David Thorpe: A Look At Three Wide Aperture Sigma Lenses For Micro Four Thirds

“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_dc_dn_roadmap_1920px
Sigma DC DN Contemporary prime lens roadmap for Sony E-mount and Micro Four Thirds mount.

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

Commentary

sigma_30mm_f1.4_dc_dn_contemporary_m43-mount_02_1024px
Sigma 30mm f/1.4 DC DN Contemporary fast prime lens in M43-mount and E-Mount on Sony and Olympus cameras.

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.

nikon_micro-nikkor_105mmf2.8_01_1024px_60pc
Nikon Micro-Nikkor 105mm f/2.8 manual focus, manual exposure macro lens.

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.

Links

Help support ‘Untitled’

Clicking on the links below and purchasing through them or our affiliate accounts at B&H Photo Video, SmallRig or Think Tank Photo helps us continue our work for ‘Untitled’.

  • Sigma 16mm f/1.4 DC DN Contemporary LensB&H
  • Sigma 30mm f/1.4 DC DN Contemporary LensB&H
  • Sigma 56mm f/1.4 DC DN Contemporary LensB&H
  • Sigma 18-35mm f/1.8 DC HSM Art LensB&H
Advertisements

43 Rumors: Panasonic going to launch new f/1.2 prime lenses? Here are the patents…

https://www.43rumors.com/panasonic-going-launch-new-f-1-2-prime-lens-series-patents/

“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)….”

OLYMPUS DIGITAL CAMERA
The Olympus M.Zuiko Digital ED 17mm f/1.2 Pro, Olympus M.Zuiko Digital ED 25mm f/1.2 Pro and Olympus M.Zuiko Digital ED 45mm f/1.2 Pro. Might Sigma be planning on selling its newly patented  14mm f/1.2 and 35mm f/1.2 lens designs to Olympus instead of Panasonic?

Commentary

panasonic_all_ten_leica_lenses_february_2018_1024px_60%
43 Rumors reports the possibility that Panasonic may buy Sigma recently patented 14mm f/1.2 and 35mm f/1.2 M43 prime lens designs. If so, Panasonic likely will brand them as Panasonic Leica lenses to go into its premium-quality prime and zoom lens collection. Panasonic’s Leica and Lumix lenses, however, only offer autofocus or focus-by-wire and not manual clutch focus as Olympus does with its M.Zuiko Pro lens collection.

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_18-35mm_f1.8_dc_hsm_a_02_1024px
Sigma 18-35mm f/1.8 DC HSM Art zoom lens for APS-C sensors and for adapting to M43 with Metabones SpeedBoosters, lens available in Canon EF or Nikon mounts.

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’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.

For video, though, a faster 18mm lens in the style of Fujifilm’s Fujinon XF 14mm f/2.8 R, Fujinon XF 16mm f/1.4 R WR and Fujinon XF 23mm f/1.4 R would be the preferred option.

75mm equivalent prime lenses by Fujifilm, Leica and Veydra

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.

olympus_12-40mm_f2-8_1024px
Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro zoom lens, one of the most versatile top-quality professional zoom lenses made, especially invaluable for its manual clutch focus and fast autofocus. I use mine resting on the 14mm or 37.5mm spot on the zoom ring depending on my project and subject.

I have used Panasonic’s Lumix G X Vario 12-35mm f/2.8 II Aspheric Power OIS zoom lens in its previous version I form but found its 35mm long end limited for documentary work and portraiture so opted for Olympus’ stellar M.Zuiko Digital ED 12-40mm f/2.8 Pro instead.

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?

panasonic_leica_dg_nocticron_42.5mm_f1.2_aspheric_power_ois_H-NS043_04_1024px
Panasonic Leica DG Nocticron 42.5mm f/1.2 Aspheric Power OIS lens, apparently designed by Sigma. It has focus-by-wire manual focus or autofocus and can often miss the mark despite Panasonic’s DFD focussing system.

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.

Links

Image Credits

Header image concept and quick hack by Carmel D. Morris.

Image inspired by The Expanse TV show currently on SyFy channel soon moving to Amazon, and Cooke Optics’ famous matched sets of evenly-spaced top-quality cinema prime lenses.

I wish to see all lens makers emulate Cooke’s example with sets of manual or manual clutch focussing prime lenses in evenly spaced focal lengths.

Help support ‘Untitled’

olympus_m.zuiko_digital_ed_12-100mm_f4.0_is_pro_06_1024px_60pc
Olympus M.Zuiko Digital ED 12-100mm f/4.0 IS Pro, an excellent choice for travel and daily walkabout requiring a longer focal length range than kit and other zoom lenses.

Clicking on these affiliate links and purchasing through them helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.

  • Fujifilm XF 14mm f/2.8 R Ultra Wide-Angle LensB&H
  • Fujifilm XF 16mm f/1.4 R WR LensB&H
  • Fujifilm 18mm f/2.0 XF R LensB&H
  • Fujifilm XF 23mm f/1.4 R LensB&H
  • Leica APO-Summicron-M 75mm f/2 ASPH. LensB&H
  • Leica Summilux-M 28mm f/1.4 ASPH. LensB&H
  • Metabones Canon EF to Micro Four Thirds Smart Adapters and Speed BoostersB&H
  • Olympus M.Zuiko Digital ED 12-40mm f/2.8 PRO LensB&H
  • Olympus M.Zuiko Digital ED 12-100mm f/4 IS PRO LensB&H
  • Olympus M.Zuiko Digital ED 17mm f/1.2 PRO LensB&H
  • Olympus M.Zuiko Digital ED 25mm f/1.2 PRO LensB&H
  • Olympus M.Zuiko Digital ED 45mm f/1.2 PRO LensB&H
  • Olympus M.Zuiko Digital ED 75mm f/1.8 LensB&H
  • Panasonic Leica DG Summilux 12mm f/1.4 ASPH. LensB&H
  • Panasonic Leica DG Summilux 15mm f/1.7 ASPH. LensB&H
  • Panasonic Leica DG Summilux 25mm f/1.4 ASPH. LensB&H
  • Panasonic Leica DG Nocticron 42.5mm f/1.2 ASPH. POWER O.I.S. LensB&H
  • Panasonic Lumix G X Vario 12-35mm f/2.8 II ASPH. POWER O.I.S. LensB&H
  • Sigma 18-35mm f/1.8 DC HSM Art LensB&H
  • Sigma Art lensesB&H
  • Veydra Mini Prime lenses for APS-C and M43 sensor formatsB&H

LensTip.com: Olympus M.Zuiko Digital ED 45 mm f/1.2 PRO

https://www.lenstip.com/524.1-Lens_review-Olympus_M.Zuiko_Digital_ED_45_mm_f_1.2_PRO_Introduction.html

“… A long list of assets with only one more serious flaw and a record-breaking resolution performance – we don’t doubt that the Olympus M. Zuiko Digital ED 45 mm f/1.2 PRO deserves our ‘Editors’ Choice’ badge. Our summary is exceptionally short but there’s really nothing to talk about. It’s another excellent Micro 4/3 lens. …”

olympus_m-zuiko_digital_ed_45mm_f1-2_white_square_upright_clutch_1024px_60.jpg
Olympus M.Zuiko Digital ED 45mm f/1.2 Pro prime lens

Commentary

As our gallery below indicates, the Micro Four Thirds format is not without some notable choices in fast zoom lenses and faster prime lenses in short to medium telephoto focal lengths suitable for the traditional approach to portrait photography and for closeup and big closeup shots in moviemaking, so the LensTip Editor’s Choice Award for the Olympus M.Zuiko Digital ED 45 mm f/1.2 Pro prime lens is noteworthy indeed.

Links

Help support ‘Untitled’

Clicking on and purchasing through these affiliate links helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.

  • Olympus M.Zuiko Digital ED 7-14mm f/2.8 PRO LensB&H
  • Olympus M.Zuiko Digital ED 8mm f/1.8 Fisheye PRO LensB&H
  • Olympus M.Zuiko Digital ED 12-40mm f/2.8 PRO LensB&H
  • Olympus M.Zuiko Digital ED 12-100mm f/4 IS PRO LensB&H
  • Olympus M.Zuiko Digital ED 17mm f/1.2 PRO LensB&H
  • Olympus M.Zuiko Digital ED 25mm f/1.2 PRO LensB&H
  • Olympus M.Zuiko Digital ED 40-150mm f/2.8 PRO LensB&H
  • Olympus M.Zuiko Digital ED 45mm f/1.2 PRO LensB&H
  • Olympus M.Zuiko Digital ED 300mm f/4 IS PRO LensB&H
  • Olympus M.Zuiko Digital MC-14 1.4x TeleconverterB&H
  • Panasonic Leica DG Nocticron 42.5mm f/1.2 ASPH. POWER O.I.S. LensB&H
  • Panasonic Lumix G 42.5mm f/1.7 ASPH. POWER O.I.S. LensB&H
  • Panasonic Lumix G X Vario 35-100mm f/2.8 II POWER O.I.S. LensB&H
  • SLR Magic HyperPrime Cine 50mm T0.95 Lens with MFT MountB&H
  • Veydra 50mm T2.2 Mini Prime LensB&H

4/3 Rumors: The history tree of Panasonic G cameras – COMMENTARY

https://www.43rumors.com/history-tree-panasonic-g-cameras/

“… At the Cp+ show Panasonic is displaying that history tree table….”

panasonic_lumix_ mc_gx8_12-35mm_evf_tilt_01_1024px_60%
Panasonic Lumix DMC-GX8 professional rangefinder-style camera with Panasonic Lumix G X Vario 12-35mm f/2.8 Aspheric Power OIS lens, now replaced by Panasonic Lumix G X Vario 12-35mm f/2.8 II Aspheric Power OIS lens, with its unique tilting electronic viewfinder for waist-level or eye-level use. With the GX9 enthusiast camera most certainly not being an upgrade to the professional GX8, what fate does Panasonic have planned for its professional rangefinder-style camera line?
Panasonic camera family tree displayed at CP+ Camera and Photo Imaging Show 2018 inducing more questions than answers. Is the GX8 professional rangefinder-style camera to be upgraded sometime in the future? What is to happen to the unique, tiny and very desirable GM camera line?

Commentary

panasonic_lumix_g_10th_anniversary_family_tree_1920px_60%
Panasonic Lumix G Tenth Anniversary Family Tree, different again.

Panasonic’s latest action in apparently replacing the professional-quality Lumix DMC-GX8 with the enthusiast-level Lumix DC-GX9, more accurately named the Lumix DC-GX7 Mark III in Japan, has the many professional users of the GX8 asking questions that are simply not being answered.

Two recently published graphics, the Panasonic camera family tree displayed on a wall at the CP+ trade show in Japan and a different Lumix G camera family tree distributed as part of the company’s celebrations of the launch of the first Digital Single Lens Mirrorless (DSLM) camera, the Lumix DMC-G1, back in 2008, are inducing even more questions that remain unanswered.

Is Panasonic’s professional rangefinder-style camera line really now dead, with the GX8 the very last of its kind?

panasonic_lumix_dmc_gm5_black_slant_01_1024px_60%
Panasonic Lumix DMC-GM5, the perfect tiny top-quality interchangeable lens camera for discrete, near-invisible documentary and street photography. Has Panasonic killed the GM line dead for all time?

Where is the update for the GM5, the best small, discrete, near-invisible camera for street photography and unobtrusive documentary photography I have ever seen?

I missed out on buying my own GM5 and have been searching fruitlessly ever since for a tiny but top-quality camera equipped with interchangeable pancake prime or zoom lenses to be carried at all times wherever I go.

Until Panasonic shocked and disappointed its professional stills and video user base with the GX9 aka GX7 Mark III, I had been planning on adding a GX9, what should have been the real GX9, to my kit for use in documentary moviemaking and photography.

panasonic_lumix_dc_gx9_optional_grip_attached_01_1024px_60%
Panasonic Lumix DC-GX9 with optional hand grip with screw that must be removed to access SD cards and batteries. The DC-GX9 reportedly has short battery life so you may unscrewing and screwing back this hand grip throughout the day. The attached Panasonic Lumix G Vario 12-60mm f/3.5-5.6 Aspheric Power OIS is reportedly a good lens but perhaps not the best fit for this camera.

Now that may never happen.

Now I am wondering if I should be spending my money on Fujifilm cameras instead even though there are no direct substitutes for the GX8 and GM5 in Fujifilm’s otherwise promising camera collection.

Fujifilm’s rangefinder-style X-E3 does not have the GX8’s unique tilting EVF nor its more pro-quality stills and video features although it is reportedly a great little interchangeable lens camera for stills and video though crippled by Fujifilm’s bizarre aversion to exposure zebras.

fujifilm_x-e3_silver_front_oblique_23mm_f2.0_white_square_1024px
Fujifilm X-E3 with Fujinon XF 23mm R WR, the company’s APS-C/Super 35 rangefinder-style camera, also able to use the Fujinon XF 27mm f/2.8 pancake lens as well as all other Fujinon X-Mount prime and zoom lenses.

The X-E3 might otherwise make for a good, discrete, near-invisible documentary and street camera when equipped with Fujifilm’s only pancake lens, the Fujinon XF 27mm f/2.8, though I have yet to obtain an X-E3 review loaner to put this hope to the test.

There is also the fact that Fujifilm does not make other equally good pancake prime lenses and nothing like Panasonic’s amazing though awfully under-rated Lumix G Vario 12-32mm f/3.5-5.6 Mega OIS zoom lens.

fujfilm_x100f_black_slant_1024px_60%
Fujifilm X100F with fixed 23mm f/2.0 prime lens, that can be supplemented with the Fujifilm WCL-X100 II wide conversion lens and TCL-X100 II tele conversion lens, giving the camera 23mm, 18mm and 35mm focal lengths, equivalent in 35mm sensor terms to 28mm, 35mm and 50mm, at the price of extra cost, size and weight.

Fujifilm’s real-rangefinder fixed-lens APS-C-sensored X-100F makes for a great little documentary and street photography camera though it badly needs its own version of the Fujifilm MHG-X100 hand grip, a crucial accessory given the X100F’s small, slippery body.

Panasonic’s recent design, manufacturing, marketing and naming decisions and lack of communication about them have thrown me and not a few other professional users into a quandary to the point where we are wondering if we should be looking at other makers’ products even though the Micro Four Thirds Super 16 format has its many advantages and those other makers also have their own bizarre blindspots and weird omissions.

rolleiflex_4.0_ft_twin_lens_reflex_tlr_telephoto_02_1024px_60%
Rolleiflex 4.0 FT twin lens reflex telephoto portrait camera, special edition. The GX8 allows me to emulate its magnified waist-level viewfinder for portraits and fly-on-the-wall documentary photographs.

Then there is the question of the GX8’s unique and irreplaceable tilting EVF, the one thing that allows me to shoot in the magnified waist-level viewfinder manner of great classic analog cameras like the Rolleiflex TLRs and that no other camera maker emulates in the digital era, not even with tilting monitors you have to squint at and shade with your hand in order to have a hope of seeing well enough under bright outdoor light.

If Panasonic no longer makes the stills cameras I need and my GX8 finally wears out after too many shutter actuations, I face kissing goodbye to a way of seeing and photographing upon which I built my style, my career and my life.

There is so much more to the GX8 and the technology it gave me and that is mostly absent from the GX9 than an homage to some of the best of the past, as I was reminded on absentmindedly picking up and handling my GX8 just now.

panasonic_lumix_dc-gx8_monitor_out_01_1024px_60%
The Panasonic Lumix DMC-GX8’s fully articulated monitor beats any tilting or fixed monitor screen especially in combination with its tilting EVF.

Its combination of fully-articulated touchscreen, touch focussing, tilting viewfinder mechanism and beautiful, brilliant EVF screen is an incredibly potent one for unobtrusive, immersive documentary and portrait photography often at times mere centimetres away from your subjects.

If you are lucky enough to have a GX8, pick it up, turn it on, flip up its EVF, open its monitor to the left and tilted slightly flat, place your left thumb on the touchscreen to perfectly nail focus, operate the camera’s buttons and dials with the fingers of your right hand, all simultaneously, and feel the power and control in your hands, the GX8’s uncanny ability to help you capture the perfect moment.

panasonic_lumix_dmc_gx8_black_05_1024px_60%
The fully-articulated monitor that the GX8 has and that the GX9 does not have is far superior to monitors that tilt up or down. I often use my GX8 like this for portraiture in vertical aka portrait orientation with camera handheld or tripod-mounted.

Now consider what has been lost to us with the GX9.

Links

Help support ‘Untitled’

panasonic_lumix_dc-gx9_grip_slant_black_1024px_60%
Panasonic Lumix DC-GX9 with Panasonic Lumix G Vario 12-32mm f/3.5-5.6 kit zoom lens, for “street photography”. This is an excellent lens for “street photography” being tiny, discrete and collapsible though you will need to supplement it with a fast pancake lens like the Panasonic Lumix G 20mm f/1.7 II Aspheric or Panasonic Leica DG Summilux 15mm f/1.7 Aspheric prime lenses for indoors and available darkness use. Bizarrely, the 12-32mm is not being bundled with the GX9 in the USA so far as I can tell.

Clicking on and purchasing through these affiliate links helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.

  • Panasonic DMW-EC5 EyecupB&H
  • Panasonic Hand Grip for Lumix DC-GX9 Mirrorless CameraB&H
  • Panasonic Leica DG Summilux 15mm f/1.7 ASPH. LensB&H
  • Panasonic Lumix DC-GX9 Mirrorless Micro Four Thirds Digital Camera with 12-60mm LensB&H
  • Panasonic Lumix DMC-GX8 Mirrorless Micro Four Thirds Digital CameraB&H
  • Panasonic Lumix G 20mm f/1.7 II ASPH. LensB&H

ePHOTOzine: Top 12 Best Panasonic Lenses 2018

https://www.ephotozine.com/article/top-12-best-panasonic-lenses-2018-27053

“We’ve taken a look at the Panasonic lenses that we’ve reviewed to date, crunched some numbers and have combined the results in a round-up that features the highest scoring lenses so you can make a more informed choice when making your next purchase….”

Commentary

panasonic_lumix_g_12-32_f3.5-5.6_white_square_01_1024px
Panasonic Lumix G Vario 12-32mm f/3.5-5.6 Aspheric Mega OIS standard zoom lens, provided as a kit lens with some of Panasonic’s more affordable rangefinder-style cameras but a very worthy lens to consider for all of their cameras, though it is not available for sale on its own in many territories. This lens can be bought new or in good used condition at eBay, and other online and offline retailers.

With a dearth of local retail outlets where one might see and try before one may choose to buy and an over-reliance on online reviews that are often not specific enough, sites with well-qualified reviewers and enough history to have broad, deep overviews prove invaluable.

I came across ePHOTOzine through the video reviews of former Fleet Street photographer David Thorpe and thus discovered his articles for the magazine as well as his own website, and now ePHOTOzine benefits by basking in his expert glow.

panasonic_all_lenses_april_2017_1920px
All of Panasonic’s Micro Four Thirds lenses as of April 2017.
panasonic_lumix_g_20mm_f1.7_ii_aspheric_H-H020AK_02_1024px
Panasonic Lumix G 20mm f/1.7 II Aspheric prime lens, another highly-regarded small, affordable lens and that is the equivalent to 40mm in the 35mm sensor format, often referred to as “perfect normal”. The legendary Leica/Minolta CL/CLE analog cameras were supplied with 40mm lenses as standard.

I have had few enough opportunities to discover the many pleasures and challenges of Panasonic Lumix and Leica Micro Four Thirds lenses in real life, and so rely on these “best lenses” lists to better my understanding.

Given an unlimited bank account I would first choose Olympus’ M.Zuiko Pro prime and zoom lenses for my professional documentary stills and video work given their many advantages and especially their manual clutch focus, but photography is my daily passion as well as my less frequent paid work and so cheaper, smaller hardware has its uses too.

panasonic_lumix_g_vario_14-42mm_f3.5-5.6_01_1024px_60%
Panasonic Lumix GX8 with Panasonic Lumix G Vario 14-42mm f/3.5-5.6 Aspheric II Mega OIS kit zoom, a more manageable small outfit for daily carry than with the larger, heavier though excellent Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro.

Right now I am considering adding a handful of tiny Panasonic Lumix G lenses to my smaller daily carry kit bag, for use with smaller cameras like my beloved Panasonic Lumix GX8, and ePHOTOzine’s list as well as the ones below is proving invaluable to me as I hope they will to you too.

I will be buying some of these lenses online and secondhand as local camera stores seem have given up on buying and selling secondhand gear, and the usual caveat emptor (buyer beware) applies.

cosyspeed_camslinger_streetomatic_black_hero_1501px.jpg
The Cosyspeed Camslinger Streetomatic Plus Camera Bag is an excellent waist-pack for carrying a minimal kit such as a GX8 plus two or three small lenses or one large one.

If purchasing from sites like eBay ensure that the seller provides a good selection of close-up photographs, all the correct information and model details, and pay through PayPal so that refunds can be made if the lens does not live up to its description.

Above all else, do your research and if you have access to stores that sell secondhand then give them a go before buying online as there is no substitute for try before you buy.

panasonic_lumix_g_14mm_f2.5_ii_aspheric_H-H014_01_1024px
Panasonic Lumix G 14mm f/2.5 II Aspheric prime lens

Here is my own long list of small, discrete Panasonic Lumix G lenses for purchase secondhand:

This is my three-lens shortlist of small, reasonably fast Panasonic primes:

  • Panasonic Lumix G 14mm f/2.5 II Aspheric
  • Panasonic Lumix G 20mm f/1.7 II Aspheric
  • Panasonic Lumix G 42.5mm f/1.7 Aspheric Power OIS

If I could carry just one prime lens for any format it would be the equivalent of 35mm in the 35mm sensor format, which is 17.5mm in Micro Four Thirds.

Panasonic does not make a 17.5mm lens though, and the Olympus M.Zuiko Digital 17mm f/1.8 is reportedly suboptimal for effective video and stills use, so my affordable one lens solution needs must be a zoom lens that includes that focal length and others:

  • Panasonic Lumix G Vario 12-32mm f/3.5-5.6 Aspheric Mega OIS, or
  • Panasonic Lumix G Vario 14-42mm f/3.5-5.6 II Aspheric Mega OIS

Links

Help support ‘Untitled’

panasonic_leica_dg_nocticron_42.5mm_f1.2_aspheric_power_ois_H-NS043_01_1024px
The Panasonic Leica DG Nocticron 42.5mm f/1.2 Power OIS, an excellent lens with a very Leica-like optical look and feel, if you can afford. I preferred German lenses and especially Leica lenses during the analog era when I was shooting colour transparency film, but nowadays I am exploring other brands of lenses and their own particular ways of rendering flesh and blood.

Clicking on these affiliate links and purchasing through them helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.

These lenses are listed in order of recommendation in ePHOTOzine’s Top 12 List of 2018.

  1. Panasonic Leica DG Nocticron 42.5mm f/1.2 ASPHB&H
  2. Panasonic Lumix G X Vario 35-100mm f/2.8 Asph OISB&H
  3. Panasonic Leica DG Elmarit 200mm f/2.8 Power O.I.SB&H
  4. Panasonic Lumix 35-100mm f/4-5.6 Asph Mega OISB&H
  5. Panasonic Lumix G Vario 14-42mm f/3.5-5.6 IIB&H
  6. Panasonic Lumix G Vario 12-32mm f/3.5-5.6 AsphB&H – only available bundled with certain Lumix cameras in some territories and now unavailable as a standalone purchase via B&H.
  7. Panasonic Leica DG Summilux 12mm f/1.4 ASPHB&H
  8. Panasonic Lumix G X Vario 12-35mm f/2.8B&H
  9. Panasonic Lumix G 20mm II f/1.7B&H
  10. Panasonic Leica DG Vario-Elmar 100-400mm f/4.0-6.3 ASPH ProB&H
  11. Panasonic LUMIX G 25mm f/1.7 ASPHB&H
  12. Panasonic Lumix G Vario 12-60mm f/3.5-5.6 AsphB&H

DPReview: Panasonic Lumix DC-GH5S Review

https://www.dpreview.com/reviews/panasonic-lumix-dc-gh5s-review

“… The GH5S produces the best quality video of any camera we’ve ever tested, with its high bitrate, high bit-depth footage proving impressively flexible. The a7S II can outperform it in low light if you can tolerate the shallower depth-of-field that comes with it, but beyond those specific circumstances, the GH5S would probably be our choice. The fact it works just like a GH5 and fits perfectly into the accessory and support ecosystem that’s grown up around it means the GH5S is an easy camera to just start shooting with…..”

panasonic_lumix_gh5s_square_04_1024px_60%
Panasonic Lumix DC-GH5S with Panasonic Leica DG Vario-Elmarit 12-60mm f/2.8-4.0 Aspheric zoom

Link

Help support ‘Untitled’

_sony_128gb_m_series_uhs-ii_sdxc_memory_card_kit_(2-pack)_01_1024px_60%
Sony 128GB M-Series UHS-II SDXC Memory Cards 2-Pack, R: 260 MB/s, W: 100 MB/s

Clicking on these affiliate links and purchasing through them helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.

  • Angelbird 128GB AV Pro UHS-II SDXC Memory CardB&H
  • Angelbird 256GB Match Pack for the Panasonic EVA1B&H – special promotional packaging of two Angelbird 128GB AV Pro UHS-II SDXC memory cards that are just as usable in other cameras than the AU-EVA1 that also have UHS-II SD card slots.
  • Movcam Cage Kit for Panasonic GH5B&H
  • Panasonic 128GB UHS-II SDXC Memory CardB&H
  • Panasonic DMW-BGGH5 Battery GripB&H
  • Panasonic Lumix DC-GH5S Mirrorless Micro Four Thirds Digital CameraB&H
  • Seercam CUBE Cage for Panasonic GH5 with Top Handle, Rod Riser, and Extension KitB&H
  • Sony 128GB M Series UHS-II SDXC Memory Card (U3)B&H
  • Sony 128GB M Series UHS-II SDXC Memory Card Kit (2-Pack)B&H

Leeming LUT One for Panasonic Cameras to get Version 503 before Mid-Year with Even Better Colour and Tone than Ever – UPDATE

Paul Leeming of Leeming LUT One and Visceral Psyche Films is like a dog with a bone that he just will not let go insofar as improving and updating Leeming LUT One, “the world’s first unified, corrective Look Up Table (LUT) system for supported cameras, designed to maximise dynamic range, fix skin tones, remove unwanted colour casts and provide an accurate Rec709 starting point for further creative colour grading.”

Paul Leeming of Leeming LUT One and Visceral Psyche Films in V-Log L footage made with Panasonic Lumix GH5 then processed with Leeming LUT One for Panasonic cameras, version 503 beta.

Mr Leeming has just shared an early version 503 beta for Panasonic V-Log L with me and, after applying it to some V-Log L footage of my own, it is clear that he has worked out how obtain even better, even more realistic colour and tonal rendering than before.

The more accurate and true-to-life the starting point obtained by applying Leeming LUT One before adding creative aka looks LUTs and other colour grading controls in your non-linear editing suite or colour grading software of choice, the richer and more satisfying the final result.

While this first version 503 beta is only for Panasonic V-Log L footage, Leeming LUT One version 503 for Panasonic cameras will be released for Cinelike D, HLG and V-Log L.

If version 503 has you as excited as I am, please do not put off purchasing it until later this year as version 502 is already streets ahead of any other camera LUT that I have tried out so far and purchasers of 502 now will receive 503 when it is finalized.

Leeming LUT One for Panasonic V-Log L 503 beta, footage by Paul Leeming

Leeming LUT One for Panasonic V-Log L 502 compared to 503 beta

Leeming LUT One for Panasonic V-Log L version 502
Leeming LUT One for Panasonic V-Log L version 503 beta
Leeming LUT One for Panasonic V-Log L version 503 beta plus Leeming LUT Quickie Basic Brighter v2

Leeming LUT One 503 beta as a base for creative LUTs

Leeming LUT One for Panasonic V-Log L version 503 beta plus Leeming LUT Quickie Basic Brighter v2 plus LookLabs Digital Film Stock Fuji 64D
Leeming LUT One for Panasonic V-Log L version 503 beta plus Leeming LUT Quickie Basic Brighter v2 plus LookLabs Digital Film Stock Fuji Reala 500D
Leeming LUT One for Panasonic V-Log L version 503 beta plus Leeming LUT Quickie Basic Brighter v2 plus LookLabs Digital Film Stock Kodak 5245

Sneak Peek, Leeming LUT One 601 for Panasonic, Cinelike D

leeming_lut_601_gx8_cinelike_d_P1070265_601_1920px_60%
Leeming LUT One 601 for Panasonic Cinelike D, from 8-bit 4:2:0 4K UHD video shot on Lumix GX8 with Olympus M.Zuiko Digital ED 12-40mm f/2.8 lens, LUT plus other minimal grading applied.

Links

Image Credit

Header image concept and hack by Carmel D. Morris.

Help support ‘Untitled’

Clicking on these affiliate links helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.

  • Angelbird 64GB AV Pro UHS-II SDXC Memory CardB&H
  • Angelbird 128GB AV Pro UHS-II SDXC Memory CardB&H
  • Angelbird 256GB Match Pack for the Panasonic EVA1B&H – special promotional packaging of two Angelbird 128GB AV Pro UHS-II SDXC memory cards that are just as usable in other cameras than the AU-EVA1 that also have UHS-II SD card slots.
  • Atomos Ninja Inferno 7″ 4K HDMI Recording Monitor and accessoriesB&H
  • Panasonic 128GB UHS-II SDXC Memory CardB&H
  • Panasonic DMW-BGGH5 Battery Grip – B&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera – B&H
  • Panasonic Lumix DC-GH5S Mirrorless Micro Four Thirds Digital CameraB&H
  • Panasonic V-Log L Function Activation Code for DMC-GH4, DC-GH5, and DMC-FZ2500B&H

Lumix G Experience: Using the 20x magnification focus-assist feature in the GH5s

https://www.lumixgexperience.panasonic.co.uk/learn/expert-advice/using-the-20x-magnification-focus-assist-feature-in-the-gh5s/

“One of the new features introduced in the Lumix GH5s that I’m really enjoying is the 20x magnification assistant for manual focusing. In all other Lumix bodies we get a maximum magnification of 6x, which is often good enough, but when using manual focus lenses wide open it’s great to be able to check a little closer to make sure the focus is falling on the eyes, for example, rather than the ears….”

panasonic_lumix_gh5s_square_09_1024px_60%
Panasonic Lumix DC-GH5S

Link

Help support ‘Untitled’

_sony_128gb_m_series_uhs-ii_sdxc_memory_card_kit_(2-pack)_01_1024px_60%
Sony 128GB M-Series UHS-II SDXC Memory Cards 2-Pack, R: 260 MB/s, W: 100 MB/s

Clicking on these affiliate links and purchasing through them helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.

  • Angelbird 128GB AV Pro UHS-II SDXC Memory CardB&H
  • Angelbird 256GB Match Pack for the Panasonic EVA1B&H – special promotional packaging of two Angelbird 128GB AV Pro UHS-II SDXC memory cards that are just as usable in other cameras than the AU-EVA1 that also have UHS-II SD card slots.
  • Movcam Cage Kit for Panasonic GH5B&H
  • Panasonic 128GB UHS-II SDXC Memory CardB&H
  • Panasonic DMW-BGGH5 Battery GripB&H
  • Panasonic Lumix DC-GH5S Mirrorless Micro Four Thirds Digital CameraB&H
  • Seercam CUBE Cage for Panasonic GH5 with Top Handle, Rod Riser, and Extension KitB&H
  • Sony 128GB M Series UHS-II SDXC Memory Card (U3)B&H
  • Sony 128GB M Series UHS-II SDXC Memory Card Kit (2-Pack)B&H

Lumix G Experience: The Videographer’s View – Jim Marks on the GH5s

https://www.lumixgexperience.panasonic.co.uk/learn/expert-advice/the-videographers-view-jim-marks-on-the-gh5s/#.WmdYLqhl9jE

“‘The Lumix GH5s is a very complete little package’, says professional film maker Jim Marks, who has been trying out a pre-production body before the official launch. ‘It’s ability to work in low light makes my life very much easier and means I can spend more time thinking about composition and story-telling rather than worrying what the camera is up to. The dual native ISO allows me to film almost anywhere and to work in very low light conditions without the penalty of excessive noise.’…”

panasonic_lumix_gh5s_square_04_1024px_60%
Panasonic Lumix DC-GH5S with Panasonic Leica DG Vario-Elmarit 12-60mm f/2.8-4.0 Power OIS zoom lens.

Links

Help support ‘Untitled’

movcam_gh5_cage_square_1024px
Movcam cage for Panasonic Lumix DC-GH5 and GH5S

Clicking on these affiliate links and purchasing through them helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.

  • Angelbird 128GB AV Pro UHS-II SDXC Memory CardB&H
  • Angelbird 256GB Match Pack for the Panasonic EVA1B&H – special promotional packaging of two Angelbird 128GB AV Pro UHS-II SDXC memory cards that are just as usable in other cameras than the AU-EVA1 that also have UHS-II SD card slots.
  • Movcam Cage Kit for Panasonic GH5B&H
  • Panasonic 128GB UHS-II SDXC Memory CardB&H
  • Panasonic DMW-BGGH5 Battery GripB&H
  • Panasonic Lumix DC-GH5S Mirrorless Micro Four Thirds Digital CameraB&H
  • Seercam CUBE Cage for Panasonic GH5 with Top Handle, Rod Riser, and Extension KitB&H
  • Sony 128GB M Series UHS-II SDXC Memory Card (U3)B&H
  • Sony 128GB M Series UHS-II SDXC Memory Card Kit (2-Pack)B&H