Gill told the BBC.
“By adopting Leica’s L-Mount, Panasonic’s cameras will have an immediate advantage of being compatible with several existing high-quality lenses.”…”
“… When it was unveiled that Panasonic was making two Full-Frame cameras and that they are partnering with Leica and Sigma, I was ecstatic, and still am. Everything about these new cameras looks and sound promising.
However, we have found out that the upcoming S1 and S1R will not have flip-out fully articulating touch LCD like the G9 GH5 and GH5S, it is unsure what the reasoning of this was. But many of us in the video world was surprised and confused by this, all we wanted was for the screen to be the same as the one offered in the GH5 and GH5S….”
Fully-articulated LCD monitors on other Panasonic Lumix cameras and other brand cameras too
The Panasonic Lumix DC-GH5’s fully articulated LCD monitor can tilt up and down plus plenty more besides.
Flipping the Panasonic Lumix DC-GH5S’ fully-articulated LCD monitor and rotating it is crucial when shooting in tight spaces.
Fully-articulated LCD monitor of Panasonic’s Lumix DC-GH5S can be folded to protect the glass, an excellent feature when shooting in the field in difficult and dirty conditions.
The excellent Vary-i Cage Combination for GH5 is only possible because of the camera’s fully-articulated LCD monitor.
Panasonic Lumix DC-G9 with fully-articulated LCD monitor.
The Panasonic Lumix DC-GH5S’ touch screen enables operating and focusing when unable to have the EVF to your eye. It can be positioned off to the left and tilted two ways when you can be directly behind the camera.
Australian photojournalist Daniel Berehulak using his Panasonic Lumix DMC-GX8 with fully-articulated LCD monitor.
The Panasonic Lumix DMC-GX8’s fully articulated monitor beats any tilting or fixed LCD monitor screen especially in combination with its tilting EVF.
Samsung NX30 with Samsung 18-55mm III f/3.5-5.6 OIS zoom lens.This amazing camera has a fully-articulated LCD monitor as well as a tilting electronic viewfinder.
Samsung NX30 with Samsung 18-55mm III f/3.5-5.6 OIS zoom lens.
Olympus OM-D E-M1 Mark II DSLR-style camera with fully-articulated LCD monitor.
Olympus Pen F rangefinder-style camera with fully-articulated LCD monitor.
I fully support Australian artist Idin Aazami’s petition to Panasonic asking that Panasonic’s currently -in-development Lumix S1 and S1R 35mm mirrorless cameras be released with fully-articulated LCD monitors instead of the 3-way tilting LCD screens shown off on the pro-production dummies shown at photokina 2018.
I was convinced to invest in Panasonic Lumix cameras for video production and stills photography by the experience of using cameras with 3-way tilting screens and using cameras with fully-articulating monitors and the advantages of the latter over the former became very clear very fast.
Please sign Idin Aazami’s petition and help get the numbers well beyond 1000.
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 | A APS-C zoom lens.
Sigma 24-35mm F2 DG HSM | A 35mm sensor format zoom lens.
Sigma 50-100mm F1.8 DC HSM | A 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.
“Cameras seem to get smaller as time goes on, with more technology stuffed into every square millimeter than ever before. Batteries haven’t really kept up with that trend, with some cameras only lasting a half hour or 45 minutes on a full battery charge….
In the recent refreshing of its battery lines, Core SWX introduced the Powerbase EDGE, a smaller, sleeker, and more modernized Powerbase for today’s modern camera-scape….”
“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, regrettably much too slow to focus manually or via autofocus and its aperture ring too flakey and quirky for fast-paced professional work in stills and video, though some folks seem to like it for the quirkiness that made it frustrating for me.
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
Fujifilm Fujinon XF 50mm f/2.0 WR R “Fujicron” prime lens.
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.